A drawing room. To the right, a card table and the door to the study; in the middle, the door to the ballroom; to the left, two windows and a round table. Sofas in the corners. At the card table, Anna Semyonovna, Lizaveta Bogdanovna and Schaaf sit playing preference; by the round table sit Natalya Petrovna and Rakitin. Natalya Petrovna is doing embroidery on canvas. Rakitin is holding a book. The clock on the wall shows three.
SCHAAF
Haartz.
ANNA
Again? You’ll be the death of us, my dear.
SCHAAF
(Phlegmatically) Eight haartz.
ANNA
(To Lizaveta Bogdanovna) Look at him! Look how he plays!
NATALYA
(To Rakitin) Why did you stop? Read.
RAKITIN
(Slowly raising the book) “Monte Cristo se redressa haletant . . .”1
Are you interested in this, Natalya Petrovna?
NATALYA
Not at all.
RAKITIN
Then why are we reading it?
NATALYA
I’ll tell you why. The other day a lady said to me: “You haven’t read Monte Cristo? Oh, you should—it’s enchanting!” I didn’t answer her then, but now I can tell her that I’ve read it and didn’t find it “enchanting” at all.
RAKITIN
Well, since you already know that . . .
NATALYA
Ah, you’re so lazy!
RAKITIN
I’ll go on if you like . . . (Searching for the place where he stopped) “. . . se redressa haletant, et . . .”
NATALYA
(Interrupting him herself) Have you seen Arkady today?
RAKITIN
I ran into him at the dam . . . They’re repairing it. He was showing the workmen what to do, and to show them better he had waded in up to his knees.
He’s too passionate about everything . . . he tries too hard. That’s a shortcoming. What do you think?
RAKITIN
I agree with you.
NATALYA
How boring! . . . You always agree with me. Read.
RAKITIN
So you want me to argue with you? . . . Fine.
NATALYA
I want . . . I want! . . . I want you to want . . . Read, I’m telling you.
RAKITIN
Yes, ma’am. (He picks up the book again)
SCHAAF
Haartz.
ANNA
What? Again? I can’t stand it! (To Natalya Petrovna) Natasha . . . Natasha . . .
NATALYA
What?
ANNA
Imagine, Schaaf will be the death of us . . . Seven or eight hearts every time.
SCHAAF
Und dis time sefen.
ANNA
Hear that? It’s terrible!
Yes . . . terrible.
ANNA
Pass! (To Natalya Petrovna) Where’s Kolya?
NATALYA
Out walking with his new tutor.
ANNA
Lizaveta Bogdanovna, it’s up to you.
RAKITIN
(To Natalya Petrovna) What tutor?
NATALYA
Ah, yes! I forgot to tell you . . . while you were away, we hired a new tutor.
RAKITIN
To replace Dufour?
NATALYA
No . . . He’s Russian. The princess is going to send us a Frenchman from Moscow.
RAKITIN
What’s he like, this Russian? Old?
NATALYA
No, young . . . Anyway, he’s just here for the summer.
RAKITIN
Ah! So he’s temporary.
NATALYA
Yes, I guess you could say that. You know what, Rakitin? You love observing people, picking them apart, rummaging around in them . . .
Good God, what are you . . .
NATALYA
Oh, you do, you do . . . So why don’t you turn your mind to him. I like him. Slender, well-built, bright-eyed, confident . . . You’ll see. Maybe a little awkward . . . that you won’t like.
RAKITIN
Natalya Petrovna, you’re persecuting me terribly today.
NATALYA
Joking aside, turn your mind to him. He seems to have the makings of a nice man. But, anyway, God knows!
RAKITIN
You’ve piqued my curiosity . . .
NATALYA
Have I? (Pensively) Read.
RAKITIN
“Se redressa haletant, et . . .”
NATALYA
(Suddenly looking around) Where’s Vera? I haven’t seen her since morning. (With a smile, to Rakitin) Forget the book . . . I see it’s not our day for reading . . . Better tell me something . . .
RAKITIN
Fine . . . What shall I tell you? . . . You know, I spent a few days with the Krinitsyns . . . Imagine, our young couple is already bored.
NATALYA
How could you tell?
RAKITIN
Can boredom be hidden? Everything else . . . but not boredom.
(Glancing at him) Everything else?
RAKITIN
(After a brief pause) I think so.
NATALYA
(Lowering her eyes) So what were you doing at the Krinitsyns’?
RAKITIN
Nothing. To be bored with friends is a terrible thing: you’re relaxed, you’re at ease, you like them, there’s nothing to irritate you, and yet you’re so bored, and there’s a stupid gnawing at your heart, like from hunger.
