The Lower Depths: A Drama in Four Acts in Modern English

This is a modern-English version of The Lower Depths: A Drama in Four Acts, originally written by Gorky, Maksim. It has been thoroughly updated, including changes to sentence structure, words, spelling, and grammar—to ensure clarity for contemporary readers, while preserving the original spirit and nuance. If you click on a paragraph, you will see the original text that we modified, and you can toggle between the two versions.

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THE LOWER DEPTHS

The Depths

THE LOWER DEPTHS

The Lower Depths

MAXIM GORKY

Maxim Gorky

[Frontispiece]

A SCENE IN ACT I OF MAXIM GORKY’S MASTERPIECE, “THE LOWER DEPTHS,” AT THE MOSCOW ART THEATRE. STANISLAVSKY IN THE RÔLE OF SATINE SITS ON THE TABLE

A SCENE IN ACT I OF MAXIM GORKY’S MASTERPIECE, “THE LOWER DEPTHS,” AT THE MOSCOW ART THEATRE. STANISLAVSKY IN THE ROLE OF SATINE SITS ON THE TABLE

THE MOSCOW ART THEATRE

SERIES OF RUSSIAN PLAYS

RUSSIAN PLAYS SERIES

Edited by OLIVER M. SAYLER

Edited by Oliver M. Sayler

THE
LOWER DEPTHS

The
Lowest Depths

A DRAMA IN FOUR ACTS

A Play in Four Acts

MAXIM GORKY

Maxim Gorky

English translation by

JENNY COVAN

[Decoration]

NEW YORK

NYC

BRENTANOS

PUBLISHERS

[Pg ii]

[Pg iii]

INTRODUCTION

De profundis ad te clamavi. In this phrase, with his penchant for epitome, the late James Huneker summarized the masterpiece of Russia’s single living master of the drama, Maxim Gorky, as he saw it in Berlin under the German title of “Nachtasyl” or “Night Lodging.” “Na Dnye” is the Russian—literally “On the Bottom.” Partly because “The Lower Depths” is a more faithful rendering of the original than “Night Lodging” and partly because it implies so vividly the play’s keynote as the shrewd Huneker detected it beneath a guise alien to both Russian and English, the title adopted by Laurence Irving for the British version has been preferred for its introduction to American audiences by the company which discovered it and first set it on its stage in Moscow, December 31 (our calendar), 1902.

From the depths, I cried out to you. In this phrase, the late James Huneker captured the essence of Russia’s only living master of drama, Maxim Gorky, as he saw it in Berlin under the German title “Nachtasyl” or “Night Lodging.” “Na Dnye” is the Russian—literally “On the Bottom.” Partly because “The Lower Depths” is a more accurate translation of the original than “Night Lodging,” and partly because it vividly conveys the play’s main theme as the insightful Huneker recognized it beneath a form unfamiliar to both Russian and English, the title chosen by Laurence Irving for the British version has been favored for its introduction to American audiences by the company that first presented it on stage in Moscow, December 31 (our calendar), 1902.

In “The Lower Depths” more than in any other single play throughout its history, the Moscow Art Theatre concentrates its dramatic ideals and methods, its esthetic theory and practice, and through the production of this play it most emphatically justifies its artistic faith in spiritual or psychological realism as a dramatic medium of expression. The plays of Tchekhoff, of course, serve the same ends, but no single one of them does so quite as richly as does Gorky’s masterpiece. At the hands of Stanislavsky and his associates, “The Lower Depths” draws much of its convincing power from its unusual use of and dependence on the channels of expression which are peculiar to the art of the theatre. It is almost wholly independent of drama as literature. Less than any play I know, is it possible to imagine its potential effect in the theatre from a reading of its printed lines. [Pg iv]In my book, “The Russian Theatre,” I have thus analyzed this factor:

In “The Lower Depths,” more than in any other play in its history, the Moscow Art Theatre really focuses on its dramatic ideals and techniques, its artistic theory and practice. Through this production, it strongly affirms its belief in spiritual or psychological realism as a form of dramatic expression. Tchekhoff's plays also support this, but none of them convey this idea as powerfully as Gorky’s masterpiece. Under the direction of Stanislavsky and his team, “The Lower Depths” gains much of its impact from its unique use of theatrical expression. It relies almost entirely on drama as performance rather than literature. It's hard to grasp its potential impact in the theater just from reading the lines. [Pg iv]In my book, “The Russian Theatre,” I analyzed this factor:

“‘The Lower Depths’ is not so much a matter of utterable line and recountable gesture as it is of the intangible flow of human souls in endlessly shifting contact with one another. Awkward but eloquent pauses and emphases, the scarcely perceptible stress or dulling of word or gesture, the nuances and the shadings of which life is mostly made and by which it reveals its meaning—these, and the instinctive understanding of the vision of the playwright by those who seek to interpret him, are the incalculable and unrecordable channels through which ‘The Lower Depths’ becomes articulate at the Moscow Art Theatre.”

“‘The Lower Depths’ is less about clear lines and actions that can be easily told and more about the subtle exchange of human souls constantly interacting with one another. The awkward yet powerful pauses and intonations, the barely noticeable stress or lack of emphasis in words or actions, the nuances and shades that make up life and reveal its true meaning—these, along with the instinctive grasp of the playwright's vision by those trying to interpret it, are the immeasurable and unrecordable ways in which ‘The Lower Depths’ comes to life at the Moscow Art Theatre.”

Just as this theatre discovered or, rather, rescued Tchekhoff as a dramatist, so it first stood sponsor for the author of “Foma Gordeyeff” as a playwright. During the first half of the season of 1902-1903, two of his plays were produced—“Smug Citizens” and “The Lower Depths.” The latter was recognized at once as a work of supreme merit and moment. Tchekhoff himself had written to its youthful author five months before its première: “I have read your play. It is new and unmistakably fine. The second act is very good, it is the best, the strongest, and when I was reading it, especially the end, I almost danced with joy.” At the première, the rival dramatist’s verdict was publicly ratified, for Gorky was called before the curtain twenty times, and the press was unanimously enthusiastic. The play has held its place in the repertory of the Moscow Art Theatre ever since, and eight of its most important rôles are still played by those who created them, just two decades ago.

Just as this theater discovered, or rather, rescued Chekhov as a dramatist, it also first supported the author of “Foma Gordeyeff” as a playwright. During the first half of the 1902-1903 season, two of his plays were produced—“Smug Citizens” and “The Lower Depths.” The latter was immediately recognized as a work of exceptional quality and significance. Chekhov himself wrote to its young author five months before its premiere: “I have read your play. It is new and undeniably great. The second act is very good, the best, the strongest, and when I was reading it, especially the ending, I almost danced with joy.” At the premiere, the rival dramatist’s opinion was publicly confirmed, as Gorky was called before the curtain twenty times, and the press was overwhelmingly enthusiastic. The play has remained a staple in the repertoire of the Moscow Art Theater ever since, and eight of its most significant roles are still performed by those who created them, just two decades ago.

Miss Covan’s translation of this play, I believe, deserves particular attention. There have been numerous translations, differing only in the nature of their ineptitude. Here for the first time, the vigor, the virility, [Pg v]the humanity and the humor of the original survive the transfer from the Russian tongue to our own, without mysterious and vaguely symbolic “meanings” gratuitously appended. As nearly as it is possible with printed words to convey the impression which Gorky desires and obtains through the intangible media of the living stage, the following version succeeds. I realized for the first time, as I read it, that the overwhelming impression of the play at the hands of the Moscow Art Theatre is due as much to the genius of the playwright as to that of his interpreters.

Miss Covan’s translation of this play deserves special attention. There have been many translations, all varying only in their shortcomings. For the first time, the energy, strength, [Pg v]humanity, and humor of the original come through in the English version, without any confusing and vaguely symbolic “meanings” added on unnecessarily. As closely as printed words can capture the impression that Gorky aims for and achieves through the unique medium of live theater, this version succeeds. I realized for the first time, while reading it, that the powerful impact of the play in the Moscow Art Theatre is due as much to the genius of the playwright as to that of the actors.

THE EDITOR.

The Editor.

[Pg vi]

CAST OF CHARACTERS.

MIKHAIL IVANOFF KOSTILYOFF—Keeper of a night lodging.
VASSILISA KARPOVNA—His wife.
NATASHA—Her sister.
MIEDVIEDIEFF—Her uncle, a policeman.
VASKA PEPEL—A young thief.
ANDREI MITRITCH KLESHTCH—A locksmith.
ANNA—His wife.
NASTYA—A street-walker.
KVASHNYA—A vendor of meat-pies.
BUBNOFF—A cap-maker.
THE BARON.
SATINE.
THE ACTOR.
LUKA—A pilgrim.
ALYOSHKA—A shoemaker.
KRIVOY ZOB	}	Porters.
THE TARTAR
NIGHT LODGERS, TRAMPS AND OTHERS.
The action takes place in a Night Lodging and in “The Waste,” an area in its rear.

[Pg 1]

ACT ONE.

