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diff --git a/7986-h/7986-h.htm b/7986-h/7986-h.htm new file mode 100644 index 0000000..ad44e3f --- /dev/null +++ b/7986-h/7986-h.htm @@ -0,0 +1,12490 @@ +<?xml version="1.0" encoding="utf-8"?> + +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" > + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> + <title> + Plays by Anton Chekhov, Second Series, by Anton Chekhov + </title> + <style type="text/css" xml:space="preserve"> + + body { margin:5%; background:#faebd0; text-align:justify} + P { margin-top: .75em; margin-bottom: .75em; } + H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; } + hr { width: 50%; text-align: center;} + .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; } + blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;} + .mynote {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;} + .toc { margin-left: 10%; margin-bottom: .75em;} + .toc2 { margin-left: 20%;} + div.fig { display:block; margin:0 auto; text-align:center; } + div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; } + .figleft {float: left; margin-left: 0%; margin-right: 1%;} + .figright {float: right; margin-right: 0%; margin-left: 1%;} + .pagenum {display:inline; font-size: 70%; font-style:normal; + margin: 0; padding: 0; position: absolute; right: 1%; + text-align: right;} + pre { font-style: italic; font-size: 90%; margin-left: 10%;} + +</style> + </head> + <body> +<pre xml:space="preserve"> + +Project Gutenberg's Plays by Chekhov, Second Series, by Anton Chekhov + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Plays by Chekhov, Second Series + On the High Road, The Proposal, The Wedding, The Bear, A + Tragedian In Spite of Himself, The Anniversary, The Three + Sisters, The Cherry Orchard + +Author: Anton Chekhov + +Release Date: August 8, 2009 [EBook #7986] +Last Updated: September 10, 2016 + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK PLAYS BY CHEKHOV, SECOND SERIES *** + + + + +Produced by James Rusk, Nicole Apostola, and David Widger + + + + + + +</pre> + + <p> + <br /><br /> + </p> + <h1> + PLAYS BY ANTON CHEKHOV,<br /> SECOND SERIES + </h1> + <h2> + By Anton Chekhov + </h2> + <p> + <br /><br /> + </p> + <h3> + Translated, with an Introduction, by Julius West + </h3> + <h5> + [The First Series Plays have been previously published<br /> by Project + Gutenberg in etext numbers: 1753 through 1756] + </h5> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> + <blockquote> + <p class="toc"> + <big><b>CONTENTS</b></big> + </p> + <p> + <br /> + </p> + <p class="toc"> + <a href="#link2H_INTR"> INTRODUCTION </a> + </p> + <p> + <br /> + </p> + <p class="toc"> + <a href="#link2H_4_0002"> <b>ON THE HIGH ROAD</b> </a> + </p> + <p> + <br /> + </p> + <p class="toc"> + <a href="#link2H_4_0003"> <b>THE PROPOSAL</b> </a> + </p> + <p> + <br /> + </p> + <p class="toc"> + <a href="#link2H_4_0004"> <b>THE WEDDING</b> </a> + </p> + <p> + <br /> + </p> + <p class="toc"> + <a href="#link2H_4_0005"> <b>THE BEAR</b> </a> + </p> + <p> + <br /> + </p> + <p class="toc"> + <a href="#link2H_4_0006"> <b>A TRAGEDIAN IN SPITE OF HIMSELF</b> </a> + </p> + <p> + <br /> + </p> + <p class="toc"> + <a href="#link2H_4_0007"> <b>THE ANNIVERSARY</b> </a> + </p> + <p> + <br /> + </p> + <p class="toc"> + <a href="#link2H_4_0008"> <b>THE THREE SISTERS</b> </a> + </p> + <p class="toc"> + <a href="#link2H_4_0009"> ACT I </a> + </p> + <p class="toc"> + <a href="#link2H_4_0010"> ACT II </a> + </p> + <p class="toc"> + <a href="#link2H_4_0011"> ACT III </a> + </p> + <p class="toc"> + <a href="#link2H_4_0012"> ACT IV </a> + </p> + <p> + <br /> + </p> + <p class="toc"> + <a href="#link2H_4_0013"> <b>THE CHERRY ORCHARD</b> </a> + </p> + <p class="toc"> + <a href="#link2H_4_0014"> ACT ONE </a> + </p> + <p class="toc"> + <a href="#link2H_4_0015"> ACT TWO </a> + </p> + <p class="toc"> + <a href="#link2H_4_0016"> ACT THREE </a> + </p> + <p class="toc"> + <a href="#link2H_4_0017"> ACT FOUR </a> + </p> + </blockquote> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> <a name="link2H_INTR" id="link2H_INTR"> + <!-- H2 anchor --> </a> + </p> + <h2> + INTRODUCTION + </h2> + <p> + The last few years have seen a large and generally unsystematic mass of + translations from the Russian flung at the heads and hearts of English + readers. The ready acceptance of Chekhov has been one of the few + successful features of this irresponsible output. He has been welcomed by + British critics with something like affection. Bernard Shaw has several + times remarked: “Every time I see a play by Chekhov, I want to chuck all + my own stuff into the fire.” Others, having no such valuable property to + sacrifice on the altar of Chekhov, have not hesitated to place him side by + side with Ibsen, and the other established institutions of the new + theatre. For these reasons it is pleasant to be able to chronicle the fact + that, by way of contrast with the casual treatment normally handed out to + Russian authors, the publishers are issuing the complete dramatic works of + this author. In 1912 they brought out a volume containing four Chekhov + plays, translated by Marian Fell. All the dramatic works not included in + her volume are to be found in the present one. With the exception of + Chekhov’s masterpiece, “The Cherry Orchard” (translated by the late Mr. + George Calderon in 1912), none of these plays have been previously + published in book form in England or America. + </p> + <p> + It is not the business of a translator to attempt to outdo all others in + singing the praises of his raw material. This is a dangerous process and + may well lead, as it led Mr. Calderon, to drawing the reader’s attention + to points of beauty not to be found in the original. A few bibliographical + details are equally necessary, and permissible, and the elementary + principles of Chekhov criticism will also be found useful. + </p> + <p> + The very existence of “The High Road” (1884); probably the earliest of its + author’s plays, will be unsuspected by English readers. During Chekhov’s + lifetime it a sort of family legend, after his death it became a family + mystery. A copy was finally discovered only last year in the Censor’s + office, yielded up, and published. It had been sent in 1885 under the + nom-de-plume “A. Chekhonte,” and it had failed to pass. The Censor, of the + time being had scrawled his opinion on the manuscript, “a depressing and + dirty piece,—cannot be licensed.” The name of the gentleman who held + this view—Kaiser von Kugelgen—gives another reason for the + educated Russian’s low opinion of German-sounding institutions. Baron von + Tuzenbach, the satisfactory person in “The Three Sisters,” it will be + noted, finds it as well, while he is trying to secure the favours of + Irina, to declare that his German ancestry is fairly remote. This is by + way of parenthesis. “The High Road,” found after thirty years, is a most + interesting document to the lover of Chekhov. Every play he wrote in later + years was either a one-act farce or a four-act drama. [Note: “The Swan + Song” may occur as an exception. This, however, is more of a Shakespeare + recitation than anything else, and so neither here nor there.] + </p> + <p> + In “The High Road” we see, in an embryonic form, the whole later method of + the plays—the deliberate contrast between two strong characters + (Bortsov and Merik in this case), the careful individualization of each + person in a fairly large group by way of an introduction to the main + theme, the concealment of the catastrophe, germ-wise, in the actual + character of the characters, and the of a distinctive group-atmosphere. It + need scarcely be stated that “The High Road” is not a “dirty” piece + according to Russian or to German standards; Chekhov was incapable of + writing a dirty play or story. For the rest, this piece differs from the + others in its presentation, not of Chekhov’s favourite middle-classes, but + of the moujik, nourishing, in a particularly stuffy atmosphere, an intense + mysticism and an equally intense thirst for vodka. + </p> + <p> + “The Proposal” (1889) and “The Bear” (1890) may be taken as good examples + of the sort of humour admired by the average Russian. The latter play, in + another translation, was put on as a curtain-raiser to a cinematograph + entertainment at a London theatre in 1914; and had quite a pleasant + reception from a thoroughly Philistine audience. The humour is very nearly + of the variety most popular over here, the psychology is a shade subtler. + The Russian novelist or dramatist takes to psychology as some of his + fellow-countrymen take to drink; in doing this he achieves fame by showing + us what we already know, and at the same time he kills his own creative + power. Chekhov just escaped the tragedy of suicide by introspection, and + was only enabled to do this by the possession of a sense of humour. That + is why we should not regard “The Bear,” “The Wedding,” or “The + Anniversary” as the work of a merely humorous young man, but as the saving + graces which made perfect “The Cherry Orchard.” + </p> + <p> + “The Three Sisters” (1901) is said to act better than any other of + Chekhov’s plays, and should surprise an English audience exceedingly. It + and “The Cherry Orchard” are the tragedies of doing nothing. The three + sisters have only one desire in the world, to go to Moscow and live there. + There is no reason on earth, economic, sentimental, or other, why they + should not pack their bags and take the next train to Moscow. But they + will not do it. They cannot do it. And we know perfectly well that if they + were transplanted thither miraculously, they would be extremely unhappy as + soon as ever the excitement of the miracle had worn off. In the other play + Mme. Ranevsky can be saved from ruin if she will only consent to a + perfectly simple step—the sale of an estate. She cannot do this, is + ruined, and thrown out into the unsympathetic world. Chekhov is the + dramatist, not of action, but of inaction. The tragedy of inaction is as + overwhelming, when we understand it, as the tragedy of an Othello, or a + Lear, crushed by the wickedness of others. The former is being enacted + daily, but we do not stage it, we do not know how. But who shall deny that + the base of almost all human unhappiness is just this inaction, + manifesting itself in slovenliness of thought and execution, education, + and ideal? + </p> + <p> + The Russian, painfully conscious of his own weakness, has accepted this + point of view, and regards “The Cherry Orchard” as its master-study in + dramatic form. They speak of the palpitating hush which fell upon the + audience of the Moscow Art Theatre after the first fall of the curtain at + the first performance—a hush so intense as to make Chekhov’s friends + undergo the initial emotions of assisting at a vast theatrical failure. + But the silence ryes almost a sob, to be followed, when overcome, by an + epic applause. And, a few months later, Chekhov died. + </p> + <p> + This volume and that of Marian Fell—with which it is uniform—contain + all the dramatic works of Chekhov. It considered not worth while to + translate a few fragments published posthumously, or a monologue “On the + Evils of Tobacco”—a half humorous lecture by “the husband of his + wife;” which begins “Ladies, and in some respects, gentlemen,” as this is + hardly dramatic work. There is also a very short skit on the efficiency of + provincial fire brigades, which was obviously not intended for the stage + and has therefore been omitted. + </p> + <p> + Lastly, the scheme of transliteration employed has been that, generally + speaking, recommended by the Liverpool School of Russian Studies. This is + distinctly the best of those in the field, but as it would compel one, + e.g., to write a popular female name, “Marya,” I have not treated it + absolute respect. For the sake of uniformity with Fell’s volume, the + author’s name is spelt Tchekoff on the title-page and cover. + </p> + <p> + J. W. <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> RUSSIAN WEIGHTS AND MEASURES AND MONEY EMPLOYED IN THE PLAYS, + WITH ENGLISH EQUIVALENTS + </p> +<pre xml:space="preserve"> + 1 verst = 3600 feet = 2/3 mile (almost) + 1 arshin = 28 inches + 1 dessiatin = 2.7 acres + 1 copeck = 1/4 d + 1 rouble = 100 copecks = 2s. 1d. +</pre> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> + <div class="play"> + <a name="link2H_4_0002" id="link2H_4_0002"> + <!-- H2 anchor --> </a> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ON THE HIGH ROAD + </h2> + <h3> + A DRAMATIC STUDY + </h3> + CHARACTERS +<pre xml:space="preserve"> + TIHON EVSTIGNEYEV, the proprietor of a inn on the main road + SEMYON SERGEYEVITCH BORTSOV, a ruined landowner + MARIA EGOROVNA, his wife + SAVVA, an aged pilgrim + NAZAROVNA and EFIMOVNA, women pilgrims + FEDYA, a labourer + EGOR MERIK, a tramp + KUSMA, a driver + POSTMAN + BORTSOV’S WIFE’S COACHMAN + PILGRIMS, CATTLE-DEALERS, ETC. +</pre> + <p> + The action takes place in one of the provinces of Southern Russia + </p> + <p> + [The scene is laid in TIHON’S bar. On the right is the bar-counter and + shelves with bottles. At the back is a door leading out of the house. + Over it, on the outside, hangs a dirty red lantern. The floor and the + forms, which stand against the wall, are closely occupied by pilgrims + and passers-by. Many of them, for lack of space, are sleeping as they + sit. It is late at night. As the curtain rises thunder is heard, and + lightning is seen through the door.] + </p> + <p> + [TIHON is behind the counter. FEDYA is half-lying in a heap on one of + the forms, and is quietly playing on a concertina. Next to him is + BORTSOV, wearing a shabby summer overcoat. SAVVA, NAZAROVNA, and + EFIMOVNA are stretched out on the floor by the benches.] + </p> + <p> + EFIMOVNA. [To NAZAROVNA] Give the old man a nudge dear! Can’t get any + answer out of him. + </p> + <p> + NAZAROVNA. [Lifting the corner of a cloth covering of SAVVA’S face] Are + you alive or are you dead, you holy man? + </p> + <p> + SAVVA. Why should I be dead? I’m alive, mother! [Raises himself on his + elbow] Cover up my feet, there’s a saint! That’s it. A bit more on the + right one. That’s it, mother. God be good to us. + </p> + <p> + NAZAROVNA. [Wrapping up SAVVA’S feet] Sleep, little father. + </p> + <p> + SAVVA. What sleep can I have? If only I had the patience to endure this + pain, mother; sleep’s quite another matter. A sinner doesn’t deserve to + be given rest. What’s that noise, pilgrim-woman? + </p> + <p> + NAZAROVNA. God is sending a storm. The wind is wailing, and the rain is + pouring down, pouring down. All down the roof and into the windows like + dried peas. Do you hear? The windows of heaven are opened... [Thunder] + Holy, holy, holy... + </p> + <p> + FEDYA. And it roars and thunders, and rages, sad there’s no end to it! + Hoooo... it’s like the noise of a forest.... Hoooo.... The wind is + wailing like a dog.... [Shrinking back] It’s cold! My clothes are wet, + it’s all coming in through the open door... you might put me through a + wringer.... [Plays softly] My concertina’s damp, and so there’s no music + for you, my Orthodox brethren, or else I’d give you such a concert, my + word!—Something marvellous! You can have a quadrille, or a polka, + if you like, or some Russian dance for two.... I can do them all. In the + town, where I was an attendant at the Grand Hotel, I couldn’t make any + money, but I did wonders on my concertina. And, I can play the guitar. + </p> + <p> + A VOICE FROM THE CORNER. A silly speech from a silly fool. + </p> + <p> + FEDYA. I can hear another of them. [Pause.] + </p> + <p> + NAZAROVNA. [To SAVVA] If you’d only lie where it was warm now, old man, + and warm your feet. [Pause.] Old man! Man of God! [Shakes SAVVA] Are you + going to die? + </p> + <p> + FEDYA. You ought to drink a little vodka, grandfather. Drink, and it’ll + burn, burn in your stomach, and warm up your heart. Drink, do! + </p> + <p> + NAZAROVNA. Don’t swank, young man! Perhaps the old man is giving back + his soul to God, or repenting for his sins, and you talk like that, and + play your concertina.... Put it down! You’ve no shame! + </p> + <p> + FEDYA. And what are you sticking to him for? He can’t do anything and + you... with your old women’s talk... He can’t say a word in reply, and + you’re glad, and happy because he’s listening to your nonsense.... You + go on sleeping, grandfather; never mind her! Let her talk, don’t you + take any notice of her. A woman’s tongue is the devil’s broom—it + will sweep the good man and the clever man both out of the house. Don’t + you mind.... [Waves his hands] But it’s thin you are, brother of mine! + Terrible! Like a dead skeleton! No life in you! Are you really dying? + </p> + <p> + SAVVA. Why should I die? Save me, O Lord, from dying in vain.... I’ll + suffer a little, and then get up with God’s help.... The Mother of God + won’t let me die in a strange land.... I’ll die at home. + </p> + <p> + FEDYA. Are you from far off? + </p> + <p> + SAVVA. From Vologda. The town itself.... I live there. + </p> + <p> + FEDYA. And where is this Vologda? + </p> + <p> + TIHON. The other side of Moscow.... + </p> + <p> + FEDYA. Well, well, well.... You have come a long way, old man! On foot? + </p> + <p> + SAVVA. On foot, young man. I’ve been to Tihon of the Don, and I’m going + to the Holy Hills. [Note: On the Donetz, south-east of Kharkov; a + monastery containing a miraculous ikon.]... From there, if God wills it, + to Odessa.... They say you can get to Jerusalem cheap from there, for + twenty-ones roubles, they say.... + </p> + <p> + FEDYA. And have you been to Moscow? + </p> + <p> + SAVVA. Rather! Five times.... + </p> + <p> + FEDYA. Is it a good town? [Smokes] Well-standing? + </p> + <p> + Sews. There are many holy places there, young man.... Where there are + many holy places it’s always a good town.... + </p> + <p> + BORTSOV. [Goes up to the counter, to TIHON] Once more, please! For the + sake of Christ, give it to me! + </p> + <p> + FEDYA. The chief thing about a town is that it should be clean. If it’s + dusty, it must be watered; if it’s dirty, it must be cleaned. There + ought to be big houses... a theatre... police... cabs, which... I’ve + lived in a town myself, I understand. + </p> + <p> + BORTSOV. Just a little glass. I’ll pay you for it later. + </p> + <p> + TIHON. That’s enough now. + </p> + <p> + BORTSOV. I ask you! Do be kind to me! + </p> + <p> + TIHON. Get away! + </p> + <p> + BORTSOV. You don’t understand me.... Understand me, you fool, if there’s + a drop of brain in your peasant’s wooden head, that it isn’t I who am + asking you, but my inside, using the words you understand, that’s what’s + asking! My illness is what’s asking! Understand! + </p> + <p> + TIHON. We don’t understand anything.... Get back! + </p> + <p> + BORTSOV. Because if I don’t have a drink at once, just you understand + this, if I don’t satisfy my needs, I may commit some crime. God only + knows what I might do! In the time you’ve kept this place, you rascal, + haven’t you seen a lot of drunkards, and haven’t you yet got to + understand what they’re like? They’re diseased! You can do anything you + like to them, but you must give them vodka! Well, now, I implore you! + Please! I humbly ask you! God only knows how humbly! + </p> + <p> + TIHON. You can have the vodka if you pay for it. + </p> + <p> + BORTSOV. Where am I to get the money? I’ve drunk it all! Down to the + ground! What can I give you? I’ve only got this coat, but I can’t give + you that. I’ve nothing on underneath.... Would you like my cap? [Takes + it off and gives it to TIHON] + </p> + <p> + TIHON. [Looks it over] Hm.... There are all sorts of caps.... It might + be a sieve from the holes in it.... + </p> + <p> + FEDYA. [Laughs] A gentleman’s cap! You’ve got to take it off in front of + the mam’selles. How do you do, good-bye! How are you? + </p> + <p> + TIHON. [Returns the cap to BORTSOV] I wouldn’t give anything for it. + It’s muck. + </p> + <p> + BORTSOV. If you don’t like it, then let me owe you for the drink! I’ll + bring in your five copecks on my way back from town. You can take it and + choke yourself with it then! Choke yourself! I hope it sticks in your + throat! [Coughs] I hate you! + </p> + <p> + TIHON. [Banging the bar-counter with his fist] Why do you keep on like + that? What a man! What are you here for, you swindler? + </p> + <p> + BORTSOV. I want a drink! It’s not I, it’s my disease! Understand that! + </p> + <p> + TIHON. Don’t you make me lose my temper, or you’ll soon find yourself + outside! + </p> + <p> + BORTSOV. What am I to do? [Retires from the bar-counter] What am I to + do? [Is thoughtful.] + </p> + <p> + EFIMOVNA. It’s the devil tormenting you. Don’t you mind him, sir. The + damned one keeps whispering, “Drink! Drink!” And you answer him, “I + shan’t drink! I shan’t drink!” He’ll go then. + </p> + <p> + FEDYA. It’s drumming in his head.... His stomach’s leading him on! + [Laughs] Your houour’s a happy man. Lie down and go to sleep! What’s the + use of standing like a scarecrow in the middle of the inn! This isn’t an + orchard! + </p> + <p> + BORTSOV. [Angrily] Shut up! Nobody spoke to you, you donkey. + </p> + <p> + FEDYA. Go on, go on! We’ve seen the like of you before! There’s a lot + like you tramping the high road! As to being a donkey, you wait till + I’ve given you a clout on the ear and you’ll howl worse than the wind. + Donkey yourself! Fool! [Pause] Scum! + </p> + <p> + NAZAROVNA. The old man may be saying a prayer, or giving up his soul to + God, and here are these unclean ones wrangling with one another and + saying all sorts of... Have shame on yourselves! + </p> + <p> + FEDYA. Here, you cabbage-stalk, you keep quiet, even if you are in a + public-house. Just you behave like everybody else. + </p> + <p> + BORTSOV. What am I to do? What will become of me? How can I make him + understand? What else can I say to him? [To TIHON] The blood’s boiling + in my chest! Uncle Tihon! [Weeps] Uncle Tihon! + </p> + <p> + SAWA. [Groans] I’ve got shooting-pains in my leg, like bullets of + fire.... Little mother, pilgrim. + </p> + <p> + EFIMOVNA. What is it, little father? + </p> + <p> + SAVVA. Who’s that crying? + </p> + <p> + EFIMOVNA. The gentleman. + </p> + <p> + SAVVA. Ask him to shed a tear for me, that I might die in Vologda. + Tearful prayers are heard. + </p> + <p> + BORTSOV. I’m not praying, grandfather! These aren’t tears! Just juice! + My soul is crushed; and the juice is running. [Sits by SAVVA] Juice! But + you wouldn’t understand! You, with your darkened brain, wouldn’t + understand. You people are all in the dark! + </p> + <p> + SAVVA. Where will you find those who live in the light? + </p> + <p> + BORTSOV. They do exist, grandfather.... They would understand! + </p> + <p> + SAVVA. Yes, yes, dear friend.... The saints lived in the light.... They + understood all our griefs.... You needn’t even tell them.... and they’ll + understand.... Just by looking at your eyes.... And then you’ll have + such peace, as if you were never in grief at all—it will all go! + </p> + <p> + FEDYA. And have you ever seen any saints? + </p> + <p> + SAVVA. It has happened, young man.... There are many of all sorts on + this earth. Sinners, and servants of God. + </p> + <p> + BORTSOV. I don’t understand all this.... [Gets up quickly] What’s the + use of talking when you don’t understand, and what sort of a brain have + I now? I’ve only an instinct, a thirst! [Goes quickly to the counter] + Tihon, take my coat! Understand? [Tries to take it off] My coat... + </p> + <p> + TIHON. And what is there under your coat? [Looks under it] Your naked + body? Don’t take it off, I shan’t have it.... I’m not going to burden my + soul with a sin. + </p> + <p> + [Enter MERIK.] + </p> + <p> + BORTSOV. Very well, I’ll take the sin on myself! Do you agree? + </p> + <p> + MERIK. [In silence takes of his outer cloak and remains in a sleeveless + jacket. He carries an axe in his belt] A vagrant may sweat where a bear + will freeze. I am hot. [Puts his axe on the floor and takes off his + jacket] You get rid of a pailful of sweat while you drag one leg out of + the mud. And while you are dragging it out, the other one goes farther + in. + </p> + <p> + EFIMOVNA. Yes, that’s true... is the rain stopping, dear? + </p> + <p> + MERIK. [Glancing at EFIMOVNA] I don’t talk to old women. [A pause.] + </p> + <p> + BORTSOV. [To TIHON] I’ll take the sin on myself. Do you hear me or don’t + you? + </p> + <p> + TIHON. I don’t want to hear you, get away! + </p> + <p> + MERIK. It’s as dark as if the sky was painted with pitch. You can’t see + your own nose. And the rain beats into your face like a snowstorm! + [Picks up his clothes and axe.] + </p> + <p> + FEDYA. It’s a good thing for the likes of us thieves. When the cat’s + away the mice will play. + </p> + <p> + MERIK. Who says that? + </p> + <p> + FEDYA. Look and see... before you forget. + </p> + <p> + MERIN. We’ll make a note of it.... [Goes up to TIHON] How do you do, you + with the large face! Don’t you remember me. + </p> + <p> + TIHON. If I’m to remember every one of you drunkards that walks the high + road, I reckon I’d need ten holes in my forehead. + </p> + <p> + MERIK. Just look at me.... [A pause.] + </p> + <p> + TIHON. Oh, yes; I remember. I knew you by your eyes! [Gives him his + hand] Andrey Polikarpov? + </p> + <p> + MERIK. I used to be Andrey Polikarpov, but now I am Egor Merik. + </p> + <p> + TIHON. Why’s that? + </p> + <p> + MERIK. I call myself after whatever passport God gives me. I’ve been + Merik for two months. [Thunder] Rrrr.... Go on thundering, I’m not + afraid! [Looks round] Any police here? + </p> + <p> + TIHON. What are you talking about, making mountains out of + mole-hills?... The people here are all right... The police are fast + asleep in their feather beds now.... [Loudly] Orthodox brothers, mind + your pockets and your clothes, or you’ll have to regret it. The man’s a + rascal! He’ll rob you! + </p> + <p> + MERIK. They can look out for their money, but as to their clothes—I + shan’t touch them. I’ve nowhere to take them. + </p> + <p> + TIHON. Where’s the devil taking you to? + </p> + <p> + MERIK. To Kuban. + </p> + <p> + TIHON. My word! + </p> + <p> + FEDYA. To Kuban? Really? [Sitting up] It’s a fine place. You wouldn’t + see such a country, brother, if you were to fall asleep and dream for + three years. They say the birds there, and the beasts are—my God! + The grass grows all the year round, the people are good, and they’ve so + much land they don’t know what to do with it! The authorities, they + say... a soldier was telling me the other day... give a hundred + dessiatins ahead. There’s happiness, God strike me! + </p> + <p> + MERIK. Happiness.... Happiness goes behind you.... You don’t see it. + It’s as near as your elbow is, but you can’t bite it. It’s all silly.... + [Looking round at the benches and the people] Like a lot of + prisoners.... A poor lot. + </p> + <p> + EFIMOVNA. [To MERIK] What great, angry, eyes! There’s an enemy in you, + young man.... Don’t you look at us! + </p> + <p> + MERIK. Yes, you’re a poor lot here. + </p> + <p> + EFIMOVNA. Turn away! [Nudges SAVVA] Savva, darling, a wicked man is + looking at us. He’ll do us harm, dear. [To MERIK] Turn away, I tell you, + you snake! + </p> + <p> + SAVVA. He won’t touch us, mother, he won’t touch us.... God won’t let + him. + </p> + <p> + MERIK. All right, Orthodox brothers! [Shrugs his shoulders] Be quiet! + You aren’t asleep, you bandy-legged fools! Why don’t you say something? + </p> + <p> + EFIMOVNA. Take your great eyes away! Take away that devil’s own pride! + </p> + <p> + MERIK. Be quiet, you crooked old woman! I didn’t come with the devil’s + pride, but with kind words, wishing to honour your bitter lot! You’re + huddled together like flies because of the cold—I’d be sorry for + you, speak kindly to you, pity your poverty, and here you go grumbling + away! [Goes up to FEDYA] Where are you from? + </p> + <p> + FEDYA. I live in these parts. I work at the Khamonyevsky brickworks. + </p> + <p> + MERIK. Get up. + </p> + <p> + FEDYA. [Raising himself] Well? + </p> + <p> + MERIK. Get up, right up. I’m going to lie down here. + </p> + <p> + FEDYA. What’s that.... It isn’t your place, is it? + </p> + <p> + MERIK. Yes, mine. Go and lie on the ground! + </p> + <p> + FEDYA. You get out of this, you tramp. I’m not afraid of you. + </p> + <p> + MERIK. You’re very quick with your tongue.... Get up, and don’t talk + about it! You’ll be sorry for it, you silly. + </p> + <p> + TIHON. [To FEDYA] Don’t contradict him, young man. Never mind. + </p> + <p> + FEDYA. What right have you? You stick out your fishy eyes and think I’m + afraid! [Picks up his belongings and stretches himself out on the + ground] You devil! [Lies down and covers himself all over.] + </p> + <p> + MERIK. [Stretching himself out on the bench] I don’t expect you’ve ever + seen a devil or you wouldn’t call me one. Devils aren’t like that. [Lies + down, putting his axe next to him.] Lie down, little brother axe... let + me cover you. + </p> + <p> + TIHON. Where did you get the axe from? + </p> + <p> + MERIK. Stole it.... Stole it, and now I’ve got to fuss over it like a + child with a new toy; I don’t like to throw it away, and I’ve nowhere to + put it. Like a beastly wife.... Yes.... [Covering himself over] Devils + aren’t like that, brother. + </p> + <p> + FEDYA. [Uncovering his head] What are they like? + </p> + <p> + MERIK. Like steam, like air.... Just blow into the air. [Blows] They’re + like that, you can’t see them. + </p> + <p> + A VOICE FROM THE CORNER. You can see them if you sit under a harrow. + </p> + <p> + MERIK. I’ve tried, but I didn’t see any.... Old women’s tales, and silly + old men’s, too.... You won’t see a devil or a ghost or a corpse.... Our + eyes weren’t made so that we could see everything.... When I was a boy, + I used to walk in the woods at night on purpose to see the demon of the + woods.... I’d shout and shout, and there might be some spirit, I’d call + for the demon of the woods and not blink my eyes: I’d see all sorts of + little things moving about, but no demon. I used to go and walk about + the churchyards at night, I wanted to see the ghosts—but the women + lie. I saw all sorts of animals, but anything awful—not a sign. + Our eyes weren’t... + </p> + <p> + THE VOICE FROM THE CORNER. Never mind, it does happen that you do + see.... In our village a man was gutting a wild boar... he was + separating the tripe when... something jumped out at him! + </p> + <p> + SAVVA. [Raising himself] Little children, don’t talk about these unclean + things! It’s a sin, dears! + </p> + <p> + MERIK. Aaa... greybeard! You skeleton! [Laughs] You needn’t go to the + churchyard to see ghosts, when they get up from under the floor to give + advice to their relations.... A sin!... Don’t you teach people your + silly notions! You’re an ignorant lot of people living in darkness.... + [Lights his pipe] My father was peasant and used to be fond of teaching + people. One night he stole a sack of apples from the village priest, and + he brings them along and tells us, “Look, children, mind you don’t eat + any apples before Easter, it’s a sin.” You’re like that.... You don’t + know what a devil is, but you go calling people devils.... Take this + crooked old woman, for instance. [Points to EFIMOVNA] She sees an enemy + in me, but is her time, for some woman’s nonsense or other, she’s given + her soul to the devil five times. + </p> + <p> + EFIMOVNA. Hoo, hoo, hoo.... Gracious heavens! [Covers her face] Little + Savva! + </p> + <p> + TIHON. What are you frightening them for? A great pleasure! [The door + slams in the wind] Lord Jesus.... The wind, the wind! + </p> + <p> + MERIK. [Stretching himself] Eh, to show my strength! [The door slams + again] If I could only measure myself against the wind! Shall I tear the + door down, or suppose I tear up the inn by the roots! [Gets up and lies + down again] How dull! + </p> + <p> + NAZAROVNA. You’d better pray, you heathen! Why are you so restless? + </p> + <p> + EFIMOVNA. Don’t speak to him, leave him alone! He’s looking at us again. + [To MERIK] Don’t look at us, evil man! Your eyes are like the eyes of a + devil before cockcrow! + </p> + <p> + SAVVA. Let him look, pilgrims! You pray, and his eyes won’t do you any + harm. + </p> + <p> + BORTSOV. No, I can’t. It’s too much for my strength! [Goes up to the + counter] Listen, Tihon, I ask you for the last time.... Just half a + glass! + </p> + <p> + TIHON. [Shakes his head] The money! + </p> + <p> + BORTSOV. My God, haven’t I told you! I’ve drunk it all! Where am I to + get it? And you won’t go broke even if you do let me have a drop of + vodka on tick. A glass of it only costs you two copecks, and it will + save me from suffering! I am suffering! Understand! I’m in misery, I’m + suffering! + </p> + <p> + TIHON. Go and tell that to someone else, not to me.... Go and ask the + Orthodox, perhaps they’ll give you some for Christ’s sake, if they feel + like it, but I’ll only give bread for Christ’s sake. + </p> + <p> + BORTSOV. You can rob those wretches yourself, I shan’t.... I won’t do + it! I won’t! Understand? [Hits the bar-counter with his fist] I won’t. + [A pause.] Hm... just wait.... [Turns to the pilgrim women] It’s an + idea, all the same, Orthodox ones! Spare five copecks! My inside asks + for it. I’m ill! + </p> + <p> + FEDYA. Oh, you swindler, with your “spare five copecks.” Won’t you have + some water? + </p> + <p> + BORTSOV. How I am degrading myself! I don’t want it! I don’t want + anything! I was joking! + </p> + <p> + MERIK. You won’t get it out of him, sir.... He’s a famous skinflint.... + Wait, I’ve got a five-copeck piece somewhere.... We’ll have a glass + between us—half each [Searches in his pockets] The devil... it’s + lost somewhere.... Thought I heard it tinkling just now in my pocket.... + No; no, it isn’t there, brother, it’s your luck! [A pause.] + </p> + <p> + BORTSOV. But if I can’t drink, I’ll commit a crime or I’ll kill + myself.... What shall I do, my God! [Looks through the door] Shall I go + out, then? Out into this darkness, wherever my feet take me.... + </p> + <p> + MERIK. Why don’t you give him a sermon, you pilgrims? And you, Tihon, + why don’t you drive him out? He hasn’t paid you for his night’s + accommodation. Chuck him out! Eh, the people are cruel nowadays. There’s + no gentleness or kindness in them.... A savage people! A man is drowning + and they shout to him: “Hurry up and drown, we’ve got no time to look at + you; we’ve got to go to work.” As to throwing him a rope—there’s + no worry about that.... A rope would cost money. + </p> + <p> + SAVVA. Don’t talk, kind man! + </p> + <p> + MERIK. Quiet, old wolf! You’re a savage race! Herods! Sellers of your + souls! [To TIHON] Come here, take off my boots! Look sharp now! + </p> + <p> + TIHON. Eh, he’s let himself go I [Laughs] Awful, isn’t it. + </p> + <p> + MERIK. Go on, do as you’re told! Quick now! [Pause] Do you hear me, or + don’t you? Am I talking to you or the wall? [Stands up] + </p> + <p> + TIHON. Well... give over. + </p> + <p> + MERIK. I want you, you fleecer, to take the boots off me, a poor tramp. + </p> + <p> + TIHON. Well, well... don’t get excited. Here have a glass.... Have a + drink, now! + </p> + <p> + MERIK. People, what do I want? Do I want him to stand me vodka, or to + take off my boots? Didn’t I say it properly? [To TIHON] Didn’t you hear + me rightly? I’ll wait a moment, perhaps you’ll hear me then. + </p> + <p> + [There is excitement among the pilgrims and tramps, who half-raise + themselves in order to look at TIHON and MERIK. They wait in silence.] + </p> + <p> + TIHON. The devil brought you here! [Comes out from behind the bar] What + a gentleman! Come on now. [Takes off MERIK’S boots] You child of Cain... + </p> + <p> + MERIK. That’s right. Put them side by side.... Like that... you can go + now! + </p> + <p> + TIHON. [Returns to the bar-counter] You’re too fond of being clever. You + do it again and I’ll turn you out of the inn! Yes! [To BORTSOV, who is + approaching] You, again? + </p> + <p> + BORTSOV. Look here, suppose I give you something made of gold.... I will + give it to you. + </p> + <p> + TIHON. What are you shaking for? Talk sense! + </p> + <p> + BORTSOV. It may be mean and wicked on my part, but what am I to do? I’m + doing this wicked thing, not reckoning on what’s to come.... If I was + tried for it, they’d let me off. Take it, only on condition that you + return it later, when I come back from town. I give it to you in front + of these witnesses. You will be my witnesses! [Takes a gold medallion + out from the breast of his coat] Here it is.... I ought to take the + portrait out, but I’ve nowhere to put it; I’m wet all over.... Well, + take the portrait, too! Only mind this... don’t let your fingers touch + that face.... Please... I was rude to you, my dear fellow, I was a fool, + but forgive me and... don’t touch it with your fingers.... Don’t look at + that face with your eyes. [Gives TIHON the medallion.] + </p> + <p> + TIHON. [Examining it] Stolen property.... All right, then, drink.... + [Pours out vodka] Confound you. + </p> + <p> + BORTSOV. Only don’t you touch it... with your fingers. [Drinks slowly, + with feverish pauses.] + </p> + <p> + TIHON. [Opens the medallion] Hm... a lady!... Where did you get hold of + this? + </p> + <p> + MERIK. Let’s have a look. [Goes to the bar] Let’s see. + </p> + <p> + TIHON. [Pushes his hand away] Where are you going to? You look somewhere + else! + </p> + <p> + FEDYA. [Gets up and comes to TIHON] I want to look too! + </p> + <p> + [Several of the tramps, etc., approach the bar and form a group. MERIK + grips TIHON’s hand firmly with both his, looks at the portrait, in the + medallion in silence. A pause.] + </p> + <p> + MERIK. A pretty she-devil. A real lady.... + </p> + <p> + FEDYA. A real lady.... Look at her cheeks, her eyes.... Open your hand, + I can’t see. Hair coming down to her waist.... It is lifelike! She might + be going to say something.... [Pause.] + </p> + <p> + MERIK. It’s destruction for a weak man. A woman like that gets a hold on + one and... [Waves his hand] you’re done for! + </p> + <p> + [KUSMA’S voice is heard. “Trrr.... Stop, you brutes!” Enter KUSMA.] + </p> + <p> + KUSMA. There stands an inn upon my way. Shall I drive or walk past it, + say? You can pass your own father and not notice him, but you can see an + inn in the dark a hundred versts away. Make way, if you believe in God! + Hullo, there! [Planks a five-copeck piece down on the counter] A glass + of real Madeira! Quick! + </p> + <p> + FEDYA. Oh, you devil! + </p> + <p> + TIHON. Don’t wave your arms about, or you’ll hit somebody. + </p> + <p> + KUSMA. God gave us arms to wave about. Poor sugary things, you’re + half-melted. You’re frightened of the rain, poor delicate things. + [Drinks.] + </p> + <p> + EFIMOVNA. You may well get frightened, good man, if you’re caught on + your way in a night like this. Now, thank God, it’s all right, there are + many villages and houses where you can shelter from the weather, but + before that there weren’t any. Oh, Lord, it was bad! You walk a hundred + versts, and not only isn’t there a village; or a house, but you don’t + even see a dry stick. So you sleep on the ground.... + </p> + <p> + KUSMA. Have you been long on this earth, old woman? + </p> + <p> + EFIMOVNA. Over seventy years, little father. + </p> + <p> + KUSMA. Over seventy years! You’ll soon come to crow’s years. [Looks at + BORTSOV] And what sort of a raisin is this? [Staring at BORTSOV] Sir! + [BORTSOV recognizes KUSMA and retires in confusion to a corner of the + room, where he sits on a bench] Semyon Sergeyevitch! Is that you, or + isn’t it? Eh? What are you doing in this place? It’s not the sort of + place for you, is it? + </p> + <p> + BORTSOV. Be quiet! + </p> + <p> + MERIK. [To KUSMA] Who is it? + </p> + <p> + KUSMA. A miserable sufferer. [Paces irritably by the counter] Eh? In an + inn, my goodness! Tattered! Drunk! I’m upset, brothers... upset.... [To + MERIK, in an undertone] It’s my master... our landlord. Semyon + Sergeyevitch and Mr. Bortsov.... Have you ever seen such a state? What + does he look like? Just... it’s the drink that brought him to this.... + Give me some more! [Drinks] I come from his village, Bortsovka; you may + have heard of it, it’s 200 versts from here, in the Ergovsky district. + We used to be his father’s serfs.... What a shame! + </p> + <p> + MERIK. Was he rich? + </p> + <p> + KUSMA. Very. + </p> + <p> + MERIK. Did he drink it all? + </p> + <p> + KUSMA. No, my friend, it was something else.... He used to be great and + rich and sober.... [To TIHON] Why you yourself used to see him riding, + as he used to, past this inn, on his way to the town. Such bold and + noble horses! A carriage on springs, of the best quality! He used to own + five troikas, brother.... Five years ago, I remember, he cam here + driving two horses from Mikishinsky, and he paid with a five-rouble + piece.... I haven’t the time, he says, to wait for the change.... There! + </p> + <p> + MERIK. His brain’s gone, I suppose. + </p> + <p> + KUSMA. His brain’s all right.... It all happened because of his + cowardice! From too much fat. First of all, children, because of a + woman.... He fell in love with a woman of the town, and it seemed to him + that there wasn’t any more beautiful thing in the wide world. A fool may + love as much as a wise man. The girl’s people were all right.... But she + wasn’t exactly loose, but just... giddy... always changing her mind! + Always winking at one! Always laughing and laughing.... No sense at all. + The gentry like that, they think that’s nice, but we moujiks would soon + chuck her out.... Well, he fell in love, and his luck ran out. He began + to keep company with her, one thing led to another... they used to go + out in a boat all night, and play pianos.... + </p> + <p> + BORTSOV. Don’t tell them, Kusma! Why should you? What has my life got to + do with them? + </p> + <p> + KUSMA. Forgive me, your honour, I’m only telling them a little... what + does it matter, anyway.... I’m shaking all over. Pour out some more. + [Drinks.] + </p> + <p> + MERIK. [In a semitone] And did she love him? + </p> + <p> + KUSMA. [In a semitone which gradually becomes his ordinary voice] How + shouldn’t she? He was a man of means.... Of course you’ll fall in love + when the man has a thousand dessiatins and money to burn.... He was a + solid, dignified, sober gentleman... always the same, like this... give + me your hand [Takes MERIK’S hand] “How do you do and good-bye, do me the + favour.” Well, I was going one evening past his garden—and what a + garden, brother, versts of it—I was going along quietly, and I + look and see the two of them sitting on a seat and kissing each other. + [Imitates the sound] He kisses her once, and the snake gives him back + two.... He was holding her white, little hand, and she was all fiery and + kept on getting closer and closer, too.... “I love you,” she says. And + he, like one of the damned, walks about from one place to another and + brags, the coward, about his happiness.... Gives one man a rouble, and + two to another.... Gives me money for a horse. Let off everybody’s + debts.... + </p> + <p> + BORTSOV. Oh, why tell them all about it? These people haven’t any + sympathy.... It hurts! + </p> + <p> + KUSMA. It’s nothing, sir! They asked me! Why shouldn’t I tell them? But + if you are angry I won’t... I won’t.... What do I care for them.... + [Post-bells are heard.] + </p> + <p> + FEDYA. Don’t shout; tell us quietly.... + </p> + <p> + KUSMA. I’ll tell you quietly.... He doesn’t want me to, but it can’t be + helped.... But there’s nothing more to tell. They got married, that’s + all. There was nothing else. Pour out another drop for Kusma the stony! + [Drinks] I don’t like people getting drunk! Why the time the wedding + took place, when the gentlefolk sat down to supper afterwards, she went + off in a carriage... [Whispers] To the town, to her lover, a lawyer.... + Eh? What do you think of her now? Just at the very moment! She would be + let off lightly if she were killed for it! + </p> + <p> + MERIK. [Thoughtfully] Well... what happened then? + </p> + <p> + KUSMA. He went mad.... As you see, he started with a fly, as they say, + and now it’s grown to a bumble-bee. It was a fly then, and now—it’s + a bumble-bee.... And he still loves her. Look at him, he loves her! I + expect he’s walking now to the town to get a glimpse of her with one + eye.... He’ll get a glimpse of her, and go back.... + </p> + <p> + [The post has driven up to the in.. The POSTMAN enters and has a drink.] + </p> + <p> + TIHON. The post’s late to-day! + </p> + <p> + [The POSTMAN pays in silence and goes out. The post drives off, the + bells ringing.] + </p> + <p> + A VOICE FROM THE CORNER. One could rob the post in weather like this—easy + as spitting. + </p> + <p> + MERIK. I’ve been alive thirty-five years and I haven’t robbed the post + once.... [Pause] It’s gone now... too late, too late.... + </p> + <p> + KUSMA. Do you want to smell the inside of a prison? + </p> + <p> + MERIK. People rob and don’t go to prison. And if I do go! [Suddenly] + What else? + </p> + <p> + KUSMA. Do you mean that unfortunate? + </p> + <p> + MERIK. Who else? + </p> + <p> + KUSMA. The second reason, brothers, why he was ruined was because of his + brother-in-law, his sister’s husband.... He took it into his head to + stand surety at the bank for 30,000 roubles for his brother-in-law. The + brother-in-law’s a thief.... The swindler knows which side his bread’s + buttered and won’t budge an inch.... So he doesn’t pay up.... So our man + had to pay up the whole thirty thousand. [Sighs] The fool is suffering + for his folly. His wife’s got children now by the lawyer and the + brother-in-law has bought an estate near Poltava, and our man goes round + inns like a fool, and complains to the likes of us: “I’ve lost all + faith, brothers! I can’t believe in anybody now!” It’s cowardly! Every + man has his grief, a snake that sucks at his heart, and does that mean + that he must drink? Take our village elder, for example. His wife plays + about with the schoolmaster in broad daylight, and spends his money on + drink, but the elder walks about smiling to himself. He’s just a little + thinner... + </p> + <p> + TIHON. [Sighs] When God gives a man strength.... + </p> + <p> + KUSMA. There’s all sorts of strength, that’s true.... Well? How much + does it come to? [Pays] Take your pound of flesh! Good-bye, children! + Good-night and pleasant dreams! It’s time I hurried off. I’m bringing my + lady a midwife from the hospital.... She must be getting wet with + waiting, poor thing.... [Runs out. A pause.] + </p> + <p> + TIHON. Oh, you! Unhappy man, come and drink this! [Pours out.] + </p> + <p> + BORTSOV. [Comes up to the bar hesitatingly and drinks] That means I now + owe you for two glasses. + </p> + <p> + TIHON. You don’t owe me anything? Just drink and drown your sorrows! + </p> + <p> + FEDYA. Drink mine, too, sir! Oh! [Throws down a five-copeck piece] If + you drink, you die; if you don’t drink, you die. It’s good not to drink + vodka, but by God you’re easier when you’ve got some! Vodka takes grief + away.... It is hot! + </p> + <p> + BORTSOV. Boo! The heat! + </p> + <p> + MERIK. Dive it here! [Takes the medallion from TIHON and examines her + portrait] Hm. Ran off after the wedding. What a woman! + </p> + <p> + A VOICE FROM THE CORNER. Pour him out another glass, Tihon. Let him + drink mine, too. + </p> + <p> + MERIK. [Dashes the medallion to the ground] Curse her! [Goes quickly to + his place and lies down, face to the wall. General excitement.] + </p> + <p> + BORTSOV. Here, what’s that? [Picks up the medallion] How dare you, you + beast? What right have you? [Tearfully] Do you want me to kill you? You + moujik! You boor! + </p> + <p> + TIHON. Don’t be angry, sir.... It isn’t glass, it isn’t broken.... Have + another drink and go to sleep. [Pours out] Here I’ve been listening to + you all, and when I ought to have locked up long ago. [Goes and looks + door leading out.] + </p> + <p> + BORTSOV. [Drinks] How dare he? The fool! [to MERIK] Do you understand? + You’re a fool, a donkey! + </p> + <p> + SAVVA. Children! If you please! Stop that talking! What’s the good of + making a noise? Let people go to sleep. + </p> + <p> + TIHON. Lie down, lie down... be quiet! [Goes behind the counter and + locks the till] It’s time to sleep. + </p> + <p> + FEDYA. It’s time! [Lies down] Pleasant dreams, brothers! + </p> + <p> + MERIK. [Gets up and spreads his short fur and coat the bench] Come on, + lie down, sir. + </p> + <p> + TIHON. And where will you sleep. + </p> + <p> + MERIK. Oh, anywhere.... The floor will do.... [Spreads a coat on the + floor] It’s all one to me [Puts the axe by him] It would be torture for + him to sleep on the floor. He’s used to silk and down.... + </p> + <p> + TIHON. [To BORTSOV] Lie down, your honour! You’ve looked at that + portrait long enough. [Puts out a candle] Throw it away! + </p> + <p> + BORTSOV. [Swaying about] Where can I lie down? + </p> + <p> + TIHON. In the tramp’s place! Didn’t you hear him giving it up to you? + </p> + <p> + BORTSOV. [Going up to the vacant place] I’m a bit... drunk... after all + that.... Is this it?... Do I lie down here? Eh? + </p> + <p> + TIHON. Yes, yes, lie down, don’t be afraid. [Stretches himself out on + the counter.] + </p> + <p> + BORTSOV. [Lying down] I’m... drunk.... Everything’s going round.... + [Opens the medallion] Haven’t you a little candle? [Pause] You’re a + queer little woman Masha.... Looking at me out of the frame and + laughing.... [Laughs] I’m drunk! And should you laugh at a man because + he’s drunk? You look out, as Schastlivtsev says, and... love the + drunkard. + </p> + <p> + FEDYA. How the wind howls. It’s dreary! + </p> + <p> + BORTSOV. [Laughs] What a woman.... Why do you keep on going round? I + can’t catch you! + </p> + <p> + MERIK. He’s wandering. Looked too long at the portrait. [Laughs] What a + business! Educated people go and invent all sorts of machines and + medicines, but there hasn’t yet been a man wise enough to invent a + medicine against the female sex.... They try to cure every sort of + disease, and it never occurs to them that more people die of women than + of disease.... Sly, stingy, cruel, brainless.... The mother-in-law + torments the bride and the bride makes things square by swindling the + husband... and there’s no end to it.... + </p> + <p> + TIHON. The women have ruffled his hair for him, and so he’s bristly. + </p> + <p> + MERIK. It isn’t only I.... From the beginning of the ages, since the + world has been in existence, people have complained.... It’s not for + nothing that in the songs and stories, the devil and the woman are put + side by side.... Not for nothing! It’s half true, at any rate... [Pause] + Here’s the gentleman playing the fool, but I had more sense, didn’t I, + when I left my father and mother, and became a tramp? + </p> + <p> + FEDYA. Because of women? + </p> + <p> + MERIK. Just like the gentleman... I walked about like one of the damned, + bewitched, blessing my stars... on fire day and night, until at last my + eyes were opened... It wasn’t love, but just a fraud.... + </p> + <p> + FEDYA. What did you do to her? + </p> + <p> + MERIK. Never you mind.... [Pause] Do you think I killed her?... I + wouldn’t do it.... If you kill, you are sorry for it.... She can live + and be happy! If only I’d never set eyes on you, or if I could only + forget you, you viper’s brood! [A knocking at the door.] + </p> + <p> + TIHON. Whom have the devils brought.... Who’s there? [Knocking] Who + knocks? [Gets up and goes to the door] Who knocks? Go away, we’ve locked + up! + </p> + <p> + A VOICE. Please let me in, Tihon. The carriage-spring’s broken! Be a + father to me and help me! If I only had a little string to tie it round + with, we’d get there somehow or other. + </p> + <p> + TIHON. Who are you? + </p> + <p> + THE VOICE. My lady is going to Varsonofyev from the town.... It’s only + five versts farther on.... Do be a good man and help! + </p> + <p> + TIHON. Go and tell the lady that if she pays ten roubles she can have + her string and we’ll mend the spring. + </p> + <p> + THE VOICE. Have you gone mad, or what? Ten roubles! You mad dog! + Profiting by our misfortunes! + </p> + <p> + TIHON. Just as you like.... You needn’t if you don’t want to. + </p> + <p> + THE VOICE. Very well, wait a bit. [Pause] She says, all right. + </p> + <p> + TIHON. Pleased to hear it! + </p> + <p> + [Opens door. The COACHMAN enters.] + </p> + <p> + COACHMAN. Good evening, Orthodox people! Well, give me the string! + Quick! Who’ll go and help us, children? There’ll be something left over + for your trouble! + </p> + <p> + TIHON. There won’t be anything left over.... Let them sleep, the two of + us can manage. + </p> + <p> + COACHMAN. Foo, I am tired! It’s cold, and there’s not a dry spot in all + the mud.... Another thing, dear.... Have you got a little room in here + for the lady to warm herself in? The carriage is all on one side, she + can’t stay in it.... + </p> + <p> + TIHON. What does she want a room for? She can warm herself in here, if + she’s cold.... We’ll find a place [Clears a space next to BORTSOV] Get + up, get up! Just lie on the floor for an hour, and let the lady get + warm. [To BORTSOV] Get up, your honour! Sit up! [BORTSOV sits up] Here’s + a place for you. [Exit COACHMAN.] + </p> + <p> + FEDYA. Here’s a visitor for you, the devil’s brought her! Now there’ll + be no sleep before daylight. + </p> + <p> + TIHON. I’m sorry I didn’t ask for fifteen.... She’d have given them.... + [Stands expectantly before the door] You’re a delicate sort of people, I + must say. [Enter MARIA EGOROVNA, followed by the COACHMAN. TIHON bows.] + Please, your highness! Our room is very humble, full of blackbeetles! + But don’t disdain it! + </p> + <p> + MARIA EGOROVNA. I can’t see anything.... Which way do I go? + </p> + <p> + TIHON. This way, your highness! [Leads her to the place next to BORTSOV] + This way, please. [Blows on the place] I haven’t any separate rooms, + excuse me, but don’t you be afraid, madam, the people here are good and + quiet.... + </p> + <p> + MARIA EGOROVNA. [Sits next to BORTSOV] How awfully stuffy! Open the + door, at any rate! + </p> + <p> + TIHON. Yes, madam. [Runs and opens the door wide.] + </p> + <p> + MARIA. We’re freezing, and you open the door! [Gets up and slams it] Who + are you to be giving orders? [Lies down] + </p> + <p> + TIHON. Excuse me, your highness, but we’ve a little fool here... a bit + cracked.... But don’t you be frightened, he won’t do you any harm.... + Only you must excuse me, madam, I can’t do this for ten roubles.... Make + it fifteen. + </p> + <p> + MARIA EGOROVNA. Very well, only be quick. + </p> + <p> + TIHON. This minute... this very instant. [Drags some string out from + under the counter] This minute. [A pause.] + </p> + <p> + BORTSOV. [Looking at MARIA EGOROVNA] Marie... Masha... + </p> + <p> + MARIA EGOROVNA. [Looks at BORTSOV] What’s this? + </p> + <p> + BORTSOV. Marie... is it you? Where do you come from? [MARIA EGOROVNA + recognizes BORTSOV, screams and runs off into the centre of the floor. + BORTSOV follows] Marie, it is I... I [Laughs loudly] My wife! Marie! + Where am I? People, a light! + </p> + <p> + MARIA EGOROVNA. Get away from me! You lie, it isn’t you! It can’t be! + [Covers her face with her hands] It’s a lie, it’s all nonsense! + </p> + <p> + BORTSOV. Her voice, her movements.... Marie, it is I! I’ll stop in a + moment.... I was drunk.... My head’s going round.... My God! Stop, + stop.... I can’t understand anything. [Yells] My wife! [Falls at her + feet and sobs. A group collects around the husband and wife.] + </p> + <p> + MARIA EGOROVNA. Stand back! [To the COACHMAN] Denis, let’s go! I can’t + stop here any longer! + </p> + <p> + MERIK. [Jumps up and looks her steadily in the face] The portrait! + [Grasps her hand] It is she! Eh, people, she’s the gentleman’s wife! + </p> + <p> + MARIA EGOROVNA. Get away, fellow! [Tries to tear her hand away from him] + Denis, why do you stand there staring? [DENIS and TIHON run up to her + and get hold of MERIK’S arms] This thieves’ kitchen! Let go my hand! I’m + not afraid!... Get away from me! + </p> + <p> + MERIK. [Note: Throughout this speech, in the original, Merik uses the + familiar second person singular.] Wait a bit, and I’ll let go.... Just + let me say one word to you.... One word, so that you may understand.... + Just wait.... [Turns to TIHON and DENIS] Get away, you rogues, let go! I + shan’t let you go till I’ve had my say! Stop... one moment. [Strikes his + forehead with his fist] No, God hasn’t given me the wisdom! I can’t + think of the word for you! + </p> + <p> + MARIA EGOROVNA. [Tears away her hand] Get away! Drunkards... let’s go, + Denis! + </p> + <p> + [She tries to go out, but MERIK blocks the door.] + </p> + <p> + MERIK. Just throw a glance at him, with only one eye if you like! Or say + only just one kind little word to him! God’s own sake! + </p> + <p> + MARIA EGOROVNA. Take away this... fool. + </p> + <p> + MERIK. Then the devil take you, you accursed woman! + </p> + <p> + [He swings his axe. General confusion. Everybody jumps up noisily and + with cries of horror. SAVVA stands between MERIK and MARIA EGOROVNA.... + DENIS forces MERIK to one side and carries out his mistress. After this + all stand as if turned to stone. A prolonged pause. BORTSOV suddenly + waves his hands in the air.] + </p> + <p> + BORTSOV. Marie... where are you, Marie! + </p> + <p> + NAZAROVNA. My God, my God! You’ve torn up my your murderers! What an + accursed night! + </p> + <p> + MERIK. [Lowering his hand; he still holds the axe] Did I kill her or no? + </p> +<pre xml:space="preserve"> + HIGH ROAD +</pre> + <p> + TIHON. Thank God, your head is safe.... + </p> + <p> + MERIK. Then I didn’t kill her.... [Totters to his bed] Fate hasn’t sent + me to my death because of a stolen axe.... [Falls down and sobs] Woe! + Woe is me! Have pity on me, Orthodox people! + </p> + <p> + Curtain. + </p> + <a name="link2H_4_0003" id="link2H_4_0003"> + <!