NATALYA
You must often be bored with your friends.
RAKITIN
As if you don’t know what it’s like to be with someone you love and yet be sick of him!
NATALYA
(Slowly) Someone you love . . . that’s a big word. You love words too much.
RAKITIN
Love words . . . ?
NATALYA
Yes, that’s your shortcoming. You know what, Rakitin? You’re very intelligent, of course, but . . . (Pause) Sometimes when we talk, it’s like we’re making lace . . . Have you ever seen how they make lace? In stuffy rooms, stuck to their seats . . . Lace is a fine thing, but a drink of cool water on a hot day is much better.
RAKITIN
Natalya Petrovna, today you’re . . .
What?
RAKITIN
You’re angry with me for some reason.
NATALYA
Oh, subtle people, how imperceptive you are, in spite of all your subtlety! . . . No, I’m not angry with you.
ANNA
Ah! At last, he’s overbid! We’ve got him! (To Natalya Petrovna) Natasha, our villain has to pay up.
SCHAAF
(Sourly) Ist Lisafet Bogdanovna’s fault.
LIZAVETA
(Irritably) Excuse me, sir, but how was I to know Anna Semyonovna had no hearts?
SCHAAF
Ins futur no partners mit Lisafet Bogdanovna.
ANNA
(To Schaaf) Why is it her fault?
SCHAAF
(In exactly the same voice) Ins futur no partners mit Lisafet Bogdanovna.
LIZAVETA
As if I care! Really! . . .
RAKITIN
The more I look at you today, Natalya Petrovna, the less I recognize your face.
(With some curiosity) Really?
RAKITIN
It’s true. I find some sort of change in you.
NATALYA
Oh? . . . In that case, do me a favor . . . You know me—try to guess what’s changed, what’s happened inside me—hm?
RAKITIN
Give me a minute . . .
Kolya suddenly comes running noisily from the ballroom straight to Anna Semyonovna.
KOLYA
Grandma, grandma! Look what I’ve got! (Shows her a bow and arrow) Look!
ANNA
Show me, darling . . . Ah, what a nice bow! Who made it for you?
KOLYA
It was him . . . him . . . (Points to Belyaev, who has stopped by the door to the ballroom)
ANNA
Ah! It’s very well made . . .
KOLYA
I already shot at a tree, grandma, and hit it two times . . . (Jumping up and down)
NATALYA
Show me, Kolya.
(Runs to her, and while Natalya Petrovna examines the bow) Ah, maman! You should see how Alexei Nikolaich climbs trees! He wants to teach me. And how to swim. He’s going to teach me everything, everything! (Jumping up and down)
NATALYA
(To Belyaev) I’m very grateful to you for your attention to Kolya.
KOLYA
(Interrupting her heatedly) I like him very much, maman, very much!
NATALYA
(Stroking Kolya’s head) I’ve pampered him a bit . . . Get him to run and jump for me.
Belyaev bows.
KOLYA
Alexei Nikolaich, let’s go to the stables and bring Favorite some bread.
BELYAEV
All right, let’s go.
ANNA
(To Kolya) Come here, kiss me first . . .
KOLYA
(Running off) Later, grandma, later!
He runs to the ballroom. Belyaev follows him.
ANNA
(Gazing after Kolya) What a sweet child! (To Schaaf and Lizaveta Bogdanovna) Isn’t he?
Of course, ma’am.
SCHAAF
(After a pause) I pass.
NATALYA
(With some animation, to Rakitin) Well, how did he seem to you?
RAKITIN
Who?
NATALYA
(After a pause) This . . . Russian tutor.
RAKITIN
Ah, sorry, I forgot . . . I was still thinking about the question you asked me . . .
Natalya Petrovna looks at him with a barely noticeable smile.
His face, though . . . actually . . . Yes, he has a nice face. I like him. Only he seems very shy.
NATALYA
Yes, he does.
RAKITIN
(Looking at her) But still I can’t quite figure out . . .
NATALYA
Why don’t we help him along a bit, Rakitin? Want to? We’ll complete his education. Who better than two staid, reasonable people like us! We’re very reasonable, aren’t we?
RAKITIN
This young man interests you. If he knew it . . . he’d be flattered.
Oh, not at all, believe me! It’s impossible to judge him by what . . . our kind would do in his place. He’s not at all like us, Rakitin. That’s the trouble: we keep studying ourselves and then imagine we know other people.
RAKITIN
“The soul of another is a dark forest.” But what are you hinting at? . . . Why this constant needling?
NATALYA
Who can you needle, if not your friends . . . And you are my friend . . . You know that.
She presses his hand. Rakitin smiles and brightens up.
You’re my old friend.