A cellar resembling a cave. The ceiling, which merges into stone walls, is low and grimy, and the plaster and paint are peeling off. There is a window, high up on the right wall, from which comes the light. The right corner, which constitutes Pepel’s room, is partitioned off by thin boards. Close to the corner of this room is Bubnoff’s wooden bunk. In the left corner stands a large Russian stove. In the stone wall, left, is a door leading to the kitchen where live Kvashnya, the Baron, and Nastya. Against the wall, between the stove and the door, is a large bed covered with dirty chintz. Bunks line the walls. In the foreground, by the left wall, is a block of wood with a vise and a small anvil fastened to it, and another smaller block of wood somewhat further towards the back. Kleshtch is seated on the smaller block, trying keys into old locks. At his feet are two large bundles of various keys, wired together, also a battered tin samovar, a hammer, and pincers. In the centre are a large table, two benches, and a stool, all of which are of dirty, unpainted wood. Behind the table Kvashnya is busying herself with the samovar. The Baron sits chewing a piece of black bread, and Nastya occupies the stool, leans her elbows on the table, and reads a tattered book. In the bed, behind curtains, Anna lies coughing. Bubnoff is seated on his bunk, attempting to shape a pair of old trousers with the help of an ancient hat shape which he holds between his knees. Scattered about him are pieces of buckram, oilcloth, and rags. Satine, just awakened, lies in his bunk, grunting. On top of the [Pg 2]stove, the Actor, invisible to the audience, tosses about and coughs.

A cellar that looks like a cave. The ceiling blends into stone walls, low and grimy, with plaster and paint peeling off. There's a window high up on the right wall letting in light. The right corner, which is Pepel’s room, is separated by thin boards. Near the corner of this room is Bubnoff's wooden bunk. In the left corner, there's a large Russian stove. On the left stone wall, a door leads to the kitchen where Kvashnya, the Baron, and Nastya live. Against the wall, between the stove and the door, is a big bed covered with dirty fabric. Bunks line the walls. In the foreground, by the left wall, there's a block of wood with a vise and a small anvil attached to it, along with another smaller block of wood a bit further back. Kleshtch is perched on the smaller block, trying keys in old locks. At his feet are two big bundles of various keys, wired together, along with a battered tin samovar, a hammer, and pincers. In the center are a large table, two benches, and a stool, all made of dirty, unpainted wood. Behind the table, Kvashnya is busy with the samovar. The Baron is sitting, chewing a piece of black bread, while Nastya occupies the stool, leans her elbows on the table, and reads a worn-out book. In the bed behind the curtains, Anna lies coughing. Bubnoff is sitting on his bunk trying to reshape a pair of old trousers using an ancient hat mold held between his knees. Around him are scraps of buckram, oilcloth, and rags. Satine, just waking up, lies in his bunk, grunting. On top of the [Pg 2]stove, the Actor, unseen by the audience, stirs and coughs.

It is an early spring morning.

It's a spring morning.

THE BARON. And then?

KVASHNYA. No, my dear, said I, keep away from me with such proposals. I’ve been through it all, you see—and not for a hundred baked lobsters would I marry again!

KVASHNYA. No, my dear, I said, stay away from me with those kinds of suggestions. I've been through it all, you know—and not for a hundred baked lobsters would I ever get married again!

BUBNOFF [to Satine] What are you grunting about? [Satine keeps on grunting]

BUBNOFF [to Satine] What's with all the grunting? [Satine keeps on grunting]

KVASHNYA. Why should I, said I, a free woman, my own mistress, enter my name into somebody else’s passport and sell myself into slavery—no! Why—I wouldn’t marry a man even if he were an American prince!

KVASHNYA. Why should I, a free woman and my own boss, put my name on someone else's passport and sell myself into slavery—no! Why—I wouldn’t marry a guy even if he were an American prince!

KLESHTCH. You lie!

KLESHTCH. You're lying!

KVASHNYA. Wha-at?

KVASHNYA. What?

KLESHTCH. You lie! You’re going to marry Abramka. . . .

KLESHTCH. You're lying! You're going to marry Abramka. . . .

THE BARON [snatching the book out of Nastya’s hand and reading the title] “Fatal Love” . . . [Laughs]

NASTYA [stretching out her hand] Give it back—give it back! Stop fooling!

NASTYA [stretching out her hand] Give it back—give it back! Stop messing around!

[The Baron looks at her and waves the book in the air]

[i]The Baron looks at her and waves the book in the air[/i]

KVASHNYA [to Kleshtch] You crimson goat, you—calling me a liar! How dare you be so rude to me?

KVASHNYA [to Kleshtch] You red goat, you—calling me a liar! How dare you be so disrespectful to me?

THE BARON [hitting Nastya on the head with the book] Nastya, you little fool!

NASTYA [reaching for the book] Give it back!

KLESHTCH. Oh—what a great lady . . . but you’ll marry Abramka just the same—that’s all you’re waiting for . . .

KLESHTCH. Oh—what a wonderful woman . . . but you're going to marry Abramka anyway—that's all you're holding out for . . .

[Pg 3]

KVASHNYA. Sure! Anything else? You nearly beat your wife to death!

KVASHNYA. Sure! Anything else? You almost killed your wife!

KLESHTCH. Shut up, you old bitch! It’s none of your business!

KLESHTCH. Shut up, you old hag! This isn’t your concern!

KVASHNYA. Ho-ho! can’t stand the truth, can you?

KVASHNYA. Ha! You can’t handle the truth, can you?

THE BARON. They’re off again! Nastya, where are you?

NASTYA [without lifting her head] Hey—go away!

NASTYA [without lifting her head] Hey—just leave me alone!

ANNA [putting her head through the curtains] The day has started. For God’s sake, don’t row!

ANNA [peeking through the curtains] The day has begun. For goodness' sake, don’t argue!

KLESHTCH. Whining again!

KLESHTCH. Complaining again!

ANNA. Every blessed day . . . let me die in peace, can’t you?

ANNA. Every single day . . . can’t you just let me die in peace?

BUBNOFF. Noise won’t keep you from dying.

BUBNOFF. Noise won’t stop you from dying.

KVASHNYA [walking up to Anna] Little mother, how did you ever manage to live with this wretch?

KVASHNYA [walking up to Anna] Little mother, how did you ever put up with this loser?

ANNA. Leave me alone—get away from me. . . .

ANNA. Leave me alone—stay away from me. . . .

KVASHNYA. Well, well! You poor soul . . . how’s the pain in the chest—any better?

KVASHNYA. Well, well! You poor thing . . . how’s the chest pain—any better?

THE BARON. Kvashnya! Time to go to market. . . .

THE BARON. Kvashnya! It’s time to head to the market. . . .

KVASHNYA. We’ll go presently. [To Anna] Like some hot dumplings?

KVASHNYA. We'll go soon. [To Anna] Want some hot dumplings?

ANNA. No, thanks. Why should I eat?

KVASHNYA. You must eat. Hot food—good for you! I’ll leave you some in a cup. Eat them when you feel like it. Come on, sir! [To Kleshtch] You evil spirit! [Goes into kitchen]

KVASHNYA. You need to eat. Hot food is good for you! I’ll leave some in a cup for you. Eat it when you want. Come on, sir! [To Kleshtch] You wicked spirit! [Goes into kitchen]

ANNA [coughing] Lord, Lord . . .

THE BARON [painfully pushing forward Nastya’s head] Throw it away—little fool!

THE BARON [painfully pushing forward Nastya’s head] Throw it away—you little idiot!

NASTYA [muttering] Leave me alone—I don’t bother you . . .

NASTYA [muttering] Leave me alone—I don’t bug you.

[The Baron follows Kvashnya, whistling.]

The Baron is whistling while following Kvashnya.

[Pg 4]

SATINE [sitting up in his bunk] Who beat me up yesterday?

SATINE [sitting up in his bunk] Who messed me up yesterday?

BUBNOFF. Does it make any difference who?

BUBNOFF. Does it really matter who?

SATINE. Suppose they did—but why did they?

SATINE. Let's say they did—but what was their reason?

BUBNOFF. Were you playing cards?

BUBNOFF. Were you gaming?

SATINE. Yes!

BUBNOFF. That’s why they beat you.

BUBNOFF. That's why they took you down.

SATINE. Scoundrels!

SATINE. Crooks!

THE ACTOR [raising his head from the top of the stove] One of these days they’ll beat you to death!

THE ACTOR [lifting his head from the top of the stove] One of these days they’re going to kill you!

SATINE. You’re a jackass!

SATINE. You’re an idiot!

THE ACTOR. Why?

The Actor. Why?

SATINE. Because a man can die only once!

SATINE. Because a man can only die once!

THE ACTOR [after a silence] I don’t understand—

I don't get it—

KLESHTCH. Say! You crawl from that stove—and start cleaning house! Don’t play the delicate primrose!

KLESHTCH. Hey! Get away from that stove—and start cleaning the house! Don’t act all delicate!

THE ACTOR. None of your business!

The actor. None of your business!

KLESHTCH. Wait till Vassilisa comes—she’ll show you whose business it is!

KLESHTCH. Just wait until Vassilisa gets here—she’ll show you whose job it really is!

THE ACTOR. To hell with Vassilisa! To-day is the Baron’s turn to clean. . . . Baron!

THE ACTOR. Forget Vassilisa! Today it’s the Baron’s turn to clean. . . . Baron!

[The Baron comes from the kitchen.]

THE BARON. I’ve no time to clean . . . I’m going to market with Kvashnya.

THE BARON. I don’t have time to clean . . . I’m going to the market with Kvashnya.

THE ACTOR. That doesn’t concern me. Go to the gallows if you like. It’s your turn to sweep the floor just the same—I’m not going to do other people’s work . . .

THE ACTOR. That doesn’t bother me. Go to the gallows if you want. You still have to sweep the floor—I’m not going to do other people’s jobs . . .