-- H2 anchor --> </a> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE PROPOSAL + </h2> + CHARACTERS +<pre xml:space="preserve"> + STEPAN STEPANOVITCH CHUBUKOV, a landowner + NATALYA STEPANOVNA, his daughter, twenty-five years old + IVAN VASSILEVITCH LOMOV, a neighbour of Chubukov, a large and + hearty, but very suspicious landowner +</pre> + <p> + The scene is laid at CHUBUKOV’s country-house + </p> + <p> + A drawing-room in CHUBUKOV’S house. + </p> + <p> + [LOMOV enters, wearing a dress-jacket and white gloves. CHUBUKOV rises + to meet him.] + </p> + <p> + CHUBUKOV. My dear fellow, whom do I see! Ivan Vassilevitch! I am + extremely glad! [Squeezes his hand] Now this is a surprise, my + darling... How are you? + </p> + <p> + LOMOV. Thank you. And how may you be getting on? + </p> + <p> + CHUBUKOV. We just get along somehow, my angel, to your prayers, and so + on. Sit down, please do.... Now, you know, you shouldn’t forget all + about your neighbours, my darling. My dear fellow, why are you so formal + in your get-up? Evening dress, gloves, and so on. Can you be going + anywhere, my treasure? + </p> + <p> + LOMOV. No, I’ve come only to see you, honoured Stepan Stepanovitch. + </p> + <p> + CHUBUKOV. Then why are you in evening dress, my precious? As if you’re + paying a New Year’s Eve visit! + </p> + <p> + LOMOV. Well, you see, it’s like this. [Takes his arm] I’ve come to you, + honoured Stepan Stepanovitch, to trouble you with a request. Not once or + twice have I already had the privilege of applying to you for help, and + you have always, so to speak... I must ask your pardon, I am getting + excited. I shall drink some water, honoured Stepan Stepanovitch. + [Drinks.] + </p> + <p> + CHUBUKOV. [Aside] He’s come to borrow money! Shan’t give him any! + [Aloud] What is it, my beauty? + </p> + <p> + LOMOV. You see, Honour Stepanitch... I beg pardon, Stepan Honouritch... + I mean, I’m awfully excited, as you will please notice.... In short, you + alone can help me, though I don’t deserve it, of course... and haven’t + any right to count on your assistance.... + </p> + <p> + CHUBUKOV. Oh, don’t go round and round it, darling! Spit it out! Well? + </p> + <p> + LOMOV. One moment... this very minute. The fact is, I’ve come to ask the + hand of your daughter, Natalya Stepanovna, in marriage. + </p> + <p> + CHUBUKOV. [Joyfully] By Jove! Ivan Vassilevitch! Say it again—I + didn’t hear it all! + </p> + <p> + LOMOV. I have the honour to ask... + </p> + <p> + CHUBUKOV. [Interrupting] My dear fellow... I’m so glad, and so on.... + Yes, indeed, and all that sort of thing. [Embraces and kisses LOMOV] + I’ve been hoping for it for a long time. It’s been my continual desire. + [Sheds a tear] And I’ve always loved you, my angel, as if you were my + own son. May God give you both His help and His love and so on, and I + did so much hope... What am I behaving in this idiotic way for? I’m off + my balance with joy, absolutely off my balance! Oh, with all my soul... + I’ll go and call Natasha, and all that. + </p> + <p> + LOMOV. [Greatly moved] Honoured Stepan Stepanovitch, do you think I may + count on her consent? + </p> + <p> + CHUBUKOV. Why, of course, my darling, and... as if she won’t consent! + She’s in love; egad, she’s like a love-sick cat, and so on.... Shan’t be + long! [Exit.] + </p> + <p> + LOMOV. It’s cold... I’m trembling all over, just as if I’d got an + examination before me. The great thing is, I must have my mind made up. + If I give myself time to think, to hesitate, to talk a lot, to look for + an ideal, or for real love, then I’ll never get married.... Brr!... It’s + cold! Natalya Stepanovna is an excellent housekeeper, not bad-looking, + well-educated.... What more do I want? But I’m getting a noise in my + ears from excitement. [Drinks] And it’s impossible for me not to + marry.... In the first place, I’m already 35—a critical age, so to + speak. In the second place, I ought to lead a quiet and regular life.... + I suffer from palpitations, I’m excitable and always getting awfully + upset.... At this very moment my lips are trembling, and there’s a + twitch in my right eyebrow.... But the very worst of all is the way I + sleep. I no sooner get into bed and begin to go off when suddenly + something in my left side—gives a pull, and I can feel it in my + shoulder and head.... I jump up like a lunatic, walk about a bit, and + lie down again, but as soon as I begin to get off to sleep there’s + another pull! And this may happen twenty times.... + </p> + <p> + [NATALYA STEPANOVNA comes in.] + </p> + <p> + NATALYA STEPANOVNA. Well, there! It’s you, and papa said, “Go; there’s a + merchant come for his goods.” How do you do, Ivan Vassilevitch! + </p> + <p> + LOMOV. How do you do, honoured Natalya Stepanovna? + </p> + <p> + NATALYA STEPANOVNA. You must excuse my apron and négligé... we’re + shelling peas for drying. Why haven’t you been here for such a long + time? Sit down. [They seat themselves] Won’t you have some lunch? + </p> + <p> + LOMOV. No, thank you, I’ve had some already. + </p> + <p> + NATALYA STEPANOVNA. Then smoke.... Here are the matches.... The weather + is splendid now, but yesterday it was so wet that the workmen didn’t do + anything all day. How much hay have you stacked? Just think, I felt + greedy and had a whole field cut, and now I’m not at all pleased about + it because I’m afraid my hay may rot. I ought to have waited a bit. But + what’s this? Why, you’re in evening dress! Well, I never! Are you going + to a ball, or what?—though I must say you look better. Tell me, + why are you got up like that? + </p> + <p> + LOMOV. [Excited] You see, honoured Natalya Stepanovna... the fact is, + I’ve made up my mind to ask you to hear me out.... Of course you’ll be + surprised and perhaps even angry, but a... [Aside] It’s awfully cold! + </p> + <p> + NATALYA STEPANOVNA. What’s the matter? [Pause] Well? + </p> + <p> + LOMOV. I shall try to be brief. You must know, honoured Natalya + Stepanovna, that I have long, since my childhood, in fact, had the + privilege of knowing your family. My late aunt and her husband, from + whom, as you know, I inherited my land, always had the greatest respect + for your father and your late mother. The Lomovs and the Chubukovs have + always had the most friendly, and I might almost say the most + affectionate, regard for each other. And, as you know, my land is a near + neighbour of yours. You will remember that my Oxen Meadows touch your + birchwoods. + </p> + <p> + NATALYA STEPANOVNA. Excuse my interrupting you. You say, “my Oxen + Meadows....” But are they yours? + </p> + <p> + LOMOV. Yes, mine. + </p> + <p> + NATALYA STEPANOVNA. What are you talking about? Oxen Meadows are ours, + not yours! + </p> + <p> + LOMOV. No, mine, honoured Natalya Stepanovna. + </p> + <p> + NATALYA STEPANOVNA. Well, I never knew that before. How do you make that + out? + </p> + <p> + LOMOV. How? I’m speaking of those Oxen Meadows which are wedged in + between your birchwoods and the Burnt Marsh. + </p> + <p> + NATALYA STEPANOVNA. Yes, yes.... They’re ours. + </p> + <p> + LOMOV. No, you’re mistaken, honoured Natalya Stepanovna, they’re mine. + </p> + <p> + NATALYA STEPANOVNA. Just think, Ivan Vassilevitch! How long have they + been yours? + </p> + <p> + LOMOV. How long? As long as I can remember. + </p> + <p> + NATALYA STEPANOVNA. Really, you won’t get me to believe that! + </p> + <p> + LOMOV. But you can see from the documents, honoured Natalya Stepanovna. + Oxen Meadows, it’s true, were once the subject of dispute, but now + everybody knows that they are mine. There’s nothing to argue about. You + see, my aunt’s grandmother gave the free use of these Meadows in + perpetuity to the peasants of your father’s grandfather, in return for + which they were to make bricks for her. The peasants belonging to your + father’s grandfather had the free use of the Meadows for forty years, + and had got into the habit of regarding them as their own, when it + happened that... + </p> + <p> + NATALYA STEPANOVNA. No, it isn’t at all like that! Both my grandfather + and great-grandfather reckoned that their land extended to Burnt Marsh—which + means that Oxen Meadows were ours. I don’t see what there is to argue + about. It’s simply silly! + </p> + <p> + LOMOV. I’ll show you the documents, Natalya Stepanovna! + </p> + <p> + NATALYA STEPANOVNA. No, you’re simply joking, or making fun of me.... + What a surprise! We’ve had the land for nearly three hundred years, and + then we’re suddenly told that it isn’t ours! Ivan Vassilevitch, I can + hardly believe my own ears.... These Meadows aren’t worth much to me. + They only come to five dessiatins [Note: 13.5 acres], and are worth + perhaps 300 roubles [Note: £30.], but I can’t stand unfairness. Say what + you will, but I can’t stand unfairness. + </p> + <p> + LOMOV. Hear me out, I implore you! The peasants of your father’s + grandfather, as I have already had the honour of explaining to you, used + to bake bricks for my aunt’s grandmother. Now my aunt’s grandmother, + wishing to make them a pleasant... + </p> + <p> + NATALYA STEPANOVNA. I can’t make head or tail of all this about aunts + and grandfathers and grandmothers! The Meadows are ours, and that’s all. + </p> + <p> + LOMOV. Mine. + </p> + <p> + NATALYA STEPANOVNA. Ours! You can go on proving it for two days on end, + you can go and put on fifteen dress-jackets, but I tell you they’re + ours, ours, ours! I don’t want anything of yours and I don’t want to + give up anything of mine. So there! + </p> + <p> + LOMOV. Natalya Ivanovna, I don’t want the Meadows, but I am acting on + principle. If you like, I’ll make you a present of them. + </p> + <p> + NATALYA STEPANOVNA. I can make you a present of them myself, because + they’re mine! Your behaviour, Ivan Vassilevitch, is strange, to say the + least! Up to this we have always thought of you as a good neighbour, a + friend: last year we lent you our threshing-machine, although on that + account we had to put off our own threshing till November, but you + behave to us as if we were gipsies. Giving me my own land, indeed! No, + really, that’s not at all neighbourly! In my opinion, it’s even + impudent, if you want to know.... + </p> + <p> + LOMOV. Then you make out that I’m a land-grabber? Madam, never in my + life have I grabbed anybody else’s land, and I shan’t allow anybody to + accuse me of having done so.... [Quickly steps to the carafe and drinks + more water] Oxen Meadows are mine! + </p> + <p> + NATALYA STEPANOVNA. It’s not true, they’re ours! + </p> + <p> + LOMOV. Mine! + </p> + <p> + NATALYA STEPANOVNA. It’s not true! I’ll prove it! I’ll send my mowers + out to the Meadows this very day! + </p> + <p> + LOMOV. What? + </p> + <p> + NATALYA STEPANOVNA. My mowers will be there this very day! + </p> + <p> + LOMOV. I’ll give it to them in the neck! + </p> + <p> + NATALYA STEPANOVNA. You dare! + </p> + <p> + LOMOV. [Clutches at his heart] Oxen Meadows are mine! You understand? + Mine! + </p> + <p> + NATALYA STEPANOVNA. Please don’t shout! You can shout yourself hoarse in + your own house, but here I must ask you to restrain yourself! + </p> + <p> + LOMOV. If it wasn’t, madam, for this awful, excruciating palpitation, if + my whole inside wasn’t upset, I’d talk to you in a different way! + [Yells] Oxen Meadows are mine! + </p> + <p> + NATALYA STEPANOVNA. Ours! + </p> + <p> + LOMOV. Mine! + </p> + <p> + NATALYA STEPANOVNA. Ours! + </p> + <p> + LOMOV. Mine! + </p> + <p> + [Enter CHUBUKOV.] + </p> + <p> + CHUBUKOV. What’s the matter? What are you shouting at? + </p> + <p> + NATALYA STEPANOVNA. Papa, please tell to this gentleman who owns Oxen + Meadows, we or he? + </p> + <p> + CHUBUKOV. [To LOMOV] Darling, the Meadows are ours! + </p> + <p> + LOMOV. But, please, Stepan Stepanitch, how can they be yours? Do be a + reasonable man! My aunt’s grandmother gave the Meadows for the temporary + and free use of your grandfather’s peasants. The peasants used the land + for forty years and got as accustomed to it as if it was their own, when + it happened that... + </p> + <p> + CHUBUKOV. Excuse me, my precious.... You forget just this, that the + peasants didn’t pay your grandmother and all that, because the Meadows + were in dispute, and so on. And now everybody knows that they’re ours. + It means that you haven’t seen the plan. + </p> + <p> + LOMOV. I’ll prove to you that they’re mine! + </p> + <p> + CHUBUKOV. You won’t prove it, my darling. + </p> + <p> + LOMOV. I shall! + </p> + <p> + CHUBUKOV. Dear one, why yell like that? You won’t prove anything just by + yelling. I don’t want anything of yours, and don’t intend to give up + what I have. Why should I? And you know, my beloved, that if you propose + to go on arguing about it, I’d much sooner give up the meadows to the + peasants than to you. There! + </p> + <p> + LOMOV. I don’t understand! How have you the right to give away somebody + else’s property? + </p> + <p> + CHUBUKOV. You may take it that I know whether I have the right or not. + Because, young man, I’m not used to being spoken to in that tone of + voice, and so on: I, young man, am twice your age, and ask you to speak + to me without agitating yourself, and all that. + </p> + <p> + LOMOV. No, you just think I’m a fool and want to have me on! You call my + land yours, and then you want me to talk to you calmly and politely! + Good neighbours don’t behave like that, Stepan Stepanitch! You’re not a + neighbour, you’re a grabber! + </p> + <p> + CHUBUKOV. What’s that? What did you say? + </p> + <p> + NATALYA STEPANOVNA. Papa, send the mowers out to the Meadows at once! + </p> + <p> + CHUBUKOV. What did you say, sir? + </p> + <p> + NATALYA STEPANOVNA. Oxen Meadows are ours, and I shan’t give them up, + shan’t give them up, shan’t give them up! + </p> + <p> + LOMOV. We’ll see! I’ll have the matter taken to court, and then I’ll + show you! + </p> + <p> + CHUBUKOV. To court? You can take it to court, and all that! You can! I + know you; you’re just on the look-out for a chance to go to court, and + all that.... You pettifogger! All your people were like that! All of + them! + </p> + <p> + LOMOV. Never mind about my people! The Lomovs have all been honourable + people, and not one has ever been tried for embezzlement, like your + grandfather! + </p> + <p> + CHUBUKOV. You Lomovs have had lunacy in your family, all of you! + </p> + <p> + NATALYA STEPANOVNA. All, all, all! + </p> + <p> + CHUBUKOV. Your grandfather was a drunkard, and your younger aunt, + Nastasya Mihailovna, ran away with an architect, and so on. + </p> + <p> + LOMOV. And your mother was hump-backed. [Clutches at his heart] + Something pulling in my side.... My head.... Help! Water! + </p> + <p> + CHUBUKOV. Your father was a guzzling gambler! + </p> + <p> + NATALYA STEPANOVNA. And there haven’t been many backbiters to equal your + aunt! + </p> + <p> + LOMOV. My left foot has gone to sleep.... You’re an intriguer.... Oh, my + heart!... And it’s an open secret that before the last elections you + bri... I can see stars.... Where’s my hat? + </p> + <p> + NATALYA STEPANOVNA. It’s low! It’s dishonest! It’s mean! + </p> + <p> + CHUBUKOV. And you’re just a malicious, double-faced intriguer! Yes! + </p> + <p> + LOMOV. Here’s my hat.... My heart!... Which way? Where’s the door? + Oh!... I think I’m dying.... My foot’s quite numb.... [Goes to the + door.] + </p> + <p> + CHUBUKOV. [Following him] And don’t set foot in my house again! + </p> + <p> + NATALYA STEPANOVNA. Take it to court! We’ll see! + </p> + <p> + [LOMOV staggers out.] + </p> + <p> + CHUBUKOV. Devil take him! [Walks about in excitement.] + </p> + <p> + NATALYA STEPANOVNA. What a rascal! What trust can one have in one’s + neighbours after that! + </p> + <p> + CHUBUKOV. The villain! The scarecrow! + </p> + <p> + NATALYA STEPANOVNA. The monster! First he takes our land and then he has + the impudence to abuse us. + </p> + <p> + CHUBUKOV. And that blind hen, yes, that turnip-ghost has the confounded + cheek to make a proposal, and so on! What? A proposal! + </p> + <p> + NATALYA STEPANOVNA. What proposal? + </p> + <p> + CHUBUKOV. Why, he came here so as to propose to you. + </p> + <p> + NATALYA STEPANOVNA. To propose? To me? Why didn’t you tell me so before? + </p> + <p> + CHUBUKOV. So he dresses up in evening clothes. The stuffed sausage! The + wizen-faced frump! + </p> + <p> + NATALYA STEPANOVNA. To propose to me? Ah! [Falls into an easy-chair and + wails] Bring him back! Back! Ah! Bring him here. + </p> + <p> + CHUBUKOV. Bring whom here? + </p> + <p> + NATALYA STEPANOVNA. Quick, quick! I’m ill! Fetch him! [Hysterics.] + </p> + <p> + CHUBUKOV. What’s that? What’s the matter with you? [Clutches at his + head] Oh, unhappy man that I am! I’ll shoot myself! I’ll hang myself! + We’ve done for her! + </p> + <p> + NATALYA STEPANOVNA. I’m dying! Fetch him! + </p> + <p> + CHUBUKOV. Tfoo! At once. Don’t yell! + </p> + <p> + [Runs out. A pause. NATALYA STEPANOVNA wails.] + </p> + <p> + NATALYA STEPANOVNA. What have they done to me! Fetch him back! Fetch + him! [A pause.] + </p> + <p> + [CHUBUKOV runs in.] + </p> + <p> + CHUBUKOV. He’s coming, and so on, devil take him! Ouf! Talk to him + yourself; I don’t want to.... + </p> + <p> + NATALYA STEPANOVNA. [Wails] Fetch him! + </p> + <p> + CHUBUKOV. [Yells] He’s coming, I tell you. Oh, what a burden, Lord, to + be the father of a grown-up daughter! I’ll cut my throat! I will, + indeed! We cursed him, abused him, drove him out, and it’s all you... + you! + </p> + <p> + NATALYA STEPANOVNA. No, it was you! + </p> + <p> + CHUBUKOV. I tell you it’s not my fault. [LOMOV appears at the door] Now + you talk to him yourself [Exit.] + </p> + <p> + [LOMOV enters, exhausted.] + </p> + <p> + LOMOV. My heart’s palpitating awfully.... My foot’s gone to sleep.... + There’s something keeps pulling in my side. + </p> + <p> + NATALYA STEPANOVNA. Forgive us, Ivan Vassilevitch, we were all a little + heated.... I remember now: Oxen Meadows really are yours. + </p> + <p> + LOMOV. My heart’s beating awfully.... My Meadows.... My eyebrows are + both twitching.... + </p> + <p> + NATALYA STEPANOVNA. The Meadows are yours, yes, yours.... Do sit + down.... [They sit] We were wrong.... + </p> + <p> + LOMOV. I did it on principle.... My land is worth little to me, but the + principle... + </p> + <p> + NATALYA STEPANOVNA. Yes, the principle, just so.... Now let’s talk of + something else. + </p> + <p> + LOMOV. The more so as I have evidence. My aunt’s grandmother gave the + land to your father’s grandfather’s peasants... + </p> + <p> + NATALYA STEPANOVNA. Yes, yes, let that pass.... [Aside] I wish I knew + how to get him started.... [Aloud] Are you going to start shooting soon? + </p> + <p> + LOMOV. I’m thinking of having a go at the blackcock, honoured Natalya + Stepanovna, after the harvest. Oh, have you heard? Just think, what a + misfortune I’ve had! My dog Guess, whom you know, has gone lame. + </p> + <p> + NATALYA STEPANOVNA. What a pity! Why? + </p> + <p> + LOMOV. I don’t know.... Must have got twisted, or bitten by some other + dog.... [Sighs] My very best dog, to say nothing of the expense. I gave + Mironov 125 roubles for him. + </p> + <p> + NATALYA STEPANOVNA. It was too much, Ivan Vassilevitch. + </p> + <p> + LOMOV. I think it was very cheap. He’s a first-rate dog. + </p> + <p> + NATALYA STEPANOVNA. Papa gave 85 roubles for his Squeezer, and Squeezer + is heaps better than Guess! + </p> + <p> + LOMOV. Squeezer better than. Guess? What an idea! [Laughs] Squeezer + better than Guess! + </p> + <p> + NATALYA STEPANOVNA. Of course he’s better! Of course, Squeezer is young, + he may develop a bit, but on points and pedigree he’s better than + anything that even Volchanetsky has got. + </p> + <p> + LOMOV. Excuse me, Natalya Stepanovna, but you forget that he is + overshot, and an overshot always means the dog is a bad hunter! + </p> + <p> + NATALYA STEPANOVNA. Overshot, is he? The first time I hear it! + </p> + <p> + LOMOV. I assure you that his lower jaw is shorter than the upper. + </p> + <p> + NATALYA STEPANOVNA. Have you measured? + </p> + <p> + LOMOV. Yes. He’s all right at following, of course, but if you want him + to get hold of anything... + </p> + <p> + NATALYA STEPANOVNA. In the first place, our Squeezer is a thoroughbred + animal, the son of Harness and Chisels, while there’s no getting at the + pedigree of your dog at all.... He’s old and as ugly as a worn-out + cab-horse. + </p> + <p> + LOMOV. He is old, but I wouldn’t take five Squeezers for him.... Why, + how can you?... Guess is a dog; as for Squeezer, well, it’s too funny to + argue.... Anybody you like has a dog as good as Squeezer... you may find + them under every bush almost. Twenty-five roubles would be a handsome + price to pay for him. + </p> + <p> + NATALYA STEPANOVNA. There’s some demon of contradiction in you to-day, + Ivan Vassilevitch. First you pretend that the Meadows are yours; now, + that Guess is better than Squeezer. I don’t like people who don’t say + what they mean, because you know perfectly well that Squeezer is a + hundred times better than your silly Guess. Why do you want to say it + isn’t? + </p> + <p> + LOMOV. I see, Natalya Stepanovna, that you consider me either blind or a + fool. You must realize that Squeezer is overshot! + </p> + <p> + NATALYA STEPANOVNA. It’s not true. + </p> + <p> + LOMOV. He is! + </p> + <p> + NATALYA STEPANOVNA. It’s not true! + </p> + <p> + LOMOV. Why shout, madam? + </p> + <p> + NATALYA STEPANOVNA. Why talk rot? It’s awful! It’s time your Guess was + shot, and you compare him with Squeezer! + </p> + <p> + LOMOV. Excuse me; I cannot continue this discussion: my heart is + palpitating. + </p> + <p> + NATALYA STEPANOVNA. I’ve noticed that those hunters argue most who know + least. + </p> + <p> + LOMOV. Madam, please be silent.... My heart is going to pieces.... + [Shouts] Shut up! + </p> + <p> + NATALYA STEPANOVNA. I shan’t shut up until you acknowledge that Squeezer + is a hundred times better than your Guess! + </p> + <p> + LOMOV. A hundred times worse! Be hanged to your Squeezer! His head... + eyes... shoulder... + </p> + <p> + NATALYA STEPANOVNA. There’s no need to hang your silly Guess; he’s + half-dead already! + </p> + <p> + LOMOV. [Weeps] Shut up! My heart’s bursting! + </p> + <p> + NATALYA STEPANOVNA. I shan’t shut up. + </p> + <p> + [Enter CHUBUKOV.] + </p> + <p> + CHUBUKOV. What’s the matter now? + </p> + <p> + NATALYA STEPANOVNA. Papa, tell us truly, which is the better dog, our + Squeezer or his Guess. + </p> + <p> + LOMOV. Stepan Stepanovitch, I implore you to tell me just one thing: is + your Squeezer overshot or not? Yes or no? + </p> + <p> + CHUBUKOV. And suppose he is? What does it matter? He’s the best dog in + the district for all that, and so on. + </p> + <p> + LOMOV. But isn’t my Guess better? Really, now? + </p> + <p> + CHUBUKOV. Don’t excite yourself, my precious one.... Allow me.... Your + Guess certainly has his good points.... He’s pure-bred, firm on his + feet, has well-sprung ribs, and all that. But, my dear man, if you want + to know the truth, that dog has two defects: he’s old and he’s short in + the muzzle. + </p> + <p> + LOMOV. Excuse me, my heart.... Let’s take the facts.... You will + remember that on the Marusinsky hunt my Guess ran neck-and-neck with the + Count’s dog, while your Squeezer was left a whole verst behind. + </p> + <p> + CHUBUKOV. He got left behind because the Count’s whipper-in hit him with + his whip. + </p> + <p> + LOMOV. And with good reason. The dogs are running after a fox, when + Squeezer goes and starts worrying a sheep! + </p> + <p> + CHUBUKOV. It’s not true!... My dear fellow, I’m very liable to lose my + temper, and so, just because of that, let’s stop arguing. You started + because everybody is always jealous of everybody else’s dogs. Yes, we’re + all like that! You too, sir, aren’t blameless! You no sooner notice that + some dog is better than your Guess than you begin with this, that... and + the other... and all that.... I remember everything! + </p> + <p> + LOMOV. I remember too! + </p> + <p> + CHUBUKOV. [Teasing him] I remember, too.... What do you remember? + </p> + <p> + LOMOV. My heart... my foot’s gone to sleep.... I can’t... + </p> + <p> + NATALYA STEPANOVNA. [Teasing] My heart.... What sort of a hunter are + you? You ought to go and lie on the kitchen oven and catch blackbeetles, + not go after foxes! My heart! + </p> + <p> + CHUBUKOV. Yes really, what sort of a hunter are you, anyway? You ought + to sit at home with your palpitations, and not go tracking animals. You + could go hunting, but you only go to argue with people and interfere + with their dogs and so on. Let’s change the subject in case I lose my + temper. You’re not a hunter at all, anyway! + </p> + <p> + LOMOV. And are you a hunter? You only go hunting to get in with the + Count and to intrigue.... Oh, my heart!... You’re an intriguer! + </p> + <p> + CHUBUKOV. What? I an intriguer? [Shouts] Shut up! + </p> + <p> + LOMOV. Intriguer! + </p> + <p> + CHUBUKOV. Boy! Pup! + </p> + <p> + LOMOV. Old rat! Jesuit! + </p> + <p> + CHUBUKOV. Shut up or I’ll shoot you like a partridge! You fool! + </p> + <p> + LOMOV. Everybody knows that—oh my heart!—your late wife used + to beat you.... My feet... temples... sparks.... I fall, I fall! + </p> + <p> + CHUBUKOV. And you’re under the slipper of your housekeeper! + </p> + <p> + LOMOV. There, there, there... my heart’s burst! My shoulder’s come + off.... Where is my shoulder? I die. [Falls into an armchair] A doctor! + [Faints.] + </p> + <p> + CHUBUKOV. Boy! Milksop! Fool! I’m sick! [Drinks water] Sick! + </p> + <p> + NATALYA STEPANOVNA. What sort of a hunter are you? You can’t even sit on + a horse! [To her father] Papa, what’s the matter with him? Papa! Look, + papa! [Screams] Ivan Vassilevitch! He’s dead! + </p> + <p> + CHUBUKOV. I’m sick!... I can’t breathe!... Air! + </p> + <p> + NATALYA STEPANOVNA. He’s dead. [Pulls LOMOV’S sleeve] Ivan Vassilevitch! + Ivan Vassilevitch! What have you done to me? He’s dead. [Falls into an + armchair] A doctor, a doctor! [Hysterics.] + </p> + <p> + CHUBUKOV. Oh!... What is it? What’s the matter? + </p> + <p> + NATALYA STEPANOVNA. [Wails] He’s dead... dead! + </p> + <p> + CHUBUKOV. Who’s dead? [Looks at LOMOV] So he is! My word! Water! A + doctor! [Lifts a tumbler to LOMOV’S mouth] Drink this!... No, he doesn’t + drink.... It means he’s dead, and all that.... I’m the most unhappy of + men! Why don’t I put a bullet into my brain? Why haven’t I cut my throat + yet? What am I waiting for? Give me a knife! Give me a pistol! [LOMOV + moves] He seems to be coming round.... Drink some water! That’s + right.... + </p> + <p> + LOMOV. I see stars... mist.... Where am I? + </p> + <p> + CHUBUKOV. Hurry up and get married and—well, to the devil with + you! She’s willing! [He puts LOMOV’S hand into his daughter’s] She’s + willing and all that. I give you my blessing and so on. Only leave me in + peace! + </p> + <p> + LOMOV. [Getting up] Eh? What? To whom? + </p> + <p> + CHUBUKOV. She’s willing! Well? Kiss and be damned to you! + </p> + <p> + NATALYA STEPANOVNA. [Wails] He’s alive... Yes, yes, I’m willing.... + </p> + <p> + CHUBUKOV. Kiss each other! + </p> + <p> + LOMOV. Eh? Kiss whom? [They kiss] Very nice, too. Excuse me, what’s it + all about? Oh, now I understand... my heart... stars... I’m happy. + Natalya Stepanovna.... [Kisses her hand] My foot’s gone to sleep.... + </p> + <p> + NATALYA STEPANOVNA. I... I’m happy too.... + </p> + <p> + CHUBUKOV. What a weight off my shoulders.... Ouf! + </p> + <p> + NATALYA STEPANOVNA. But... still you will admit now that Guess is worse + than Squeezer. + </p> + <p> + LOMOV. Better! + </p> + <p> + NATALYA STEPANOVNA. Worse! + </p> + <p> + CHUBUKOV. Well, that’s a way to start your family bliss! Have some + champagne! + </p> + <p> + LOMOV. He’s better! + </p> + <p> + NATALYA STEPANOVNA. Worse! worse! worse! + </p> + <p> + CHUBUKOV. [Trying to shout her down] Champagne! Champagne! + </p> + <p> + Curtain. + </p> + <a name="link2H_4_0004" id="link2H_4_0004"> + <!-- H2 anchor --> </a> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE WEDDING + </h2> + CHARACTERS +<pre xml:space="preserve"> + EVDOKIM ZAHAROVITCH ZHIGALOV, a retired Civil Servant. + NASTASYA TIMOFEYEVNA, his wife + DASHENKA, their daughter + EPAMINOND MAXIMOVITCH APLOMBOV, Dashenka’s bridegroom + FYODOR YAKOVLEVITCH REVUNOV-KARAULOV, a retired captain + ANDREY ANDREYEVITCH NUNIN, an insurance agent + ANNA MARTINOVNA ZMEYUKINA, a midwife, aged 30, in a brilliantly red dress + IVAN MIHAILOVITCH YATS, a telegraphist + HARLAMPI SPIRIDONOVITCH DIMBA, a Greek confectioner + DMITRI STEPANOVITCH MOZGOVOY, a sailor of the Imperial Navy (Volunteer + Fleet) + GROOMSMEN, GENTLEMEN, WAITERS, ETC. +</pre> + <p> + The scene is laid in one of the rooms of Andronov’s Restaurant + </p> + <p> + [A brilliantly illuminated room. A large table, laid for supper. Waiters + in dress-jackets are fussing round the table. An orchestra behind the + scene is playing the music of the last figure of a quadrille.] + </p> + <p> + [ANNA MARTINOVNA ZMEYUKINA, YATS, and a GROOMSMAN cross the stage.] + </p> + <p> + ZMEYUKINA. No, no, no! + </p> + <p> + YATS. [Following her] Have pity on us! Have pity! + </p> + <p> + ZMEYUKINA. No, no, no! + </p> + <p> + GROOMSMAN. [Chasing them] You can’t go on like this! Where are you off + to? What about the <i>grand ronde? Grand ronde, s’il vous plait</i>! + [They all go off.] + </p> + <p> + [Enter NASTASYA TIMOFEYEVNA and APLOMBOV.] + </p> + <p> + NASTASYA TIMOFEYEVNA. You had much better be dancing than upsetting me + with your speeches. + </p> + <p> + APLOMBOV. I’m not a Spinosa or anybody of that sort, to go making + figures-of-eight with my legs. I am a serious man, and I have a + character, and I see no amusement in empty pleasures. But it isn’t just + a matter of dances. You must excuse me, maman, but there is a good deal + in your behaviour which I am unable to understand. For instance, in + addition to objects of domestic importance, you promised also to give + me, with your daughter, two lottery tickets. Where are they? + </p> + <p> + NASTASYA TIMOFEYEVNA. My head’s aching a little... I expect it’s on + account of the weather.... If only it thawed! + </p> + <p> + APLOMBOV. You won’t get out of it like that. I only found out to-day + that those tickets are in pawn. You must excuse me, <i>maman</i>, but + it’s only swindlers who behave like that. I’m not doing this out of + egoisticism [Note: So in the original]—I don’t want your tickets—but + on principle; and I don’t allow myself to be done by anybody. I have + made your daughter happy, and if you don’t give me the tickets to-day + I’ll make short work of her. I’m an honourable man! + </p> + <p> + NASTASYA TIMOFEYEVNA. [Looks round the table and counts up the covers] + One, two, three, four, five... + </p> + <p> + A WAITER. The cook asks if you would like the ices served with rum, + madeira, or by themselves? + </p> + <p> + APLOMBOV. With rum. And tell the manager that there’s not enough wine. + Tell him to prepare some more Haut Sauterne. [To NASTASYA TIMOFEYEVNA] + You also promised and agreed that a general was to be here to supper. + And where is he? + </p> + <p> + NASTASYA TIMOFEYEVNA. That isn’t my fault, my dear. + </p> + <p> + APLOMBOV. Whose fault, then? + </p> + <p> + NASTASYA TIMOFEYEVNA. It’s Andrey Andreyevitch’s fault.... Yesterday he + came to see us and promised to bring a perfectly real general. [Sighs] I + suppose he couldn’t find one anywhere, or he’d have brought him.... You + think we don’t mind? We’d begrudge our child nothing. A general, of + course... + </p> + <p> + APLOMBOV. But there’s more.... Everybody, including yourself, <i>maman</i>, + is aware of the fact that Yats, that telegraphist, was after Dashenka + before I proposed to her. Why did you invite him? Surely you knew it + would be unpleasant for me? + </p> + <p> + NASTASYA TIMOFEYEVNA. Oh, how can you? Epaminond Maximovitch was married + himself only the other day, and you’ve already tired me and Dashenka out + with your talk. What will you be like in a year’s time? You are horrid, + really horrid. + </p> + <p> + APLOMBOV. Then you don’t like to hear the truth? Aha! Oh, oh! Then + behave honourably. I only want you to do one thing, be honourable! + </p> + <p> + [Couples dancing the <i>grand ronde</i> come in at one door and out at + the other end. The first couple are DASHENKA with one of the GROOMSMEN. + The last are YATS and ZMEYUKINA. These two remain behind. ZHIGALOV and + DIMBA enter and go up to the table.] + </p> + <p> + GROOMSMAN. [Shouting] Promenade! Messieurs, promenade! [Behind] + Promenade! + </p> + <p> + [The dancers have all left the scene.] + </p> + <p> + YATS. [To ZMEYUKINA] Have pity! Have pity, adorable Anna Martinovna. + </p> + <p> + ZMEYUKINA. Oh, what a man!... I’ve already told you that I’ve no voice + to-day. + </p> + <p> + YATS. I implore you to sing! Just one note! Have pity! Just one note! + </p> + <p> + ZMEYUKINA. I’m tired of you.... [Sits and fans herself.] + </p> + <p> + YATS. No, you’re simply heartless! To be so cruel—if I may express + myself—and to have such a beautiful, beautiful voice! With such a + voice, if you will forgive my using the word, you shouldn’t be a + midwife, but sing at concerts, at public gatherings! For example, how + divinely you do that <i>fioritura</i>... that... [Sings] “I loved you; + love was vain then....” Exquisite! + </p> + <p> + ZMEYUKINA. [Sings] “I loved you, and may love again.” Is that it? + </p> + <p> + YATS. That’s it! Beautiful! + </p> + <p> + ZMEYUKINA. No, I’ve no voice to-day.... There, wave this fan for me... + it’s hot! [To APLOMBOV] Epaminond Maximovitch, why are you so + melancholy? A bridegroom shouldn’t be! Aren’t you ashamed of yourself, + you wretch? Well, what are you so thoughtful about? + </p> + <p> + APLOMBOV. Marriage is a serious step! Everything must be considered from + all sides, thoroughly. + </p> + <p> + ZMEYUKINA. What beastly sceptics you all are! I feel quite suffocated + with you all around.... Give me atmosphere! Do you hear? Give me + atmosphere! [Sings a few notes.] + </p> + <p> + YATS. Beautiful! Beautiful! + </p> + <p> + ZMEYUKINA. Fan me, fan me, or I feel I shall have a heart attack in a + minute. Tell me, please, why do I feel so suffocated? + </p> + <p> + YATS. It’s because you’re sweating.... + </p> + <p> + ZMEYUKINA. Foo, how vulgar you are! Don’t dare to use such words! + </p> + <p> + YATS. Beg pardon! Of course, you’re used, if I may say so, to + aristocratic society and.... + </p> + <p> + ZMEYUKINA. Oh, leave me alone! Give me poetry, delight! Fan me, fan me! + </p> + <p> + ZHIGALOV. [To DIMBA] Let’s have another, what? [Pours out] One can + always drink. So long only, Harlampi Spiridonovitch, as one doesn’t + forget one’s business. Drink and be merry.... And if you can drink at + somebody else’s expense, then why not drink? You can drink.... Your + health! [They drink] And do you have tigers in Greece? + </p> + <p> + DIMBA. Yes. + </p> + <p> + ZHIGALOV. And lions? + </p> + <p> + DIMBA. And lions too. In Russia zere’s nussing, and in Greece zere’s + everysing—my fazer and uncle and brozeres—and here zere’s + nussing. + </p> + <p> + ZHIGALOV. H’m.... And are there whales in Greece? + </p> + <p> + DIMBA. Yes, everysing. + </p> + <p> + NASTASYA TIMOFEYEVNA. [To her husband] What are they all eating and + drinking like that for? It’s time for everybody to sit down to supper. + Don’t keep on shoving your fork into the lobsters.... They’re for the + general. He may come yet.... + </p> + <p> + ZHIGALOV. And are there lobsters in Greece? + </p> + <p> + DIMBA. Yes... zere is everysing. + </p> + <p> + ZHIGALOV. Hm.... And Civil Servants. + </p> + <p> + ZMEYUKINA. I can imagine what the atmosphere is like in Greece! + </p> + <p> + ZHIGALOV. There must be a lot of swindling. The Greeks are just like the + Armenians or gipsies. They sell you a sponge or a goldfish and all the + time they are looking out for a chance of getting something extra out of + you. Let’s have another, what? + </p> + <p> + NASTASYA TIMOFEYEVNA. What do you want to go on having another for? It’s + time everybody sat down to supper. It’s past eleven. + </p> + <p> + ZHIGALOV. If it’s time, then it’s time. Ladies and gentlemen, please! + [Shouts] Supper! Young people! + </p> + <p> + NASTASYA TIMOFEYEVNA. Dear visitors, please be seated! + </p> + <p> + ZMEYUKINA. [Sitting down at the table] Give me poetry. + </p> +<pre xml:space="preserve"> + “And he, the rebel, seeks the storm, + As if the storm can give him peace.” + </pre> + <p> + Give me the storm! + </p> + <p> + YATS. [Aside] Wonderful woman! I’m in love! Up to my ears! + </p> + <p> + [Enter DASHENKA, MOZGOVOY, GROOMSMEN, various ladies and gentlemen, etc. + They all noisily seat themselves at the table. There is a minute’s + pause, while the band plays a march.] + </p> + <p> + MOZGOVOY. [Rising] Ladies and gentlemen! I must tell you this.... We are + going to have a great many toasts and speeches. Don’t let’s wait, but + begin at once. Ladies and gentlemen, the newly married! + </p> + <p> + [The band plays a flourish. Cheers. Glasses are touched. APLOMBOV and + DASHENKA kiss each other.] + </p> + <p> + YATS. Beautiful! Beautiful! I must say, ladies and gentlemen, giving + honour where it is due, that this room and the accommodation generally + are splendid! Excellent, wonderful! Only you know, there’s one thing we + haven’t got—electric light, if I may say so! Into every country + electric light has already been introduced, only Russia lags behind. + </p> + <p> + ZHIGALOV. [Meditatively] Electricity... h’m.... In my opinion electric + lighting is just a swindle.... They put a live coal in and think you + don’t see them! No, if you want a light, then you don’t take a coal, but + something real, something special, that you can get hold of! You must + have a fire, you understand, which is natural, not just an invention! + </p> + <p> + YATS. If you’d ever seen an electric battery, and how it’s made up, + you’d think differently. + </p> + <p> + ZHIGALOV. Don’t want to see one. It’s a swindle, a fraud on the + public.... They want to squeeze our last breath out of us.... We know + then, these... And, young man, instead of defending a swindle, you would + be much better occupied if you had another yourself and poured out some + for other people—yes! + </p> + <p> + APLOMBOV. I entirely agree with you, papa. Why start a learned + discussion? I myself have no objection to talking about every possible + scientific discovery, but this isn’t the time for all that! [To + DASHENKA] What do you think, <i>ma chère</i>? + </p> + <p> + DASHENKA. They want to show how educated they are, and so they always + talk about things we can’t understand. + </p> + <p> + NASTASYA TIMOFEYEVNA. Thank God, we’ve lived our time without being + educated, and here we are marrying off our third daughter to an honest + man. And if you think we’re uneducated, then what do you want to come + here for? Go to your educated friends! + </p> + <p> + YATS. I, Nastasya Timofeyevna, have always held your family in respect, + and if I did start talking about electric lighting it doesn’t mean that + I’m proud. I’ll drink, to show you. I have always sincerely wished Daria + Evdokimovna a good husband. In these days, Nastasya Timofeyevna, it is + difficult to find a good husband. Nowadays everybody is on the look-out + for a marriage where there is profit, money.... + </p> + <p> + APLOMBOV. That’s a hint! + </p> + <p> + YATS. [His courage failing] I wasn’t hinting at anything.... Present + company is always excepted.... I was only in general.... Please! + Everybody knows that you’re marrying for love... the dowry is quite + trifling. + </p> + <p> + NASTASYA TIMOFEYEVNA. No, it isn’t trifling! You be careful what you + say. Besides a thousand roubles of good money, we’re giving three + dresses, the bed, and all the furniture. You won’t find another dowry + like that in a hurry! + </p> + <p> + YATS. I didn’t mean... The furniture’s splendid, of course, and... and + the dresses, but I never hinted at what they are getting offended at. + </p> + <p> + NASTASYA TIMOFEYEVNA. Don’t you go making hints. We respect you on + account of your parents, and we’ve invited you to the wedding, and here + you go talking. If you knew that Epaminond Maximovitch was marrying for + profit, why didn’t you say so before? [Tearfully] I brought her up, I + fed her, I nursed her.... I cared for her more than if she was an + emerald jewel, my little girl.... + </p> + <p> + APLOMBOV. And you go and believe him? Thank you so much! I’m very + grateful to you! [To YATS] And as for you, Mr. Yats, although you are + acquainted with me, I shan’t allow you to behave like this in another’s + house. Please get out of this! + </p> + <p> + YATS. What do you mean? + </p> + <p> + APLOMBOV. I want you to be as straightforward as I am! In short, please + get out! [Band plays a flourish] + </p> + <p> + THE GENTLEMEN. Leave him alone! Sit down! Is it worth it! Let him be! + Stop it now! + </p> + <p> + YATS. I never... I... I don’t understand.... Please, I’ll go.... Only + you first give me the five roubles which you borrowed from me last year + on the strength of a <i>piqué</i> waistcoat, if I may say so. Then I’ll + just have another drink and... go, only give me the money first. + </p> + <p> + VARIOUS GENTLEMEN. Sit down! That’s enough! Is it worth it, just for + such trifles? + </p> + <p> + A GROOMSMAN. [Shouts] The health of the bride’s parents, Evdokim + Zaharitch and Nastasya Timofeyevna! [Band plays a flourish. Cheers.] + </p> + <p> + ZHIGALOV. [Bows in all directions, in great emotion] I thank you! Dear + guests! I am very grateful to you for not having forgotten and for + having conferred this honour upon us without being standoffish And you + must not think that I’m a rascal, or that I’m trying to swindle anybody. + I’m speaking from my heart—from the purity of my soul! I wouldn’t + deny anything to good people! We thank you very humbly! [Kisses.] + </p> + <p> + DASHENKA. [To her mother] Mama, why are you crying? I’m so happy! + </p> + <p> + APLOMBOV. <i>Maman</i> is disturbed at your coming separation. But I + should advise her rather to remember the last talk we had. + </p> + <p> + YATS. Don’t cry, Nastasya Timofeyevna! Just think what are human tears, + anyway? Just petty psychiatry, and nothing more! + </p> + <p> + ZMEYUKINA. And are there any red-haired men in Greece? + </p> + <p> + DIMBA. Yes, everysing is zere. + </p> + <p> + ZHIGALOV. But you don’t have our kinds of mushroom. + </p> + <p> + DIMBA. Yes, we’ve got zem and everysing. + </p> + <p> + MOZGOVOY. Harlampi Spiridonovitch, it’s your turn to speak! Ladies and + gentlemen, a speech! + </p> + <p> + ALL. [To DIMBA] Speech! speech! Your turn! + </p> + <p> + DIMBA. Why? I don’t understand.... What is it! + </p> + <p> + ZMEYUKINA. No, no! You can’t refuse! It’s you turn! Get up! + </p> + <p> + DIMBA. [Gets up, confused] I can’t say what... Zere’s Russia and zere’s + Greece. Zere’s people in Russia and people in Greece.... And zere’s + people swimming the sea in karavs, which mean sips, and people on the + land in railway trains. I understand. We are Greeks and you are + Russians, and I want nussing.... I can tell you... zere’s Russia and + zere’s Greece... + </p> + <p> + [Enter NUNIN.] + </p> + <p> + NUNIN. Wait, ladies and gentlemen, don’t eat now! Wait! Just one minute, + Nastasya Timofeyevna! Just come here, if you don’t mind! [Takes NASTASYA + TIMOFEYEVNA aside, puffing] Listen... The General’s coming... I found + one at last.... I’m simply worn out.... A real General, a solid one—old, + you know, aged perhaps eighty, or even ninety. + </p> + <p> + NASTASYA TIMOFEYEVNA. When is he coming? + </p> + <p> + NUNIN. This minute. You’ll be grateful to me all your life. [Note: A few + lines have been omitted: they refer to the “General’s” rank and its + civil equivalent in words for which the English language has no + corresponding terms. The “General” is an ex-naval officer, a + second-class captain.] + </p> + <p> + NASTASYA TIMOFEYEVNA. You’re not deceiving me, Andrey darling? + </p> + <p> + NUNIN. Well, now, am I a swindler? You needn’t worry! + </p> + <p> + NASTASYA TIMOFEYEVNA. [Sighs] One doesn’t like to spend money for + nothing, Andrey darling! + </p> + <p> + NUNIN. Don’t you worry! He’s not a general, he’s a dream! [Raises his + voice] I said to him: “You’ve quite forgotten us, your Excellency! It + isn’t kind of your Excellency to forget your old friends! Nastasya + Timofeyevna,” I said to him, “she’s very annoyed with you about it!” + [Goes and sits at the table] And he says to me: “But, my friend, how can + I go when I don’t know the bridegroom?” “Oh, nonsense, your excellency, + why stand on ceremony? The bridegroom,” I said to him, “he’s a fine + fellow, very free and easy. He’s a valuer,” I said, “at the Law courts, + and don’t you think, your excellency, that he’s some rascal, some knave + of hearts. Nowadays,” I said to him, “even decent women are employed at + the Law courts.” He slapped me on the shoulder, we smoked a Havana cigar + each, and now he’s coming.... Wait a little, ladies and gentlemen, don’t + eat.... + </p> + <p> + APLOMBOV. When’s he coming? + </p> + <p> + NUNIN. This minute. When I left him he was already putting on his + goloshes. Wait a little, ladies and gentlemen, don’t eat yet. + </p> + <p> + APLOMBOV. The band should be told to play a march. + </p> + <p> + NUNIN. [Shouts] Musicians! A march! [The band plays a march for a + minute.] + </p> + <p> + A WAITER. Mr. Revunov-Karaulov! + </p> + <p> + [ZHIGALOV, NASTASYA TIMOFEYEVNA, and NUNIN run to meet him. Enter + REVUNOV-KARAULOV.] + </p> + <p> + NASTASYA TIMOFEYEVNA. [Bowing] Please come in, your excellency! So glad + you’ve come! + </p> + <p> + REVUNOV. Awfully! + </p> + <p> + ZHIGALOV. We, your excellency, aren’t celebrities, we aren’t important, + but quite ordinary, but don’t think on that account that there’s any + fraud. We put good people into the best place, we begrudge nothing. + Please! + </p> + <p> + REVUNOV. Awfully glad! + </p> + <p> + NUNIN. Let me introduce to you, your excellency, the bridegroom, + Epaminond Maximovitch Aplombov, with his newly born... I mean his newly + married wife! Ivan Mihailovitch Yats, employed on the telegraph! A + foreigner of Greek nationality, a confectioner by trade, Harlampi + Spiridonovitch Dimba! Osip Lukitch Babelmandebsky! And so on, and so + on.... The rest are just trash. Sit down, your excellency! + </p> + <p> + REVUNOV. Awfully! Excuse me, ladies and gentlemen, I just want to say + two words to Andrey. [Takes NUNIN aside] I say, old man, I’m a little + put out.... Why do you call me your excellency? I’m not a general! I + don’t rank as the equivalent of a colonel, even. + </p> + <p> + NUNIN. [Whispers] I know, only, Fyodor Yakovlevitch, be a good man and + let us call you your excellency! The family here, you see, is + patriarchal; it respects the aged, it likes rank. + </p> + <p> + REVUNOV. Oh, if it’s like that, very well.... [Goes to the table] + Awfully! + </p> + <p> + NASTASYA TIMOFEYEVNA. Sit down, your excellency! Be so good as to have + some of this, your excellency! Only forgive us for not being used to + etiquette; we’re plain people! + </p> + <p> + REVUNOV. [Not hearing] What? Hm... yes. [Pause] Yes.... In the old days + everybody used to live simply and was happy. In spite of my rank, I am a + man who lives plainly. To-day Andrey comes to me and asks me to come + here to the wedding. “How shall I go,” I said, “when I don’t know them? + It’s not good manners!” But he says: “They are good, simple, patriarchal + people, glad to see anybody.” Well, if that’s the case... why not? Very + glad to come. It’s very dull for me at home by myself, and if my + presence at a wedding can make anybody happy, then I’m delighted to be + here.... + </p> + <p> + ZHIGALOV. Then that’s sincere, is it, your excellency? I respect that! + I’m a plain man myself, without any deception, and I respect others who + are like that. Eat, your excellency! + </p> + <p> + APLOMBOV. Is it long since you retired, your excellency? + </p> + <p> + REVUNOV. Eh? Yes, yes.... Quite true.... Yes. But, excuse me, what is + this? The fish is sour... and the bread is sour. I can’t eat this! + [APLOMBOV and DASHENKA kiss each other] He, he, he... Your health! + [Pause] Yes.... In the old days everything was simple and everybody was + glad.... I love simplicity.... I’m an old man. I retired in 1865. I’m + 72. Yes, of course, in my younger days it was different, but—[Sees + MOZGOVOY] You there... a sailor, are you? + </p> + <p> + MOZGOVOY. Yes, just so. + </p> + <p> + REVUNOV. Aha, so... yes. The navy means hard work. There’s a lot to + think about and get a headache over. Every insignificant word has, so to + speak, its special meaning! For instance, “Hoist her top-sheets and + mainsail!” What’s it mean? A sailor can tell! He, he!