RAKITIN
I’m just afraid . . . you’ll have too much of this old friend.
NATALYA
(Laughs) Yes, too much of a good thing.
RAKITIN
Maybe . . . Only that doesn’t make it any easier.
NATALYA
Well, well . . . (Lowering her voice) As if you don’t know . . . ce que vous êtes pour moi.2
RAKITIN
Natalya Petrovna, you play with me like a cat with a mouse . . . But the mouse is not complaining.
NATALYA
Oh, poor little mouse!
You owe me twenty, Adam Ivanych. Aha!
SCHAAF
Ins future no partners mit Lisafet Bogdanovna.
MATVEI
(Enters from the ballroom and announces) Ignaty Ilyich is here.
SHPIGELSKY
(Entering behind him) You don’t announce doctors.
Matvei exits.
Greetings, greetings, greetings. (Goes to Anna Semyonovna to kiss her hand) Good afternoon, madam. I trust you’re winning?
ANNA
Winning, hah! I’ve barely broken even . . . And thank God for that! It’s all this villain. (Pointing at Schaaf)
SHPIGELSKY
(To Schaaf) Adam Ivanych, with ladies! How impolite . . . It’s not like you.
SCHAAF
(Grumbling through his teeth) Viz ladies, viz ladies . . .
SHPIGELSKY
(Going over to the round table left) Natalya Petrovna. Mikhail Alexandrych.
NATALYA
Doctor. How are you?
I like that question very much . . . It means you’re in good health. How are things with me? A decent doctor is always healthy, unless he just up and dies . . . (Laughs)
NATALYA
Sit down. I am in good health, actually . . . but I’m out of sorts . . . And that’s a kind of ill health.
SHPIGELSKY
(Sitting down by Natalya Petrovna) Let’s see about your pulse . . . (He feels her pulse) Ah, nerves, nerves . . . You don’t walk enough, Natalya Petrovna . . . you don’t laugh enough . . . that’s what . . . Mikhail Alexandrych, why are you staring? I could always prescribe you some drops.
NATALYA
I have nothing against laughing . . . (With animation) Now you, doctor . . . you’ve got a wicked tongue, I like that about you, and I respect it! . . . Tell me something funny. Mikhail Alexandrych keeps philosophizing today.
SHPIGELSKY
(Glancing furtively at Rakitin) Obviously it’s not only the nerves suffering—the bile’s also rising a bit . . .
NATALYA
You’re doing it, too! Observe me all you want, doctor, but not out loud. We all know you’re terribly perceptive . . . You’re both very perceptive.
SHPIGELSKY
Yes, ma’am.
NATALYA
Tell us something funny.
Yes, ma’am. But I haven’t even—just like that (Snaps fingers) . . . tell us a story . . . Allow me a pinch of snuff. (He takes a pinch)
NATALYA
Such preparations!
SHPIGELSKY
My dear Natalya Petrovna, there’s funny and funny. It all depends. Your neighbor, for instance, Mr. Popopkin: show him your little finger, like this, and he just falls apart, choking, weeping . . . but you . . . Well, anyway, I’ll give it a try. Do you know Verenitsyn, Platon Vassilyevich?
NATALYA
I think so, or at least I’ve heard of him.
SHPIGELSKY
The one with the mad sister. In my opinion, they’re both mad, or else both in their right minds, because there’s absolutely no difference between brother and sister, but that’s not the point. Fate, ma’am, there’s fate everywhere, and fate in everything. Verenitsyn has a daughter, a greenish little thing, pale little eyes, a red little nose, yellow little teeth—in short, a very nice girl. She plays the piano, and she also lisps, so everything’s as it should be. She comes with two hundred souls, plus a hundred and fifty from her aunt. The aunt’s still alive and will live for a long time yet. Mad people all live a long time—you know, every grief has its good side. She signed her will, leaving everything to her niece, and the day before I personally poured cold water over her head, which, by the way, didn’t do any good, because there’s no way to cure her. Well, so Verenitsyn has this daughter, not a bad catch at all. He began taking her out, suitors started to show up, among others a certain Perekuzov, a scrawny young man, shy, but well behaved. So, ma’am, the father liked our Perekuzov, and so did the daughter . . . Why wait? To the altar, and God bless them! In fact, everything was going beautifully: Mr. Verenitsyn, Platon Vassilyevich, was already starting to slap Mr. Perekuzov on the belly, you know, like this, and to pat him on the shoulder, when suddenly, out of the blue, a visiting officer appears—Ardalion Protobekasov! At the marshal’s ball he sees Verenitsyn’s daughter, dances three polkas with her, probably tells her, rolling up his eyes like this: “Oh, how unhappy I am!”—and my young lady goes completely out of her mind right there. Tears, sighs, moans . . . Perekuzov isn’t looked at, Perekuzov isn’t spoken to, the mere word “wedding” causes convulsions . . . My God, what a story! Well, Verenitsyn thinks, if it’s Protobekasov, it’s Protobekasov. He’s also got money. They invite Protobekasov, do us the honor, they say . . . Protobekasov does them the honor. Protobekasov comes, hangs around, falls in love, finally offers his hand and heart. And what do you think? Does Miss Verenitsyn joyfully accept at once? Too easy! God help us! Again tears, sighs, fits. The father’s at his wit’s end. What is it now? What do you want? And what do you think she answers? “I don’t know which of them I love, papa, this one or that one.” “What?!” “I swear I don’t know, and I’d better not marry anybody, but I am in love!” Verenitsyn, naturally, goes apoplectic on the spot, the suitors also don’t know what to make of it, but she stands her ground. So there, ma’am, see what wonders go on around us!
