NICHOLAS IVÁNOVICH. Not I, but God. And God knows how sorry I am for you. Do not resist this will. He wants to test you. Bear the trial meekly.
PRINCESS. I cannot bear it meekly. My whole life was wrapped up in my son; and you have taken him from me and ruined him. I cannot be calm. I have come to you — it is my last attempt to tell you that you have ruined him and that it is for you to save him. Go and prevail on them to set him free. Go and see the Governor-General, the Emperor, or whom you please. It is your duty to do it. If you don’t do it, I know what I shall do. You will have to answer to me for it!
NICHOLAS IVÁNOVICH. Teach me what to do. I am ready to do anything.
PRINCESS. I again repeat it — you must save him! If you do not — beware! Good-bye. Exit.
Nicholas Ivánovich (alone). Lies down on sofa. Silence. The door opens and the dance music sounds louder. Enter Styópa.
STYÓPA. Papa is not here, come in!
Enter the adults and the children, dancing in couples.
LYÚBA noticing Nicholas Ivánovich Ah, you are here. Excuse us.
NICHOLAS IVÁNOVICH rising Never mind. Exit dancing couples.
NICHOLAS IVÁNOVICH. Vasíly Nikonórovich has recanted. I have ruined Borís. Lyúba is getting married. Can it be that I have been mistaken? Mistaken in believing in Thee? No! Father help me!
Curtain.
Tolstoy left the following notes for a fifth Act which was never written.
Act V
Disciplinary Battalion. A cell. Prisoners sitting and lying. Borís is reading the Gospel and explaining it. A man who has been flogged is brought in. “Ah, if there were but a Pugachev to revenge us on such as you.” The Princess bursts in, but is turned out. Conflict with an officer. Prisoners led to prayers. Borís sent to the Penitentiary Cell: “He shall be flogged!”
Scene changes.
The Tsar’s Cabinet. Cigarettes; jokes; caresses. The Princess is announced. “Let her wait.” Enter petitioners, flattery, then the Princess. Her request is refused. Exit.
Scene changes.
Mary Ivánovna talks about illness with the doctor. “He has changed, has become more gentle, but is dispirited.” Enter Nicholas Ivánovich and speaks to Doctor about the uselessness of treatment. But for his wife’s sake he agrees to it. Enter Tónya with Styópa. Lyúba with Starkóvsky. Conversation about land. Nicholas Ivánovich tries not to offend them. Exeunt all. Nicholas Ivánovich with Lisa. “I am always in doubt whether I have done right. I have accomplished nothing. Borís has perished, Vasíly Nikonórovich has recanted. I set an example of weakness. Evidently God does not wish me to be his servant. He has many other servants — and can accomplish his will without me, and he who realises this is at peace.” Exit Lisa. He prays. The Princess rushes in and shoots him. Everybody comes running into the room. He says he did it himself by accident. He writes a petition to the Emperor. Enter Vasíly Nikonórovich with Doukhobors.42 Dies rejoicing that the fraud of the Church is exposed, and that he has understood the meaning of his life.
The End
Live Corpse
A PLAY IN SIX ActS
Translated by Louise and Aylmer Maude, 1916
This play was written in 1900, but was only published shortly after Tolstoy’s death, as he had never considered the work to be finished. The Live Corpse was an immediate success and is still performed today. The central charActer of the play, Fedor Protasov, is tormented by the belief that his wife Liza has never really chosen between him and the more conventional Victor Karenin, a rival for her hand.
Konstantin Stanislavski as Prince Abrezkov in the première at the Moscow Art Theatre, 1911
Contents
Characters
Act I
Scene 1
Scene 2
Act II
Scene 1
Scene 2
Act III
Scene 1
Scene 2
Act IV
Scene 1
Scene 2
Act V
Scene 1
Scene 2
Act VI
Scene 1
Scene 2
Characters
THEODORE VASÍLYEVICH PROTÁSOV (FÉDYA).
ELISABETH ANDRÉYEVNA PROTÁSOVA (LISA). His wife.
MÍSHA. Their son.
ANNA PÁVLOVNA. Lisa’s mother.
SÁSHA. Lisa’s younger, unmarried sister.
VICTOR MIHÁYLOVICH KARÉNIN.
ANNA DMÍTRIEVNA KARÉNINA.
PRINCE SERGIUS DMÍTRIEVICH ABRÉZKOV.
MÁSHA. A gipsy girl.
IVÁN MAKÁROVICH. An old gipsy man. Másha’s parents.
NASTÁSIA IVÁNOVNA. An old gipsy woman.
OFFICER.
MUSICIAN.
FIRST GIPSY MAN.
SECOND GIPSY MAN.
GIPSY WOMAN.
GIPSY CHOIR.
DOCTOR.
MICHAEL ALEXÁNDROVICH AFRÉMOV.
STÁKHOV. Fédya’s boon companions.
BUTKÉVICH.
KOROTKÓV. IVÁN PETRÓVICH ALEXÁNDROV.
VOZNESÉNSKY. Karénin’s secretary.
PETUSHKÓV. An artist.
ARTÉMYEV.
WAITER IN THE PRIVATE ROOM AT THE RESTAURANT.
WAITER IN A LOW-CLASS RESTAURANT.
MANAGER OF THE SAME.
POLICEMAN.
INVESTIGATING MAGISTRATE.
MÉLNIKOV.
CLERK.
USHER.
YOUNG LAWYER.
PETRÚSHIN. A lawyer.
LADY.
ANOTHER OFFICER.
ATTENDANT AT LAW COURTS.
PROTÁSOVS’ NURSE.