—With almost + mathematical precision! + </p> + <p> + NUNIN. The health of his excellency Fyodor Yakovlevitch + Revunov-Karaulov! [Band plays a flourish. Cheers.] + </p> + <p> + YATS. You, your excellency, have just expressed yourself on the subject + of the hard work involved in a naval career. But is telegraphy any + easier? Nowadays, your excellency, nobody is appointed to the telegraphs + if he cannot read and write French and German. But the transmission of + telegrams is the most difficult thing of all. Awfully difficult! Just + listen. + </p> + <p> + [Taps with his fork on the table, like a telegraphic transmitter.] + </p> + <p> + REVUNOV. What does that mean? + </p> + <p> + YATS. It means, “I honour you, your excellency, for your virtues.” You + think it’s easy? Listen now. [Taps.] + </p> + <p> + REVUNOV. Louder; I can’t hear.... + </p> + <p> + YATS. That means, “Madam, how happy I am to hold you in my embraces!” + </p> + <p> + REVUNOV. What madam are you talking about? Yes.... [To MOZGOVOY] Yes, if + there’s a head-wind you must... let’s see... you must hoist your foretop + halyards and topsail halyards! The order is: “On the cross-trees to the + foretop halyards and topsail halyards” and at the same time, as the + sails get loose, you take hold underneath of the foresail and + fore-topsail halyards, stays and braces. + </p> + <p> + A GROOMSMAN. [Rising] Ladies and gentlemen... + </p> + <p> + REVUNOV. [Cutting him short] Yes... there are a great many orders to + give. “Furl the fore-topsail and the foretop-gallant sail!!” Well, what + does that mean? It’s very simple! It means that if the top and + top-gallant sails are lifting the halyards, they must level the foretop + and foretop-gallant halyards on the hoist and at the same time the + top-gallants braces, as needed, are loosened according to the direction + of the wind... + </p> + <p> + NUNIN. [To REVUNOV] Fyodor Yakovlevitch, Mme. Zhigalov asks you to talk + about something else. It’s very dull for the guests, who can’t + understand.... + </p> + <p> + REVUNOV. What? Who’s dull? [To MOZGOVOY] Young man! Now suppose the ship + is lying by the wind, on the starboard tack, under full sail, and you’ve + got to bring her before the wind. What’s the order? Well, first you + whistle up above! He, he! + </p> + <p> + NUNIN. Fyodor Yakovlevitch, that’s enough. Eat something. + </p> + <p> + REVUNOV. As soon as the men are on deck you give the order, “To your + places!” What a life! You give orders, and at the same time you’ve got + to keep your eyes on the sailors, who run about like flashes of + lightning and get the sails and braces right. And at last you can’t + restrain yourself, and you shout, “Good children!” [He chokes and + coughs.] + </p> + <p> + A GROOMSMAN. [Making haste to use the ensuing pause to advantage] On + this occasion, so to speak, on the day on which we have met together to + honour our dear... + </p> + <p> + REVUNOV. [Interrupting] Yes, you’ve got to remember all that! For + instance, “Hoist the topsail halyards. Lower the topsail gallants!” + </p> + <p> + THE GROOMSMAN. [Annoyed] Why does he keep on interrupting? We shan’t get + through a single speech like that! + </p> + <p> + NASTASYA TIMOFEYEVNA. We are dull people, your excellency, and don’t + understand a word of all that, but if you were to tell us something + appropriate... + </p> + <p> + REVUNOV. [Not hearing] I’ve already had supper, thank you. Did you say + there was goose? Thanks... yes. I’ve remembered the old days.... It’s + pleasant, young man! You sail on the sea, you have no worries, and [In + an excited tone of voice] do you remember the joy of tacking? Is there a + sailor who doesn’t glow at the memory of that manoeuvre? As soon as the + word is given and the whistle blown and the crew begins to go up—it’s + as if an electric spark has run through them all. From the captain to + the cabin-boy, everybody’s excited. + </p> + <p> + ZMEYUKINA. How dull! How dull! [General murmur.] + </p> + <p> + REVUNOV. [Who has not heard it properly] Thank you, I’ve had supper. + [With enthusiasm] Everybody’s ready, and looks to the senior officer. He + gives the command: “Stand by, gallants and topsail braces on the + starboard side, main and counter-braces to port!” Everything’s done in a + twinkling. Top-sheets and jib-sheets are pulled... taken to starboard. + [Stands up] The ship takes the wind and at last the sails fill out. The + senior officer orders, “To the braces,” and himself keeps his eye on the + mainsail, and when at last this sail is filling out and the ship begins + to turn, he yells at the top of his voice, “Let go the braces! Loose the + main halyards!” Everything flies about, there’s a general confusion for + a moment—and everything is done without an error. The ship has + been tacked! + </p> + <p> + NASTASYA TIMOFEYEVNA. [Exploding] General, your manners.... You ought to + be ashamed of yourself, at your age! + </p> + <p> + REVUNOV. Did you say sausage? No, I haven’t had any... thank you. + </p> + <p> + NASTASYA TIMOFEYEVNA. [Loudly] I say you ought to be ashamed of yourself + at your age! General, your manners are awful! + </p> + <p> + NUNIN. [Confused] Ladies and gentlemen, is it worth it? Really... + </p> + <p> + REVUNOV. In the first place, I’m not a general, but a second-class naval + captain, which, according to the table of precedence, corresponds to a + lieutenant-colonel. + </p> + <p> + NASTASYA TIMOFEYEVNA. If you’re not a general, then what did you go and + take our money for? We never paid you money to behave like that! + </p> + <p> + REVUNOV. [Upset] What money? + </p> + <p> + NASTASYA TIMOFEYEVNA. You know what money. You know that you got 25 + roubles from Andrey Andreyevitch.... [To NUNIN] And you look out, + Andrey! I never asked you to hire a man like that! + </p> + <p> + NUNIN. There now... let it drop. Is it worth it? + </p> + <p> + REVUNOV. Paid... hired.... What is it? + </p> + <p> + APLOMBOV. Just let me ask you this. Did you receive 25 roubles from + Andrey Andreyevitch? + </p> + <p> + REVUNOV. What 25 roubles? [Suddenly realizing] That’s what it is! Now I + understand it all.... How mean! How mean! + </p> + <p> + APLOMBOV. Did you take the money? + </p> + <p> + REVUNOV. I haven’t taken any money! Get away from me! [Leaves the table] + How mean! How low! To insult an old man, a sailor, an officer who has + served long and faithfully! If you were decent people I could call + somebody out, but what can I do now? [Absently] Where’s the door? Which + way do I go? Waiter, show me the way out! Waiter! [Going] How mean! How + low! [Exit.] + </p> + <p> + NASTASYA TIMOFEYEVNA. Andrey, where are those 25 roubles? + </p> + <p> + NUNIN. Is it worth while bothering about such trifles? What does it + matter! Everybody’s happy here, and here you go.... [Shouts] The health + of the bride and bridegroom! A march! A march! [The band plays a march] + The health of the bride and bridegroom! + </p> + <p> + ZMEYUKINA. I’m suffocating! Give me atmosphere! I’m suffocating with you + all round me! + </p> + <p> + YATS. [In a transport of delight] My beauty! My beauty! [Uproar.] + </p> + <p> + A GROOMSMAN. [Trying to shout everybody else down] Ladies and gentlemen! + On this occasion, if I may say so... + </p> + <p> + Curtain. + </p> + <a name="link2H_4_0005" id="link2H_4_0005"> + <!-- H2 anchor --> </a> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE BEAR + </h2> + CHARACTERS +<pre xml:space="preserve"> + ELENA IVANOVNA POPOVA, a landowning little widow, with dimples on her + cheeks + GRIGORY STEPANOVITCH SMIRNOV, a middle-aged landowner + LUKA, Popova’s aged footman +</pre> + <p> + [A drawing-room in POPOVA’S house.] + </p> + <p> + [POPOVA is in deep mourning and has her eyes fixed on a photograph. LUKA + is haranguing her.] + </p> + <p> + LUKA. It isn’t right, madam.... You’re just destroying yourself. The + maid and the cook have gone off fruit picking, every living being is + rejoicing, even the cat understands how to enjoy herself and walks about + in the yard, catching midges; only you sit in this room all day, as if + this was a convent, and don’t take any pleasure. Yes, really! I reckon + it’s a whole year that you haven’t left the house! + </p> + <p> + POPOVA. I shall never go out.... Why should I? My life is already at an + end. He is in his grave, and I have buried myself between four walls.... + We are both dead. + </p> + <p> + LUKA. Well, there you are! Nicolai Mihailovitch is dead, well, it’s the + will of God, and may his soul rest in peace.... You’ve mourned him—and + quite right. But you can’t go on weeping and wearing mourning for ever. + My old woman died too, when her time came. Well? I grieved over her, I + wept for a month, and that’s enough for her, but if I’ve got to weep for + a whole age, well, the old woman isn’t worth it. [Sighs] You’ve + forgotten all your neighbours. You don’t go anywhere, and you see + nobody. We live, so to speak, like spiders, and never see the light. The + mice have eaten my livery. It isn’t as if there were no good people + around, for the district’s full of them. There’s a regiment quartered at + Riblov, and the officers are such beauties—you can never gaze your + fill at them. And, every Friday, there’s a ball at the camp, and every + day the soldier’s band plays.... Eh, my lady! You’re young and + beautiful, with roses in your cheek—if you only took a little + pleasure. Beauty won’t last long, you know. In ten years’ time you’ll + want to be a pea-hen yourself among the officers, but they won’t look at + you, it will be too late. + </p> + <p> + POPOVA. [With determination] I must ask you never to talk to me about + it! You know that when Nicolai Mihailovitch died, life lost all its + meaning for me. I vowed never to the end of my days to cease to wear + mourning, or to see the light.... You hear? Let his ghost see how well I + love him.... Yes, I know it’s no secret to you that he was often unfair + to me, cruel, and... and even unfaithful, but I shall be true till + death, and show him how I can love. There, beyond the grave, he will see + me as I was before his death.... + </p> + <p> + LUKA. Instead of talking like that you ought to go and have a walk in + the garden, or else order Toby or Giant to be harnessed, and then drive + out to see some of the neighbours. + </p> + <p> + POPOVA. Oh! [Weeps.] + </p> + <p> + LUKA. Madam! Dear madam! What is it? Bless you! + </p> + <p> + POPOVA. He was so fond of Toby! He always used to ride on him to the + Korchagins and Vlasovs. How well he could ride! What grace there was in + his figure when he pulled at the reins with all his strength! Do you + remember? Toby, Toby! Tell them to give him an extra feed of oats. + </p> + <p> + LUKA. Yes, madam. [A bell rings noisily.] + </p> + <p> + POPOVA. [Shaking] Who’s that? Tell them that I receive nobody. + </p> + <p> + LUKA. Yes, madam. [Exit.] + </p> + <p> + POPOVA. [Looks at the photograph] You will see, Nicolas, how I can love + and forgive.... My love will die out with me, only when this poor heart + will cease to beat. [Laughs through her tears] And aren’t you ashamed? I + am a good and virtuous little wife. I’ve locked myself in, and will be + true to you till the grave, and you... aren’t you ashamed, you bad + child? You deceived me, had rows with me, left me alone for weeks on + end.... + </p> + <p> + [LUKA enters in consternation.] + </p> + <p> + LUKA. Madam, somebody is asking for you. He wants to see you.... + </p> + <p> + POPOVA. But didn’t you tell him that since the death of my husband I’ve + stopped receiving? + </p> + <p> + LUKA. I did, but he wouldn’t even listen; says that it’s a very pressing + affair. + </p> + <p> + POPOVA. I do not re-ceive! + </p> + <p> + LUKA. I told him so, but the... the devil... curses and pushes himself + right in.... He’s in the dining-room now. + </p> + <p> + POPOVA. [Annoyed] Very well, ask him in.... What manners! [Exit LUKA] + How these people annoy me! What does he want of me? Why should he + disturb my peace? [Sighs] No, I see that I shall have to go into a + convent after all. [Thoughtfully] Yes, into a convent.... [Enter LUKA + with SMIRNOV.] + </p> + <p> + SMIRNOV. [To LUKA] You fool, you’re too fond of talking.... Ass! [Sees + POPOVA and speaks with respect] Madam, I have the honour to present + myself, I am Grigory Stepanovitch Smirnov, landowner and retired + lieutenant of artillery! I am compelled to disturb you on a very + pressing affair. + </p> + <p> + POPOVA. [Not giving him her hand] What do you want? + </p> + <p> + SMIRNOV. Your late husband, with whom I had the honour of being + acquainted, died in my debt for one thousand two hundred roubles, on two + bills of exchange. As I’ve got to pay the interest on a mortgage + to-morrow, I’ve come to ask you, madam, to pay me the money to-day. + </p> + <p> + POPOVA. One thousand two hundred.... And what was my husband in debt to + you for? + </p> + <p> + SMIRNOV. He used to buy oats from me. + </p> + <p> + POPOVA. [Sighing, to LUKA] So don’t you forget, Luka, to give Toby an + extra feed of oats. [Exit LUKA] If Nicolai Mihailovitch died in debt to + you, then I shall certainly pay you, but you must excuse me to-day, as I + haven’t any spare cash. The day after to-morrow my steward will be back + from town, and I’ll give him instructions to settle your account, but at + the moment I cannot do as you wish.... Moreover, it’s exactly seven + months to-day since the death of my husband, and I’m in a state of mind + which absolutely prevents me from giving money matters my attention. + </p> + <p> + SMIRNOV. And I’m in a state of mind which, if I don’t pay the interest + due to-morrow, will force me to make a graceful exit from this life feet + first. They’ll take my estate! + </p> + <p> + POPOVA. You’ll have your money the day after to-morrow. + </p> + <p> + SMIRNOV. I don’t want the money the day after tomorrow, I want it + to-day. + </p> + <p> + POPOVA. You must excuse me, I can’t pay you. + </p> + <p> + SMIRNOV. And I can’t wait till after to-morrow. + </p> + <p> + POPOVA. Well, what can I do, if I haven’t the money now! + </p> + <p> + SMIRNOV. You mean to say, you can’t pay me? + </p> + <p> + POPOVA. I can’t. + </p> + <p> + SMIRNOV. Hm! Is that the last word you’ve got to say? + </p> + <p> + POPOVA. Yes, the last word. + </p> + <p> + SMIRNOV. The last word? Absolutely your last? + </p> + <p> + POPOVA. Absolutely. + </p> + <p> + SMIRNOV. Thank you so much. I’ll make a note of it. [Shrugs his + shoulders] And then people want me to keep calm! I meet a man on the + road, and he asks me “Why are you always so angry, Grigory + Stepanovitch?” But how on earth am I not to get angry? I want the money + desperately. I rode out yesterday, early in the morning, and called on + all my debtors, and not a single one of them paid up! I was just about + dead-beat after it all, slept, goodness knows where, in some inn, kept + by a Jew, with a vodka-barrel by my head. At last I get here, seventy + versts from home, and hope to get something, and I am received by you + with a “state of mind”! How shouldn’t I get angry. + </p> + <p> + POPOVA. I thought I distinctly said my steward will pay you when he + returns from town. + </p> + <p> + SMIRNOV. I didn’t come to your steward, but to you! What the devil, + excuse my saying so, have I to do with your steward! + </p> + <p> + POPOVA. Excuse me, sir, I am not accustomed to listen to such + expressions or to such a tone of voice. I want to hear no more. [Makes a + rapid exit.] + </p> + <p> + SMIRNOV. Well, there! “A state of mind.”... “Husband died seven months + ago!” Must I pay the interest, or mustn’t I? I ask you: Must I pay, or + must I not? Suppose your husband is dead, and you’ve got a state of + mind, and nonsense of that sort.... And your steward’s gone away + somewhere, devil take him, what do you want me to do? Do you think I can + fly away from my creditors in a balloon, or what? Or do you expect me to + go and run my head into a brick wall? I go to Grusdev and he isn’t at + home, Yaroshevitch has hidden himself, I had a violent row with Kuritsin + and nearly threw him out of the window, Mazugo has something the matter + with his bowels, and this woman has “a state of mind.” Not one of the + swine wants to pay me! Just because I’m too gentle with them, because + I’m a rag, just weak wax in their hands! I’m much too gentle with them! + Well, just you wait! You’ll find out what I’m like! I shan’t let you + play about with me, confound it! I shall jolly well stay here until she + pays! Brr!... How angry I am to-day, how angry I am! All my inside is + quivering with anger, and I can’t even breathe.... Foo, my word, I even + feel sick! [Yells] Waiter! + </p> + <p> + [Enter LUKA.] + </p> + <p> + LUKA. What is it? + </p> + <p> + SMIRNOV. Get me some kvass or water! [Exit LUKA] What a way to reason! A + man is in desperate need of his money, and she won’t pay it because, you + see, she is not disposed to attend to money matters!... That’s real + silly feminine logic. That’s why I never did like, and don’t like now, + to have to talk to women. I’d rather sit on a barrel of gunpowder than + talk to a woman. Brr!... I feel quite chilly—and it’s all on + account of that little bit of fluff! I can’t even see one of these + poetic creatures from a distance without breaking out into a cold sweat + out of sheer anger. I can’t look at them. [Enter LUKA with water.] + </p> + <p> + LUKA. Madam is ill and will see nobody. + </p> + <p> + SMIRNOV. Get out! [Exit LUKA] Ill and will see nobody! No, it’s all + right, you don’t see me.... I’m going to stay and will sit here till you + give me the money. You can be ill for a week, if you like, and I’ll stay + here for a week.... If you’re ill for a year—I’ll stay for a year. + I’m going to get my own, my dear! You don’t get at me with your widow’s + weeds and your dimpled cheeks! I know those dimples! [Shouts through the + window] Simeon, take them out! We aren’t going away at once! I’m staying + here! Tell them in the stable to give the horses some oats! You fool, + you’ve let the near horse’s leg get tied up in the reins again! + [Teasingly] “Never mind....” I’ll give it you. “Never mind.” [Goes away + from the window] Oh, it’s bad.... The heat’s frightful, nobody pays up. + I slept badly, and on top of everything else here’s a bit of fluff in + mourning with “a state of mind.”... My head’s aching.... Shall I have + some vodka, what? Yes, I think I will. [Yells] Waiter! + </p> + <p> + [Enter LUKA.] + </p> + <p> + LUKA. What is it? + </p> + <p> + SMIRNOV. A glass of vodka! [Exit LUKA] Ouf! [Sits and inspects himself] + I must say I look well! Dust all over, boots dirty, unwashed, unkempt, + straw on my waistcoat.... The dear lady may well have taken me for a + brigand. [Yawns] It’s rather impolite to come into a drawing-room in + this state, but it can’t be helped.... I am not here as a visitor, but + as a creditor, and there’s no dress specially prescribed for + creditors.... + </p> + <p> + [Enter LUKA with the vodka.] + </p> + <p> + LUKA. You allow yourself to go very far, sir.... + </p> + <p> + SMIRNOV [Angrily] What? + </p> + <p> + LUKA. I... er... nothing... I really... + </p> + <p> + SMIRNOV. Whom are you talking to? Shut up! + </p> + <p> + LUKA. [Aside] The devil’s come to stay.... Bad luck that brought him.... + [Exit.] + </p> + <p> + SMIRNOV. Oh, how angry I am! So angry that I think I could grind the + whole world to dust.... I even feel sick.... [Yells] Waiter! + </p> + <p> + [Enter POPOVA.] + </p> + <p> + POPOVA. [Her eyes downcast] Sir, in my solitude I have grown + unaccustomed to the masculine voice, and I can’t stand shouting. I must + ask you not to disturb my peace. + </p> + <p> + SMIRNOV. Pay me the money, and I’ll go. + </p> + <p> + POPOVA. I told you perfectly plainly; I haven’t any money to spare; wait + until the day after to-morrow. + </p> + <p> + SMIRNOV. And I told you perfectly plainly I don’t want the money the day + after to-morrow, but to-day. If you don’t pay me to-day, I’ll have to + hang myself to-morrow. + </p> + <p> + POPOVA. But what can I do if I haven’t got the money? You’re so strange! + </p> + <p> + SMIRNOV. Then you won’t pay me now? Eh? + </p> + <p> + POPOVA. I can’t. + </p> + <p> + SMIRNOV. In that case I stay here and shall wait until I get it. [Sits + down] You’re going to pay me the day after to-morrow? Very well! I’ll + stay here until the day after to-morrow. I’ll sit here all the time.... + [Jumps up] I ask you: Have I got to pay the interest to-morrow, or + haven’t I? Or do you think I’m doing this for a joke? + </p> + <p> + POPOVA. Please don’t shout! This isn’t a stable! + </p> + <p> + SMIRNOV. I wasn’t asking you about a stable, but whether I’d got my + interest to pay to-morrow or not? + </p> + <p> + POPOVA. You don’t know how to behave before women! + </p> + <p> + SMIRNOV. No, I do know how to behave before women! + </p> + <p> + POPOVA. No, you don’t! You’re a rude, ill-bred man! Decent people don’t + talk to a woman like that! + </p> + <p> + SMIRNOV. What a business! How do you want me to talk to you? In French, + or what? [Loses his temper and lisps] <i>Madame, je vous prie</i>.... + How happy I am that you don’t pay me.... Ah, pardon. I have disturbed + you! Such lovely weather to-day! And how well you look in mourning! + [Bows.] + </p> + <p> + POPOVA. That’s silly and rude. + </p> + <p> + SMIRNOV. [Teasing her] Silly and rude! I don’t know how to behave before + women! Madam, in my time I’ve seen more women than you’ve seen sparrows! + Three times I’ve fought duels on account of women. I’ve refused twelve + women, and nine have refused me! Yes! There was a time when I played the + fool, scented myself, used honeyed words, wore jewellery, made beautiful + bows. I used to love, to suffer, to sigh at the moon, to get sour, to + thaw, to freeze.... I used to love passionately, madly, every blessed + way, devil take me; I used to chatter like a magpie about emancipation, + and wasted half my wealth on tender feelings, but now—you must + excuse me! You won’t get round me like that now! I’ve had enough! Black + eyes, passionate eyes, ruby lips, dimpled cheeks, the moon, whispers, + timid breathing—I wouldn’t give a brass farthing for the lot, + madam! Present company always excepted, all women, great or little, are + insincere, crooked, backbiters, envious, liars to the marrow of their + bones, vain, trivial, merciless, unreasonable, and, as far as this is + concerned [taps his forehead] excuse my outspokenness, a sparrow can + give ten points to any philosopher in petticoats you like to name! You + look at one of these poetic creatures: all muslin, an ethereal + demi-goddess, you have a million transports of joy, and you look into + her soul—and see a common crocodile! [He grips the back of a + chair; the chair creaks and breaks] But the most disgusting thing of all + is that this crocodile for some reason or other imagines that its chef + d’oeuvre, its privilege and monopoly, is its tender feelings. Why, + confound it, hang me on that nail feet upwards, if you like, but have + you met a woman who can love anybody except a lapdog? When she’s in + love, can she do anything but snivel and slobber? While a man is + suffering and making sacrifices all her love expresses itself in her + playing about with her scarf, and trying to hook him more firmly by the + nose. You have the misfortune to be a woman, you know from yourself what + is the nature of woman. Tell me truthfully, have you ever seen a woman + who was sincere, faithful, and constant? You haven’t! Only freaks and + old women are faithful and constant! You’ll meet a cat with a horn or a + white woodcock sooner than a constant woman! + </p> + <p> + POPOVA. Then, according to you, who is faithful and constant in love? Is + it the man? + </p> + <p> + SMIRNOV. Yes, the man! + </p> + <p> + POPOVA. The man! [Laughs bitterly] Men are faithful and constant in + love! What an idea! [With heat] What right have you to talk like that? + Men are faithful and constant! Since we are talking about it, I’ll tell + you that of all the men I knew and know, the best was my late + husband.... I loved him passionately with all my being, as only a young + and imaginative woman can love, I gave him my youth, my happiness, my + life, my fortune, I breathed in him, I worshipped him as if I were a + heathen, and... and what then? This best of men shamelessly deceived me + at every step! After his death I found in his desk a whole drawerful of + love-letters, and when he was alive—it’s an awful thing to + remember!—he used to leave me alone for weeks at a time, and make + love to other women and betray me before my very eyes; he wasted my + money, and made fun of my feelings.... And, in spite of all that, I + loved him and was true to him. And not only that, but, now that he is + dead, I am still true and constant to his memory. I have shut myself for + ever within these four walls, and will wear these weeds to the very + end.... + </p> + <p> + SMIRNOV. [Laughs contemptuously] Weeds!... I don’t understand what you + take me for. As if I don’t know why you wear that black domino and bury + yourself between four walls! I should say I did! It’s so mysterious, so + poetic! When some junker [Note: So in the original.] or some tame poet + goes past your windows he’ll think: “There lives the mysterious Tamara + who, for the love of her husband, buried herself between four walls.” We + know these games! + </p> + <p> + POPOVA. [Exploding] What? How dare you say all that to me? + </p> + <p> + SMIRNOV. You may have buried yourself alive, but you haven’t forgotten + to powder your face! + </p> + <p> + POPOVA. How dare you speak to me like that? + </p> + <p> + SMIRNOV. Please don’t shout, I’m not your steward! You must allow me to + call things by their real names. I’m not a woman, and I’m used to saying + what I think straight out! Don’t you shout, either! + </p> + <p> + POPOVA. I’m not shouting, it’s you! Please leave me alone! + </p> + <p> + SMIRNOV. Pay me my money and I’ll go. + </p> + <p> + POPOVA. I shan’t give you any money! + </p> + <p> + SMIRNOV. Oh, no, you will. + </p> + <p> + POPOVA. I shan’t give you a farthing, just to spite you. You leave me + alone! + </p> + <p> + SMIRNOV. I have not the pleasure of being either your husband or your + fiancé, so please don’t make scenes. [Sits] I don’t like it. + </p> + <p> + POPOVA. [Choking with rage] So you sit down? + </p> + <p> + SMIRNOV. I do. + </p> + <p> + POPOVA. I ask you to go away! + </p> + <p> + SMIRNOV. Give me my money.... [Aside] Oh, how angry I am! How angry I + am! + </p> + <p> + POPOVA. I don’t want to talk to impudent scoundrels! Get out of this! + [Pause] Aren’t you going? No? + </p> + <p> + SMIRNOV. No. + </p> + <p> + POPOVA. No? + </p> + <p> + SMIRNOV. No! + </p> + <p> + POPOVA. Very well then! [Rings, enter LUKA] Luka, show this gentleman + out! + </p> + <p> + LUKA. [Approaches SMIRNOV] Would you mind going out, sir, as you’re + asked to! You needn’t... + </p> + <p> + SMIRNOV. [Jumps up] Shut up! Who are you talking to? I’ll chop you into + pieces! + </p> + <p> + LUKA. [Clutches at his heart] Little fathers!... What people!... [Falls + into a chair] Oh, I’m ill, I’m ill! I can’t breathe! + </p> + <p> + POPOVA. Where’s Dasha? Dasha! [Shouts] Dasha! Pelageya! Dasha! [Rings.] + </p> + <p> + LUKA. Oh! They’ve all gone out to pick fruit.... There’s nobody at home! + I’m ill! Water! + </p> + <p> + POPOVA. Get out of this, now. + </p> + <p> + SMIRNOV. Can’t you be more polite? + </p> + <p> + POPOVA. [Clenches her fists and stamps her foot] You’re a boor! A coarse + bear! A Bourbon! A monster! + </p> + <p> + SMIRNOV. What? What did you say? + </p> + <p> + POPOVA. I said you are a bear, a monster! + </p> + <p> + SMIRNOV. [Approaching her] May I ask what right you have to insult me? + </p> + <p> + POPOVA. And suppose I am insulting you? Do you think I’m afraid of you? + </p> + <p> + SMIRNOV. And do you think that just because you’re a poetic creature you + can insult me with impunity? Eh? We’ll fight it out! + </p> + <p> + LUKA. Little fathers!... What people!... Water! + </p> + <p> + SMIRNOV. Pistols! + </p> + <p> + POPOVA. Do you think I’m afraid of you just because you have large fists + and a bull’s throat? Eh? You Bourbon! + </p> + <p> + SMIRNOV. We’ll fight it out! I’m not going to be insulted by anybody, + and I don’t care if you are a woman, one of the “softer sex,” indeed! + </p> + <p> + POPOVA. [Trying to interrupt him] Bear! Bear! Bear! + </p> + <p> + SMIRNOV. It’s about time we got rid of the prejudice that only men need + pay for their insults. Devil take it, if you want equality of rights you + can have it. We’re going to fight it out! + </p> + <p> + POPOVA. With pistols? Very well! + </p> + <p> + SMIRNOV. This very minute. + </p> + <p> + POPOVA. This very minute! My husband had some pistols.... I’ll bring + them here. [Is going, but turns back] What pleasure it will give me to + put a bullet into your thick head! Devil take you! [Exit.] + </p> + <p> + SMIRNOV. I’ll bring her down like a chicken! I’m not a little boy or a + sentimental puppy; I don’t care about this “softer sex.” + </p> + <p> + LUKA. Gracious little fathers!... [Kneels] Have pity on a poor old man, + and go away from here! You’ve frightened her to death, and now you want + to shoot her! + </p> + <p> + SMIRNOV. [Not hearing him] If she fights, well that’s equality of + rights, emancipation, and all that! Here the sexes are equal! I’ll shoot + her on principle! But what a woman! [Parodying her] “Devil take you! + I’ll put a bullet into your thick head.” Eh? How she reddened, how her + cheeks shone!... She accepted my challenge! My word, it’s the first time + in my life that I’ve seen.... + </p> + <p> + LUKA. Go away, sir, and I’ll always pray to God for you! + </p> + <p> + SMIRNOV. She is a woman! That’s the sort I can understand! A real woman! + Not a sour-faced jellybag, but fire, gunpowder, a rocket! I’m even sorry + to have to kill her! + </p> + <p> + LUKA. [Weeps] Dear... dear sir, do go away! + </p> + <p> + SMIRNOV. I absolutely like her! Absolutely! Even though her cheeks are + dimpled, I like her! I’m almost ready to let the debt go... and I’m not + angry any longer.... Wonderful woman! + </p> + <p> + [Enter POPOVA with pistols.] + </p> + <p> + POPOVA. Here are the pistols.... But before we fight you must show me + how to fire. I’ve never held a pistol in my hands before. + </p> + <p> + LUKA. Oh, Lord, have mercy and save her.... I’ll go and find the + coachman and the gardener.... Why has this infliction come on us.... + [Exit.] + </p> + <p> + SMIRNOV. [Examining the pistols] You see, there are several sorts of + pistols.... There are Mortimer pistols, specially made for duels, they + fire a percussion-cap. These are Smith and Wesson revolvers, triple + action, with extractors.... These are excellent pistols. They can’t cost + less than ninety roubles the pair.... You must hold the revolver like + this.... [Aside] Her eyes, her eyes! What an inspiring woman! + </p> + <p> + POPOVA. Like this? + </p> + <p> + SMIRNOV. Yes, like this.... Then you cock the trigger, and take aim like + this.... Put your head back a little! Hold your arm out properly.... + Like that.... Then you press this thing with your finger—and + that’s all. The great thing is to keep cool and aim steadily.... Try not + to jerk your arm. + </p> + <p> + POPOVA. Very well.... It’s inconvenient to shoot in a room, let’s go + into the garden. + </p> + <p> + SMIRNOV. Come along then. But I warn you, I’m going to fire in the air. + </p> + <p> + POPOVA. That’s the last straw! Why? + </p> + <p> + SMIRNOV. Because... because... it’s my affair. + </p> + <p> + POPOVA. Are you afraid? Yes? Ah! No, sir, you don’t get out of it! You + come with me! I shan’t have any peace until I’ve made a hole in your + forehead... that forehead which I hate so much! Are you afraid? + </p> + <p> + SMIRNOV. Yes, I am afraid. + </p> + <p> + POPOVA. You lie! Why won’t you fight? + </p> + <p> + SMIRNOV. Because... because you... because I like you. + </p> + <p> + POPOVA. [Laughs] He likes me! He dares to say that he likes me! [Points + to the door] That’s the way. + </p> + <p> + SMIRNOV. [Loads the revolver in silence, takes his cap and goes to the + door. There he stops for half a minute, while they look at each other in + silence, then he hesitatingly approaches POPOVA] Listen.... Are you + still angry? I’m devilishly annoyed, too... but, do you understand... + how can I express myself?... The fact is, you see, it’s like this, so to + speak.... [Shouts] Well, is it my fault that I like you? [He snatches at + the back of a chair; the chair creaks and breaks] Devil take it, how I’m + smashing up your furniture! I like you! Do you understand? I... I almost + love you! + </p> + <p> + POPOVA. Get away from me—I hate you! + </p> + <p> + SMIRNOV. God, what a woman! I’ve never in my life seen one like her! I’m + lost! Done for! Fallen into a mousetrap, like a mouse! + </p> + <p> + POPOVA. Stand back, or I’ll fire! + </p> + <p> + SMIRNOV. Fire, then! You can’t understand what happiness it would be to + die before those beautiful eyes, to be shot by a revolver held in that + little, velvet hand.... I’m out of my senses! Think, and make up your + mind at once, because if I go out we shall never see each other again! + Decide now.... I am a landowner, of respectable character, have an + income of ten thousand a year. I can put a bullet through a coin tossed + into the air as it comes down.... I own some fine horses.... Will you be + my wife? + </p> + <p> + POPOVA. [Indignantly shakes her revolver] Let’s fight! Let’s go out! + </p> + <p> + SMIRNOV. I’m mad.... I understand nothing. [Yells] Waiter, water! + </p> + <p> + POPOVA. [Yells] Let’s go out and fight! + </p> + <p> + SMIRNOV. I’m off my head, I’m in love like a boy, like a fool! [Snatches + her hand, she screams with pain] I love you! [Kneels] I love you as I’ve + never loved before! I’ve refused twelve women, nine have refused me, but + I never loved one of them as I love you.... I’m weak, I’m wax, I’ve + melted.... I’m on my knees like a fool, offering you my hand.... Shame, + shame! I haven’t been in love for five years, I’d taken a vow, and now + all of a sudden I’m in love, like a fish out of water! I offer you my + hand. Yes or no? You don’t want me? Very well! [Gets up and quickly goes + to the door.] + </p> + <p> + POPOVA. Stop. + </p> + <p> + SMIRNOV. [Stops] Well? + </p> + <p> + POPOVA. Nothing, go away.... No, stop.... No, go away, go away! I hate + you! Or no.... Don’t go away! Oh, if you knew how angry I am, how angry + I am! [Throws her revolver on the table] My fingers have swollen because + of all this.... [Tears her handkerchief in temper] What are you waiting + for? Get out! + </p> + <p> + SMIRNOV. Good-bye. + </p> + <p> + POPOVA. Yes, yes, go away!... [Yells] Where are you going? Stop.... No, + go away. Oh, how angry I am! Don’t come near me, don’t come near me! + </p> + <p> + SMIRNOV. [Approaching her] How angry I am with myself! I’m in love like + a student, I’ve been on my knees.... [Rudely] I love you! What do I want + to fall in love with you for? To-morrow I’ve got to pay the interest, + and begin mowing, and here you.... [Puts his arms around her] I shall + never forgive myself for this.... + </p> + <p> + POPOVA. Get away from me! Take your hands away! I hate you! Let’s go and + fight! + </p> + <p> + [A prolonged kiss. Enter LUKA with an axe, the GARDENER with a rake, the + COACHMAN with a pitchfork, and WORKMEN with poles.] + </p> + <p> + LUKA. [Catches sight of the pair kissing] Little fathers! [Pause.] + </p> + <p> + POPOVA. [Lowering her eyes] Luka, tell them in the stables that Toby + isn’t to have any oats at all to-day. + </p> + <p> + Curtain. + </p> + <a name="link2H_4_0006" id="link2H_4_0006"> + <!-- H2 anchor --> </a> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + A TRAGEDIAN IN SPITE OF HIMSELF + </h2> + CHARACTERS +<pre xml:space="preserve"> + IVAN IVANOVITCH TOLKACHOV, the father of a family + ALEXEY ALEXEYEVITCH MURASHKIN, his friend +</pre> + <p> + The scene is laid in St. Petersburg, in MURASHKIN’S flat + </p> + <p> + [MURASHKIN’S study. Comfortable furniture. MURASHKIN is seated at his + desk. Enter TOLKACHOV holding in his hands a glass globe for a lamp, a + toy bicycle, three hat-boxes, a large parcel containing a dress, a + bin-case of beer, and several little parcels. He looks round stupidly + and lets himself down on the sofa in exhaustion.] + </p> + <p> + MURASHKIN. How do you do, Ivan Ivanovitch? Delighted to see you! What + brings you here? + </p> + <p> + TOLKACHOV. [Breathing heavily] My dear good fellow... I want to ask you + something.... I implore you lend me a revolver till to-morrow. Be a + friend! + </p> + <p> + MURASHKIN. What do you want a revolver for? + </p> + <p> + TOLKACHOV. I must have it.... Oh, little fathers!... give me some + water... water quickly!... I must have it... I’ve got to go through a + dark wood to-night, so in case of accidents... do, please, lend it to + me. + </p> + <p> + MURASHKIN. Oh, you liar, Ivan Ivanovitch! What the devil have you got to + do in a dark wood? I expect you are up to something. I can see by your + face that you are up to something. What’s the matter with you? Are you + ill? + </p> + <p> + TOLKACHOV. Wait a moment, let me breathe.... Oh little mothers! I am + dog-tired. I’ve got a feeling all over me, and in my head as well, as if + I’ve been roasted on a spit. I can’t stand it any longer. Be a friend, + and don’t ask me any questions or insist on details; just give me the + revolver! I beseech you! + </p> + <p> + MURASHKIN. Well, really! Ivan Ivanovitch, what cowardice is this? The + father of a family and a Civil Servant holding a responsible post! For + shame! + </p> + <p> + TOLKACHOV. What sort of a father of a family am I! I am a martyr. I am a + beast of burden, a nigger, a slave, a rascal who keeps on waiting here + for something to happen instead of starting off for the next world. I am + a rag, a fool, an idiot. Why am I alive? What’s the use? [Jumps up] Well + now, tell me why am I alive? What’s the purpose of this uninterrupted + series of mental and physical sufferings? I understand being a martyr to + an idea, yes! But to be a martyr to the devil knows what, skirts and + lamp-globes, no! I humbly decline! No, no, no! I’ve had enough! Enough! + </p> + <p> + MURASHKIN. Don’t shout, the neighbours will hear you! + </p> + <p> + TOLKACHOV. Let your neighbours hear; it’s all the same to me! If you + don’t give me a revolver somebody else will, and there will be an end of + me anyway! I’ve made up my mind! + </p> + <p> + MURASHKIN. Hold on, you’ve pulled off a button. Speak calmly. I still + don’t understand what’s wrong with your life. + </p> + <p> + TOLKACHOV. What’s wrong? You ask me what’s wrong? Very well, I’ll tell + you! Very well! I’ll tell you everything, and then perhaps my soul will + be lighter. Let’s sit down. Now listen... Oh, little mothers, I am out + of breath!... Just let’s take to-day as an instance. Let’s take to-day. + As you know, I’ve got to work at the Treasury from ten to four. It’s + hot, it’s stuffy, there are flies, and, my dear fellow, the very dickens + of a chaos. The Secretary is on leave, Khrapov has gone to get married, + and the smaller fry is mostly in the country, making love or occupied + with amateur theatricals. Everybody is so sleepy, tired, and done up + that you can’t get any sense out of them. The Secretary’s duties are in + the hands of an individual who is deaf in the left ear and in love; the + public has lost its memory; everybody is running about angry and raging, + and there is such a hullabaloo that you can’t hear yourself speak. + Confusion and smoke everywhere. And my work is deathly: always the same, + always the same—first a correction, then a reference back, another + correction, another reference back; it’s all as monotonous as the waves + of the sea. One’s eyes, you understand, simply crawl out of one’s head. + Give me some water.... You come out a broken, exhausted man. You would + like to dine and fall asleep, but you don’t!—You remember that you + live in the country—that is, you are a slave, a rag, a bit of + string, a bit of limp flesh, and you’ve got to run round and do errands. + Where we live a pleasant custom has grown up: when a man goes to town + every wretched female inhabitant, not to mention one’s own wife, has the + power and the right to give him a crowd of commissions. The wife orders + you to run into the modiste’s and curse her for making a bodice too wide + across the chest and too narrow across the shoulders; little Sonya wants + a new pair of shoes; your sister-in-law wants some scarlet silk like the + pattern at twenty copecks and three arshins long.... Just wait; I’ll + read you. [Takes a note out of his pocket and reads] A globe for the + lamp; one pound of pork sausages; five copecks’ worth of cloves and + cinnamon; castor-oil for Misha; ten pounds of granulated sugar. To bring + with you from home: a copper jar for the sugar; carbolic acid; insect + powder, ten copecks’ worth; twenty bottles of beer; vinegar; and corsets + for Mlle. Shanceau at No. 82.... Ouf! And to bring home Misha’s winter + coat and goloshes. That is the order of my wife and family. Then there + are the commissions of our dear friends and neighbours—devil take + them! To-morrow is the name-day of Volodia Vlasin; I have to buy a + bicycle for him. The wife of Lieutenant-Colonel Virkhin is in an + interesting condition, and I am therefore bound to call in at the + midwife’s every day and invite her to come. And so on, and so on. There + are five notes in my pocket and my handkerchief is all knots. And so, my + dear fellow, you spend the time between your office and your train, + running about the town like a dog with your tongue hanging out, running + and running and cursing life. From the clothier’s to the chemist’s, from + the chemist’s to the modiste’s, from the modiste’s to the pork + butcher’s, and then back again to the chemist’s. In one place you + stumble, in a second you lose your money, in a third you forget to pay + and they raise a hue and cry after you, in a fourth you tread on the + train of a lady’s dress.... Tfoo! You get so shaken up from all this + that your bones ache all night and you dream of crocodiles. Well, you’ve + made all your purchases, but how are you to pack all these things? For + instance, how are you to put a heavy copper jar together with the + lamp-globe or the carbolic acid with the tea? How are you to make a + combination of beer-bottles and this bicycle? It’s the labours of + Hercules, a puzzle, a rebus! Whatever tricks you think of, in the long + run you’re bound to smash or scatter something, and at the station and + in the train you have to stand with your arms apart, holding up some + parcel or other under your chin, with parcels, cardboard boxes, and + such-like rubbish all over you. The train starts, the passengers begin + to throw your luggage about on all sides: you’ve got your things on + somebody else’s seat. They yell, they call for the conductor, they + threaten to have you put out, but what can I do? I just stand and blink + my eyes like a whacked donkey. Now listen to this. I get home. You think + I’d like to have a nice little drink after my righteous labours and a + good square meal—isn’t that so?—but there is no chance of + that. My spouse has been on the look-out for me for some time. You’ve + hardly started on your soup when she has her claws into you, wretched + slave that you are—and wouldn’t you like to go to some amateur + theatricals or to a dance? You can’t protest. You are a husband, and the + word husband when translated into the language of summer residents in + the country means a dumb beast which you can load to any extent without + fear of the interference of the Society for the Prevention of Cruelty to + Animals. So you go and blink at “A Family Scandal” or something, you + applaud when your wife tells you to, and you feel worse and worse and + worse until you expect an apoplectic fit to happen any moment. If you go + to a dance you have to find partners for your wife, and if there is a + shortage of them then you dance the quadrilles yourself. You get back + from the theatre or the dance after midnight, when you are no longer a + man but a useless, limp rag. Well, at last you’ve got what you want; you + unrobe and get into bed. It’s excellent—you can close your eyes + and sleep.... Everything is so nice, poetic, and warm, you understand; + there are no children squealing behind the wall, and you’ve got rid of + your wife, and your conscience is clear—what more can you want? + You fall asleep—and suddenly... you hear a buzz!... Gnats! [Jumps + up] Gnats! Be they triply accursed Gnats! [Shakes his fist] Gnats! It’s + one of the plagues of Egypt, one of the tortures of the Inquisition! + Buzz! It sounds so pitiful, so pathetic, as if it’s begging your pardon, + but the villain stings so that you have to scratch yourself for an hour + after. You smoke, and go for them, and cover yourself from head to foot, + but it is no good! At last you have to sacrifice yourself and let the + cursed things devour you. You’ve no sooner got used to the gnats when + another plague begins: downstairs your wife begins practising + sentimental songs with her two friends. They sleep by day and rehearse + for amateur concerts by night. Oh, my God! Those tenors are a torture + with which no gnats on earth can compare. [He sings] “Oh, tell me not my + youth has ruined you.” “Before thee do I stand enchanted.” Oh, the + beastly things! They’ve about killed me! So as to deafen myself a little + I do this: I drum on my ears. This goes on till four o’clock. Oh, give + me some more water, brother!... I can’t... Well, not having slept, you + get up at six o’clock in the morning and off you go to the station. You + run so as not to be late, and it’s muddy, foggy, cold—brr! Then + you get to town and start all over again. So there, brother. It’s a + horrible life; I wouldn’t wish one like it for my enemy. You understand—I’m + ill! Got asthma, heartburn—I’m always afraid of something. I’ve + got indigestion, everything is thick before me... I’ve become a regular + psychopath.... [Looking round] Only, between ourselves, I want to go + down to see Chechotte or Merzheyevsky. There’s some devil in me, + brother. In moments of despair and suffering, when the gnats are + stinging or the tenors sing, everything suddenly grows dim; you jump up + and race round the whole house like a lunatic and shout, “I want blood! + Blood!” And really all the time you do want to let a knife into somebody + or hit him over the head with a chair. That’s what life in a summer + villa leads to! And nobody has any sympathy for me, and everybody seems + to think it’s all as it should be. People even laugh. But understand, I + am a living being and I want to live! This isn’t farce, it’s tragedy! I + say, if you don’t give me your revolver, you might at any rate + sympathize. + </p> + <p> + MURASHKIN. I do sympathize. + </p> + <p> + TOLKACHOV. I see how much you sympathize.... Good-bye. I’ve got to buy + some anchovies and some sausage... and some tooth-powder, and then to + the station. + </p> + <p> + MURASHKIN. Where are you living? + </p> + <p> + TOLKACHOV. At Carrion River. + </p> + <p> + MURASHKIN. [Delighted] Really? Then you’ll know Olga Pavlovna Finberg, + who lives there? + </p> + <p> + TOLKACHOV. I know her. We are even acquainted. + </p> + <p> + MURASHKIN. How perfectly splendid! That’s so convenient, and it would be + so good of you... + </p> + <p> + TOLKACHOV. What’s that? + </p> + <p> + MURASHKIN. My dear fellow, wouldn’t you do one little thing for me? Be a + friend! Promise me now. + </p> + <p> + TOLKACHOV. What’s that? + </p> + <p> + MURASHKIN. It would be such a friendly action! I implore you, my dear + man. In the first place, give Olga Pavlovna my very kind regards. In the + second place, there’s a little thing I’d like you to take down to her. + She asked me to get a sewing-machine but I haven’t anybody to send it + down to her by.... You take it, my dear! And you might at the same time + take down this canary in its cage... only be careful, or you’ll break + the door.... What are you looking at me like that for? + </p> + <p> + TOLKACHOV. A sewing-machine... a canary in a cage... siskins, + chaffinches... + </p> + <p> + MURASHKIN. Ivan Ivanovitch, what’s the matter with you? Why are you + turning purple? + </p> + <p> + TOLKACHOV. [Stamping] Give me the sewing-machine! Where’s the bird-cage? + Now get on top yourself! Eat me! Tear me to pieces! Kill me! [Clenching + his fists] I want blood! Blood! Blood! + </p> + <p> + MURASHKIN. You’ve gone mad! + </p> + <p> + TOLKACHOV. [Treading on his feet] I want blood! Blood! + </p> + <p> + MURASHKIN. [In horror] He’s gone mad! [Shouts] Peter! Maria! Where are + you? Help! + </p> + <p> + TOLKACHOV. [Chasing him round the room] I want blood! Blood! + </p> + <p> + Curtain. + </p> + <a name="link2H_4_0007" id="link2H_4_0007"> + <!