NATALYA
I don’t find anything astonishing about that . . . As if you can’t love two people at once?
RAKITIN
So you think . . .
NATALYA
(Slowly) I think . . . though, I don’t know . . . maybe it only shows that you don’t love either of them.
SHPIGELSKY
(Taking a pinch of snuff and glancing first at Natalya Petrovna, then at Rakitin) I see, I see . . .
(With animation, to Shpigelsky) Your story’s very good, but you still haven’t made me laugh.
SHPIGELSKY
Well, my dear lady, who can make you laugh now, pray tell? That’s not what you need now.
NATALYA
Then what do I need?
SHPIGELSKY
(With false humility) God only knows!
NATALYA
Ah, how boring you are, no better than Rakitin.
SHPIGELSKY
Good heavens, what an honor . . .
Natalya Petrovna makes an impatient gesture.
ANNA
(Getting up) Well, at last . . . (She sighs) My feet are asleep.
Lizaveta Bogdanovna and Schaaf also get up.
O-o-oh.
NATALYA
(Gets up and goes to them) How can you sit there so long . . .
Shpigelsky and Rakitin get up.
ANNA
(To Schaaf) That’s seventy kopecks from you, my dear.
Schaaf bows drily.
We can’t lose all the time. (To Natalya Petrovna) You look pale today, Natasha. Are you feeling well? . . . Shpigelsky, is she well?
SHPIGELSKY
(Who is whispering something to Rakitin) Oh, perfectly!
ANNA
All right, then . . . I’ll go and rest a bit before dinner . . . I’m worn out. Come, Liza . . . Oh, my feet, my feet . . .
She goes to the ballroom with Lizaveta Bogdanovna. Natalya Petrovna accompanies her to the door. Shpigelsky, Rakitin and Schaaf remain where they are.
SHPIGELSKY
(To Schaaf, holding out his snuffbox) Well, Adam Ivanych, wie befinden Sie sich?3
SCHAAF
(Taking a pinch, importantly) Qvite vell. And yourzelf?
SHPIGELSKY
Still breathing, thank you. (In a low voice to Rakitin) You really don’t know what’s going on with Natalya Petrovna today?
RAKITIN
No, I don’t.
SHPIGELSKY
Well, if you don’t know . . . (He turns and goes to meet Natalya Petrovna, who is coming back from the door) I have a little business with you, Natalya Petrovna.
NATALYA
(Walking to the window) Do you? What is it?
SHPIGELSKY
I must talk with you in private . . .
Really . . . You frighten me.
Meanwhile Rakitin takes Schaaf under the arm, walks back and forth with him, and whispers something to him in German. Schaaf laughs and says in a low voice: “Ja, ja, ja wohl, ja wohl, zehr gut.”4
SHPIGELSKY
(Lowering his voice) As a matter of fact, it doesn’t concern just you . . .
NATALYA
(Looking out to the garden) What do you mean to say?
SHPIGELSKY
The thing is this, ma’am. An acquaintance of mine has asked me to find out . . . well . . . your intentions concerning your ward . . . Vera Alexandrovna.
NATALYA
My intentions?
SHPIGELSKY
Well . . . to put it plainly, my acquaintance . . .
NATALYA
He’s not asking to marry her, is he?
SHPIGELSKY
Exactly right, ma’am.
NATALYA
Are you joking?
SHPIGELSKY
Not at all, ma’am.
NATALYA
(Laughing) Good heavens, she’s still a child! What a strange idea!
What’s strange about it, Natalya Petrovna? My acquaintance . . .
NATALYA
You’re such a busybody, Shpigelsky. Who is this acquaintance of yours?
SHPIGELSKY
(Smiling) Excuse me, excuse me, but you haven’t said anything definite yet about . . .
