NIKÍTA [shakes her off] Leave me alone! And you, father, hear me! And first, Marína, look here! [Bows to the ground to her and rises] I have sinned towards you! I promised to marry you, I tempted you, and forsook you! Forgive me, in Christ’s name! [Again bows to the ground before her].
ANÍSYA. And what are you drivelling about? It’s not becoming! No one wants to know! Get up! It’s like your impudence!
MATRYÓNA. Oh, oh, he’s bewitched! And however did it happen? It’s a spell! Get up! what nonsense are you jabbering? [Pulls him].
NIKÍTA [shakes his head] Don’t touch me! Forgive me my sin towards you, Marína! Forgive me, for Christ’s sake!
Marína covers her face with her hands in silence.
ANÍSYA. Get up, I tell you! Don’t be so impudent! What are you thinking about–to recall it? Enough humbug! It’s shameful! Oh my poor head! He’s quite crazy!
NIKÍTA [pushes his wife away and turns to Akoulína] Akoulína, now I’ll speak to you! Listen, Christian Commune! I’m a fiend, Akoulína! I have sinned against you! Your father died no natural death! He was poisoned!
ANÍSYA [screams] Oh my head! What’s he about?
MATRYÓNA. The man’s beside himself! Lead him away!
The folk come up and try to seize him.
AKÍM [motions them back with his arms] Wait! You lads, what d’ye call it, wait, I mean!
NIKÍTA. Akoulína, I poisoned him! Forgive me, in Christ’s name!
AKOULÍNA [jumps up] He’s telling lies! I know who did it!
MATCHMAKER. What are you about? You sit still!
AKÍM. Oh Lord, what sins, what sins!
POLICE OFFICER. Seize him, and send for the Elder! We must draw up an indictment and have witnesses to it! Get up and come here!
AKÍM [to Police Officer] Now you–with the bright buttons–I mean, you wait! Let him, what d’ye call it, speak out, I mean!
POLICE OFFICER. Mind, old man, and don’t interfere! I have to draw up an indictment!
AKÍM. Eh, what a fellow you are; wait, I say! Don’t talk, I mean, about, what d’ye call it, ‘ditements! Here God’s work is being done…. A man is confessing, I mean! And you, what d’ye call it … ‘ditements!
POLICE OFFICER. The Elder!
AKÍM. Let God’s work be done, I mean, and then you, I mean, you do your business!
NIKÍTA. And, Akoulína, my sin is great towards you; I seduced you; forgive me in Christ’s name! [Bows to the ground before her].
AKOULÍNA [leaves the table] Let me go! I shan’t be married! He told me to, but I shan’t now!
POLICE OFFICER. Repeat what you have said.
NIKÍTA. Wait, sir, let me finish!
AKÍM [with rapture] Speak, my son! Tell everything–you’ll feel better! Confess to God, don’t fear men! God–God! It is He!
NIKÍTA. I poisoned the father, dog that I am, and I ruined the daughter! She was in my power, and I ruined her, and her baby!
AKOULÍNA. True, that’s true!
NIKÍTA. I smothered the baby in the cellar with a board! I sat on it and smothered it–and its bones crunched! [Weeps] And I buried it! I did it, all alone!
AKOULÍNA. He raves! I told him to!
NIKÍTA. Don’t shield me! I fear no one now! Forgive me, Christian Commune! [Bows to the ground].
Silence.
POLICE OFFICER. Bind him! The marriage is evidently off!
Men come up with their belts.
NIKÍTA. Wait, there’s plenty of time! [Bows to the ground before his father] Father, dear father, forgive me too,–fiend that I am! You told me from the first, when I took to bad ways, you said then, “If a claw is caught, the bird is lost!” I would not listen to your words, dog that I was, and it has turned out as you said! Forgive me, for Christ’s sake!
AKÍM [rapturously] God will forgive you, my own son! [Embraces him] You have had no mercy on yourself, He will show mercy on you! God–God! It is He!
Enter Elder.
ELDER. There are witnesses enough here.
POLICE OFFICER. We will have the examination at once.
Nikíta is bound.
AKOULÍNA [goes and stands by his side] I shall tell the truth! Ask me!
NIKÍTA [bound] No need to ask! I did it all myself. The design was mine, and the deed was mine. Take me where you like. I will say no more!
Curtain.
Note
The following is a list of corrections made to the original. The first line is the original line, the second the corrected one.
about the lass or about yourself Twist them, I mean, to make it better about the lass or about yourself. Twist them, I mean, to make it better
daresay the samovár is still hot I’ll also go and help a bit. daresay the samovár is still hot. I’ll also go and help a bit.
NIKÍTA. I don’t want it! Put out the light . . Oh, how dull I feel, how NIKÍTA. I don’t want it! Put out the light … Oh, how dull I feel, how
thanking us! And the guests are all of the best: Ivan Moséitch is there thanking us! And the guests are all of the best: Iván Moséitch is there
MÍTRICH. What? MÍTRITCH. What?
NIKÍTA. You tell me not to fear men. NIKÍTA. You tell me not to fear men?
MÍTRICH. Why fear such muck as they are? You look at ’em in the MÍTRITCH. Why fear such muck as they are? You look at ’em in the
ANÍSYA. Nikíta darling, what’s the matter with you. Oh my head, my head! ANÍSYA. Nikíta darling, what’s the matter with you? Oh my head, my head!