-- H2 anchor --> </a> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE ANNIVERSARY + </h2> + CHARACTERS +<pre xml:space="preserve"> + ANDREY ANDREYEVITCH SHIPUCHIN, Chairman of the N—— Joint Stock + Bank, a middle-aged man, with a monocle + TATIANA ALEXEYEVNA, his wife, aged 25 + KUSMA NICOLAIEVITCH KHIRIN, the bank’s aged book-keeper + NASTASYA FYODOROVNA MERCHUTKINA, an old woman wearing an old-fashioned + cloak + DIRECTORS OF THE BANK + EMPLOYEES OF THE BANK +</pre> + <p> + The action takes place at the Bank + </p> + <p> + [The private office of the Chairman of Directors. On the left is a door, + leading into the public department. There are two desks. The furniture + aims at a deliberately luxurious effect, with armchairs covered in + velvet, flowers, statues, carpets, and a telephone. It is midday. KHIRIN + is alone; he wears long felt boots, and is shouting through the door.] + </p> + <p> + KHIRIN. Send out to the chemist for 15 copecks’ worth of valerian drops, + and tell them to bring some drinking water into the Directors’ office! + This is the hundredth time I’ve asked! [Goes to a desk] I’m absolutely + tired out. This is the fourth day I’ve been working, without a chance of + shutting my eyes. From morning to evening I work here, from evening to + morning at home. [Coughs] And I’ve got an inflammation all over me. I’m + hot and cold, and I cough, and my legs ache, and there’s something + dancing before my eyes. [Sits] Our scoundrel of a Chairman, the brute, + is going to read a report at a general meeting. “Our Bank, its Present + and Future.” You’d think he was a Gambetta.... [At work] Two... one... + one... six... nought... seven.... Next, six... nought... one... six.... + He just wants to throw dust into people’s eyes, and so I sit here and + work for him like a galley-slave! This report of his is poetic fiction + and nothing more, and here I’ve got to sit day after day and add + figures, devil take his soul! [Rattles on his counting-frame] I can’t + stand it! [Writing] That is, one... three... seven... two... one... + nought.... He promised to reward me for my work. If everything goes well + to-day and the public is properly put into blinkers, he’s promised me a + gold charm and 300 roubles bonus.... We’ll see. [Works] Yes, but if my + work all goes for nothing, then you’d better look out.... I’m very + excitable.... If I lose my temper I’m capable of committing some crime, + so look out! Yes! + </p> + <p> + [Noise and applause behind the scenes. SHIPUCHIN’S voice: “Thank you! + Thank you! I am extremely grateful.” Enter SHIPUCHIN. He wears a + frockcoat and white tie; he carries an album which has been just + presented to him.] + </p> + <p> + SHIPUCHIN. [At the door, addresses the outer office] This present, my + dear colleagues, will be preserved to the day of my death, as a memory + of the happiest days of my life! Yes, gentlemen! Once more, I thank you! + [Throws a kiss into the air and turns to KHIRIN] My dear, my respected + Kusma Nicolaievitch! + </p> + <p> + [All the time that SHIPUCHIN is on the stage, clerks intermittently come + in with papers for his signature and go out.] + </p> + <p> + KHIRIN. [Standing up] I have the honour to congratulate you, Andrey + Andreyevitch, on the fiftieth anniversary of our Bank, and hope that... + </p> + <p> + SHIPUCHIN. [Warmly shakes hands] Thank you, my dear sir! Thank you! I + think that in view of the unique character of the day, as it is an + anniversary, we may kiss each other!... [They kiss] I am very, very + glad! Thank you for your service... for everything! If, in the course of + the time during which I have had the honour to be Chairman of this Bank + anything useful has been done, the credit is due, more than to anybody + else, to my colleagues. [Sighs] Yes, fifteen years! Fifteen years as my + name’s Shipuchin! [Changes his tone] Where’s my report? Is it getting + on? + </p> + <p> + KHIRIN. Yes; there’s only five pages left. + </p> + <p> + SHIPUCHIN. Excellent. Then it will be ready by three? + </p> + <p> + KHIRIN. If nothing occurs to disturb me, I’ll get it done. Nothing of + any importance is now left. + </p> + <p> + SHIPUCHIN. Splendid. Splendid, as my name’s Shipuchin! The general + meeting will be at four. If you please, my dear fellow. Give me the + first half, I’ll peruse it.... Quick.... [Takes the report] I base + enormous hopes on this report. It’s my <i>profession de foi</i>, or, + better still, my firework. [Note: The actual word employed.] My + firework, as my name’s Shipuchin! [Sits and reads the report to himself] + I’m hellishly tired.... My gout kept on giving me trouble last night, + all the morning I was running about, and then these excitements, + ovations, agitations... I’m tired! + </p> + <p> + KHIRIN. Two... nought... nought... three... nine... two... nought. I + can’t see straight after all these figures.... Three... one... six... + four... one... five.... [Uses the counting-frame.] + </p> + <p> + SHIPUCHIN. Another unpleasantness.... This morning your wife came to see + me and complained about you once again. Said that last night you + threatened her and her sister with a knife. Kusma Nicolaievitch, what do + you mean by that? Oh, oh! + </p> + <p> + KHIRIN. [Rudely] As it’s an anniversary, Andrey Andreyevitch, I’ll ask + for a special favour. Please, even if it’s only out of respect for my + toil, don’t interfere in my family life. Please! + </p> + <p> + SHIPUCHIN. [Sighs] Yours is an impossible character, Kusma + Nicolaievitch! You’re an excellent and respected man, but you behave to + women like some scoundrel. Yes, really. I don’t understand why you hate + them so? + </p> + <p> + KHIRIN. I wish I could understand why you love them so! [Pause.] + </p> + <p> + SHIPUCHIN. The employees have just presented me with an album; and the + Directors, as I’ve heard, are going to give me an address and a silver + loving-cup.... [Playing with his monocle] Very nice, as my name’s + Shipuchin! It isn’t excessive. A certain pomp is essential to the + reputation of the Bank, devil take it! You know everything, of + course.... I composed the address myself, and I bought the cup myself, + too.... Well, then there was 45 roubles for the cover of the address, + but you can’t do without that. They’d never have thought of it for + themselves. [Looks round] Look at the furniture! Just look at it! They + say I’m stingy, that all I want is that the locks on the doors should be + polished, that the employees should wear fashionable ties, and that a + fat hall-porter should stand by the door. No, no, sirs. Polished locks + and a fat porter mean a good deal. I can behave as I like at home, eat + and sleep like a pig, get drunk.... + </p> + <p> + KHIRIN. Please don’t make hints. + </p> + <p> + SHIPUCHIN. Nobody’s making hints! What an impossible character yours + is.... As I was saying, at home I can live like a tradesman, a <i>parvenu</i>, + and be up to any games I like, but here everything must be <i>en grand</i>. + This is a Bank! Here every detail must <i>imponiren</i>, so to speak, + and have a majestic appearance. [He picks up a paper from the floor and + throws it into the fireplace] My service to the Bank has been just this—I’ve + raised its reputation. A thing of immense importance is tone! Immense, + as my name’s Shipuchin! [Looks over KHIRIN] My dear man, a deputation of + shareholders may come here any moment, and there you are in felt boots, + wearing a scarf... in some absurdly coloured jacket.... You might have + put on a frock-coat, or at any rate a dark jacket.... + </p> + <p> + KHIRIN. My health matters more to me than your shareholders. I’ve an + inflammation all over me. + </p> + <p> + SHIPUCHIN. [Excitedly] But you will admit that it’s untidy! You spoil + the <i>ensemble</i>! + </p> + <p> + KHIRIN. If the deputation comes I can go and hide myself. It won’t + matter if... seven... one... seven... two... one... five... nought. I + don’t like untidiness myself.... Seven... two... nine... [Uses the + counting-frame] I can’t stand untidiness! It would have been wiser of + you not to have invited ladies to to-day’s anniversary dinner.... + </p> + <p> + SHIPUCHIN. Oh, that’s nothing. + </p> + <p> + KHIRIN. I know that you’re going to have the hall filled with them + to-night to make a good show, but you look out, or they’ll spoil + everything. They cause all sorts of mischief and disorder. + </p> + <p> + SHIPUCHIN. On the contrary, feminine society elevates! + </p> + <p> + KHIRIN. Yes.... Your wife seems intelligent, but on the Monday of last + week she let something off that upset me for two days. In front of a lot + of people she suddenly asks: “Is it true that at our Bank my husband + bought up a lot of the shares of the Driazhsky-Priazhsky Bank, which + have been falling on exchange? My husband is so annoyed about it!” This + in front of people. Why do you tell them everything, I don’t understand. + Do you want them to get you into serious trouble? + </p> + <p> + SHIPUCHIN. Well, that’s enough, enough! All that’s too dull for an + anniversary. Which reminds me, by the way. [Looks at the time] My wife + ought to be here soon. I really ought to have gone to the station, to + meet the poor little thing, but there’s no time.... and I’m tired. I + must say I’m not glad of her! That is to say, I am glad, but I’d be + gladder if she only stayed another couple of days with her mother. + She’ll want me to spend the whole evening with her to-night, whereas we + have arranged a little excursion for ourselves.... [Shivers] Oh, my + nerves have already started dancing me about. They are so strained that + I think the very smallest trifle would be enough to make me break into + tears! No, I must be strong, as my name’s Shipuchin! + </p> + <p> + [Enter TATIANA ALEXEYEVNA SHIPUCHIN in a waterproof, with a little + travelling satchel slung across her shoulder.] + </p> + <p> + SHIPUCHIN. Ah! In the nick of time! + </p> + <p> + TATIANA ALEXEYEVNA. Darling! + </p> + <p> + [Runs to her husband: a prolonged kiss.] + </p> + <p> + SHIPUCHIN. We were only speaking of you just now! [Looks at his watch.] + </p> + <p> + TATIANA ALEXEYEVNA. [Panting] Were you very dull without me? Are you + well? I haven’t been home yet, I came here straight from the station. + I’ve a lot, a lot to tell you.... I couldn’t wait.... I shan’t take off + my clothes, I’ll only stay a minute. [To KHIRIN] Good morning, Kusma + Nicolaievitch! [To her husband] Is everything all right at home? + </p> + <p> + SHIPUCHIN. Yes, quite. And, you know, you’ve got to look plumper and + better this week.... Well, what sort of a time did you have? + </p> + <p> + TATIANA ALEXEYEVNA. Splendid. Mamma and Katya send their regards. + Vassili Andreitch sends you a kiss. [Kisses him] Aunt sends you a jar of + jam, and is annoyed because you don’t write. Zina sends you a kiss. + [Kisses.] Oh, if you knew what’s happened. If you only knew! I’m even + frightened to tell you! Oh, if you only knew! But I see by your eyes + that you’re sorry I came! + </p> + <p> + SHIPUCHIN. On the contrary.... Darling.... [Kisses her.] + </p> + <p> + [KHIRIN coughs angrily.] + </p> + <p> + TATIANA ALEXEYEVNA. Oh, poor Katya, poor Katya! I’m so sorry for her, so + sorry for her. + </p> + <p> + SHIPUCHIN. This is the Bank’s anniversary to-day, darling, we may get a + deputation of the shareholders at any moment, and you’re not dressed. + </p> + <p> + TATIANA ALEXEYEVNA. Oh, yes, the anniversary! I congratulate you, + gentlemen. I wish you.... So it means that to-day’s the day of the + meeting, the dinner.... That’s good. And do you remember that beautiful + address which you spent such a long time composing for the shareholders? + Will it be read to-day? + </p> + <p> + [KHIRIN coughs angrily.] + </p> + <p> + SHIPUCHIN. [Confused] My dear, we don’t talk about these things. You’d + really better go home. + </p> + <p> + TATIANA ALEXEYEVNA. In a minute, in a minute. I’ll tell you everything + in one minute and go. I’ll tell you from the very beginning. Well.... + When you were seeing me off, you remember I was sitting next to that + stout lady, and I began to read. I don’t like to talk in the train. I + read for three stations and didn’t say a word to anyone.... Well, then + the evening set in, and I felt so mournful, you know, with such sad + thoughts! A young man was sitting opposite me—not a bad-looking + fellow, a brunette.... Well, we fell into conversation.... A sailor came + along then, then some student or other.... [Laughs] I told them that I + wasn’t married... and they did look after me! We chattered till + midnight, the brunette kept on telling the most awfully funny stories, + and the sailor kept on singing. My chest began to ache from laughing. + And when the sailor—oh, those sailors!—when he got to know + my name was TATIANA, you know what he sang? [Sings in a bass voice] + “Onegin don’t let me conceal it, I love Tatiana madly!” [Note: From the + Opera <i>Evgeni Onegin</i>—words by Pushkin.] [Roars with + laughter.] + </p> + <p> + [KHIRIN coughs angrily.] + </p> + <p> + SHIPUCHIN. Tania, dear, you’re disturbing Kusma Nicolaievitch. Go home, + dear.... Later on.... + </p> + <p> + TATIANA ALEXEYEVNA. No, no, let him hear if he wants to, it’s awfully + interesting. I’ll end in a minute. Serezha came to meet me at the + station. Some young man or other turns up, an inspector of taxes, I + think... quite handsome, especially his eyes.... Serezha introduced me, + and the three of us rode off together.... It was lovely weather.... + </p> + <p> + [Voices behind the stage: “You can’t, you can’t! What do you want?” + Enter MERCHUTKINA, waving her arms about.] + </p> + <p> + MERCHUTKINA. What are you dragging at me for. What else! I want him + himself! [To SHIPUCHIN] I have the honour, your excellency... I am the + wife of a civil servant, Nastasya Fyodorovna Merchutkina. + </p> + <p> + SHIPUCHIN. What do you want? + </p> + <p> + MERCHUTKINA. Well, you see, your excellency, my husband has been ill for + five months, and while he was at home, getting better, he was suddenly + dismissed for no reason, your excellency, and when I went to get his + salary, they, you see, deducted 24 roubles 36 copecks from it. What for? + I ask. They said, “Well, he drew it from the employees’ account, and the + others had to make it up.” How can that be? How could he draw anything + without my permission? No, your excellency! I’m a poor woman... my + lodgers are all I have to live on.... I’m weak and defenceless.... + Everybody does me some harm, and nobody has a kind word for me. + </p> + <p> + SHIPUCHIN. Excuse me. [Takes a petition from her and reads it standing.] + </p> + <p> + TATIANA ALEXEYEVNA. [To KHIRIN] Yes, but first we.... Last week I + suddenly received a letter from my mother. She writes that a certain + Grendilevsky has proposed to my sister Katya. A nice, modest, young man, + but with no means of his own, and no assured position. And, + unfortunately, just think of it, Katya is absolutely gone on him. What’s + to be done? Mamma writes telling me to come at once and influence + Katya.... + </p> + <p> + KHIRIN. [Angrily] Excuse me, you’ve made me lose my place! You go + talking about your mamma and Katya, and I understand nothing; and I’ve + lost my place. + </p> + <p> + TATIANA ALEXEYEVNA. What does that matter? You listen when a lady is + talking to you! Why are you so angry to-day? Are you in love? [Laughs.] + </p> + <p> + SHIPUCHIN. [To MERCHUTKINA] Excuse me, but what is this? I can’t make + head or tail of it. + </p> + <p> + TATIANA ALEXEYEVNA. Are you in love? Aha! You’re blushing! + </p> + <p> + SHIPUCHIN. [To his wife] Tanya, dear, do go out into the public office + for a moment. I shan’t be long. + </p> + <p> + TATIANA ALEXEYEVNA. All right. [Goes out.] + </p> + <p> + SHIPUCHIN. I don’t understand anything of this. You’ve obviously come to + the wrong place, madam. Your petition doesn’t concern us at all. You + should go to the department in which your husband was employed. + </p> + <p> + MERCHUTKINA. I’ve been there a good many times these five months, and + they wouldn’t even look at my petition. I’d given up all hopes, but, + thanks to my son-in-law, Boris Matveyitch, I thought of coming to you. + “You go, mother,” he says, “and apply to Mr. Shipuchin, he’s an + influential man and can do anything.” Help me, your excellency! + </p> + <p> + SHIPUCHIN. We can’t do anything for you, Mrs. Merchutkina. You must + understand that your husband, so far as I can gather, was in the employ + of the Army Medical Department, while this is a private, commercial + concern, a bank. Don’t you understand that? + </p> + <p> + MERCHUTKINA. Your excellency, I can produce a doctor’s certificate of my + husband’s illness. Here it is, just look at it.... + </p> + <p> + SHIPUCHIN. [Irritated] That’s all right; I quite believe you, but it’s + not our business. [Behind the scene, TATIANA ALEXEYEVNA’S laughter is + heard, then a man’s. SHIPUCHIN glances at the door] She’s disturbing the + employees. [To MERCHUTKINA] It’s strange and it’s even silly. Surely + your husband knows where you ought to apply? + </p> + <p> + MERCHUTKINA. Your excellency, I don’t let him know anything. He just + cried out: “It isn’t your business! Get out of this!” And... + </p> + <p> + SHIPUCHIN. Madam, I repeat, your husband was in the employ of the Army + Medical Department, and this is a bank, a private, commercial concern. + </p> + <p> + MERCHUTKINA. Yes, yes, yes.... I understand, my dear. In that case, your + excellency, just order them to pay me 15 roubles! I don’t mind taking + that to be going on with. + </p> + <p> + SHIPUCHIN. [Sighs] Ouf! + </p> + <p> + KHIRIN. Andrey Andreyevitch, I’ll never finish the report at this rate! + </p> + <p> + SHIPUCHIN. One moment. [To MERCHUTKINA] I can’t get any sense out of + you. But do understand that your taking this business here is as absurd + as if you took a divorce petition to a chemist’s or into a gold assay + office. [Knock at the door. The voice of TATIANA ALEXEYEVNA is heard, + “Can I come in, Andrey?” SHIPUCHIN shouts] Just wait one minute, dear! + [To MERCHUTKINA] What has it got to do with us if you haven’t been paid? + As it happens, madam, this is an anniversary to-day, we’re busy... and + somebody may be coming here at any moment.... Excuse me.... + </p> + <p> + MERCHUTKINA. Your excellency, have pity on me, an orphan! I’m a weak, + defenceless woman.... I’m tired to death.... I’m having trouble with my + lodgers, and on account of my husband, and I’ve got the house to look + after, and my son-in-law is out of work.... + </p> + <p> + SHIPUCHIN. Mrs. Merchutkina, I... No, excuse me, I can’t talk to you! My + head’s even in a whirl.... You are disturbing us and making us waste our + time. [Sighs, aside] What a business, as my name’s Shipuchin! [To + KHIRIN] Kusma Nicolaievitch, will you please explain to Mrs. + Merchutkina. [Waves his hand and goes out into public department.] + </p> + <p> + KHIRIN. [Approaching MERCHUTKINA, angrily] What do you want? + </p> + <p> + MERCHUTKINA. I’m a weak, defenceless woman.... I may look all right, but + if you were to take me to pieces you wouldn’t find a single healthy bit + in me! I can hardly stand on my legs, and I’ve lost my appetite. I drank + my coffee to-day and got no pleasure out of it. + </p> + <p> + KHIRIN. I ask you, what do you want? + </p> + <p> + MERCHUTKINA. Tell them, my dear, to give me 15 roubles, and a month + later will do for the rest. + </p> + <p> + KHIRIN. But haven’t you been told perfectly plainly that this is a bank! + </p> + <p> + MERCHUTKINA. Yes, yes.... And if you like I can show you the doctor’s + certificate. + </p> + <p> + KHIRIN. Have you got a head on your shoulders, or what? + </p> + <p> + MERCHUTKINA. My dear, I’m asking for what’s mine by law. I don’t want + what isn’t mine. + </p> + <p> + KHIRIN. I ask you, madam, have you got a head on your shoulders, or + what? Well, devil take me, I haven’t any time to talk to you! I’m + busy.... [Points to the door] That way, please! + </p> + <p> + MERCHUTKINA. [Surprised] And where’s the money? + </p> + <p> + KHIRIN. You haven’t a head, but this [Taps the table and then points to + his forehead.] + </p> + <p> + MERCHUTKINA. [Offended] What? Well, never mind, never mind.... You can + do that to your own wife, but I’m the wife of a civil servant.... You + can’t do that to me! + </p> + <p> + KHIRIN. [Losing his temper] Get out of this! + </p> + <p> + MERCHUTKINA. No, no, no... none of that! + </p> + <p> + KHIRIN. If you don’t get out this second, I’ll call for the hall-porter! + Get out! [Stamping.] + </p> + <p> + MERCHUTKINA. Never mind, never mind! I’m not afraid! I’ve seen the like + of you before! Miser! + </p> + <p> + KHIRIN. I don’t think I’ve ever seen a more awful woman in my life.... + Ouf! It’s given me a headache.... [Breathing heavily] I tell you once + more... do you hear me? If you don’t get out of this, you old devil, + I’ll grind you into powder! I’ve got such a character that I’m perfectly + capable of laming you for life! I can commit a crime! + </p> + <p> + MERCHUTKINA. I’ve heard barking dogs before. I’m not afraid. I’ve seen + the like of you before. + </p> + <p> + KHIRIN. [In despair] I can’t stand it! I’m ill! I can’t! [Sits down at + his desk] They’ve let the Bank get filled with women, and I can’t finish + my report! I can’t. + </p> + <p> + MERCHUTKINA. I don’t want anybody else’s money, but my own, according to + law. You ought to be ashamed of yourself! Sitting in a government office + in felt boots.... + </p> + <p> + [Enter SHIPUCHIN and TATIANA ALEXEYEVNA.] + </p> + <p> + TATIANA ALEXEYEVNA. [Following her husband] We spent the evening at the + Berezhnitskys. Katya was wearing a sky-blue frock of foulard silk, cut + low at the neck.... She looks very well with her hair done over her + head, and I did her hair myself.... She was perfectly fascinating.... + </p> + <p> + SHIPUCHIN. [Who has had enough of it already] Yes, yes... + fascinating.... They may be here any moment.... + </p> + <p> + MERCHUTKINA. Your excellency! + </p> + <p> + SHIPUCHIN. [Dully] What else? What do you want? + </p> + <p> + MERCHUTKINA. Your excellency! [Points to KHIRIN] This man... this man + tapped the table with his finger, and then his head.... You told him to + look after my affair, but he insults me and says all sorts of things. + I’m a weak, defenceless woman.... + </p> + <p> + SHIPUCHIN. All right, madam, I’ll see to it... and take the necessary + steps.... Go away now... later on! [Aside] My gout’s coming on! + </p> + <p> + KHIRIN. [In a low tone to SHIPUCHIN] Andrey Andreyevitch, send for the + hall-porter and have her turned out neck and crop! What else can we do? + </p> + <p> + SHIPUCHIN. [Frightened] No, no! She’ll kick up a row and we aren’t the + only people in the building. + </p> + <p> + MERCHUTKINA. Your excellency. + </p> + <p> + KHIRIN. [In a tearful voice] But I’ve got to finish my report! I won’t + have time! I won’t! + </p> + <p> + MERCHUTKINA. Your excellency, when shall I have the money? I want it + now. + </p> + <p> + SHIPUCHIN. [Aside, in dismay] A re-mark-ab-ly beastly woman! [Politely] + Madam, I’ve already told you, this is a bank, a private, commercial + concern. + </p> + <p> + MERCHUTKINA. Be a father to me, your excellency.... If the doctor’s + certificate isn’t enough, I can get you another from the police. Tell + them to give me the money! + </p> + <p> + SHIPUCHIN. [Panting] Ouf! + </p> + <p> + TATIANA ALEXEYEVNA. [To MERCHUTKINA] Mother, haven’t you already been + told that you’re disturbing them? What right have you? + </p> + <p> + MERCHUTKINA. Mother, beautiful one, nobody will help me. All I do is to + eat and drink, and just now I didn’t enjoy my coffee at all. + </p> + <p> + SHIPUCHIN. [Exhausted] How much do you want? + </p> + <p> + MERCHUTKINA. 24 roubles 36 copecks. + </p> + <p> + SHIPUCHIN. All right! [Takes a 25-rouble note out of his pocket-book and + gives it to her] Here are 25 roubles. Take it and... go! + </p> + <p> + [KHIRIN coughs angrily.] + </p> + <p> + MERCHUTKINA. I thank you very humbly, your excellency. [Hides the + money.] + </p> + <p> + TATIANA ALEXEYEVNA. [Sits by her husband] It’s time I went home.... + [Looks at watch] But I haven’t done yet.... I’ll finish in one minute + and go away.... What a time we had! Yes, what a time! We went to spend + the evening at the Berezhnitskys.... It was all right, quite fun, but + nothing in particular.... Katya’s devoted Grendilevsky was there, of + course.... Well, I talked to Katya, cried, and induced her to talk to + Grendilevsky and refuse him. Well, I thought, everything’s, settled the + best possible way; I’ve quieted mamma down, saved Katya, and can be + quiet myself.... What do you think? Katya and I were going along the + avenue, just before supper, and suddenly... [Excitedly] And suddenly we + heard a shot.... No, I can’t talk about it calmly! [Waves her + handkerchief] No, I can’t! + </p> + <p> + SHIPUCHIN. [Sighs] Ouf! + </p> + <p> + TATIANA ALEXEYEVNA. [Weeps] We ran to the summer-house, and there... + there poor Grendilevsky was lying... with a pistol in his hand.... + </p> + <p> + SHIPUCHIN. No, I can’t stand this! I can’t stand it! [To MERCHUTKINA] + What else do you want? + </p> + <p> + MERCHUTKINA. Your excellency, can’t my husband go back to his job? + </p> + <p> + TATIANA ALEXEYEVNA. [Weeping] He’d shot himself right in the heart... + here.... And the poor man had fallen down senseless.... And he was + awfully frightened, as he lay there... and asked for a doctor. A doctor + came soon... and saved the unhappy man.... + </p> + <p> + MERCHUTKINA. Your excellency, can’t my husband go back to his job? + </p> + <p> + SHIPUCHIN. No, I can’t stand this! [Weeps] I can’t stand it! [Stretches + out both his hands in despair to KHIRIN] Drive her away! Drive her away, + I implore you! + </p> + <p> + KHIRIN. [Goes up to TATIANA ALEXEYEVNA] Get out of this! + </p> + <p> + SHIPUCHIN. Not her, but this one... this awful woman.... [Points] That + one! + </p> + <p> + KHIRIN. [Not understanding, to TATIANA ALEXEYEVNA] Get out of this! + [Stamps] Get out! + </p> + <p> + TATIANA ALEXEYEVNA. What? What are you doing? Have you taken leave of + your senses? + </p> + <p> + SHIPUCHIN. It’s awful? I’m a miserable man! Drive her out! Out with her! + </p> + <p> + KHIRIN. [To TATIANA ALEXEYEVNA] Out of it! I’ll cripple you! I’ll knock + you out of shape! I’ll break the law! + </p> + <p> + TATIANA ALEXEYEVNA. [Running from him; he chases her] How dare you! You + impudent fellow! [Shouts] Andrey! Help! Andrey! [Screams.] + </p> + <p> + SHIPUCHIN. [Chasing them] Stop! I implore you! Not such a noise? Have + pity on me! + </p> + <p> + KHIRIN. [Chasing MERCHUTKINA] Out of this! Catch her! Hit her! Cut her + into pieces! + </p> + <p> + SHIPUCHIN. [Shouts] Stop! I ask you! I implore you! + </p> + <p> + MERCHUTKINA. Little fathers... little fathers! [Screams] Little + fathers!... + </p> + <p> + TATIANA ALEXEYEVNA. [Shouts] Help! Help!... Oh, oh... I’m sick, I’m + sick! [Jumps on to a chair, then falls on to the sofa and groans as if + in a faint.] + </p> + <p> + KHIRIN. [Chasing MERCHUTKINA] Hit her! Beat her! Cut her to pieces! + </p> + <p> + MERCHUTKINA. Oh, oh... little fathers, it’s all dark before me! Ah! + [Falls senseless into SHIPUCHIN’S arms. There is a knock at the door; a + VOICE announces THE DEPUTATION] The deputation... reputation... + occupation... + </p> + <p> + KHIRIN. [Stamps] Get out of it, devil take me! [Turns up his sleeves] + Give her to me: I may break the law! + </p> + <p> + [A deputation of five men enters; they all wear frockcoats. One carries + the velvet-covered address, another, the loving-cup. Employees look in + at the door, from the public department. TATIANA ALEXEYEVNA on the sofa, + and MERCHUTKINA in SHIPUCHIN’S arms are both groaning.] + </p> + <p> + ONE OF THE DEPUTATION. [Reads aloud] “Deeply respected and dear Andrey + Andreyevitch! Throwing a retrospective glance at the past history of our + financial administration, and reviewing in our minds its gradual + development, we receive an extremely satisfactory impression. It is true + that in the first period of its existence, the inconsiderable amount of + its capital, and the absence of serious operations of any description, + and also the indefinite aims of this bank, made us attach an extreme + importance to the question raised by Hamlet, ‘To be or not to be,’ and + at one time there were even voices to be heard demanding our + liquidation. But at that moment you become the head of our concern. Your + knowledge, energies, and your native tact were the causes of + extraordinary success and widespread extension. The reputation of the + bank... [Coughs] reputation of the bank...” + </p> + <p> + MERCHUTKINA. [Groans] Oh! Oh! + </p> + <p> + TATIANA ALEXEYEVNA. [Groans] Water! Water! + </p> + <p> + THE MEMBER OF THE DEPUTATION. [Continues] The reputation [Coughs]... the + reputation of the bank has been raised by you to such a height that we + are now the rivals of the best foreign concerns. + </p> + <p> + SHIPUCHIN. Deputation... reputation... occupation.... Two friends that + had a walk at night, held converse by the pale moonlight.... Oh tell me + not, that youth is vain, that jealousy has turned my brain. + </p> + <p> + THE MEMBER OF THE DEPUTATION. [Continues in confusion] “Then, throwing + an objective glance at the present condition of things, we, deeply + respected and dear Andrey Andreyevitch... [Lowering his voice] In that + case, we’ll do it later on.... Yes, later on....” [DEPUTATION goes out + in confusion.] + </p> + <p> + Curtain. + </p> + <a name="link2H_4_0008" id="link2H_4_0008"> + <!-- H2 anchor --> </a> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE THREE SISTERS + </h2> + <h3> + A DRAMA IN FOUR ACTS + </h3> + CHARACTERS +<pre xml:space="preserve"> + ANDREY SERGEYEVITCH PROSOROV + NATALIA IVANOVA (NATASHA), his fiancée, later his wife (28) + His sisters: + OLGA + MASHA + IRINA + FEODOR ILITCH KULIGIN, high school teacher, married to MASHA (20) + ALEXANDER IGNATEYEVITCH VERSHININ, lieutenant-colonel in charge of + a battery (42) + NICOLAI LVOVITCH TUZENBACH, baron, lieutenant in the army (30) + VASSILI VASSILEVITCH SOLENI, captain + IVAN ROMANOVITCH CHEBUTIKIN, army doctor (60) + ALEXEY PETROVITCH FEDOTIK, sub-lieutenant + VLADIMIR CARLOVITCH RODE, sub-lieutenant + FERAPONT, door-keeper at local council offices, an old man + ANFISA, nurse (80) +</pre> + <p> + The action takes place in a provincial town. + </p> + <p> + [Ages are stated in brackets.] + </p> + <a name="link2H_4_0009" id="link2H_4_0009"> + <!-- H2 anchor --> </a> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT I + </h2> + <p> + [In PROSOROV’S house. A sitting-room with pillars; behind is seen a + large dining-room. It is midday, the sun is shining brightly outside. In + the dining-room the table is being laid for lunch.] + </p> + <p> + [OLGA, in the regulation blue dress of a teacher at a girl’s high + school, is walking about correcting exercise books; MASHA, in a black + dress, with a hat on her knees, sits and reads a book; IRINA, in white, + stands about, with a thoughtful expression.] + </p> + <p> + OLGA. It’s just a year since father died last May the fifth, on your + name-day, Irina. It was very cold then, and snowing. I thought I would + never survive it, and you were in a dead faint. And now a year has gone + by and we are already thinking about it without pain, and you are + wearing a white dress and your face is happy. [Clock strikes twelve] And + the clock struck just the same way then. [Pause] I remember that there + was music at the funeral, and they fired a volley in the cemetery. He + was a general in command of a brigade but there were few people present. + Of course, it was raining then, raining hard, and snowing. + </p> + <p> + IRINA. Why think about it! + </p> + <p> + [BARON TUZENBACH, CHEBUTIKIN and SOLENI appear by the table in the + dining-room, behind the pillars.] + </p> + <p> + OLGA. It’s so warm to-day that we can keep the windows open, though the + birches are not yet in flower. Father was put in command of a brigade, + and he rode out of Moscow with us eleven years ago. I remember perfectly + that it was early in May and that everything in Moscow was flowering + then. It was warm too, everything was bathed in sunshine. Eleven years + have gone, and I remember everything as if we rode out only yesterday. + Oh, God! When I awoke this morning and saw all the light and the spring, + joy entered my heart, and I longed passionately to go home. + </p> + <p> + CHEBUTIKIN. Will you take a bet on it? + </p> + <p> + TUZENBACH. Oh, nonsense. + </p> + <p> + [MASHA, lost in a reverie over her book, whistles softly.] + </p> + <p> + OLGA. Don’t whistle, Masha. How can you! [Pause] I’m always having + headaches from having to go to the High School every day and then teach + till evening. Strange thoughts come to me, as if I were already an old + woman. And really, during these four years that I have been working + here, I have been feeling as if every day my strength and youth have + been squeezed out of me, drop by drop. And only one desire grows and + gains in strength... + </p> + <p> + IRINA. To go away to Moscow. To sell the house, drop everything here, + and go to Moscow... + </p> + <p> + OLGA. Yes! To Moscow, and as soon as possible. + </p> + <p> + [CHEBUTIKIN and TUZENBACH laugh.] + </p> + <p> + IRINA. I expect Andrey will become a professor, but still, he won’t want + to live here. Only poor Masha must go on living here. + </p> + <p> + OLGA. Masha can come to Moscow every year, for the whole summer. + </p> + <p> + [MASHA is whistling gently.] + </p> + <p> + IRINA. Everything will be arranged, please God. [Looks out of the + window] It’s nice out to-day. I don’t know why I’m so happy: I + remembered this morning that it was my name-day, and I suddenly felt + glad and remembered my childhood, when mother was still with us. What + beautiful thoughts I had, what thoughts! + </p> + <p> + OLGA. You’re all radiance to-day, I’ve never seen you look so lovely. + And Masha is pretty, too. Andrey wouldn’t be bad-looking, if he wasn’t + so stout; it does spoil his appearance. But I’ve grown old and very + thin, I suppose it’s because I get angry with the girls at school. + To-day I’m free. I’m at home. I haven’t got a headache, and I feel + younger than I was yesterday. I’m only twenty-eight.... All’s well, God + is everywhere, but it seems to me that if only I were married and could + stay at home all day, it would be even better. [Pause] I should love my + husband. + </p> + <p> + TUZENBACH. [To SOLENI] I’m tired of listening to the rot you talk. + [Entering the sitting-room] I forgot to say that Vershinin, our new + lieutenant-colonel of artillery, is coming to see us to-day. [Sits down + to the piano.] + </p> + <p> + OLGA. That’s good. I’m glad. + </p> + <p> + IRINA. Is he old? + </p> + <p> + TUZENBACH. Oh, no. Forty or forty-five, at the very outside. [Plays + softly] He seems rather a good sort. He’s certainly no fool, only he + likes to hear himself speak. + </p> + <p> + IRINA. Is he interesting? + </p> + <p> + TUZENBACH. Oh, he’s all right, but there’s his wife, his mother-in-law, + and two daughters. This is his second wife. He pays calls and tells + everybody that he’s got a wife and two daughters. He’ll tell you so + here. The wife isn’t all there, she does her hair like a flapper and + gushes extremely. She talks philosophy and tries to commit suicide every + now and again, apparently in order to annoy her husband. I should have + left her long ago, but he bears up patiently, and just grumbles. + </p> + <p> + SOLENI. [Enters with CHEBUTIKIN from the dining-room] With one hand I + can only lift fifty-four pounds, but with both hands I can lift 180, or + even 200 pounds. From this I conclude that two men are not twice as + strong as one, but three times, perhaps even more.... + </p> + <p> + CHEBUTIKIN. [Reads a newspaper as he walks] If your hair is coming + out... take an ounce of naphthaline and hail a bottle of spirit... + dissolve and use daily.... [Makes a note in his pocket diary] When found + make a note of! Not that I want it though.... [Crosses it out] It + doesn’t matter. + </p> + <p> + IRINA. Ivan Romanovitch, dear Ivan Romanovitch! + </p> + <p> + CHEBUTIKIN. What does my own little girl want? + </p> + <p> + IRINA. Ivan Romanovitch, dear Ivan Romanovitch! I feel as if I were + sailing under the broad blue sky with great white birds around me. Why + is that? Why? + </p> + <p> + CHEBUTIKIN. [Kisses her hands, tenderly] My white bird.... + </p> + <p> + IRINA. When I woke up to-day and got up and dressed myself, I suddenly + began to feel as if everything in this life was open to me, and that I + knew how I must live. Dear Ivan Romanovitch, I know everything. A man + must work, toil in the sweat of his brow, whoever he may be, for that is + the meaning and object of his life, his happiness, his enthusiasm. How + fine it is to be a workman who gets up at daybreak and breaks stones in + the street, or a shepherd, or a schoolmaster, who teaches children, or + an engine-driver on the railway.... My God, let alone a man, it’s better + to be an ox, or just a horse, so long as it can work, than a young woman + who wakes up at twelve o’clock, has her coffee in bed, and then spends + two hours dressing.... Oh it’s awful! Sometimes when it’s hot, your + thirst can be just as tiresome as my need for work. And if I don’t get + up early in future and work, Ivan Romanovitch, then you may refuse me + your friendship. + </p> + <p> + CHEBUTIKIN. [Tenderly] I’ll refuse, I’ll refuse.... + </p> + <p> + OLGA. Father used to make us get up at seven. Now Irina wakes at seven + and lies and meditates about something till nine at least. And she looks + so serious! [Laughs.] + </p> + <p> + IRINA. You’re so used to seeing me as a little girl that it seems queer + to you when my face is serious. I’m twenty! + </p> + <p> + TUZENBACH. How well I can understand that craving for work, oh God! I’ve + never worked once in my life. I was born in Petersburg, a chilly, lazy + place, in a family which never knew what work or worry meant. I remember + that when I used to come home from my regiment, a footman used to have + to pull off my boots while I fidgeted and my mother looked on in + adoration and wondered why other people didn’t see me in the same light. + They shielded me from work; but only just in time! A new age is dawning, + the people are marching on us all, a powerful, health-giving storm is + gathering, it is drawing near, soon it will be upon us and it will drive + away laziness, indifference, the prejudice against labour, and rotten + dullness from our society. I shall work, and in twenty-five or thirty + years, every man will have to work. Every one! + </p> + <p> + CHEBUTIKIN. I shan’t work. + </p> + <p> + TUZENBACH. You don’t matter. + </p> + <p> + SOLENI. In twenty-five years’ time, we shall all be dead, thank the + Lord. In two or three years’ time apoplexy will carry you off, or else + I’ll blow your brains out, my pet. [Takes a scent-bottle out of his + pocket and sprinkles his chest and hands.] + </p> + <p> + CHEBUTIKIN. [Laughs] It’s quite true, I never have worked. After I came + down from the university I never stirred a finger or opened a book, I + just read the papers.... [Takes another newspaper out of his pocket] + Here we are.... I’ve learnt from the papers that there used to be one, + Dobrolubov [Note: Dobroluboy (1836-81), in spite of the shortness of his + career, established himself as one of the classic literary critics of + Russia], for instance, but what he wrote—I don’t know... God only + knows.... [Somebody is heard tapping on the floor from below] There.... + They’re calling me downstairs, somebody’s come to see me. I’ll be back + in a minute... won’t be long.... [Exit hurriedly, scratching his beard.] + </p> + <p> + IRINA. He’s up to something. + </p> + <p> + TUZENBACH. Yes, he looked so pleased as he went out that I’m pretty + certain he’ll bring you a present in a moment. + </p> + <p> + IRINA. How unpleasant! + </p> + <p> + OLGA. Yes, it’s awful. He’s always doing silly things. + </p> + MASHA. +<pre xml:space="preserve"> + “There stands a green oak by the sea. + And a chain of bright gold is around it... + And a chain of bright gold is around it....” + </pre> + <p> + [Gets up and sings softly.] + </p> + <p> + OLGA. You’re not very bright to-day, Masha. [MASHA sings, putting on her + hat] Where are you off to? + </p> + <p> + MASHA. Home. + </p> + <p> + IRINA. That’s odd.... + </p> + <p> + TUZENBACH. On a name-day, too! + </p> + <p> + MASHA. It doesn’t matter. I’ll come in the evening. Good-bye, dear. + [Kisses MASHA] Many happy returns, though I’ve said it before. In the + old days when father was alive, every time we had a name-day, thirty or + forty officers used to come, and there was lots of noise and fun, and + to-day there’s only a man and a half, and it’s as quiet as a desert... + I’m off... I’ve got the hump to-day, and am not at all cheerful, so + don’t you mind me. [Laughs through her tears] We’ll have a talk later + on, but good-bye for the present, my dear; I’ll go somewhere. + </p> + <p> + IRINA. [Displeased] You are queer.... + </p> + <p> + OLGA. [Crying] I understand you, Masha. + </p> + <p> + SOLENI. When a man talks philosophy, well, it is philosophy or at any + rate sophistry; but when a woman, or two women, talk philosophy—it’s + all my eye. + </p> + <p> + MASHA. What do you mean by that, you very awful man? + </p> + <p> + SOLENI. Oh, nothing. You came down on me before I could say... help! + [Pause.] + </p> + <p> + MASHA. [Angrily, to OLGA] Don’t cry! + </p> + <p> + [Enter ANFISA and FERAPONT with a cake.] + </p> + <p> + ANFISA. This way, my dear. Come in, your feet are clean. [To IRINA] From + the District Council, from Mihail Ivanitch Protopopov... a cake. + </p> + <p> + IRINA. Thank you. Please thank him. [Takes the cake.] + </p> + <p> + FERAPONT. What? + </p> + <p> + IRINA. [Louder] Please thank him. + </p> + <p> + OLGA. Give him a pie, nurse. Ferapont, go, she’ll give you a pie. + </p> + <p> + FERAPONT. What? + </p> + <p> + ANFISA. Come on, gran’fer, Ferapont Spiridonitch. Come on. [Exeunt.] + </p> + <p> + MASHA. I don’t like this Mihail Potapitch or Ivanitch, Protopopov. We + oughtn’t to invite him here. + </p> + <p> + IRINA. I never asked him. + </p> + <p> + MASHA. That’s all right. + </p> + <p> + [Enter CHEBUTIKIN followed by a soldier with a silver samovar; there is + a rumble of dissatisfied surprise.] + </p> + <p> + OLGA. [Covers her face with her hands] A samovar! That’s awful! [Exit + into the dining-room, to the table.] + </p> + <p> + IRINA. My dear Ivan Romanovitch, what are you doing! + </p> + <p> + TUZENBACH. [Laughs] I told you so! + </p> + <p> + MASHA. Ivan Romanovitch, you are simply shameless! + </p> + <p> + CHEBUTIKIN. My dear good girl, you are the only thing, and the dearest + thing I have in the world. I’ll soon be sixty. I’m an old man, a lonely + worthless old man. The only good thing in me is my love for you, and if + it hadn’t been for that, I would have been dead long ago.... [To IRINA] + My dear little girl, I’ve known you since the day of your birth, I’ve + carried you in my arms... I loved your dead mother.... + </p> + <p> + MASHA. But your presents are so expensive! + </p> + <p> + CHEBUTIKIN. [Angrily, through his tears] Expensive presents.... You + really, are!... [To the orderly] Take the samovar in there.... [Teasing] + Expensive presents! + </p> + <p> + [The orderly goes into the dining-room with the samovar.] + </p> + <p> + ANFISA. [Enters and crosses stage] My dear, there’s a strange Colonel + come! He’s taken off his coat already. Children, he’s coming here. Irina + darling, you’ll be a nice and polite little girl, won’t you.... Should + have lunched a long time ago.... Oh, Lord.... [Exit.] + </p> + <p> + TUZENBACH. It must be Vershinin. [Enter VERSHININ] Lieutenant-Colonel + Vershinin! + </p> + <p> + VERSHININ. [To MASHA and IRINA] I have the honour to introduce myself, + my name is Vershinin. I am very glad indeed to be able to come at last. + How you’ve grown! Oh! oh! + </p> + <p> + IRINA. Please sit down. We’re very glad you’ve come. + </p> + <p> + VERSHININ. [Gaily] I am glad, very glad! But there are three sisters, + surely. I remember—three little girls. I forget your faces, but + your father, Colonel Prosorov, used to have three little girls, I + remember that perfectly, I saw them with my own eyes. How time does fly! + Oh, dear, how it flies! + </p> + <p> + TUZENBACH. Alexander Ignateyevitch comes from Moscow. + </p> + <p> + IRINA. From Moscow? Are you from Moscow? + </p> + <p> + VERSHININ. Yes, that’s so. Your father used to be in charge of a battery + there, and I was an officer in the same brigade. [To MASHA] I seem to + remember your face a little. + </p> + <p> + MASHA. I don’t remember you. + </p> + <p> + IRINA. Olga! Olga! [Shouts into the dining-room] Olga! Come along! [OLGA + enters from the dining-room] Lieutenant Colonel Vershinin comes from + Moscow, as it happens. + </p> + <p> + VERSHININ. I take it that you are Olga Sergeyevna, the eldest, and that + you are Maria... and you are Irina, the youngest.... + </p> + <p> + OLGA. So you come from Moscow? + </p> + <p> + VERSHININ. Yes. I went to school in Moscow and began my service there; I + was there for a long time until at last I got my battery and moved over + here, as you see. I don’t really remember you, I only remember that + there used to be three sisters. I remember your father well; I have only + to shut my eyes to see him as he was. I used to come to your house in + Moscow.... + </p> + <p> + OLGA. I used to think I remembered everybody, but... + </p> + <p> + VERSHININ. My name is Alexander Ignateyevitch. + </p> + <p> + IRINA. Alexander Ignateyevitch, you’ve come from Moscow. That is really + quite a surprise! + </p> + <p> + OLGA. We are going to live there, you see. + </p> + <p> + IRINA. We think we may be there this autumn. It’s our native town, we + were born there. In Old Basmanni Road.... [They both laugh for joy.] + </p> + <p> + MASHA. We’ve unexpectedly met a fellow countryman. [Briskly] I remember: + Do you remember, Olga, they used to speak at home of a “lovelorn Major.” + You were only a Lieutenant then, and in love with somebody, but for some + reason they always called you a Major for fun. + </p> + <p> + VERSHININ. [Laughs] That’s it... the lovelorn Major, that’s got it! + </p> + <p> + MASHA. You only wore moustaches then. You have grown older! [Through her + tears] You have grown older! + </p> + <p> + VERSHININ. Yes, when they used to call me the lovelorn Major, I was + young and in love. I’ve grown out of both now. + </p> + <p> + OLGA. But you haven’t a single white hair yet. You’re older, but you’re + not yet old. + </p> + <p> + VERSHININ. I’m forty-two, anyway. Have you been away from Moscow long? + </p> + <p> + IRINA. Eleven years. What are you crying for, Masha, you little fool.... + [Crying] And I’m crying too. + </p> + <p> + MASHA. It’s all right. And where did you live? + </p> + <p> + VERSHININ. Old Basmanni Road. + </p> + <p> + OLGA. Same as we. + </p> + <p> + VERSHININ. Once I used to live in German Street. That was when the Red + Barracks were my headquarters. There’s an ugly bridge in between, where + the water rushes underneath. One gets melancholy when one is alone + there. [Pause] Here the river is so wide and fine! It’s a splendid + river! + </p> + <p> + OLGA. Yes, but it’s so cold. It’s very cold here, and the midges.... + </p> + <p> + VERSHININ. What are you saying! Here you’ve got such a fine healthy + Russian climate. You’ve a forest, a river... and birches. Dear, modest + birches, I like them more than any other tree. It’s good to live here. + Only it’s odd that the railway station should be thirteen miles away.... + Nobody knows why. + </p> + <p> + SOLENI. I know why. [All look at him] Because if it was near it wouldn’t + be far off, and if it’s far off, it can’t be near. [An awkward pause.] + </p> + <p> + TUZENBACH. Funny man. + </p> + <p> + OLGA. Now I know who you are. I remember. + </p> + <p> + VERSHININ. I used to know your mother. + </p> + <p> + CHEBUTIKIN. She was a good woman, rest her soul. + </p> + <p> + IRINA. Mother is buried in Moscow. + </p> + <p> + OLGA. At the Novo-Devichi Cemetery. + </p> + <p> + MASHA. Do you know, I’m beginning to forget her face. We’ll be forgotten + in just the same way. + </p> + <p> + VERSHININ. Yes, they’ll forget us. It’s our fate, it can’t be helped. A + time will come when everything that seems serious, significant, or very + important to us will be forgotten, or considered trivial. [Pause] And + the curious thing is that we can’t possibly find out what will come to + be regarded as great and important, and what will be feeble, or silly. + Didn’t the discoveries of Copernicus, or Columbus, say, seem unnecessary + and ludicrous at first, while wasn’t it thought that some rubbish + written by a fool, held all the truth? And it may so happen that our + present existence, with which we are so satisfied, will in time appear + strange, inconvenient, stupid, unclean, perhaps even sinful.... + </p> + <p> + TUZENBACH. Who knows? But on the other hand, they may call our life + noble and honour its memory. We’ve abolished torture and capital + punishment, we live in security, but how much suffering there is still! + </p> + <p> + SOLENI. [In a feeble voice] There, there.... The Baron will go without + his dinner if you only let him talk philosophy. + </p> + <p> + TUZENBACH. Vassili Vassilevitch, kindly leave me alone. [Changes his + chair] You’re very dull, you know. + </p> + <p> + SOLENI. [Feebly] There, there, there. + </p> + <p> + TUZENBACH. [To VERSHININ] The sufferings we see to-day—there are + so many of them!—still indicate a certain moral improvement in + society. + </p> + <p> + VERSHININ. Yes, yes, of course. + </p> + <p> + CHEBUTIKIN. You said just now, Baron, that they may call our life noble; + but we are very petty.... [Stands up] See how little I am. [Violin + played behind.] + </p> + <p> + MASHA. That’s Andrey playing—our brother. + </p> + <p> + IRINA. He’s the learned member of the family. I expect he will be a + professor some day. Father was a soldier, but his son chose an academic + career for himself. + </p> + <p> + MASHA. That was father’s wish. + </p> + <p> + OLGA. We ragged him to-day. We think he’s a little in love. + </p> + <p> + IRINA. To a local lady. She will probably come here to-day. + </p> + <p> + MASHA. You should see the way she dresses! Quite prettily, quite + fashionably too, but so badly! Some queer bright yellow skirt with a + wretched little fringe and a red bodice. And such a complexion! Andrey + isn’t in love. After all he has taste, he’s simply making fun of us. I + heard yesterday that she was going to marry Protopopov, the chairman of + the Local Council. That would do her nicely.... [At the side door] + Andrey, come here! Just for a minute, dear! [Enter ANDREY.] + </p> + <p> + OLGA. My brother, Andrey Sergeyevitch. + </p> + <p> + VERSHININ. My name is Vershinin. + </p> + <p> + ANDREY. Mine is Prosorov. [Wipes his perspiring hands] You’ve come to + take charge of the battery? + </p> + <p> + OLGA. Just think, Alexander Ignateyevitch comes from Moscow. + </p> + <p> + ANDREY. That’s all right. Now my little sisters won’t give you any rest. + </p> + <p> + VERSHININ. I’ve already managed to bore your sisters. + </p> + <p> + IRINA. Just look what a nice little photograph frame Andrey gave me + to-day. [Shows it] He made it himself. + </p> + <p> + VERSHININ. [Looks at the frame and does not know what to say] Yes.... + It’s a thing that... + </p> + <p> + IRINA. And he made that frame there, on the piano as well. [Andrey waves + his hand and walks away.] + </p> + <p> + OLGA. He’s got a degree, and plays the violin, and cuts all sorts of + things out of wood, and is really a domestic Admirable Crichton. Don’t + go away, Andrey! He’s got into a habit of always going away. Come here! + </p> + <p> + [MASHA and IRINA take his arms and laughingly lead him back.] + </p> + <p> + MASHA. Come on, come on! + </p> + <p> + ANDREY. Please leave me alone. + </p> + <p> + MASHA. You are funny. Alexander Ignateyevitch used to be called the + lovelorn Major, but he never minded. + </p> + <p> + VERSHININ. Not the least. + </p> + <p> + MASHA. I’d like to call you the lovelorn fiddler! + </p> + <p> + IRINA. Or the lovelorn professor! + </p> + <p> + OLGA. He’s in love! little Andrey is in love! + </p> + <p> + IRINA. [Applauds] Bravo, Bravo! Encore! Little Andrey is in love. + </p> + <p> + CHEBUTIKIN. [Goes up behind ANDREY and takes him round the waist with + both arms] Nature only brought us into the world that we should love! + [Roars with laughter, then sits down and reads a newspaper which he + takes out of his pocket.] + </p> + <p> + ANDREY. That’s enough, quite enough.... [Wipes his face] I couldn’t + sleep all night and now I can’t quite find my feet, so to speak. I read + until four o’clock, then tried to sleep, but nothing happened. I thought + about one thing and another, and then it dawned and the sun crawled into + my bedroom. This summer, while I’m here, I want to translate a book from + the English.... + </p> + <p> + VERSHININ. Do you read English? + </p> + <p> + ANDREY. Yes father, rest his soul, educated us almost violently. It may + seem funny and silly, but it’s nevertheless true, that after his death I + began to fill out and get rounder, as if my body had had some great + pressure taken off it. Thanks to father, my sisters and I know French, + German, and English, and Irina knows Italian as well. But we paid dearly + for it all! + </p> + <p> + MASHA. A knowledge of three languages is an unnecessary luxury in this + town. It isn’t even a luxury but a sort of useless extra, like a sixth + finger. We know a lot too much. + </p> + <p> + VERSHININ. Well, I say! [Laughs] You know a lot too much! I don’t think + there can really be a town so dull and stupid as to have no place for a + clever, cultured person. Let us suppose even that among the hundred + thousand inhabitants of this backward and uneducated town, there are + only three persons like yourself. It stands to reason that you won’t be + able to conquer that dark mob around you; little by little as you grow + older you will be bound to give way and lose yourselves in this crowd of + a hundred thousand human beings; their life will suck you up in itself, + but still, you won’t disappear having influenced nobody; later on, + others like you will come, perhaps six of them, then twelve, and so on, + until at last your sort will be in the majority. In two or three hundred + years’ time life on this earth will be unimaginably beautiful and + wonderful. Mankind needs such a life, and if it is not ours to-day then + we must look ahead for it, wait, think, prepare for it. We must see and + know more than our fathers and grandfathers saw and knew. [Laughs] And + you complain that you know too much. + </p> + <p> + MASHA. [Takes off her hat] I’ll stay to lunch. + </p> + <p> + IRINA. [Sighs] Yes, all that ought to be written down. + </p> + <p> + [ANDREY has gone out quietly.] + </p> + <p> + TUZENBACH. You say that many years later on, life on this earth will be + beautiful and wonderful. That’s true. But to share in it now, even + though at a distance, we must prepare by work.... + </p> + <p> + VERSHININ. [Gets up] Yes. What a lot of flowers you have. [Looks round] + It’s a beautiful flat. I envy you! I’ve spent my whole life in rooms + with two chairs, one sofa, and fires which always smoke. I’ve never had + flowers like these in my life.... [Rubs his hands] Well, well! + </p> + <p> + TUZENBACH. Yes, we must work. You are probably thinking to yourself: the + German lets himself go. But I assure you I’m a Russian, I can’t even + speak German. My father belonged to the Orthodox Church.... [Pause.] + </p> + <p> + VERSHININ. [Walks about the stage] I often wonder: suppose we could + begin life over again, knowing what we were doing? Suppose we could use + one life, already ended, as a sort of rough draft for another? I think + that every one of us would try, more than anything else, not to repeat + himself, at the very least he would rearrange his manner of life, he + would make sure of rooms like these, with flowers and light... I have a + wife and two daughters, my wife’s health is delicate and so on and so + on, and if I had to begin life all over again I would not marry.... No, + no! + </p> + <p> + [Enter KULIGIN in a regulation jacket.] + </p> + <p> + KULIGIN. [Going up to IRINA] Dear sister, allow me to congratulate you + on the day sacred to your good angel and to wish you, sincerely and from + the bottom of my heart, good health and all that one can wish for a girl + of your years. And then let me offer you this book as a present. [Gives + it to her] It is the history of our High School during the last fifty + years, written by myself. The book is worthless, and written because I + had nothing to do, but read it all the same. Good day, gentlemen! [To + VERSHININ] My name is Kuligin, I am a master of the local High School. + [Note: He adds that he is a <i>Nadvorny Sovetnik</i> (almost the same as + a German <i>Hofrat</i>), an undistinguished civilian title with no + English equivalent.] [To IRINA] In this book you will find a list of all + those who have taken the full course at our High School during these + fifty years. <i>Feci quod potui, faciant meliora potentes</i>. [Kisses + MASHA.] + </p> + <p> + IRINA. But you gave me one of these at Easter. + </p> + <p> + KULIGIN. [Laughs] I couldn’t have, surely! You’d better give it back to + me in that case, or else give it to the Colonel. Take it, Colonel. + You’ll read it some day when you’re bored. + </p> + <p> + VERSHININ. Thank you. [Prepares to go] I am extremely happy to have made + the acquaintance of... + </p> + <p> + OLGA. Must you go? No, not yet? + </p> + <p> + IRINA. You’ll stop and have lunch with us. Please do. + </p> + <p> + OLGA. Yes, please! + </p> + <p> + VERSHININ. [Bows] I seem to have dropped in on your name-day. Forgive + me, I didn’t know, and I didn’t offer you my congratulations. [Goes with + OLGA into the dining-room.] + </p> + <p> + KULIGIN. To-day is Sunday, the day of rest, so let us rest and rejoice, + each in a manner compatible with his age and disposition. The carpets + will have to