NATALYA
Enough, doctor. Vera’s still a child. You know it yourself, mister diplomat. (Turning) And, look, here she is.
Vera and Kolya come running in from the ballroom.
KOLYA
(Runs to Rakitin) Rakitin, tell them to give me some glue, I need some glue . . .
NATALYA
(To Vera) Where have you been? (Stroking her cheek) You’re so flushed . . .
VERA
Outside . . .
Shpigelsky bows to her.
Hello, doctor.
RAKITIN
(To Kolya) What’s the glue for?
KOLYA
We need it, we need it . . . Alexei Nikolaich is making a kite for us . . . Tell them . . .
(About to ring) Wait, just a . . .
SCHAAF
Erlauben Sie . . . Meester Koleeah hassn’t read his lektsion for tootay . . . (Takes Kolya’s hand) Kommen Sie.
KOLYA
(Sadly) Morgen, Herr Schaaf, morgen . . .
SCHAAF
(Sharply) Morgen, morgen, nur nicht heute, sagen alle faule Leute . . . Kommen Sie . . .5
Kolya resists.
NATALYA
(To Vera) Who did you take such a long walk with? I haven’t seen you since morning.
VERA
With Alexei Nikolaich . . . with Kolya . . .
NATALYA
Ah! (Turning) Kolya, what are you doing?
KOLYA
(Lowering his voice) Mr. Schaaf . . . Mama . . .
RAKITIN
(To Natalya) There they’re making a kite, and here they want to give him a lesson.
SCHAAF
(With a sense of dignity) Gnädige Frau. . .6
(Sternly, to Kolya) Do as he says, enough running around for today . . . Go with Mr. Schaaf . . .
SCHAAF
(Leading Kolya to the ballroom) Es ist unerhört!7
KOLYA
(As he leaves, whispering to Rakitin) Get us the glue . . .
Rakitin nods.
SCHAAF
(Pulling Kolya) Kommen Sie, mein Herr . . .
They go to the ballroom. Rakitin follows.
NATALYA
(To Vera) Sit down . . . you must be tired . . . (Sits down herself)
VERA
(Sitting down) Not at all, ma’am.
NATALYA
(Smiling, to Shpigelsky) Doctor, look at her, isn’t she tired?
SHPIGELSKY
But it’s good for her.
NATALYA
I’m not saying . . . (To Vera) So, what have you been up to outside?
VERA
Playing, ma’am; running around. First we watched them dig the dam. Then Alexei Nikolaich climbed a tree to get a squirrel, way, way up, and he started shaking the top . . . We all even got scared . . . The squirrel finally fell and Trésor almost caught it . . . But it got away.
(Glancing at Shpigelsky with a smile) And then?
VERA
And then Alexei Nikolaich made a bow for Kolya . . . and so quickly . . . and then he snuck up on our cow in the meadow and suddenly jumped on her back . . . the cow got scared and started running and kicking . . . and he was laughing, (She laughs herself) and then Alexei Nikolaich wanted to make us a kite, so we came here.
NATALYA
(Pats her cheek) A child, a child, you’re a perfect child . . . eh? What do you think, Shpigelsky?
SHPIGELSKY
(Slowly and looking at Natalya Petrovna) I agree with you.
NATALYA
Well, there.
SHPIGELSKY
But that’s no hindrance . . . On the contrary . . .
NATALYA
You think so? (To Vera) Well, and you were having a good time?
VERA
Yes, ma’am . . . Alexei Nikolaich is so much fun.
NATALYA
Oh, is he? (After a pause) Verochka, how old are you?
Vera looks at her with some amazement.
A child . . . a child . . .
Rakitin enters from the ballroom.
(Bustling) Ah, I forgot . . . your coachman’s sick . . . I haven’t seen him yet . . .
NATALYA
What has he got?
SHPIGELSKY
A fever. But there’s no danger.
NATALYA
(As he leaves) Will you stay for dinner, doctor?
SHPIGELSKY
If I may. (Exits into the ballroom)
NATALYA
Mon enfant, vous feriez bien de mettre une autre robe pour le dîner.8
Vera gets up.
Come to me . . . (Kisses her on the forehead) A child, a child!
Vera kisses her hand and goes to the study.
RAKITIN
(Quietly to Vera, with a wink) I sent Alexei Nikolaich everything he needs.
VERA
(In a low voice) Thank you, Mikhail Alexandrych.
Exits.
RAKITIN
(Goes up to Natalya Petrovna. She gives him her hand. He presses it at once) At last we’re alone . . . Natalya Petrovna, tell me, what’s the matter?
