KARÉNIN. I know.
Enter LISA R.I. KARÉNIN crosses to LISA.
I’m sorry to have been a little detained.
Shakes hands with LISA.
LISA. Oh, thank you so much for coming. I have a great favor to ask of you. Something I couldn’t ask of anybody else.
KARÉNIN. I’ll do everything I can.
LISA moves away a few steps down R.
LISA. You know all about this.
Sits chair R.
KARÉNIN. Yes, I know.
ANNA PÁVLOVNA. Well, I think I’ll leave you two young people to yourselves. (To SASHA.) Come along, dear, you and I will be just in the way.
Exit L. U. ANNA PÁVLOVNA and SASHA.
LISA. Fédya wrote to me saying it was all over between us. (She begins to cry.) That hurt me so, bewildered me so, that–well, I agreed to separate. I wrote to him saying I was willing to give him up if he wanted me to.
KARÉNIN. And now you’re sorry?
LISA (nodding). I feel I oughtn’t to have said yes. I can’t. Anything is better than not to see him again. Victor dear, I want you to give him this letter and tell him what I’ve told you, and–and bring him back to me.
Gives VICTOR a letter.
KARÉNIN. I’ll do what I can.
Takes letter, turns away and sits chair R. of table C.
LISA. Tell him I will forget everything if only he will come back. I thought of mailing this, only I know him: he’d have a good impulse, first thwarted by some one, some one who would finally make him act against himself.
Pause.
Are you–are you surprised I asked you?
KARÉNIN. No. (He hesitates.) But–well, candidly, yes. I am rather surprised.
LISA. But you are not angry?
KARÉNIN. You know I couldn’t be angry with you.
LISA. I ask you because I know you’re so fond of him.
KARÉNIN. Of him–and of you too. Thank you for trusting me. I’ll do all I can.
LISA. I know you will. Now I’m going to tell you everything. I went to-day to Afrémov’s, to find out where he was. They told me he was living with the gypsies. Of course that’s what I was afraid of. I know he’ll be swept off his feet if he isn’t stopped in time. So you’ll go, won’t you?
KARÉNIN. Where’s the place?
LISA. It’s that big tenement where the gypsy orchestra lives, on the left bank below the bridge. I went there myself. I went as far as the door, and was just going to send up the letter, but somehow I was afraid. I don’t know why. And then I thought of you. Tell him, tell him I’ve forgotten everything and that I’m here waiting for him to come home. (Crosses to KARÉNIN–a little pause.) Do it out of love for him, Victor, and out of friendship for me.
Another pause.
KARÉNIN. I’ll do all I can.
He bows to her and goes out L.U. Enter SASHA L.U., goes L. over near table C.
SASHA. Has the letter gone? (LISA nods.) He had no objections to taking it himself?
LISA, R. C., shakes head.
SASHA (L.C.). Why did you ask him? I don’t understand it.
LISA. Who else was there?
SASHA. But you know he’s in love with you.
LISA. Oh, that’s all past. (Over to table C.) Do you think Fédya will come back?
SASHA. I’m sure he will, but–
Enter ANNA PÁVLOVNA.
ANNA PÁVLOVNA. Where’s Victor Karénin?
LISA. Gone.
ANNA PÁVLOVNA. Gone?
LISA. I’ve asked him to do something for me.
ANNA PÁVLOVNA. What was it? Another secret?
LISA. No, not a secret. I simply asked him to take a letter to Fédya.
ANNA PÁVLOVNA. To Fedor Protosov?
LISA. Oh, to Fédya, Fédya.
ANNA PÁVLOVNA. Then it’s not going to be over?
LISA. I can’t let him leave me.
ANNA PÁVLOVNA. Oh, so we shall commence all over again?
LISA. I’ll do anything you like, but I can’t give him up.
ANNA PÁVLOVNA. You don’t mean you want him to come back?
LISA. Yes, yes.
ANNA PÁVLOVNA. Let that reptile into the house again!
LISA. Please don’t talk like that. He’s my husband.
ANNA PÁVLOVNA. Was your husband.
LISA. No. He’s still my husband.
ANNA PÁVLOVNA. Spendthrift. Drunkard. Reprobate. And you’ll not part from him!
LISA. Oh, Mother, why do you keep on hurting me! You seem to enjoy it.
ANNA PÁVLOVNA. Hurt you, do I? Enjoy it, do I? Very well, then, if that’s the case, I’d better go.
Pause.
I see I’m in your way. You want me to go. Well, all I can say is I can’t make you out. I suppose you’re being “modern” and all that. But to me, it’s just plain disgusting. First, you make up your mind to separate from your husband, and then you up and send for another man who’s in love with you–
LISA. Mother, he’s not.
ANNA PÁVLOVNA. You know Karénin proposed to you, and he’s the man you pick out to bring back your husband. I suppose you do it just to make him jealous.
LISA. Oh, Mother, stop it. Leave me alone.
