Title: A Month in the Country
Author: Ivan S. Turgenev
Translated from the Russian by Constance Garnett
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A Comedy in Five Acts (1850)
Translated from the Russian by Constance Garnett
[1862-1946]
ARKADY SERGEYITCH ISLAYEV, a wealthy landowner, aged 36.
NATALYA PETROVNA, his wife, aged 29.
KOLYA, their son, aged 10.
VERA, their ward, aged 17.
ANNA SEMYONOVNA ISLAYEV, mother of Islayev, aged 58.
LIZAVETA BOGDANOVNA, a companion, aged 37.
SCHAAF, a German tutor, aged 45.
MIHAIL ALEXANDROVITCH RAKITIN, a friend of the family, aged 30.
ALEXEY NIKOLAYEVITCH BELIAYEV, a student, Kolya's tutor, aged zi.
AFANASY IVANOVITCH BOLSHINTSOV, a neighbour, aged 48.
IGNATY ILYITCH SHPIGELSKY, a doctor, aged 40.
MATVEY, a manservant, aged 40.
KATYA, a maidservant, aged 20.
The action takes place on Islayev's estate.
There is an interval of one day between ACTS I and II, ACTS II and III, and ACTS IV and V.
A drawing-room. On Right a card-table and a door into the study; in Centre a door into an outer room; on Left two windows and a round table. Sofas in the corners. At the card-table ANNA SEMYONOVNA, LIZAVETA BOGDANOVNA and SCHAAF are playing preference; NATALYA PETROVNA and RAKITIN are sitting at the round table; she is embroidering on canvas; he has a book in his hand. A clock on the wall points to three o'clock.
SCHAAF. Hearts.
ANNA SEMYONOVNA. Again? Why, if you go on like that, my good man, you will beat us every time.
SCHAAF [phlegmatically]. Eight hearts.
ANNA SEMYONOVNA [to LIZAVETA BOGDANOVNA]. What a man! There's no playing with him. [LIZAVETA BOGDANOVNA smiles.]
NATALYA PETROVNA [to RAKITIN]. Why have you left off? Go on.
RAKITIN [raising his head slowly], 'Monte Cristo se redressa haletant. . . .' Does it interest you, Natalya Petrovna?
NATALYA PETROVNA. Not at all.
RAKITIN. Why are we reading it then?
NATALYA PETROVNA. Well, it's like this. The other day a woman said to me: 'You haven't read Monte Cristo? Oh, you must read it--it's charming.' I made her no answer at the time, but now I can say that I've been reading it and found nothing at all charming in it.
RAKITIN. Oh, well, since you have already made up your mind about it. ...
NATALYA PETROVNA. You lazy creature!
RAKITIN. Oh, I don't mind. . .. [Looking for the place at which he stopped.] 'Se redressa haletant et. . . .'
NATALYA PETROVNA [interrupting him]. Have you seen Arkady to-day?
RAKITIN. I met him on the dam.... It is being repaired. He was explaining something to the workmen and to make things clearer waded up to his knees in the sand.
NATALYA PETROVNA. He gets too hot over things, he tries to do too much. It's a failing. Don't you think so?
RAKITIN. Yes, I agree with you.
NATALYA PETROVNA. How dull that is!... You always agree with me. Go on reading.
RAKITIN. Oh, so you want me to quarrel with you. . . . By all means.
NATALYA PETROVNA. I want ... I want ... I want you to want. ... Go on reading, I tell you.
RAKITIN. I obey, madam. [Takes up the book again.]
SCHAAF. Hearts.
ANNA SEMYONOVNA. What? Again? It's insufferable! [To NATALYA PETROVNA.] Natasha . . . Natasha! . . .
NATALYA PETROVNA. What is it?
ANNA SEMYONOVNA. Only fancy! Schaaf wins every point. He keeps on--if it's not seven, it's eight.
SCHAAF. And now it's seven.
ANNA SEMYONOVNA. Do you hear? Its awful.
NATALYA PETROVNA. Yes ... it is.
ANNA SEMYONOVNA. Back me up then! [To NATALTA PETROVNA.] Where's Kolya?
NATALYA PETROVNA. He's gone out for a walk with the new tutor.
ANNA SEMYONOVNA. Oh! Lizaveta Bogdanovna, I call on you.
RAKITIN [to NATALYA PETROVNA.] What tutor?
NATALYA PETROVNA. Ah! I forgot to tell you, while you've been away, we've engaged a new teacher.
RAKITIN. Instead of Dufour?
NATALYA PETROVNA. No ... a Russian teacher. The princess is going to send us a Frenchman from Moscow.
RAKITIN. What sort of man is he, the Russian? An old man?
NATALYA PETROVNA. No, he's young.... But we only have him for the summer.
RAKITIN. Oh, a holiday engagement.
NATALYA PETROVNA. Yes, that's what they call it, I believe. And I tell you what, Rakitin, you're fond of studying people, analysing them, burrowing into them. . . .
RAKITIN. Oh, come, what makes you . . .
NATALYA PETROVNA, Yes, yes.... You study him. I like him. Thin, well made, merry eyes, something spirited in his face. . . . You'll see. It's true he is rather awkward . . . and you think that dreadful.
RAKITIN. You are terribly hard on me to-day, Natalya Petrovna.
NATALYA PETROVNA. Joking apart, do study him. I fancy he may make a very fine man. But there, you never can tell!
RAKITIN. That sounds interesting.
NATALYA PETROVNA. Really? [Dreamily.] Go on reading.
RAKITIN. 'Se redressa haletant et...'
NATALYA PETROVNA [suddenly looking round]. Where's Vera? I haven't seen her all day. [With a smile, to RAKITIN.] Put away that book. ... I see we shan't get any reading done to-day. . . . Better tell me something.
RAKITIN. By all means. . . . What am I to tell you? You know I stayed a few days at the Krinitsyns'. . . . Imagine, the happy pair are bored already.
NATALYA PETROVNA. How could you tell?
RAKITIN. Well, boredom can't be concealed.... Anything else may be, but not boredom. . . .
NATALYA PETROVNA [looking at him]. Anything else can then?
RAKITIN [after a brief pause]. I think so.
NATALYA PETROVNA [dropping her eyes]. Well, what did you do at the Krinitsyns'?
RAKITIN. Nothing. Being bored with friends is an awful thing; you are at ease, you are not constrained, you like them, there's nothing to irritate you, and yet you are bored, and there's a silly ache, like hunger, in your heart.
NATALYA PETROVNA. You must often have been bored with friends.
RAKITIN. As though you don't know what it is to be with a person whom one loves and who bores one!
NATALYA PETROVNA [slowly]. Whom one loves, that's saying a great deal. . . . You are too subtle to-day. . . .
RAKITIN. Subtle. . . . Why subtle?
NATALYA PETROVNA. Yes, that's a weakness of yours. Do you know, Rakitin, you are very clever, of course, but . . . [Pausing] sometimes we talk as though we were making lace. . . . Have you seen people making lace? In stuffy rooms, never moving from their seats. . . . Lace is a fine thing, but a drink of fresh water on a hot day is much better.
RAKITIN. Natalya Petrovna, you are . . .
NATALYA PETROVNA. What?
RAKITIN. You are cross with me about something.
NATALYA PETROVNA. Oh, you clever people, how blind you are, though you are so subtle! No, I'm not cross with you.
ANNA SEMYONOVNA. Ah! at last, he has lost the trick! [To NATALYA PETROVNA.] Natasha, our enemy has lost the trick!
SCHAAF [sourly]. It's Lizaveta Bogdanovna's fault.
LIZAVETA BOGDANOVNA [angrily]. I beg your pardon--how could I tell Anna Semyonovna had no hearts?
SCHAAF. In future I call not on Lizaveta Bogdanovna.
ANNA SEMYONOVNA [to SCHAAF]. Why, how is she, Lizaveta Bogdanovna, to blame?
SCHAAF [repeats in exactly the same tone of voice]. In future I call not on Lizaveta Bogdanovna.
LIZAVETA BOGDANOVNA. As though I care! What next! . . .
RAKITIN. You look somehow different, I see that more and more.
NATALYA PETROVNA [with a shade of curiosity]. Do you mean it?
RAKITIN. Yes, really. I find a change in you.
NATALYA PETROVNA. Yes?... If that's so, please. . . . You know me so well--guess what the change is, what has happened to me . . . will you?
RAKITIN. Well. . . . Give me time. . . . [Suddenly KOL YA runs in noisily from the outer room and straight up to ANNA SEMYONOVNA.]
KOLYA. Granny, Granny! Do look what I've got! [Shows her a bow and arrows.] Look!
ANNA SEMYONOVNA. Show me, darling. ... Oh what a splendid bow! Who made it for you?
KOLYA. He did ... he. ... [Points to BELIAYEV, who has remained at the door.]
ANNA SEMYONOVNA. Oh! but how well it's made. . . .
KOLYA. I shot at a tree with it, Granny, and hit it twice. . . . [Skips about.]
NATALYA PETROVNA. Show me, Kolya.
KOLYA [runs to her and while NATALYA PETROVNA is examining the bow]. Oh, maman, you should see how Alexey Nikolaitch climbs trees! He wants to teach me and he's going to teach me to swim too. He's going to teach me all sorts of things. [Skips about.]
NATALYA PETROVNA. It is very good of you to do so much for Kolya.
KOLYA [interrupting her, warmly]. I do like him, maman, I love him.
NATALYA PETROVNA [stroking KOLYA'S head]. He has been too softly brought up. ... Make him a sturdy, active boy.
[BELIAYEV bows.]
KOLYA. Alexey Nikolaitch, let's go to the stable and take Favourite some bread.
BELIAYEV. Very well.
ANNA SEMYONOVNA [to KOLYA]. Come here and give me a kiss first. . . .
KOLYA [running off]. Afterwards, Granny, afterwards! [Runs into the outer room; BELIAYEV goes out after him.]
ANNA SEMYONOVNA [looking after KOLYA]. What a darling boy! [To SCHAAF and LIZAVETA BOGDANOVNA.] Isn't he?
LIZAVETA BOGDANOVNA. To be sure he is.
SCHAAF [after a brief pause]. Pass.
NATALYA PETROVNA [with some eagerness to RAKITIN]. Well, how does he strike you?
RAKITIN. Who?
NATALYA PETROVNA [pausing]. That. . . Russian tutor.
RAKITIN. Oh, I beg your pardon--I'd forgotten him. ... I was so absorbed by the question you asked me. . . . [NATALYA PETROVNA looks at him with a faintly perceptible smile of irony.] But his face . . . certainly. . . . Yes, he has a good face. I like him. Only he seems very shy.
NATALYA PETROVNA. Yes.
RAKITIN [looking at her]. But anyway I can't quite make out . . .
NATALYA PETROVNA. How if we were to look after him a bit, Rakitin? Will you? Let us finish his education. Here is a splendid opportunity for discreet sensible people like you and me! We are very sensible, aren't we?
RAKITIN. This young man interests you. If he knew it... he'd be flattered.
NATALYA PETROVNA. Oh, not a bit, believe me! You can't judge him by what. . . anyone like us would feel in his place. You see he's not at all like us, Rakitin. That's where we go wrong, my dear, we study ourselves very carefully and then imagine we understand human nature.
RAKITIN. The heart of another is a dark forest. But what are you hinting at? . . . Why do you keep on sticking pins into me?
NATALYA PETROVNA. Whom is one to stick pins into if not one's friends? . . . And you are my friend. . . . You know that. [Presses his hand. RAKITIN smiles and beams.] You are my old friend.
RAKITIN. I'm only afraid . . . you may get sick of the old friend.
NATALYA PETROVNA [laughing]. It's only very nice things one takes enough of for that.
RAKITIN. Perhaps. But that doesn't make it any better for them.
NATALYA PETROVNA. Nonsense. . . . [Dropping her voice.] As though you don't know ce que vous etes pour moi.
RAKITIN. Natalya Petrovna, you play with me like a cat with a mouse. . . . But the mouse does not complain.
NATALYA PETROVNA. Oh! poor little mouse!
ANNA SEMYONOVNA. That's twenty from you, Adam Ivanitch. . . . Aha!
SCHAAF. In future I call not on Lizaveta Bogdanovna.
MATVEY [enters and announces]. Ignaty Ilyitch.
SHPIGELSKY [following him in]. Doctors don't need showing in. [Exit MATVEY.] My humblest respects to all the family. [Kisses ANNA SEMYONOVNA'S hand.] How do you do, gracious lady. Winning, I expect?
ANNA SEMYONOVNA. Winning indeed! I've hardly got my own back and I'm thankful for that. It's all this villain. [Indicates SCHAAF.]
SHPIGELSKY [to SCHAAF]. Adam Ivanitch, when you're playing with ladies, it's too bad. ... I should never have thought it of you.
SCHAAF [muttering through his teeth]. Blaying wif ladies. . . .
SHPIGELSKY [going up to the round table on the left]. Good afternoon, Natalya Petrovna! Good afternoon, Mihail Alexandritch!
NATALYA PETROVNA. Good afternoon, Doctor. How are you?
SHPIGELSKY. I like that inquiry. ... It shows that you are quite well. What can ail me? A respectable doctor is never ill; at the most he just goes and dies. . . Ha! ha!
NATALYA PETROVNA. Sit down. I'm quite well, certainly. . . . But I'm in a bad humour . . . and that's a sort of illness too, you know.
SHPIGELSKY [sitting down beside NATALYA PETROVNA]. Let me feel your pulse. [Feels her pulse.] Oh, nerves, nerves. . . . You don't walk enough, Natalya Petrovna, you don't laugh enough .. . that's what it is.... Why don't you see to it, Mihail Alexandritch? But of course I can prescribe some drops.
NATALYA PETROVNA. I'm ready enough to laugh. . . . [Eagerly.] Now, Doctor, . . . you have a spiteful tongue, I like it so much in you, I respect you for it, really ... do tell me something amusing. Mihail Alexandritch is so solemn to-day.
SHPIGELSKY [with a sly glance at RAKITIN]. Ah, it seems, it's not only the nerves that are upset, there's just a touch of spleen too. . . .
NATALYA PETROVNA. There you are, at it, too! Be as critical as you like, Doctor, but not aloud. We all know how sharp-sighted you are. You are both so sharp-sighted.
SHPIGELSKY. I obey, madam.
NATALYA PETROVNA. Tell us something funny.
SHPIGELSKY. I obey, madam. Tell us a story straight away, it's a bit sudden. . . . Allow me a pinch of snuff. [Takes snuff.]
NATALYA PETROVNA. What preparations!