Never mind, Michel, never mind. And whatever it was, it’s gone now. Sit down.
Rakitin sits down beside her.
It can happen to anybody. Clouds drift across the sky. Why are you looking at me like that?
RAKITIN
I’m just looking at you . . . I’m happy.
NATALYA
(Smiles in response) Open the window, Michel. It’s so nice out!
Rakitin gets up and opens the window.
Hello, wind. (She laughs) As if he’s been waiting for a chance to burst in . . . (Looking around) See how he’s taken over the whole room . . . There’s no driving him out now . . .
RAKITIN
You yourself are soft and still now, like evening after a storm.
NATALYA
(Pensively repeating his last words) After a storm . . . Was there a storm?
RAKITIN
(Shaking his head) It was gathering.
NATALYA
Really? (Looking at him, after a short pause) You know, Michel, I can’t imagine a kinder man than you. It’s true.
Rakitin wants to stop her.
No, let me say it. You’re indulgent, gentle, constant. You don’t change. I owe you a lot.
RAKITIN
Natalya Petrovna, why are you saying this to me precisely now?
NATALYA
I don’t know. I’m cheerful, I’m relaxed. Let me chatter away . . .
RAKITIN
(Pressing her hand) You’re kind as an angel.
NATALYA
(Laughing) You wouldn’t have said that this morning . . . But listen, Michel, you know me, you’ll forgive me. Our relationship is so pure, so sincere . . . and yet it’s not quite natural. We have the right to look not just Arkady but everybody straight in the eye . . . Yes, but . . . (She turns pensive) That’s why it sometimes becomes hard for me, and awkward, I get cross, and like a child, I keep wanting to take out my vexation on others, especially on you . . . That preference doesn’t make you angry?
RAKITIN
(With animation) On the contrary . . .
NATALYA
It’s sometimes fun to torment the one you love . . . love . . . Yes, like Tatyana, I can say: “Why pretend?”9
RAKITIN
Natalya Petrovna, you . . .
NATALYA
(Interrupting him) Yes . . . I love you. But do you know what, Rakitin? Do you know what sometimes seems strange to me? I love you . . . and that feeling is so serene, so peaceful . . . It doesn’t excite me . . . it warms me, but . . . (With animation) You’ve never made me cry . . . and yet it seems I should have . . . (Interrupting herself) What does it mean?
RAKITIN
(Sadly) Such a question needs no answer.
NATALYA
(Thoughtfully) We’ve known each other a long time.
RAKITIN
Four years. Yes, we’re old friends.
NATALYA
Friends . . . No, you’re more than a friend to me . . .
RAKITIN
Natalya Petrovna, don’t touch on this question . . . I’m afraid—my happiness may vanish under your hands.
NATALYA
No . . . no . . . no. The whole thing is that you’re too kind. You’re too indulgent with me . . . You’ve spoiled me . . . You’re too kind, do you hear?
RAKITIN
(With a smile) I hear, ma’am.
NATALYA
(Looking at him) I don’t know how you . . . I don’t want any other happiness . . . Many women might envy me. (Gives him both her hands) Isn’t that so?
RAKITIN
I’m in your hands . . . do what you like with me . . .
Islaev’s voice is heard in the ballroom: “So you’ve sent for him?”
(Quickly getting up) It’s him! I can’t see him now . . . Good-bye! (Exits to the study)
RAKITIN
(Following her with his eyes) What is it? The beginning of the end, or simply the end? (He pauses briefly) Or the beginning?
Islaev enters, looking preoccupied, and takes off his hat.
ISLAEV
Hello, Michel.
RAKITIN
We already met today.
ISLAEV
Ah! Sorry . . . I’ve been running around all day. (He paces the room) It’s strange. The Russian peasant is very smart, quick-witted, I respect the Russian peasant . . . and yet sometimes you talk to him, explain, explain . . . Seems clear, but it’s no use. The Russian peasant hasn’t got this . . . this . . .
RAKITIN
You’re still fussing over the dam?
ISLAEV
This . . . so to speak . . . this love of work isn’t there . . . it just isn’t there. He won’t let you give him a clear opinion. “Yes, master, yes, master . . .” But what kind of “Yes” is it—he’s simply understood nothing. Take the German—what a difference! The Russian has no patience. Though I respect him, for all that . . . But where’s Natasha? Do you know?
RAKITIN
She was just here.
What time is it? It must be time for dinner. I’ve been on my feet since morning—no end of work. I haven’t been to the building site yet. The time just disappears. Terrible! Can’t keep up with it all!
Rakitin smiles.
I see you’re laughing at me . . . What can I do, brother? To each his own. I’m a plain man, born to be a farmer—and nothing else. There was a time I dreamed of something else; but I was brought up short, brother! Got my fingers burnt—but good! Why hasn’t Belyaev come?