be taken up for the summer and put away till the winter... + Persian powder or naphthaline.... The Romans were healthy because they + knew both how to work and how to rest, they had <i>mens sana in corpore + sano</i>. Their life ran along certain recognized patterns. Our director + says: “The chief thing about each life is its pattern. Whoever loses his + pattern is lost himself”—and it’s just the same in our daily life. + [Takes MASHA by the waist, laughing] Masha loves me. My wife loves me. + And you ought to put the window curtains away with the carpets.... I’m + feeling awfully pleased with life to-day. Masha, we’ve got to be at the + director’s at four. They’re getting up a walk for the pedagogues and + their families. + </p> + <p> + MASHA. I shan’t go. + </p> + <p> + KULIGIN. [Hurt] My dear Masha, why not? + </p> + <p> + MASHA. I’ll tell you later.... [Angrily] All right, I’ll go, only please + stand back.... [Steps away.] + </p> + <p> + KULIGIN. And then we’re to spend the evening at the director’s. In spite + of his ill-health that man tries, above everything else, to be sociable. + A splendid, illuminating personality. A wonderful man. After yesterday’s + committee he said to me: “I’m tired, Feodor Ilitch, I’m tired!” [Looks + at the clock, then at his watch] Your clock is seven minutes fast. + “Yes,” he said, “I’m tired.” [Violin played off.] + </p> + <p> + OLGA. Let’s go and have lunch! There’s to be a masterpiece of baking! + </p> + <p> + KULIGIN. Oh my dear Olga, my dear. Yesterday I was working till eleven + o’clock at night, and got awfully tired. To-day I’m quite happy. [Goes + into dining-room] My dear... + </p> + <p> + CHEBUTIKIN. [Puts his paper into his pocket, and combs his beard] A pie? + Splendid! + </p> + <p> + MASHA. [Severely to CHEBUTIKIN] Only mind; you’re not to drink anything + to-day. Do you hear? It’s bad for you. + </p> + <p> + CHEBUTIKIN. Oh, that’s all right. I haven’t been drunk for two years. + And it’s all the same, anyway! + </p> + <p> + MASHA. You’re not to dare to drink, all the same. [Angrily, but so that + her husband should not hear] Another dull evening at the Director’s, + confound it! + </p> + <p> + TUZENBACH. I shouldn’t go if I were you.... It’s quite simple. + </p> + <p> + CHEBUTIKIN. Don’t go. + </p> + <p> + MASHA. Yes, “don’t go....” It’s a cursed, unbearable life.... [Goes into + dining-room.] + </p> + <p> + CHEBUTIKIN. [Follows her] It’s not so bad. + </p> + <p> + SOLENI. [Going into the dining-room] There, there, there.... + </p> + <p> + TUZENBACH. Vassili Vassilevitch, that’s enough. Be quiet! + </p> + <p> + SOLENI. There, there, there.... + </p> + <p> + KULIGIN. [Gaily] Your health, Colonel! I’m a pedagogue and not quite at + home here. I’m Masha’s husband.... She’s a good sort, a very good sort. + </p> + <p> + VERSHININ. I’ll have some of this black vodka.... [Drinks] Your health! + [To OLGA] I’m very comfortable here! + </p> + <p> + [Only IRINA and TUZENBACH are now left in the sitting-room.] + </p> + <p> + IRINA. Masha’s out of sorts to-day. She married when she was eighteen, + when he seemed to her the wisest of men. And now it’s different. He’s + the kindest man, but not the wisest. + </p> + <p> + OLGA. [Impatiently] Andrey, when are you coming? + </p> + <p> + ANDREY. [Off] One minute. [Enters and goes to the table.] + </p> + <p> + TUZENBACH. What are you thinking about? + </p> + <p> + IRINA. I don’t like this Soleni of yours and I’m afraid of him. He only + says silly things. + </p> + <p> + TUZENBACH. He’s a queer man. I’m sorry for him, though he vexes me. I + think he’s shy. When there are just the two of us he’s quite all right + and very good company; when other people are about he’s rough and + hectoring. Don’t let’s go in, let them have their meal without us. Let + me stay with you. What are you thinking of? [Pause] You’re twenty. I’m + not yet thirty. How many years are there left to us, with their long, + long lines of days, filled with my love for you.... + </p> + <p> + IRINA. Nicolai Lvovitch, don’t speak to me of love. + </p> + <p> + TUZENBACH. [Does not hear] I’ve a great thirst for life, struggle, and + work, and this thirst has united with my love for you, Irina, and you’re + so beautiful, and life seems so beautiful to me! What are you thinking + about? + </p> + <p> + IRINA. You say that life is beautiful. Yes, if only it seems so! The + life of us three hasn’t been beautiful yet; it has been stifling us as + if it was weeds... I’m crying. I oughtn’t.... [Dries her tears, smiles] + We must work, work. That is why we are unhappy and look at the world so + sadly; we don’t know what work is. Our parents despised work.... + </p> + <p> + [Enter NATALIA IVANOVA; she wears a pink dress and a green sash.] + </p> + <p> + NATASHA. They’re already at lunch... I’m late... [Carefully examines + herself in a mirror, and puts herself straight] I think my hair’s done + all right.... [Sees IRINA] Dear Irina Sergeyevna, I congratulate you! + [Kisses her firmly and at length] You’ve so many visitors, I’m really + ashamed.... How do you do, Baron! + </p> + <p> + OLGA. [Enters from dining-room] Here’s Natalia Ivanovna. How are you, + dear! [They kiss.] + </p> + <p> + NATASHA. Happy returns. I’m awfully shy, you’ve so many people here. + </p> + <p> + OLGA. All our friends. [Frightened, in an undertone] You’re wearing a + green sash! My dear, you shouldn’t! + </p> + <p> + NATASHA. Is it a sign of anything? + </p> + <p> + OLGA. No, it simply doesn’t go well... and it looks so queer. + </p> + <p> + NATASHA. [In a tearful voice] Yes? But it isn’t really green, it’s too + dull for that. [Goes into dining-room with OLGA.] + </p> + <p> + [They have all sat down to lunch in the dining-room, the sitting-room is + empty.] + </p> + <p> + KULIGIN. I wish you a nice fiancée, Irina. It’s quite time you married. + </p> + <p> + CHEBUTIKIN. Natalia Ivanovna, I wish you the same. + </p> + <p> + KULIGIN. Natalia Ivanovna has a fiancé already. + </p> + <p> + MASHA. [Raps with her fork on a plate] Let’s all get drunk and make life + purple for once! + </p> + <p> + KULIGIN. You’ve lost three good conduct marks. + </p> + <p> + VERSHININ. This is a nice drink. What’s it made of? + </p> + <p> + SOLENI. Blackbeetles. + </p> + <p> + IRINA. [Tearfully] Phoo! How disgusting! + </p> + <p> + OLGA. There is to be a roast turkey and a sweet apple pie for dinner. + Thank goodness I can spend all day and the evening at home. You’ll come + in the evening, ladies and gentlemen.... + </p> + <p> + VERSHININ. And please may I come in the evening! + </p> + <p> + IRINA. Please do. + </p> + <p> + NATASHA. They don’t stand on ceremony here. + </p> + <p> + CHEBUTIKIN. Nature only brought us into the world that we should love! + [Laughs.] + </p> + <p> + ANDREY. [Angrily] Please don’t! Aren’t you tired of it? + </p> + <p> + [Enter FEDOTIK and RODE with a large basket of flowers.] + </p> + <p> + FEDOTIK. They’re lunching already. + </p> + <p> + RODE. [Loudly and thickly] Lunching? Yes, so they are.... + </p> + <p> + FEDOTIK. Wait a minute! [Takes a photograph] That’s one. No, just a + moment.... [Takes another] That’s two. Now we’re ready! + </p> + <p> + [They take the basket and go into the dining-room, where they have a + noisy reception.] + </p> + <p> + RODE. [Loudly] Congratulations and best wishes! Lovely weather to-day, + simply perfect. Was out walking with the High School students all the + morning. I take their drills. + </p> + <p> + FEDOTIK. You may move, Irina Sergeyevna! [Takes a photograph] You look + well to-day. [Takes a humming-top out of his pocket] Here’s a + humming-top, by the way. It’s got a lovely note! + </p> + <p> + IRINA. How awfully nice! + </p> + MASHA. +<pre xml:space="preserve"> + “There stands a green oak by the sea, + And a chain of bright gold is around it... + And a chain of bright gold is around it...” + </pre> + <p> + [Tearfully] What am I saying that for? I’ve had those words running in + my head all day.... + </p> + <p> + KULIGIN. There are thirteen at table! + </p> + <p> + RODE. [Aloud] Surely you don’t believe in that superstition? [Laughter.] + </p> + <p> + KULIGIN. If there are thirteen at table then it means there are lovers + present. It isn’t you, Ivan Romanovitch, hang it all.... [Laughter.] + </p> + <p> + CHEBUTIKIN. I’m a hardened sinner, but I really don’t see why Natalia + Ivanovna should blush.... + </p> + <p> + [Loud laughter; NATASHA runs out into the sitting-room, followed by + ANDREY.] + </p> + <p> + ANDREY. Don’t pay any attention to them! Wait... do stop, please.... + </p> + <p> + NATASHA. I’m shy... I don’t know what’s the matter with me and they’re + all laughing at me. It wasn’t nice of me to leave the table like that, + but I can’t... I can’t. [Covers her face with her hands.] + </p> + <p> + ANDREY. My dear, I beg you. I implore you not to excite yourself. I + assure you they’re only joking, they’re kind people. My dear, good girl, + they’re all kind and sincere people, and they like both you and me. Come + here to the window, they can’t see us here.... [Looks round.] + </p> + <p> + NATASHA. I’m so unaccustomed to meeting people! + </p> + <p> + ANDREY. Oh your youth, your splendid, beautiful youth! My darling, don’t + be so excited! Believe me, believe me... I’m so happy, my soul is full + of love, of ecstasy.... They don’t see us! They can’t! Why, why or when + did I fall in love with you—Oh, I can’t understand anything. My + dear, my pure darling, be my wife! I love you, love you... as never + before.... [They kiss.] + </p> + <p> + [Two officers come in and, seeing the lovers kiss, stop in + astonishment.] + </p> + <p> + Curtain. + </p> + <a name="link2H_4_0010" id="link2H_4_0010"> + <!-- H2 anchor --> </a> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT II + </h2> + <p> + [Scene as before. It is 8 p.m. Somebody is heard playing a concertina + outside in’ the street. There is no fire. NATALIA IVANOVNA enters in + indoor dress carrying a candle; she stops by the door which leads into + ANDREY’S room.] + </p> + <p> + NATASHA. What are you doing, Andrey? Are you reading? It’s nothing, only + I.... [She opens another door, and looks in, then closes it] Isn’t there + any fire.... + </p> + <p> + ANDREY. [Enters with book in hand] What are you doing, Natasha? + </p> + <p> + NATASHA. I was looking to see if there wasn’t a fire. It’s Shrovetide, + and the servant is simply beside herself; I must look out that something + doesn’t happen. When I came through the dining-room yesterday midnight, + there was a candle burning. I couldn’t get her to tell me who had + lighted it. [Puts down her candle] What’s the time? + </p> + <p> + ANDREY. [Looks at his watch] A quarter past eight. + </p> + <p> + NATASHA. And Olga and Irina aren’t in yet. The poor things are still at + work. Olga at the teacher’s council, Irina at the telegraph office.... + [Sighs] I said to your sister this morning, “Irina, darling, you must + take care of yourself.” But she pays no attention. Did you say it was a + quarter past eight? I am afraid little Bobby is quite ill. Why is he so + cold? He was feverish yesterday, but to-day he is quite cold... I am so + frightened! + </p> + <p> + ANDREY. It’s all right, Natasha. The boy is well. + </p> + <p> + NATASHA. Still, I think we ought to put him on a diet. I am so afraid. + And the entertainers were to be here after nine; they had better not + come, Audrey. + </p> + <p> + ANDREY. I don’t know. After all, they were asked. + </p> + <p> + NATASHA. This morning, when the little boy woke up and saw me he + suddenly smiled; that means he knew me. “Good morning, Bobby!” I said, + “good morning, darling.” And he laughed. Children understand, they + understand very well. So I’ll tell them, Andrey dear, not to receive the + entertainers. + </p> + <p> + ANDREY. [Hesitatingly] But what about my sisters. This is their flat. + </p> + <p> + NATASHA. They’ll do as I want them. They are so kind.... [Going] I + ordered sour milk for supper. The doctor says you must eat sour milk and + nothing else, or you won’t get thin. [Stops] Bobby is so cold. I’m + afraid his room is too cold for him. It would be nice to put him into + another room till the warm weather comes. Irina’s room, for instance, is + just right for a child: it’s dry and has the sun all day. I must tell + her, she can share Olga’s room. It isn’t as if she was at home in the + daytime, she only sleeps here.... [A pause] Andrey, darling, why are you + so silent? + </p> + <p> + ANDREY. I was just thinking.... There is really nothing to say.... + </p> + <p> + NATASHA. Yes... there was something I wanted to tell you.... Oh, yes. + Ferapont has come from the Council offices, he wants to see you. + </p> + <p> + ANDREY. [Yawns] Call him here. + </p> + <p> + [NATASHA goes out; ANDREY reads his book, stooping over the candle she + has left behind. FERAPONT enters; he wears a tattered old coat with the + collar up. His ears are muffled.] + </p> + <p> + ANDREY. Good morning, grandfather. What have you to say? + </p> + <p> + FERAPONT. The Chairman sends a book and some documents or other. + Here.... [Hands him a book and a packet.] + </p> + <p> + ANDREY. Thank you. It’s all right. Why couldn’t you come earlier? It’s + past eight now. + </p> + <p> + FERAPONT. What? + </p> + <p> + ANDREY. [Louder]. I say you’ve come late, it’s past eight. + </p> + <p> + FERAPONT. Yes, yes. I came when it was still light, but they wouldn’t + let me in. They said you were busy. Well, what was I to do. If you’re + busy, you’re busy, and I’m in no hurry. [He thinks that ANDREY is asking + him something] What? + </p> + <p> + ANDREY. Nothing. [Looks through the book] To-morrow’s Friday. I’m not + supposed to go to work, but I’ll come—all the same... and do some + work. It’s dull at home. [Pause] Oh, my dear old man, how strangely life + changes, and how it deceives! To-day, out of sheer boredom, I took up + this book—old university lectures, and I couldn’t help laughing. + My God, I’m secretary of the local district council, the council which + has Protopopov for its chairman, yes, I’m the secretary, and the summit + of my ambitions is—to become a member of the council! I to be a + member of the local district council, I, who dream every night that I’m + a professor of Moscow University, a famous scholar of whom all Russia is + proud! + </p> + <p> + FERAPONT. I can’t tell... I’m hard of hearing.... + </p> + <p> + ANDREY. If you weren’t, I don’t suppose I should talk to you. I’ve got + to talk to somebody, and my wife doesn’t understand me, and I’m a bit + afraid of my sisters—I don’t know why unless it is that they may + make fun of me and make me feel ashamed... I don’t drink, I don’t like + public-houses, but how I should like to be sitting just now in Tyestov’s + place in Moscow, or at the Great Moscow, old fellow! + </p> + <p> + FERAPONT. Moscow? That’s where a contractor was once telling that some + merchants or other were eating pancakes; one ate forty pancakes and he + went and died, he was saying. Either forty or fifty, I forget which. + </p> + <p> + ANDREY. In Moscow you can sit in an enormous restaurant where you don’t + know anybody and where nobody knows you, and you don’t feel all the same + that you’re a stranger. And here you know everybody and everybody knows + you, and you’re a stranger... and a lonely stranger. + </p> + <p> + FERAPONT. What? And the same contractor was telling—perhaps he was + lying—that there was a cable stretching right across Moscow. + </p> + <p> + ANDREY. What for? + </p> + <p> + FERAPONT. I can’t tell. The contractor said so. + </p> + <p> + ANDREY. Rubbish. [He reads] Were you ever in Moscow? + </p> + <p> + FERAPONT. [After a pause] No. God did not lead me there. [Pause] Shall I + go? + </p> + <p> + ANDREY. You may go. Good-bye. [FERAPONT goes] Good-bye. [Reads] You can + come to-morrow and fetch these documents.... Go along.... [Pause] He’s + gone. [A ring] Yes, yes.... [Stretches himself and slowly goes into his + own room.] + </p> + <p> + [Behind the scene the nurse is singing a lullaby to the child. MASHA and + VERSHININ come in. While they talk, a maidservant lights candles and a + lamp.] + </p> + <p> + MASHA. I don’t know. [Pause] I don’t know. Of course, habit counts for a + great deal. After father’s death, for instance, it took us a long time + to get used to the absence of orderlies. But, apart from habit, it seems + to me in all fairness that, however it may be in other towns, the best + and most-educated people are army men. + </p> + <p> + VERSHININ. I’m thirsty. I should like some tea. + </p> + <p> + MASHA. [Glancing at her watch] They’ll bring some soon. I was given in + marriage when I was eighteen, and I was afraid of my husband because he + was a teacher and I’d only just left school. He then seemed to me + frightfully wise and learned and important. And now, unfortunately, that + has changed. + </p> + <p> + VERSHININ. Yes... yes. + </p> + <p> + MASHA. I don’t speak of my husband, I’ve grown used to him, but + civilians in general are so often coarse, impolite, uneducated. Their + rudeness offends me, it angers me. I suffer when I see that a man isn’t + quite sufficiently refined, or delicate, or polite. I simply suffer + agonies when I happen to be among schoolmasters, my husband’s + colleagues. + </p> + <p> + VERSHININ. Yes.... It seems to me that civilians and army men are + equally interesting, in this town, at any rate. It’s all the same! If + you listen to a member of the local intelligentsia, whether to civilian + or military, he will tell you that he’s sick of his wife, sick of his + house, sick of his estate, sick of his horses.... We Russians are + extremely gifted in the direction of thinking on an exalted plane, but, + tell me, why do we aim so low in real life? Why? + </p> + <p> + MASHA. Why? + </p> + <p> + VERSHININ. Why is a Russian sick of his children, sick of his wife? And + why are his wife and children sick of him? + </p> + <p> + MASHA. You’re a little downhearted to-day. + </p> + <p> + VERSHININ. Perhaps I am. I haven’t had any dinner, I’ve had nothing + since the morning. My daughter is a little unwell, and when my girls are + ill, I get very anxious and my conscience tortures me because they have + such a mother. Oh, if you had seen her to-day! What a trivial + personality! We began quarrelling at seven in the morning and at nine I + slammed the door and went out. [Pause] I never speak of her, it’s + strange that I bear my complaints to you alone. [Kisses her hand] Don’t + be angry with me. I haven’t anybody but you, nobody at all.... [Pause.] + </p> + <p> + MASHA. What a noise in the oven. Just before father’s death there was a + noise in the pipe, just like that. + </p> + <p> + VERSHININ. Are you superstitious? + </p> + <p> + MASHA. Yes. + </p> + <p> + VERSHININ. That’s strange. [Kisses her hand] You are a splendid, + wonderful woman. Splendid, wonderful! It is dark here, but I see your + sparkling eyes. + </p> + <p> + MASHA. [Sits on another chair] There is more light here. + </p> + <p> + VERSHININ. I love you, love you, love you... I love your eyes, your + movements, I dream of them.... Splendid, wonderful woman! + </p> + <p> + MASHA. [Laughing] When you talk to me like that, I laugh; I don’t know + why, for I’m afraid. Don’t repeat it, please.... [In an undertone] No, + go on, it’s all the same to me.... [Covers her face with her hands] + Somebody’s coming, let’s talk about something else. + </p> + <p> + [IRINA and TUZENBACH come in through the dining-room.] + </p> + <p> + TUZENBACH. My surname is really triple. I am called Baron + Tuzenbach-Krone-Altschauer, but I am Russian and Orthodox, the same as + you. There is very little German left in me, unless perhaps it is the + patience and the obstinacy with which I bore you. I see you home every + night. + </p> + <p> + IRINA. How tired I am! + </p> + <p> + TUZENBACH. And I’ll come to the telegraph office to see you home every + day for ten or twenty years, until you drive me away. [He sees MASHA and + VERSHININ; joyfully] Is that you? How do you do. + </p> + <p> + IRINA. Well, I am home at last. [To MASHA] A lady came to-day to + telegraph to her brother in Saratov that her son died to-day, and she + couldn’t remember the address anyhow. So she sent the telegram without + an address, just to Saratov. She was crying. And for some reason or + other I was rude to her. “I’ve no time,” I said. It was so stupid. Are + the entertainers coming to-night? + </p> + <p> + MASHA. Yes. + </p> + <p> + IRINA. [Sitting down in an armchair] I want a rest. I am tired. + </p> + <p> + TUZENBACH. [Smiling] When you come home from your work you seem so + young, and so unfortunate.... [Pause.] + </p> + <p> + IRINA. I am tired. No, I don’t like the telegraph office, I don’t like + it. + </p> + <p> + MASHA. You’ve grown thinner.... [Whistles a little] And you look + younger, and your face has become like a boy’s. + </p> + <p> + TUZENBACH. That’s the way she does her hair. + </p> + <p> + IRINA. I must find another job, this one won’t do for me. What I wanted, + what I hoped to get, just that is lacking here. Labour without poetry, + without ideas.... [A knock on the floor] The doctor is knocking. [To + TUZENBACH] Will you knock, dear. I can’t... I’m tired.... [TUZENBACH + knocks] He’ll come in a minute. Something ought to be done. Yesterday + the doctor and Andrey played cards at the club and lost money. Andrey + seems to have lost 200 roubles. + </p> + <p> + MASHA. [With indifference] What can we do now? + </p> + <p> + IRINA. He lost money a fortnight ago, he lost money in December. Perhaps + if he lost everything we should go away from this town. Oh, my God, I + dream of Moscow every night. I’m just like a lunatic. [Laughs] We go + there in June, and before June there’s still... February, March, April, + May... nearly half a year! + </p> + <p> + MASHA. Only Natasha mustn’t get to know of these losses. + </p> + <p> + IRINA. I expect it will be all the same to her. + </p> + <p> + [CHEBUTIKIN, who has only just got out of bed—he was resting after + dinner—comes into the dining-room and combs his beard. He then + sits by the table and takes a newspaper from his pocket.] + </p> + <p> + MASHA. Here he is.... Has he paid his rent? + </p> + <p> + IRINA. [Laughs] No. He’s been here eight months and hasn’t paid a + copeck. Seems to have forgotten. + </p> + <p> + MASHA. [Laughs] What dignity in his pose! [They all laugh. A pause.] + </p> + <p> + IRINA. Why are you so silent, Alexander Ignateyevitch? + </p> + <p> + VERSHININ. I don’t know. I want some tea. Half my life for a tumbler of + tea: I haven’t had anything since morning. + </p> + <p> + CHEBUTIKIN. Irina Sergeyevna! + </p> + <p> + IRINA. What is it? + </p> + <p> + CHEBUTIKIN. Please come here, Venez ici. [IRINA goes and sits by the + table] I can’t do without you. [IRINA begins to play patience.] + </p> + <p> + VERSHININ. Well, if we can’t have any tea, let’s philosophize, at any + rate. + </p> + <p> + TUZENBACH. Yes, let’s. About what? + </p> + <p> + VERSHININ. About what? Let us meditate... about life as it will be after + our time; for example, in two or three hundred years. + </p> + <p> + TUZENBACH. Well? After our time people will fly about in balloons, the + cut of one’s coat will change, perhaps they’ll discover a sixth sense + and develop it, but life will remain the same, laborious, mysterious, + and happy. And in a thousand years’ time, people will still be sighing: + “Life is hard!”—and at the same time they’ll be just as afraid of + death, and unwilling to meet it, as we are. + </p> + <p> + VERSHININ. [Thoughtfully] How can I put it? It seems to me that + everything on earth must change, little by little, and is already + changing under our very eyes. After two or three hundred years, after a + thousand—the actual time doesn’t matter—a new and happy age + will begin. We, of course, shall not take part in it, but we live and + work and even suffer to-day that it should come. We create it—and + in that one object is our destiny and, if you like, our happiness. + </p> + <p> + [MASHA laughs softly.] + </p> + <p> + TUZENBACH. What is it? + </p> + <p> + MASHA. I don’t know. I’ve been laughing all day, ever since morning. + </p> + <p> + VERSHININ. I finished my education at the same point as you, I have not + studied at universities; I read a lot, but I cannot choose my books and + perhaps what I read is not at all what I should, but the longer I love, + the more I want to know. My hair is turning white, I am nearly an old + man now, but I know so little, oh, so little! But I think I know the + things that matter most, and that are most real. I know them well. And I + wish I could make you understand that there is no happiness for us, that + there should not and cannot be.... We must only work and work, and + happiness is only for our distant posterity. [Pause] If not for me, then + for the descendants of my descendants. + </p> + <p> + [FEDOTIK and RODE come into the dining-room; they sit and sing softly, + strumming on a guitar.] + </p> + <p> + TUZENBACH. According to you, one should not even think about happiness! + But suppose I am happy! + </p> + <p> + VERSHININ. No. + </p> + <p> + TUZENBACH. [Moves his hands and laughs] We do not seem to understand + each other. How can I convince you? [MASHA laughs quietly, TUZENBACH + continues, pointing at her] Yes, laugh! [To VERSHININ] Not only after + two or three centuries, but in a million years, life will still be as it + was; life does not change, it remains for ever, following its own laws + which do not concern us, or which, at any rate, you will never find out. + Migrant birds, cranes for example, fly and fly, and whatever thoughts, + high or low, enter their heads, they will still fly and not know why or + where. They fly and will continue to fly, whatever philosophers come to + life among them; they may philosophize as much as they like, only they + will fly.... + </p> + <p> + MASHA. Still, is there a meaning? + </p> + <p> + TUZENBACH. A meaning.... Now the snow is falling. What meaning? [Pause.] + </p> + <p> + MASHA. It seems to me that a man must have faith, or must search for a + faith, or his life will be empty, empty.... To live and not to know why + the cranes fly, why babies are born, why there are stars in the sky.... + Either you must know why you live, or everything is trivial, not worth a + straw. [A pause.] + </p> + <p> + VERSHININ. Still, I am sorry that my youth has gone. + </p> + <p> + MASHA. Gogol says: life in this world is a dull matter, my masters! + </p> + <p> + TUZENBACH. And I say it’s difficult to argue with you, my masters! Hang + it all. + </p> + <p> + CHEBUTIKIN. [Reading] Balzac was married at Berdichev. [IRINA is singing + softly] That’s worth making a note of. [He makes a note] Balzac was + married at Berdichev. [Goes on reading.] + </p> + <p> + IRINA. [Laying out cards, thoughtfully] Balzac was married at Berdichev. + </p> + <p> + TUZENBACH. The die is cast. I’ve handed in my resignation, Maria + Sergeyevna. + </p> + <p> + MASHA. So I heard. I don’t see what good it is; I don’t like civilians. + </p> + <p> + TUZENBACH. Never mind.... [Gets up] I’m not handsome; what use am I as a + soldier? Well, it makes no difference... I shall work. If only just once + in my life I could work so that I could come home in the evening, fall + exhausted on my bed, and go to sleep at once. [Going into the + dining-room] Workmen, I suppose, do sleep soundly! + </p> + <p> + FEDOTIK. [To IRINA] I bought some coloured pencils for you at Pizhikov’s + in the Moscow Road, just now. And here is a little knife. + </p> + <p> + IRINA. You have got into the habit of behaving to me as if I am a little + girl, but I am grown up. [Takes the pencils and the knife, then, with + joy] How lovely! + </p> + <p> + FEDOTIK. And I bought myself a knife... look at it... one blade, + another, a third, an ear-scoop, scissors, nail-cleaners. + </p> + <p> + RODE. [Loudly] Doctor, how old are you? + </p> + <p> + CHEBUTIKIN. I? Thirty-two. [Laughter] + </p> + <p> + FEDOTIK. I’ll show you another kind of patience.... [Lays out cards.] + </p> + <p> + [A samovar is brought in; ANFISA attends to it; a little later NATASHA + enters and helps by the table; SOLENI arrives and, after greetings, sits + by the table.] + </p> + <p> + VERSHININ. What a wind! + </p> + <p> + MASHA. Yes. I’m tired of winter. I’ve already forgotten what summer’s + like. + </p> + <p> + IRINA. It’s coming out, I see. We’re going to Moscow. + </p> + <p> + FEDOTIK. No, it won’t come out. Look, the eight was on the two of + spades. [Laughs] That means you won’t go to Moscow. + </p> + <p> + CHEBUTIKIN. [Reading paper] Tsitsigar. Smallpox is raging here. + </p> + <p> + ANFISA. [Coming up to MASHA] Masha, have some tea, little mother. [To + VERSHININ] Please have some, sir... excuse me, but I’ve forgotten your + name.... + </p> + <p> + MASHA. Bring some here, nurse. I shan’t go over there. + </p> + <p> + IRINA. Nurse! + </p> + <p> + ANFISA. Coming, coming! + </p> + <p> + NATASHA. [To SOLENI] Children at the breast understand perfectly. I said + “Good morning, Bobby; good morning, dear!” And he looked at me in quite + an unusual way. You think it’s only the mother in me that is speaking; I + assure you that isn’t so! He’s a wonderful child. + </p> + <p> + SOLENI. If he was my child I’d roast him on a frying-pan and eat him. + [Takes his tumbler into the drawing-room and sits in a corner.] + </p> + <p> + NATASHA. [Covers her face in her hands] Vulgar, ill-bred man! + </p> + <p> + MASHA. He’s lucky who doesn’t notice whether it’s winter now, or summer. + I think that if I were in Moscow, I shouldn’t mind about the weather. + </p> + <p> + VERSHININ. A few days ago I was reading the prison diary of a French + minister. He had been sentenced on account of the Panama scandal. With + what joy, what delight, he speaks of the birds he saw through the prison + windows, which he had never noticed while he was a minister. Now, of + course, that he is at liberty, he notices birds no more than he did + before. When you go to live in Moscow you’ll not notice it, in just the + same way. There can be no happiness for us, it only exists in our + wishes. + </p> + <p> + TUZENBACH. [Takes cardboard box from the table] Where are the pastries? + </p> + <p> + IRINA. Soleni has eaten them. + </p> + <p> + TUZENBACH. All of them? + </p> + <p> + ANFISA. [Serving tea] There’s a letter for you. + </p> + <p> + VERSHININ. For me? [Takes the letter] From my daughter. [Reads] Yes, of + course... I will go quietly. Excuse me, Maria Sergeyevna. I shan’t have + any tea. [Stands up, excited] That eternal story.... + </p> + <p> + MASHA. What is it? Is it a secret? + </p> + <p> + VERSHININ. [Quietly] My wife has poisoned herself again. I must go. I’ll + go out quietly. It’s all awfully unpleasant. [Kisses MASHA’S hand] My + dear, my splendid, good woman... I’ll go this way, quietly. [Exit.] + </p> + <p> + ANFISA. Where has he gone? And I’d served tea.... What a man. + </p> + <p> + MASHA. [Angrily] Be quiet! You bother so one can’t have a moment’s + peace.... [Goes to the table with her cup] I’m tired of you, old woman! + </p> + <p> + ANFISA. My dear! Why are you offended! + </p> + <p> + ANDREY’S VOICE. Anfisa! + </p> + <p> + ANFISA. [Mocking] Anfisa! He sits there and... [Exit.] + </p> + <p> + MASHA. [In the dining-room, by the table angrily] Let me sit down! + [Disturbs the cards on the table] Here you are, spreading your cards + out. Have some tea! + </p> + <p> + IRINA. You are cross, Masha. + </p> + <p> + MASHA. If I am cross, then don’t talk to me. Don’t touch me! + </p> + <p> + CHEBUTIKIN. Don’t touch her, don’t touch her.... + </p> + <p> + MASHA. You’re sixty, but you’re like a boy, always up to some beastly + nonsense. + </p> + <p> + NATASHA. [Sighs] Dear Masha, why use such expressions? With your + beautiful exterior you would be simply fascinating in good society, I + tell you so directly, if it wasn’t for your words. <i>Je vous prie, + pardonnez moi, Marie, mais vous avez des manières un peu grossières</i>. + </p> + <p> + TUZENBACH. [Restraining his laughter] Give me... give me... there’s some + cognac, I think. + </p> + <p> + NATASHA. <i>Il parait, que mon Bobick déjà ne dort pas</i>, he has + awakened. He isn’t well to-day. I’ll go to him, excuse me... [Exit.] + </p> + <p> + IRINA. Where has Alexander Ignateyevitch gone? + </p> + <p> + MASHA. Home. Something extraordinary has happened to his wife again. + </p> + <p> + TUZENBACH. [Goes to SOLENI with a cognac-flask in his hands] You go on + sitting by yourself, thinking of something—goodness knows what. + Come and let’s make peace. Let’s have some cognac. [They drink] I expect + I’ll have to play the piano all night, some rubbish most likely... well, + so be it! + </p> + <p> + SOLENI. Why make peace? I haven’t quarrelled with you. + </p> + <p> + TUZENBACH. You always make me feel as if something has taken place + between us. You’ve a strange character, you must admit. + </p> + <p> + SOLENI. [Declaims] “I am strange, but who is not? Don’t be angry, + Aleko!” + </p> + <p> + TUZENBACH. And what has Aleko to do with it? [Pause.] + </p> + <p> + SOLENI. When I’m with one other man I behave just like everybody else, + but in company I’m dull and shy and... talk all manner of rubbish. But + I’m more honest and more honourable than very, very many people. And I + can prove it. + </p> + <p> + TUZENBACH. I often get angry with you, you always fasten on to me in + company, but I like you all the same. I’m going to drink my fill + to-night, whatever happens. Drink, now! + </p> + <p> + SOLENI. Let’s drink. [They drink] I never had anything against you, + Baron. But my character is like Lermontov’s [In a low voice] I even + rather resemble Lermontov, they say.... [Takes a scent-bottle from his + pocket, and scents his hands.] + </p> + <p> + TUZENBACH. I’ve sent in my resignation. Basta! I’ve been thinking about + it for five years, and at last made up my mind. I shall work. + </p> + <p> + SOLENI. [Declaims] “Do not be angry, Aleko... forget, forget, thy dreams + of yore....” + </p> + <p> + [While he is speaking ANDREY enters quietly with a book, and sits by the + table.] + </p> + <p> + TUZENBACH. I shall work. + </p> + <p> + CHEBUTIKIN. [Going with IRINA into the dining-room] And the food was + also real Caucasian onion soup, and, for a roast, some chehartma. + </p> + <p> + SOLENI. Cheremsha [Note: A variety of garlic.] isn’t meat at all, but a + plant something like an onion. + </p> + <p> + CHEBUTIKIN. No, my angel. Chehartma isn’t onion, but roast mutton. + </p> + <p> + SOLENI. And I tell you, chehartma—is a sort of onion. + </p> + <p> + CHEBUTIKIN. And I tell you, chehartma—is mutton. + </p> + <p> + SOLENI. And I tell you, cheremsha—is a sort of onion. + </p> + <p> + CHEBUTIKIN. What’s the use of arguing! You’ve never been in the + Caucasus, and never ate any chehartma. + </p> + <p> + SOLENI. I never ate it, because I hate it. It smells like garlic. + </p> + <p> + ANDREY. [Imploring] Please, please! I ask you! + </p> + <p> + TUZENBACH. When are the entertainers coming? + </p> + <p> + IRINA. They promised for about nine; that is, quite soon. + </p> + <p> + TUZENBACH. [Embraces ANDREY] + </p> +<pre xml:space="preserve"> + “Oh my house, my house, my new-built house.” + </pre> + <p> + ANDREY. [Dances and sings] “Newly-built of maple-wood.” + </p> + <p> + CHEBUTIKIN. [Dances] + </p> +<pre xml:space="preserve"> + “Its walls are like a sieve!” [Laughter.] +</pre> + <p> + TUZENBACH. [Kisses ANDREY] Hang it all, let’s drink. Andrey, old boy, + let’s drink with you. And I’ll go with you, Andrey, to the University of + Moscow. + </p> + <p> + SOLENI. Which one? There are two universities in Moscow. + </p> + <p> + ANDREY. There’s one university in Moscow. + </p> + <p> + SOLENI. Two, I tell you. + </p> + <p> + ANDREY. Don’t care if there are three. So much the better. + </p> + <p> + SOLENI. There are two universities in Moscow! [There are murmurs and + “hushes”] There are two universities in Moscow, the old one and the new + one. And if you don’t like to listen, if my words annoy you, then I need + not speak. I can even go into another room.... [Exit.] + </p> + <p> + TUZENBACH. Bravo, bravo! [Laughs] Come on, now. I’m going to play. Funny + man, Soleni.... [Goes to the piano and plays a waltz.] + </p> + <p> + MASHA. [Dancing solo] The Baron’s drunk, the Baron’s drunk, the Baron’s + drunk! + </p> + <p> + [NATASHA comes in.] + </p> + <p> + NATASHA. [To CHEBUTIKIN] Ivan Romanovitch! + </p> + <p> + [Says something to CHEBUTIKIN, then goes out quietly; CHEBUTIKIN touches + TUZENBACH on the shoulder and whispers something to him.] + </p> + <p> + IRINA. What is it? + </p> + <p> + CHEBUTIKIN. Time for us to go. Good-bye. + </p> + <p> + TUZENBACH. Good-night. It’s time we went. + </p> + <p> + IRINA. But, really, the entertainers? + </p> + <p> + ANDREY. [In confusion] There won’t be any entertainers. You see, dear, + Natasha says that Bobby isn’t quite well, and so.... In a word, I don’t + care, and it’s absolutely all one to me. + </p> + <p> + IRINA. [Shrugging her shoulders] Bobby ill! + </p> + <p> + MASHA. What is she thinking of! Well, if they are sent home, I suppose + they must go. [To IRINA] Bobby’s all right, it’s she herself.... Here! + [Taps her forehead] Little bourgeoise! + </p> + <p> + [ANDREY goes to his room through the right-hand door, CHEBUTIKIN follows + him. In the dining-room they are saying good-bye.] + </p> + <p> + FEDOTIK. What a shame! I was expecting to spend the evening here, but of + course, if the little baby is ill... I’ll bring him some toys to-morrow. + </p> + <p> + RODE. [Loudly] I slept late after dinner to-day because I thought I was + going to dance all night. It’s only nine o’clock now! + </p> + <p> + MASHA. Let’s go into the street, we can talk there. Then we can settle + things. + </p> + <p> + (Good-byes and good nights are heard. TUZENBACH’S merry laughter is + heard. [All go out] ANFISA and the maid clear the table, and put out the + lights. [The nurse sings] ANDREY, wearing an overcoat and a hat, and + CHEBUTIKIN enter silently.) + </p> + <p> + CHEBUTIKIN. I never managed to get married because my life flashed by + like lightning, and because I was madly in love with your mother, who + was married. + </p> + <p> + ANDREY. One shouldn’t marry. One shouldn’t, because it’s dull. + </p> + <p> + CHEBUTIKIN. So there I am, in my loneliness. Say what you will, + loneliness is a terrible thing, old fellow.... Though really... of + course, it absolutely doesn’t matter! + </p> + <p> + ANDREY. Let’s be quicker. + </p> + <p> + CHEBUTIKIN. What are you in such a hurry for? We shall be in time. + </p> + <p> + ANDREY. I’m afraid my wife may stop me. + </p> + <p> + CHEBUTIKIN. Ah! + </p> + <p> + ANDREY. I shan’t play to-night, I shall only sit and look on. I don’t + feel very well.... What am I to do for my asthma, Ivan Romanovitch? + </p> + <p> + CHEBUTIKIN. Don’t ask me! I don’t remember, old fellow, I don’t know. + </p> + <p> + ANDREY. Let’s go through the kitchen. [They go out.] + </p> + <p> + [A bell rings, then a second time; voices and laughter are heard.] + </p> + <p> + IRINA. [Enters] What’s that? + </p> + <p> + ANFISA. [Whispers] The entertainers! [Bell.] + </p> + <p> + IRINA. Tell them there’s nobody at home, nurse. They must excuse us. + </p> + <p> + [ANFISA goes out. IRINA walks about the room deep in thought; she is + excited. SOLENI enters.] + </p> + <p> + SOLENI. [In surprise] There’s nobody here.... Where are they all? + </p> + <p> + IRINA. They’ve gone home. + </p> + <p> + SOLENI. How strange. Are you here alone? + </p> + <p> + IRINA. Yes, alone. [A pause] Good-bye. + </p> + <p> + SOLENI. Just now I behaved tactlessly, with insufficient reserve. But + you are not like all the others, you are noble and pure, you can see the + truth.... You alone can understand me. I love you, deeply, beyond + measure, I love you. + </p> + <p> + IRINA. Good-bye! Go away. + </p> + <p> + SOLENI. I cannot live without you. [Follows her] Oh, my happiness! + [Through his tears] Oh, joy! Wonderful, marvellous, glorious eyes, such + as I have never seen before.... + </p> + <p> + IRINA. [Coldly] Stop it, Vassili Vassilevitch! + </p> + <p> + SOLENI. This is the first time I speak to you of love, and it is as if I + am no longer on the earth, but on another planet. [Wipes his forehead] + Well, never mind. I can’t make you love me by force, of course... but I + don’t intend to have any more-favoured rivals.... No... I swear to you + by all the saints, I shall kill my rival.... Oh, beautiful one! + </p> + <p> + [NATASHA enters with a candle; she looks in through one door, then + through another, and goes past the door leading to her husband’s room.] + </p> + <p> + NATASHA. Here’s Andrey. Let him go on reading. Excuse me, Vassili + Vassilevitch, I did not know you were here; I am engaged in + domesticities. + </p> + <p> + SOLENI. It’s all the same to me. Good-bye! [Exit.] + </p> + <p> + NATASHA. You’re so tired, my poor dear girl! [Kisses IRINA] If you only + went to bed earlier. + </p> + <p> + IRINA. Is Bobby asleep? + </p> + <p> + NATASHA. Yes, but restlessly. By the way, dear, I wanted to tell you, + but either you weren’t at home, or I was busy... I think Bobby’s present + nursery is cold and damp. And your room would be so nice for the child. + My dear, darling girl, do change over to Olga’s for a bit! + </p> + <p> + IRINA. [Not understanding] Where? + </p> + <p> + [The bells of a troika are heard as it drives up to the house.] + </p> + <p> + NATASHA. You and Olga can share a room, for the time being, and Bobby + can have yours. He’s such a darling; to-day I said to him, “Bobby, + you’re mine! Mine!” And he looked at me with his dear little eyes. [A + bell rings] It must be Olga. How late she is! [The maid enters and + whispers to NATASHA] Protopopov? What a queer man to do such a thing. + Protopopov’s come and wants me to go for a drive with him in his troika. + [Laughs] How funny these men are.... [A bell rings] Somebody has come. + Suppose I did go and have half an hour’s drive.... [To the maid] Say I + shan’t be long. [Bell rings] Somebody’s ringing, it must be Olga. + [Exit.] + </p> + <p> + [The maid runs out; IRINA sits deep in thought; KULIGIN and OLGA enter, + followed by VERSHININ.] + </p> + <p> + KULIGIN. Well, there you are. And you said there was going to be a + party. + </p> + <p> + VERSHININ. It’s queer; I went away not long ago, half an hour ago, and + they were expecting entertainers. + </p> + <p> + IRINA. They’ve all gone. + </p> + <p> + KULIGIN. Has Masha gone too? Where has she gone? And what’s Protopopov + waiting for downstairs in his troika? Whom is he expecting? + </p> + <p> + IRINA. Don’t ask questions... I’m tired. + </p> + <p> + KULIGIN. Oh, you’re all whimsies.... + </p> + <p> + OLGA. My committee meeting is only just over. I’m tired out. Our + chairwoman is ill, so I had to take her place. My head, my head is + aching.... [Sits] Andrey lost 200 roubles at cards yesterday... the + whole town is talking about it.... + </p> + <p> + KULIGIN. Yes, my meeting tired me too. [Sits.] + </p> + <p> + VERSHININ. My wife took it into her head to frighten me just now by + nearly poisoning herself. It’s all right now, and I’m glad; I can rest + now.... But perhaps we ought to go away? Well, my best wishes, Feodor + Ilitch, let’s go somewhere together! I can’t, I absolutely can’t stop at + home.... Come on! + </p> + <p> + KULIGIN. I’m tired. I won’t go. [Gets up] I’m tired. Has my wife gone + home? + </p> + <p> + IRINA. I suppose so. + </p> + <p> + KULIGIN. [Kisses IRINA’S hand] Good-bye, I’m going to rest all day + to-morrow and the day after. Best wishes! [Going] I should like some + tea. I was looking forward to spending the whole evening in pleasant + company and—o, fallacem hominum spem!... Accusative case after an + interjection.... + </p> + <p> + VERSHININ. Then I’ll go somewhere by myself. [Exit with KULIGIN, + whistling.] + </p> + <p> + OLGA. I’ve such a headache... Andrey has been losing money.... The whole + town is talking.... I’ll go and lie down. [Going] I’m free to-morrow.... + Oh, my God, what a mercy! I’m free to-morrow, I’m free the day after.... + Oh my head, my head.... [Exit.] + </p> + <p> + IRINA. [alone] They’ve all gone. Nobody’s left. + </p> + <p> + [A concertina is being played in the street. The nurse sings.] + </p> + <p> + NATASHA. [in fur coat and cap, steps across the dining-room, followed by + the maid] I’ll be back in half an hour. I’m only going for a little + drive. [Exit.] + </p> + <p> + IRINA. [Alone in her misery] To Moscow! Moscow! Moscow! + </p> + <p> + Curtain. + </p> + <a name="link2H_4_0011" id="link2H_4_0011"> + <!-- H2 anchor --> </a> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT III + </h2> + <p> + [The room shared by OLGA and IRINA. Beds, screened off, on the right and + left. It is past 2 a.m. Behind the stage a fire-alarm is ringing; it has + apparently been going for some time. Nobody in the house has gone to bed + yet. MASHA is lying on a sofa dressed, as usual, in black. Enter OLGA + and ANFISA.] + </p> + <p> + ANFISA. Now they are downstairs, sitting under the stairs. I said to + them, “Won’t you come up,” I said, “You can’t go on like this,” and they + simply cried, “We don’t know where father is.” They said, “He may be + burnt up by now.” What an idea! And in the yard there are some people... + also undressed. + </p> + <p> + OLGA. [Takes a dress out of the cupboard] Take this grey dress.... And + this... and the blouse as well.... Take the skirt, too, nurse.... My + God! How awful it is! The whole of the Kirsanovsky Road seems to have + burned down. Take this... and this.... [Throws clothes into her hands] + The poor Vershinins are so frightened.... Their house was nearly burnt. + They ought to come here for the night.... They shouldn’t be allowed to + go home.... Poor Fedotik is completely burnt out, there’s nothing + left.... + </p> + <p> + ANFISA. Couldn’t you call Ferapont, Olga dear. I can hardly manage.... + </p> + <p> + OLGA. [Rings] They’ll never answer.... [At the door] Come here, whoever + there is! [Through the open door can be seen a window, red with flame: + afire-engine is heard passing the house] How awful this is. And how I’m + sick of it! [FERAPONT enters] Take these things down.... The Kolotilin + girls are down below... and let them have them. This, too. + </p> + <p> + FERAPONT. Yes’m. In the year twelve Moscow was burning too. Oh, my God! + The Frenchmen were surprised. + </p> + <p> + OLGA. Go on, go on.... + </p> + <p> + FERAPONT. Yes’m. [Exit.] + </p> + <p> + OLGA. Nurse, dear, let them have everything. We don’t want anything. + Give it all to them, nurse.... I’m tired, I can hardly keep on my + legs.... The Vershinins mustn’t be allowed to go home.... The girls can + sleep in the drawing-room, and Alexander Ignateyevitch can go downstairs + to the Baron’s flat... Fedotik can go there, too, or else into our + dining-room.... The doctor is drunk, beastly drunk, as if on purpose, so + nobody can go to him. Vershinin’s wife, too, may go into the + drawing-room. + </p> + <p> + ANFISA. [Tired] Olga, dear girl, don’t dismiss me! Don’t dismiss me! + </p> + <p> + OLGA. You’re talking nonsense, nurse. Nobody is dismissing you. + </p> + <p> + ANFISA. [Puts OLGA’S head against her bosom] My dear, precious girl, I’m + working, I’m toiling away... I’m growing weak, and they’ll all say go + away! And where shall I go? Where? I’m eighty. Eighty-one years old.... + </p> + <p> + OLGA. You sit down, nurse dear.... You’re tired, poor dear.... [Makes + her sit down] Rest, dear. You’re so pale! + </p> + <p> + [NATASHA comes in.] + </p> + <p> + NATASHA. They are saying that a committee to assist the sufferers from + the fire must be formed at once. What do you think of that? It’s a + beautiful idea. Of course the poor ought to be helped, it’s the duty of + the rich. Bobby and little Sophy are sleeping, sleeping as if nothing at + all was the matter. There’s such a lot of people here, the place is full + of them, wherever you go. There’s influenza in the town now. I’m afraid + the children may catch it. + </p> + <p> + OLGA. [Not attending] In this room we can’t see the fire, it’s quiet + here. + </p> + <p> + NATASHA. Yes... I suppose I’m all untidy. [Before the looking-glass] + They say I’m growing stout... it isn’t true! Certainly it isn’t! Masha’s + asleep; the poor thing is tired out.... [Coldly, to ANFISA] Don’t dare + to be seated in my presence! Get up! Out of this! [Exit ANFISA; a pause] + I don’t understand what makes you keep on that old woman! + </p> + <p> + OLGA. [Confusedly] Excuse me, I don’t understand either... + </p> + <p> + NATASHA. She’s no good here. She comes from the country, she ought to + live there.... Spoiling her, I call it! I like order in the house! We + don’t want any unnecessary people here. [Strokes her cheek] You’re + tired, poor thing! Our head mistress is tired! And when my little Sophie + grows up and goes to school I shall be so afraid of you. + </p> + <p> + OLGA. I shan’t be head mistress. + </p> + <p> + NATASHA. They’ll appoint you, Olga. It’s settled. + </p> + <p> + OLGA. I’ll refuse the post. I can’t... I’m not strong enough.... [Drinks + water] You were so rude to nurse just now... I’m sorry. I can’t stand + it... everything seems dark in front of me.... + </p> + <p> + NATASHA. [Excited] Forgive me, Olga, forgive me... I didn’t want to + annoy you. + </p> + <p> + [MASHA gets up, takes a pillow and goes out angrily.] + </p> + <p> + OLGA. Remember, dear... we have been brought up, in an unusual way, + perhaps, but I can’t bear this. Such behaviour has a bad effect on me, I + get ill... I simply lose heart! + </p> + <p> + NATASHA. Forgive me, forgive me.... [Kisses her.] + </p> + <p> + OLGA. Even the least bit of rudeness, the slightest impoliteness, upsets + me. + </p> + <p> + NATASHA. I often say too much, it’s true, but you must agree, dear, that + she could just as well live in the country. + </p> + <p> + OLGA. She has been with us for thirty years. + </p> + <p> + NATASHA. But she can’t do any work now. Either I don’t understand, or + you don’t want to understand me. She’s no good for work, she can only + sleep or sit about. + </p> + <p> + OLGA. And let her sit about. + </p> + <p> + NATASHA. [Surprised] What do you mean? She’s only a servant. [Crying] I + don’t understand you, Olga. I’ve got a nurse, a wet-nurse, we’ve a cook, + a housemaid... what do we want that old woman for as well? What good is + she? [Fire-alarm behind the stage.] + </p> + <p> + OLGA. I’ve grown ten years older to-night. + </p> + <p> + NATASHA. We must come to an agreement, Olga. Your place is the school, + mine—the home. You devote yourself to teaching, I, to the + household. And if I talk about servants, then I do know what I am + talking about; I do know what I am talking about... And to-morrow + there’s to be no more of that old thief, that old hag... [Stamping] that + witch! And don’t you dare to annoy me! Don’t you dare! [Stopping short] + Really, if you don’t move downstairs, we shall always be quarrelling. + This is awful. + </p> + <p> + [Enter KULIGIN.] + </p> + <p> + KULIGIN. Where’s Masha? It’s time we went home. The fire seems to be + going down. [Stretches himself] Only one block has burnt down, but there + was such a wind that it seemed at first the whole town was going to + burn. [Sits] I’m tired out. My dear Olga... I often think that if it + hadn’t been for Masha, I should have married you. You are awfully + nice.... I am absolutely tired out. [Listens.] + </p> + <p> + OLGA. What is it? + </p> + <p> + KULIGIN. The doctor, of course, has been drinking hard; he’s terribly + drunk. He might have done it on purpose! [Gets up] He seems to be coming + here.... Do you hear him? Yes, here.... [Laughs] What a man... really... + I’ll hide myself. [Goes to the cupboard and stands in the corner] What a + rogue. + </p> + <p> + OLGA. He hadn’t touched a drop for two years, and now he suddenly goes + and gets drunk.... + </p> + <p> + [Retires with NATASHA to the back of the room. CHEBUTIKIN enters; + apparently sober, he stops, looks round, then goes to the wash-stand and + begins to wash his hands.] + </p> + <p> + CHEBUTIKIN. [Angrily] Devil take them all... take them all.... They + think I’m a doctor and can cure everything, and I know absolutely + nothing, I’ve forgotten all I ever knew, I remember nothing, absolutely + nothing. [OLGA and NATASHA go out, unnoticed by him] Devil take it. Last + Wednesday I attended a woman in Zasip—and she died, and it’s my + fault that she died. Yes... I used to know a certain amount + five-and-twenty years ago, but I don’t remember anything now. Nothing. + Perhaps I’m not really a man, and am only pretending that I’ve got arms + and legs and a head; perhaps I don’t exist at all, and only imagine that + I walk, and eat, and sleep. [Cries] Oh, if only I didn’t exist! [Stops + crying; angrily] The devil only knows.... Day before yesterday they were + talking in the club; they said, Shakespeare, Voltaire... I’d never read, + never read at all, and I put on an expression as if I had read. And so + did the others. Oh, how beastly! How petty! And then I remembered the + woman I killed on Wednesday... and I couldn’t get her out of my mind, + and everything in my mind became crooked, nasty, wretched.... So I went + and drank.... + </p> + <p> + [IRINA, VERSHININ and TUZENBACH enter; TUZENBACH is wearing new and + fashionable civilian clothes.] + </p> + <p> + IRINA. Let’s sit down here. Nobody will come in here. + </p> + <p> + VERSHININ. The whole town would have been destroyed if it hadn’t been + for the soldiers. Good men! [Rubs his hands appreciatively] Splendid + people! Oh, what a fine