SHPIGELSKY. Well, you see, my dear lady, you must graciously consider there are all sorts of funny stories. One for one person, and one for another. . . . Your neighbour, Mr. Hlopushkin, for instance, roars and laughs till he cries, if I simply hold up my finger . . . while you. . . . But, there, here goes, you know Verenitsyn?
NATALYA PETROVNA. I fancy I've met him. I've heard of him anyway.
SHPIGELSKY. He has a sister who's mad. To my thinking, they are either both mad, or both sane; for really there's nothing to choose between them, but that's neither here nor there. It's the finger of destiny, dear lady, everywhere, and in everything. Verenitsyn has a daughter, a greenish little thing, you know, with little pale eyes, and a little red nose, and little yellow teeth, a charming girl in fact; plays the piano, and talks with a lisp, so everything's as it should be. She has two hundred serfs of her own besides her aunt's hundred and fifty. The aunt's still alive to be sure, and will go on living for years; mad people always live to be old, but one need never despair. She has made a will in her niece's favour anyway, and, the day before she did it, with my own hand I poured cold water on her head--it was a complete waste of time for there's no chance of curing her. Well, so Verenitsyn's daughter is a bit of a catch, you see. He has begun bringing her out, suitors are turning up, and among others Perekuzov, an anaemic young man, timid but of excellent principles. Well, the father liked our Perekuzov; and the daughter liked him, too. . . . There seemed to be no hitch, simply bless them and haste to the wedding! And, as a matter of fact, all was going swimmingly; Mr. Verenitsyn was already beginning to poke the young man in the ribs and slap him on the back, when all of a sudden, a bolt from the blue, an officer, Ardalion Protobekasov! He saw Verenitsyn's daughter at the Marshal's ball, danced three polkas with her, said to her, I suppose, rolling his eyes like this, 'Oh, how unhappy I am!' and our young lady was bowled over at once. Tears, sighs, moans. . . . Not a look, not a word for Perekuzov, hysterics at the mere mention of the wedding.... Oh, Lord, there was the deuce of a fuss. Oh well, thinks Verenitsyn, if Protobekasov it is to be, Protobekasov let it be! Luckily he was a man of property too. Protobekasov is invited to give them the honour of his company. He does them the honour, arrives, flirts, falls in love, and finally offers his hand and heart. Verenitsyn's daughter accepts him joyfully on the spot, you'd suppose. Not a bit of it! Mercy on us, no! Tears again, sighs, hysterics! Her father is at his wits' end. What's the meaning of it? What does she want? And what do you suppose she answers? 'I don't know,' she says, 'which of them I love.' 'What!?' 'I really don't know which I love, and so I'd better not marry either, but I am in love!' Verenitsyn, of course, had an attack of cholera at once; the suitors can't make head or tail of it either. But she sticks to it. So you see what queer things happen in these parts.
NATALYA PETROVNA. I don't see anything wonderful in that. . . . Surely it's possible to love two people at once?
RAKITIN. Ah! you think so....
NATALYA PETROVNA [slowly], I think so. ... I don't know, though . . . perhaps it only shows one doesn't love either.
SHPIGELSKY [taking snuff and looking now at NATALYA PETROVNA, now at RAKITIN]. So that's how it is.
NATALYA PETROVNA [eagerly to SHPIGELSKY] Your story is very good, but you haven't made me laugh.
SHPIGELSKY. Oh, my dear lady, who'll make you laugh just now? That's not what you want at the moment.
NATALYA PETROVNA. What is it I want then?
SHPIGELSKY [with an affectedly meek air]. The Lord only knows!
NATALYA PETROVNA. Oh, how tiresome you are, as bad as Rakitin.
SHPIGELSKY. You do me too much honour upon my word.. ..
[NATALYA PETROVNA makes an impatient gesture]
ANNA SEMYONOVNA [getting up]. Well, well, at last. . . . [Sighs.] My legs are quite stiff from sitting so long. [LIZAVETA BOGDANOVNA and SCHAAF stand up also] O-ooh!
NATALYA PETROVNA [stands up and goes to them]. Why do you sit still so long? [RAKITIN and SHPIGELSKY stand up.]
ANNA SEMYONOVNA. You owe me seventy kopecks, my good sir. [SCHAAF bows frigidly] You can't punish us all the time. [To NATALYA PETROVNA.] You look pale, Natasha? Are you quite well? Shpigelsky, is she quite well?
SHPIGELSKY [who has been whispering something to RAKITIN]. Oh, perfectly!
ANNA SEMYONOVNA. That's right. . . . I'll go and have a little rest before dinner. . . . I'm dreadfully tired! Liza, come along. . . . Oh, my legs, my legs. . . .
[Goes into the outer room with LIZAVETA BOGDANOVNA. NATALYA PETROVNA walks with her to the door. SHPIGELSKY, RAKITIN and SCHAAF are left in the front of the stage]
SHPIGELSKY [offering SCHAAF his snuff-box]. Well, Adam Ivanitch, wie befinden Sie sich?
SCHAAF [taking a pinch with dignity]. Quite vell. And you?
SHPIGELSKY: Thank you kindly, pretty middling. [Aside to RAKITIN.] So you don't know what's the matter with Natalya Petrovna to-day?
RAKITIN. I don't, really.
SHPIGELSKY. Well, if you don't. .. [Turns round and goes to meet NATALYA PETROVNA who is coming back from the door.] I have a little matter to talk to you about, Natalya Petrovna.
NATALYA PETROVNA [going to the window]. Really! What is it?
SHPIGELSKY. I must speak to you alone. . . . NATALYA PETROVNA. Oh dear!... You alarm me.... [RAKITIN meanwhile has taken SCHAAF'S arm and walks to and fro with him, murmuring something to him in German. SCHAAF laughs and says in an undertone, 'Ja, ja, ja! ja wohl, ja wohl, sehr gut!']
SHPIGELSKY [dropping his voice]. This business, strictly speaking, does not concern you only. . . .
NATALYA PETROVNA [looking out into the garden]. What do you mean?
SHPIGELSKY. Well, it's like this. A good friend of mine has asked me to find out . . . that is ... your intentions in regard to your ward . . . Vera Alexandrovna. NATALYA PETROVNA. My intentions? SHPIGELSKY. That is ... to speak plainly . . my friend. . . .
NATALYA PETROVNA. You don't mean to say he wants to marry her?
SHPIGELSKY. Just so. NATALYA PETROVNA. Are you joking? SHPIGELSKY. Certainly not.
NATALYA PETROVNA [laughing]. Good gracious! She's a child; what a strange commission!
SHPIGELSKY. Strange, Natalya Petrovna? How so? My friend . . .
NATALYA PETROVNA. You're a great schemer, Shpigel-sky. And who is your friend?
SHPIGELSKY [smiling]. One minute. You haven't said anything definite yet in reply. . . .
NATALYA PETROVNA. Nonsense, Doctor. Vera is a child. You know that yourself, Monsieur le diplomate. [Turning round.] Why, here she is. [VERA and KOLYA run in from the outer room.]
KOLYA [runs up to RAKITIN]. Rakitin, some glue, tell them to give us some glue. . . .
NATALYA PETROVNA [to VERA]. Where have you been? [Strokes her cheek.] How flushed you are!
VERA. In the garden. . . . [SHPIGELSKY bows to her]. Good afternoon, Ignaty Ilyitch.
RAKITIN [to KOLYA]. What do you want with glue?
KOLYA. We must have it. ... Alexey Nikolaitch is making us a kite. . . . Ask for it. ... .
RAKITIN [is about to ring]. Very well. In a minute.
SCHAAF. Erlauben Sie. . . . Master Kolya has not learned his lesson to-day. . . . [Takes KOLYA'S hand.] Kommen Sie.
KOLYA [gloomily]. Morgen, Herr Schaaf, morgen. . . .
SCHAAF [sharply]. Morgen, morgen, nur nicht heute, sagen alle faule Leute.... Kommen Sie. [KOLYA resists.]
NATALYA PETROVNA [to VERA]. Whom have you been out with all this time? I've seen nothing of you all day.
VERA. With Alexey Nikolaitch . . . with Kolya. . . .
NATALYA PETROVNA. Ah! [Turning round.] Kolya, what's the meaning of this?
KOLYA [dropping his voice]. Mr. Schaaf. . . Maman. . .
RAKITIN [to NATALYA PETROVNA]. They are making a kite, and you see, it's time for a lesson.
SCHAAF [with a sense of dignity]. Gnädige Frau. . . .
NATALYA PETROVNA [severely, to KOLYA]. You have been playing about enough to-day, do you hear. Go along with Mr. Schaaf.
SCHAAF [leading KOLYA towards the outer room]. Es ist unerhört!
KOLYA [to RAKITIN in a whisper as he goes out]. Ask for the glue, all the same. . .. [RAKITIN nods.]
SCHAAF [pulling KOLYA]. Kommen sie, mein Herr. . . [Goes out with him. RAKITIN follows them out.]
NATALYA PETROVNA [to VERA]. Sit down . . . you must be tired. . . . [Sits down herself.]
VERA [sitting down]. Not at all, Natalya Petrovna. r
NATALYA PETROVNA [to SHPIGELSKY, with a smile]. Shpigelsky, look at her, she is tired, isn't she?
SHPIGELSKY. But that's good for Vera Alexandrovna, you know.
NATALYA PETROVNA. I don't say it's not. . . . [To VERA.] Well, what have you been doing in the garden?
VERA. Playing, running about. First we looked at the men digging the dam, then Alexey Nikolaitch climbed up a tree after a squirrel, ever so high, and began shaking the tree-top. ... It really frightened us. ... The squirrel dropped at last, and Tresor nearly caught it. ... But it got away.
NATALYA PETROVNA [glancing with a smile at SHPIGELSKY]. And then?
VERA. Then Alexey Nikolaitch made Kolya a bow . . and so quickly . . . and then he stole up to our cow in the meadow and all at once leapt on her back . .. and the cow was scared and set off running and kicking . . . and he laughed [Laughs herself] and then Alexey Nikolaitch wanted to make us a kite and so we came in.
NATALYA PETROVNA [pats her cheek]. Child, child, you are a perfect child.... What do you think, Shpigelsky?
SHPIGELSKY [slowly, looking at NATALYA PETROVNA]. I agree with you.
NATALYA PETROVNA. I should think so.
SHPIGELSKY. But that's no hindrance. . . . On the contrary . . .
NATALYA PETROVNA. You think so? [To VERA.] And you've been enjoying yourself?
VERA. Yes. . . . Alexey Nikolaitch is so amusing.
NATALYA PETROVNA. Oh, he is, is he? [.After a brief pause.] And, Vera, how old are you? [VERA looks at her with some surprise.] You're a child ... a child.
[RAKITIN comes in from the outer room.]
SHPIGELSKY [fussily]. Ah, I was forgetting . . . your coachman is ill ... and I haven't had a look at him yet. . . .
NATALYA PETROVNA. What's the matter with him?
SHPIGELSKY. He's feverish, but it's nothing serious.
NATALYA PETROVNA [calling after him]. You are dining with us, Doctor?
SHPIGELSKY. With your kind permission. [Goes out by centre door.]
NATALYA PETROVNA. Mon enfant, vous feriez bien de mettre une autre robe pour le diner. . . . [VERA gets up.] Come to me. . . . [Kisses her on the forehead.] Child. . . . Child. [VERA kisses her hand and goes towards door on right.]
RAKITIN [aside to VERA with a wink]. I've sent Alexey Nikolaitch all you need.
VERA [aside]. Thank you, Mihail Alexandritch. [Goes out.]
RAKITIN [goes up to NATALYA PETROVNA, she holds out her hand to him. He at once presses it]. At last, we are alone. Natalya Petrovna, tell me, what's the matter?
NATALYA PETROVNA. Nothing, Michel, nothing. And if there were, it's all over now. Sit down. [RAKITIN sits down beside her.] That happens to everybody. Clouds pass over the sky. Why do you look at me like that?
RAKITIN. I'm looking at you. ... I am happy. NATALYA PETROVNA [smiles in answer to him]. Open the window, Michel. How lovely it is in the garden! [RAKITIN gets up and opens the window.] How I welcome the wind! [Laughs.] It seems to have been waiting for a chance to burst in. ... [Looks round.] How completely it's taken possession of the room. . . . There's no turning it out now. . . .
RAKITIN. You are as soft and sweet yourself now as an evening after a storm.
NATALYA PETROVNA [dreamily repeating the last words]. After a storm?... But has there been a storm?
RAKITIN [shaking his head]. It was gathering.
NATALYA PETROVNA. Really? [Gazing at him, after a short silence.] Do you know, Michel, I can't imagine a kinder man than you? [RAKITIN tries to stop her.] No, don't prevent my speaking out. You are sympathetic, affectionate, constant. You never change. I owe you so much.
RAKITIN. Natalya Petrovna, why are you telling me this just now?
NATALYA PETROVNA. I don't know; I feel light-hearted, I'm at rest; don't stop me from chattering, . . .
RAKITIN [pressing her hand]. You are kind as an angel. . . .
NATALYA PETROVNA [laughing]. You wouldn't have said so this morning. But listen, Michel, you know me, you must make allowances for me. Our relations are so pure, so genuine,. . . and at the same time, not quite natural. .. . You and I have the right to look everybody in the face, not only Arkady. . . . Yes, but . . . [Sinking into thought.] That's what makes me sometimes depressed and ill at ease. I feel spiteful like a child, I'm ready to vent my spite on others, especially on you. . . . You don't resent that privilege?
RAKITIN [earnestly]. Quite the contrary.
NATALYA PETROVNA. Yes, at times it gives one pleasure to torture the man whom one loves . . . whom one loves. . . . Like Tatyana, I too can say, why not be frank?
RAKITIN. Natalya Petrovna, you . . . NATALYA PETROVNA [interrupting him]. Yes, I love you; but do you know, Rakitin? Do you know what sometimes seems strange to me? I love you . . . and the feeling is so clear, so peaceful. ... It does not agitate me. ... I am warmed by it. ... [Earnestly.] You have never made me cry .. . and it seems as though I ought to have. . . . [Breaking off.] What does that show?
RAKITIN [rather mournfully]. That's a question that needs no answer.
NATALYA PETROVNA [dreamily]. And we have known each other a long while.
RAKITIN. Four years. Yes, we are old friends.
NATALYA PETROVNA. Friends. . . . No, you are more to me than a friend.
RAKITIN. Natalya Petrovna, don't touch on that. . . . I'm afraid for my happiness, I'm afraid it may vanish at your touch.