RAKITIN
Who is Belyaev?
ISLAEV
Our new tutor, Russian. Still a bit untamed; but he’ll get used to us. Got a head on his shoulders . . . I just asked him to check on the building site . . .
Belyaev enters.
Here he is! Well? What’s going on there? Most likely nothing—eh?
BELYAEV
No, sir, they’re working.
ISLAEV
Have they finished the second frame?
BELYAEV
They’ve started the third.
ISLAEV
You told them about the beams?
Yes.
ISLAEV
Well—what did they say?
BELYAEV
They said they’ve never done it any other way.
ISLAEV
Hm. Is the carpenter Ermil there?
BELYAEV
Yes, he is.
ISLAEV
Ah! . . . Well, thank you.
Natalya Petrovna enters.
Ah! Natasha! Hello!
RAKITIN
Why are you greeting everybody twenty times today?
ISLAEV
I told you, I’ve been running around! By the way, have I shown you my new winnowing machine? Let’s go; it’s interesting. Imagine—it blows up a storm, a real hurricane. We’ve got time before dinner . . . Want to?
RAKITIN
All right.
ISLAEV
And you, Natasha, won’t you come with us?
What do I know about your winnowing machines! Go by yourselves—just don’t get stuck there.
ISLAEV
(Exiting with Rakitin) We’ll be right back . . .
Belyaev is about to follow them.
NATALYA
(To Belyaev) Where are you off to, Alexei Nikolaich?
BELYAEV
Me, ma’am? . . . I . . .
NATALYA
However, if you want to go out again . . .
BELYAEV
No, ma’am, I was outside all morning!
NATALYA
Ah! In that case, sit down . . . Sit down here. (Points to a chair) We haven’t had a proper talk yet, Alexei Nikolaich. We haven’t gotten acquainted yet.
Belyaev bows and sits down.
And I wish to get acquainted with you.
BELYAEV
I . . . I’m very flattered, ma’am.
NATALYA
(Smiling) You’re afraid of me now, I see that . . . but wait, you’ll get to know me, and you’ll stop being afraid of me . . . Tell me . . . Tell me, how old are you?
Twenty-one, ma’am.
NATALYA
Are your parents living?
BELYAEV
My mother is dead. My father’s living.
NATALYA
Did your mother pass away long ago?
BELYAEV
Yes, ma’am.
NATALYA
But you remember her?
BELYAEV
Why, yes . . . I do, ma’am.
NATALYA
And your father lives in Moscow?
BELYAEV
No, ma’am, in the country.
NATALYA
Ah! And do you have any brothers . . . sisters?
BELYAEV
One sister.
NATALYA
Do you love her very much?
BELYAEV
Yes, ma’am. She’s much younger than me.
What is her name?
BELYAEV
Natalya.
NATALYA
(With animation) Natalya? That’s strange. My name is also Natalya . . . (Stops herself) And you love her very much?
BELYAEV
Yes, ma’am.
NATALYA
Tell me, how do you find my Kolya?
BELYAEV
He’s a very nice boy.
NATALYA
Isn’t he? And so affectionate! He’s managed to become attached to you already.
BELYAEV
I try to do my best . . . I’m very glad . . .
NATALYA
So you see, Alexei Nikolaich, of course, I wish to make a sensible man of him. I don’t know if I’ll succeed, but in any case I want him always to remember his childhood with pleasure. Let him grow up free—that’s the main thing. I myself was brought up differently, Alexei Nikolaich. My father wasn’t a bad man, but he was irritable and strict . . . everyone in the house was afraid of him, beginning with mama. My brother and I used to secretly cross ourselves each time we were summoned to him. Sometimes my father would hug me, but even in his arms, I remember, I’d go stiff. My brother grew up, and maybe you’ve heard about his break with father . . . I’ll never forget that awful day . . . I remained the obedient daughter until father passed away . . . he called me his consolation, his Antigone . . . he went blind in the last years of his life. But his tenderest affection could not erase in me the first impressions of my youth . . . I feared him, the blind old man, and never felt free in his presence . . . The traces of that timidity, of that constant holding back, may not have disappeared entirely to this day . . . I know, at first sight I seem . . . how shall I put it? . . . cold, or something . . . But here I’m telling you about myself, instead of talking to you about Kolya. I only wanted to say that I know from my own experience how good it is for a child to grow up free . . . Now you, I suppose, were not stifled as a child, isn’t that so?
BELYAEV
How can I put it, ma’am? . . . Of course, nobody stifled me . . . nobody paid any attention to me.
