KARÉNIN [surprised] Yes, but how?
LISA. Tell him I ask him to forget everything, and to return. I might simply send the letter, but I know him: his first impulse, as always, will be the right one–but then someone will influence him, and he’ll change his mind and not do what he really wants to….
KARÉNIN. I will do what I can.
LISA. You’re surprised at my asking you?
KARÉNIN. No…. Yet, to tell you the truth–yes, I am surprised.
LISA. But you are not angry?
KARÉNIN. As if I could be angry with you!
LISA. I asked you because I know you care for him.
KARÉNIN. Him, and you too! You know that. I am thinking not of myself, but of you. Thank you for trusting me! I will do what I can.
LISA. I know…. I will tell you everything. To-day I went to Afrémov’s to find out where he was. I was told he had gone to the gipsies–which is what I feared most of all. I know he will get carried away if he is not stopped in time–and that’s what has to be done…. So you’ll go?
KARÉNIN. Of course, and at once.
LISA. Go!… Find him, and tell him all is forgotten and I am waiting for him.
KARÉNIN. But where am I to look for him?
LISA. He is with the gipsies. I went there myself…. I went as far as the porch, and wished to send in the letter, but changed my mind and decided to ask you. Here is the address…. Well, then, tell him to return: tell him nothing has happened … all is forgotten. Do it for love of him, and for the sake of our friendship!
KARÉNIN. I will do all in my power! [Bows, and exit].
LISA. I can’t, I can’t! Anything rather than … I can’t!
Enter Sásha.
SÁSHA. Well, have you sent?
Lisa nods affirmatively.
SÁSHA. And he agreed?
LISA. Of course.
SÁSHA. But why just him? I don’t understand.
LISA. But who else?
SÁSHA. Don’t you know he is in love with you?
LISA. That’s dead and gone. Whom would you have had me send?… Do you think he will come back?
SÁSHA. I am sure of it, because …
Enter Anna Pávlovna. Sásha is silent.
ANNA PÁVLOVNA. And where is Victor Miháylovich?
LISA. He’s gone.
ANNA PÁVLOVNA. Gone! How’s that?
LISA. I asked him to do something for me.
ANNA PÁVLOVNA. “Do something?” Another secret!
LISA. It’s not a secret. I simply asked him to give a letter into Fédya’s own hands.
ANNA PÁVLOVNA. Fédya? What–to Theodore Vasílyevich?
LISA. Yes, to Fédya.
ANNA PÁVLOVNA. I thought all relations between you were over!
LISA. I can’t part from him.
ANNA PÁVLOVNA. What? Are you going to begin all over again?
LISA. I wanted to, and tried … but I can’t! Anything you like–only I can’t part from him!
ANNA PÁVLOVNA. Then do you want to have him back again?
LISA. Yes.
ANNA PÁVLOVNA. To let that skunk into the house again?
LISA. Mother, I beg you not to speak so of my husband!
ANNA PÁVLOVNA. He was your husband.
LISA. No, he is my husband still.
ANNA PÁVLOVNA. A spendthrift, a drunkard, a rake … and you can’t part from him?
LISA. Why do you torment me! You seem to want to do it…. It’s hard enough for me without that.
ANNA PÁVLOVNA. I torment you! Well then, I’ll go. I can’t stand by and see it….
Lisa is silent.
ANNA PÁVLOVNA. I see! That’s just what you want–I’m in your way…. I can’t live so. I can’t make you out at all! It’s all so new-fangled–first you make up your mind to separate, then you suddenly send for a man who is in love with you …
LISA. Nothing of the kind.
ANNA PÁVLOVNA. Karénin proposed to you … and you send him to fetch your husband! Why? To arouse jealousy?
LISA. Mother, what you are saying is terrible! Leave me alone!
ANNA PÁVLOVNA. Very well! Turn your mother out of the house, and let in your rake of a husband!… Yes, I will not remain here! Good-bye, then–I leave you to your fate; you can do as you please! [Exit slamming door].
LISA [drops into a chair] That’s the last straw!
SÁSHA. Never mind…. It will be all right; we’ll soon pacify Mother.
ANNA PÁVLOVNA [passing through] Dounyásha! My trunk!
SÁSHA. Mother, listen!… [follows her out with a significant glance to Lisa].
Curtain.
SCENE 2
A room in the gipsies’ house. The choir is singing “Kanavela.” Fédya in his shirt-sleeves is lying prone on the sofa. Afrémov sits astride a chair in front of the leader of the choir. An officer sits at a table, on which are bottles of champagne and glasses. A musician is taking notes.
AFRÉMOV. Fédya, are you asleep?
FÉDYA [rising] Don’t talk…. Now let’s have “Not at Eve.”
GIPSY LEADER. That won’t do, Theodore Vasílyevich! Let Másha sing a solo now.
FÉDYA. All right! And then, “Not at Eve.” [Lies down again].
OFFICER. Sing “Fateful Hour.”
GIPSY. All agreed?
AFRÉMOV. Go on!
OFFICER [to musician] Have you taken it down?
MUSICIAN. Quite impossible! It’s different every time…. And the scale is somehow different. Look here! [Beckons to a gipsy woman who is looking on] Is this right? [Hums].