NATALYA PETROVNA. No ... no ... no. The whole point is that you are too good. . . . You give way to me too much. . . . You have spoilt me. . . . You are too good, do you hear?
RAKITIN [with a smile]. I hear, madam.
NATALYA PETROVNA [looking at him]. I don't know what you feel but I desire no other happiness. Many women might envy me. [Holds out both hands to him.] Mightn't they?
RAKITIN. I'm in your hands.... Do with me what you will. . . . [The voice of ISLAYEV from the outer room: 'So you've sent for him, have you?']
NATALYA PETROVNA [getting up quickly]. Arkady! I can't see him just now. . . . Good-bye! [Goes out by door on right.]
RAKITIN [looking after her]. What does it mean? The beginning of the end, or the end? [d brief pause.] Or the beginning?
[Enter ISLAYEV looking worried.]
ISLAYEV [taking off his hat]. Good afternoon, Michel. RAKITIN. We've seen each other already to-day. ISLAYEV. Oh! I beg your pardon. . . . I've had so much to see to. ... [Walks up and down the room.] It's a queer thing! The Russian peasant is very intelligent, very quick of understanding, I've a respect for the Russian peasant ... and yet sometimes, you may talk to him, and explain away. . . . It's clear enough you'd think, but it's all no use at all. The Russian peasant hasn't that. . . that . . .
RAKITIN. You're still busy with the dam, are you?
ISLAYEV. That ... so to speak . . . love for work . . . that's just it, he has no love for it. He won't let you tell him what you think properly. 'Yes, Sir.' . . . Yes, indeed, when he hasn't taken in a word. Look at a German now, it's quite a different thing! The Russian has no patience. For all that, I have a respect for him.... Where's Natasha? Do you know?
RAKITIN. She was here just now.
ISLAYEV. What time is it? Surely, dinner-time. I've been on my feet all day--such a lot to do. ... And I haven't been to the building yet. . . . The time goes so fast. It's dreadful! One's simply behindhand with everything------ [RAKITIN smiles.] You're laughing at me, I see. . . . But I can't help it, old man. People are different. I'm a practical man, born to look after my land--and nothing else. There was a time when I dreamed of other things; but I burnt my fingers--I can tell you--came to grief, you know. Why isn't Beliayev here?
RAKITIN. Who's Beliayev?
ISLAYEV. Our new teacher. He's a shy bird, but he'll get used to us. He has a head on his shoulders. I asked him to see how the building was going on to-day.... [Enter BELIAYEV.] Oh, here he is! Well, how are they getting on? Doing nothing, I expect?
BELIAYEV. No, Sir, they are working.
ISLAYEV. Have they finished the framing of the second barn?
BELIAYEV. They have begun the third.
ISLAYEV. And did you speak to them about the beams?
BELIAYEV. Yes.
ISLAYEV. Well, what did they say?
BELIAYEV. They say that's how they always do it.
ISLAYEV. Hm. ... Is Yermil the carpenter there?
BELIAYEV. Yes.
ISLAYEV. Ah! well, thanks! [Enter NATALYA.] Ah! Natasha! Good afternoon.
RAKITIN. Why twenty greetings to each of us to-day?
ISLAYEV. I tell you, I'm tired out with all I've had to see to. Oh! by the way. I haven't shown you my new winnowing machine, have I? Do come along, it's worth seeing. It's marvellous, a whirlwind, a regular whirlwind. We've time before dinner. . . . What do you say?
RAKITIN. Oh, by all means.
ISLAYEV. Won't you come with us, Natasha?
NATALYA PETROVNA. As though I know anything about your machines! You go by yourselves--and mind you're not late.
ISLAYEV [going out with RAKITIN]. We'll be back immediately.
[BELIAYEV is about to follow them.]
NATALYA PETROVNA [to BELIAYEV]. Where are you going, Alexey Nikolaitch?
BELIAYEV. I ... I. ...
NATALYA PETROVNA. Of course go, if you want a walk. . . .
BELIAYEV. Why no, I've been out of doors all the morning.
NATALYA PETROVNA. Well, then, sit down. ... Sit here. [Motions him to a chair.] We have not had a proper talk, Alexey Nikolaitch. We have not made friends yet. [BELIAYEV bows and sits down.] I want to get to know you.
BELIAYEV. I'm . . . it's very kind of you.
NATALYA PETROVNA [with a smile]. You are afraid of me, I see ... but wait a little, you won't be afraid of me, when you know me. Tell me . .. tell me now how old are you?
BELIAYEV. Twenty-one.
NATALYA PETROVNA. Are your parents living?
BELIAYEV. My mother is dead, my father is living.
NATALYA PETROVNA. Has your mother been dead long?
BELIAYEV. Yes, a long time.
NATALYA PETROVNA. But you remember her?
BELIAYEV. Oh yes ... I remember her.
NATALYA PETROVNA. And does your father live in Moscow?
BELIAYEV. Oh no, in the country.
NATALYA PETROVNA. And have you any brothers and sisters?
BELIAYEV. One sister. NATALYA PETROVNA. Are you fond of her? BELIAYEV. Yes. She's much younger than I am. NATALYA PETROVNA. And what's her name? BELIAYEV. Natalya.
NATALYA PETROVNA [eagerly]. Natalya! How odd! I'm Natalya too! . . . [Pauses.] And you are very fond of her?
BELIAYEV. Yes.
NATALYA PETROVNA. Tell me what do you think of my Kolya?
BELIAYEV. He is a dear boy.
NATALYA PETROVNA. He is, isn't he? And so affectionate. He's devoted to you already.
BELIAYEV. I'll do my best. . . . I'm glad.
NATALYA PETROVNA. You see, Alexey Nikolaitch, of of course I should like to make him a thoroughly able man--I don't know whether I shall succeed in that, but anyway I want him to look back on his childhood with pleasure. Let him grow up in freedom, that's the great thing. I was brought up very differently, Alexey Nikolaitch; my father was not an unkind man, but he was stern and irritable; everyone in the house, including my mother, was afraid of him. My brother and I used to cross ourselves in terror whenever we were summoned to his room. Sometimes my father would pet me, but even in his arms I was in a panic. My brother grew up, and you may perhaps have heard of his rupture with my father. ... I shall never forget that awful day. ... I remained an obedient daughter up to my father's death. . . . He used to call me his consolation, his Antigone (he was blind for some years before his death) ... but however tender he was he could never make me forget those early impressions. ... I was afraid of him, a blind old man, and never felt at ease in his presence. The traces of timidity, of those years of repression, haven't perhaps quite disappeared even now.... I know that at first sight I seem ... how shall I say? . . . frigid, perhaps. . . . But I notice I'm talking to you about myself, instead of talking about Kolya. I only meant to say that I know from my own experience how good it is for a child to grow up in freedom. You now, I imagine, have never been repressed as a child, have you?
BELIAYEV. I don't know really. . . . Of course nobody repressed me, nobody bothered about me.
NATALYA PETROVNA [shyly]. Why, didn't your father....
BELIAYEV. He'd no time to spare. He was always going round among the neighbours ... on business ... or if not business exactly. . . . He got his living through them, in a way. . . . By his services. . . .
NATALYA PETROVNA. Oh! So then nobody troubled about bringing you up?
BELIAYEV. As a matter of fact, nobody did. I dare say that's evident though, I'm only too aware of my defects.
NATALYA PETROVNA. Perhaps ... but on the other hand. . . . [Checks herself and adds in some embarrassment.] Oh, by the way, Alexey Nikolaitch, was that you singing in the garden yesterday?
BELIAYEV. When?
NATALYA PETROVNA. In the evening ... by the pond . .. was it you?
BELIAYEV. Yes. [Hurriedly.] I didn't think . . . the pond is such a long way off. ... I didn't think it could be heard from here.
NATALYA PETROVNA. Are you apologizing? You have a very pleasant musical voice and you sing so well. You have studied music?
BELIAYEV. No, not at all. I only sing by ear ... only simple songs.
NATALYA PETROVNA. You sing them capitally. ... I'll ask you some time . . . not just now, but when we know each other better, when we are friends. . . . We are going to be friends, Alexey Nikolaitch, aren't we? I feel confidence in you; the way I've been chattering is a proof of it. . . . [She holds out her hand for him to shake hands. BELIAYEV takes it irresolutely and after some hesitation, not knowing what to do with the hand, kisses it. NATALYA PETROVNA flushes and draws away her hand. At that moment SHPIGELSKY comes in from the outer room, stops short, then takes a step forward, NATALYA PETROVNA gets up quickly, BELIAYEV does the same.] NATALYA PETROVNA [embarrassed]. Oh, it's you, Doctor . . . here Alexey Nikolaitch and I have been having
. . . [Stops.]
SHPIGELSKY [in a loud, free and easy voice]. Really, Natalya Petrovna, the goings on in your house! I walk into the servants' hall and ask for the sick coachman, and my patient is sitting at the table gobbling up pancake and onion. Much good it is being a doctor and relying on illness for getting a living.
NATALYA PETROVNA [with a constrained smile]. Really. [BELIAYEV is about to go away.] Alexey Nikolaitch, I forgot to tell you . . .
VERA [running in from the outer room]. Alexey Nikolaitch! Alexey Nikolaitch! [She stops abruptly at the sight of NATALYA PETROVNA.]
NATALYA PETROVNA [with some surprise]. What is it?
What do you want?
VERA [blushing and dropping her eyes, indicates BELIAYEV].
He is wanted.
NATALYA PETROVNA. By whom?
VERA. Kolya . . . that is Kolya asked me . . . about the kite. . ..
NATALYA PETROVNA. Oh! [Aside to VERA.] On n'entre pas comme cela dans une chambre. . . . Cela ne convient pas. [Turning to SHPIGELSKY.] What time is it, Doctor? Your watch is always right. . . . It's time for dinner.
SHPIGELSKY. Allow me. [Takes out his watch.] It is just... I beg to inform you . . . just exactly twenty minutes past four.
NATALYA PETROVNA. There, you see, it's dinner-time. [Goes to the looking-glass and tidies her hair. Meanwhile VERA whispers something to BELIAYEV. Both laugh. NATALYA PETROVNA sees them reflected in the looking-glass. SHPIGELSKY gives her a sidelong look.]
BELIAYEV [laughing, in a low voice]. Really?
VERA [nodding and speaking in a low voice too]. Yes, yes, she just went flop.
NATALYA PETROVNA [turning with assumed indifference to VERA]. What? Who went flop?
VERA [in confusion]. Oh no ... Alexey Nikolaitch made us a swing, and so nurse took it into her head . . .
NATALYA PETROVNA [without waiting for her to finish, turns to SHPIGELSKY]. Oh, by the way, Shpigelsky, come here. . . . [She draws him aside and speaks again to VERA.] She wasn't hurt, I hope?
VERA. Oh, no!
NATALYA PETROVNA. But ... all the same, Alexey Nikolaitch, you shouldn't have done it.
MATVEY [enters from the outer room and announces]. Dinner is served.
NATALYA PETROVNA. Ah! But where is Arkady Sergey-itch? They'll be late again, he and Mihail Alexandritch.
MATVEY. The gentlemen are in the dining-room.
NATALYA PETROVNA. And mother?
MATVEY. Madam is in the dining-room too.
NATALYA PETROVNA. Well, then, come along. [Motioning to BELIAYEV.] Vera, allez en avant avec monsieur.
[MATVEY goes out, followed by VERA and BELIAYEV. SHPIGELSKY [to NATALYA PETROVNA]
You had something to say to me.
NATALYA PETROVNA. Oh yes! To be sure. ... You see ... we'll have another talk about. ... your proposal. SHPIGELSKY. Concerning . . . Vera Alexandrovna? NATALYA PETROVNA. Yes . . .I will think about it.
I'll think about it. [Both go out.]
The garden. Seats to Right and to Left under trees; in the foreground raspberry bushes. KATYA and MATVEY come in on Right. KATYA has a basket in her hand.
MATVEY. So how is it to be, Katerina Vassilyevna? Kindly explain yourself, I beg you earnestly.
KATYA. Matvey Yegoritch, I really can't.
MATVEY. You are very well aware, Katerina Vassilyevna, what my feelings, I may say, are for you. To be sure, I'm older than you in years, there's no denying that, certainly; but I can still hold my own, I'm still in my prime. I'm of mild disposition, as you are aware; I should like to know what more you want?
KATYA. Matvey Yegoritch, believe me, I feel it very much, I'm very grateful, Matvey Yegoritch. . . . But you see ... Better wait a bit, I think.
MATVEY. But, dear me, what is there to wait for, Katerina Vassilyevna? You used not to say that, allow me to tell you. And as for consideration, I can answer for that, I believe I may say------ You couldn't ask for more consideration than you will get from me, Katerina Vassilyevna. And I'm not given to drink, and I never hear a word of blame from the master and mistress either.
KATYA. Really, Matvey Yegoritch, I don't know what to say. . . .
MATVEY. Ah, Katerina Vassilyeina, something's come over you lately. . . .
KATYA [blushing a little]. Lately? Why lately?
MATVEY. I don't know . . . but there was a time when you didn't treat me like this.
KATYA [glancing hurriedly behind the scene]. Mind.... The German's coming.
MATVEY [with annoyance]. Bother him, the long-nosed crane! ... I must talk to you again. [He goes out to Right. KATYA is moving towards the raspberries. Enter SCHAAF from the Left with a fishing-rod on his shoulder.]
SCHAAF [calling after KATYA]. Vere you go, vere you go,
Katerin?
KATYA [stopping]. We've been told to pick raspberries, Adam Ivanitch.
SCHAAF. Raspberries? . . . The raspberry is a pleasant fruit. You love raspberries?
KATYA. Yes, I like them.
SCHAAF. He ... he! And I do too! I love all that you love. [Seeing that she is going.] Oh, Katerin, vait a leetle.
KATYA. I've no time to spare. The housekeeper will scold me.
SCHAAF. Oh! That's nothing. You see I'm going . . . [Points to the rod] how do you say ... to feesh, you understand, to feesh, that is, to catch feesh. You love feesh?
KATYA. Yes.
SCHAAF. He, he, I do too, I do too. Do you know vhat I vill tell you, Katerin. There's a song in German: [Sings] Katrinchen, Katrinchen, wie lieb ich dich so sehr! that is, in Russian, O Katrinushka, Katrinushka, you are so pretty I love you! [Tries to put one arm round her.]
KATYA. Give over, give over, for shame. . . . Here's the mistress coming! [Escapes into the raspberry patch.]