lot! + </p> + <p> + KULIGIN. [Coming up to him] What’s the time? + </p> + <p> + TUZENBACH. It’s past three now. It’s dawning. + </p> + <p> + IRINA. They are all sitting in the dining-room, nobody is going. And + that Soleni of yours is sitting there. [To CHEBUTIKIN] Hadn’t you better + be going to sleep, doctor? + </p> + <p> + CHEBUTIKIN. It’s all right... thank you.... [Combs his beard.] + </p> + <p> + KULIGIN. [Laughs] Speaking’s a bit difficult, eh, Ivan Romanovitch! + [Pats him on the shoulder] Good man! <i>In vino veritas</i>, the + ancients used to say. + </p> + <p> + TUZENBACH. They keep on asking me to get up a concert in aid of the + sufferers. + </p> + <p> + IRINA. As if one could do anything.... + </p> + <p> + TUZENBACH. It might be arranged, if necessary. In my opinion Maria + Sergeyevna is an excellent pianist. + </p> + <p> + KULIGIN. Yes, excellent! + </p> + <p> + IRINA. She’s forgotten everything. She hasn’t played for three years... + or four. + </p> + <p> + TUZENBACH. In this town absolutely nobody understands music, not a soul + except myself, but I do understand it, and assure you on my word of + honour that Maria Sergeyevna plays excellently, almost with genius. + </p> + <p> + KULIGIN. You are right, Baron, I’m awfully fond of Masha. She’s very + fine. + </p> + <p> + TUZENBACH. To be able to play so admirably and to realize at the same + time that nobody, nobody can understand you! + </p> + <p> + KULIGIN. [Sighs] Yes.... But will it be quite all right for her to take + part in a concert? [Pause] You see, I don’t know anything about it. + Perhaps it will even be all to the good. Although I must admit that our + Director is a good man, a very good man even, a very clever man, still + he has such views.... Of course it isn’t his business but still, if you + wish it, perhaps I’d better talk to him. + </p> + <p> + [CHEBUTIKIN takes a porcelain clock into his hands and examines it.] + </p> + <p> + VERSHININ. I got so dirty while the fire was on, I don’t look like + anybody on earth. [Pause] Yesterday I happened to hear, casually, that + they want to transfer our brigade to some distant place. Some said to + Poland, others, to Chita. + </p> + <p> + TUZENBACH. I heard so, too. Well, if it is so, the town will be quite + empty. + </p> + <p> + IRINA. And we’ll go away, too! + </p> + <p> + CHEBUTIKIN. [Drops the clock which breaks to pieces] To smithereens! + </p> + <p> + [A pause; everybody is pained and confused.] + </p> + <p> + KULIGIN. [Gathering up the pieces] To smash such a valuable object—oh, + Ivan Romanovitch, Ivan Romanovitch! A very bad mark for your + misbehaviour! + </p> + <p> + IRINA. That clock used to belong to our mother. + </p> + <p> + CHEBUTIKIN. Perhaps.... To your mother, your mother. Perhaps I didn’t + break it; it only looks as if I broke it. Perhaps we only think that we + exist, when really we don’t. I don’t know anything, nobody knows + anything. [At the door] What are you looking at? Natasha has a little + romance with Protopopov, and you don’t see it.... There you sit and see + nothing, and Natasha has a little romance with Protopovov.... [Sings] + Won’t you please accept this date.... [Exit.] + </p> + <p> + VERSHININ. Yes. [Laughs] How strange everything really is! [Pause] When + the fire broke out, I hurried off home; when I get there I see the house + is whole, uninjured, and in no danger, but my two girls are standing by + the door in just their underclothes, their mother isn’t there, the crowd + is excited, horses and dogs are running about, and the girls’ faces are + so agitated, terrified, beseeching, and I don’t know what else. My heart + was pained when I saw those faces. My God, I thought, what these girls + will have to put up with if they live long! I caught them up and ran, + and still kept on thinking the one thing: what they will have to live + through in this world! [Fire-alarm; a pause] I come here and find their + mother shouting and angry. [MASHA enters with a pillow and sits on the + sofa] And when my girls were standing by the door in just their + underclothes, and the street was red from the fire, there was a dreadful + noise, and I thought that something of the sort used to happen many + years ago when an enemy made a sudden attack, and looted, and burned.... + And at the same time what a difference there really is between the + present and the past! And when a little more time has gone by, in two or + three hundred years perhaps, people will look at our present life with + just the same fear, and the same contempt, and the whole past will seem + clumsy and dull, and very uncomfortable, and strange. Oh, indeed, what a + life there will be, what a life! [Laughs] Forgive me, I’ve dropped into + philosophy again. Please let me continue. I do awfully want to + philosophize, it’s just how I feel at present. [Pause] As if they are + all asleep. As I was saying: what a life there will be! Only just + imagine.... There are only three persons like yourselves in the town + just now, but in future generations there will be more and more, and + still more, and the time will come when everything will change and + become as you would have it, people will live as you do, and then you + too will go out of date; people will be born who are better than you.... + [Laughs] Yes, to-day I am quite exceptionally in the vein. I am + devilishly keen on living.... [Sings.] + </p> +<pre xml:space="preserve"> + “The power of love all ages know, + From its assaults great good does grow.” [Laughs.] +</pre> + <p> + MASHA. Trum-tum-tum... + </p> + <p> + VERSHININ. Tum-tum... + </p> + <p> + MASHA. Tra-ra-ra? + </p> + <p> + VERSHININ. Tra-ta-ta. [Laughs.] + </p> + <p> + [Enter FEDOTIK.] + </p> + <p> + FEDOTIK. [Dancing] I’m burnt out, I’m burnt out! Down to the ground! + [Laughter.] + </p> + <p> + IRINA. I don’t see anything funny about it. Is everything burnt? + </p> + <p> + FEDOTIK. [Laughs] Absolutely. Nothing left at all. The guitar’s burnt, + and the photographs are burnt, and all my correspondence.... And I was + going to make you a present of a note-book, and that’s burnt too. + </p> + <p> + [SOLENI comes in.] + </p> + <p> + IRINA. No, you can’t come here, Vassili Vassilevitch. Please go away. + </p> + <p> + SOLENI. Why can the Baron come here and I can’t? + </p> + <p> + VERSHININ. We really must go. How’s the fire? + </p> + <p> + SOLENI. They say it’s going down. No, I absolutely don’t see why the + Baron can, and I can’t? [Scents his hands.] + </p> + <p> + VERSHININ. Trum-tum-tum. + </p> + <p> + MASHA. Trum-tum. + </p> + <p> + VERSHININ. [Laughs to SOLENI] Let’s go into the dining-room. + </p> + <p> + SOLENI. Very well, we’ll make a note of it. “If I should try to make + this clear, the geese would be annoyed, I fear.” [Looks at TUZENBACH] + There, there, there.... [Goes out with VERSHININ and FEDOTIK.] + </p> + <p> + IRINA. How Soleni smelt of tobacco.... [In surprise] The Baron’s asleep! + Baron! Baron! + </p> + <p> + TUZENBACH. [Waking] I am tired, I must say.... The brickworks.... No, + I’m not wandering, I mean it; I’m going to start work soon at the + brickworks... I’ve already talked it over. [Tenderly, to IRINA] You’re + so pale, and beautiful, and charming.... Your paleness seems to shine + through the dark air as if it was a light.... You are sad, displeased + with life.... Oh, come with me, let’s go and work together! + </p> + <p> + MASHA. Nicolai Lvovitch, go away from here. + </p> + <p> + TUZENBACH. [Laughs] Are you here? I didn’t see you. [Kisses IRINA’S + hand] good-bye, I’ll go... I look at you now and I remember, as if it + was long ago, your name-day, when you, cheerfully and merrily, were + talking about the joys of labour.... And how happy life seemed to me, + then! What has happened to it now? [Kisses her hand] There are tears in + your eyes. Go to bed now; it is already day... the morning begins.... If + only I was allowed to give my life for you! + </p> + <p> + MASHA. Nicolai Lvovitch, go away! What business... + </p> + <p> + TUZENBACH. I’m off. [Exit.] + </p> + <p> + MASHA. [Lies down] Are you asleep, Feodor? + </p> + <p> + KULIGIN. Eh? + </p> + <p> + MASHA. Shouldn’t you go home. + </p> + <p> + KULIGIN. My dear Masha, my darling Masha.... + </p> + <p> + IRINA. She’s tired out. You might let her rest, Fedia. + </p> + <p> + KULIGIN. I’ll go at once. My wife’s a good, splendid... I love you, my + only one.... + </p> + <p> + MASHA. [Angrily] Amo, amas, amat, amamus, amatis, amant. + </p> + <p> + KULIGIN. [Laughs] No, she really is wonderful. I’ve been your husband + seven years, and it seems as if I was only married yesterday. On my + word. No, you really are a wonderful woman. I’m satisfied, I’m + satisfied, I’m satisfied! + </p> + <p> + MASHA. I’m bored, I’m bored, I’m bored.... [Sits up] But I can’t get it + out of my head.... It’s simply disgraceful. It has been gnawing away at + me... I can’t keep silent. I mean about Andrey.... He has mortgaged this + house with the bank, and his wife has got all the money; but the house + doesn’t belong to him alone, but to the four of us! He ought to know + that, if he’s an honourable man. + </p> + <p> + KULIGIN. What’s the use, Masha? Andrey is in debt all round; well, let + him do as he pleases. + </p> + <p> + MASHA. It’s disgraceful, anyway. [Lies down] + </p> + <p> + KULIGIN. You and I are not poor. I work, take my classes, give private + lessons... I am a plain, honest man... <i>Omnia mea mecum porto</i>, as + they say. + </p> + <p> + MASHA. I don’t want anything, but the unfairness of it disgusts me. + [Pause] You go, Feodor. + </p> + <p> + KULIGIN. [Kisses her] You’re tired, just rest for half an hour, and I’ll + sit and wait for you. Sleep.... [Going] I’m satisfied, I’m satisfied, + I’m satisfied. [Exit.] + </p> + <p> + IRINA. Yes, really, our Andrey has grown smaller; how he’s snuffed out + and aged with that woman! He used to want to be a professor, and + yesterday he was boasting that at last he had been made a member of the + district council. He is a member, and Protopopov is chairman.... The + whole town talks and laughs about it, and he alone knows and sees + nothing.... And now everybody’s gone to look at the fire, but he sits + alone in his room and pays no attention, only just plays on his fiddle. + [Nervily] Oh, it’s awful, awful, awful. [Weeps] I can’t, I can’t bear it + any longer!... I can’t, I can’t!... [OLGA comes in and clears up at her + little table. IRINA is sobbing loudly] Throw me out, throw me out, I + can’t bear any more! + </p> + <p> + OLGA. [Alarmed] What is it, what is it? Dear! + </p> + <p> + IRINA. [Sobbing] Where? Where has everything gone? Where is it all? Oh + my God, my God! I’ve forgotten everything, everything... I don’t + remember what is the Italian for window or, well, for ceiling... I + forget everything, every day I forget it, and life passes and will never + return, and we’ll never go away to Moscow... I see that we’ll never + go.... + </p> + <p> + OLGA. Dear, dear.... + </p> + <p> + IRINA. [Controlling herself] Oh, I am unhappy... I can’t work, I shan’t + work. Enough, enough! I used to be a telegraphist, now I work at the + town council offices, and I have nothing but hate and contempt for all + they give me to do... I am already twenty-three, I have already been at + work for a long while, and my brain has dried up, and I’ve grown + thinner, plainer, older, and there is no relief of any sort, and time + goes and it seems all the while as if I am going away from the real, the + beautiful life, farther and farther away, down some precipice. I’m in + despair and I can’t understand how it is that I am still alive, that I + haven’t killed myself. + </p> + <p> + OLGA. Don’t cry, dear girl, don’t cry... I suffer, too. + </p> + <p> + IRINA. I’m not crying, not crying.... Enough.... Look, I’m not crying + any more. Enough... enough! + </p> + <p> + OLGA. Dear, I tell you as a sister and a friend if you want my advice, + marry the Baron. [IRINA cries softly] You respect him, you think highly + of him.... It is true that he is not handsome, but he is so honourable + and clean... people don’t marry from love, but in order to do one’s + duty. I think so, at any rate, and I’d marry without being in love. + Whoever he was, I should marry him, so long as he was a decent man. Even + if he was old.... + </p> + <p> + IRINA. I was always waiting until we should be settled in Moscow, there + I should meet my true love; I used to think about him, and love him.... + But it’s all turned out to be nonsense, all nonsense.... + </p> + <p> + OLGA. [Embraces her sister] My dear, beautiful sister, I understand + everything; when Baron Nicolai Lvovitch left the army and came to us in + evening dress, [Note: I.e. in the correct dress for making a proposal of + marriage.] he seemed so bad-looking to me that I even started crying.... + He asked, “What are you crying for?” How could I tell him! But if God + brought him to marry you, I should be happy. That would be different, + quite different. + </p> + <p> + [NATASHA with a candle walks across the stage from right to left without + saying anything.] + </p> + <p> + MASHA. [Sitting up] She walks as if she’s set something on fire. + </p> + <p> + OLGA. Masha, you’re silly, you’re the silliest of the family. Please + forgive me for saying so. [Pause.] + </p> + <p> + MASHA. I want to make a confession, dear sisters. My soul is in pain. I + will confess to you, and never again to anybody... I’ll tell you this + minute. [Softly] It’s my secret but you must know everything... I can’t + be silent.... [Pause] I love, I love... I love that man.... You saw him + only just now.... Why don’t I say it... in one word. I love Vershinin. + </p> + <p> + OLGA. [Goes behind her screen] Stop that, I don’t hear you in any case. + </p> + <p> + MASHA. What am I to do? [Takes her head in her hands] First he seemed + queer to me, then I was sorry for him... then I fell in love with him... + fell in love with his voice, his words, his misfortunes, his two + daughters. + </p> + <p> + OLGA. [Behind the screen] I’m not listening. You may talk any nonsense + you like, it will be all the same, I shan’t hear. + </p> + <p> + MASHA. Oh, Olga, you are foolish. I am in love—that means that is + to be my fate. It means that is to be my lot.... And he loves me.... It + is all awful. Yes; it isn’t good, is it? [Takes IRINA’S hand and draws + her to her] Oh, my dear.... How are we going to live through our lives, + what is to become of us.... When you read a novel it all seems so old + and easy, but when you fall in love yourself, then you learn that nobody + knows anything, and each must decide for himself.... My dear ones, my + sisters... I’ve confessed, now I shall keep silence.... Like the + lunatics in Gogol’s story, I’m going to be silent... silent... + </p> + <p> + [ANDREY enters, followed by FERAPONT.] + </p> + <p> + ANDREY. [Angrily] What do you want? I don’t understand. + </p> + <p> + FERAPONT. [At the door, impatiently] I’ve already told you ten times, + Andrey Sergeyevitch. + </p> + <p> + ANDREY. In the first place I’m not Andrey Sergeyevitch, but sir. [Note: + Quite literally, “your high honour,” to correspond to Andrey’s rank as a + civil servant.] + </p> + <p> + FERAPONT. The firemen, sir, ask if they can go across your garden to the + river. Else they go right round, right round; it’s a nuisance. + </p> + <p> + ANDREY. All right. Tell them it’s all right. [Exit FERAPONT] I’m tired + of them. Where is Olga? [OLGA comes out from behind the screen] I came + to you for the key of the cupboard. I lost my own. You’ve got a little + key. [OLGA gives him the key; IRINA goes behind her screen; pause] What + a huge fire! It’s going down now. Hang it all, that Ferapont made me so + angry that I talked nonsense to him.... Sir, indeed.... [A pause] Why + are you so silent, Olga? [Pause] It’s time you stopped all that nonsense + and behaved as if you were properly alive.... You are here, Masha. Irina + is here, well, since we’re all here, let’s come to a complete + understanding, once and for all. What have you against me? What is it? + </p> + <p> + OLGA. Please don’t, Audrey dear. We’ll talk to-morrow. [Excited] What an + awful night! + </p> + <p> + ANDREY. [Much confused] Don’t excite yourself. I ask you in perfect + calmness; what have you against me? Tell me straight. + </p> + <p> + VERSHININ’S VOICE. Trum-tum-tum! + </p> + <p> + MASHA. [Stands; loudly] Tra-ta-ta! [To OLGA] Goodbye, Olga, God bless + you. [Goes behind screen and kisses IRINA] Sleep well.... Good-bye, + Andrey. Go away now, they’re tired... you can explain to-morrow.... + [Exit.] + </p> + <p> + ANDREY. I’ll only say this and go. Just now.... In the first place, + you’ve got something against Natasha, my wife; I’ve noticed it since the + very day of my marriage. Natasha is a beautiful and honest creature, + straight and honourable—that’s my opinion. I love and respect my + wife; understand it, I respect her, and I insist that others should + respect her too. I repeat, she’s an honest and honourable person, and + all your disapproval is simply silly... [Pause] In the second place, you + seem to be annoyed because I am not a professor, and am not engaged in + study. But I work for the zemstvo, I am a member of the district + council, and I consider my service as worthy and as high as the service + of science. I am a member of the district council, and I am proud of it, + if you want to know. [Pause] In the third place, I have still this to + say... that I have mortgaged the house without obtaining your + permission.... For that I am to blame, and ask to be forgiven. My debts + led me into doing it... thirty-five thousand... I do not play at cards + any more, I stopped long ago, but the chief thing I have to say in my + defence is that you girls receive a pension, and I don’t... my wages, so + to speak.... [Pause.] + </p> + <p> + KULIGIN. [At the door] Is Masha there? [Excitedly] Where is she? It’s + queer.... [Exit.] + </p> + <p> + ANDREY. They don’t hear. Natasha is a splendid, honest person. [Walks + about in silence, then stops] When I married I thought we should be + happy... all of us.... But, my God.... [Weeps] My dear, dear sisters, + don’t believe me, don’t believe me.... [Exit.] + </p> + <p> + [Fire-alarm. The stage is clear.] + </p> + <p> + IRINA. [behind her screen] Olga, who’s knocking on the floor? + </p> + <p> + OLGA. It’s doctor Ivan Romanovitch. He’s drunk. + </p> + <p> + IRINA. What a restless night! [Pause] Olga! [Looks out] Did you hear? + They are taking the brigade away from us; it’s going to be transferred + to some place far away. + </p> + <p> + OLGA. It’s only a rumour. + </p> + <p> + IRINA. Then we shall be left alone.... Olga! + </p> + <p> + OLGA. Well? + </p> + <p> + IRINA. My dear, darling sister, I esteem, I highly value the Baron, he’s + a splendid man; I’ll marry him, I’ll consent, only let’s go to Moscow! I + implore you, let’s go! There’s nothing better than Moscow on earth! + Let’s go, Olga, let’s go! + </p> + <p> + Curtain + </p> + <a name="link2H_4_0012" id="link2H_4_0012"> + <!-- H2 anchor --> </a> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT IV + </h2> + <p> + [The old garden at the house of the PROSOROVS. There is a long avenue of + firs, at the end of which the river can be seen. There is a forest on + the far side of the river. On the right is the terrace of the house: + bottles and tumblers are on a table here; it is evident that champagne + has just been drunk. It is midday. Every now and again passers-by walk + across the garden, from the road to the river; five soldiers go past + rapidly. CHEBUTIKIN, in a comfortable frame of mind which does not + desert him throughout the act, sits in an armchair in the garden, + waiting to be called. He wears a peaked cap and has a stick. IRINA, + KULIGIN with a cross hanging from his neck and without his moustaches, + and TUZENBACH are standing on the terrace seeing off FEDOTIK and RODE, + who are coming down into the garden; both officers are in service + uniform.] + </p> + <p> + TUZENBACH. [Exchanges kisses with FEDOTIK] You’re a good sort, we got on + so well together. [Exchanges kisses with RODE] Once again.... Good-bye, + old man! + </p> + <p> + IRINA. Au revoir! + </p> + <p> + FEDOTIK. It isn’t au revoir, it’s good-bye; we’ll never meet again! + </p> + <p> + KULIGIN. Who knows! [Wipes his eyes; smiles] Here I’ve started crying! + </p> + <p> + IRINA. We’ll meet again sometime. + </p> + <p> + FEDOTIK. After ten years—or fifteen? We’ll hardly know one another + then; we’ll say, “How do you do?” coldly.... [Takes a snapshot] Keep + still.... Once more, for the last time. + </p> + <p> + RODE. [Embracing TUZENBACH] We shan’t meet again.... [Kisses IRINA’S + hand] Thank you for everything, for everything! + </p> + <p> + FEDOTIK. [Grieved] Don’t be in such a hurry! + </p> + <p> + TUZENBACH. We shall meet again, if God wills it. Write to us. Be sure to + write. + </p> + <p> + RODE. [Looking round the garden] Good-bye, trees! [Shouts] Yo-ho! + [Pause] Good-bye, echo! + </p> + <p> + KULIGIN. Best wishes. Go and get yourselves wives there in Poland.... + Your Polish wife will clasp you and call you “kochanku!” [Note: + Darling.] [Laughs.] + </p> + <p> + FEDOTIK. [Looking at the time] There’s less than an hour left. Soleni is + the only one of our battery who is going on the barge; the rest of us + are going with the main body. Three batteries are leaving to-day, + another three to-morrow and then the town will be quiet and peaceful. + </p> + <p> + TUZENBACH. And terribly dull. + </p> + <p> + RODE. And where is Maria Sergeyevna? + </p> + <p> + KULIGIN. Masha is in the garden. + </p> + <p> + FEDOTIK. We’d like to say good-bye to her. + </p> + <p> + RODE. Good-bye, I must go, or else I’ll start weeping.... [Quickly + embraces KULIGIN and TUZENBACH, and kisses IRINA’S hand] We’ve been so + happy here.... + </p> + <p> + FEDOTIK. [To KULIGIN] Here’s a keepsake for you... a note-book with a + pencil.... We’ll go to the river from here.... [They go aside and both + look round.] + </p> + <p> + RODE. [Shouts] Yo-ho! + </p> + <p> + KULIGIN. [Shouts] Good-bye! + </p> + <p> + [At the back of the stage FEDOTIK and RODE meet MASHA; they say good-bye + and go out with her.] + </p> + <p> + IRINA. They’ve gone.... [Sits on the bottom step of the terrace.] + </p> + <p> + CHEBUTIKIN. And they forgot to say good-bye to me. + </p> + <p> + IRINA. But why is that? + </p> + <p> + CHEBUTIKIN. I just forgot, somehow. Though I’ll soon see them again, I’m + going to-morrow. Yes... just one day left. I shall be retired in a year, + then I’ll come here again, and finish my life near you. I’ve only one + year before I get my pension.... [Puts one newspaper into his pocket and + takes another out] I’ll come here to you and change my life radically... + I’ll be so quiet... so agree... agreeable, respectable.... + </p> + <p> + IRINA. Yes, you ought to change your life, dear man, somehow or other. + </p> + <p> + CHEBUTIKIN. Yes, I feel it. [Sings softly.] “Tarara-boom-deay....” + </p> + <p> + KULIGIN. We won’t reform Ivan Romanovitch! We won’t reform him! + </p> + <p> + CHEBUTIKIN. If only I was apprenticed to you! Then I’d reform. + </p> + <p> + IRINA. Feodor has shaved his moustache! I can’t bear to look at him. + </p> + <p> + KULIGIN. Well, what about it? + </p> + <p> + CHEBUTIKIN. I could tell you what your face looks like now, but it + wouldn’t be polite. + </p> + <p> + KULIGIN. Well! It’s the custom, it’s modus vivendi. Our Director is + clean-shaven, and so I too, when I received my inspectorship, had my + moustaches removed. Nobody likes it, but it’s all one to me. I’m + satisfied. Whether I’ve got moustaches or not, I’m satisfied.... [Sits.] + </p> + <p> + [At the back of the stage ANDREY is wheeling a perambulator containing a + sleeping infant.] + </p> + <p> + IRINA. Ivan Romanovitch, be a darling. I’m awfully worried. You were out + on the boulevard last night; tell me, what happened? + </p> + <p> + CHEBUTIKIN. What happened? Nothing. Quite a trifling matter. [Reads + paper] Of no importance! + </p> + <p> + KULIGIN. They say that Soleni and the Baron met yesterday on the + boulevard near the theatre.... + </p> + <p> + TUZENBACH. Stop! What right... [Waves his hand and goes into the house.] + </p> + <p> + KULIGIN. Near the theatre... Soleni started behaving offensively to the + Baron, who lost his temper and said something nasty.... + </p> + <p> + CHEBUTIKIN. I don’t know. It’s all bunkum. + </p> + <p> + KULIGIN. At some seminary or other a master wrote “bunkum” on an essay, + and the student couldn’t make the letters out—thought it was a + Latin word “luckum.” [Laughs] Awfully funny, that. They say that Soleni + is in love with Irina and hates the Baron.... That’s quite natural. + Irina is a very nice girl. She’s even like Masha, she’s so + thoughtful.... Only, Irina your character is gentler. Though Masha’s + character, too, is a very good one. I’m very fond of Masha. [Shouts of + “Yo-ho!” are heard behind the stage.] + </p> + <p> + IRINA. [Shudders] Everything seems to frighten me today. [Pause] I’ve + got everything ready, and I send my things off after dinner. The Baron + and I will be married to-morrow, and to-morrow we go away to the + brickworks, and the next day I go to the school, and the new life + begins. God will help me! When I took my examination for the teacher’s + post, I actually wept for joy and gratitude.... [Pause] The cart will be + here in a minute for my things.... + </p> + <p> + KULIGIN. Somehow or other, all this doesn’t seem at all serious. As if + it was all ideas, and nothing really serious. Still, with all my soul I + wish you happiness. + </p> + <p> + CHEBUTIKIN. [With deep feeling] My splendid... my dear, precious + girl.... You’ve gone on far ahead, I won’t catch up with you. I’m left + behind like a migrant bird grown old, and unable to fly. Fly, my dear, + fly, and God be with you! [Pause] It’s a pity you shaved your + moustaches, Feodor Ilitch. + </p> + <p> + KULIGIN. Oh, drop it! [Sighs] To-day the soldiers will be gone, and + everything will go on as in the old days. Say what you will, Masha is a + good, honest woman. I love her very much, and thank my fate for her. + People have such different fates. There’s a Kosirev who works in the + excise department here. He was at school with me; he was expelled from + the fifth class of the High School for being entirely unable to + understand <i>ut consecutivum</i>. He’s awfully hard up now and in very + poor health, and when I meet him I say to him, “How do you do, <i>ut + consecutivum</i>.” “Yes,” he says, “precisely <i>consecutivum</i>...” + and coughs. But I’ve been successful all my life, I’m happy, and I even + have a Stanislaus Cross, of the second class, and now I myself teach + others that <i>ut consecutivum</i>. Of course, I’m a clever man, much + cleverer than many, but happiness doesn’t only lie in that.... + </p> + <p> + [“The Maiden’s Prayer” is being played on the piano in the house.] + </p> + <p> + IRINA. To-morrow night I shan’t hear that “Maiden’s Prayer” any more, + and I shan’t be meeting Protopopov.... [Pause] Protopopov is sitting + there in the drawing-room; and he came to-day... + </p> + <p> + KULIGIN. Hasn’t the head-mistress come yet? + </p> + <p> + IRINA. No. She has been sent for. If you only knew how difficult it is + for me to live alone, without Olga.... She lives at the High School; + she, a head-mistress, busy all day with her affairs and I’m alone, + bored, with nothing to do, and hate the room I live in.... I’ve made up + my mind: if I can’t live in Moscow, then it must come to this. It’s + fate. It can’t be helped. It’s all the will of God, that’s the truth. + Nicolai Lvovitch made me a proposal.... Well? I thought it over and made + up my mind. He’s a good man... it’s quite remarkable how good he is.... + And suddenly my soul put out wings, I became happy, and light-hearted, + and once again the desire for work, work, came over me.... Only + something happened yesterday, some secret dread has been hanging over + me.... + </p> + <p> + CHEBUTIKIN. Luckum. Rubbish. + </p> + <p> + NATASHA. [At the window] The head-mistress. + </p> + <p> + KULIGIN. The head-mistress has come. Let’s go. [Exit with IRINA into the + house.] + </p> + <p> + CHEBUTIKIN. “It is my washing day.... Tara-ra... boom-deay.” + </p> + <p> + [MASHA approaches, ANDREY is wheeling a perambulator at the back.] + </p> + <p> + MASHA. Here you are, sitting here, doing nothing. + </p> + <p> + CHEBUTIKIN. What then? + </p> + <p> + MASHA. [Sits] Nothing.... [Pause] Did you love my mother? + </p> + <p> + CHEBUTIKIN. Very much. + </p> + <p> + MASHA. And did she love you? + </p> + <p> + CHEBUTIKIN. [After a pause] I don’t remember that. + </p> + <p> + MASHA. Is my man here? When our cook Martha used to ask about her + gendarme, she used to say my man. Is he here? + </p> + <p> + CHEBUTIKIN. Not yet. + </p> + <p> + MASHA. When you take your happiness in little bits, in snatches, and + then lose it, as I have done, you gradually get coarser, more bitter. + [Points to her bosom] I’m boiling in here.... [Looks at ANDREY with the + perambulator] There’s our brother Andrey.... All our hopes in him have + gone. There was once a great bell, a thousand persons were hoisting it, + much money and labour had been spent on it, when it suddenly fell and + was broken. Suddenly, for no particular reason.... Andrey is like + that.... + </p> + <p> + ANDREY. When are they going to stop making such a noise in the house? + It’s awful. + </p> + <p> + CHEBUTIKIN. They won’t be much longer. [Looks at his watch] My watch is + very old-fashioned, it strikes the hours.... [Winds the watch and makes + it strike] The first, second, and fifth batteries are to leave at one + o’clock precisely. [Pause] And I go to-morrow. + </p> + <p> + ANDREY. For good? + </p> + <p> + CHEBUTIKIN. I don’t know. Perhaps I’ll return in a year. The devil only + knows... it’s all one.... [Somewhere a harp and violin are being + played.] + </p> + <p> + ANDREY. The town will grow empty. It will be as if they put a cover over + it. [Pause] Something happened yesterday by the theatre. The whole town + knows of it, but I don’t. + </p> + <p> + CHEBUTIKIN. Nothing. A silly little affair. Soleni started irritating + the Baron, who lost his temper and insulted him, and so at last Soleni + had to challenge him. [Looks at his watch] It’s about time, I think.... + At half-past twelve, in the public wood, that one you can see from here + across the river.... Piff-paff. [Laughs] Soleni thinks he’s Lermontov, + and even writes verses. That’s all very well, but this is his third + duel. + </p> + <p> + MASHA. Whose? + </p> + <p> + CHEBUTIKIN. Soleni’s. + </p> + <p> + MASHA. And the Baron? + </p> + <p> + CHEBUTIKIN. What about the Baron? [Pause.] + </p> + <p> + MASHA. Everything’s all muddled up in my head.... But I say it ought not + to be allowed. He might wound the Baron or even kill him. + </p> + <p> + CHEBUTIKIN. The Baron is a good man, but one Baron more or less—what + difference does it make? It’s all the same! [Beyond the garden somebody + shouts “Co-ee! Hallo! “] You wait. That’s Skvortsov shouting; one of the + seconds. He’s in a boat. [Pause.] + </p> + <p> + ANDREY. In my opinion it’s simply immoral to fight in a duel, or to be + present, even in the quality of a doctor. + </p> + <p> + CHEBUTIKIN. It only seems so.... We don’t exist, there’s nothing on + earth, we don’t really live, it only seems that we live. Does it matter, + anyway! + </p> + <p> + MASHA. You talk and talk the whole day long. [Going] You live in a + climate like this, where it might snow any moment, and there you + talk.... [Stops] I won’t go into the house, I can’t go there.... Tell me + when Vershinin comes.... [Goes along the avenue] The migrant birds are + already on the wing.... [Looks up] Swans or geese.... My dear, happy + things.... [Exit.] + </p> + <p> + ANDREY. Our house will be empty. The officers will go away, you are + going, my sister is getting married, and I alone will remain in the + house. + </p> + <p> + CHEBUTIKIN. And your wife? + </p> + <p> + [FERAPONT enters with some documents.] + </p> + <p> + ANDREY. A wife’s a wife. She’s honest, well-bred, yes; and kind, but + with all that there is still something about her that degenerates her + into a petty, blind, even in some respects misshapen animal. In any + case, she isn’t a man. I tell you as a friend, as the only man to whom I + can lay bare my soul. I love Natasha, it’s true, but sometimes she seems + extraordinarily vulgar, and then I lose myself and can’t understand why + I love her so much, or, at any rate, used to love her.... + </p> + <p> + CHEBUTIKIN. [Rises] I’m going away to-morrow, old chap, and perhaps + we’ll never meet again, so here’s my advice. Put on your cap, take a + stick in your hand, go... go on and on, without looking round. And the + farther you go, the better. + </p> + <p> + [SOLENI goes across the back of the stage with two officers; he catches + sight of CHEBUTIKIN, and turns to him, the officers go on.] + </p> + <p> + SOLENI. Doctor, it’s time. It’s half-past twelve already. [Shakes hands + with ANDREY.] + </p> + <p> + CHEBUTIKIN. Half a minute. I’m tired of the lot of you. [To ANDREY] If + anybody asks for me, say I’ll be back soon.... [Sighs] Oh, oh, oh! + </p> + <p> + SOLENI. “He didn’t have the time to sigh. The bear sat on him heavily.” + [Goes up to him] What are you groaning about, old man? + </p> + <p> + CHEBUTIKIN. Stop it! + </p> + <p> + SOLENI. How’s your health? + </p> + <p> + CHEBUTIKIN. [Angry] Mind your own business. + </p> + <p> + SOLENI. The old man is unnecessarily excited. I won’t go far, I’ll only + just bring him down like a snipe. [Takes out his scent-bottle and scents + his hands] I’ve poured out a whole bottle of scent to-day and they still + smell... of a dead body. [Pause] Yes.... You remember the poem + </p> +<pre xml:space="preserve"> + “But he, the rebel seeks the storm, + As if the storm will bring him rest...”? +</pre> + <p> + CHEBUTIKIN. Yes. + </p> +<pre xml:space="preserve"> + “He didn’t have the time to sigh, + The bear sat on him heavily.” + </pre> + <p> + [Exit with SOLENI.] + </p> + <p> + [Shouts are heard. ANDREY and FERAPONT come in.] + </p> + <p> + FERAPONT. Documents to sign.... + </p> + <p> + ANDREY. [Irritated]. Go away! Leave me! Please! [Goes away with the + perambulator.] + </p> + <p> + FERAPONT. That’s what documents are for, to be signed. [Retires to back + of stage.] + </p> + <p> + [Enter IRINA, with TUZENBACH in a straw hat; KULIGIN walks across the + stage, shouting “Co-ee, Masha, co-ee!”] + </p> + <p> + TUZENBACH. He seems to be the only man in the town who is glad that the + soldiers are going. + </p> + <p> + IRINA. One can understand that. [Pause] The town will be empty. + </p> + <p> + TUZENBACH. My dear, I shall return soon. + </p> + <p> + IRINA. Where are you going? + </p> + <p> + TUZENBACH. I must go into the town and then... see the others off. + </p> + <p> + IRINA. It’s not true... Nicolai, why are you so absentminded to-day? + [Pause] What took place by the theatre yesterday? + </p> + <p> + TUZENBACH. [Making a movement of impatience] In an hour’s time I shall + return and be with you again. [Kisses her hands] My darling... [Looking + her closely in the face] it’s five years now since I fell in love with + you, and still I can’t get used to it, and you seem to me to grow more + and more beautiful. What lovely, wonderful hair! What eyes! I’m going to + take you away to-morrow. We shall work, we shall be rich, my dreams will + come true. You will be happy. There’s only one thing, one thing only: + you don’t love me! + </p> + <p> + IRINA. It isn’t in my power! I shall be your wife, I shall be true to + you, and obedient to you, but I can’t love you. What can I do! [Cries] I + have never been in love in my life. Oh, I used to think so much of love, + I have been thinking about it for so long by day and by night, but my + soul is like an expensive piano which is locked and the key lost. + [Pause] You seem so unhappy. + </p> + <p> + TUZENBACH. I didn’t sleep at night. There is nothing in my life so awful + as to be able to frighten me, only that lost key torments my soul and + does not let me sleep. Say something to me [Pause] say something to + me.... + </p> + <p> + IRINA. What can I say, what? + </p> + <p> + TUZENBACH. Anything. + </p> + <p> + IRINA. Don’t! don’t! [Pause.] + </p> + <p> + TUZENBACH. It is curious how silly trivial little things, sometimes for + no apparent reason, become significant. At first you laugh at these + things, you think they are of no importance, you go on and you feel that + you haven’t got the strength to stop yourself. Oh don’t let’s talk about + it! I am happy. It is as if for the first time in my life I see these + firs, maples, beeches, and they all look at me inquisitively and wait. + What beautiful trees and how beautiful, when one comes to think of it, + life must be near them! [A shout of Co-ee! in the distance] It’s time I + went.... There’s a tree which has dried up but it still sways in the + breeze with the others. And so it seems to me that if I die, I shall + still take part in life in one way or another. Good-bye, dear.... + [Kisses her hands] The papers which you gave me are on my table under + the calendar. + </p> + <p> + IRINA. I am coming with you. + </p> + <p> + TUZENBACH. [Nervously] No, no! [He goes quickly and stops in the avenue] + Irina! + </p> + <p> + IRINA. What is it? + </p> + <p> + TUZENBACH. [Not knowing what to say] I haven’t had any coffee to-day. + Tell them to make me some.... [He goes out quickly.] + </p> + <p> + [IRINA stands deep in thought. Then she goes to the back of the stage + and sits on a swing. ANDREY comes in with the perambulator and FERAPONT + also appears.] + </p> + <p> + FERAPONT. Andrey Sergeyevitch, it isn’t as if the documents were mine, + they are the government’s. I didn’t make them. + </p> + <p> + ANDREY. Oh, what has become of my past and where is it? I used to be + young, happy, clever, I used to be able to think and frame clever ideas, + the present and the future seemed to me full of hope. Why do we, almost + before we have begun to live, become dull, grey, uninteresting, lazy, + apathetic, useless, unhappy.... This town has already been in existence + for two hundred years and it has a hundred thousand inhabitants, not one + of whom is in any way different from the others. There has never been, + now or at any other time, a single leader of men, a single scholar, an + artist, a man of even the slightest eminence who might arouse envy or a + passionate desire to be imitated. They only eat, drink, sleep, and then + they die... more people are born and also eat, drink, sleep, and so as + not to go silly from boredom, they try to make life many-sided with + their beastly backbiting, vodka, cards, and litigation. The wives + deceive their husbands, and the husbands lie, and pretend they see + nothing and hear nothing, and the evil influence irresistibly oppresses + the children and the divine spark in them is extinguished, and they + become just as pitiful corpses and just as much like one another as + their fathers and mothers.... [Angrily to FERAPONT] What do you want? + </p> + <p> + FERAPONT. What? Documents want signing. + </p> + <p> + ANDREY. I’m tired of you. + </p> + <p> + FERAPONT. [Handing him papers] The hall-porter from the law courts was + saying just now that in the winter there were two hundred degrees of + frost in Petersburg. + </p> + <p> + ANDREY. The present is beastly, but when I think of the future, how good + it is! I feel so light, so free; there is a light in the distance, I see + freedom. I see myself and my children freeing ourselves from vanities, + from kvass, from goose baked with cabbage, from after-dinner naps, from + base idleness.... + </p> + <p> + FERAPONT. He was saying that two thousand people were frozen to death. + The people were frightened, he said. In Petersburg or Moscow, I don’t + remember which. + </p> + <p> + ANDREY. [Overcome by a tender emotion] My dear sisters, my beautiful + sisters! [Crying] Masha, my sister.... + </p> + <p> + NATASHA. [At the window] Who’s talking so loudly out here? Is that you, + Andrey? You’ll wake little Sophie. <i>Il ne faut pas faire du bruit, la + Sophie est dormée deja. Vous êtes un ours.</i> [Angrily] If you want to + talk, then give the perambulator and the baby to somebody else. + Ferapont, take the perambulator! + </p> + <p> + FERAPONT. Yes’m. [Takes the perambulator.] + </p> + <p> + ANDREY. [Confused] I’m speaking quietly. + </p> + <p> + NATASHA. [At the window, nursing her boy] Bobby! Naughty Bobby! Bad + little Bobby! + </p> + <p> + ANDREY. [Looking through the papers] All right, I’ll look them over and + sign if necessary, and you can take them back to the offices.... + </p> + <p> + [Goes into house reading papers; FERAPONT takes the perambulator to the + back of the garden.] + </p> + <p> + NATASHA. [At the window] Bobby, what’s your mother’s name? Dear, dear! + And who’s this? That’s Aunt Olga. Say to your aunt, “How do you do, + Olga!” + </p> + <p> + [Two wandering musicians, a man and a girl, are playing on a violin and + a harp. VERSHININ, OLGA, and ANFISA come out of the house and listen for + a minute in silence; IRINA comes up to them.] + </p> + <p> + OLGA. Our garden might be a public thoroughfare, from the way people + walk and ride across it. Nurse, give those musicians something! + </p> + <p> + ANFISA. [Gives money to the musicians] Go away with God’s blessing on + you. [The musicians bow and go away] A bitter sort of people. You don’t + play on a full stomach. [To IRINA] How do you do, Arisha! [Kisses her] + Well, little girl, here I am, still alive! Still alive! In the High + School, together with little Olga, in her official apartments... so the + Lord has appointed for my old age. Sinful woman that I am, I’ve never + lived like that in my life before.... A large flat, government property, + and I’ve a whole room and bed to myself. All government property. I wake + up at nights and, oh God, and Holy Mother, there isn’t a happier person + than I! + </p> + <p> + VERSHININ. [Looks at his watch] We are going soon, Olga Sergeyevna. It’s + time for me to go. [Pause] I wish you every... every.... Where’s Maria + Sergeyevna? + </p> + <p> + IRINA. She’s somewhere in the garden. I’ll go and look for her. + </p> + <p> + VERSHININ. If you’ll be so kind. I haven’t time. + </p> + <p> + ANFISA. I’ll go and look, too. [Shouts] Little Masha, co-ee! [Goes out + with IRINA down into the garden] Co-ee, co-ee! + </p> + <p> + VERSHININ. Everything comes to an end. And so we, too, must part. [Looks + at his watch] The town gave us a sort of farewell breakfast, we had + champagne to drink and the mayor made a speech, and I ate and listened, + but my soul was here all the time.... [Looks round the garden] I’m so + used to you now. + </p> + <p> + OLGA. Shall we ever meet again? + </p> + <p> + VERSHININ. Probably not. [Pause] My wife and both my daughters will stay + here another two months. If anything happens, or if anything has to be + done... + </p> + <p> + OLGA. Yes, yes, of course. You need not worry. [Pause] To-morrow there + won’t be a single soldier left in the town, it will all be a memory, + and, of course, for us a new life will begin.... [Pause] None of our + plans are coming right. I didn’t want to be a head-mistress, but they + made me one, all the same. It means there’s no chance of Moscow.... + </p> + <p> + VERSHININ. Well... thank you for everything. Forgive me if I’ve... I’ve + said such an awful lot—forgive me for that too, don’t think badly + of me. + </p> + <p> + OLGA. [Wipes her eyes] Why isn’t Masha coming... + </p> + <p> + VERSHININ. What else can I say in parting? Can I philosophize about + anything? [Laughs] Life is heavy. To many of us it seems dull and + hopeless, but still, it must be acknowledged that it is getting lighter + and clearer, and it seems that the time is not far off when it will be + quite clear. [Looks at his watch] It’s time I went! Mankind used to be + absorbed in wars, and all its existence was filled with campaigns, + attacks, defeats, now we’ve outlived all that, leaving after us a great + waste place, which there is nothing to fill with at present; but mankind + is looking for something, and will certainly find it. Oh, if it only + happened more quickly. [Pause] If only education could be added to + industry, and industry to education. [Looks at his watch] It’s time I + went.... + </p> + <p> + OLGA. Here she comes. + </p> + <p> + [Enter MASHA.] + </p> + <p> + VERSHININ. I came to say good-bye.... + </p> + <p> + [OLGA steps aside a little, so as not to be in their way.] + </p> + <p> + MASHA. [Looking him in the face] Good-bye. [Prolonged kiss.] + </p> + <p> + OLGA. Don’t, don’t. [MASHA is crying bitterly] + </p> + <p> + VERSHININ. Write to me.... Don’t forget! Let me go.... It’s time. Take + her, Olga Sergeyevna... it’s time... I’m late... + </p> + <p> + [He kisses OLGA’S hand in evident emotion, then embraces MASHA once more + and goes out quickly.] + </p> + <p> + OLGA. Don’t, Masha! Stop, dear.... [KULIGIN enters.] + </p> + <p> + KULIGIN. [Confused] Never mind, let her cry, let her.... My dear Masha, + my good Masha.... You’re my wife, and I’m happy, whatever happens... I’m + not complaining, I don’t reproach you at all.... Olga is a witness to + it. Let’s begin to live again as we used to, and not by a single word, + or hint... + </p> +<pre xml:space="preserve"> +MASHA. [Restraining her sobs] “There stands a green oak by the sea, + And a chain of bright gold is around it.... + And a chain of bright gold is around it....” + </pre> + <p> + I’m going off my head... “There stands... a green oak... by the sea.”... + </p> + <p> + OLGA. Don’t, Masha, don’t... give her some water.... + </p> + <p> + MASHA. I’m not crying any more.... + </p> + <p> + KULIGIN. She’s not crying any more... she’s a good... [A shot is heard + from a distance.] + </p> +<pre xml:space="preserve"> +MASHA. “There stands a green oak by the sea, + And a chain of bright gold is around it... + An oak of green gold....” + </pre> + <p> + I’m mixing it up.... [Drinks some water] Life is dull... I don’t want + anything more now... I’ll be all right in a moment.... It doesn’t + matter.... What do those lines mean? Why do they run in my head? My + thoughts are all tangled. + </p> + <p> + [IRINA enters.] + </p> + <p> + OLGA. Be quiet, Masha. There’s a good girl.... Let’s go in. + </p> + <p> + MASHA. [Angrily] I shan’t go in there. [Sobs, but controls herself at + once] I’m not going to go into the house, I won’t go.... + </p> + <p> + IRINA. Let’s sit here together and say nothing. I’m going away + to-morrow.... [Pause.] + </p> + <p> + KULIGIN. Yesterday I took away these whiskers and this beard from a boy + in the third class.... [He puts on the whiskers and beard] Don’t I look + like the German master.... [Laughs] Don’t I? The boys are amusing. + </p> + <p> + MASHA. You really do look like that German of yours. + </p> + <p> + OLGA. [Laughs] Yes. [MASHA weeps.] + </p> + <p> + IRINA. Don’t, Masha! + </p> + <p> + KULIGIN. It’s a very good likeness.... + </p> + <p> + [Enter NATASHA.] + </p> + <p> + NATASHA. [To the maid] What? Mihail Ivanitch Protopopov will sit with + little Sophie, and Andrey Sergeyevitch can take little Bobby out. + Children are such a bother.... [To IRINA] Irina, it’s such a pity you’re + going away to-morrow. Do stop just another week. [Sees KULIGIN and + screams; he laughs and takes off his beard and whiskers] How you + frightened me! [To IRINA] I’ve grown used to you and do you think it + will be easy for me to part from you? I’m going to have Andrey and his + violin put into your room—let him fiddle away in there!—and + we’ll put little Sophie into his room. The beautiful, lovely child! What + a little girlie! To-day she looked at me with such pretty eyes and said + “Mamma!” + </p> + <p> + KULIGIN. A beautiful child, it’s quite true. + </p> + <p> + NATASHA. That means I shall have the place to myself to-morrow. [Sighs] + In the first place I shall have that avenue of fir-trees cut down, then + that maple. It’s so ugly at nights.... [To IRINA] That belt doesn’t suit + you at all, dear.... It’s an error of taste. And I’ll give orders to + have lots and lots of little flowers planted here, and they’ll smell.... + [Severely] Why is there a fork lying about here on the seat? [Going + towards the house, to the maid] Why is there a fork lying about here on + the seat, I say? [Shouts] Don’t you dare to answer me! + </p> + <p> + KULIGIN. Temper! temper! [A march is played off; they all listen.] + </p> + <p> + OLGA. They’re going. + </p> + <p> + [CHEBUTIKIN comes in.] + </p> + <p> + MASHA. They’re going. Well, well.... Bon voyage! [To her husband] We + must be going home.... Where’s my coat and hat? + </p> + <p> + KULIGIN. I took them in... I’ll bring them, in a moment. + </p> + <p> + OLGA. Yes, now we can all go home. It’s time. + </p> + <p> + CHEBUTIKIN. Olga Sergeyevna! + </p> + <p> + OLGA. What is it? [Pause] What is it? + </p> + <p> + CHEBUTIKIN. Nothing... I don’t know how to tell you.... [Whispers to + her.] + </p> + <p> + OLGA. [Frightened] It can’t be true! + </p> + <p> + CHEBUTIKIN. Yes... such a story... I’m tired out, exhausted, I won’t say + any more.... [Sadly] Still, it’s all the same! + </p> + <p> + MASHA. What’s happened? + </p> + <p> + OLGA. [Embraces IRINA] This is a terrible day... I don’t know how to + tell you, dear.... + </p> + <p> + IRINA. What is it? Tell me quickly, what is it? For God’s sake! [Cries.] + </p> + <p> + CHEBUTIKIN. The Baron was killed in the duel just now. + </p> + <p> + IRINA. [Cries softly] I knew it, I knew it.... + </p> + <p> + CHEBUTIKIN. [Sits on a bench at the back of the stage] I’m tired.... + [Takes a paper from his pocket] Let ‘em cry.... [Sings softly] + “Tarara-boom-deay, it is my washing day....” Isn’t it all the same! + </p> + <p> + [The three sisters are standing, pressing against one another.] + </p> + <p> + MASHA. Oh, how the music plays! They are leaving us, one has quite left + us, quite and for ever. We remain alone, to begin our life over again. + We must live... we must live.... + </p> + <p> + IRINA. [Puts her head on OLGA’s bosom] There will come a time when + everybody will know why, for what purpose, there is all this suffering, + and there will be no more mysteries. But now we must live... we must + work, just work! To-morrow, I’ll go away alone, and I’ll teach and give + my whole life to those who, perhaps, need it. It’s autumn now, soon it + will be winter, the snow will cover everything, and I shall be working, + working.... + </p> + <p> + OLGA. [Embraces both her sisters] The bands are playing so gaily, so + bravely, and one does so want to live! Oh, my God! Time will pass on, + and we shall depart for ever, we shall be forgotten; they will forget + our faces, voices, and even how many there were of us, but our + sufferings will turn into joy for those who will live after us, + happiness and peace will reign on earth, and people will remember with + kindly words, and bless those who are living now. Oh dear sisters, our + life is not yet at an end. Let us live. The music is so gay, so joyful, + and, it seems that in a little while we shall know why we are living, + why we are suffering.... If we could only know, if we could only know! + </p> + <p> + [The music has been growing softer and softer; KULIGIN, smiling happily, + brings out the hat and coat; ANDREY wheels out the perambulator in which + BOBBY is sitting.] + </p> + <p> + CHEBUTIKIN. [Sings softly] “Tara... ra-boom-deay.... It is my + washing-day.”... [Reads a paper] It’s all the same! It’s all the same! + </p> + <p> + OLGA. If only we could know, if only we could know! + </p> + <p> + Curtain. + </p> + <a name="link2H_4_0013" id="link2H_4_0013"> + <!-- H2 anchor --> </a> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE CHERRY ORCHARD + </h2> + <h3> + A COMEDY IN FOUR ACTS + </h3> + CHARACTERS +<pre xml:space="preserve"> + LUBOV ANDREYEVNA RANEVSKY (Mme. RANEVSKY), a landowner + ANYA, her daughter, aged seventeen + VARYA (BARBARA), her adopted daughter, aged twenty-seven + LEONID ANDREYEVITCH GAEV, Mme. Ranevsky’s brother + ERMOLAI ALEXEYEVITCH LOPAKHIN, a merchant + PETER SERGEYEVITCH TROFIMOV, a student + BORIS BORISOVITCH SIMEONOV-PISCHIN, a landowner + CHARLOTTA IVANOVNA, a governess + SIMEON PANTELEYEVITCH EPIKHODOV, a clerk + DUNYASHA (AVDOTYA FEDOROVNA), a maidservant + FIERS, an old footman, aged eighty-seven + YASHA, a young footman + A TRAMP + A STATION-MASTER + POST-OFFICE CLERK + GUESTS + A SERVANT +</pre> + <p> + The action takes place on Mme. RANEVSKY’S estate + </p> + <a name="link2H_4_0014" id="link2H_4_0014"> + <!