GIPSY. That’s it, that’s splendid!
FÉDYA. He’ll never get it; and if he does take it down and shoves it into an opera, he’ll only spoil it!… Now, Másha, start off! Let’s have “Fateful Hour”–take your guitar. [Rises, sits down opposite her, and gazes into her eyes].
Másha sings.
FÉDYA. That’s good too! Másha, you’re a brick!… Now then, “Not at Eve”!
AFRÉMOV. No, wait! First, my burial song….
OFFICER. Why burial?
AFRÉMOV. Because, when I’m dead … you know, dead and laid in my coffin, the gipsies will come (you know I shall leave instructions with my wife) and they will begin to sing “I Walked a Mile” … and then I’ll jump out of my coffin!… Do you understand? [To the musician] You just write this down. [To the gipsies] Well, rattle along!
Gipsies sing.
AFRÉMOV. What do you think of that?… Now then, “My Brave Lads”!
Gipsies sing.
Afrémov gesticulates and dances. The gipsies smile and continue singing, clapping their hands. Afrémov sits down and the song ends.
GIPSIES. Bravo! Michael Andréyevich![4] He’s a real gipsy!
[4] The polite way of addressing Mr. Afrémov.
FÉDYA. Well, now “Not at Eve”!
Gipsies sing.
FÉDYA. That’s it! It’s wonderful … And where does it all happen–all that this music expresses? Ah, it’s fine!… And how is it man can reach such ecstasy, and cannot keep it?
MUSICIAN [taking notes] Yes, it’s most original.
FÉDYA. Not original–but the real thing!
AFRÉMOV [to gipsies] Well, have a rest now. [Takes the guitar and sits down beside Kátya, one of the gipsies].
MUSICIAN. It’s really simple, except the rhythm….
FÉDYA [waves his hand, goes to Másha, and sits down on sofa beside her] Oh, Másha, Másha! How you do turn me inside-out!
MÁSHA. And how about what I asked you for?
FÉDYA. What? Money?… [Takes some out of his trouser-pocket] Here, take it!
Másha laughs, takes it, and hides it in her bosom.
FÉDYA [to the gipsies] Who can make it out? She opens heaven for me, and then asks for money to buy scents with! [To Másha] Why, you don’t in the least understand what you’re doing!
MÁSHA. Not understand indeed! I understand that when I am in love, I try to please my man, and sing all the better.
FÉDYA. Do you love me?
MÁSHA. Looks like it!
FÉDYA. Wonderful! [Kisses her].
Exeunt most of the gipsies. Some couples remain: Fédya with Másha, Afrémov with Kátya, and the officer with Gásha. The musician writes. A gipsy man strums a valse tune on the guitar.
FÉDYA. But I’m married, and your choir won’t allow it….
MÁSHA. The choir is one thing, one’s heart’s another! I love those I love, and hate those I hate.
FÉDYA. Ah! This is good! Isn’t it?
MÁSHA. Of course it’s good–we’ve jolly visitors, and are all merry.
Enter gipsy man.
GIPSY [to Fédya] A gentleman is asking for you.
FÉDYA. What gentleman?
GIPSY. I don’t know…. Well dressed, wears a sable overcoat–
FÉDYA. A swell? Well, ask him in. [Exit Gipsy].
AFRÉMOV. Who has come to see you here?
FÉDYA. The devil knows! Who can want me?
Enter Karénin. Looks round.
FÉDYA. Ah, Victor! I never expected you!… Take off your coat!… What wind has blown you here? Come, sit down and listen to “Not at Eve.”
KARÉNIN. Je voudrais vous parler sans témoins.[5]
[5] I wanted to speak to you alone.
FÉDYA. What about?
KARÉNIN. Je viens de chez vous. Votre femme m’a chargé de cette lettre et puis …[6]
[6] I have come from your home. Your wife has entrusted me with this letter and besides …
FÉDYA [takes letter, reads, frowns, then smiles affectionately] I say, Karénin, of course you know what is in this letter?
KARÉNIN. I know … and I want to say …
FÉDYA. Wait, wait a bit! Please don’t imagine that I am drunk and my words irresponsible…. I mean, that I am irresponsible! I am drunk, but in this matter I see quite clearly…. Well, what were you commissioned to say?
KARÉNIN. I was commissioned to find you, and to tell you … that … she … is waiting for you. She asks you to forget everything and come back.
FÉDYA [listens in silence, gazing into Karénin’s eyes] Still, I don’t understand why you …
KARÉNIN. Elisabeth Andréyevna sent for me, and asked me …
FÉDYA. So …
KARÉNIN. But I ask you, not so much in your wife’s name as from myself…. Come home!
FÉDYA. You are a better man than I. (What nonsense! It is easy enough to be better than I) … I am a scoundrel, and you are a good–yes, a good man…. And that is the very reason why I won’t alter my decision…. No! Not on that account either–but simply because I can’t and won’t…. How could I return?
KARÉNIN. Let us go to my rooms now, and I’ll tell her that you will return to-morrow.
FÉDYA. And to-morrow, what?…