SCHAAF [assuming a glum expression, aside]. Das ist dumm. . . .
[Enter on Right NATALYA PETROVNA, arm in arm with RAKITIN.]
NATALYA PETROVNA [to SCHAAF]. Ah! Adam Ivanitch! Are you going fishing? SCHAAF. Yes, madam. NATALYA PETROVNA. Where's Kolya?
SCHAAF. With Lizaveta Bogdanovna . . . the music lesson.
NATALYA PETROVNA. Ah! [Looking round.] You are alone here?
SCHAAF. Yes.
NATALYA PETROVNA. You haven't seen Alexey Nikolai then?
SCHAAF. No, madam.
NATALYA PETROVNA [after a pause]. We'll go with you, Adam Ivanitch, shall we? We'll look on while you fish.
SCHAAF. I am very glad.
RAKITIN [aside to NATALYA PETROVNA]. What possesses you?
NATALYA PETROVNA. Come along, come along, beau ténébreux.
[All three go out on Right.]
KATYA [cautiously raising her head above the raspberries]. They've gone. . . . [Comes out, stops for a little and ponders.] That German! . . . [Sighs and begins picking raspberrits again, singing in a low voice.]
'No fire is burning, no ember is glowing, But the wild heart is glowing, is burning.'
Yes, Matvey Yegoritch is right! [Goes on singing.]
'But the wild heart is glowing, is burning, Not for father dear, not for mother dear. . . .'
What big raspberries! . . . [Goes on singing.]
'Not for father dear, not for mother dear.' How hot it is! Stifling. . . . [Goes on singing.]
'Not for father dear, not for mother dear, It glows and it burns for. . . .'
[Suddenly turns round; is quiet and half hides behind the bushes. From Left BELIAYEV and VERA come in; BELIAYEV has a kite in his hand.]
BELIAYEV [as he passes the raspberries, to KATYA]. Why have you stopped, Katya? [Sings.]
'It glows and it burns for a maiden so fair.'
KATYA [blushing]. That's not how we sing it.
BELIAYEV. How then? [KATYA laughs and does not answer.'] What are you doing? Picking raspberries? Let
us taste them.
KATYA [giving him the basket]. Take them all.
BELIAYEV. Why all? . . . Vera Alexandrovna, won't you have some? [VERA takes some from the basket, and he does so too.] Well, that's enough. [Is giving back the basket
to KATYA.]
KATYA [putting back his hand]. Take them, take them
all.
BELIAYEV. No, thanks, Katya. [Gives her the basket.] Thank you. [To VERA.] Vera Alexandrovna, let's sit down on this seat. You see [Showing the kite] we must fasten the tail on. You'll help me. [They go and sit down on the seat. BELIAYEV puts the kite in her hands.] That's it. Mind now, hold it straight. [Begins to tie on the tail.] What's the matter?
VERA. I can't see you. BELIAYEV. Why must you see me? VERA. I mean I want to see how you fix the tail on. BELIAYEV. Oh--wait a minute. [Arranges the kite so that she can see him.] Katya, why aren't you singing? Sing. [After a brief interval KATYA begins singing in a low voice.] VERA. Tell me, Alexey Nikolaitch, do you sometimes fly kites in Moscow too?
BELIAYEV. I've no time for kites in Moscow! Hold the string, that's right. Do you suppose we've nothing else to do in Moscow?
VERA. What do you do in Moscow?
BELIAYEV. What do we do? We study, listen to the professors.
VERA. What do they teach you?
BELIAYEV. Everything.
VERA. I expect you're a very good student. Better than all the rest.
BELIAYEV. No, I'm not very good. Better than all the rest, indeed! I'm lazy.
VERA. Why are you lazy?
BELIAYEV. Goodness knows! I was born so, apparently.
VERA [after a pause]. Have you any friends in Moscow?
BELIAYEV. Of course. ... I say, this string isn't strong enough.
VERA. And are you fond of them?
BELIAYEV. I should think so. Aren't you fond of your friends?
VERA. I haven't any.
BELIAYEV. I meant the girls you know.
VERA [slowly]. Yes.
BELIAYEV. I suppose you have some girl-friends?
VERA. Yes . . . only I don't know why ... for some time past I've not thought much about them. ... I haven't even answered Lisa Moshnin, though she begged me to in her letter.
BELIAYEV. How can you say you have no friends . . . what am I?
VERA [with a smile]. Oh, you ... that's a different thing. [After a pause], Alexey Nikolaitch.
BELIAYEV. Well?
VERA. Do you write poetry?
BELIAYEV. No. . . . Why?
VERA. Oh, nothing. [After a pause] A girl in our school used to write poetry.
BELIAYEV [pulling the knot with his teeth]. Did she? Was it good?
VERA. I don't know. She used to read it to us, and we cried.
BELIAYEV. What did you cry for?
VERA. Pity. We were all so sorry for her.
BELIAYEV. Were you educated in Moscow?
VERA. Yes, at Madame Beauluce's school in Moscow. Natalya Petrovna took me away last year.
BELIAYEV. Are you fond of Natalya Petrovna?
VERA. Yes, she's so kind. I'm very fond of her.
BELIAYEV [with a smile]. And you're afraid of her, I bet.
VERA [also with a smile]. A little.
BELIAYEV [after a pause]. And who sent you to school?
VERA. Natalya Petrovna's mother. I grew up in her house. I'm an orphan.
BELIAYEV [letting his hands fall]. You're an orphan? And you don't remember your father or your mother?
VERA. No.
BELIAYEV, My mother is dead too. We are both motherless. Well we must put up with it! We mustn't be down-hearted for all that.
VERA. They say orphans quickly make friends with one another.
BELIAYEV [looking into her eyes]. Do they? And do you think so?
VERA [looks into his eyes with a smile]. I think they do.
BELIAYEV [laughs and sets to work on the kite again]. I should like to know how long I've been in these parts.
VERA. This is the twenty-eighth day.
BELIAYEV. What a memory you have! Well, here's the kite finished. Look what a tail! We must go and fetch Kolya.
KATYA [Coming up to him with the basket]. Won't you have some more raspberries?
BELIAYEV. No, thanks, Katya. [KATYA goes off without speaking.]
VERA. Kolya's with Lizaveta Bogdanovna.
BELIAYEV. How absurd to keep a child indoors in this weather!
VERA. Lizaveta Bogdanovna would only be in our way. . .
BELIAYEV. But I'm not talking about her. . . .
VERA [hurriedly]. Kolya couldn't come with us without her. . . . She was praising you ever so yesterday, though.
BELIAYEV. Really?
VERA. Don't you like her?
BELIAYEV. Oh, I don't mind her. Let her enjoy her snuff, bless the woman. Why do you sigh?
VERA [after a pause]. I don't know. How clear the sky is!
BELIAYEV. Does that make you sigh? [A silence.] Perhaps you are depressed?
VERA. Depressed? No! I never know myself why I sigh. . . . I'm not depressed at all. On the contrary . . . [A pause.] I don't know.... I think I can't be quite well. Yesterday I went upstairs to fetch a book--and all at once, fancy, on the staircase, I sat down and began to cry. Goodness knows why, and my tears kept on coming into my eyes for a long while afterwards. . . . What's the meaning of it? And yet I am quite happy.
BELIAYEV. It's because you're growing. It's growing up. It does happen so. ... Of course, I noticed your eyes looked swollen yesterday evening.
VERA. You noticed it?
BELIAYEV. Yes.
VERA. You notice everything.
BELIAYEV. Oh no, not everything.
VERA [dreamily]. Alexey Nikolaitch . . .
BELIAYEV. What is it?
VERA [after a pause]. What was it I was going to ask you? I've forgotten what I was going to say.
BELIAYEV. You are absent-minded! VERA. No . . . but ... oh yes! This is what I meant to ask. I think you told me--you have a sister?
BELIAYEV. Yes.
VERA. Tell me, am I like her?
BELIAYEV. Oh no. You're much better looking.
VERA. How can that be? Your sister ... I should like to be in her place.
BELIAYEV. What? You'd like to be in our poor little house at this moment?
VERA. I didn't mean that. ... Is your home so small?
BELIAYEV. Tiny. Very different from this house.
VERA. Well, what's the use of so many rooms?
BELIAYEV. What's the use? You'll find out one day how useful rooms are.
VERA. One day. . . . When?
BELIAYEV. When you're the mistress of a house yourself. . . .
VERA [dreamily]. Do you think so?
BELIAYEV. Yes, you will see. [A pause.] Hadn't we better go and fetch Kolya, Vera Alexandrovna?
VERA. Why don't you call me Verotchka?
BEHAYEV. You can't call me Alexey, can you?
VERA. Why not?... [Suddenly starting.] Oh!
BELIAYEV. What's the matter?
VERA [in a low voice]. There's Natalya Petrovna coming this way.
BELIAYEV [also in a low voice]. Where? VERA [nodding towards the Right]. Over there . . . along the path, with Mihail Alexandritch.
BELIAYEV [getting up]. Let's go to Kolya.... He must have finished his lesson by now.
VERA. Let's go ... or I'm afraid she'll scold me. . . . [They get up and walk away quickly to the Left. KATYA hides again in the raspberry bushes. NATALYA PETROVNA and RAKITIN come in on Right.] NATALYA PETROVNA [standing still]. I believe that's Mr. Beliayev with Vera. RAKITIN. Yes, it is. ...
NATALYA PETROVNA. It looks as though they were running away from us.
RAKITIN. Perhaps they are.
NATALYA PETROVNA [after a pause]. But I don't think Verotchka ought... to be alone like this with a young man in the garden. . . . Of course, she's only a child, still, it's not the proper thing. . . . I'll tell her.
RAKITIN. How old is she?
NATALYA PETROVNA. Seventeen! She's actually seventeen. ... It is hot to-day. I'm tired. Let's sit down. [They sit down on the seat on which VERA and BELIAYEV have been sitting.] Has Shpigelsky gone home?
RAKITIN. Yes, he's gone.
NATALYA PETROVNA. It's a pity you didn't keep him. I can't imagine what induced that man to become a district doctor. . . . He's very amusing. He makes me laugh.
RAKITIN. Well, I thought you were not in a very laughing humour to-day.
NATALYA PETROVNA. What made you think that?
RAKITIN. Oh, I don't know.
NATALYA PETROVNA. Because nothing sentimental appeals to me to-day? Oh, certainly, I must warn you there's absolutely nothing that could touch me to-day. . . . But that doesn't prevent me from laughing; on the contrary. Besides, there's something I had to discuss with Shpigelsky to-day.
RAKITIN. May I ask what?
NATALYA PETROVNA. No, you mayn't. As it is, you know everything I think, everything I do. That's boring.
RAKITIN. I beg your pardon. ... I had no idea. . . .
NATALYA PETROVNA. I want to have some secrets from you.
RAKITIN. What next! From what you say, one might suppose I know everything. . . .
NATALYA PETROVNA [interrupting]. And don't you?
RAKITIN. You are pleased to make fun of me.
NATALYA PETROVNA. Why don't you know everything that goes on in me? If you don't I can't congratulate you on your insight. When a man watches me from morning to night. . . .
RAKITIN. What do you mean? Is that a reproach. . . .
NATALYA PETROVNA. A reproach? [A pause.] No, I see; you certainly have not much insight.
RAKITIN. Perhaps not . . . but since I watch you from morning to night, allow me to tell you one thing I have noticed. . . .
NATALYA PETROVNA. About me? Please do.
RAKITIN. You won't be angry with me?
NATALYA PETROVNA. Oh no! I should like to be, but I shan't.
RAKITIN. For some time past, Natalya Petrovna, you have been in a state of permanent irritability, and that irritability is something unconscious, involuntary: you seem to be in a state of inward conflict, as though you were perplexed. I had never observed anything of the sort in you before my visit to the Krinitsyns'; it has only come on lately. [NATALYA PETROVNA draws lines in the sand before her with her parasol.] At times you sigh--such deep, deep sighs --like a man who's very tired, so tired that he can't find rest.
NATALYA PETROVNA. And what do you deduce from that, you observant person?
RAKITIN. I deduce? Nothing.. .. But it worries me.
NATALYA PETROVNA. Humbly grateful for your sympathy.
RAKITIN. And besides . . .
NATALYA PETROVNA [with some impatience]. Please, change the subject.
[A pause.]
RAKITIN. You have no plans for going out anywhere to-day?
NATALYA PETROVNA. No. RAKITIN. Why not? It's so fine.
NATALYA PETROVNA. Too lazy. [A pause.] Tell me . . . you know Bolshintsov, of course?
RAKITIN. Our neighbour, Afanasy Ivanitch?
NATALYA PETROVNA. Yes.
RAKITIN. What a question! Only the day before yesterday we were playing preference with him in your house.
NATALYA PETROVNA. I want to know what sort of man he is.
RAKITIN. Bolshintsov?
NATALYA PETROVNA. Yes, yes, Bolshintsov.
RAKITIN. Well, I must say, that I never expected that!
NATALYA PETROVNA [impatiently]. What didn't you expect?
RAKITIN. That you would ever be making inquiries about Bolshintsov! A foolish, fat, tedious man--though of course there's no harm in the man.
NATALYA PETROVNA. He's by no means so foolish or tedious as you think.
RAKITIN. Perhaps not. I must own, I haven't studied the gentleman very carefully.
NATALYA PETROVNA [ironically]. You haven't been watching him.
RAKITIN [with a constrained smile]. And what has induced you? . . .
NATALYA PETROVNA. Oh, nothing!
[Again a pause.]
RAKITIN. Look, Natalya Petrovna, how lovely that dark green oak is against the dark blue sky. It's all bathed in the sunlight and what rich colours. . . . What inexhaustible life and strength in it especially when you compare it with that young birch tree. . . . She looks as though she might pass away in radiance, her tiny leaves gleam with a liquid brilliance, as though melting, yet she is lovely too. . . .
NATALYA PETROVNA. Do you know, Rakitin, I noticed it ages ago. You have a very delicate feeling for the so-called beauties of nature, and talk very elegantly and cleverly about them ... so elegantly and cleverly that I imagine nature ought to be unutterably grateful for your choice and happy phrases; you dance attendance on her like a perfumed marquis on high red heels dallying with a pretty peasant girl. . . . Only I'll tell you what's wrong, it sometimes seems to me that she could never understand or appreciate your subtle observations, just as the peasant girl wouldn't understand the courtly compliments of the marquis; nature is far simpler, even coarser, than you suppose, because, thank God, she's healthy. . . . Birch trees don't melt or fall into swoons like nervous ladies.