-- H2 anchor --> </a> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT ONE + </h2> + <p> + [A room which is still called the nursery. One of the doors leads into + ANYA’S room. It is close on sunrise. It is May. The cherry-trees are in + flower but it is chilly in the garden. There is an early frost. The + windows of the room are shut. DUNYASHA comes in with a candle, and + LOPAKHIN with a book in his hand.] + </p> + <p> + LOPAKHIN. The train’s arrived, thank God. What’s the time? + </p> + <p> + DUNYASHA. It will soon be two. [Blows out candle] It is light already. + </p> + <p> + LOPAKHIN. How much was the train late? Two hours at least. [Yawns and + stretches himself] I have made a rotten mess of it! I came here on + purpose to meet them at the station, and then overslept myself... in my + chair. It’s a pity. I wish you’d wakened me. + </p> + <p> + DUNYASHA. I thought you’d gone away. [Listening] I think I hear them + coming. + </p> + <p> + LOPAKHIN. [Listens] No.... They’ve got to collect their luggage and so + on.... [Pause] Lubov Andreyevna has been living abroad for five years; I + don’t know what she’ll be like now.... She’s a good sort—an easy, + simple person. I remember when I was a boy of fifteen, my father, who is + dead—he used to keep a shop in the village here—hit me on + the face with his fist, and my nose bled.... We had gone into the yard + together for something or other, and he was a little drunk. Lubov + Andreyevna, as I remember her now, was still young, and very thin, and + she took me to the washstand here in this very room, the nursery. She + said, “Don’t cry, little man, it’ll be all right in time for your + wedding.” [Pause] “Little man”.... My father was a peasant, it’s true, + but here I am in a white waistcoat and yellow shoes... a pearl out of an + oyster. I’m rich now, with lots of money, but just think about it and + examine me, and you’ll find I’m still a peasant down to the marrow of my + bones. [Turns over the pages of his book] Here I’ve been reading this + book, but I understood nothing. I read and fell asleep. [Pause.] + </p> + <p> + DUNYASHA. The dogs didn’t sleep all night; they know that they’re + coming. + </p> + <p> + LOPAKHIN. What’s up with you, Dunyasha...? + </p> + <p> + DUNYASHA. My hands are shaking. I shall faint. + </p> + <p> + LOPAKHIN. You’re too sensitive, Dunyasha. You dress just like a lady, + and you do your hair like one too. You oughtn’t. You should know your + place. + </p> + <p> + EPIKHODOV. [Enters with a bouquet. He wears a short jacket and + brilliantly polished boots which squeak audibly. He drops the bouquet as + he enters, then picks it up] The gardener sent these; says they’re to go + into the dining-room. [Gives the bouquet to DUNYASHA.] + </p> + <p> + LOPAKHIN. And you’ll bring me some kvass. + </p> + <p> + DUNYASHA. Very well. [Exit.] + </p> + <p> + EPIKHODOV. There’s a frost this morning—three degrees, and the + cherry-trees are all in flower. I can’t approve of our climate. [Sighs] + I can’t. Our climate is indisposed to favour us even this once. And, + Ermolai Alexeyevitch, allow me to say to you, in addition, that I bought + myself some boots two days ago, and I beg to assure you that they squeak + in a perfectly unbearable manner. What shall I put on them? + </p> + <p> + LOPAKHIN. Go away. You bore me. + </p> + <p> + EPIKHODOV. Some misfortune happens to me every day. But I don’t + complain; I’m used to it, and I can smile. [DUNYASHA comes in and brings + LOPAKHIN some kvass] I shall go. [Knocks over a chair] There.... + [Triumphantly] There, you see, if I may use the word, what circumstances + I am in, so to speak. It is even simply marvellous. [Exit.] + </p> + <p> + DUNYASHA. I may confess to you, Ermolai Alexeyevitch, that Epikhodov has + proposed to me. + </p> + <p> + LOPAKHIN. Ah! + </p> + <p> + DUNYASHA. I don’t know what to do about it. He’s a nice young man, but + every now and again, when he begins talking, you can’t understand a word + he’s saying. I think I like him. He’s madly in love with me. He’s an + unlucky man; every day something happens. We tease him about it. They + call him “Two-and-twenty troubles.” + </p> + <p> + LOPAKHIN. [Listens] There they come, I think. + </p> + <p> + DUNYASHA. They’re coming! What’s the matter with me? I’m cold all over. + </p> + <p> + LOPAKHIN. There they are, right enough. Let’s go and meet them. Will she + know me? We haven’t seen each other for five years. + </p> + <p> + DUNYASHA. [Excited] I shall faint in a minute.... Oh, I’m fainting! + </p> + <p> + [Two carriages are heard driving up to the house. LOPAKHIN and DUNYASHA + quickly go out. The stage is empty. A noise begins in the next room. + FIERS, leaning on a stick, walks quickly across the stage; he has just + been to meet LUBOV ANDREYEVNA. He wears an old-fashioned livery and a + tall hat. He is saying something to himself, but not a word of it can be + made out. The noise behind the stage gets louder and louder. A voice is + heard: “Let’s go in there.” Enter LUBOV ANDREYEVNA, ANYA, and CHARLOTTA + IVANOVNA with a little dog on a chain, and all dressed in travelling + clothes, VARYA in a long coat and with a kerchief on her head. GAEV, + SIMEONOV-PISCHIN, LOPAKHIN, DUNYASHA with a parcel and an umbrella, and + a servant with luggage—all cross the room.] + </p> + <p> + ANYA. Let’s come through here. Do you remember what this room is, + mother? + </p> + <p> + LUBOV. [Joyfully, through her tears] The nursery! + </p> + <p> + VARYA. How cold it is! My hands are quite numb. [To LUBOV ANDREYEVNA] + Your rooms, the white one and the violet one, are just as they used to + be, mother. + </p> + <p> + LUBOV. My dear nursery, oh, you beautiful room.... I used to sleep here + when I was a baby. [Weeps] And here I am like a little girl again. + [Kisses her brother, VARYA, then her brother again] And Varya is just as + she used to be, just like a nun. And I knew Dunyasha. [Kisses her.] + </p> + <p> + GAEV. The train was two hours late. There now; how’s that for + punctuality? + </p> + <p> + CHARLOTTA. [To PISCHIN] My dog eats nuts too. + </p> + <p> + PISCHIN. [Astonished] To think of that, now! + </p> + <p> + [All go out except ANYA and DUNYASHA.] + </p> + <p> + DUNYASHA. We did have to wait for you! + </p> + <p> + [Takes off ANYA’S cloak and hat.] + </p> + <p> + ANYA. I didn’t get any sleep for four nights on the journey.... I’m + awfully cold. + </p> + <p> + DUNYASHA. You went away during Lent, when it was snowing and frosty, but + now? Darling! [Laughs and kisses her] We did have to wait for you, my + joy, my pet.... I must tell you at once, I can’t bear to wait a minute. + </p> + <p> + ANYA. [Tired] Something else now...? + </p> + <p> + DUNYASHA. The clerk, Epikhodov, proposed to me after Easter. + </p> + <p> + ANYA. Always the same.... [Puts her hair straight] I’ve lost all my + hairpins.... [She is very tired, and even staggers as she walks.] + </p> + <p> + DUNYASHA. I don’t know what to think about it. He loves me, he loves me + so much! + </p> + <p> + ANYA. [Looks into her room; in a gentle voice] My room, my windows, as + if I’d never gone away. I’m at home! To-morrow morning I’ll get up and + have a run in the garden....Oh, if I could only get to sleep! I didn’t + sleep the whole journey, I was so bothered. + </p> + <p> + DUNYASHA. Peter Sergeyevitch came two days ago. + </p> + <p> + ANYA. [Joyfully] Peter! + </p> + <p> + DUNYASHA. He sleeps in the bath-house, he lives there. He said he was + afraid he’d be in the way. [Looks at her pocket-watch] I ought to wake + him, but Barbara Mihailovna told me not to. “Don’t wake him,” she said. + </p> + <p> + [Enter VARYA, a bunch of keys on her belt.] + </p> + <p> + VARYA. Dunyasha, some coffee, quick. Mother wants some. + </p> + <p> + DUNYASHA. This minute. [Exit.] + </p> + <p> + VARYA. Well, you’ve come, glory be to God. Home again. [Caressing her] + My darling is back again! My pretty one is back again! + </p> + <p> + ANYA. I did have an awful time, I tell you. + </p> + <p> + VARYA. I can just imagine it! + </p> + <p> + ANYA. I went away in Holy Week; it was very cold then. Charlotta talked + the whole way and would go on performing her tricks. Why did you tie + Charlotta on to me? + </p> + <p> + VARYA. You couldn’t go alone, darling, at seventeen! + </p> + <p> + ANYA. We went to Paris; it’s cold there and snowing. I talk French + perfectly horribly. My mother lives on the fifth floor. I go to her, and + find her there with various Frenchmen, women, an old abbé with a book, + and everything in tobacco smoke and with no comfort at all. I suddenly + became very sorry for mother—so sorry that I took her head in my + arms and hugged her and wouldn’t let her go. Then mother started hugging + me and crying.... + </p> + <p> + VARYA. [Weeping] Don’t say any more, don’t say any more.... + </p> + <p> + ANYA. She’s already sold her villa near Mentone; she’s nothing left, + nothing. And I haven’t a copeck left either; we only just managed to get + here. And mother won’t understand! We had dinner at a station; she asked + for all the expensive things, and tipped the waiters one rouble each. + And Charlotta too. Yasha wants his share too—it’s too bad. + Mother’s got a footman now, Yasha; we’ve brought him here. + </p> + <p> + VARYA. I saw the wretch. + </p> + <p> + ANYA. How’s business? Has the interest been paid? + </p> + <p> + VARYA. Not much chance of that. + </p> + <p> + ANYA. Oh God, oh God... + </p> + <p> + VARYA. The place will be sold in August. + </p> + <p> + ANYA. O God.... + </p> + <p> + LOPAKHIN. [Looks in at the door and moos] Moo!... [Exit.] + </p> + <p> + VARYA. [Through her tears] I’d like to.... [Shakes her fist.] + </p> + <p> + ANYA. [Embraces VARYA, softly] Varya, has he proposed to you? [VARYA + shakes head] But he loves you.... Why don’t you make up your minds? Why + do you keep on waiting? + </p> + <p> + VARYA. I think that it will all come to nothing. He’s a busy man. I’m + not his affair... he pays no attention to me. Bless the man, I don’t + want to see him.... But everybody talks about our marriage, everybody + congratulates me, and there’s nothing in it at all, it’s all like a + dream. [In another tone] You’ve got a brooch like a bee. + </p> + <p> + ANYA. [Sadly] Mother bought it. [Goes into her room, and talks lightly, + like a child] In Paris I went up in a balloon! + </p> + <p> + VARYA. My darling’s come back, my pretty one’s come back! [DUNYASHA has + already returned with the coffee-pot and is making the coffee, VARYA + stands near the door] I go about all day, looking after the house, and I + think all the time, if only you could marry a rich man, then I’d be + happy and would go away somewhere by myself, then to Kiev... to Moscow, + and so on, from one holy place to another. I’d tramp and tramp. That + would be splendid! + </p> + <p> + ANYA. The birds are singing in the garden. What time is it now? + </p> + <p> + VARYA. It must be getting on for three. Time you went to sleep, darling. + [Goes into ANYA’S room] Splendid! + </p> + <p> + [Enter YASHA with a plaid shawl and a travelling bag.] + </p> + <p> + YASHA. [Crossing the stage: Politely] May I go this way? + </p> + <p> + DUNYASHA. I hardly knew you, Yasha. You have changed abroad. + </p> + <p> + YASHA. Hm... and who are you? + </p> + <p> + DUNYASHA. When you went away I was only so high. [Showing with her hand] + I’m Dunyasha, the daughter of Theodore Kozoyedov. You don’t remember! + </p> + <p> + YASHA. Oh, you little cucumber! + </p> + <p> + [Looks round and embraces her. She screams and drops a saucer. YASHA + goes out quickly.] + </p> + <p> + VARYA. [In the doorway: In an angry voice] What’s that? + </p> + <p> + DUNYASHA. [Through her tears] I’ve broken a saucer. + </p> + <p> + VARYA. It may bring luck. + </p> + <p> + ANYA. [Coming out of her room] We must tell mother that Peter’s here. + </p> + <p> + VARYA. I told them not to wake him. + </p> + <p> + ANYA. [Thoughtfully] Father died six years ago, and a month later my + brother Grisha was drowned in the river—such a dear little boy of + seven! Mother couldn’t bear it; she went away, away, without looking + round.... [Shudders] How I understand her; if only she knew! [Pause] And + Peter Trofimov was Grisha’s tutor, he might tell her.... + </p> + <p> + [Enter FIERS in a short jacket and white waistcoat.] + </p> + <p> + FIERS. [Goes to the coffee-pot, nervously] The mistress is going to have + some food here.... [Puts on white gloves] Is the coffee ready? [To + DUNYASHA, severely] You! Where’s the cream? + </p> + <p> + DUNYASHA. Oh, dear me...! [Rapid exit.] + </p> + <p> + FIERS. [Fussing round the coffee-pot] Oh, you bungler.... [Murmurs to + himself] Back from Paris... the master went to Paris once... in a + carriage.... [Laughs.] + </p> + <p> + VARYA. What are you talking about, Fiers? + </p> + <p> + FIERS. I beg your pardon? [Joyfully] The mistress is home again. I’ve + lived to see her! Don’t care if I die now.... [Weeps with joy.] + </p> + <p> + [Enter LUBOV ANDREYEVNA, GAEV, LOPAKHIN, and SIMEONOV-PISCHIN, the + latter in a long jacket of thin cloth and loose trousers. GAEV, coming + in, moves his arms and body about as if he is playing billiards.] + </p> + <p> + LUBOV. Let me remember now. Red into the corner! Twice into the centre! + </p> + <p> + GAEV. Right into the pocket! Once upon a time you and I used both to + sleep in this room, and now I’m fifty-one; it does seem strange. + </p> + <p> + LOPAKHIN. Yes, time does go. + </p> + <p> + GAEV. Who does? + </p> + <p> + LOPAKHIN. I said that time does go. + </p> + <p> + GAEV. It smells of patchouli here. + </p> + <p> + ANYA. I’m going to bed. Good-night, mother. [Kisses her.] + </p> + <p> + LUBOV. My lovely little one. [Kisses her hand] Glad to be at home? I + can’t get over it. + </p> + <p> + ANYA. Good-night, uncle. + </p> + <p> + GAEV. [Kisses her face and hands] God be with you. How you do resemble + your mother! [To his sister] You were just like her at her age, Luba. + </p> + <p> + [ANYA gives her hand to LOPAKHIN and PISCHIN and goes out, shutting the + door behind her.] + </p> + <p> + LUBOV. She’s awfully tired. + </p> + <p> + PISCHIN. It’s a very long journey. + </p> + <p> + VARYA. [To LOPAKHIN and PISCHIN] Well, sirs, it’s getting on for three, + quite time you went. + </p> + <p> + LUBOV. [Laughs] You’re just the same as ever, Varya. [Draws her close + and kisses her] I’ll have some coffee now, then we’ll all go. [FIERS + lays a cushion under her feet] Thank you, dear. I’m used to coffee. I + drink it day and night. Thank you, dear old man. [Kisses FIERS.] + </p> + <p> + VARYA. I’ll go and see if they’ve brought in all the luggage. [Exit.] + </p> + <p> + LUBOV. Is it really I who am sitting here? [Laughs] I want to jump about + and wave my arms. [Covers her face with her hands] But suppose I’m + dreaming! God knows I love my own country, I love it deeply; I couldn’t + look out of the railway carriage, I cried so much. [Through her tears] + Still, I must have my coffee. Thank you, Fiers. Thank you, dear old man. + I’m so glad you’re still with us. + </p> + <p> + FIERS. The day before yesterday. + </p> + <p> + GAEV. He doesn’t hear well. + </p> + <p> + LOPAKHIN. I’ve got to go off to Kharkov by the five o’clock train. I’m + awfully sorry! I should like to have a look at you, to gossip a little. + You’re as fine-looking as ever. + </p> + <p> + PISCHIN. [Breathes heavily] Even finer-looking... dressed in Paris + fashions... confound it all. + </p> + <p> + LOPAKHIN. Your brother, Leonid Andreyevitch, says I’m a snob, a usurer, + but that is absolutely nothing to me. Let him talk. Only I do wish you + would believe in me as you once did, that your wonderful, touching eyes + would look at me as they did before. Merciful God! My father was the + serf of your grandfather and your own father, but you—you more + than anybody else—did so much for me once upon a time that I’ve + forgotten everything and love you as if you belonged to my family... and + even more. + </p> + <p> + LUBOV. I can’t sit still, I’m not in a state to do it. [Jumps up and + walks about in great excitement] I’ll never survive this happiness.... + You can laugh at me; I’m a silly woman.... My dear little cupboard. + [Kisses cupboard] My little table. + </p> + <p> + GAEV. Nurse has died in your absence. + </p> + <p> + LUBOV. [Sits and drinks coffee] Yes, bless her soul. I heard by letter. + </p> + <p> + GAEV. And Anastasius has died too. Peter Kosoy has left me and now lives + in town with the Commissioner of Police. [Takes a box of sugar-candy out + of his pocket and sucks a piece.] + </p> + <p> + PISCHIN. My daughter, Dashenka, sends her love. + </p> + <p> + LOPAKHIN. I want to say something very pleasant, very delightful, to + you. [Looks at his watch] I’m going away at once, I haven’t much time... + but I’ll tell you all about it in two or three words. As you already + know, your cherry orchard is to be sold to pay your debts, and the sale + is fixed for August 22; but you needn’t be alarmed, dear madam, you may + sleep in peace; there’s a way out. Here’s my plan. Please attend + carefully! Your estate is only thirteen miles from the town, the railway + runs by, and if the cherry orchard and the land by the river are broken + up into building lots and are then leased off for villas you’ll get at + least twenty-five thousand roubles a year profit out of it. + </p> + <p> + GAEV. How utterly absurd! + </p> + <p> + LUBOV. I don’t understand you at all, Ermolai Alexeyevitch. + </p> + <p> + LOPAKHIN. You will get twenty-five roubles a year for each dessiatin + from the leaseholders at the very least, and if you advertise now I’m + willing to bet that you won’t have a vacant plot left by the autumn; + they’ll all go. In a word, you’re saved. I congratulate you. Only, of + course, you’ll have to put things straight, and clean up.... For + instance, you’ll have to pull down all the old buildings, this house, + which isn’t any use to anybody now, and cut down the old cherry + orchard.... + </p> + <p> + LUBOV. Cut it down? My dear man, you must excuse me, but you don’t + understand anything at all. If there’s anything interesting or + remarkable in the whole province, it’s this cherry orchard of ours. + </p> + <p> + LOPAKHIN. The only remarkable thing about the orchard is that it’s very + large. It only bears fruit every other year, and even then you don’t + know what to do with them; nobody buys any. + </p> + <p> + GAEV. This orchard is mentioned in the “Encyclopaedic Dictionary.” + </p> + <p> + LOPAKHIN. [Looks at his watch] If we can’t think of anything and don’t + make up our minds to anything, then on August 22, both the cherry + orchard and the whole estate will be up for auction. Make up your mind! + I swear there’s no other way out, I’ll swear it again. + </p> + <p> + FIERS. In the old days, forty or fifty years back, they dried the + cherries, soaked them and pickled them, and made jam of them, and it + used to happen that... + </p> + <p> + GAEV. Be quiet, Fiers. + </p> + <p> + FIERS. And then we’d send the dried cherries off in carts to Moscow and + Kharkov. And money! And the dried cherries were soft, juicy, sweet, and + nicely scented.... They knew the way.... + </p> + <p> + LUBOV. What was the way? + </p> + <p> + FIERS. They’ve forgotten. Nobody remembers. + </p> + <p> + PISCHIN. [To LUBOV ANDREYEVNA] What about Paris? Eh? Did you eat frogs? + </p> + <p> + LUBOV. I ate crocodiles. + </p> + <p> + PISCHIN. To think of that, now. + </p> + <p> + LOPAKHIN. Up to now in the villages there were only the gentry and the + labourers, and now the people who live in villas have arrived. All towns + now, even small ones, are surrounded by villas. And it’s safe to say + that in twenty years’ time the villa resident will be all over the + place. At present he sits on his balcony and drinks tea, but it may well + come to pass that he’ll begin to cultivate his patch of land, and then + your cherry orchard will be happy, rich, splendid.... + </p> + <p> + GAEV. [Angry] What rot! + </p> + <p> + [Enter VARYA and YASHA.] + </p> + <p> + VARYA. There are two telegrams for you, little mother. [Picks out a key + and noisily unlocks an antique cupboard] Here they are. + </p> + <p> + LUBOV. They’re from Paris.... [Tears them up without reading them] I’ve + done with Paris. + </p> + <p> + GAEV. And do you know, Luba, how old this case is? A week ago I took out + the bottom drawer; I looked and saw figures burnt out in it. That case + was made exactly a hundred years ago. What do you think of that? What? + We could celebrate its jubilee. It hasn’t a soul of its own, but still, + say what you will, it’s a fine bookcase. + </p> + <p> + PISCHIN. [Astonished] A hundred years.... Think of that! + </p> + <p> + GAEV. Yes... it’s a real thing. [Handling it] My dear and honoured case! + I congratulate you on your existence, which has already for more than a + hundred years been directed towards the bright ideals of good and + justice; your silent call to productive labour has not grown less in the + hundred years [Weeping] during which you have upheld virtue and faith in + a better future to the generations of our race, educating us up to + ideals of goodness and to the knowledge of a common consciousness. + [Pause.] + </p> + <p> + LOPAKHIN. Yes.... + </p> + <p> + LUBOV. You’re just the same as ever, Leon. + </p> + <p> + GAEV. [A little confused] Off the white on the right, into the corner + pocket. Red ball goes into the middle pocket! + </p> + <p> + LOPAKHIN. [Looks at his watch] It’s time I went. + </p> + <p> + YASHA. [Giving LUBOV ANDREYEVNA her medicine] Will you take your pills + now? + </p> + <p> + PISCHIN. You oughtn’t to take medicines, dear madam; they do you neither + harm nor good.... Give them here, dear madam. [Takes the pills, turns + them out into the palm of his hand, blows on them, puts them into his + mouth, and drinks some kvass] There! + </p> + <p> + LUBOV. [Frightened] You’re off your head! + </p> + <p> + PISCHIN. I’ve taken all the pills. + </p> + <p> + LOPAKHIN. Gormandizer! [All laugh.] + </p> + <p> + FIERS. They were here in Easter week and ate half a pailful of + cucumbers.... [Mumbles.] + </p> + <p> + LUBOV. What’s he driving at? + </p> + <p> + VARYA. He’s been mumbling away for three years. We’re used to that. + </p> + <p> + YASHA. Senile decay. + </p> + <p> + [CHARLOTTA IVANOVNA crosses the stage, dressed in white: she is very + thin and tightly laced; has a lorgnette at her waist.] + </p> + <p> + LOPAKHIN. Excuse me, Charlotta Ivanovna, I haven’t said “How do you do” + to you yet. [Tries to kiss her hand.] + </p> + <p> + CHARLOTTA. [Takes her hand away] If you let people kiss your hand, then + they’ll want your elbow, then your shoulder, and then... + </p> + <p> + LOPAKHIN. My luck’s out to-day! [All laugh] Show us a trick, Charlotta + Ivanovna! + </p> + <p> + LUBOV ANDREYEVNA. Charlotta, do us a trick. + </p> + <p> + CHARLOTTA. It’s not necessary. I want to go to bed. [Exit.] + </p> + <p> + LOPAKHIN. We shall see each other in three weeks. [Kisses LUBOV + ANDREYEVNA’S hand] Now, good-bye. It’s time to go. [To GAEV] See you + again. [Kisses PISCHIN] Au revoir. [Gives his hand to VARYA, then to + FIERS and to YASHA] I don’t want to go away. [To LUBOV ANDREYEVNA]. If + you think about the villas and make up your mind, then just let me know, + and I’ll raise a loan of 50,000 roubles at once. Think about it + seriously. + </p> + <p> + VARYA. [Angrily] Do go, now! + </p> + <p> + LOPAKHIN. I’m going, I’m going.... [Exit.] + </p> + <p> + GAEV. Snob. Still, I beg pardon.... Varya’s going to marry him, he’s + Varya’s young man. + </p> + <p> + VARYA. Don’t talk too much, uncle. + </p> + <p> + LUBOV. Why not, Varya? I should be very glad. He’s a good man. + </p> + <p> + PISCHIN. To speak the honest truth... he’s a worthy man.... And my + Dashenka... also says that... she says lots of things. [Snores, but + wakes up again at once] But still, dear madam, if you could lend me... + 240 roubles... to pay the interest on my mortgage to-morrow... + </p> + <p> + VARYA. [Frightened] We haven’t got it, we haven’t got it! + </p> + <p> + LUBOV. It’s quite true. I’ve nothing at all. + </p> + <p> + PISCHIN. I’ll find it all right [Laughs] I never lose hope. I used to + think, “Everything’s lost now. I’m a dead man,” when, lo and behold, a + railway was built over my land... and they paid me for it. And something + else will happen to-day or to-morrow. Dashenka may win 20,000 roubles... + she’s got a lottery ticket. + </p> + <p> + LUBOV. The coffee’s all gone, we can go to bed. + </p> + <p> + FIERS. [Brushing GAEV’S trousers; in an insistent tone] You’ve put on + the wrong trousers again. What am I to do with you? + </p> + <p> + VARYA. [Quietly] Anya’s asleep. [Opens window quietly] The sun has risen + already; it isn’t cold. Look, little mother: what lovely trees! And the + air! The starlings are singing! + </p> + <p> + GAEV. [Opens the other window] The whole garden’s white. You haven’t + forgotten, Luba? There’s that long avenue going straight, straight, like + a stretched strap; it shines on moonlight nights. Do you remember? You + haven’t forgotten? + </p> + <p> + LUBOV. [Looks out into the garden] Oh, my childhood, days of my + innocence! In this nursery I used to sleep; I used to look out from here + into the orchard. Happiness used to wake with me every morning, and then + it was just as it is now; nothing has changed. [Laughs from joy] It’s + all, all white! Oh, my orchard! After the dark autumns and the cold + winters, you’re young again, full of happiness, the angels of heaven + haven’t left you.... If only I could take my heavy burden off my breast + and shoulders, if I could forget my past! + </p> + <p> + GAEV. Yes, and they’ll sell this orchard to pay off debts. How strange + it seems! + </p> + <p> + LUBOV. Look, there’s my dead mother going in the orchard... dressed in + white! [Laughs from joy] That’s she. + </p> + <p> + GAEV. Where? + </p> + <p> + VARYA. God bless you, little mother. + </p> + <p> + LUBOV. There’s nobody there; I thought I saw somebody. On the right, at + the turning by the summer-house, a white little tree bent down, looking + just like a woman. [Enter TROFIMOV in a worn student uniform and + spectacles] What a marvellous garden! White masses of flowers, the blue + sky.... + </p> + <p> + TROFIMOV. Lubov Andreyevna! [She looks round at him] I only want to show + myself, and I’ll go away. [Kisses her hand warmly] I was told to wait + till the morning, but I didn’t have the patience. + </p> + <p> + [LUBOV ANDREYEVNA looks surprised.] + </p> + <p> + VARYA. [Crying] It’s Peter Trofimov. + </p> + <p> + TROFIMOV. Peter Trofimov, once the tutor of your Grisha.... Have I + changed so much? + </p> + <p> + [LUBOV ANDREYEVNA embraces him and cries softly.] + </p> + <p> + GAEV. [Confused] That’s enough, that’s enough, Luba. + </p> + <p> + VARYA. [Weeps] But I told you, Peter, to wait till to-morrow. + </p> + <p> + LUBOV. My Grisha... my boy... Grisha... my son. + </p> + <p> + VARYA. What are we to do, little mother? It’s the will of God. + </p> + <p> + TROFIMOV. [Softly, through his tears] It’s all right, it’s all right. + </p> + <p> + LUBOV. [Still weeping] My boy’s dead; he was drowned. Why? Why, my + friend? [Softly] Anya’s asleep in there. I am speaking so loudly, making + such a noise.... Well, Peter? What’s made you look so bad? Why have you + grown so old? + </p> + <p> + TROFIMOV. In the train an old woman called me a decayed gentleman. + </p> + <p> + LUBOV. You were quite a boy then, a nice little student, and now your + hair is not at all thick and you wear spectacles. Are you really still a + student? [Goes to the door.] + </p> + <p> + TROFIMOV. I suppose I shall always be a student. + </p> + <p> + LUBOV. [Kisses her brother, then VARYA] Well, let’s go to bed.... And + you’ve grown older, Leonid. + </p> + <p> + PISCHIN. [Follows her] Yes, we’ve got to go to bed.... Oh, my gout! I’ll + stay the night here. If only, Lubov Andreyevna, my dear, you could get + me 240 roubles to-morrow morning— + </p> + <p> + GAEV. Still the same story. + </p> + <p> + PISCHIN. Two hundred and forty roubles... to pay the interest on the + mortgage. + </p> + <p> + LUBOV. I haven’t any money, dear man. + </p> + <p> + PISCHIN. I’ll give it back... it’s a small sum.... + </p> + <p> + LUBOV. Well, then, Leonid will give it to you.... Let him have it, + Leonid. + </p> + <p> + GAEV. By all means; hold out your hand. + </p> + <p> + LUBOV. Why not? He wants it; he’ll give it back. + </p> + <p> + [LUBOV ANDREYEVNA, TROFIMOV, PISCHIN, and FIERS go out. GAEV, VARYA, and + YASHA remain.] + </p> + <p> + GAEV. My sister hasn’t lost the habit of throwing money about. [To + YASHA] Stand off, do; you smell of poultry. + </p> + <p> + YASHA. [Grins] You are just the same as ever, Leonid Andreyevitch. + </p> + <p> + GAEV. Really? [To VARYA] What’s he saying? + </p> + <p> + VARYA. [To YASHA] Your mother’s come from the village; she’s been + sitting in the servants’ room since yesterday, and wants to see you.... + </p> + <p> + YASHA. Bless the woman! + </p> + <p> + VARYA. Shameless man. + </p> + <p> + YASHA. A lot of use there is in her coming. She might have come tomorrow + just as well. [Exit.] + </p> + <p> + VARYA. Mother hasn’t altered a scrap, she’s just as she always was. + She’d give away everything, if the idea only entered her head. + </p> + <p> + GAEV. Yes.... [Pause] If there’s any illness for which people offer many + remedies, you may be sure that particular illness is incurable, I think. + I work my brains to their hardest. I’ve several remedies, very many, and + that really means I’ve none at all. It would be nice to inherit a + fortune from somebody, it would be nice to marry our Anya to a rich man, + it would be nice to go to Yaroslav and try my luck with my aunt the + Countess. My aunt is very, very rich. + </p> + <p> + VARYA. [Weeps] If only God helped us. + </p> + <p> + GAEV. Don’t cry. My aunt’s very rich, but she doesn’t like us. My + sister, in the first place, married an advocate, not a noble.... [ANYA + appears in the doorway] She not only married a man who was not a noble, + but she behaved herself in a way which cannot be described as proper. + She’s nice and kind and charming, and I’m very fond of her, but say what + you will in her favour and you still have to admit that she’s wicked; + you can feel it in her slightest movements. + </p> + <p> + VARYA. [Whispers] Anya’s in the doorway. + </p> + <p> + GAEV. Really? [Pause] It’s curious, something’s got into my right eye... + I can’t see properly out of it. And on Thursday, when I was at the + District Court... + </p> + <p> + [Enter ANYA.] + </p> + <p> + VARYA. Why aren’t you in bed, Anya? + </p> + <p> + ANYA. Can’t sleep. It’s no good. + </p> + <p> + GAEV. My darling! [Kisses ANYA’S face and hands] My child.... [Crying] + You’re not my niece, you’re my angel, you’re my all.... Believe in me, + believe... + </p> + <p> + ANYA. I do believe in you, uncle. Everybody loves you and respects + you... but, uncle dear, you ought to say nothing, no more than that. + What were you saying just now about my mother, your own sister? Why did + you say those things? + </p> + <p> + GAEV. Yes, yes. [Covers his face with her hand] Yes, really, it was + awful. Save me, my God! And only just now I made a speech before a + bookcase... it’s so silly! And only when I’d finished I knew how silly + it was. + </p> + <p> + VARYA. Yes, uncle dear, you really ought to say less. Keep quiet, that’s + all. + </p> + <p> + ANYA. You’d be so much happier in yourself if you only kept quiet. + </p> + <p> + GAEV. All right, I’ll be quiet. [Kisses their hands] I’ll be quiet. But + let’s talk business. On Thursday I was in the District Court, and a lot + of us met there together, and we began to talk of this, that, and the + other, and now I think I can arrange a loan to pay the interest into the + bank. + </p> + <p> + VARYA. If only God would help us! + </p> + <p> + GAEV. I’ll go on Tuesday. I’ll talk with them about it again. [To VARYA] + Don’t howl. [To ANYA] Your mother will have a talk to Lopakhin; he, of + course, won’t refuse... And when you’ve rested you’ll go to Yaroslav to + the Countess, your grandmother. So you see, we’ll have three irons in + the fire, and we’ll be safe. We’ll pay up the interest. I’m certain. + [Puts some sugar-candy into his mouth] I swear on my honour, on anything + you will, that the estate will not be sold! [Excitedly] I swear on my + happiness! Here’s my hand. You may call me a dishonourable wretch if I + let it go to auction! I swear by all I am! + </p> + <p> + ANYA. [She is calm again and happy] How good and clever you are, uncle. + [Embraces him] I’m happy now! I’m happy! All’s well! + </p> + <p> + [Enter FIERS.] + </p> + <p> + FIERS. [Reproachfully] Leonid Andreyevitch, don’t you fear God? When are + you going to bed? + </p> + <p> + GAEV. Soon, soon. You go away, Fiers. I’ll undress myself. Well, + children, bye-bye...! I’ll give you the details to-morrow, but let’s go + to bed now. [Kisses ANYA and VARYA] I’m a man of the eighties.... People + don’t praise those years much, but I can still say that I’ve suffered + for my beliefs. The peasants don’t love me for nothing, I assure you. + We’ve got to learn to know the peasants! We ought to learn how.... + </p> + <p> + ANYA. You’re doing it again, uncle! + </p> + <p> + VARYA. Be quiet, uncle! + </p> + <p> + FIERS. [Angrily] Leonid Andreyevitch! + </p> + <p> + GAEV. I’m coming, I’m coming.... Go to bed now. Off two cushions into + the middle! I turn over a new leaf.... [Exit. FIERS goes out after him.] + </p> + <p> + ANYA. I’m quieter now. I don’t want to go to Yaroslav, I don’t like + grandmother; but I’m calm now; thanks to uncle. [Sits down.] + </p> + <p> + VARYA. It’s time to go to sleep. I’ll go. There’s been an unpleasantness + here while you were away. In the old servants’ part of the house, as you + know, only the old people live—little old Efim and Polya and + Evstigney, and Karp as well. They started letting some tramps or other + spend the night there—I said nothing. Then I heard that they were + saying that I had ordered them to be fed on peas and nothing else; from + meanness, you see.... And it was all Evstigney’s doing.... Very well, I + thought, if that’s what the matter is, just you wait. So I call + Evstigney.... [Yawns] He comes. “What’s this,” I say, “Evstigney, you + old fool.”... [Looks at ANYA] Anya dear! [Pause] She’s dropped off.... + [Takes ANYA’S arm] Let’s go to bye-bye.... Come along!... [Leads her] My + darling’s gone to sleep! Come on.... [They go. In the distance, the + other side of the orchard, a shepherd plays his pipe. TROFIMOV crosses + the stage and stops on seeing VARYA and ANYA] Sh! She’s asleep, asleep. + Come on, dear. + </p> + <p> + ANYA. [Quietly, half-asleep] I’m so tired... all the bells... uncle, + dear! Mother and uncle! + </p> + <p> + VARYA. Come on, dear, come on! [They go into ANYA’S room.] + </p> + <p> + TROFIMOV. [Moved] My sun! My spring! + </p> + <p> + Curtain. + </p> + <a name="link2H_4_0015" id="link2H_4_0015"> + <!-- H2 anchor --> </a> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT TWO + </h2> + <p> + [In a field. An old, crooked shrine, which has been long abandoned; near + it a well and large stones, which apparently are old tombstones, and an + old garden seat. The road is seen to GAEV’S estate. On one side rise + dark poplars, behind them begins the cherry orchard. In the distance is + a row of telegraph poles, and far, far away on the horizon are the + indistinct signs of a large town, which can only be seen on the finest + and clearest days. It is close on sunset. CHARLOTTA, YASHA, and DUNYASHA + are sitting on the seat; EPIKHODOV stands by and plays on a guitar; all + seem thoughtful. CHARLOTTA wears a man’s old peaked cap; she has unslung + a rifle from her shoulders and is putting to rights the buckle on the + strap.] + </p> + <p> + CHARLOTTA. [Thoughtfully] I haven’t a real passport. I don’t know how + old I am, and I think I’m young. When I was a little girl my father and + mother used to go round fairs and give very good performances and I used + to do the <i>salto mortale</i> and various little things. And when papa + and mamma died a German lady took me to her and began to teach me. I + liked it. I grew up and became a governess. And where I came from and + who I am, I don’t know.... Who my parents were—perhaps they + weren’t married—I don’t know. [Takes a cucumber out of her pocket + and eats] I don’t know anything. [Pause] I do want to talk, but I + haven’t anybody to talk to... I haven’t anybody at all. + </p> + <p> + EPIKHODOV. [Plays on the guitar and sings] + </p> +<pre xml:space="preserve"> + “What is this noisy earth to me, + What matter friends and foes?” + I do like playing on the mandoline! +</pre> + <p> + DUNYASHA. That’s a guitar, not a mandoline. [Looks at herself in a + little mirror and powders herself.] + </p> + <p> + EPIKHODOV. For the enamoured madman, this is a mandoline. [Sings] + </p> +<pre xml:space="preserve"> + “Oh that the heart was warmed, + By all the flames of love returned!” + </pre> + <p> + [YASHA sings too.] + </p> + <p> + CHARLOTTA. These people sing terribly.... Foo! Like jackals. + </p> + <p> + DUNYASHA. [To YASHA] Still, it must be nice to live abroad. + </p> + <p> + YASHA. Yes, certainly. I cannot differ from you there. [Yawns and lights + a cigar.] + </p> + <p> + EPIKHODOV. That is perfectly natural. Abroad everything is in full + complexity. + </p> + <p> + YASHA. That goes without saying. + </p> + <p> + EPIKHODOV. I’m an educated man, I read various remarkable books, but I + cannot understand the direction I myself want to go—whether to + live or to shoot myself, as it were. So, in case, I always carry a + revolver about with me. Here it is. [Shows a revolver.] + </p> + <p> + CHARLOTTA. I’ve done. Now I’ll go. [Slings the rifle] You, Epikhodov, + are a very clever man and very terrible; women must be madly in love + with you. Brrr! [Going] These wise ones are all so stupid. I’ve nobody + to talk to. I’m always alone, alone; I’ve nobody at all... and I don’t + know who I am or why I live. [Exit slowly.] + </p> + <p> + EPIKHODOV. As a matter of fact, independently of everything else, I must + express my feeling, among other things, that fate has been as pitiless + in her dealings with me as a storm is to a small ship. Suppose, let us + grant, I am wrong; then why did I wake up this morning, to give an + example, and behold an enormous spider on my chest, like that. [Shows + with both hands] And if I do drink some kvass, why is it that there is + bound to be something of the most indelicate nature in it, such as a + beetle? [Pause] Have you read Buckle? [Pause] I should like to trouble + you, Avdotya Fedorovna, for two words. + </p> + <p> + DUNYASHA. Say on. + </p> + <p> + EPIKHODOV. I should prefer to be alone with you. [Sighs.] + </p> + <p> + DUNYASHA. [Shy] Very well, only first bring me my little cloak.... It’s + by the cupboard. It’s a little damp here. + </p> + <p> + EPIKHODOV. Very well... I’ll bring it.... Now I know what to do with my + revolver. [Takes guitar and exits, strumming.] + </p> + <p> + YASHA. Two-and-twenty troubles! A silly man, between you and me and the + gatepost. [Yawns.] + </p> + <p> + DUNYASHA. I hope to goodness he won’t shoot himself. [Pause] I’m so + nervous, I’m worried. I went into service when I was quite a little + girl, and now I’m not used to common life, and my hands are white, white + as a lady’s. I’m so tender and so delicate now; respectable and afraid + of everything.... I’m so frightened. And I don’t know what will happen + to my nerves if you deceive me, Yasha. + </p> + <p> + YASHA. [Kisses her] Little cucumber! Of course, every girl must respect + herself; there’s nothing I dislike more than a badly behaved girl. + </p> + <p> + DUNYASHA. I’m awfully in love with you; you’re educated, you can talk + about everything. [Pause.] + </p> + <p> + YASHA. [Yawns] Yes. I think this: if a girl loves anybody, then that + means she’s immoral. [Pause] It’s nice to smoke a cigar out in the open + air.... [Listens] Somebody’s coming. It’s the mistress, and people with + her. [DUNYASHA embraces him suddenly] Go to the house, as if you’d been + bathing in the river; go by this path, or they’ll meet you and will + think I’ve been meeting you. I can’t stand that sort of thing. + </p> + <p> + DUNYASHA. [Coughs quietly] My head’s aching because of your cigar. + </p> + <p> + [Exit. YASHA remains, sitting by the shrine. Enter LUBOV ANDREYEVNA, + GAEV, and LOPAKHIN.] + </p> + <p> + LOPAKHIN. You must make up your mind definitely—there’s no time to + waste. The question is perfectly plain. Are you willing to let the land + for villas or no? Just one word, yes or no? Just one word! + </p> + <p> + LUBOV. Who’s smoking horrible cigars here? [Sits.] + </p> + <p> + GAEV. They built that railway; that’s made this place very handy. [Sits] + Went to town and had lunch... red in the middle! I’d like to go in now + and have just one game. + </p> + <p> + LUBOV. You’ll have time. + </p> + <p> + LOPAKHIN. Just one word! [Imploringly] Give me an answer! + </p> + <p> + GAEV. [Yawns] Really! + </p> + <p> + LUBOV. [Looks in her purse] I had a lot of money yesterday, but there’s + very little to-day. My poor Varya feeds everybody on milk soup to save + money, in the kitchen the old people only get peas, and I spend + recklessly. [Drops the purse, scattering gold coins] There, they are all + over the place. + </p> + <p> + YASHA. Permit me to pick them up. [Collects the coins.] + </p> + <p> + LUBOV. Please do, Yasha. And why did I go and have lunch there?... A + horrid restaurant with band and tablecloths smelling of soap.... Why do + you drink so much, Leon? Why do you eat so much? Why do you talk so + much? You talked again too much to-day in the restaurant, and it wasn’t + at all to the point—about the seventies and about decadents. And + to whom? Talking to the waiters about decadents! + </p> + <p> + LOPAKHIN. Yes. + </p> + <p> + GAEV. [Waves his hand] I can’t be cured, that’s obvious.... [Irritably + to YASHA] What’s the matter? Why do you keep twisting about in front of + me? + </p> + <p> + YASHA. [Laughs] I can’t listen to your voice without laughing. + </p> + <p> + GAEV. [To his sister] Either he or I... + </p> + <p> + LUBOV. Go away, Yasha; get out of this.... + </p> + <p> + YASHA. [Gives purse to LUBOV ANDREYEVNA] I’ll go at once. [Hardly able + to keep from laughing] This minute.... [Exit.] + </p> + <p> + LOPAKHIN. That rich man Deriganov is preparing to buy your estate. They + say he’ll come to the sale himself. + </p> + <p> + LUBOV. Where did you hear that? + </p> + <p> + LOPAKHIN. They say so in town. + </p> + <p> + GAEV. Our Yaroslav aunt has promised to send something, but I don’t know + when or how much. + </p> + <p> + LOPAKHIN. How much will she send? A hundred thousand roubles? Or two, + perhaps? + </p> + <p> + LUBOV. I’d be glad of ten or fifteen thousand. + </p> + <p> + LOPAKHIN. You must excuse my saying so, but I’ve never met such + frivolous people as you before, or anybody so unbusinesslike and + peculiar. Here I am telling you in plain language that your estate will + be sold, and you don’t seem to understand. + </p> + <p> + LUBOV. What are we to do? Tell us, what? + </p> + <p> + LOPAKHIN. I tell you every day. I say the same thing every day. Both the + cherry orchard and the land must be leased off for villas and at once, + immediately—the auction is staring you in the face: Understand! + Once you do definitely make up your minds to the villas, then you’ll + have as much money as you want and you’ll be saved. + </p> + <p> + LUBOV. Villas and villa residents—it’s so vulgar, excuse me. + </p> + <p> + GAEV. I entirely agree with you. + </p> + <p> + LOPAKHIN. I must cry or yell or faint. I can’t stand it! You’re too much + for me! [To GAEV] You old woman! + </p> + <p> + GAEV. Really! + </p> + <p> + LOPAKHIN. Old woman! [Going out.] + </p> + <p> + LUBOV. [Frightened] No, don’t go away, do stop; be a dear. Please. + Perhaps we’ll find some way out! + </p> + <p> + LOPAKHIN. What’s the good of trying to think! + </p> + <p> + LUBOV. Please don’t go away. It’s nicer when you’re here.... [Pause] I + keep on waiting for something to happen, as if the house is going to + collapse over our heads. + </p> + <p> + GAEV. [Thinking deeply] Double in the corner... across the middle.... + </p> + <p> + LUBOV. We have been too sinful.... + </p> + <p> + LOPAKHIN. What sins have you committed? + </p> + <p> + GAEV. [Puts candy into his mouth] They say that I’ve eaten all my + substance in sugar-candies. [Laughs.] + </p> + <p> + LUBOV. Oh, my sins.... I’ve always scattered money about without holding + myself in, like a madwoman, and I married a man who made nothing but + debts. My husband died of champagne—he drank terribly—and to + my misfortune, I fell in love with another man and went off with him, + and just at that time—it was my first punishment, a blow that hit + me right on the head—here, in the river... my boy was drowned, and + I went away, quite away, never to return, never to see this river + again...I shut my eyes and ran without thinking, but <i>he</i> ran after + me... without pity, without respect. I bought a villa near Mentone + because <i>he</i> fell ill there, and for three years I knew no rest + either by day or night; the sick man wore me out, and my soul dried up. + And last year, when they had sold the villa to pay my debts, I went away + to Paris, and there he robbed me of all I had and threw me over and went + off with another woman. I tried to poison myself.... It was so silly, so + shameful.... And suddenly I longed to be back in Russia, my own land, + with my little girl.... [Wipes her tears] Lord, Lord be merciful to me, + forgive me my sins! Punish me no more! [Takes a telegram out of her + pocket] I had this to-day from Paris.... He begs my forgiveness, he + implores me to return.... [Tears it up] Don’t I hear music? [Listens.] + </p> + <p> + GAEV. That is our celebrated Jewish band. You remember—four + violins, a flute, and a double-bass. + </p> + <p> + LUBOV So it still exists? It would be nice if they came along some + evening. + </p> + <p> + LOPAKHIN. [Listens] I can’t hear.... [Sings quietly] “For money will the + Germans make a Frenchman of a Russian.” [Laughs] I saw such an awfully + funny thing at the theatre last night. + </p> + <p> + LUBOV. I’m quite sure there wasn’t anything at all funny. You oughtn’t + to go and see plays, you ought to go and look at yourself. What a grey + life you lead, what a lot you talk unnecessarily. + </p> + <p> + LOPAKHIN. It’s true. To speak the straight truth, we live a silly life. + [Pause] My father was a peasant, an idiot, he understood nothing, he + didn’t teach me, he was always drunk, and always used a stick on me. In + point of fact, I’m a fool and an idiot too. I’ve never learned anything, + my handwriting is bad, I write so that I’m quite ashamed before people, + like a pig! + </p> + <p> + LUBOV. You ought to get married, my friend. + </p> + <p> + LOPAKHIN. Yes... that’s true. + </p> + <p> + LUBOV. Why not to our Varya? She’s a nice girl. + </p> + <p> + LOPAKHIN. Yes. + </p> + <p> + LUBOV. She’s quite homely in her ways, works all day, and, what matters + most, she’s in love with you. And you’ve liked her for a long time. + </p> + <p> + LOPAKHIN. Well? I don’t mind... she’s a nice girl. [Pause.] + </p> + <p> + GAEV. I’m offered a place in a bank. Six thousand roubles a year.... Did + you hear? + </p> + <p> + LUBOV. What’s the matter with you! Stay where you are.... + </p> + <p> + [Enter FIERS with an overcoat.] + </p> + <p> + FIERS. [To GAEV] Please, sir, put this on, it’s damp. + </p> + <p> + GAEV. [Putting it on] You’re a nuisance, old man. + </p> + <p> + FIERS It’s all very well.... You went away this morning without telling + me. [Examining GAEV.] + </p> + <p> + LUBOV. How old you’ve grown, Fiers! + </p> + <p> + FIERS. I beg your pardon? + </p> + <p> + LOPAKHIN. She says you’ve grown very old! + </p> + <p> + FIERS. I’ve been alive a long time. They were already getting ready to + marry me before your father was born.... [Laughs] And when the + Emancipation came I was already first valet. Only I didn’t agree with + the Emancipation and remained with my people.... [Pause] I remember + everybody was happy, but they didn’t know why. + </p> + <p> + LOPAKHIN. It was very good for them in the old days. At any rate, they + used to beat them. + </p> + <p> + FIERS. [Not hearing] Rather. The peasants kept their distance from the + masters and the masters kept their distance from the peasants, but now + everything’s all anyhow and you can’t understand anything. + </p> + <p> + GAEV. Be quiet, Fiers. I’ve got to go to town tomorrow. I’ve been + promised an introduction to a General who may lend me money on a bill. + </p> + <p> + LOPAKHIN. Nothing will come of it. And you won’t pay your interest, + don’t you worry. + </p> + <p> + LUBOV. He’s talking rubbish. There’s no General at all. + </p> + <p> + [Enter TROFIMOV, ANYA, and VARYA.] + </p> + <p> + GAEV. Here they are. + </p> + <p> + ANYA. Mother’s sitting down here. + </p> + <p> + LUBOV. [Tenderly] Come, come, my dears.... [Embracing ANYA and VARYA] If + you two only knew how much I love you. Sit down next to me, like that. + [All sit down.] + </p> + <p> + LOPAKHIN. Our eternal student is always with the ladies. + </p> + <p> + TROFIMOV. That’s not your business. + </p> + <p> + LOPAKHIN. He’ll soon be fifty, and he’s still a student. + </p> + <p> + TROFIMOV. Leave off your silly jokes! + </p> + <p> + LOPAKHIN. Getting angry, eh, silly? + </p> + <p> + TROFIMOV. Shut up, can’t you. + </p> + <p> + LOPAKHIN. [Laughs] I wonder what you think of me? + </p> + <p> + TROFIMOV. I think, Ermolai Alexeyevitch, that you’re a rich man, and + you’ll soon be a millionaire. Just as the wild beast which eats + everything it finds is needed for changes to take place in matter, so + you are needed too. + </p> + <p> + [All laugh.] + </p> + <p> + VARYA. Better tell us something about the planets, Peter. + </p> + <p> + LUBOV ANDREYEVNA. No, let’s go on with yesterday’s talk! + </p> + <p> + TROFIMOV. About what? + </p> + <p> + GAEV. About the proud man. + </p> + <p> + TROFIMOV. Yesterday we talked for a long time but we didn’t come to + anything in the end. There’s something mystical about the proud man, in + your sense. Perhaps you are right from your point of view, but if you + take the matter simply, without complicating it, then what pride can + there be, what sense can there be in it, if a man is imperfectly made, + physiologically speaking, if in the vast majority of cases he is coarse + and stupid and deeply unhappy? We must stop admiring one another. We + must work, nothing more. + </p> + <p> + GAEV. You’ll die, all the same. + </p> + <p> + TROFIMOV. Who knows? And what does it mean—you’ll die? Perhaps a + man has a hundred senses, and when he dies only the five known to us are + destroyed and the remaining ninety-five are left alive. + </p> + <p> + LUBOV. How clever of you, Peter! + </p> + <p> + LOPAKHIN. [Ironically] Oh, awfully! + </p> + <p> + TROFIMOV. The human race progresses, perfecting its powers. Everything + that is unattainable now will some day be near at hand and + comprehensible, but we must work, we must help with all our strength + those who seek to know what fate will bring. Meanwhile in Russia only a + very few of us work. The vast majority of those intellectuals whom I + know seek for nothing, do nothing, and are at present incapable of hard + work. They call themselves intellectuals, but they use “thou” and “thee” + to their servants, they treat the peasants like animals, they learn + badly, they read nothing seriously, they do absolutely nothing, about + science they only talk, about art they understand little. They are all + serious, they all have severe faces, they all talk about important + things. They philosophize, and at the same time, the vast majority of + us, ninety-nine out of a hundred, live like savages, fighting and + cursing at the slightest opportunity, eating filthily, sleeping in the + dirt, in stuffiness, with fleas, stinks, smells, moral filth, and so + on... And it’s obvious that all our nice talk is only carried on to + distract ourselves and others. Tell me, where are those créches we hear + so much of? and where are those reading-rooms? People only write novels + about them; they don’t really exist. Only dirt, vulgarity, and Asiatic + plagues really exist.... I’m afraid, and I don’t at all like serious + faces; I don’t like serious conversations. Let’s be quiet sooner. + </p> + <p> + LOPAKHIN. You know, I get up at five every morning, I work from morning + till evening, I am always dealing with money—my own and other + people’s—and I see what people are like. You’ve only got to begin + to do anything to find out how few honest, honourable people there are. + Sometimes, when I can’t sleep, I think: “Oh Lord, you’ve given us huge + forests, infinite fields, and endless horizons, and we, living here, + ought really to be giants.” + </p> + <p> + LUBOV. You want giants, do you?... They’re only good in stories, and + even there they frighten one. [EPIKHODOV enters at the back of the stage + playing his guitar. Thoughtfully:] Epikhodov’s there. + </p> + <p> + ANYA. [Thoughtfully] Epikhodov’s there. + </p> + <p> + GAEV. The sun’s set, ladies and gentlemen. + </p> + <p> + TROFIMOV. Yes. + </p> + <p> + GAEV [Not loudly, as if declaiming] O Nature, thou art wonderful, thou + shinest with eternal radiance! Oh, beautiful and indifferent one, thou + whom we call mother, thou containest in thyself existence and death, + thou livest and destroyest.... + </p> + <p> + VARYA. [Entreatingly] Uncle, dear! + </p> + <p> + ANYA. Uncle, you’re doing it again! + </p> + <p> + TROFIMOV. You’d better double the red into the middle. + </p> + <p> + GAEV. I’ll be quiet, I’ll be quiet. + </p> + <p> + [They all sit thoughtfully. It is quiet. Only the mumbling of FIERS is + heard. Suddenly a distant sound is heard as if from the sky, the sound + of a breaking string, which dies away sadly.] + </p> + <p> + LUBOV. What’s that? + </p> + <p> + LOPAKHIN. I don’t know. It may be a bucket fallen down a well somewhere. + But it’s some way off. + </p> + <p> + GAEV. Or perhaps it’s some bird... like a heron. + </p> + <p> + TROFIMOV. Or an owl. + </p> + <p> + LUBOV. [Shudders] It’s unpleasant, somehow. [A pause.] + </p> + <p> + FIERS. Before the misfortune the same thing happened. An owl screamed + and the samovar hummed without stopping. + </p> + <p> + GAEV. Before what misfortune? + </p> + <p> + FIERS. Before the Emancipation. [A pause.] + </p> + <p> + LUBOV. You know, my friends, let’s go in; it’s evening now. [To ANYA] + You’ve tears in your eyes.... What is it, little girl? [Embraces her.] + </p> + <p> + ANYA. It’s nothing, mother. + </p> + <p> + TROFIMOV. Some one’s coming. + </p> + <p> + [Enter a TRAMP in an old white peaked cap and overcoat. He is a little + drunk.] + </p> + <p> + TRAMP. Excuse me, may I go this way straight through to the station? + </p> + <p> + GAEV. You may. Go along this path. + </p> + <p> + TRAMP. I thank you from the bottom of my heart. [Hiccups] Lovely + weather.... [Declaims] My brother, my suffering brother.... Come out on + the Volga, you whose groans... [To VARYA] Mademoiselle, please give a + hungry Russian thirty copecks.... + </p> + <p> + [VARYA screams, frightened.] + </p> + <p> + LOPAKHIN. [Angrily] There’s manners everybody’s got to keep! + </p> + <p> + LUBOV. [With a start] Take this... here you are.... [Feels in her purse] + There’s no silver.... It doesn’t matter, here’s gold. + </p> + <p> + TRAMP. I am deeply grateful to you! [Exit. Laughter.] + </p> + <p> + VARYA. [Frightened] I’m going, I’m going.... Oh, little mother, at home + there’s nothing for the servants to eat, and you gave him gold. + </p> + <p> + LUBOV. What is to be done with such a fool as I am! At home I’ll give + you everything I’ve got. Ermolai Alexeyevitch, lend me some more!... + </p> + <p> + LOPAKHIN. Very well. + </p> + <p> + LUBOV. Let’s go, it’s time. And Varya, we’ve settled your affair; I + congratulate you. + </p> + <p> + VARYA. [Crying] You shouldn’t joke about this, mother. + </p> + <p> + LOPAKHIN. Oh, feel me, get thee to a nunnery. + </p> + <p> + GAEV. My hands are all trembling; I haven’t played billiards for a long + time. + </p> + <p> + LOPAKHIN. Oh, feel me, nymph, remember me in thine orisons. + </p> + <p> + LUBOV. Come along; it’ll soon be supper-time. + </p> + <p> + VARYA. He did frighten me. My heart is beating hard. + </p> + <p> + LOPAKHIN. Let me remind you, ladies and gentlemen, on August 22 the + cherry orchard will be sold. Think of that!... Think of that!... + </p> + <p> + [All go out except TROFIMOV and ANYA.] + </p> + <p> + ANYA. [Laughs] Thanks to the tramp who frightened Barbara, we’re alone + now. + </p> + <p> + TROFIMOV. Varya’s afraid we may fall in love with each other and won’t + get away from us for days on end. Her narrow mind won’t allow her to + understand that we are above love. To escape all the petty and deceptive + things which prevent our being happy and free, that is the aim and + meaning of our lives. Forward! We go irresistibly on to that bright star + which burns there, in the distance! Don’t lag behind, friends! + </p> + <p> + ANYA. [Clapping her hands] How beautifully you talk! [Pause] It is + glorious here to-day! + </p> + <p> + TROFIMOV. Yes, the weather is wonderful. + </p> + <p> + ANYA. What have you done to me, Peter? I don’t love the cherry orchard + as I used to. I loved it so tenderly, I thought there was no better + place in the world than our orchard. + </p> + <p> + TROFIMOV. All Russia is our orchard. The land is great and beautiful, + there are many marvellous places in it. [Pause] Think, Anya, your + grandfather, your great-grandfather, and all your ancestors were + serf-owners, they owned living souls; and now, doesn’t something human + look at you from every cherry in the orchard, every leaf and every + stalk? Don’t you hear voices...? Oh, it’s awful, your orchard is + terrible; and when in the evening or at night you walk through the + orchard, then the old bark on the trees sheds a dim light and the old + cherry-trees seem to be dreaming of all that was a hundred, two hundred + years ago, and are oppressed by their heavy visions. Still, at any rate, + we’ve left those two hundred years behind us. So far we’ve gained + nothing at all—we don’t yet know what the past is to be to us—we + only philosophize, we complain that we are dull, or we drink vodka. For + it’s so clear that in order to begin to live in the present we must + first redeem the past, and that can only be done by suffering, by + strenuous, uninterrupted labour. Understand that, Anya. + </p> + <p> + ANYA. The house in which we live has long ceased to be our house; I + shall go away. I give you my word. + </p> + <p> + TROFIMOV. If you have the housekeeping keys, throw them down the well + and go away. Be as free as the wind. + </p> + <p> + ANYA. [Enthusiastically] How nicely you said that! + </p> + <p> + TROFIMOV. Believe me, Anya, believe me! I’m not thirty yet, I’m young, + I’m still a student, but I have undergone a great deal! I’m as hungry as + the winter, I’m ill, I’m shaken. I’m as poor as a beggar, and where + haven’t I been—fate has tossed me everywhere! But my soul is + always my own; every minute of the day and the night it is filled with + unspeakable presentiments. I know that happiness is coming, Anya, I see + it already.... + </p> + <p> + ANYA. [Thoughtful] The moon is rising. + </p> + <p> + [EPIKHODOV is heard playing the same sad song on his guitar. The moon + rises. Somewhere by the poplars VARYA is looking for ANYA and calling, + “Anya, where are you?”] + </p> + <p> + TROFIMOV. Yes, the moon has risen. [Pause] There is happiness, there it + comes; it comes nearer and nearer; I hear its steps already. And if we + do not see it we shall not know it, but what does that matter? Others + will see it! + </p> + <p> + THE VOICE OF VARYA. Anya! Where are you? + </p> + <p> + TROFIMOV. That’s Varya again! [Angry] Disgraceful! + </p> + <p> + ANYA. Never mind. Let’s go to the river. It’s nice there. + </p> + <p> + TROFIMOV Let’s go. [They go out.] + </p> + <p> + THE VOICE OF VARYA. Anya! Anya! + </p> + <p> + Curtain. + </p> + <a name="link2H_4_0016" id="link2H_4_0016"> + <!