PETRÍSTCHEF. Well, anyhow, wait a bit, I must say good-bye.
VASÍLY LEONÍDITCH. All right. And I will go and look at my dogs in the coachman’s room. I’ve got a dog there that’s so savage, the coachman said, he nearly ate him.
PETRÍSTCHEF. Who ate whom? Did the coachman really eat the dog?
VASÍLY LEONÍDITCH. You are always at it! [Puts on outdoor things and goes out].
PETRÍSTCHEF [thoughtfully] Ma-kin-tosh, Co-co-tin…. Let’s see. [Goes upstairs].
Jacob runs across the stage.
THEODORE IVÁNITCH. What’s the matter?
JACOB. There is no more thin bread and butter. I said … [Exit].
SECOND FOOTMAN. And then our master’s little son fell ill, and they sent him at once to an hotel with his nurse, and there he died without his mother.
FIRST FOOTMAN. They don’t seem to fear sin! I think you cannot escape from God anywhere.
THEODORE IVÁNITCH. That’s what I think.
Jacob runs upstairs with bread and butter.
FIRST FOOTMAN. One should consider too, that if we are to be afraid of everybody like that, we’d better shut ourselves up within four walls, as in a prison, and stick there!
Enter Tánya; she bows to the Footmen.
TÁNYA. Good afternoon.
Footmen bow.
TÁNYA. Theodore Ivánitch, I have a word to say to you.
THEODORE IVÁNITCH. Well, what?
TÁNYA. The peasants have come again, Theodore Ivánitch …
THEODORE IVÁNITCH. Well? I gave the paper to Simon.
TÁNYA. I have given them the paper. They were that grateful! I can’t say how! Now they only ask you to take the money.
THEODORE IVÁNITCH. But where are they?
TÁNYA. Here, by the porch.
THEODORE IVÁNITCH. All right, I’ll tell the master.
TÁNYA. I have another request to you, dear Theodore Ivánitch.
THEODORE IVÁNITCH. What now?
TÁNYA. Why, don’t you see, Theodore Ivánitch, I can’t remain here any longer. Ask them to let me go.
Enter Jacob, running.
THEODORE IVÁNITCH [to Jacob] What d’you want?
JACOB. Another samovár, and oranges.
THEODORE IVÁNITCH. Ask the housekeeper.
Exit Jacob.
THEODORE IVÁNITCH [to Tánya] How is that?
TÁNYA. Why, don’t you see, my position is such …
JACOB [runs in] There are not enough oranges.
THEODORE IVÁNITCH. Serve up as many as you’ve got [Exit Jacob]. Now’s not the time! Just see what a bustle we are in.
TÁNYA. But you know yourself, Theodore Ivánitch, there is no end to this bustle; one might wait for ever–you know yourself–and my affair is for life…. Dear Theodore Ivánitch, you have done me a good turn, be a father to me now, choose the right moment and tell her, or else she’ll get angry and won’t let me have my passport.[19]
[19] Employers have charge of the servants’ passports, and in this way have a hold on them in case of misconduct.
THEODORE IVÁNITCH. Where’s the hurry?
TÁNYA. Why, Theodore Ivánitch, it’s all settled now…. And I could go to my godmother’s and get ready, and then after Easter we’d get married.[20] Do tell her, dear Theodore Ivánitch!
[20] See footnote, p. 28. It is customary for peasants to marry just after Easter, but when spring has come and the field work begun, no marriages take place among them till autumn.
THEODORE IVÁNITCH. Go away–this is not the place.
An elderly Gentleman comes downstairs, puts on overcoat, and goes out followed by the Second Footman.
Exit Tánya. Enter Jacob.
JACOB. Just fancy, Theodore Ivánitch, it’s too bad! She wants to discharge me now! She says, “You break everything, and forget Frisk, and you let the peasants into the kitchen against my orders!” And you know very well that I knew nothing about it. Tatyána told me, “Take them into the kitchen”; how could I tell whose order it was?
THEODORE IVÁNITCH. Did the mistress speak to you?
JACOB. She’s just spoken. Do speak up for me, Theodore Ivánitch! You see, my people in the country are only just getting on their feet, and suppose I lose my place, when shall I get another? Theodore Ivánitch, do, please!
Anna Pávlovna comes down with the old Countess, whom she is seeing off. The Countess has false teeth and hair. The First Footman helps the Countess into her outdoor things.
ANNA PÁVLOVNA. Oh, most certainly, of course! I am so deeply touched.
COUNTESS. If it were not for my illness, I should come oftener to see you.
ANNA PÁVLOVNA. You should really consult Peter Petróvitch. He is rough, but nobody can soothe one as he does. He is so clear, so simple.
COUNTESS. Oh no, I shall keep to the one I am used to.
ANNA PÁVLOVNA. Pray, take care of yourself.
COUNTESS. Merci, mille fois merci.[21]
[21] COUNTESS. Thank you (for your hospitality), a thousand thanks.
Gregory, dishevelled and excited, jumps out from the servants’ quarters. Simon appears behind him in the doorway.
SIMON. You’d better leave her alone!
GREGORY. You rascal! I’ll teach you how to fight, you scamp, you!
ANNA PÁVLOVNA. What do you mean? Do you think you are in a public-house?