THE BARON. Go to blazes! Nastya will do it. Hey there—fatal love! Wake up! [Takes the book away from Nastya]

THE BARON. Go to hell! Nastya will take care of it. Hey there—doomed love! Wake up! [Takes the book away from Nastya]

NASTYA [getting up] What do you want? Give it [Pg 5]back to me! You scoundrel! And that’s a nobleman for you!

NASTYA [getting up] What do you want? Give it [Pg 5] back to me! You jerk! And that’s a nobleman for you!

THE BARON [returning the book to her] Nastya! Sweep the floor for me—will you?

THE BARON [returning the book to her] Nastya! Can you sweep the floor for me?

NASTYA [goes to kitchen] Not so’s you’ll notice it!

NASTYA [heads to the kitchen] Not in a way that you’ll notice!

KVASHNYA [to the Baron through kitchen door] Come on—you! They don’t need you! Actor! You were asked to do it, and now you go ahead and attend to it—it won’t kill you . . .

KVASHNYA [to the Baron through kitchen door] Come on—you! They don’t need you! Actor! You were asked to do this, so just go ahead and take care of it—it won’t kill you . . .

THE ACTOR. It’s always I . . . I don’t understand why. . . .

THE ACTOR. It’s always me . . . I don’t get why. . . .

[The Baron comes from the kitchen, across his shoulders a wooden beam from which hang earthen pots covered with rags.]

The Baron comes from the kitchen, a wooden beam across his shoulders with clay pots hanging from it, covered with rags.

THE BARON. Heavier than ever!

THE BARON. Heavier than before!

SATINE. It paid you to be born a Baron, eh?

SATINE. It sure was beneficial to be born a Baron, huh?

KVASHNYA [to Actor] See to it that you sweep up! [Crosses to outer door, letting the Baron pass ahead]

KVASHNYA [to Actor] Make sure you clean up! [Crosses to outer door, letting the Baron go in front]

THE ACTOR [climbing down from the stove] It’s bad for me to inhale dust. [With pride] My organism is poisoned with alcohol. [Sits down on a bunk, meditating]

THE ACTOR [climbing down from the stove] It’s not good for me to breathe in dust. [With pride] My body is poisoned with alcohol. [Sits down on a bunk, thinking]

SATINE. Organism—organon. . . .

SATINE. Organism—organ. . . .

ANNA. Andrei Mitritch. . . .

KLESHTCH. What now?

KLESHTCH. What’s next?

ANNA. Kvashnya left me some dumplings over there—you eat them!

ANNA. Kvashnya left me some dumplings over there—you should eat them!

KLESHTCH [coming over to her] And you—don’t you want any?

KLESHTCH [walking over to her] And you—don’t you want some?

ANNA. No. Why should I eat? You’re a workman—you need it.

ANNA. No. Why should I eat? You’re a laborer—you need it.

KLESHTCH. Frightened, are you? Don’t be! You’ll get all right!

KLESHTCH. Are you scared? Don't be! You'll be fine!

[Pg 6]

ANNA. Go and eat! It’s hard on me. . . . I suppose very soon . . .

ANNA. Go eat! It’s tough on me. . . . I guess very soon . . .

KLESHTCH [walking away] Never mind—maybe you’ll get well—you can never tell! [Goes into kitchen]

KLESHTCH [walking away] Forget it—maybe you’ll feel better—you never know! [Goes into kitchen]

THE ACTOR [loud, as if he had suddenly awakened] Yesterday the doctor in the hospital said to me: “Your organism,” he said, “is entirely poisoned with alcohol . . .”

THE ACTOR [loud, as if he had suddenly awakened] Yesterday the doctor at the hospital told me, “Your body,” he said, “is completely poisoned by alcohol . . .”

SATINE [smiling] Organon . . .

THE ACTOR [stubbornly] Not organon—organism!

THE ACTOR [stubbornly] Not tool—living being!

SATINE. Sibylline. . . .

SATINE. Mysterious. . . .

THE ACTOR [shaking his fist at him] Nonsense! I’m telling you seriously . . . if the organism is poisoned . . . that means it’s bad for me to sweep the floor—to inhale the dust . . .

THE ACTOR [shaking his fist at him] Nonsense! I'm telling you seriously . . . if the organism is poisoned . . . that means it's bad for me to sweep the floor—to breathe in the dust . . .

SATINE. Macrobistic . . . hah!

SATINE. Macrobistic . . . haha!

BUBNOFF. What are you muttering?

BUBNOFF. What are you saying?

SATINE. Words—and here’s another one for you—transcendentalistic . . .

SATINE. Words—and here’s another one for you—transcendental. . .

BUBNOFF. What does it mean?

SATINE. Don’t know—I forgot . . .

SATINE. I don't know—I forgot . . .

BUBNOFF. Then why did you say it?

BUBNOFF. So why did you say that?

SATINE. Just so! I’m bored, brother, with human words—all our words. Bored! I’ve heard each one of them a thousand times surely.

SATINE. Exactly! I’m so tired of human words—all of our words. Tired! I feel like I’ve heard every single one of them a thousand times.

THE ACTOR. In Hamlet they say: “Words, words, words!” It’s a good play. I played the grave-digger in it once. . . .

THE ACTOR. In Hamlet they say: “Words, words, words!” It’s a great play. I once played the grave-digger in it. . . .

[Kleshtch comes from the kitchen.]

Kleshtch comes from the kitchen.

KLESHTCH. Will you start playing with the broom?

KLESHTCH. Are you going to start playing with the broom?

THE ACTOR. None of your business. [Striking his chest] Ophelia! O—remember me in thy prayers!

THE ACTOR. None of your business. [Striking his chest] Ophelia! O—please remember me in your prayers!

[Pg 7]

[Back stage is heard a dull murmur, cries, and a police whistle. Kleshtch sits down to work, filing screechily.]

[In the background, there's a faint murmur, shouting, and a police whistle. Kleshtch sits down to work, filing noisily.]

SATINE. I love unintelligible, obsolete words. When I was a youngster—and worked as a telegraph operator—I read heaps of books. . . .

SATINE. I love confusing, outdated words. When I was a kid—and worked as a telegraph operator—I read tons of books. . . .

BUBNOFF. Were you really a telegrapher?

BUBNOFF. Were you actually a telegrapher?

SATINE. I was. There are some excellent books—and lots of curious words . . . Once I was an educated man, do you know?

SATINE. I was. There are some great books—and lots of interesting words . . . Once I was an educated man, you know?

BUBNOFF. I’ve heard it a hundred times. Well, so you were! That isn’t very important! Me—well—once I was a furrier. I had my own shop—what with dyeing the fur all day long, my arms were yellow up to the elbows, brother. I thought I’d never be able ever to get clean again—that I’d go to my grave, all yellow! But look at my hands now—they’re plain dirty—that’s what!

BUBNOFF. I've heard it a hundred times. Well, you were! That’s not really important! Me—well—I used to be a furrier. I had my own shop—after dyeing fur all day, my arms were yellow up to my elbows, man. I thought I’d never be able to get clean again—that I’d go to my grave all yellow! But look at my hands now—they're just plain dirty—that's it!

SATINE. Well, and what then?

SATINE. So, what's next?

BUBNOFF. That’s all!

BUBNOFF. That's it!

SATINE. What are you trying to prove?

SATINE. What are you trying to show?

BUBNOFF. Oh, well—just matching thoughts—no matter how much dye you get on yourself, it all comes off in the end—yes, yes—

BUBNOFF. Oh, well—just matching thoughts—no matter how much dye you get on yourself, it all washes off in the end—yeah, yeah—

SATINE. Oh—my bones ache!

SATINE. Oh—my bones hurt!

THE ACTOR [sits, nursing his knees] Education is all rot. Talent is the thing. I knew an actor—who read his parts by heart, syllable by syllable—but he played heroes in a way that . . . why—the whole theatre would rock with ecstasy!

THE ACTOR [sits, nursing his knees] Education is all nonsense. Talent is what really matters. I knew an actor—who memorized his lines word for word—but he played heroes in a way that... the entire theater would be filled with excitement!

SATINE. Bubnoff, give me five kopecks.

SATINE. Bubnoff, can you give me five kopecks?

BUBNOFF. I only have two—

THE ACTOR. I say—talent, that’s what you need to play heroes. And talent is nothing but faith in yourself, in your own powers—

THE ACTOR. I say—talent, that’s what you need to play heroes. And talent is nothing but belief in yourself, in your own abilities—

[Pg 8]

SATINE. Give me five kopecks and I’ll have faith that you’re a hero, a crocodile, or a police inspector—Kleshtch, give me five kopecks.

SATINE. Give me five kopecks and I’ll believe you’re a hero, a crocodile, or a police inspector—Kleshtch, give me five kopecks.

KLESHTCH. Go to hell! All of you!

SATINE. What are you cursing for? I know you haven’t a kopeck in the world!

SATINE. Why are you cursing? I know you don’t have a penny to your name!

ANNA. Andrei Mitritch—I’m suffocating—I can’t breathe—

KLESHTCH. What shall I do?

KLESHTCH. What should I do?

BUBNOFF. Open the door into the hall.

BUBNOFF. Open the door to the hallway.

KLESHTCH. All right. You’re sitting on the bunk, I on the floor. You change places with me, and I’ll let you open the door. I have a cold as it is.

KLESHTCH. Okay. You’re on the bunk, and I’m on the floor. Switch places with me, and I’ll let you open the door. I already have a cold.