-- H2 anchor --> </a> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT THREE + </h2> + <p> + [A reception-room cut off from a drawing-room by an arch. Chandelier + lighted. A Jewish band, the one mentioned in Act II, is heard playing in + another room. Evening. In the drawing-room the grand rond is being + danced. Voice of SIMEONOV PISCHIN “Promenade a une paire!” Dancers come + into the reception-room; the first pair are PISCHIN and CHARLOTTA + IVANOVNA; the second, TROFIMOV and LUBOV ANDREYEVNA; the third, ANYA and + the POST OFFICE CLERK; the fourth, VARYA and the STATION-MASTER, and so + on. VARYA is crying gently and wipes away her tears as she dances. + DUNYASHA is in the last pair. They go off into the drawing-room, PISCHIN + shouting, “Grand rond, balancez:” and “Les cavaliers à genou et + remerciez vos dames!” FIERS, in a dress-coat, carries a tray with + seltzer-water across. Enter PISCHIN and TROFIMOV from the drawing-room.] + </p> + <p> + PISCHIN. I’m full-blooded and have already had two strokes; it’s hard + for me to dance, but, as they say, if you’re in Rome, you must do as + Rome does. I’ve got the strength of a horse. My dead father, who liked a + joke, peace to his bones, used to say, talking of our ancestors, that + the ancient stock of the Simeonov-Pischins was descended from that + identical horse that Caligula made a senator.... [Sits] But the trouble + is, I’ve no money! A hungry dog only believes in meat. [Snores and wakes + up again immediately] So I... only believe in money.... + </p> + <p> + TROFIMOV. Yes. There is something equine about your figure. + </p> + <p> + PISCHIN. Well... a horse is a fine animal... you can sell a horse. + </p> + <p> + [Billiard playing can be heard in the next room. VARYA appears under the + arch.] + </p> + <p> + TROFIMOV. [Teasing] Madame Lopakhin! Madame Lopakhin! + </p> + <p> + VARYA. [Angry] Decayed gentleman! + </p> + <p> + TROFIMOV. Yes, I am a decayed gentleman, and I’m proud of it! + </p> + <p> + VARYA. [Bitterly] We’ve hired the musicians, but how are they to be + paid? [Exit.] + </p> + <p> + TROFIMOV. [To PISCHIN] If the energy which you, in the course of your + life, have spent in looking for money to pay interest had been used for + something else, then, I believe, after all, you’d be able to turn + everything upside down. + </p> + <p> + PISCHIN. Nietzsche... a philosopher... a very great, a most celebrated + man... a man of enormous brain, says in his books that you can forge + bank-notes. + </p> + <p> + TROFIMOV. And have you read Nietzsche? + </p> + <p> + PISCHIN. Well... Dashenka told me. Now I’m in such a position, I + wouldn’t mind forging them... I’ve got to pay 310 roubles the day after + to-morrow... I’ve got 130 already.... [Feels his pockets, nervously] + I’ve lost the money! The money’s gone! [Crying] Where’s the money? + [Joyfully] Here it is behind the lining... I even began to perspire. + </p> + <p> + [Enter LUBOV ANDREYEVNA and CHARLOTTA IVANOVNA.] + </p> + <p> + LUBOV. [Humming a Caucasian dance] Why is Leonid away so long? What’s he + doing in town? [To DUNYASHA] Dunyasha, give the musicians some tea. + </p> + <p> + TROFIMOV. Business is off, I suppose. + </p> + <p> + LUBOV. And the musicians needn’t have come, and we needn’t have got up + this ball.... Well, never mind.... [Sits and sings softly.] + </p> + <p> + CHARLOTTA. [Gives a pack of cards to PISCHIN] Here’s a pack of cards, + think of any one card you like. + </p> + <p> + PISCHIN. I’ve thought of one. + </p> + <p> + CHARLOTTA. Now shuffle. All right, now. Give them here, oh my dear Mr. + Pischin. <i>Ein, zwei, drei</i>! Now look and you’ll find it in your + coat-tail pocket. + </p> + <p> + PISCHIN. [Takes a card out of his coat-tail pocket] Eight of spades, + quite right! [Surprised] Think of that now! + </p> + <p> + CHARLOTTA. [Holds the pack of cards on the palm of her hand. To + TROFIMOV] Now tell me quickly. What’s the top card? + </p> + <p> + TROFIMOV. Well, the queen of spades. + </p> + <p> + CHARLOTTA. Right! [To PISCHIN] Well now? What card’s on top? + </p> + <p> + PISCHIN. Ace of hearts. + </p> + <p> + CHARLOTTA. Right! [Claps her hands, the pack of cards vanishes] How + lovely the weather is to-day. [A mysterious woman’s voice answers her, + as if from under the floor, “Oh yes, it’s lovely weather, madam.”] You + are so beautiful, you are my ideal. [Voice, “You, madam, please me very + much too.”] + </p> + <p> + STATION-MASTER. [Applauds] Madame ventriloquist, bravo! + </p> + <p> + PISCHIN. [Surprised] Think of that, now! Delightful, Charlotte + Ivanovna... I’m simply in love.... + </p> + <p> + CHARLOTTA. In love? [Shrugging her shoulders] Can you love? <i>Guter + Mensch aber schlechter Musikant</i>. + </p> + <p> + TROFIMOV. [Slaps PISCHIN on the shoulder] Oh, you horse! + </p> + <p> + CHARLOTTA. Attention please, here’s another trick. [Takes a shawl from a + chair] Here’s a very nice plaid shawl, I’m going to sell it.... [Shakes + it] Won’t anybody buy it? + </p> + <p> + PISCHIN. [Astonished] Think of that now! + </p> + <p> + CHARLOTTA. <i>Ein, zwei, drei</i>. + </p> + <p> + [She quickly lifts up the shawl, which is hanging down. ANYA is standing + behind it; she bows and runs to her mother, hugs her and runs back to + the drawing-room amid general applause.] + </p> + <p> + LUBOV. [Applauds] Bravo, bravo! + </p> + <p> + CHARLOTTA. Once again! <i>Ein, zwei, drei</i>! + </p> + <p> + [Lifts the shawl. VARYA stands behind it and bows.] + </p> + <p> + PISCHIN. [Astonished] Think of that, now. + </p> + <p> + CHARLOTTA. The end! + </p> + <p> + [Throws the shawl at PISCHIN, curtseys and runs into the drawing-room.] + </p> + <p> + PISCHIN. [Runs after her] Little wretch.... What? Would you? [Exit.] + </p> + <p> + LUBOV. Leonid hasn’t come yet. I don’t understand what he’s doing so + long in town! Everything must be over by now. The estate must be sold; + or, if the sale never came off, then why does he stay so long? + </p> + <p> + VARYA. [Tries to soothe her] Uncle has bought it. I’m certain of it. + </p> + <p> + TROFIMOV. [Sarcastically] Oh, yes! + </p> + <p> + VARYA. Grandmother sent him her authority for him to buy it in her name + and transfer the debt to her. She’s doing it for Anya. And I’m certain + that God will help us and uncle will buy it. + </p> + <p> + LUBOV. Grandmother sent fifteen thousand roubles from Yaroslav to buy + the property in her name—she won’t trust us—and that wasn’t + even enough to pay the interest. [Covers her face with her hands] My + fate will be settled to-day, my fate.... + </p> + <p> + TROFIMOV. [Teasing VARYA] Madame Lopakhin! + </p> + <p> + VARYA. [Angry] Eternal student! He’s already been expelled twice from + the university. + </p> + <p> + LUBOV. Why are you getting angry, Varya? He’s teasing you about + Lopakhin, well what of it? You can marry Lopakhin if you want to, he’s a + good, interesting man.... You needn’t if you don’t want to; nobody wants + to force you against your will, my darling. + </p> + <p> + VARYA. I do look at the matter seriously, little mother, to be quite + frank. He’s a good man, and I like him. + </p> + <p> + LUBOV. Then marry him. I don’t understand what you’re waiting for. + </p> + <p> + VARYA. I can’t propose to him myself, little mother. People have been + talking about him to me for two years now, but he either says nothing, + or jokes about it. I understand. He’s getting rich, he’s busy, he can’t + bother about me. If I had some money, even a little, even only a hundred + roubles, I’d throw up everything and go away. I’d go into a convent. + </p> + <p> + TROFIMOV. How nice! + </p> + <p> + VARYA. [To TROFIMOV] A student ought to have sense! [Gently, in tears] + How ugly you are now, Peter, how old you’ve grown! [To LUBOV ANDREYEVNA, + no longer crying] But I can’t go on without working, little mother. I + want to be doing something every minute. + </p> + <p> + [Enter YASHA.] + </p> + <p> + YASHA. [Nearly laughing] Epikhodov’s broken a billiard cue! [Exit.] + </p> + <p> + VARYA. Why is Epikhodov here? Who said he could play billiards? I don’t + understand these people. [Exit.] + </p> + <p> + LUBOV. Don’t tease her, Peter, you see that she’s quite unhappy without + that. + </p> + <p> + TROFIMOV. She takes too much on herself, she keeps on interfering in + other people’s business. The whole summer she’s given no peace to me or + to Anya, she’s afraid we’ll have a romance all to ourselves. What has it + to do with her? As if I’d ever given her grounds to believe I’d stoop to + such vulgarity! We are above love. + </p> + <p> + LUBOV. Then I suppose I must be beneath love. [In agitation] Why isn’t + Leonid here? If I only knew whether the estate is sold or not! The + disaster seems to me so improbable that I don’t know what to think, I’m + all at sea... I may scream... or do something silly. Save me, Peter. Say + something, say something. + </p> + <p> + TROFIMOV. Isn’t it all the same whether the estate is sold to-day or + isn’t? It’s been all up with it for a long time; there’s no turning + back, the path’s grown over. Be calm, dear, you shouldn’t deceive + yourself, for once in your life at any rate you must look the truth + straight in the face. + </p> + <p> + LUBOV. What truth? You see where truth is, and where untruth is, but I + seem to have lost my sight and see nothing. You boldly settle all + important questions, but tell me, dear, isn’t it because you’re young, + because you haven’t had time to suffer till you settled a single one of + your questions? You boldly look forward, isn’t it because you cannot + foresee or expect anything terrible, because so far life has been hidden + from your young eyes? You are bolder, more honest, deeper than we are, + but think only, be just a little magnanimous, and have mercy on me. I + was born here, my father and mother lived here, my grandfather too, I + love this house. I couldn’t understand my life without that cherry + orchard, and if it really must be sold, sell me with it! [Embraces + TROFIMOV, kisses his forehead]. My son was drowned here.... [Weeps] Have + pity on me, good, kind man. + </p> + <p> + TROFIMOV. You know I sympathize with all my soul. + </p> + <p> + LUBOV. Yes, but it ought to be said differently, differently.... [Takes + another handkerchief, a telegram falls on the floor] I’m so sick at + heart to-day, you can’t imagine. Here it’s so noisy, my soul shakes at + every sound. I shake all over, and I can’t go away by myself, I’m afraid + of the silence. Don’t judge me harshly, Peter... I loved you, as if you + belonged to my family. I’d gladly let Anya marry you, I swear it, only + dear, you ought to work, finish your studies. You don’t do anything, + only fate throws you about from place to place, it’s so odd.... Isn’t it + true? Yes? And you ought to do something to your beard to make it grow + better [Laughs] You are funny! + </p> + <p> + TROFIMOV. [Picking up telegram] I don’t want to be a Beau Brummel. + </p> + <p> + LUBOV. This telegram’s from Paris. I get one every day. Yesterday and + to-day. That wild man is ill again, he’s bad again.... He begs for + forgiveness, and implores me to come, and I really ought to go to Paris + to be near him. You look severe, Peter, but what can I do, my dear, what + can I do; he’s ill, he’s alone, unhappy, and who’s to look after him, + who’s to keep him away from his errors, to give him his medicine + punctually? And why should I conceal it and say nothing about it; I love + him, that’s plain, I love him, I love him.... That love is a stone round + my neck; I’m going with it to the bottom, but I love that stone and + can’t live without it. [Squeezes TROFIMOV’S hand] Don’t think badly of + me, Peter, don’t say anything to me, don’t say... + </p> + <p> + TROFIMOV. [Weeping] For God’s sake forgive my speaking candidly, but + that man has robbed you! + </p> + <p> + LUBOV. No, no, no, you oughtn’t to say that! [Stops her ears.] + </p> + <p> + TROFIMOV. But he’s a wretch, you alone don’t know it! He’s a petty + thief, a nobody.... + </p> + <p> + LUBOV. [Angry, but restrained] You’re twenty-six or twenty-seven, and + still a schoolboy of the second class! + </p> + <p> + TROFIMOV. Why not! + </p> + <p> + LUBOV. You ought to be a man, at your age you ought to be able to + understand those who love. And you ought to be in love yourself, you + must fall in love! [Angry] Yes, yes! You aren’t pure, you’re just a + freak, a queer fellow, a funny growth... + </p> + <p> + TROFIMOV. [In horror] What is she saying! + </p> + <p> + LUBOV. “I’m above love!” You’re not above love, you’re just what our + Fiers calls a bungler. Not to have a mistress at your age! + </p> + <p> + TROFIMOV. [In horror] This is awful! What is she saying? [Goes quickly + up into the drawing-room, clutching his head] It’s awful... I can’t + stand it, I’ll go away. [Exit, but returns at once] All is over between + us! [Exit.] + </p> + <p> + LUBOV. [Shouts after him] Peter, wait! Silly man, I was joking! Peter! + [Somebody is heard going out and falling downstairs noisily. ANYA and + VARYA scream; laughter is heard immediately] What’s that? + </p> + <p> + [ANYA comes running in, laughing.] + </p> + <p> + ANYA. Peter’s fallen downstairs! [Runs out again.] + </p> + <p> + LUBOV. This Peter’s a marvel. + </p> + <p> + [The STATION-MASTER stands in the middle of the drawing-room and recites + “The Magdalen” by Tolstoy. He is listened to, but he has only delivered + a few lines when a waltz is heard from the front room, and the + recitation is stopped. Everybody dances. TROFIMOV, ANYA, VARYA, and + LUBOV ANDREYEVNA come in from the front room.] + </p> + <p> + LUBOV. Well, Peter... you pure soul... I beg your pardon... let’s dance. + </p> + <p> + [She dances with PETER. ANYA and VARYA dance. FIERS enters and stands + his stick by a side door. YASHA has also come in and looks on at the + dance.] + </p> + <p> + YASHA. Well, grandfather? + </p> + <p> + FIERS. I’m not well. At our balls some time back, generals and barons + and admirals used to dance, and now we send for post-office clerks and + the Station-master, and even they come as a favour. I’m very weak. The + dead master, the grandfather, used to give everybody sealing-wax when + anything was wrong. I’ve taken sealing-wax every day for twenty years, + and more; perhaps that’s why I still live. + </p> + <p> + YASHA. I’m tired of you, grandfather. [Yawns] If you’d only hurry up and + kick the bucket. + </p> + <p> + FIERS. Oh you... bungler! [Mutters.] + </p> + <p> + [TROFIMOV and LUBOV ANDREYEVNA dance in the reception-room, then into + the sitting-room.] + </p> + <p> + LUBOV. <i>Merci</i>. I’ll sit down. [Sits] I’m tired. + </p> + <p> + [Enter ANYA.] + </p> + <p> + ANYA. [Excited] Somebody in the kitchen was saying just now that the + cherry orchard was sold to-day. + </p> + <p> + LUBOV. Sold to whom? + </p> + <p> + ANYA. He didn’t say to whom. He’s gone now. [Dances out into the + reception-room with TROFIMOV.] + </p> + <p> + YASHA. Some old man was chattering about it a long time ago. A stranger! + </p> + <p> + FIERS. And Leonid Andreyevitch isn’t here yet, he hasn’t come. He’s + wearing a light, <i>demi-saison</i> overcoat. He’ll catch cold. Oh these + young fellows. + </p> + <p> + LUBOV. I’ll die of this. Go and find out, Yasha, to whom it’s sold. + </p> + <p> + YASHA. Oh, but he’s been gone a long time, the old man. [Laughs.] + </p> + <p> + LUBOV. [Slightly vexed] Why do you laugh? What are you glad about? + </p> + <p> + YASHA. Epikhodov’s too funny. He’s a silly man. Two-and-twenty troubles. + </p> + <p> + LUBOV. Fiers, if the estate is sold, where will you go? + </p> + <p> + FIERS. I’ll go wherever you order me to go. + </p> + <p> + LUBOV. Why do you look like that? Are you ill? I think you ought to go + to bed.... + </p> + <p> + FIERS. Yes... [With a smile] I’ll go to bed, and who’ll hand things + round and give orders without me? I’ve the whole house on my shoulders. + </p> + <p> + YASHA. [To LUBOV ANDREYEVNA] Lubov Andreyevna! I want to ask a favour of + you, if you’ll be so kind! If you go to Paris again, then please take me + with you. It’s absolutely impossible for me to stop here. [Looking + round; in an undertone] What’s the good of talking about it, you see for + yourself that this is an uneducated country, with an immoral population, + and it’s so dull. The food in the kitchen is beastly, and here’s this + Fiers walking about mumbling various inappropriate things. Take me with + you, be so kind! + </p> + <p> + [Enter PISCHIN.] + </p> + <p> + PISCHIN. I come to ask for the pleasure of a little waltz, dear lady.... + [LUBOV ANDREYEVNA goes to him] But all the same, you wonderful woman, I + must have 180 little roubles from you... I must.... [They dance] 180 + little roubles.... [They go through into the drawing-room.] + </p> +<pre xml:space="preserve"> +YASHA. [Sings softly] “Oh, will you understand + My soul’s deep restlessness?” + </pre> + <p> + [In the drawing-room a figure in a grey top-hat and in baggy check + trousers is waving its hands and jumping about; there are cries of + “Bravo, Charlotta Ivanovna!”] + </p> + <p> + DUNYASHA. [Stops to powder her face] The young mistress tells me to + dance—there are a lot of gentlemen, but few ladies—and my + head goes round when I dance, and my heart beats, Fiers Nicolaevitch; + the Post-office clerk told me something just now which made me catch my + breath. [The music grows faint.] + </p> + <p> + FIERS. What did he say to you? + </p> + <p> + DUNYASHA. He says, “You’re like a little flower.” + </p> + <p> + YASHA. [Yawns] Impolite.... [Exit.] + </p> + <p> + DUNYASHA. Like a little flower. I’m such a delicate girl; I simply love + words of tenderness. + </p> + <p> + FIERS. You’ll lose your head. + </p> + <p> + [Enter EPIKHODOV.] + </p> + <p> + EPIKHODOV. You, Avdotya Fedorovna, want to see me no more than if I was + some insect. [Sighs] Oh, life! + </p> + <p> + DUNYASHA. What do you want? + </p> + <p> + EPIKHODOV. Undoubtedly, perhaps, you may be right. [Sighs] But, + certainly, if you regard the matter from the aspect, then you, if I may + say so, and you must excuse my candidness, have absolutely reduced me to + a state of mind. I know my fate, every day something unfortunate happens + to me, and I’ve grown used to it a long time ago, I even look at my fate + with a smile. You gave me your word, and though I... + </p> + <p> + DUNYASHA. Please, we’ll talk later on, but leave me alone now. I’m + meditating now. [Plays with her fan.] + </p> + <p> + EPIKHODOV. Every day something unfortunate happens to me, and I, if I + may so express myself, only smile, and even laugh. + </p> + <p> + [VARYA enters from the drawing-room.] + </p> + <p> + VARYA. Haven’t you gone yet, Simeon? You really have no respect for + anybody. [To DUNYASHA] You go away, Dunyasha. [To EPIKHODOV] You play + billiards and break a cue, and walk about the drawing-room as if you + were a visitor! + </p> + <p> + EPIKHODOV. You cannot, if I may say so, call me to order. + </p> + <p> + VARYA. I’m not calling you to order, I’m only telling you. You just walk + about from place to place and never do your work. Goodness only knows + why we keep a clerk. + </p> + <p> + EPIKHODOV. [Offended] Whether I work, or walk about, or eat, or play + billiards, is only a matter to be settled by people of understanding and + my elders. + </p> + <p> + VARYA. You dare to talk to me like that! [Furious] You dare? You mean + that I know nothing? Get out of here! This minute! + </p> + <p> + EPIKHODOV. [Nervous] I must ask you to express yourself more delicately. + </p> + <p> + VARYA. [Beside herself] Get out this minute. Get out! [He goes to the + door, she follows] Two-and-twenty troubles! I don’t want any sign of you + here! I don’t want to see anything of you! [EPIKHODOV has gone out; his + voice can be heard outside: “I’ll make a complaint against you.”] What, + coming back? [Snatches up the stick left by FIERS by the door] Go... + go... go, I’ll show you.... Are you going? Are you going? Well, then + take that. [She hits out as LOPAKHIN enters.] + </p> + <p> + LOPAKHIN. Much obliged. + </p> + <p> + VARYA. [Angry but amused] I’m sorry. + </p> + <p> + LOPAKHIN. Never mind. I thank you for my pleasant reception. + </p> + <p> + VARYA. It isn’t worth any thanks. [Walks away, then looks back and asks + gently] I didn’t hurt you, did I? + </p> + <p> + LOPAKHIN. No, not at all. There’ll be an enormous bump, that’s all. + </p> + <p> + VOICES FROM THE DRAWING-ROOM. Lopakhin’s returned! Ermolai Alexeyevitch! + </p> + <p> + PISCHIN. Now we’ll see what there is to see and hear what there is to + hear... [Kisses LOPAKHIN] You smell of cognac, my dear, my soul. And + we’re all having a good time. + </p> + <p> + [Enter LUBOV ANDREYEVNA.] + </p> + <p> + LUBOV. Is that you, Ermolai Alexeyevitch? Why were you so long? Where’s + Leonid? + </p> + <p> + LOPAKHIN. Leonid Andreyevitch came back with me, he’s coming.... + </p> + <p> + LUBOV. [Excited] Well, what? Is it sold? Tell me? + </p> + <p> + LOPAKHIN. [Confused, afraid to show his pleasure] The sale ended up at + four o’clock.... We missed the train, and had to wait till half-past + nine. [Sighs heavily] Ooh! My head’s going round a little. + </p> + <p> + [Enter GAEV; in his right hand he carries things he has bought, with his + left he wipes away his tears.] + </p> + <p> + LUBOV. Leon, what’s happened? Leon, well? [Impatiently, in tears] Quick, + for the love of God.... + </p> + <p> + GAEV. [Says nothing to her, only waves his hand; to FIERS, weeping] + Here, take this.... Here are anchovies, herrings from Kertch.... I’ve + had no food to-day.... I have had a time! [The door from the + billiard-room is open; the clicking of the balls is heard, and YASHA’S + voice, “Seven, eighteen!” GAEV’S expression changes, he cries no more] + I’m awfully tired. Help me change my clothes, Fiers. + </p> + <p> + [Goes out through the drawing-room; FIERS after him.] + </p> + <p> + PISCHIN. What happened? Come on, tell us! + </p> + <p> + LUBOV. Is the cherry orchard sold? + </p> + <p> + LOPAKHIN. It is sold. + </p> + <p> + LUBOV. Who bought it? + </p> + <p> + LOPAKHIN. I bought it. + </p> + <p> + [LUBOV ANDREYEVNA is overwhelmed; she would fall if she were not + standing by an armchair and a table. VARYA takes her keys off her belt, + throws them on the floor, into the middle of the room and goes out.] + </p> + <p> + LOPAKHIN. I bought it! Wait, ladies and gentlemen, please, my head’s + going round, I can’t talk.... [Laughs] When we got to the sale, + Deriganov was there already. Leonid Andreyevitch had only fifteen + thousand roubles, and Deriganov offered thirty thousand on top of the + mortgage to begin with. I saw how matters were, so I grabbed hold of him + and bid forty. He went up to forty-five, I offered fifty-five. That + means he went up by fives and I went up by tens.... Well, it came to an + end. I bid ninety more than the mortgage; and it stayed with me. The + cherry orchard is mine now, mine! [Roars with laughter] My God, my God, + the cherry orchard’s mine! Tell me I’m drunk, or mad, or dreaming.... + [Stamps his feet] Don’t laugh at me! If my father and grandfather rose + from their graves and looked at the whole affair, and saw how their + Ermolai, their beaten and uneducated Ermolai, who used to run barefoot + in the winter, how that very Ermolai has bought an estate, which is the + most beautiful thing in the world! I’ve bought the estate where my + grandfather and my father were slaves, where they weren’t even allowed + into the kitchen. I’m asleep, it’s only a dream, an illusion.... It’s + the fruit of imagination, wrapped in the fog of the unknown.... [Picks + up the keys, nicely smiling] She threw down the keys, she wanted to show + she was no longer mistress here.... [Jingles keys] Well, it’s all one! + [Hears the band tuning up] Eh, musicians, play, I want to hear you! Come + and look at Ermolai Lopakhin laying his axe to the cherry orchard, come + and look at the trees falling! We’ll build villas here, and our + grandsons and great-grandsons will see a new life here.... Play on, + music! [The band plays. LUBOV ANDREYEVNA sinks into a chair and weeps + bitterly. LOPAKHIN continues reproachfully] Why then, why didn’t you + take my advice? My poor, dear woman, you can’t go back now. [Weeps] Oh, + if only the whole thing was done with, if only our uneven, unhappy life + were changed! + </p> + <p> + PISCHIN. [Takes his arm; in an undertone] She’s crying. Let’s go into + the drawing-room and leave her by herself... come on.... [Takes his arm + and leads him out.] + </p> + <p> + LOPAKHIN. What’s that? Bandsmen, play nicely! Go on, do just as I want + you to! [Ironically] The new owner, the owner of the cherry orchard is + coming! [He accidentally knocks up against a little table and nearly + upsets the candelabra] I can pay for everything! [Exit with PISCHIN] + </p> + <p> + [In the reception-room and the drawing-room nobody remains except LUBOV + ANDREYEVNA, who sits huddled up and weeping bitterly. The band plays + softly. ANYA and TROFIMOV come in quickly. ANYA goes up to her mother + and goes on her knees in front of her. TROFIMOV stands at the + drawing-room entrance.] + </p> + <p> + ANYA. Mother! mother, are you crying? My dear, kind, good mother, my + beautiful mother, I love you! Bless you! The cherry orchard is sold, + we’ve got it no longer, it’s true, true, but don’t cry mother, you’ve + still got your life before you, you’ve still your beautiful pure soul... + Come with me, come, dear, away from here, come! We’ll plant a new + garden, finer than this, and you’ll see it, and you’ll understand, and + deep joy, gentle joy will sink into your soul, like the evening sun, and + you’ll smile, mother! Come, dear, let’s go! + </p> + <p> + Curtain. + </p> + <a name="link2H_4_0017" id="link2H_4_0017"> + <!-- H2 anchor --> </a> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT FOUR + </h2> + <p> + [The stage is set as for Act I. There are no curtains on the windows, no + pictures; only a few pieces of furniture are left; they are piled up in + a corner as if for sale. The emptiness is felt. By the door that leads + out of the house and at the back of the stage, portmanteaux and + travelling paraphernalia are piled up. The door on the left is open; the + voices of VARYA and ANYA can be heard through it. LOPAKHIN stands and + waits. YASHA holds a tray with little tumblers of champagne. Outside, + EPIKHODOV is tying up a box. Voices are heard behind the stage. The + peasants have come to say good-bye. The voice of GAEV is heard: “Thank + you, brothers, thank you.”] + </p> + <p> + YASHA. The common people have come to say good-bye. I am of the opinion, + Ermolai Alexeyevitch, that they’re good people, but they don’t + understand very much. + </p> + <p> + [The voices die away. LUBOV ANDREYEVNA and GAEV enter. She is not crying + but is pale, and her face trembles; she can hardly speak.] + </p> + <p> + GAEV. You gave them your purse, Luba. You can’t go on like that, you + can’t! + </p> + <p> + LUBOV. I couldn’t help myself, I couldn’t! [They go out.] + </p> + <p> + LOPAKHIN. [In the doorway, calling after them] Please, I ask you most + humbly! Just a little glass to say good-bye. I didn’t remember to bring + any from town and I only found one bottle at the station. Please, do! + [Pause] Won’t you really have any? [Goes away from the door] If I only + knew—I wouldn’t have bought any. Well, I shan’t drink any either. + [YASHA carefully puts the tray on a chair] You have a drink, Yasha, at + any rate. + </p> + <p> + YASHA. To those departing! And good luck to those who stay behind! + [Drinks] I can assure you that this isn’t real champagne. + </p> + <p> + LOPAKHIN. Eight roubles a bottle. [Pause] It’s devilish cold here. + </p> + <p> + YASHA. There are no fires to-day, we’re going away. [Laughs] + </p> + <p> + LOPAKHIN. What’s the matter with you? + </p> + <p> + YASHA. I’m just pleased. + </p> + <p> + LOPAKHIN. It’s October outside, but it’s as sunny and as quiet as if it + were summer. Good for building. [Looking at his watch and speaking + through the door] Ladies and gentlemen, please remember that it’s only + forty-seven minutes till the train goes! You must go off to the station + in twenty minutes. Hurry up. + </p> + <p> + [TROFIMOV, in an overcoat, comes in from the grounds.] + </p> + <p> + TROFIMOV. I think it’s time we went. The carriages are waiting. Where + the devil are my goloshes? They’re lost. [Through the door] Anya, I + can’t find my goloshes! I can’t! + </p> + <p> + LOPAKHIN. I’ve got to go to Kharkov. I’m going in the same train as you. + I’m going to spend the whole winter in Kharkov. I’ve been hanging about + with you people, going rusty without work. I can’t live without working. + I must have something to do with my hands; they hang about as if they + weren’t mine at all. + </p> + <p> + TROFIMOV. We’ll go away now and then you’ll start again on your useful + labours. + </p> + <p> + LOPAKHIN. Have a glass. + </p> + <p> + TROFIMOV. I won’t. + </p> + <p> + LOPAKHIN. So you’re off to Moscow now? + </p> + <p> + TROFIMOV Yes. I’ll see them into town and to-morrow I’m off to Moscow. + </p> + <p> + LOPAKHIN. Yes.... I expect the professors don’t lecture nowadays; + they’re waiting till you turn up! + </p> + <p> + TROFIMOV. That’s not your business. + </p> + <p> + LOPAKHIN. How many years have you been going to the university? + </p> + <p> + TROFIMOV. Think of something fresh. This is old and flat. [Looking for + his goloshes] You know, we may not meet each other again, so just let me + give you a word of advice on parting: “Don’t wave your hands about! Get + rid of that habit of waving them about. And then, building villas and + reckoning on their residents becoming freeholders in time—that’s + the same thing; it’s all a matter of waving your hands about.... Whether + I want to or not, you know, I like you. You’ve thin, delicate fingers, + like those of an artist, and you’ve a thin, delicate soul....” + </p> + <p> + LOPAKHIN. [Embraces him] Good-bye, dear fellow. Thanks for all you’ve + said. If you want any, take some money from me for the journey. + </p> + <p> + TROFIMOV. Why should I? I don’t want it. + </p> + <p> + LOPAKHIN. But you’ve nothing! + </p> + <p> + TROFIMOV. Yes, I have, thank you; I’ve got some for a translation. Here + it is in my pocket. [Nervously] But I can’t find my goloshes! + </p> + <p> + VARYA. [From the other room] Take your rubbish away! [Throws a pair of + rubber goloshes on to the stage.] + </p> + <p> + TROFIMOV. Why are you angry, Varya? Hm! These aren’t my goloshes! + </p> + <p> + LOPAKHIN. In the spring I sowed three thousand acres of poppies, and now + I’ve made forty thousand roubles net profit. And when my poppies were in + flower, what a picture it was! So I, as I was saying, made forty + thousand roubles, and I mean I’d like to lend you some, because I can + afford it. Why turn up your nose at it? I’m just a simple peasant.... + </p> + <p> + TROFIMOV. Your father was a peasant, mine was a chemist, and that means + absolutely nothing. [LOPAKHIN takes out his pocket-book] No, no.... Even + if you gave me twenty thousand I should refuse. I’m a free man. And + everything that all you people, rich and poor, value so highly and so + dearly hasn’t the least influence over me; it’s like a flock of down in + the wind. I can do without you, I can pass you by. I’m strong and proud. + Mankind goes on to the highest truths and to the highest happiness such + as is only possible on earth, and I go in the front ranks! + </p> + <p> + LOPAKHIN. Will you get there? + </p> + <p> + TROFIMOV. I will. [Pause] I’ll get there and show others the way. [Axes + cutting the trees are heard in the distance.] + </p> + <p> + LOPAKHIN. Well, good-bye, old man. It’s time to go. Here we stand + pulling one another’s noses, but life goes its own way all the time. + When I work for a long time, and I don’t get tired, then I think more + easily, and I think I get to understand why I exist. And there are so + many people in Russia, brother, who live for nothing at all. Still, work + goes on without that. Leonid Andreyevitch, they say, has accepted a post + in a bank; he will get sixty thousand roubles a year.... But he won’t + stand it; he’s very lazy. + </p> + <p> + ANYA. [At the door] Mother asks if you will stop them cutting down the + orchard until she has gone away. + </p> + <p> + TROFIMOV. Yes, really, you ought to have enough tact not to do that. + [Exit.] + </p> + <p> + LOPAKHIN, All right, all right... yes, he’s right. [Exit.] + </p> + <p> + ANYA. Has Fiers been sent to the hospital? + </p> + <p> + YASHA. I gave the order this morning. I suppose they’ve sent him. + </p> + <p> + ANYA. [To EPIKHODOV, who crosses the room] Simeon Panteleyevitch, please + make inquiries if Fiers has been sent to the hospital. + </p> + <p> + YASHA. [Offended] I told Egor this morning. What’s the use of asking ten + times! + </p> + <p> + EPIKHODOV. The aged Fiers, in my conclusive opinion, isn’t worth + mending; his forefathers had better have him. I only envy him. [Puts a + trunk on a hat-box and squashes it] Well, of course. I thought so! + [Exit.] + </p> + <p> + YASHA. [Grinning] Two-and-twenty troubles. + </p> + <p> + VARYA. [Behind the door] Has Fiers been taken away to the hospital? + </p> + <p> + ANYA. Yes. + </p> + <p> + VARYA. Why didn’t they take the letter to the doctor? + </p> + <p> + ANYA. It’ll have to be sent after him. [Exit.] + </p> + <p> + VARYA. [In the next room] Where’s Yasha? Tell him his mother’s come and + wants to say good-bye to him. + </p> + <p> + YASHA. [Waving his hand] She’ll make me lose all patience! + </p> + <p> + [DUNYASHA has meanwhile been bustling round the luggage; now that YASHA + is left alone, she goes up to him.] + </p> + <p> + DUNYASHA. If you only looked at me once, Yasha. You’re going away, + leaving me behind. + </p> + <p> + [Weeps and hugs him round the neck.] + </p> + <p> + YASHA. What’s the use of crying? [Drinks champagne] In six days I’ll be + again in Paris. To-morrow we get into the express and off we go. I can + hardly believe it. Vive la France! It doesn’t suit me here, I can’t live + here... it’s no good. Well, I’ve seen the uncivilized world; I have had + enough of it. [Drinks champagne] What do you want to cry for? You behave + yourself properly, and then you won’t cry. + </p> + <p> + DUNYASHA. [Looks in a small mirror and powders her face] Send me a + letter from Paris. You know I loved you, Yasha, so much! I’m a sensitive + creature, Yasha. + </p> + <p> + YASHA. Somebody’s coming. + </p> + <p> + [He bustles around the luggage, singing softly. Enter LUBOV ANDREYEVNA, + GAEV, ANYA, and CHARLOTTA IVANOVNA.] + </p> + <p> + GAEV. We’d better be off. There’s no time left. [Looks at YASHA] + Somebody smells of herring! + </p> + <p> + LUBOV. We needn’t get into our carriages for ten minutes.... [Looks + round the room] Good-bye, dear house, old grandfather. The winter will + go, the spring will come, and then you’ll exist no more, you’ll be + pulled down. How much these walls have seen! [Passionately kisses her + daughter] My treasure, you’re radiant, your eyes flash like two jewels! + Are you happy? Very? + </p> + <p> + ANYA. Very! A new life is beginning, mother! + </p> + <p> + GAEV. [Gaily] Yes, really, everything’s all right now. Before the cherry + orchard was sold we all were excited and we suffered, and then, when the + question was solved once and for all, we all calmed down, and even + became cheerful. I’m a bank official now, and a financier... red in the + middle; and you, Luba, for some reason or other, look better, there’s no + doubt about it. + </p> + <p> + LUBOV Yes. My nerves are better, it’s true. [She puts on her coat and + hat] I sleep well. Take my luggage out, Yasha. It’s time. [To ANYA] My + little girl, we’ll soon see each other again.... I’m off to Paris. I’ll + live there on the money your grandmother from Yaroslav sent along to buy + the estate—bless her!—though it won’t last long. + </p> + <p> + ANYA. You’ll come back soon, soon, mother, won’t you? I’ll get ready, + and pass the exam at the Higher School, and then I’ll work and help you. + We’ll read all sorts of books to one another, won’t we? [Kisses her + mother’s hands] We’ll read in the autumn evenings; we’ll read many + books, and a beautiful new world will open up before us.... + [Thoughtfully] You’ll come, mother.... + </p> + <p> + LUBOV. I’ll come, my darling. [Embraces her.] + </p> + <p> + [Enter LOPAKHIN. CHARLOTTA is singing to herself.] + </p> + <p> + GAEV. Charlotta is happy; she sings! + </p> + <p> + CHARLOTTA. [Takes a bundle, looking like a wrapped-up baby] My little + baby, bye-bye. [The baby seems to answer, “Oua! Oua!”] Hush, my nice + little boy. [“Oua! Oua!”] I’m so sorry for you! [Throws the bundle back] + So please find me a new place. I can’t go on like this. + </p> + <p> + LOPAKHIN. We’ll find one, Charlotta Ivanovna, don’t you be afraid. + </p> + <p> + GAEV. Everybody’s leaving us. Varya’s going away... we’ve suddenly + become unnecessary. + </p> + <p> + CHARLOTTA. I’ve nowhere to live in town. I must go away. [Hums] Never + mind. + </p> + <p> + [Enter PISCHIN.] + </p> + <p> + LOPAKHIN. Nature’s marvel! + </p> + <p> + PISCHIN. [Puffing] Oh, let me get my breath back.... I’m fagged out... + My most honoured, give me some water.... + </p> + <p> + GAEV. Come for money, what? I’m your humble servant, and I’m going out + of the way of temptation. [Exit.] + </p> + <p> + PISCHIN. I haven’t been here for ever so long... dear madam. [To + LOPAKHIN] You here? Glad to see you... man of immense brain... take + this... take it.... [Gives LOPAKHIN money] Four hundred roubles.... That + leaves 840.... + </p> + <p> + LOPAKHIN. [Shrugs his shoulders in surprise] As if I were dreaming. + Where did you get this from? + </p> + <p> + PISCHIN. Stop... it’s hot.... A most unexpected thing happened. Some + Englishmen came along and found some white clay on my land.... [To LUBOV + ANDREYEVNA] And here’s four hundred for you... beautiful lady.... [Gives + her money] Give you the rest later.... [Drinks water] Just now a young + man in the train was saying that some great philosopher advises us all + to jump off roofs. “Jump!” he says, and that’s all. [Astonished] To + think of that, now! More water! + </p> + <p> + LOPAKHIN. Who were these Englishmen? + </p> + <p> + PISCHIN. I’ve leased off the land with the clay to them for twenty-four + years.... Now, excuse me, I’ve no time.... I must run off.... I must go + to Znoikov and to Kardamonov... I owe them all money.... [Drinks] + Good-bye. I’ll come in on Thursday. + </p> + <p> + LUBOV. We’re just off to town, and to-morrow I go abroad. + </p> + <p> + PISCHIN. [Agitated] What? Why to town? I see furniture... trunks.... + Well, never mind. [Crying] Never mind. These Englishmen are men of + immense intellect.... Never mind.... Be happy.... God will help you.... + Never mind.... Everything in this world comes to an end.... [Kisses + LUBOV ANDREYEVNA’S hand] And if you should happen to hear that my end + has come, just remember this old... horse and say: “There was one such + and such a Simeonov-Pischin, God bless his soul....” Wonderful + weather... yes.... [Exit deeply moved, but returns at once and says in + the door] Dashenka sent her love! [Exit.] + </p> + <p> + LUBOV. Now we can go. I’ve two anxieties, though. The first is poor + Fiers [Looks at her watch] We’ve still five minutes.... + </p> + <p> + ANYA. Mother, Fiers has already been sent to the hospital. Yasha sent + him off this morning. + </p> + <p> + LUBOV. The second is Varya. She’s used to getting up early and to work, + and now she’s no work to do she’s like a fish out of water. She’s grown + thin and pale, and she cries, poor thing.... [Pause] You know very well, + Ermolai Alexeyevitch, that I used to hope to marry her to you, and I + suppose you are going to marry somebody? [Whispers to ANYA, who nods to + CHARLOTTA, and they both go out] She loves you, she’s your sort, and I + don’t understand, I really don’t, why you seem to be keeping away from + each other. I don’t understand! + </p> + <p> + LOPAKHIN. To tell the truth, I don’t understand it myself. It’s all so + strange.... If there’s still time, I’ll be ready at once... Let’s get it + over, once and for all; I don’t feel as if I could ever propose to her + without you. + </p> + <p> + LUBOV. Excellent. It’ll only take a minute. I’ll call her. + </p> + <p> + LOPAKHIN. The champagne’s very appropriate. [Looking at the tumblers] + They’re empty, somebody’s already drunk them. [YASHA coughs] I call that + licking it up.... + </p> + <p> + LUBOV. [Animated] Excellent. We’ll go out. Yasha, allez. I’ll call her + in.... [At the door] Varya, leave that and come here. Come! [Exit with + YASHA.] + </p> + <p> + LOPAKHIN. [Looks at his watch] Yes.... [Pause.] + </p> + <p> + [There is a restrained laugh behind the door, a whisper, then VARYA + comes in.] + </p> + <p> + VARYA. [Looking at the luggage in silence] I can’t seem to find it.... + </p> + <p> + LOPAKHIN. What are you looking for? + </p> + <p> + VARYA. I packed it myself and I don’t remember. [Pause.] + </p> + <p> + LOPAKHIN. Where are you going to now, Barbara Mihailovna? + </p> + <p> + VARYA. I? To the Ragulins.... I’ve got an agreement to go and look after + their house... as housekeeper or something. + </p> + <p> + LOPAKHIN. Is that at Yashnevo? It’s about fifty miles. [Pause] So life + in this house is finished now.... + </p> + <p> + VARYA. [Looking at the luggage] Where is it?... perhaps I’ve put it away + in the trunk.... Yes, there’ll be no more life in this house.... + </p> + <p> + LOPAKHIN. And I’m off to Kharkov at once... by this train. I’ve a lot of + business on hand. I’m leaving Epikhodov here... I’ve taken him on. + </p> + <p> + VARYA. Well, well! + </p> + <p> + LOPAKHIN. Last year at this time the snow was already falling, if you + remember, and now it’s nice and sunny. Only it’s rather cold.... There’s + three degrees of frost. + </p> + <p> + VARYA. I didn’t look. [Pause] And our thermometer’s broken.... [Pause.] + </p> + <p> + VOICE AT THE DOOR. Ermolai Alexeyevitch! + </p> + <p> + LOPAKHIN. [As if he has long been waiting to be called] This minute. + [Exit quickly.] + </p> + <p> + [VARYA, sitting on the floor, puts her face on a bundle of clothes and + weeps gently. The door opens. LUBOV ANDREYEVNA enters carefully.] + </p> + <p> + LUBOV. Well? [Pause] We must go. + </p> + <p> + VARYA. [Not crying now, wipes her eyes] Yes, it’s quite time, little + mother. I’ll get to the Ragulins to-day, if I don’t miss the train.... + </p> + <p> + LUBOV. [At the door] Anya, put on your things. [Enter ANYA, then GAEV, + CHARLOTTA IVANOVNA. GAEV wears a warm overcoat with a cape. A servant + and drivers come in. EPIKHODOV bustles around the luggage] Now we can go + away. + </p> + <p> + ANYA. [Joyfully] Away! + </p> + <p> + GAEV. My friends, my dear friends! Can I be silent, in leaving this + house for evermore?—can I restrain myself, in saying farewell, + from expressing those feelings which now fill my whole being...? + </p> + <p> + ANYA. [Imploringly] Uncle! + </p> + <p> + VARYA. Uncle, you shouldn’t! + </p> + <p> + GAEV. [Stupidly] Double the red into the middle.... I’ll be quiet. + </p> + <p> + [Enter TROFIMOV, then LOPAKHIN.] + </p> + <p> + TROFIMOV. Well, it’s time to be off. + </p> + <p> + LOPAKHIN. Epikhodov, my coat! + </p> + <p> + LUBOV. I’ll sit here one more minute. It’s as if I’d never really + noticed what the walls and ceilings of this house were like, and now I + look at them greedily, with such tender love.... + </p> + <p> + GAEV. I remember, when I was six years old, on Trinity Sunday, I sat at + this window and looked and saw my father going to church.... + </p> + <p> + LUBOV. Have all the things been taken away? + </p> + <p> + LOPAKHIN. Yes, all, I think. [To EPIKHODOV, putting on his coat] You see + that everything’s quite straight, Epikhodov. + </p> + <p> + EPIKHODOV. [Hoarsely] You may depend upon me, Ermolai Alexeyevitch! + </p> + <p> + LOPAKHIN. What’s the matter with your voice? + </p> + <p> + EPIKHODOV. I swallowed something just now; I was having a drink of + water. + </p> + <p> + YASHA. [Suspiciously] What manners.... + </p> + <p> + LUBOV. We go away, and not a soul remains behind. + </p> + <p> + LOPAKHIN. Till the spring. + </p> + <p> + VARYA. [Drags an umbrella out of a bundle, and seems to be waving it + about. LOPAKHIN appears to be frightened] What are you doing?... I never + thought... + </p> + <p> + TROFIMOV. Come along, let’s take our seats... it’s time! The train will + be in directly. + </p> + <p> + VARYA. Peter, here they are, your goloshes, by that trunk. [In tears] + And how old and dirty they are.... + </p> + <p> + TROFIMOV. [Putting them on] Come on! + </p> + <p> + GAEV. [Deeply moved, nearly crying] The train... the station.... Cross + in the middle, a white double in the corner.... + </p> + <p> + LUBOV. Let’s go! + </p> + <p> + LOPAKHIN. Are you all here? There’s nobody else? [Locks the side-door on + the left] There’s a lot of things in there. I must lock them up. Come! + </p> + <p> + ANYA. Good-bye, home! Good-bye, old life! + </p> + <p> + TROFIMOV. Welcome, new life! [Exit with ANYA.] + </p> + <p> + [VARYA looks round the room and goes out slowly. YASHA and CHARLOTTA, + with her little dog, go out.] + </p> + <p> + LOPAKHIN. Till the spring, then! Come on... till we meet again! [Exit.] + </p> + <p> + [LUBOV ANDREYEVNA and GAEV are left alone. They might almost have been + waiting for that. They fall into each other’s arms and sob restrainedly + and quietly, fearing that somebody might hear them.] + </p> + <p> + GAEV. [In despair] My sister, my sister.... + </p> + <p> + LUBOV. My dear, my gentle, beautiful orchard! My life, my youth, my + happiness, good-bye! Good-bye! + </p> + <p> + ANYA’S VOICE. [Gaily] Mother! + </p> + <p> + TROFIMOV’S VOICE. [Gaily, excited] Coo-ee! + </p> + <p> + LUBOV. To look at the walls and the windows for the last time.... My + dead mother used to like to walk about this room.... + </p> + <p> + GAEV. My sister, my sister! + </p> + <p> + ANYA’S VOICE. Mother! + </p> + <p> + TROFIMOV’S VOICE. Coo-ee! + </p> + <p> + LUBOV. We’re coming! [They go out.] + </p> + <p> + [The stage is empty. The sound of keys being turned in the locks is + heard, and then the noise of the carriages going away. It is quiet. Then + the sound of an axe against the trees is heard in the silence sadly and + by itself. Steps are heard. FIERS comes in from the door on the right. + He is dressed as usual, in a short jacket and white waistcoat; slippers + on his feet. He is ill. He goes to the door and tries the handle.] + </p> + <p> + FIERS. It’s locked. They’ve gone away. [Sits on a sofa] They’ve + forgotten about me.... Never mind, I’ll sit here.... And Leonid + Andreyevitch will have gone in a light overcoat instead of putting on + his fur coat.... [Sighs anxiously] I didn’t see.... Oh, these young + people! [Mumbles something that cannot be understood] Life’s gone on as + if I’d never lived. [Lying down] I’ll lie down.... You’ve no strength + left in you, nothing left at all.... Oh, you... bungler! + </p> + <p> + [He lies without moving. The distant sound is heard, as if from the sky, + of a breaking string, dying away sadly. Silence follows it, and only the + sound is heard, some way away in the orchard, of the axe falling on the + trees.] + </p> + <p> + Curtain. + </p> + <br /> + </div> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> +<pre xml:space="preserve"> + + + + + +End of Project Gutenberg’s Plays by Chekhov, Second Series, by Anton Chekhov + +*** END OF THIS PROJECT GUTENBERG EBOOK PLAYS BY CHEKHOV, SECOND SERIES *** + +***** This file should be named 7986-h.htm or 7986-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/7/9/8/7986/ + +Produced by James Rusk, Nicole Apostola, and David Widger + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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