RAKITIN. Quelle tirade! Nature is healthy . . . that is, in other words, I'm a sickly creature.
NATALYA PETROVNA. You're not the only sickly creature, we are neither of us too healthy.
RAKITIN. Oh, I know that way of telling a person the most unpleasant things in the most inoffensive way. . . . Instead of telling him to his face, for instance, you're a fool, my friend, you need only tell him with a good-natured smile, we are both fools, you know.
NATALYA PETROVNA. You're offended? What nonsense! I only meant to say that we are both . . . since you don't like the word sickly .. . we are both old, very old.
RAKITIN. In what way are we old? I don't think so of myself.
NATALYA PETROVNA. Well, listen; here we are sitting ... on this very seat a quarter of an hour ago two really young creatures have been sitting, perhaps.
RAKITIN. Beliayev and Verotchka? Of course they are younger than we are . . . there's a few years' difference between us, that's all. . . . But that doesn't make us old yet.
NATALYA PETROVNA. The difference between us is not only in years.
RAKITIN. Ah! I understand. . . . You envy them . . . their naïveté; their freshness and innocence . . their foolishness, in fact.
NATALYA PETROVNA. You think so? Oh, you think that they are foolish? You think everybody foolish to-day, I see. No, you don't understand me. And besides . . . foolish? What does that matter? What's the good of being clever, if you're not amusing. Nothing is more depressing than that sort of gloomy cleverness.
RAKITIN. Hm. . . . Why don't you say it straight out, without these hints? I don't amuse you . . . that's what you mean. Why find fault with cleverness in general on account of one miserable sinner like me?
NATALYA PETROVNA. No, that's not what I mean. . . . [KATYA comes out from among the bushes.] Have you been picking raspberries, Katya?
KATYA. Yes, madam.
NATALYA PETROVNA. Show me. [KATYA goes up to her.] What splendid raspberries! What a colour . . . though your cheeks are redder still. [KATYA smiles and looks down.] Well, run along----
[KATYA goes out]
RAKITIN. There's a young creature after your taste.
NATALYA PETROVNA. Of course. [Gets up]
RAKITIN. Where are you going?
NATALYA PETROVNA. First, I want to see what Verotchka's doing . . . it's time she was indoors . . . and secondly I must own I don't like our conversation. We had better drop our disscussions of nature and youth for a time.
RAKITIN. Perhaps you would rather walk alone?
NATALYA PETROVNA. To tell the truth, I should. We shall see each other again soon. . . . But we are parting friends? [Holds out her hand to him]
RAKITIN [getting up]. Yes indeed! [Presses her hand]
NATALYA PETROVNA. Good-bye for the present. [She opens her parasol and goes off at Left]
RAKITIN [walks up and down for some time]. What is the matter with her? [A pause.] Simply caprice. But is it? I have never seen that in her before. On the contrary, I know no woman less moody. What is the reason? [Walks to and fro again and suddenly stands still.] Ah, how absurd a man is who has only one idea in his head, one object, one interest in life. . . . Like me, for instance. It was true what she said: one keeps watching trifling things from morning to night, and one grows trivial oneself. . . . That's so; but without her I can't live, in her presence I am more than happy; the feeling can't be called happiness, I belong to her entirely, parting from her would . . . without exaggeration ... be exactly like parting with life. What is wrong with her? What's the meaning of her agitation, the involuntary bitterness of her words? Is she beginning to be weary of me? Hm? [Sits down.] I have never deceived myself, I know very well how she loves me; but I hoped that with time that quiet feeling ... I hoped? Have I the right to hope, dare I hope? I confess my position is pretty absurd . . . almost contemptible. . . . [A pause.] What's the use of talking like that? She's an honest woman, and I'm not a Lovelace. [With a bitter smile.] More's the pity! [Getting up quickly.] Well, that's enough! I must put this nonsense out of my head! [Walking up and down.] What a glorious day! [A pause.] How skilfully she stung me! ... My choice and happy expressions. . . . She's very clever, especially when she's in a bad humour. And what's this sudden adoration of youth and innocence? . . . This tutor. . . . She often talks about him. I must say I see nothing very striking in him. He's simply a student, like all students. Can she .. . impossible! She's out of humour . . . she doesn't know what she wants and so she snaps at me, as children beat their nurse. ... A flattering comparison! But she must go her own way. When this fit of depression and uneasiness is over, she will be the first to laugh at that lanky boy, that raw youth. . . . Your explanation is not bad, Mihail Alex-andritch, but is it true? God knows! Well, we shall see. It's not the first time, my dear fellow, that after endless fretting and pondering you have had suddenly to give up all your subtle conjectures, fold you hands and wait meekly for what is to come. And meanwhile you must recognize it's pretty awkward and bitter for you. . . . But that's what I'm for, it seems. . . . [Looking round.] Ah, here he is, our unsophisticated young man! . . . Just when he's wanted. ... I haven't once had a real talk with him. Let's see what he's like. [BELIAYEV comes in on Left.] Ah! Alexey Nikolaitch! So you have come out for a turn in the fresh air too?
BELIAYEV. Yes.
RAKITIN. Though I must say the air is not so very fresh to-day: the heat's terrific, but in the shade here under these lime trees it's endurable. [A pause.] Did you see Natalya Petrovna?
BELIAYEV. I met her just now. ... She's gone indoors with Vera Alexandrovna.
RAKITIN. Wasn't it you I saw here half an hour ago with Vera Alexandrovna?
BELIAYEV. Yes. .. . We were having a walk.
RAKITIN. Ah! [Takes his arm.] Well, how do you like living in the country?
BELIAYEV. I like the country. The only thing is, the shooting is not good here.
RAKITIN. You're fond of shooting then?
BELIAYEV. Yes. . . . Aren't you?
RAKITIN. I? No; I'm a poor shot. I'm too lazy.
BELIAYEV. I'm lazy too . . . but not in that way.
RAKITIN. Oh! Are you lazy about reading then?
BELIAYEV. No, I love reading. But I'm too lazy to work long at a time, especially too lazy to go on doing the same thing.
RAKITIN [Smiling.] Talking to ladies, for instance?
BELIAYEV. Ah, you're laughing at me. . . . I'm frightened of ladies.
RAKITIN [Slightly embarrassed]. What an idea! Why should I laugh at you?
BELIAYEV. Oh, that's all right. ... I don't mind!
[A pause.] Tell me where can I get gunpowder about here?
RAKITIN. You can get it no doubt in the town; it is sold there. But do you want good powder?
BELIAYEV. No, it's not for shooting, it's for making fireworks.
RAKITIN. Oh, can you make them?
BELIAYEV. Yes; I've picked out the right place already, the other side of the pond. I heard it's Natalya Petrovna's name-day next week, so they will come in for that.
RAKITIN. Natalya Petrovna will be pleased at such an attention from you. She likes you, Alexey Nikolaitch, I may tell you.
BELIAYEV. I'm very much flattered. . . . Ah, by the way, Mihail Alexandritch, I believe you take a magazine. Could you let me have it to read?
RAKITIN. Certainly, with pleasure. . . . There's good poetry in it.
BELIAYEV. I'm not fond of poetry.
RAKITIN. How's that?
BELIAYEV. I don't know. Comic verses strike me as far-fetched, besides there aren't many; and sentimental ones. ... I don't know. There's something unreal in them somehow.
RAKITIN. You prefer novels?
BELIAYEV. Yes. I like good novels; but critical articles--they appeal to me------
RAKITIN. Oh, why?
BELIAYEV. It's a fine man that writes them.
RAKITIN. And you don't go in for authorship yourself?
BELIAYEV. Oh no! It's silly to write if you've no talent. It only makes people laugh at you. Besides, it's a queer thing, I wish you would explain it to me, sometimes a man seems sensible enough, but when he takes up a pen he's perfectly hopeless. No, writing's not for us, we must thank God if we understand what's written.
RAKITIN. Do you know, Alexey Nikolaitch, not many young men have as much common sense as you have.
BELIAYEV. Thank you for the compliment. [A pause.] I'm going to let off the fireworks the other side of the pond, because I can make Roman candles, and they will be reflected in the water....
RAKITIN. That will be beautiful. . , . Excuse me, Alexey Nikolaitch, by the way, do you know French?
BELIAYEV. No, I translated a novel of Paul de Kock's, 'La Laitiere de Montfermeil,' perhaps you've heard of it, for fifty roubles; but I didn't know a word of French. For instance: quatre-vingt-dix I translated four-twenty-ten. . . . Being hard-up drove me to it, you know. But it's a pity. I should like to know French. It's my cursed laziness. I should like to read Georges Sand in French. But the accent . . . how is one to get over the accent? An, on, en, in, isn't it awful?
RAKITIN. Well, that's a difficulty that can be got over. . . .
BELIAYEV. Please tell me, what's the time?
RAKITIN [looking at his watch]. Half-past one.
BELIAYEV. Lizaveta Bogdanovna is keeping Kolya a long time at the piano. ... I bet he's dying to be running about.
RAKITIN [cordially]. But one has to study too, you know, Alexey Nikolaitch. . . .
BELIAYEV [with a sigh]. You oughtn't to have to say that, Mihail Alexandritch, and I oughtn't to have to hear it. . . . Of course, it would never do for everyone to be a loafer like me.
RAKITIN. Oh, nonsense. . . .
BELIAYEV. But I know that only too well.
RAKITIN. Well, I know too, on the contrary, that just what you regard as a defect, your impulsiveness, your freedom from constraint is what's attractive.
BELIAYEV. To whom, for instance?
RAKITIN. Well, to Natalya Petrovna, for example.
BELIAYEV. Natalya Petrovna? With her I don't feel that I am free, as you call it.
RAKITIN. Ah! Is that really so?
BELIAYEV. And after all, Mihail Alexandritch, isn't education the thing that matters most in a man? It's easy for you to talk.... I can't make you out, really. [Suddenly looking round.] What's that? I thought I heard a corncrake calling in the garden. [Is about to go]
RAKITIN. Perhaps. . . . But where are you off to?
BELIAYEV. To fetch my gun. . . . [Goes to Left; NATALYA PETROVNA comes in, meeting him.]
NATALYA PETROVNA [seeing him, suddenly smiles]. Where are you going, Alexey Nikolaitch? BELIAYEV. I was . . . RAKITIN. To fetch his gun. . .. He heard a corncrake in the garden. . . .
NATALYA PETROVNA. No, please don't shoot in the garden. . . . Let the poor bird live. . . . Besides, you may startle Granny.
BELIAYEV. I obey, madam.
NATALYA PETROVNA [laughing]. Oh, Alexey Nikolaitch, aren't you ashamed? 'I obey, madam,' what a way to speak! How can you . . . talk like that? But wait, you see Mihail Alexandritch and I will see to your education. . . . Yes, yes ... we have talked together about you more than once already. . . . There's a plot against you, I warn you. . . . You will let me have a hand in your education, won't you?
BELIAYEV. Why, of course. ... I shall be only too . . .
NATALYA PETROVNA. To begin with, don't be shy, it doesn't suit you at all. Yes, we will look after you. [Indicating RAKITIN.] We are old people, you know, he and I, while you are young. You are, aren't you? You will see how good it will be. You will look after Kolya and I .. . we . . , will look after you.
BELIAYEV. I shall be very grateful. NATALYA PETROVNA. That's right. What have Mihail Alexandritch and you been talking about?
RAKITIN [smiling]. He has been telling me how he translated a French book without knowing a word of French.
NATALYA PETROVNA. Ah! Now there, we will teach you French. What have you done with your kite, by the way?
BELIAYEV. I've taken it indoors. I thought you didn't like it.
NATALYA PETROVNA [with some embarrassment]. What made you think that? Was it because of Vera . . . because I took Vera indoors? No, that . . No, you were mistaken. [Eagerly.] I tell you what . . . Kolya must have finished his lesson by now. Let us take him and Vera and the kite, shall we? . . . and all of us together fly it in the meadow? Yes?
BELIAYEV. With pleasure, Natalya Petrovna.
NATALYA PETROVNA. That's right then. Come, let us go, let us go. [Ho/ding out her arm to him.] But take my arm, how awkward you are! Come along . . . make haste. [They go off quickly to Left.]
RAKITIN [looking after them]. What eagerness . . . what gaiety. ... I have never seen a look like that on her face. And what a sudden transformation! [A pause.] Souvent femme varie. . . . But ... I am certainly not in her good books to-day. That's clear. [A pause.] Well, we shall see what will come later. [Slowly] Is it possible? . . . [With a gesture of dismissal] It can't be! ... But that smile, that warm, soft, bright look in her eyes. ... O God spare me from knowing the tortures of jealousy, especially a senseless jealousy! [Suddenly looking round.] Hullo, what do I see? [SHPIGELSKY and BOLSHINTSOV enter from Left. RAKITIN goes to meet them] Good day, gentlemen. ... I confess I didn't expect to see you to-day, Shpigelsky.... [Shakes hands.]
SHPIGELSKY. Well, I didn't expect it myself. ... I never imagined. . . . But you see I called in on him [Indicating BOLSHINTSOV] and he was already sitting in his carriage, coming here. So I turned round and came back with him.
RAKITIN. Well, you are very welcome.
BOLSHINTSOV. I certainly was intending ...
SHPIGELSKY [cutting him short]. The servants told us you were all in the garden. . . . Anyway there was nobody in the drawing-room. . .
RAKITIN. But didn't you meet Natalya Petrovna?
SHPIGELSKY. When?
RAKITIN. Why, just now.
SHPIGELSKY. No. We didn't come here straight from the house. Afanasy Ivanovitch wanted to see whether there were any mushrooms in the copse.
BOLSHINTSOV [surprised]. I really . . .
SHPIGELSKY. Oh, there, we know how fond you are of mushrooms. So Natalya Petrovna has gone in? Well then, we can go back again.
BOLSHINTSOV. Of course.
RAKITIN. Yes, she has gone in to fetch them all out for a walk.... They are going to fly a kite, I believe.
SHPIGELSKY. Ah! That's capital. It's just the weather for a walk.
RAKITIN. You can stay here. . . I'll go in and tell her you have come.
SHPIGELSKY. Why should you trouble. . . . Really, Mihail Alexandritch . . .
RAKITIN. No trouble. . . . I'm going in anyway. . . .
SHPIGELSKY. Oh, well, in that case we won't keep you. . . No ceremony, you know. . . .
RAKITIN. Good-bye for the present. . . . [Goes out to Left.]
SHPIGELSKY. Good-bye. [To BOLSHINTSOV.] Well, Afanasy Ivanovitch. . . .