BUBNOFF [unconcernedly] I don’t care if you open the door—it’s your wife who’s asking—

BUBNOFF [unconcernedly] I don’t mind if you open the door—it’s your wife who wants to talk—

KLESHTCH [morosely] I don’t care who’s asking—

KLESHTCH [gloomily] I don’t care who’s asking—

SATINE. My head buzzes—ah—why do people have to hit each other over the heads?

SATINE. My head is spinning—ugh—why do people have to hit each other in the head?

BUBNOFF. They don’t only hit you over the head, but over the rest of the body as well. [Rises] I must go and buy some thread—our bosses are late to-day—seems as if they’ve croaked. [Exit]

BUBNOFF. They don't just hit you in the head, but all over your body too. [Rises] I need to go buy some thread—our bosses are late today—feels like they've kicked the bucket. [Exit]

[Anna coughs; Satine is lying down motionless, his hands folded behind his head.]

[i]Anna coughs; Satine lies motionless, his hands folded behind his head.[/i]

THE ACTOR [looks about him morosely, then goes to Anna] Feeling bad, eh?

THE ACTOR [looks around sadly, then approaches Anna] Feeling down, huh?

ANNA. I’m choking—

ANNA. I'm suffocating—

THE ACTOR. If you wish, I’ll take you into the hallway. Get up, then, come! [He helps her to rise, wraps some sort of a rag about her shoulders, and supports her toward the hall] It isn’t easy. I’m sick myself—poisoned with alcohol . . .

THE ACTOR. If you want, I’ll take you to the hallway. Get up, then, let’s go! [He helps her get up, wraps a rag around her shoulders, and supports her as they head toward the hall] It’s not easy. I'm sick too—intoxicated from alcohol . . .

[Kostilyoff appears in the doorway.]

Kostilyoff shows up in the doorway.

[Pg 9]

KOSTILYOFF. Going for a stroll? What a nice couple—the gallant cavalier and the lady fair!

KOSTILYOFF. Going for a walk? What a lovely couple—the brave knight and the beautiful lady!

THE ACTOR. Step aside, you—don’t you see that we’re invalids?

THE ACTOR. Step aside, you—don't you see that we're disabled?

KOSTILYOFF. Pass on, please! [Hums a religious tune, glances about him suspiciously, and bends his head to the left as if listening to what is happening in Pepel’s room. Kleshtch is jangling his keys and scraping away with his file, and looks askance at the other] Filing?

KOSTILYOFF. Move along, please! [Hums a religious tune, looks around warily, and tilts his head to the left as if trying to hear what's going on in Pepel’s room. Kleshtch is jingling

KLESHTCH. What?

KLESHTCH. Huh?

KOSTILYOFF. I say, are you filing? [Pause] What did I want to ask? [Quick and low] Hasn’t my wife been here?

KOSTILYOFF. I say, are you busy? [Pause] What did I want to ask? [Quick and low] Hasn’t my wife been around?

KLESHTCH. I didn’t see her.

KLESHTCH. I didn’t notice her.

KOSTILYOFF [carefully moving toward Pepel’s room] You take up a whole lot of room for your two rubles a month. The bed—and your bench—yes—you take up five rubles’ worth of space, so help me God! I’ll have to put another half ruble to your rent—

KOSTILYOFF [carefully moving toward Pepel’s room] You take up way too much space for just two rubles a month. The bed—and your bench—yeah—you’re using up five rubles’ worth of space, I swear! I’ll have to add another half ruble to your rent—

KLESHTCH. You’ll put a noose around my neck and choke me . . . you’ll croak soon enough, and still all you think of is half rubles—

KLESHTCH. You’re going to put a noose around my neck and strangle me . . . you’ll die soon enough, and all you're worried about is half rubles—

KOSTILYOFF. Why should I choke you? What would be the use? God be with you—live and prosper! But I’ll have to raise you half a ruble—I’ll buy oil for the ikon lamp, and my offering will atone for my sins, and for yours as well. You don’t think much of your sins—not much! Oh, Andrushka, you’re a wicked man! Your wife is dying because of your wickedness—no one loves you, no one respects you—your work is squeaky, jarring on every one.

KOSTILYOFF. Why would I strangle you? What good would that do? God be with you—live well and prosper! But I need to spare you half a ruble—I’m going to buy oil for the icon lamp, and my offering will make up for my sins, and yours too. You don’t think much of your sins—not at all! Oh, Andrushka, you’re a bad man! Your wife is suffering because of your wickedness—no one loves you, no one respects you—your work is irritating, jarring to everyone.

KLESHTCH [shouts] What do you come here for—just to annoy me?

KLESHTCH [shouts] What are you here for—just to bother me?

[Satine grunts loudly.]

Satine groans loudly.

KOSTILYOFF [with a start] God, what a noise!

KOSTILYOFF [surprised] Wow, what a noise!

[Pg 10]

[The Actor enters.]

[The Actor walks in.]

THE ACTOR. I’ve put her down in the hall and wrapped her up.

THE ACTOR. I’ve laid her down in the hallway and covered her up.

KOSTILYOFF. You’re a kindly fellow. That’s good. Some day you’ll be rewarded for it.

KOSTILYOFF. You’re a nice guy. That’s great. One day you’ll get rewarded for it.

THE ACTOR. When?

KOSTILYOFF. In the Beyond, little brother—there all our deeds will be reckoned up.

KOSTILYOFF. In the Afterlife, little brother—there all our actions will be counted.

THE ACTOR. Suppose you reward me right now?

THE ACTOR. What if you give me a reward right now?

KOSTILYOFF. How can I do that?

KOSTILYOFF. How can I make that happen?

THE ACTOR. Wipe out half my debt.

THE ACTOR. Clear half of my debt.

KOSTILYOFF. He-ho! You’re always jesting, darling—always poking fun . . . can kindliness of heart be repaid with gold? Kindliness—it’s above all other qualities. But your debt to me—remains a debt. And so you’ll have to pay me back. You ought to be kind to me, an old man, without seeking for reward!

KOSTILYOFF. Hey there! You’re always joking around, sweetheart—always making fun of things... can kindness really be paid back with money? Kindness—it’s the most important quality of all. But your debt to me—it's still a debt. So you’ll need to repay me. You should be nice to me, an old man, without expecting anything in return!

THE ACTOR. You’re a swindler, old man! [Goes into kitchen]

THE ACTOR. You’re a con artist, old man! [Walks into the kitchen]

[Kleshtch rises and goes into the hall.]

Kleshtch gets up and walks into the hall.

KOSTILYOFF [to Satine] See that squeaker—? He ran away—he doesn’t like me!

KOSTILYOFF [to Satine] Did you see that little guy? He bolted—he’s not a fan of me!

SATINE. Does anybody like you besides the Devil?

SATINE. Does anyone like you aside from the Devil?

KOSTILYOFF [laughing] Oh—you’re so quarrelsome! But I like you all—I understand you all, my unfortunate down-trodden, useless brethren . . . [Suddenly, rapidly] Is Vaska home?

KOSTILYOFF [laughing] Oh—you’re so argumentative! But I like all of you—I get you, my unfortunate oppressed, useless brothers . . . [Suddenly, rapidly] Is Vaska home?

SATINE. See for yourself—

SATINE. Check it out—

KOSTILYOFF [goes to the door and knocks] Vaska!

KOSTILYOFF [walks to the door and knocks] Vaska!

[The Actor appears at the kitchen door, chewing something.]

[The Actor stands in the kitchen doorway, chewing on something.]

PEPEL. Who is it?

EPEL. Who is that?

KOSTILYOFF. It’s I—I, Vaska!

KOSTILYOFF. It’s me—I, Vaska!

[Pg 11]

PEPEL. What do you want?

PEPEL. What do you need?

KOSTILYOFF [stepping aside] Open!

KOSTILYOFF [moving aside] Open!

SATINE [without looking at Kostilyoff] He’ll open—and she’s there—

SATINE [not looking at Kostilyoff] He’ll open it—and she’s there—

[The Actor makes a grimace.]

The Actor makes a face.

KOSTILYOFF [in a low, anxious tone] Eh? Who’s there? What?

KOSTILYOFF [in a low, anxious tone] Huh? Who’s there? What’s going on?

SATINE. Speaking to me?

SATINE. Are you talking to me?

KOSTILYOFF. What did you say?

KOSTILYOFF. What did you mean?

SATINE. Oh—nothing—I was just talking to myself—

KOSTILYOFF. Take care, brother. Don’t carry your joking too far! [Knocks loudly at door] Vassily!

KOSTILYOFF. Take care, brother. Don't take your jokes too far! [Knocks loudly at door] Vassily!

PEPEL [opening door] Well? What are you disturbing me for?

PEPEL [opening door] What do you want? Why are you bothering me?

KOSTILYOFF [peering into room] I—you see—

KOSTILYOFF [looking into the room] I—you see—

PEPEL. Did you bring the money?

PEPEL. Did you bring the cash?

KOSTILYOFF. I’ve something to tell you—

KOSTILYOFF. I have something to tell you—

PEPEL. Did you bring the money?

PEPEL. Did you bring the cash?

KOSTILYOFF. What money? Wait—

KOSTILYOFF. What cash? Wait—

PEPEL. Why—the seven rubles for the watch—well?

PEPEL. Why—what about the seven rubles for the watch?

KOSTILYOFF. What watch, Vaska? Oh, you—

KOSTILYOFF. What time is it, Vaska? Oh, you—

PEPEL. Look here. Yesterday, before witnesses, I sold you a watch for ten rubles, you gave me three—now let me have the other seven. What are you blinking for? You hang around here—you disturb people—and don’t seem to know yourself what you’re after.