The End
Fruits of Culture, Leo Tolstoy
Fruits of Culture
A Comedy In Four Acts
CHARACTERS
LEONÍD FYÓDORITCH ZVEZDÍNTSEF. A retired Lieutenant of the Horse Guards. Owner of more than 60,000 acres of land in various provinces. A fresh-looking, bland, agreeable gentleman of 60. Believes in Spiritualism, and likes to astonish people with his wonderful stories.
ANNA PÁVLOVNA ZVEZDÍNTSEVA. Wife of Leoníd. Stout; pretends to be young; quite taken up with the conventionalities of life; despises her husband, and blindly believes in her doctor. Very irritable.
BETSY. Their daughter. A young woman of 20, fast, tries to be mannish, wears a pince-nez, flirts and giggles. Speaks very quickly and distinctly.
VASÍLY LEONÍDITCH ZVEZDÍNTSEF. Their son, aged 25; has studied law, but has no definite occupation. Member of the Cycling Club, Jockey Club, and of the Society for Promoting the Breeding of Hounds. Enjoys perfect health, and has imperturbable self-assurance. Speaks loud and abruptly. Is either perfectly serious–almost morose, or is noisily gay and laughs loud. Is nicknamed Vovo.
ALEXÉY VLADÍMIRITCH KROUGOSVÉTLOF. A professor and scientist of about 50, with quiet and pleasantly self-possessed manners, and quiet, deliberate, harmonious speech. Likes to talk. Is mildly disdainful of those who do not agree with him. Smokes much. Is lean and active.
THE DOCTOR. About 40. Healthy, fat, red-faced, loud-voiced, and rough; with a self-satisfied smile constantly on his lips.
MÁRYA KONSTANTÍNOVNA. A girl of 20, from the Conservatoire, teacher of music. Wears a fringe, and is super-fashionably dressed. Obsequious, and gets easily confused.
PETRÍSTCHEF. About 28; has taken his degree in philology, and is looking out for a position. Member of the same clubs as Vasíly Leoníditch, and also of the Society for the Organisation of Calico Balls.[1] Is bald-headed, quick in movement and speech, and very polite.
[1] Economical balls at which the ladies are bound to appear in dresses made of cotton materials.
THE BARONESS. A pompous lady of about 50, slow in her movements, speaks with monotonous intonation.
THE PRINCESS. A society woman, a visitor.
HER DAUGHTER. An affected young society woman, a visitor.
THE COUNTESS. An ancient dame, with false hair and teeth. Moves with great difficulty.
GROSSMAN. A dark, nervous, lively man of Jewish type. Speaks very loud.
THE FAT LADY: MÁRYA VASÍLEVNA TOLBOÚHINA. A very distinguished, rich, and kindly woman, acquainted with all the notable people of the last and present generations. Very stout. Speaks hurriedly, trying to be heard above every one else. Smokes.
BARON KLÍNGEN (nicknamed KOKO). A graduate of Petersburg University. Gentleman of the Bedchamber, Attaché to an Embassy. Is perfectly correct in his deportment, and therefore enjoys peace of mind and is quietly gay.
TWO SILENT LADIES.
SERGÉY IVÁNITCH SAHÁTOF. About 50, an ex-Assistant Minister of State. An elegant gentleman, of wide European culture, engaged in nothing and interested in everything. His carriage is dignified and at times even severe.
THEODORE IVÁNITCH. Personal attendant on Zvezdíntsef, aged about 60. A man of some education and fond of information. Uses his pince-nez and pocket-handkerchief too much, unfolding the latter very slowly. Takes an interest in politics. Is kindly and sensible.
GREGORY. A footman, about 28, handsome, profligate, envious, and insolent.
JACOB. Butler, about 40, a bustling, kindly man, to whom the interests of his family in the village are all-important.
SIMON. The butler’s assistant, about 20, a healthy, fresh, peasant lad, fair, beardless as yet; calm and smiling.
THE COACHMAN. A man of about 35, a dandy. Has moustaches but no beard. Rude and decided.
A DISCHARGED MAN-COOK. About 45, dishevelled, unshaved, bloated, yellow and trembling. Dressed in a ragged, light summer-overcoat and dirty trousers. Speaks hoarsely, ejecting the words abruptly.
THE SERVANTS’ COOK. A talkative, dissatisfied woman of 30.
THE DOORKEEPER. A retired soldier.
TÁNYA (TATYÁNA MÁRKOVNA). Lady’s-maid, 19, energetic, strong, merry, with quickly-changing moods. At moments, when strongly excited, she shrieks with joy.
FIRST PEASANT. About 60. Has served as village Elder. Imagines that he knows how to treat gentlefolk, and likes to hear himself talk.
SECOND PEASANT. About 45, head of a family. A man of few words. Rough and truthful. The father of Simon.
THIRD PEASANT. About 70. Wears shoes of plaited bast. Is nervous, restless, hurried, and tries to cover his confusion by much talking.
FIRST FOOTMAN (in attendance on the Countess). An old man, with old-fashioned manners, and proud of his place.
SECOND FOOTMAN. Of enormous size, strong, and rude.
A PORTER FROM A FASHIONABLE DRESSMAKER’S SHOP. A fresh-faced man in dark-blue long coat. Speaks firmly,