BOLSHINTSOV [interrupting him]. What did you mean about mushrooms, Ignaty Ilyitch? . . . I'm amazed, what mushrooms?
SHPIGELSKY. Upon my soul, would you have had me say my Afanasy Ivanovitch was overcome with shyness; he wouldn't go straight in, and insisted on taking another turn?
BOLSHINTSOV. That's so ... but all the same, mushrooms. ... I don't know, may be I'm mistaken....
SHPIGELSKY. You certainly are, my dear fellow. I'll tell you what you'd better be thinking about. You see we've come here . . . done as you wished. Look out now and don't make a mess of it.
BOLSHINTSOV. But, Ignaty Ilyitch, you know you. . . . You told me, I mean ... I should like to know for certain what answer . . .
SHPIGELSKY. My honoured friend! It's reckoned over fifteen miles from your place here; at least three times every mile you put that very question to me. . . . Isn't that enough for you? Now listen; but this is the last time I give way to you. This is what Natalya Petrovna said to me: 'I . . .'
BOLSHINTSOV [nodding]. Yes.
SHPIGELSKY [with annoyance]. Yes! Why, what do you mean by 'yes'? I've told you nothing yet. ... 'I don't know,' says she, 'Mr. Bolshintsov very well, but he seems to me a good man; on the other hand, I don't intend to force Vera's inclinations; and so, let him visit us, and if he wins . . .'
BOLSHINTSOV. Wins? She said 'wins'?
SHPIGELSKY. 'If he wins her affections, Anna Semyon-ovna and I will not oppose . ..'
BOLSHINTSOV. Will not oppose? Is that what she said? Will not oppose?
SHPIGELSKY. Yes, yes, yes. What a queer fellow you are! 'We will not oppose their happiness.'
BOLSHINTSOV. Hm.
SHPIGELSKY. 'Their happiness.' . . . Yes, but observe, Afanasy Ivanitch, what your task is now. . . . You have now to persuade Vera Alexandrovna herself that marrying you really will be happiness for her; you have to win her affection.
BOLSHINTSOV [blinking]. Yes, yes, win . . . exactly so. I agree with you.
SHPIGELSKY. You insisted on my bringing you here. .. . Well, let's see how you will act.
BOLSHINTSOV. Act? Yes, yes, we must act, we must win . . . exactly so. Only you see, Ignaty Ilyitch . . . May I confess, admit to you, as to my best friend, one of my weaknesses: I did, as you truly say, wish you to bring me here to-day. . . .
SHPIGELSKY. You didn't wish it, you insisted, absolutely insisted on it....
BOLSHINTSOV. Oh, well, we'll grant that. ... I agree with you. But you see ... at home ... I certainly .,. at home I felt I was ready for anything; but now you know I feel overcome with fears.
SHPIGELSKY. But what are you afraid of?
BOLSHINTSOV [glancing at him from under his brows]. The risk, sir.
SHPIGELSKY. Wha-at?
BOLSHINTSOV. The risk. There's a great risk. I must, Ignaty Ilyitch, I must confess to you that. . .
SHPIGELSKY [interrupting him]. As to 'your best friend.' We know all about it. ... Get on. ...
BOLSHINTSOV. Exactly so. ... I agree with you. I must confess to you, Ignaty Ilyitch, that I have had very little to do with ladies, with the female sex, in general, if I may say so; I will confess frankly, Ignaty Ilyitch, that I simply can't imagine what one can talk about to a person of the female sex--and alone with her too . . . and especially a young lady.
SHPIGELSKY. You surprise me. I really don't know what one can't talk about to a person of the female sex, especially a young lady, and particularly alone with her.
BOLSHINTSOV. Oh . .. you . .. Good gracious, but I'm not you. So you see it's just in this case I want to appeal to you, Ignaty Ilyitch. They say that in these affairs it's the first step that counts, so couldn't you just ... to give me a start in the conversation . . . tell me of something to say, something agreeable in the way, for instance, of an observation ... and then I can get along. After that I could manage somehow by myself.
SHPIGELSKY. I won't tell you anything to say, Afanasy Ivanovitch, because nothing I could tell you would be of any use to you . . . but I will give you some advice if you like.
BOLSHINTSOV. My dear sir, pray do. ... And as to my gratitude . . . you know . . .
SHPIGELSKY. Oh, come, come, I'm not bargaining with you, am I?
BOLSHINTSOV [dropping his voice]. You can reckon on the three horses.
SHPIGELSKY. Oh, that will do. ... You see, Afanasy Ivanovitch . . . You are unquestionably a capital fellow in every respect . . . [BOLSHINTSOV makes a slight bow] a man of excellent qualities. . . .
BOLSHINTSOV. Oh dear!
SHPIGELSKY. You are, besides, the owner, I believe, of three hundred serfs.
BOLSHINTSOV. Three hundred and twenty, sir.
SHPIGELSKY. Not mortgaged?
BOLSHINTSOV. I owe nobody a farthing.
SHPIGELSKY. There you are. I've been telling you, you're an excellent man and the most eligible of suitors. But you say yourself you've had very little to do with ladies. ...
BOLSHINTSOV [with a sigh]. That's just so. I may say, Ignaty Ilyitch, I've avoided the female sex from a child.
SHPIGELSKY [with a sigh]. Quite so. That's not a vice in a husband; quite the contrary; but still in certain circumstances, at the first declaration of love, for instance, it is essential to be able to say something. . . isn't it?
BOLSHINTSOV. I quite agree with you.
SHPIGELSKY. Or else, you know, Vera Alexandrovna may simply suppose that you feel unwell--and nothing more. Besides, though your exterior figure is also perfectly presentable in all respects, it does not offer any feature very striking at first sight... not at first sight, you know, and that's what's wanted in this case.
BOLSHINTSOV [with a sigh]. That's what's wanted in this case.
SHPIGELSKY. Young ladies are attracted by it, anyway. And then, your age too ... in fact, it's not for you and me to try to please. And so it's no good for you to think of agreeable remarks. That's a poor thing to depend on. But you have something else to count upon, far firmer and more reliable, and that's virtues, my dear Afanasy Ivanovitch, and your three hundred and twenty serfs. In your place I should simply say to Vera Alexandrovna . . .
BOLSHINTSOV. Alone with her?
SHPIGELSKY. Oh, of course, alone with her! 'Vera Alexandrovna!' [From the movement of BOLSHINTSOV'S lips it is evident that he is repeating in a whisper every word after SHPIGELSKY.] 'I love you and ask your hand in marriage. I'm a kind-hearted, good-natured, harmless man and I'm not poor. You will be perfectly free with me; I will do my best to please you in every way. And I beg you to find out about me, to take a little more notice of me than you have done hitherto, and to give me an answer as you please and when you please. I am ready to wait and shall consider it a pleasure to do so.'
BOLSHINTSOV [uttering the last words aloud]. To do so! Yes, yes, yes. ... I quite agree with you. Only I tell you what, Ignaty Ilyitch; I believe you used the word 'harmless.' . . . You said a harmless man. . . .
SHPIGELSKY. Well, aren't you a harmless man?
BOLSHINTSOV. Ye-e-es . . . but still I fancy. . . . Will it be the right thing, Ignaty Ilyitch? Wouldn't it be better to say, for instance? . . .
SHPIGELSKY. For instance?
BOLSHINTSOV. For instance ... for instance. ... [A pause.] But maybe 'harmless' will do.
SHPIGELSKY. Now, Afanasy Ivanovitch, you listen to me; the more simply you express yourself, the plainer your words, the better it will go, trust me. And above all, don't be too pressing, Afanasy Ivanovitch. Vera Alexandrovna is very young; you may scare her. . . . Give her time to think over your offer. Avoid fine words and I guarantee your success. [Looking round] Why, here they are all coming too------ [BOLSHINTSOV wants to make off] Where are you going? To pick mushrooms again? [BOLSHINTSOV smiles, turns red and remains] The great thing is not to be scared!
BOLSHINTSOV [hurriedly], Vera Alexandrovna knows nothing about it yet, does she?
SHPIGELSKY. I should think not!
BOLSHINTSOV. Well, I rely on you. . . . [Blows his nose. Enter from Left NATALYA PETROVNA, VERA, BELIAYEV with the kite, and KOLYA, followed by RAKITIN and LlZAVETA BOGDANOVNA. NATALYA PETROVNA is in a very good humour]
NATALYA PETROVNA [to BOLSHINTSOV and SHPIGELSKY]. How do you do; how are you, Shpigelsky; I didn't expect you to-day, but I am very glad to see you. How are you, Afanasy Ivanitch. [He bows with some embarrassment]
SHPIGELSKY [to NATALYA PETROVNA, indicating BOLSHINTSOV]. This gentleman here insisted on bringing me. . . .
NATALYA PETROVNA [laughing] I'm very much obliged to him. . . . But do you need forcing to come to see us?
SHPIGELSKY. Oh, good heavens! but ... I was only here . . . this morning . . . dear me. . . .
NATALYA PETROVNA. Ah! our diplomat's caught!
SHPIGELSKY. I'm delighted, Natalya Petrovna, to see that you are in a very good humour.
NATALYA PETROVNA. You think it necessary to remark it--is it so rare then with me?
SHPIGELSKY. Oh, good gracious--no . . . but . . .
NATALYA PETROVNA. Monsieur le Diplomate, you're getting more and more in a tangle.
KOLYA [who has been all this time impatiently fidgeting about VERA and BELIAYEV]. But, Maman, when are we going to fly the kite?
NATALYA PETROVNA. When you like. . . . Alexey Nikolaitch, and you Vera, let us go to the meadow. [Turning to the others.] You won't care about it, I expect. Lizaveta Bogdanovna, and you, Rakitin, I leave our good friend Afanasy Ivanovitch with you.
RAKITIN. But what makes you think we shan't care about it, Natalya Petrovna?
NATALYA PETROVNA. You are sensible people ... it must seem childish to you. . . . But as you like. We don't want to prevent your following us. [To BELIAYEV and VERA.] Come along. [NATALYA PETROVNA, VERA, BELIAYEV and KOLYA go off to Right.']
SHPIGELSKY [glancing with some surprise at RAKITIN, says to BOLSHINTSOV]. Our good friend Afanasy Ivanovitch, give your arm to Lizaveta Bogdanovna.
BOLSHINTSOV [nervously]. With the greatest pleasure.
[Gives LIZAVETA BOGDANOVNA his arm.]
SHPIGELSKY. And we'll go along together, if you'll allow me, Mihail Alexandritch. [Takes his arm.] My word! How they're racing along the avenue. Let's go and see them fly the kite, though we are sensible people.
Afanasy Ivanovitch, will you lead the way?
BOLSHINTSOV [as they walk, to LIZAVETA BOGDANOVNA]. The weather is certainly very agreeable to-day, one may say.
LIZAVETA BOGDANOVNA [mincing]. Yes, indeed, very agreeable!
SHPIGELSKY [to RAKITIN]. I've something I want to talk to you about, Mihail Alexandritch. . . . [RAKITIN suddenly laughs.] What is it?
RAKITIN. Oh . . . nothing. ... I was amused at our following in the rear like this.
SHPIGELSKY. The front rank easily turns into the rearguard, you know. ... It all depends which way you are going.
[All go out to Right.]
The scene is the same as in Act I. RAKITIN and SHPIGELSKY come in from the outer room.
SHPIGELSKY. Well, how about it, Mihail Alexandritch? For goodness sake do help me.
RAKITIN. In what way can I help you, Ignaty Ilyitch?
SHPIGELSKY. In what way? Why, put yourself in my place, Mihail Alexandritch. This is no concern of mine, really. Indeed, I've been acting chiefly from a wish to serve others. . . . My kind heart will be my ruin!
RAKITIN [laughing]. Well, ruin's a good way off still.
SHPIGELSKY [laughing too]. About that there's no knowing, but my position is certainly awkward. I brought Bolshintsov here at Natalya Petrovna's wish, and have given him her answer with her permission, and now on one side I get sulky looks as though I'd done something foolish, and on the other, Bolshintsov gives me no peace. They avoid him and won't say a word to me.. . .
RAKITIN. What possessed you to take up this business, Ignaty Ilyitch? Why, Bolshintsov, between ourselves . . . he's simply a fool.
SHPIGELSKY. Well, I declare! Between ourselves! That's a piece of news! And since when have sensible men been the only ones to marry? We must leave the fools free to get married, if nothing else. You say I've taken up this business. . . . Not at all, I'll tell you how it came about: a friend asks me to put in a word for him. Well, was I to refuse? I'm a good-natured man, I don't know how to refuse. I carry out my friend's commission: the answer I get is: 'Very much obliged; pray, don't trouble yourself further.' I understand and don't trouble myself further. Then they take it up themselves and encourage me, so to speak. I obey; and now they're indignant with me. And in what way am I to blame?
RAKITIN. Why, who says you are to blame? . . . The only thing that puzzles me is what induces you to take so much trouble.
SHPIGELSKY. What induces ... what induces.... The man gives me no peace.
RAKITIN. Come, nonsense. . . .
SHPIGELSKY. Besides, he's an old friend.
RAKITIN [with an incredulous smile]. Is he? Oh, well, that's another matter.
SHPIGELSKY [smiling too]. I'll be open with you, though. . . . There's no deceiving you. ... Oh well--he has promised me ... one of my horses has gone lame, so you see he has promised me . . .
RAKITIN. A horse to replace it?
SHPIGELSKY. Well, since I must own up, three new ones.
RAKITIN. You should have said that before!
SHPIGELSKY [eagerly]. But please don't you imagine . . . I would never have consented to be a go-between in this affair, it would have been utterly unlike me [RAKITIN smiles], if I had not known Bolshintsov to be a thoroughly honest man. ... Besides, all I want even now is a definite answer--yes or no.
RAKITIN. Surely, things haven't reached that stage yet?
SHPIGELSKY. But what are you imagining? . . . It's not a question of marriage, but of permission to come, to visit. . . .
RAKITIN. But whoever forbids it?
SHPIGELSKY. Forbids . . . what a thing to say! Of course, if it were anybody else ... but Bolshintsov's a shy man, a blessed innocent, straight out of the Golden Age, scarcely weaned from the feeding bottle. ... He has so little self-confidence, he needs some encouragement. While his intentions are most honourable.
RAKITIN. Yes, and his horses good.
SHPIGELSKY. And his horses are good. [Takes a pinch of snuff and offers the box to RAKITIN.] Won't you have some?
RAKITIN. No, thanks.