PEPEL. Look, yesterday, in front of witnesses, I sold you a watch for ten rubles. You gave me three—now give me the other seven. Why are you staring? You’re just hanging around here, bothering people, and you don’t even seem to know what you want.

KOSTILYOFF. Sh-sh! Don’t be angry, Vaska. The watch—it is—

KOSTILYOFF. Shh! Don’t be upset, Vaska. The watch—it’s—

SATINE. Stolen!

SATINE. Taken!

KOSTILYOFF [sternly] I do not accept stolen goods—how can you imagine—

KOSTILYOFF [sternly] I don't take stolen goods—how could you think that—

[Pg 12]

PEPEL [taking him by the shoulder] What did you disturb me for? What do you want?

PEPEL [grabbing him by the shoulder] Why did you interrupt me? What do you need?

KOSTILYOFF. I don’t want—anything. I’ll go—if you’re in such a state—

KOSTILYOFF. I don't want anything. I'll leave if you’re feeling like this—

PEPEL. Be off, and bring the money!

PEPEL. Go away, and bring the money!

KOSTILYOFF. What ruffians! I—I—[Exit]

KOSTILYOFF. What troublemakers! I—I—[Exit]

THE ACTOR. What a farce!

The Actor. What a joke!

SATINE. That’s fine—I like it.

SATINE. That’s cool—I like it.

PEPEL. What did he come here for?

PEPEL. Why did he come here?

SATINE [laughing] Don’t you understand? He’s looking for his wife. Why don’t you beat him up once and for all, Vaska?

SATINE [laughing] Don’t you get it? He’s searching for his wife. Why don’t you just take him down for good, Vaska?

PEPEL. Why should I let such trash interfere with my life?

PEPEL. Why should I let such garbage mess with my life?

SATINE. Show some brains! And then you can marry Vassilisa—and become our boss—

SATINE. Use your brain! Then you can marry Vassilisa—and be our boss—

PEPEL. Heavenly bliss! And you’d smash up my household and, because I’m a soft-hearted fool, you’ll drink up everything I possess. [Sits on a bunk] Old devil—woke me up—I was having such a pleasant dream. I dreamed I was fishing—and I caught an enormous trout—such a trout as you only see in dreams! I was playing him—and I was so afraid the line would snap. I had just got out the gaff—and I thought to myself—in a moment—

PEPEL. Oh, what a joy! And you’d ruin my home and, because I’m a total pushover, you’ll take everything I have. [Sits on a bunk] You old rascal—woke me up—I was having such a nice dream. I dreamed I was fishing—and I caught a massive trout—one of those fish you only see in dreams! I was reeling him in—and I was so worried the line would break. I had just taken out the gaff—and I thought to myself—in a moment—

SATINE. It wasn’t a trout, it was Vassilisa—

SATINE. It wasn’t a trout; it was Vassilisa—

THE ACTOR. He caught Vassilisa a long time ago.

THE ACTOR. He captured Vassilisa a long time ago.

PEPEL [angrily] You can all go to the devil—and Vassilisa with you—

PEPEL [angrily] You can all screw off—and take Vassilisa with you—

[Kleshtch comes from the hall.]

Kleshtch enters the hall.

KLESHTCH. Devilishly cold!

KLESHTCH. Seriously cold!

THE ACTOR. Why didn’t you bring Anna back? She’ll freeze, out there—

THE ACTOR. Why didn’t you bring Anna back? She’ll freeze out there—

[Pg 13]

KLESHTCH. Natasha took her into the kitchen—

KLESHTCH. Natasha led her into the kitchen—

THE ACTOR. The old man will kick her out—

THE ACTOR. The old man will throw her out—

KLESHTCH [sitting down to his work] Well—Natasha will bring her in here—

SATINE. Vassily—give me five kopecks!

SATINE. Vassily—give me 5 kopecks!

THE ACTOR [to Satine] Oh, you—always five kopecks—Vassya—give us twenty kopecks—

PEPEL. I’d better give it to them now before they ask for a ruble. Here you are!

PEPEL. I should hand it over to them now before they ask for a ruble. Here you go!

SATINE. Gibraltar! There are no kindlier people in the world than thieves!

SATINE. Gibraltar! There are no nicer people in the world than thieves!

KLESHTCH [morosely] They earn their money easily—they don’t work—

KLESHTCH [gloomily] They make their money effortlessly—they don’t put in any effort—

SATINE. Many earn it easily, but not many part with it so easily. Work? Make work pleasant—and maybe I’ll work too. Yes—maybe. When work’s a pleasure, life’s, too. When it’s toil, then life is a drudge. [To the Actor] You, Sardanapalus! Come on!

SATINE. Many people acquire it without much effort, but not many let it go just as easily. Work? Make work enjoyable—and maybe I’ll get to work too. Yeah—maybe. When work is enjoyable, life is too. When it feels like a grind, then life is just a chore. [To the Actor] You, Sardanapalus! Let’s go!

THE ACTOR. Let’s go, Nebuchadnezzar! I’ll get as drunk as forty thousand topers!

THE ACTOR. Let’s go, Nebuchadnezzar! I’m going to get as wasted as forty thousand heavy drinkers!

[They leave.]

They’re leaving.

PEPEL [yawning] Well, how’s your wife?

PEPEL [yawning] So, how’s your wife?

KLESHTCH. It seems as if soon—[Pause.]

KLESHTCH. It feels like soon—[Pause.]

PEPEL. Now I look at you—seems to me all that filing and scraping of yours is useless.

PEPEL. Now I look at you—it seems to me all that filing and scraping you're doing is pointless.

KLESHTCH. Well—what else can I do?

KLESHTCH. Well—what else am I supposed to do?

PEPEL. Nothing.

PEPEL. None.

KLESHTCH. How can I live?

KLESHTCH. How can I survive?

PEPEL. People manage, somehow.

KLESHTCH. Them? Call them people? Muck and dregs—that’s what they are! I’m a workman—I’m ashamed even to look at them. I’ve slaved since I was a child. . . . D’you think I shan’t be able to tear myself [Pg 14]away from here? I’ll crawl out of here, even if I have to leave my skin behind—but crawl out I will! Just wait . . . my wife’ll die . . . I’ve lived here six months, and it seems like six years.

KLESHTCH. Them? Call them people? They're just the trash of society—that’s what they are! I'm a worker—I'm even embarrassed to look at them. I've toiled since I was a child. … Do you think I won’t be able to pull myself [Pg 14] away from here? I’ll find a way to get out of here, even if I have to leave everything behind—but get out I will! Just wait… my wife will die… I’ve lived here for six months, and it feels like six years.

PEPEL. Nobody here’s any worse off than you . . . say what you like . . .

PEPEL. No one here is worse off than you . . . say what you want . . .

KLESHTCH. No worse is right. They’ve neither honor nor conscience.

KLESHTCH. That’s absolutely true. They lack both honor and a sense of right and wrong.

PEPEL [indifferently] What good does it do—honor or conscience? Can you get them on their feet instead of on their uppers—through honor and conscience? Honor and conscience are needed only by those who have power and energy . . .

PEPEL [indifferently] What’s the point—honor or conscience? Can you uplift them instead of holding them back—with honor and conscience? Honor and conscience are only necessary for those who have power and energy. . . .

BUBNOFF [coming back] Oh—I’m frozen . . .

BUBNOFF [coming back] Oh—I’m so cold . . .

PEPEL. Bubnoff! Got a conscience?

PEPEL. Bubnoff! Do you have a conscience?

BUBNOFF. What? A conscience?

BUBNOFF. What? A guilty conscience?

PEPEL. Exactly!

PEPEL. That's right!

BUBNOFF. What do I need a conscience for? I’m not rich.

BUBNOFF. Why do I need a conscience? I’m not wealthy.

PEPEL. Just what I said: honor and conscience are for the rich—right! And Kleshtch is upbraiding us because we haven’t any!

PEPEL. Just what I said: honor and conscience are for the wealthy—right! And Kleshtch is scolding us because we don’t have either!

BUBNOFF. Why—did he want to borrow some of it?

BUBNOFF. Why—did he want to borrow some?

PEPEL. No—he has plenty of his own . . .

BUBNOFF. Oh—are you selling it? You won’t sell much around here. But if you had some old boxes, I’d buy them—on credit . . .

PEPEL [didactically] You’re a jackass, Andrushka! On the subject of conscience you ought to hear Satine—or the Baron . . .

PEPEL [instructively] You’re an idiot, Andrushka! When it comes to conscience, you should listen to Satine—or the Baron . . .

KLESHTCH. I’ve nothing to talk to them about!

KLESHTCH. I have nothing to say to them!

PEPEL. They have more brains than you—even if they’re drunkards . . .

PEPEL. They’re smarter than you—even if they’re drunk.

[Pg 15]

BUBNOFF. He who can be drunk and wise at the same time is doubly blessed . . .

BUBNOFF. The person who can be both drunk and wise at the same time is doubly blessed.

PEPEL. Satine says every man expects his neighbor to have a conscience, but—you see—it isn’t to any one’s advantage to have one—that’s a fact.

PEPEL. Satine says every man thinks his neighbor should have a conscience, but—you see—it doesn’t benefit anyone to actually have one—that’s the truth.

[Natasha enters, followed by Luka who carries a stick in his hand, a bundle on his back, a kettle and a teapot slung from his belt.]

[Natasha walks in, followed by Luka who has a stick in his hand, a bundle on his back, and a kettle and teapot hanging from his belt.]