ANNA PÁVLOVNA. That’s right. Send off your mother. Open the door to that awful husband. Well, I can’t stand by and see you do it. I’ll go. I’m going. And God be with you and your extraordinary ways.
Exit L. U. with suppressed rage.
LISA (sinking into a chair R. of table C.). That’s the last straw.
SASHA. Oh, she’ll come back. We’ll make her understand. (Going to the door and following after her mother.) Now, Mother darling, listen– listen–
Exit L. U.
All lights dim to black out.
CURTAIN
SCENE II
A room at the gypsies’, dark but beautifully lit. The actual room is scarcely seen, and although at first it appears squalid, there are flaring touches of Byzantine luxury. Gypsies are singing. FÉDYA is lying on the sofa, his eyes closed, coat off. An OFFICER sits at the table, on which there are bottles of champagne and glasses. Beside him sits a musician taking down the song.
AFRÉMOV (standing L. U.). Asleep?
FÉDYA (on couch L. Raising his hand warningly). Sh! Don’t talk! Now let’s have “No More at Evening.”
GYPSY LEADER. Impossible, Fedor Protosov. Masha must have her solo first.
FÉDYA. Afterwards. Now let’s have “No More at Evening.”
Gypsies sing.
GYPSY WOMAN (R. C., when they finish singing, turning to Musician who is sitting at table R., with his back to audience). Have you got it?
MUSICIAN. It’s impossible to take it down correctly. They change the tune each time, and they seem to have a different scale, too. (He calls a gypsy woman.) Is this it?
He hums a bar or two.
GYPSY WOMAN (clapping her hands). Splendid! Wonderful! How can you do it?
FÉDYA (rising. Goes to table L. back of couch and pours out glass of wine). He’ll never get it. And even if he did and shovelled it into an opera, he’d make it seem absolutely meaningless.
AFRÉMOV. Now we’ll have “The Fatal Hour.”
Gypsies sing quartette. During this song, FÉDYA is standing down R., keeping time with the wine glass from which he has drunk. When they finish he returns to the couch and falls into MASHA’S arms.
FÉDYA. God! That’s it! That’s it! That’s wonderful. What lovely things that music says. And where does it all come from, what does it all mean?
Another pause.
To think that men can touch eternity like that, and then–nothing– nothing at all.
MUSICIAN. Yes, it’s very original.
Taking notes.
FÉDYA. Original be damned. It’s real.
MUSICIAN. It’s all very simple, except the rhythm. That’s very strange.
FÉDYA. Oh, Masha, Masha! You turn my soul inside out.
Gypsies hum a song softly.
MASHA (sitting on couch L. with FÉDYA). Do I? But what was it I asked you for?
FÉDYA. What? Oh, money. Voilà, mademoiselle.
He takes money front his trousers pocket. MASHA laughs, takes the money, counts it swiftly, and hides it in her dress.
FÉDYA. Look at this strange creature. When she sings she rushes me into the sky and all she asks for is money, little presents of money for throwing open the Gates of Paradise. You don’t know yourself, at all, do you?
MASHA. What’s the use of me wondering about myself? I know when I’m in love, and I know that I sing best when my love is singing.
FÉDYA. Do you love me?
MASHA (murmuring). I love you.
FÉDYA. But I am a married man, and you belong to this gypsy troupe. They wouldn’t let you leave it, and–
MASHA (interrupting). The troupe’s one thing, and my heart’s another. I love those I love, and I hate those I hate.
FÉDYA. Oh, you must be happy to be like that.
MASHA. I’m always happy when handsome gentlemen come and say nice things to me. (Gypsies stop singing.)
A GYPSY entering speaks to FÉDYA.
GYPSY. Some one asking for you.
FÉDYA. Who?
Gypsy. Don’t know. He’s rich, though. Fur coat.
FÉDYA. Fur coat? O my God, show him in.
AFRÉMOV. Who the devil wants to see you here?
FÉDYA (carelessly). God knows, I don’t. (Begins to hum a song.)
KARÉNIN comes in, looking around the room.
(Exclaiming). Ha! Victor! You’re the last man in the world I expected to break into this enchanting milieu. Take off your coat, and they’ll sing for you.
KARÉNIN. Je voudrais vous parler sans témoins.
MASHA rises and joins the group R.
FÉDYA. Oh…. What about?
KARÉNIN. Je viens de chez vous. Votre femme ma chargé de cette lettre, et puis–
FÉDYA takes the letter, opens it, reads. He frowns, then smiles affectionately at KARÉNIN.
FÉDYA. You know what’s in this letter, Victor?
He is smiling gently all the time.
KARÉNIN (looking at FÉDYA rather severely). Yes, I know. But really, Fédya, you’re in no–
FÉDYA (interrupting). Please, please don’t think I’m drunk and don’t realize what I’m saying. Of course I’m drunk, but I see everything very clearly. Now go ahead. What were you told to tell me?
KARÉNIN (is standing L. C. Shrugging his shoulders). Your wife asked me to find you and to tell you she’s waiting for you. She wants you to forget everything and