SHPIGELSKY. So that's how it is, Mihail Alexandritch. As you see, I don't want to deceive you. Indeed, why should I? The thing's perfectly clear and straightforward. A man of excellent principles, with property, quite harmless. ... If he suits--good. If he doesn't--well, they should say so.
RAKITIN. That's all very well, no doubt, but how do I come in? I really don't see what I can do about it.
SHPIGELSKY. Oh, Mihail Alexandritch! As though we don't know that Natalya Petrovna has a very great respect for you and even sometimes follows your advice. . . . Now do, Mihail Alexandritch [Puts his arm round him], be a friend, put in a word. . . .
RAKITIN. And you think this is a good husband for little Vera?
SHPIGELSKY [assuming a serious air], I'm convinced of it. You don't believe it. ... Well, you'll see. As you know, the great thing in marriage is solid character. And Bolshintsov is solidity itself. [Looking round.] And here I do believe is Natalya Petrovna herself coming in. ... My dear good friend, my benefactor! The two chestnuts as trace-horses, and the bay in the shafts! You will do your best?
RAKITIN [smiling]. Oh, very well, very well. . . .
SHPIGELSKY. Mind now, I rely on you. . . . [Escapes into the outer room.]
RAKITIN [looking after him]. What a sly rogue that doctor is! Vera . . . and Bolshintsov! But there you are! There are marriages worse than that. I'll do as he asks me, and then--it's not my business! [Turns round. NATALYA PETROVNA, coming out of the study and seeing him, stops.]
NATALYA PETROVNA [irresolutely]. It's . . . you.... I thought you were in the garden.
RAKITIN. You seem sorry I'm not. . . .
NATALYA PETROVNA [interrupting]. Oh! nonsense. [Advancing to front of stage.] Are you alone here?
RAKITIN. Shpigelsky has just gone.
NATALYA PETROVNA [with a slight frown]. Oh, that local Talleyrand. . . . What has he been saying to you? Is he still hanging about?
RAKITIN. The local Talleyrand, as you call him, is evidently in disfavour to-day . . . but yesterday, I fancy . . .
NATALYA PETROVNA. He's funny; he's amusing, certainly, but... he meddles in what's not his business. . . . It's disagreeable. . . . Besides, for all his obsequiousness, he is very impudent and persistent. . . . He's a great cynic.
RAKITIN [going up to her]. You didn't speak of him like that yesterday. . . .
NATALYA PETROVNA. Perhaps not. [Eagerly.] So what was he talking about?
RAKITIN. He talked to me . . . about Bolshintsov.
NATALYA PETROVNA. Oh? About that stupid creature?
RAKITIN. Of him, too, you spoke very differently yesterday.
NATALYA PETROVNA [with a constrained smile]. Yesterday is not to-day.
RAKITIN. True, for others . . . but it seems not for me.
NATALYA PETROVNA [dropping her eyes]. How's that?
RAKITIN. For me to-day is the same as yesterday.
NATALYA PETROVNA [holding out her hand to him]. I understand your reproach, but you are mistaken. Yesterday I wouldn't admit that I was behaving badly to you. . . . [RAKITIN attempts to stop her.] Don't contradict me. . . . I know and you know what I mean . . . but to-day I admit it. I have been thinking things over to-day. . . . But believe me, Michel, whatever silly thoughts take hold of me, whatever I say, whatever I do, there is no one I depend upon as I do on you. [Dropping her voice.] There is no one ... I love as I do you.... [A brief silence.] You don't believe me? RAKITIN. I believe you . . . but you seem depressed to-day, what's the matter?
NATALYA PETROVNA [goes on speaking without hearing him]. But I am convinced of one thing, Rakitin; one can never answer for oneself, one can never be sure of oneself. We often don't understand our past, how can we expect to answer for the future! There's no putting the future in fetters!
RAKITIN. That's true.
NATALYA PETROVNA [after a long silence]. Do you know, I want to tell you the truth. Perhaps I shall wound you a little, but I know you will be more hurt by my keeping things from you. I confess, Michel, this young student . . . this Beliayev, has made rather an impression on me. , . . RAKITIN [in a low voice]. I know that. NATALYA PETROVNA. Oh? You have noticed it? For some time?
RAKITIN. Only yesterday. NATALYA PETROVNA. Ah!
RAKITIN. The day before yesterday, you remember, I spoke of the change in you. ... I did not know then what to put it down to. But yesterday after our talk .. . and in the meadow , . . if you could have seen yourself! I didn't know you; you were like another woman. You laughed, you skipped and played about like a little girl; your eyes were shining, your cheeks were flushed, and with what confiding interest, with what joyful attention you gazed at him, how you smiled. [Glancing at her.] Why, even now your face glows at the memory of it! [Turns away.]
NATALYA PETROVNA. No, Rakitin, for God's sake, don't turn away from me. . . . Listen, why exaggerate? This man has infected me with his youth--that's all. I have never been young myself, Michel, from childhood up to now. You know what my life has been.... The novelty of it has gone to my head like wine, but I know it will pass as quickly as it has come. . . . It's not worth talking about... . [A pause.,] Only don't turn away from me, don't take your hand away. . . . Help me. . . .
RAKITIN [in a low voice]. Help you--a cruel saying! [Aloud.] You don't know what is happening to you, Natalya Petrovna. You are sure it's not worth talking about, and you ask for help. . . . Evidently you feel you are in need of it!
NATALYA PETROVNA. That is ... yes. ... I appeal to you as a friend.
RAKITIN [bitterly]. Quite so. ... I hope to justify your confidence . . . but let me have a moment to try and face it.
NATALYA PETROVNA. Face it? Why, are you dreading ... anything unpleasant? Is anything changed?
RAKITIN [bitterly]. Oh no! everything's the same.
NATALYA PETROVNA. What are you imagining, Michel? Surely you can't suppose. . . .
RAKITIN. I suppose nothing.
NATALYA PETROVNA. Surely you can't have such a contempt for me as ...
RAKITIN. For God's sake, stop. We'd better talk about Bolshintsov. The doctor's expecting an answer from you about Vera, you know.
NATALYA PETROVNA [sadly]. You're angry with me.
RAKITIN. Me? Oh no! But I'm sorry for you.
NATALYA PETROVNA. Really, it's positively annoying, Michel, aren't you ashamed? . . . [RAKITIN is silent. She shrugs her shoulders, and goes on in a tone of vexation.'] You say the doctor is expecting an answer? But who asked him to interfere? . . .
RAKITIN. He assured me that you yourself. . .
NATALYA PETROVNA [interrupting]. Perhaps, perhaps. . . . Though I believe I said nothing definite. ... Besides, I may have changed my mind. And, good gracious, what does it matter? Shpigelsky has a hand in all sorts of affairs; he can't expect to have everything his own way.
RAKITIN. He only wants to know what answer . . .
NATALYA PETROVNA. What answer. . . . [A pause.] Michel, don't! Give me your hand. . . . Why this indifferent expression, this cold politeness? . , . What have I done? Think a little, is it my fault? I came to you hoping for good advice, I didn't hesitate for one instant, I never thought of concealing things from you, and you . . . I see I was wrong to be open with you. ... It would never have entered your head. You suspected nothing, you deceived me. And now, goodness knows what you're imagining.
RAKITIN Imagining? Not at all.
NATALYA PETROVNA. Give me your hand. . . . [He does not move; she goes on, somewhat offended.] You turn away from me? So much the worse for you, then. But I don't blame you.... [Bitterly.] You are jealous!
RAKITIN. I have no right to be jealous, Natalya Petrovna. ... How could I be?
NATALYA PETROVNA [after a pause]. As you please. About Bolshintsov, I haven't yet spoken to Verotchka.
RAKITIN. I can send her to you at once.
NATALYA PETROVNA. Why at once? . . . But as you please.
RAKITIN [moving towards the study-door]. So you want me to fetch her?
NATALYA PETROVNA. Michel, for the last time. . . . You said just now that you were sorry for me. ... Is this how you show it? Can you really . . .
RAKITIN [coldly]. Am I to send her?
NATALYA PETROVNA [with annoyance]. Yes. [RAKITIN goes into the study. NATALYA PETROVNA stands for some time motionless, sits down, takes a book from the talle, opens it, lets it fall on her lap.] He too! It's awful. He ... he too! And I relied upon him. And Arkady? Good heavens! I have never even thought of him! [Drawing herself up.] I see it's high time to put a stop to all this. . . . [VERA comes in from the study.] Yes . . . high time.
VERA [timidly]. You sent for me, Natalya Petrovna?
NATALYA PETROVNA [looking round quickly]. Ah! Verotchka! Yes, I wanted you.
VERA [going up to her]. Are you unwell?
NATALYA PETROVNA. Me? Oh no, why?
VERA. I fancied . . .
NATALYA PETROVNA. No, it's nothing. I'm feeling the heat a little. . . . That's all. Sit down. [VERA sits down] Tell me, Vera, are you doing anything particular just now?
VERA. No.
NATALYA PETROVNA. I ask you because I want to have a talk with you ... a serious talk. You see, my dear, I've always looked on you as a child; but you are seventeen; you are a sensible girl. . . . It's time for you to think about your future. You know I love you as a daughter; my house will always be your home . . . but all the same, in other people's eyes, you are an orphan; you have no fortune. You may in time grow tired of always living with strangers; tell me would you like to be mistress in your own house, absolute mistress in it?
VERA [slowly]. I don't understand you, Natalya Petrovna.
NATALYA PETROVNA [after a pause]. I have received an offer of marriage for you. [VERA stares at her in amazement] You didn't expect that; I must own it seems strange to me too. You are so young. ... I need not tell you that I do not mean to put pressure on you. ... In my opinion you're too young to be married; but I thought it my duty to tell you. . . . [VERA suddenly hides her face in her hands] Vera . . . what is it? You're crying? [Takes her hand] You're trembling all over? . . . Surely you're not afraid of me, Vera?
VERA [in a toneless voice], I'm in your power, Natalya Petrovna.
NATALYA PETROVNA [taking VERA'S hands from her face]. Vera, aren't you ashamed to cry? Aren't you ashamed to say that you're in my power? What do you take me for? I am speaking to you as I would to a daughter, and you . . . [VERA kisses her hands.] What? You are in my power? Then please laugh at once! ... I tell you to. ... [VERA smiles through her tears.] That's right. [NATALYA PETROVNA puts one arm round her and draws her closer.] Vera, my child, treat me as though I were your mother, or no, imagine that I'm an elder sister and let us have a little talk together about all these wonderful things.... Will you? VERA. Oh, yes.
NATALYA PETROVNA. Well, listen then. . . . Come a little nearer. That's right. To begin with, as you're my sister, we suppose there's no need for me to assure you that this is your home; a girl with eyes like yours is at home everywhere. So it ought never to enter your head that you are a burden to anybody in the world or that anybody wants to get rid of you. . . . You hear? But now one fine day your sister comes to you and says: Just think, Vera, you have a suitor. . . . Well? What answer would you make? That you are too young, that you are not thinking of marriage? VERA. Yes, Natalya Petrovna.
NATALYA PETROVNA. But you wouldn't speak like that to your sister.
VERA [smiling]. Oh . . . yes, then. NATALYA PETROVNA. Your sister agrees with you, the suitor is refused and there's the end of it. But suppose the suitor is a good man, and well-to-do, and if he is willing to wait, if he only asks permission to see you occasionally in the hope of gaining your affections in time? VERA. Who is this suitor?
NATALYA PETROVNA. Ah! you would like to know! You don't guess?
VERA. No.
NATALYA PETROVNA. You have seen him to-day. [VERA flushes crimson.] It is true he is not very handsome, and not very young. . . . Bolshintsov.
VERA. Afanasy Ivanitch?
NATALYA PETROVNA. Yes. . . . Afanasy Ivanitch.
VERA [gazes for some time at NATALYA PETROVNA, suddenly begins laughing, then stops]. You're not joking?
NATALYA PETROVNA [smiling]. No . . . but I see there's no hope for Bolshintsov. If you had cried at his name, he might have hoped, but you laugh; there's nothing for him but to go his way, bless him!
VERA. I'm sorry... but really I didn't expect... Surely people don't get married at his age?
NATALYA PETROVNA. What an idea! How old is he? He's not fifty. The very age to marry.
VERA. Perhaps .. . but he has such a queer face. .. .
NATALYA PETROVNA. Well, don't let us say any more about him. He's dead and buried . . . bless him! But it's only natural a child of your age cannot care for a man like Bolshintsov. . . . You all want to marry for love, not from prudence, don't you?
VERA. Yes, Natalya Petrovna, and you . . . didn't you marry Arkady Sergeyitch for love too?
NATALYA PETROVNA [after a pause]. Of course. [Another pause, squeezing VERA'S hands.] Yes, Vera. . I called you a child just now . . . but children are right. [VERA drops her eyes.] And so that business is settled. Bolshintsov is dismissed. I must own it wouldn't have been quite pleasant to me to see his puffy old countenance beside your fresh young face, though he is a very good man. Do you see now how little reason you had to be afraid of me? How quickly it's all settled! . . . [Reproachfully.] Really, you behaved to me as though I were your patroness! You know how I hate that word. . . .
VERA [embracing her]. Forgive me, Natalya Petrovna.
NATALYA PETROVNA. I should hope so. Really? You're not afraid of me?
VERA. No, I love you. I'm not afraid of you.
NATALYA PETROVNA. Thank you. So now we are great friends, and will have no secrets from each other. Well, suppose I were to ask you, Verotchka, whisper in my ear; is it only because Bolshintsov is much older than you, and not a beauty, that you don't want to marry him?
VERA. Surely that's reason enough, Natalya Petrovna?
NATALYA PETROVNA. I don't deny it... but is there no other reason?
VERA. I don't know him at all.
NATALYA PETROVNA. Quite so; but you don't answer my question.
VERA. There's no other reason.
NATALYA PETROVNA. Really? In that case, I should advise you to think it over. It wouldn't be easy to be in love with Bolshintsov, I know . . . but I say again, he's a good man. Of course, if you cared for anyone else . . . that would be a different matter. But your heart has told you nothing so far, has it?
VERA [timidly]. What do you mean?
NATALYA PETROVNA. You love no one else?
VERA. I love you . . . Kolya; I love Anna Semyonovna too.
NATALYA PETROVNA. I'm not speaking of that sort of love; you don't understand me. . . . Among the young men you may have seen here, for instance, or at parties, is there no one who attracts you?
VERA. No. ... I like some of them, but . . .
NATALYA PETROVNA. I noticed, for instance, that at the Krinitsyns' you danced three times with that tall officer, what's his name?
VERA. An officer?