LUKA. How are you, honest folks?

LUKA. How's it going, good people?

PEPEL [twisting his mustache] Aha—Natasha!

PEPEL [twirling his mustache] Aha—Natasha!

BUBNOFF [to Luka] I was honest—up to spring before last.

BUBNOFF [to Luka] I was honest—until the spring before last.

NATASHA. Here’s a new lodger . . .

NATASHA. Here's a new tenant . . .

LUKA. Oh, it’s all the same to me. Crooks—I don’t mind them, either. For my part there’s no bad flea—they’re all black—and they all jump— . . . Well, dearie, show me where I can stow myself.

LUKA. Oh, it’s all the same to me. Crooks—I don’t mind them, either. As far as I'm concerned, there’s no bad flea—they're all black—and they all jump— . . . Well, dearie, show me where I can settle in.

NATASHA [pointing to kitchen door] Go in there, grand-dad.

NATASHA [pointing to kitchen door] Go in there, Grandpa.

LUKA. Thanks, girlie! One place is like another—as long as an old fellow keeps warm, he keeps happy . . .

LUKA. Thanks, girl! One place is just like another—as long as an old guy stays warm, he's happy . . .

PEPEL. What an amusing old codger you brought in, Natasha!

PEPEL. What a funny old guy you brought in, Natasha!

NATASHA. A hanged sight more interesting than you! . . . Andrei, your wife’s in the kitchen with us—come and fetch her after a while . . .

NATASHA. A lot more interesting than you! . . . Andrei, your wife’s in the kitchen with us—come and get her after a while . . .

KLESHTCH. All right—I will . . .

KLESHTCH. Okay—I will . . .

NATASHA. And be a little more kind to her—you know she won’t last much longer.

NATASHA. And be a bit kinder to her—you know she won't be around much longer.

KLESHTCH. I know . . .

NATASHA. Knowing won’t do any good—it’s terrible—dying—don’t you understand?

NATASHA. Knowing won’t help at all—it’s awful—dying—don’t you get it?

PEPEL. Well—look at me—I’m not afraid . . .

PEPEL. Well—check me out—I’m not scared . . .

[Pg 16]

NATASHA. Oh—you’re a wonder, aren’t you?

NATASHA. Oh—you really are something special, aren’t you?

BUBNOFF [whistling] Oh—this thread’s rotten . . .

BUBNOFF [whistling] Oh—this thread is bad. . . .

PEPEL. Honestly, I’m not afraid! I’m ready to die right now. Knife me to the heart—and I’ll die without making a sound . . . even gladly—from such a pure hand . . .

PEPEL. Honestly, I’m not scared! I’m ready to die right now. Stab me in the heart—and I’ll die without a sound . . . even gladly—from such a pure hand . . .

NATASHA [going out] Spin that yarn for some one else!

NATASHA [going out] Tell that story to someone else!

BUBNOFF. Oh—that thread is rotten—rotten—

BUBNOFF. Oh—that thread is messed up—messed up—

NATASHA [at hallway door] Don’t forget your wife, Andrei!

KLESHTCH. All right.

KLESHTCH. Okay.

PEPEL. She’s a wonderful girl!

PEPEL. She's an amazing girl!

BUBNOFF. She’s all right.

BUBNOFF. She’s doing fine.

PEPEL. What makes her so curt with me? Anyway—she’ll come to no good here . . .

PEPEL. Why is she so short with me? Anyway—she won't end up well here . . .

BUBNOFF. Through you—sure!

BUBNOFF. Count me in!

PEPEL. Why through me? I feel sorry for her . . .

PEPEL. Why me? I feel bad for her . . .

BUBNOFF. As the wolf for the lamb!

BUBNOFF. Like a wolf with a lamb!

PEPEL. You lie! I feel very sorry for her . . . very . . . very sorry! She has a tough life here—I can see that . . .

PEPEL. You're lying! I really feel bad for her... really... really bad! She's having a hard time here—I can tell...

KLESHTCH. Just wait till Vassilisa catches you talking to her!

KLESHTCH. Just wait until Vassilisa sees you talking to her!

BUBNOFF. Vassilisa? She won’t give up so easily what belongs to her—she’s a cruel woman!

BUBNOFF. Vassilisa? She won't let go of what's hers without a fight—she's a harsh woman!

PEPEL [stretching himself on the bunk] You two prophets can go to hell!

PEPEL [stretching out on the bunk] You two prophets can go to hell!

KLESHTCH. Just wait—you’ll see!

KLESHTCH. Just wait—you'll see!

LUKA [singing in the kitchen] “In the dark of the night the way is black . . .”

LUKA [singing in the kitchen] “In the darkness of the night, the path is dark . . .”

KLESHTCH. Another one who yelps!

KLESHTCH. Another one who complains!

PEPEL. It’s dreary! Why do I feel so dreary? You [Pg 17]live—and everything seems all right. But suddenly a cold chill goes through you—and then everything gets dreary . . .

PEPEL. It’s so dull! Why do I feel so down? You [Pg 17]live—and everything seems fine. But suddenly, a cold chill runs through you—and then everything feels dreary . . .

BUBNOFF. Dreary? Hm-hm—

BUBNOFF. Dull? Hmm—

PEPEL. Yes—yes—

PEPEL. Yeah—yeah—

LUKA [sings] “The way is black . . .”

LUKA [sings] “The path is dark . . .”

PEPEL. Old fellow! Hey there!

PEPEL. Old buddy! Hey!

LUKA [looking from kitchen door] You call me?

LUKA [looking from the kitchen door] Did you call me?

PEPEL. Yes. Don’t sing!

PEPEL. Yes. No singing!

LUKA [coming in] You don’t like it?

PEPEL. When people sing well I like it—

PEPEL. When people sing well, I enjoy it—

LUKA. In other words—I don’t sing well?

LUKA. So, you’re saying—I don’t sing well?

PEPEL. Evidently!

PEPEL. For sure!

LUKA. Well, well—and I thought I sang well. That’s always the way: a man imagines there’s one thing he can do well, and suddenly he finds out that other people don’t think so . . .

LUKA. Well, well—and I thought I sang well. That’s always how it goes: a guy thinks there's one thing he can do really well, and then he finds out that other people don’t agree . . .

PEPEL [laughs] That’s right . . .

PEPEL [laughs] Exactly...

BUBNOFF. First you say you feel dreary—and then you laugh!

BUBNOFF. First you say you feel down—and then you laugh!

PEPEL. None of your business, raven!

LUKA. Who do they say feels dreary?

LUKA. Who do they say feels down?

PEPEL. I do.

PEPEL. I sure do.

[The Baron enters.]

[The Baron walks in.]

LUKA. Well, well—out there in the kitchen there’s a girl reading and crying! That’s so! Her eyes are wet with tears . . . I say to her: “What’s the matter, darling?” And she says: “It’s so sad!” “What’s so sad?” say I. “The book!” says she.—And that’s how people spend their time. Just because they’re bored . . .

LUKA. Well, well—there’s a girl in the kitchen reading and crying! Seriously! Her eyes are full of tears . . . I ask her: “What’s wrong, honey?” And she replies: “It’s so sad!” “What’s sad?” I say. “The book!” she says. —And that’s how people pass their time. Just because they’re bored . . .

THE BARON. She’s a fool!

The Baron. She’s a fool!

PEPEL. Have you had tea, Baron?

THE BARON. Yes. Go on!

The Barón. Yes. Go on!

[Pg 18]

PEPEL. Well—want me to open a bottle?

PEPEL. So, do you want me to open a bottle?

THE BARON. Of course. Go on!

The Baron. Of course. Go ahead!

PEPEL. Drop on all fours, and bark like a dog!

PEPEL. Get down on all fours and bark like a dog!

THE BARON. Fool! What’s the matter with you? Are you drunk?

THE BARON. Fool! What’s wrong with you? Are you drunk?

PEPEL. Go on—bark a little! It’ll amuse me. You’re an aristocrat. You didn’t even consider us human formerly, did you?

PEPEL. Come on—bark a bit! It’ll entertain me. You’re an aristocrat. You didn’t even think of us as human before, did you?

THE BARON. Go on!

The Baron's. Go for it!

PEPEL. Well—and now I am making you bark like a dog—and you will bark, won’t you?

PEPEL. Well—and now I’m getting you to bark like a dog—and you will bark, won’t you?

THE BARON. All right. I will. You jackass! What pleasure can you derive from it since I myself know that I have sunk almost lower than you. You should have made me drop on all fours in the days when I was still above you.

THE BARON. Fine. I’ll do it. You idiot! What joy do you get from this when I know I've hit rock bottom, almost lower than you. You should have made me crawl back when I was still better than you.

BUBNOFF. That’s right . . .

LUKA. I say so, too!

LUKA. I agree!

BUBNOFF. What’s over, is over. Remain only trivialities. We know no class distinctions here. We’ve shed all pride and self-respect. Blood and bone—man—just plain man—that’s what we are!

BUBNOFF. What's done is done. Only minor details are left. We don't have any class distinctions here. We've let go of all pride and self-respect. Blood and bone—human—just regular human beings—that's who we are!

LUKA. In other words, we’re all equal . . . and you, friend, were you really a Baron?

LUKA. In other words, we’re all equal . . . and you, my friend, were you actually a Baron?

THE BARON. Who are you? A ghost?

THE BARON. Who are you? A spirit?

LUKA [laughing] I’ve seen counts and princes in my day—this is the first time I meet a baron—and one who’s decaying—at that!