NATALYA
(Timidly) Didn’t your father . . . ?
BELYAEV
He had other things to do, ma’am. He mostly went around to the neighbors . . . on business, ma’am . . . Or not even on business, but . . . He earned his bread through them, you might say. Doing this or that.
NATALYA
Ah! So nobody paid attention to your upbringing?
BELYAEV
Nobody, to tell the truth. Anyway, it must show. I’m all too aware of my shortcomings.
NATALYA
Maybe . . . but then . . . (Pauses, and goes on with some embarrassment) Ah, by the way, Alexei Nikolaich, was that you singing in the garden yesterday?
When, ma’am?
NATALYA
In the evening, by the pond. Was it you?
BELYAEV
It was, ma’am. (Hastily) I didn’t think . . . the pond’s so far away . . . I didn’t think it could be heard from here . . .
NATALYA
Are you apologizing? You have a very pleasant, clear voice, and you sing so well. Have you studied music?
BELYAEV
No, ma’am. I sing by ear . . . only simple songs.
NATALYA
You sing them beautifully . . . I’ll ask you sometime . . . not now, but when we’re better acquainted, when we’ve become closer . . . we will become closer, won’t we, Alexei Nikolaich? I trust you, my chattering is proof of it . . .
She gives him her hand, expecting him to shake it. Belyaev takes it irresolutely, and after some hesitation, not knowing what to do with this hand, he kisses it. Natalya Petrovna blushes and pulls her hand back. At that moment, Shpigelsky enters from the ballroom, stops, and steps back. Natalya Petrovna quickly gets up, as does Belyaev.
(With embarrassment) Ah, it’s you, doctor . . . Alexei Nikolaich and I were . . . (Stops)
SHPIGELSKY
(Loudly and casually) Just look at what goes on here, Natalya Petrovna. I come to the servants’ quarters, ask for the sick coachman, and—lo and behold!—my patient is sitting at the table stuffing his mouth with pancakes and onion. What good is it being a doctor with patients like that!
(Forcing a smile) Ah! Really . . .
Belyaev wants to leave.
Alexei Nikolaich, I forgot to tell you . . .
VERA
(Running in from the ballroom) Alexei Nikolaich! Alexei Nikolaich!
She suddenly stops, seeing Natalya Petrovna.
NATALYA
(Somewhat startled) What is it? What do you want?
VERA
(Blushing and looking down, points to Belyaev) Somebody’s calling him.
NATALYA
Who?
VERA
Kolya . . . I mean, Kolya was asking about the kite . . .
NATALYA
Ah! (In a low voice, to Vera) On n’entre pas comme cela dans une chambre . . . Cela ne convient pas.10 (Turning to Shpigelsky) What time is it, doctor? Your watch is always right . . . It’s time for dinner.
SHPIGELSKY
Let me see. (Takes out his watch) It’s now . . . I’ll tell you, it’s now—twenty past four.
NATALYA
There, you see. Dinnertime.
She goes to the mirror and straightens her hair. Meanwhile, Vera whispers something to Belyaev. Both laugh. Natalya Petrovna sees them in the mirror. Shpigelsky keeps glancing at her out of the corner of his eye.
BELYAEV
(Laughing, in a low voice) Did she really?
VERA
(Nodding, also in a low voice) Yes, yes, she fell right off.
NATALYA
(With feigned indifference, turning to Vera) What? Who fell off?
VERA
(Embarrassed) It’s nothing, ma’am . . . Alexei Nikolaich put up a swing there, so nanny took it into her head . . .
NATALYA
(Without waiting for her to finish, to Shpigelsky) Ah, by the way, Shpigelsky, come here . . . (She leads him aside and turns again to Vera) She didn’t hurt herself?
VERA
Oh, no, ma’am!
NATALYA
Well . . . but still, Alexei Nikolaich, you shouldn’t have . . .
MATVEI
(Enters from the ballroom and announces) Dinner is served.
NATALYA
Ah! But where is Arkady Sergeich? He and Mikhail Alexandrych will be late again.
They’re already in the dining room, ma’am.
NATALYA
And mama?
MATVEI
She’s in the dining room, too, ma’am.
NATALYA
Ah! Well, come along, then. (Pointing to Belyaev) Vera, allez en avant avec monsieur.11
Matvei exits, Belyaev and Vera follow.
SHPIGELSKY
(To Natalya Petrovna) You wanted to tell me something?
NATALYA
Ah, yes! Right . . . So you see . . . We must talk more about . . . about what you proposed.
SHPIGELSKY
Concerning . . . Vera Alexandrovna?
NATALYA
Yes . . . I’ll think it over . . . I’ll think it over.
Both exit to the ballroom.
Curtain.