PROTÁSOVS’ MAID.
AFRÉMOV’S FOOTMAN.
KARÉNIN’S FOOTMAN.
LIVE CORPSE
Act I
Scene 1
PROTÁSOV’S FLAT IN Moscow. The scene represents a small dining-room.
Anna Pávlovna, a stout grey-haired lady, tightly laced, is sitting alone at the tea-table on which is a samovár. Enter nurse, carrying a teapot.
NURSE. May I have a little hot water, ma’am?
ANNA PÁVLOVNA. Yes. How’s Baby?
NURSE. He’s restless.… There’s nothing worse than for a lady to nurse her baby herself! She has her troubles, and the child must suffer. What can her milk be like, when she lies awake crying all night?
ANNA PÁVLOVNA. But she seems quieter now.
NURSE. Quiet, indeed! It makes one ill to see her. She’s been writing something, and crying.
Enter Sásha.
SÁSHA [to Nurse] Lisa is looking for you.
NURSE. I’m coming, I’m coming. [Exit].
ANNA PÁVLOVNA. Nurse says she keeps on crying.… Why can’t she control herself?
SÁSHA. Well really, mother, you are amazing!… A woman has left her husband, her child’s father, and you expect her to be calm!
ANNA PÁVLOVNA. Well, not calm … But what’s done is done! If I, her mother, not only allowed my daughter to leave her husband, but am even glad she has done it, that shows he deserved it. One ought to rejoice, not to grieve, at the chance of freeing oneself from such a bad man!
SÁSHA. Mother, why say such things? You know it’s not true! He’s not bad — but on the contrary, he’s a wonderful man, in spite of his weaknesses.
ANNA PÁVLOVNA. Yes indeed, a “wonderful” man — as soon as he has money in his pocket — his own or other people’s.…
SÁSHA. Mother! He has never taken other people’s!
ANNA PÁVLOVNA. Yes he has — his wife’s! Where’s the difference?
SÁSHA. But he gave all his property to his wife!
ANNA PÁVLOVNA. Of course, when he knew that otherwise he was sure to squander it all!
SÁSHA. Squander or not, I only know that a wife must not separate from her husband, especially from such a one as Fédya.
ANNA PÁVLOVNA. Then, in your opinion she ought to wait till he has squandered everything, and brought his gipsy mistresses into the house?
SÁSHA. He has no mistresses!
ANNA PÁVLOVNA. That’s the misfortune — he seems to have bewitched you all! But not me — no! He won’t come over me! I see through him, and he knows it. Had I been in Lisa’s place I should have left him a year ago.
SÁSHA. How lightly you say it!
ANNA PÁVLOVNA. Not lightly at all. It’s not a light thing for me, as a mother, to see my daughter divorced. Believe me it’s not! But yet it is better than ruining a young life.… No, I’m thankful to God that she has at last made up her mind, and that it is all over.
SÁSHA. Perhaps it’s not all over!
ANNA PÁVLOVNA. Oh! If he only consents to a divorce.…
SÁSHA. What good will that do?
ANNA PÁVLOVNA. This good; that she is young, and may again be happy.
SÁSHA. Oh mother! It’s dreadful to hear you speak so! Lisa can’t love another.
ANNA PÁVLOVNA. Why not, when she’s free? Many a man a thousand times better than your Fédya might turn up who would be only too happy to marry Lisa.
SÁSHA. Mother, it’s not right! I know you’re thinking of Victor Karénin.…
ANNA PÁVLOVNA. And why shouldn’t I? He has loved her these ten years, and she loves him.
SÁSHA. Yes, but not as a husband! They have been friends from childhood.
ANNA PÁVLOVNA. We know those friendships! If only the obstacles were out of the way!
Enter Maid.
ANNA PÁVLOVNA. What is it?
MAID. The mistress has sent the porter with a note for Mr. Karénin.
ANNA PÁVLOVNA. What mistress?
MAID. Our mistress — Mrs. Protásova.
ANNA PÁVLOVNA. Well?
MAID. Mr. Karénin has sent back word that he will come round at once.
ANNA PÁVLOVNA [surprised] We were just speaking of him! Only I can’t think why … [to Sásha] Do you know?
SÁSHA. Perhaps I do, and perhaps I don’t!
ANNA PÁVLOVNA. You always have secrets!
SÁSHA. Lisa will tell you herself when she comes.
ANNA PÁVLOVNA [shakes her head. To Maid] The samovár must be made to boil again. Take it, Dounyásha.
Maid takes samovár, and exit.
ANNA PÁVLOVNA [to Sásha who has risen and is going out] It turns out just as I told you! She sent for him at once.…
SÁSHA. She may have sent for him for quite a different reason.
ANNA PÁVLOVNA. What for, then?
SÁSHA. Now, at this moment, Karénin is the same to her as old Nurse Trífonovna.
ANNA PÁVLOVNA. Well, you’ll see.… Don’t I know her? She has sent for him to comfort her.
SÁSHA. Oh mother, how little you know her, to be able to suppose …!
ANNA PÁVLOVNA. Well, we’ll see!… And I am very, very glad.
SÁSHA. We shall see! [Exit, humming a tune].
ANNA PÁVLOVNA [alone, shakes her head and mutters] It’s all right, it’s all right!
Enter Maid.
MAID. Mr. Karénin has come.
ANNA PÁVLOVNA. Well then, show him in, and tell your mistress.
Maid exit by inner door. Enter Karénin, who bows to Anna Pávlovna.
KARÉNIN. Your daughter wrote to me to come. I meant to come and see you to-night, anyhow. So I was very pleased … Is Elisabeth