LUKA [laughing] I’ve met counts and princes in my time—this is the first time I’m meeting a baron—and one who’s falling apart—at that!

PEPEL [laughing] Baron, I blush for you!

PEPEL [laughing] Baron, I'm embarrassed for you!

THE BARON. It’s time you knew better, Vassily . . .

THE BARON. It’s time you got it together, Vassily . . .

LUKA. Hey-hey—I look at you, brothers—the life you’re leading . . .

LUKA. Hey—hey—I see you, guys—the life you’re living . . .

BUBNOFF. Such a life! As soon as the sun rises, our voices rise, too—in quarrels!

BUBNOFF. What a life! As soon as the sun comes up, our voices do too—in arguments!

[Pg 19]

THE BARON. We’ve all seen better days—yes! I used to wake up in the morning and drink my coffee in bed—coffee—with cream! Yes—

THE BARON. We've all had our ups and downs—right? I used to get up in the morning and enjoy my coffee in bed—coffee—with cream! Yes—

LUKA. And yet we’re all human beings. Pretend all you want to, put on all the airs you wish, but man you were born, and man you must die. And as I watch I see that the wiser people get, the busier they get—and though from bad to worse, they still strive to improve—stubbornly—

LUKA. And yet we’re all human beings. You can pretend all you want and act superior if you wish, but you were born a person, and you will die a person. And as I watch, I see that the wiser people become, the busier they get—and even though things get worse, they still stubbornly strive to improve—

THE BARON. Who are you, old fellow? Where do you come from?

THE BARON. Who are you, old man? Where did you come from?

LUKA. I?

LUKA. What?

THE BARON. Are you a tramp?

The Baron. Are you a bum?

LUKA. We’re all of us tramps—why—I’ve heard said that the very earth we walk on is nothing but a tramp in the universe.

LUKA. We’re all a bunch of drifters—I've heard it said that the ground we walk on is just a wanderer in the universe.

THE BARON [severely] Perhaps. But have you a passport?

THE BARON [severely] Maybe. But do you have a passport?

LUKA [after a short pause] And what are you—a police inspector?

LUKA [after a short pause] So, are you a police inspector?

PEPEL [delighted] You scored, old fellow! Well, Barosha, you got it this time!

PEPEL [delighted] You did it, my friend! Well done, Barosha, you nailed it this time!

BUBNOFF. Yes—our little aristocrat got his!

BUBNOFF. Yes—our little aristocrat got what he deserved!

THE BARON [embarrassed] What’s the matter? I was only joking, old man. Why, brother, I haven’t a passport, either.

THE BARON [embarrassed] What’s up? I was just joking, man. Seriously, I don’t have a passport either.

BUBNOFF. You lie!

BUBNOFF. You're lying!

THE BARON. Oh—well—I have some sort of papers—but they have no value—

THE BARON. Oh—well—I have some kind of papers—but they don’t mean anything—

LUKA. They’re papers just the same—and no papers are any good—

LUKA. They’re still just papers—and no papers are worth anything—

PEPEL. Baron—come on to the saloon with me—

PEPEL. Baron—come to the lounge with me—

THE BARON. I’m ready. Good-bye, old man—you old scamp—

THE BARON. I’m ready. See you later, old man—you old trickster—

[Pg 20]

LUKA. Maybe I am one, brother—

LUKA. Maybe I am one, bro—

PEPEL [near doorway] Come on—come on!

PEPEL [near doorway] Hurry up—let's go!

[Leaves, Baron following him quickly.]

[Leaves, Baron quickly follows.]

LUKA. Was he really once a Baron?

LUKA. Was he really a Baron at one time?

BUBNOFF. Who knows? A gentleman—? Yes. That much he’s even now. Occasionally it sticks out. He never got rid of the habit.

BUBNOFF. Who knows? A gentleman—? Yeah. He’s still that much. Sometimes it shows. He never shook off the habit.

LUKA. Nobility is like small-pox. A man may get over it—but it leaves marks . . .

LUKA. Nobility is like smallpox. A person might recover from it—but it leaves scars . . .

BUBNOFF. He’s all right all the same—occasionally he kicks—as he did about your passport . . .

BUBNOFF. He’s fine overall—sometimes he gets upset—like he did about your passport . . .

[Alyoshka comes in, slightly drunk, with a concertina in his hand, whistling.]

Alyoshka walks in, a bit tipsy, holding a concertina and whistling.

ALYOSHKA. Hey there, lodgers!

ALYOSHKA. Hey there, tenants!

BUBNOFF. What are you yelling for?

BUBNOFF. Why are you shouting?

ALYOSHKA. Excuse me—I beg your pardon! I’m a well-bred man—

ALYOSHKA. Excuse me—I’m sorry! I’m a polite guy—

BUBNOFF. On a spree again?

BUBNOFF. Out bingeing again?

ALYOSHKA. Right you are! A moment ago Medyakin, the precinct captain, threw me out of the police station and said: “Look here—I don’t want as much as a smell of you to stay in the streets—d’you hear?” I’m a man of principles, and the boss croaks at me—and what’s a boss anyway—pah!—it’s all bosh—the boss is a drunkard. I don’t make any demands on life. I want nothing—that’s all. Offer me one ruble, offer me twenty—it doesn’t affect me. [Nastya comes from the kitchen] Offer me a million—I won’t take it! And to think that I, a respectable man, should be ordered about by a pal of mine—and he a drunkard! I won’t have it—I won’t!

ALYOSHKA. You’re right! Just a moment ago, Medyakin, the precinct captain, kicked me out of the police station and said, “Listen, I don’t want even a whiff of you on the streets—got it?” I stand by my principles, and the boss yells at me—and what’s a boss anyway—pah!—it’s all nonsense—the boss is a drunk. I don’t ask much from life. I don’t want anything—that’s it. Offer me one ruble, offer me twenty—it doesn’t matter to me. [Nastya comes from the kitchen] Offer me a million—I wouldn’t take it! And to think that I, a respectable man, should take orders from a buddy of mine—and he’s a drunk! I won’t stand for it—I won’t!

[Nastya stands in the doorway, shaking her head at Alyoshka.]

[i]Nastya stands in the doorway, shaking her head at Alyoshka.[/i]

[Pg 21]

LUKA [good-naturedly] Well, boy, you’re a bit confused—

LUKA [good-naturedly] Well, kid, you're a little mixed up—

BUBNOFF. Aren’t men fools!

BUBNOFF. Aren’t guys fools!

ALYOSHKA [stretches out on the floor] Here, eat me up alive—and I don’t want anything. I’m a desperate man. Show me one better! Why am I worse than others? There! Medyakin said: “If you show yourself on the streets I smash your face!” And yet I shall go out—I’ll go—and stretch out in the middle of the street—let them choke me—I don’t want a thing!

ALYOSHKA [stretches out on the floor] Here, go ahead and devour me alive—I don’t want anything. I’m at my wit's end. Show me someone who's better! Why am I worse than anyone else? There! Medyakin said, “If I see you on the streets, I’ll smash your face!” But I’m still going out—I’ll go—and lie down in the middle of the street—let them suffocate me—I don’t want anything!

NASTYA. Poor fellow—only a boy—and he’s already putting on such airs—

NASTYA. Poor guy—just a kid—and he's already acting so high and mighty—

ALYOSHKA [kneeling before her] Lady! Mademoiselle! Parlez français—? Prix courrant? I’m on a spree—

ALYOSHKA [kneeling before her] Lady! Mademoiselle! Do you speak French—? Current price? I’m feeling wild—

NASTYA [in a loud whisper] Vassilisa!

NASTYA [whispering loudly] Vassilisa!

VASSILISA [opens door quickly; to Alyoshka] You here again?

VASSILISA [opens door quickly; to Alyoshka] You’re here again?

ALYOSHKA. How do you do—? Come in—you’re welcome—

ALYOSHKA. How's it going? Come in—you're welcome—

VASSILISA. I told you, young puppy, that not a shadow of you should stick around here—and you’re back—eh?

VASSILISA. I told you, young pup, that you shouldn't be hanging around here—and yet you're back—huh?

ALYOSHKA. Vassilisa Karpovna . . . shall I tune up a funeral march for you?

ALYOSHKA. Vassilisa Karpovna . . . should I play a funeral march for you?

VASSILISA [seizing him by the shoulders] Get out!

VASSILISA [grabbing him by the shoulders] Get out!

ALYOSHKA [moving towards the door] Wait—you can’t put me out this way! I learned this funeral march a little while ago! It’s refreshing music . . . wait—you can’t put me out like that!

ALYOSHKA [moving towards the door] Wait—you can’t kick me out like that! I just learned this funeral march not long ago! It’s actually kind of uplifting music... wait—you can’t throw me out like that!

VASSILISA. I’ll show whether I can or not. I’ll rouse the whole street against you—you foul-mouthed creature—you’re too young to bark about me—

VASSILISA. I'll prove whether I can or not. I'll rally the whole street against you—you foul-mouthed creature—you’re too young to talk back to me—

ALYOSHKA [running out] All right—I’ll go—

ALYOSHKA [running out] Okay—I’ll leave—

VASSILISA. Look out—I’ll get you yet!

VASSILISA. Watch out—I’m coming for you!

[Pg 22]

ALYOSHKA [opens the door and shouts] Vassilisa Karpovna—I’m not afraid of you—[Hides]

ALYOSHKA [opens the door and shouts] Vassilisa Karpovna—I’m not scared of you—[Hides]

[Luka laughs.]