NATALYA PETROVNA. Yes, that man with a big moustache.
VERA. Oh! that man!. . . No; I don't like him.
NATALYA PETROVNA. Well, and Shalansky?
VERA. Shalansky is a nice man, but he ... I don't think he cares about me.
NATALYA PETROVNA. Oh! why?
VERA. He ... I fancy he thinks more of Liza Velsky.
NATALYA PETROVNA [glancing at her]. Ah! . . . you noticed that? [A pause.] Well . . . Rakitin?
VERA. I love Mihail Alexandritch very much indeed.
NATALYA PETROVNA. Yes, like a brother. And, by the way, there's Beliayev?
VERA [flushing], Alexey Nikolaitch? I like Alexey Nikolaitch.
NATALYA PETROVNA [watching her]. Yes, he's a nice fellow. But he's so shy with everybody. . . .
VERA [innocently]. No. . . . He's not shy with me.
NATALYA PETROVNA. Ah!
VERA. He talks to me. Perhaps you fancy that because he ... he's afraid of you. He has not got to know you yet.
NATALYA PETROVNA. How do you know he's afraid of me?
VERA. He told me so.
NATALYA PETROVNA. Oh! he has told you.... So he is more unreserved with you than with other people?
VERA. I don't know how he is with other people, but with me . . . perhaps it's because we are both orphans. Besides ... he looks on me ... as a child.
NATALYA PETROVNA. Do you think so? But I like him very much too. He must have a very kind heart.
VERA. Oh! the kindest! If only you knew . . . everyone in the house likes him. He's so friendly. He talks to everybody, he's ready to help anyone. The day before yesterday he carried a poor old beggar-woman in his arms from the high road to the hospital. He gathered a flower for me one day from such a high crag that I shut my eyes in terror, I kept thinking he would fall and be hurt, but he's so clever! You saw yesterday in the meadow how clever he is at that sort of thing.
NATALVA PETROVNA. Yes, that's true.
VERA. Do you remember the great ditch he jumped over when he was running after the kite? It was nothing to him.
NATALYA PETROVNA. And did he really pick a flower for you from a dangerous place? He must be fond of you.
VERA [after a pause]. And he's always good-humoured . . . always in good spirits. . ..
NATALYA PETROVNA. It's strange, though. Why isn't he like that with me? . . .
VERA [interrupting her]. But I tell you he doesn't know you. Wait a little, I'll tell him. . . . I'll tell him there's no need to be afraid of you, shall I? That you're so kind. . . .
NATALYA PETROVNA [with a constrained laugh]. Thanks so much.
VERA. You'll see. . .. He does what I tell him though I am younger than he is.
NATALYA PETROVNA. I didn't know you were such friends. . . . But mind, Vera, be careful. Of course, he's an excellent young man . . . but you know, at your age. . . . It's not suitable, people may imagine things. ... I mentioned that, you remember? ... in the garden yesterday. [VERA looks down.] On the other hand, I don't want to check your inclinations either. I have too much confidence in you and in him . . . but still. . . you mustn't be angry with me for my scruples, my dear ... its the duty of us old folks to worry young people with our lectures. Though I really need not say all this, you simply like him, don't you--and nothing more?
VERA [timidly raising her eyes]. He. . . .
NATALYA PETROVNA. Now there you are looking at me like that again! Is that the way to look at a sister? Vera, listen, and lean down to me. . . . [Caressing her.] What if a sister, a real sister whispered now in your ear: 'Verotchka, is it true, you don't love anyone, do you?' What would you answer? [VERA looks uncertainly at NATALYA PETROVNA.] Those eyes want to tell me something. . . . [VERA suddenly presses her face to NATALYA PETROVNA'S bosom. NATALYA PETROVNA turns pale--and after a pause goes on.] You do love him? Tell me, do you?
VERA [not raising her head]. Oh! I don't know what I feel. . . .
NATALYA PETROVNA. Poor child! You're in love. . . . [VERA huddles still more closely to NATALYA PETROVNA.] You're in love . . , and he? Vera, he?
VERA [still not raising her head]. Why do you ask me questions? ... I don't know. . . . Perhaps ... I don't know, I don't know. . . . [NATALYA PETROVNA shudders and sits motionless. VERA lifts her head and at once notices the change in her face.] Natalya Petrovna, what's the matter?
NATALYA PETROVNA [recovering herself]. The matter . . nothing. Why? Nothing.
VERA. You're so pale, Natalya Petrovna. . . . What's wrong? Let me ring. . . . [Gets up.]
NATALYA PETROVNA. No, no ... don't ring. It's nothing. ... It will pass. There, it's over now.
VERA. Let me fetch somebody, anyway.
NATALYA PETROVNA. No, don't, I ... I want to be alone. Leave me alone, do you hear? We will finish our talk later. Run along.
VERA. You are not angry with me, Natalya Petrovna?
NATALYA PETROVNA. Angry? What for? Not at all. No, I'm grateful to you for your confidence. . . . Only leave me, please, j ust now.
[VERA is about to take her hand, but NATALYA PETROVNA turns away as though not noticing her movement.]
VERA [with tears in her eyes]. Natalya Petrovna. . . .
NATALYA PETROVNA. I ask you to leave me alone. [VERA slowly goes out of the study.]
NATALYA PETROVNA [alone, remains for some time motionless]. Now it's all clear to me. . . . These children love each other. . . . [Stops and passes her hand over her face.] Well? So much the better. . . . God give them happiness! [Laughing.] And I ... I could imagine. . .. [Stops again.] She was not long blurting it out. ... I must own I did not suspect it, I must own the news has startled me. . . . But wait a bit, it's not all settled yet. My God . . . what am I saying? What's wrong with me? I don't know myself. What am I coming to? [A pause.] What am I about? Trying to marry the poor girl to an old man!. . . I used the doctor as a go-between ... he suspects, he drops hints . . . Arkady, Rakitin .. . while I... [Shudders and suddenly raises her head.] But what does this mean? Me jealous of Vera! Me in love with him! [A pause.] And you still doubt it, do you? You're in love to your misery! How it has come about ... I don't know. It's as though I'd been poisoned. . . . All at once everything's destroyed, scattered, swept away. . . . He's afraid of me. They're all afraid of me! What could he see in me? . . . What use is a creature like me to him? He is young and she is young. While I! [Bitterly.] How could he think much of me? They are both foolish, as Rakitin says. ... Oh! I hate that clever friend! And Arkady, my good trusting Arkady! My God! my God! It's killing me! [Gets up.] But I believe I'm going out of my mind! Why exaggerate? Yes . . . of course . . . I'm overwhelmed. . . . It's so strange to me . . . it's the first time ... I ... yes, the first time! I'm in love for the first time now! [She sits down again.] He must go away. Yes. And Rakitin too. It's time to come to my senses. I've allowed myself to take one step . . . and see! See what I've come to! And what is it in him attracts me? [Ponders.] So this is it, this dreadful feeling. . . . Arkady! Yes, I will fall into his arms, I will beg him to forgive me, to protect me, to save me. . . . He . . . and no one else! All the others are strangers to me and must remain strangers. . . . But can there be ... can there be no other way out? That girl--she's a child. She may be mistaken. That's all childishness really. . . . Why should I. ... I will talk to him myself, I will ask him. . . . [Reproachfully.] What? What? You are hoping? You still want to hope? And what am I hoping for? My God! don't make me despise myself! [Drops her head on her arms. RAKITIN comes in from the study, pale and agitated.]
RAKITIN [going up to NATALYA PETROVNA]. Natalya Petrovna.... [She does not stir.] [To himself.] What can have happened with Vera? [Aloud.] Natalya Petrovna....
NATALYA PETROVNA [raising her head]. Who is it? Ah! you.
RAKITAN. Vera Alexandrovna told me you were unwell. ...I...
NATALYA PETROVNA [turning away], I am quite well. ... What made her?. ..
RAKITIN. No! Natalya Petrovna, you are not well, you should see yourself.
NATALYA PETROVNA. Well, perhaps not. . . but what's that to you? What do you want? What have you come for?
RAKITIN [in a voice of deep feeling]. I'll tell you what I have come for. I have come to ask your forgiveness. Half an hour ago I was unspeakably stupid and rude. . . . Forgive me. . . . You see, Natalya Petrovna, however modest a man's desires and . . . and hopes, it is hard, for a moment anyway, for him to keep his head, when they are suddenly snatched away from him; but I have come to my senses. I understand my position and my fault, and I want only one thing . . . your forgiveness. [He gently sits down beside her.] Look at me . . . don't you too turn away from me. Beside you is your old Rakitin, your friend, a man who asks nothing but to be allowed to serve you, as you said ... to help you. Don't deprive me of your confidence, rely on me and forget that I ever. . . . Forget everything that may have wounded you. . . .
NATALYA PETROVNA [who has been all the while staring fixedly at the floor]. Yes, yes.... [Stopping.] Oh! I'm, sorry Rakitin, I haven't heard a word of what you've been saying.
RAKITIN [mournfully]. I said ... I begged you to forgive me, Natalya Petrovna, I asked you whether you would let me be your friend still.
NATALYA PETROVNA [slowly turning to him and laying her hands on his shoulders]. Rakitin, tell me, what's the matter with me?
RAKITIN [After a pause]. You're in love.
NATALYA PETROVNA [slowly repeating it after him]. I'm in love.. .. But it's madness, Rakitin, it's impossible. Can such things happen all of a sudden. . . . You say I'm in love. . . . [Breaks off.]
RAKITIN. Yes, you're in love, poor dear woman. . . . Don't deceive yourself.
NATALYA PETROVNA [not looking at him.] What am I to do?
RAKITIN. I can tell you, Natalya Petrovna, if you promise . . .
NATALYA PETROVNA [interrupting, still without looking at him]. You know that girl, Vera, loves him. . . They are in love with each other....
RAKITIN. If so, a reason the more...
NATALYA PETROVNA [interrupting again]. I've long suspected it, but she acknowledged it herself. . . just now.
RAKITIN [in a low voice, as though to himself]. Poor woman!
NATALYA PETROVNA [passing her hand over her face]. Come. ... I must pull myself together. I believe you were going to say something. . . . For God's sake, Rakitin, advise me what to do. ...
RAKITIN. I'm willing to advise you, Natalya Petrovna, only on one condition.
NATALYA PETROVNA. Tell me.
RAKITIN. Promise that you won't suspect my motives. Tell me that you believe in my disinterested desire to help you; do you help me too. Let your confidence give me strength, or else let me keep silence.
NATALYA PETROVNA. Speak, speak.
RAKITIN. You have no doubt of me?
NATALYA PETROVNA. Speak!
RAKITIN. Well then, listen, he must go away. [NATALYA PETROVNA looks at him in silence.'] Yes, he must go. I'm not going to speak to you of... your husband, your duty. On my lips, such words are . . . out of place. . . . But those children love each other. You told me so yourself just now, imagine yourself now between them. . . . Why, your position will be awful!
NATALYA PETROVNA. He must go. ... [A pause.] And you? You remain?
RAKITIN [confused]. I?... I?... [Apause.] I must go too. For the sake of your peace, your happiness, Verotchka's happiness, both he ... and I ... we must both go away for ever.
NATALYA PETROVNA. Rakitin ... I have sunk so low that I ... was almost ready to sacrifice that poor girl, an orphan entrusted to me by my mother, to marry her to a stupid, absurd old man! I couldn't bring myself to it, Rakitin, the words died away on my lips when she burst out laughing at the suggestion . . . but I have been plotting with the doctor; I have put up with his meaning smiles, I have borne with his grins, his compliments, his hints. . . . Oh, I feel I am on the brink of a precipice; save me!
RAKITIN. Natalya Petrovna, you see that I am right.. . . [She is silent; he goes on hurriedly.] He ought to go ... we ought both to go. ... There is no other way to save you.
NATALYA PETROVNA [dejectedly]. But what to live for afterwards?
RAKITIN Good God, is it as bad as that? . . . Natalya Petrovna, you will get over it, believe me. . . . This will pass. What, nothing to live for!
NATALYA PETROVNA. Yes, yes, what have I to live for when all abandon me?
RAKITIN. But . . . your family. . . . [NATALYA PETROVNA looks down.] If you like, after he is gone, I might stay a few days j ust to . . .
NATALYA PETROVNA [gloomily]. Ah! I understand. You are reckoning on habit, on our old friendship. . . . You hope I shall come to myself, and turn to you again, don't you? I understand you.
RAKITIN [flushing]. Natalya Petrovna! Why do you insult me?
NATALYA PETROVNA [bitterly]. I understand you . . . but you are mistaken.
RAKITIN. What? After your promise, when simply for your sake, your sake only, for your happiness, for your position in society, in fact. . .
NATALYA PETROVNA. Oh! how long have you been concerned about that? Why is it you have never spoken of it before?
RAKITIN [getting up]. Natalya Petrovna, I will leave this place to-day, at once, and you shall never see me again. . . . [Is going.]
NATALYA PETROVNA [stretching out her hands to him]. Michel, forgive me; I don't know what I'm saying. . . . You see the state I'm in. Forgive me.
RAKITIN [turning rapidly to her and taking her by the hands]. Natalya Petrovna . . .
NATALYA PETROVNA. Oh, Michel, I'm unutterably miserable. . . . [Leans on his shoulder and presses her handkerchief to her eyes.] Help me, I am lost without you. [At that instant the door of the outer room is flung open, and ISLAYEV and ANNA SEMYONOVNA walk in.]
ISLAYEV [loudly]. I was always of that opinion. [Stops in amazement at the sight of RAKITIN and NATALYA PETROVNA. NATALYA PETROVNA looks round and goes out quickly. RAKITIN remains where he is, overwhelmed with confusion.]
ISLAYEV [to RAKITIN]. What's the meaning of this? What's this scene?
RAKITIN. Oh . . . nothing . . . it's . . .
ISLAYEV. Is Natalya Petrovna unwell?
RAKITIN. No . . . but. . .
ISLAYEV. And why has she run away so suddenly? What were you talking about? She seemed to be crying.... You were consoling her... . What's the matter?
RAKITIN. Nothing really.
ANNA SEMYONOVNA. How can there be nothing the matter, Mihail Alexandritch? [After a pause.] I'll go and see. ... [Is about to go into the study.,]
RAKITIN [stopping her]. No, you had better leave her in peace, please.
ISLAYEV. But what does it all mean? Tell us.
RAKITIN. Nothing, I assure you. ... I promise to explain it to you both to-day. I give you my word. But now, please, if you have any trust in me, don't ask me . . . and don't worry Natalya Petrovna.