GREGORY. This coarse peasant makes life impossible for me.
ANNA PÁVLOVNA [provoked] You’ve lost your senses. Don’t you see? [To Countess] Merci, mille fois merci. A mardi![22]
[22] ANNA PÁVLOVNA. Thank you (for coming to see us), a thousand thanks. Till next Tuesday!
Exeunt Countess and First Footman.
ANNA PÁVLOVNA [to Gregory] What is the meaning of this?
GREGORY. Though I do occupy the position of a footman, still I won’t allow every peasant to hit me; I have my pride too.
ANNA PÁVLOVNA. Why, what has happened?
GREGORY. Why, this Simon of yours has got so brave, sitting with the gentlemen, that he wants to fight!
ANNA PÁVLOVNA. Why? What for?
GREGORY. Heaven only knows!
ANNA PÁVLOVNA [to Simon] What is the meaning of it?
SIMON. Why does he bother her?
ANNA PÁVLOVNA. What has happened?
SIMON [smiles] Well, you see, he is always catching hold of Tánya, the lady’s-maid, and she won’t have it. Well, so I just moved him aside a bit, just so, with my hand.
GREGORY. A nice little bit! He’s almost caved my ribs in, and has torn my dress-coat, and he says, “The same power as came over me yesterday comes on me again,” and he begins to squeeze me.
ANNA PÁVLOVNA [to Simon] How dare you fight in my house?
THEODORE IVÁNITCH. May I explain it to you, ma’am? I must tell you Simon is not indifferent to Tánya, and is engaged to her. And Gregory–one must admit the truth–does not behave properly, nor honestly, to her. Well, so I suppose Simon got angry with him.
GREGORY. Not at all! It is all his spite, because I have discovered their trickery.
ANNA PÁVLOVNA. What trickery?
GREGORY. Why, at the séance. All those things, last night,–it was not Simon but Tánya who did them! I saw her getting out from under the sofa with my own eyes.
ANNA PÁVLOVNA. What is that? From under the sofa?
GREGORY. I give you my word of honour. And it was she who threw the paper on the table. If it had not been for her the paper would not have been signed, nor the land sold to the peasants.
ANNA PÁVLOVNA. And you saw it yourself?
GREGORY. With my own eyes. Shall I call her? She’ll not deny it.
ANNA PÁVLOVNA. Yes, call her.
Exit Gregory.
Noise behind the scenes. The voice of the Doorkeeper, “No, no, you cannot.” Doorkeeper is seen at the front door, the three Peasants rush in past him, the Second Peasant first; the Third one stumbles, falls on his nose, and catches hold of it.
DOORKEEPER. You must not go in!
SECOND PEASANT. Where’s the harm? We are not doing anything wrong. We only wish to pay the money!
FIRST PEASANT. That’s just it; as by laying on the signature the affair is come to a conclusion, we only wish to make payment with thanks.
ANNA PÁVLOVNA. Wait a bit with your thanks. It was all done by fraud! It is not settled yet. Not sold yet…. Leoníd…. Call Leoníd Fyódoritch. [Exit Doorkeeper].
Leoníd Fyódoritch enters, but, seeing his wife and the Peasants, wishes to retreat.
ANNA PÁVLOVNA. No, no, come here, please! I told you the land must not be sold on credit, and everybody told you so, but you let yourself be deceived like the veriest blockhead.
LEONÍD FYÓDORITCH. How? I don’t understand who is deceiving?
ANNA PÁVLOVNA. You ought to be ashamed of yourself! You have grey hair, and you let yourself be deceived and laughed at like a silly boy. You grudge your son some three hundred roubles which his social position demands, and let yourself be tricked of thousands–like a fool!
LEONÍD FYÓDORITCH. Now come, Annette, try to be calm.
FIRST PEASANT. We are only come about the acceptation of the sum, for example …
THIRD PEASANT [taking out the money] Let us finish the matter, for Christ’s sake!
ANNA PÁVLOVNA. Wait, wait!
Enter Tánya and Gregory.
ANNA PÁVLOVNA [angrily] You were in the small drawing-room during the séance last night?
Tánya looks round at Theodore Ivánitch, Leoníd Fyódoritch, and Simon, and sighs.
GREGORY. It’s no use beating about the bush; I saw you myself …
ANNA PÁVLOVNA. Tell me, were you there? I know all about it, so you’d better confess! I’ll not do anything to you. I only want to expose him [pointing to Leoníd Fyódoritch] your master…. Did you throw the paper on the table?
TÁNYA. I don’t know how to answer. Only one thing,–let me go home.
Enter Betsy unobserved.
ANNA PÁVLOVNA [to Leoníd Fyódoritch] There, you see! You are being made a fool of.
[Illustration: FRUITS OF CULTURE. ACT IV.
ANNA PÁVLOVNA. There, you see! You are being made a fool of.]
TÁNYA. Let me go home, Anna Pávlovna!
ANNA PÁVLOVNA. No, my dear! You may have caused us a loss of thousands of roubles. Land has been sold that ought not to be sold!
TÁNYA. Let me go, Anna Pávlovna!
ANNA PÁVLOVNA. No; you’ll have to answer for it! Such tricks won’t do. We’ll have you up before the Justice of the Peace!
BETSY [comes forward] Let her go, mamma. Or, if you