Luka laughs.

VASSILISA. Who are you?

LUKA. A passer-by—a traveler . . .

LUKA. A passerby—a traveler . . .

VASSILISA. Stopping for the night or going to stay here?

VASSILISA. Are we stopping for the night or staying here?

LUKA. I’ll see.

LUKA. Let's see.

VASSILISA. Have you a passport?

VASSILISA. Do you have a passport?

LUKA. Yes.

LUKA. Yeah.

VASSILISA. Give it to me.

VASSILISA. Hand it over.

LUKA. I’ll bring it over to your house—

LUKA. I’ll bring it to your house—

VASSILISA. Call yourself a traveler? If you’d say a tramp—that would be nearer the truth—

VASSILISA. You call yourself a traveler? If you said you were a drifter—that would be more accurate—

LUKA [sighing] You’re not very kindly, mother!

LUKA [sighing] You're not being very nice, mom!

[Vassilisa goes to door that leads to Pepel’s room, Alyoshka pokes his head through the kitchen door.]

[Vassilisa walks to the door leading to Pepel’s room, and Alyoshka sticks his head through the kitchen door.]

ALYOSHKA. Has she left?

ALYOSHKA. Did she leave?

VASSILISA [turning around] Are you still here?

VASSILISA [turning around] Are you still around?

[Alyoshka disappears, whistling. Nastya and Luka laugh.]

[i]Alyoshka takes off whistling. Nastya and Luka laugh.[/i]

BUBNOFF [to Vassilisa] He isn’t here—

BUBNOFF [to Vassilisa] He’s not here—

VASSILISA. Who?

VASSILISA. Who's that?

BUBNOFF. Vaska.

VASSILISA. Did I ask you about him?

BUBNOFF. I noticed you were looking around—

BUBNOFF. I saw you were checking things out—

VASSILISA. I am looking to see if things are in order, you see? Why aren’t the floors swept yet? How often did I give orders to keep the house clean?

VASSILISA. I’m just checking to see if everything is in order, you know? Why haven’t the floors been swept yet? How many times have I told you to keep the house clean?

BUBNOFF. It’s the actor’s turn to sweep—

BUBNOFF. Now it's the actor's turn to take the spotlight—

VASSILISA. Never mind whose turn it is! If the [Pg 23]health inspector comes and fines me, I’ll throw out the lot of you—

VASSILISA. Who cares whose turn it is! If the [Pg 23] health inspector shows up and fines me, I’ll kick all of you out—

BUBNOFF [calmly] Then how are you going to earn your living?

BUBNOFF [calmly] So, how are you planning to make a living?

VASSILISA. I don’t want a speck of dirt! [Goes to kitchen; to Nastya] What are you hanging round here for? Why’s your face all swollen up? Why are you standing there like a dummy? Go on—sweep the floor! Did you see Natalia? Was she here?

VASSILISA. I don’t want a bit of dirt! [Goes to kitchen; to Nastya] What are you doing just standing around? Why is your face so swollen? Why are you just standing there like a statue? Come on—sweep the floor! Did you see Natalia? Was she here?

NASTYA. I don’t know—I haven’t seen her . . .

NASTYA. I’m not sure—I haven’t seen her . . .

VASSILISA. Bubnoff! Was my sister here?

VASSILISA. Bubnoff! Was my sister around?

BUBNOFF. She brought him along.

BUBNOFF. She brought him with.

VASSILISA. That one—was he home?

VASSILISA. Was he there?

BUBNOFF. Vassily? Yes—Natalia was here talking to Kleshtch—

BUBNOFF. Vassily? Yeah—Natalia was here chatting with Kleshtch—

VASSILISA. I’m not asking you whom she talked to. Dirt everywhere—filth—oh, you swine! Mop it all up—do you hear? [Exit rapidly]

VASSILISA. I’m not asking you who she spoke to. There’s dirt everywhere—it's disgusting—oh, you pigs! Clean it all up—do you understand? [Exits quickly]

BUBNOFF. What a savage beast she is!

BUBNOFF. What a fierce creature she is!

LUKA. She’s a lady that means business!

LUKA. She's a woman who means business!

NASTYA. You grow to be an animal, leading such a life—any human being tied to such a husband as hers . . .

NASTYA. You become like an animal, living that kind of life—any human stuck with a husband like hers...

BUBNOFF. Well—that tie isn’t worrying her any—

BUBNOFF. Well—that tie doesn’t seem to bother her at all—

LUKA. Does she always have these fits?

LUKA. Does she always have these episodes?

BUBNOFF. Always. You see, she came to find her lover—but he isn’t home—

BUBNOFF. Always. You see, she came to look for her lover—but he isn’t home—

LUKA. I guess she was hurt. Oh-ho! Everybody is trying to be boss—and is threatening everybody else with all kinds of punishment—and still there’s no order in life . . . and no cleanliness—

LUKA. I think she was upset. Oh-ho! Everyone is trying to take charge—and is threatening others with all sorts of punishment—and still, there’s no order in life... and no cleanliness—

BUBNOFF. All the world likes order—but some people’s brains aren’t fit for it. All the same—the room should be swept—Nastya—you ought to get busy!

BUBNOFF. Everyone in the world appreciates order—but some people just aren't wired for it. Still—the room needs to be cleaned—Nastya—you should get to work!

[Pg 24]

NASTYA. Oh, certainly? Anything else? Think I’m your servant? [Silence] I’m going to get drunk to-night—dead-drunk!

NASTYA. Oh, really? Anything else? You think I’m your servant? [Silence] I’m going to get drunk tonight—totally wasted!

BUBNOFF. Fine business!

BUBNOFF. Great business!

LUKA. Why do you want to get drunk, girlie? A while ago you were crying—and now you say you’ll get drunk—

LUKA. Why do you want to get wasted, girl? Not long ago, you were crying—and now you're saying you’ll get drunk—

NASTYA [defiantly] I’ll drink—then I cry again—that’s all there’s to it!

NASTYA [defiantly] I’ll drink—then I cry again—that’s all there is to it!

BUBNOFF. That’s nothing!

BUBNOFF. That's nothing!

LUKA. But for what reason—tell me! Every pimple has a cause! [Nastya remains silent, shaking her head] Oh—you men—what’s to become of you? All right—I’ll sweep the place. Where’s your broom?

LUKA. But why—tell me! Every pimple has a reason! [Nastya stays silent, shaking her head] Oh—you men—what’s going to happen to you? Fine—I’ll clean up. Where’s your broom?

BUBNOFF. Behind the door—in the hall—

BUBNOFF. Behind the door—in the hallway—

[Luka goes into the hall.]

Luka enters the hall.

Nastinka!

NASTYA. Yes?

NASTYA. Yep?

BUBNOFF. Why did Vassilisa jump on Alyoshka?

BUBNOFF. Why did Vassilisa leap onto Alyoshka?

NASTYA. He told her that Vaska was tired of her and was going to get rid of her—and that he’s going to make up to Natasha—I’ll go away from here—I’ll find another lodging-house—

NASTYA. He told her that Vaska was tired of her and was going to get rid of her—and that he’s going to make up to Natasha—I’ll leave this place—I’ll find another boarding house—

BUBNOFF. Why? Where?

NASTYA. I’m sick of this—I’m not wanted here!

NASTYA. I’m tired of this—I don’t belong here!

BUBNOFF [calmly] You’re not wanted anywhere—and, anyway, all people on earth are superfluous—

BUBNOFF [calmly] You’re not wanted anywhere—and besides, everyone on earth is unnecessary—

[Nastya shakes her head. Rises and slowly, quietly, leaves the cellar. Miedviedieff comes in. Luka, with the broom, follows him.]

Nastya shakes her head. She stands up and slowly, quietly, leaves the cellar. Miedviedieff enters. Luka, with the broom, follows him.

MIEDVIEDIEFF. I don’t think I know you—

MIEDVIEDIEFF. I don't think I recognize you—

LUKA. How about the others—d’you know them all?

LUKA. What about the others—do you know all of them?

[Pg 25]

MIEDVIEDIEFF. I must know everybody in my precinct. But I don’t know you.

MIEDVIEDIEFF. I need to know everyone in my area. But I don’t know you.

LUKA. That’s because, uncle, the whole world can’t stow itself away in your precinct—some of it was bound to remain outside . . . [Goes into kitchen]

LUKA. That’s because, uncle, the whole world can’t fit into your space—some of it was bound to stay outside . . . [Goes into kitchen]

MIEDVIEDIEFF [crosses to Bubnoff] It’s true—my precinct is rather small—yet it’s worse than any of the very largest. Just now, before getting off duty, I had to bring Alyoshka, the shoemaker, to the station house. Just imagine—there he was, stretched right in the middle of the street, playing his concertina and yelping: “I want nothing, nothing!” Horses going past all the time—and with all the traffic going on, he could easily have been run over—and so on! He’s a wild youngster—so I just collared him—he likes to make mischief—

MIEDVIEDIEFF [walks over to Bubnoff] It's true—my precinct is pretty small—but it's worse than any of the biggest ones. Just now, before my shift ended, I had to bring Alyoshka, the shoemaker, to the station. Just picture it—there he was, sprawled right in the middle of the street, playing his concertina and shouting, “I want nothing, nothing!” Horses were passing by all the time—and with all the traffic, he could have easily been run over—seriously! He’s a wild kid—so I just grabbed him—he loves to cause trouble—

BUBNOFF. Coming to play checkers to-night?

BUBNOFF. Are you coming to play checkers tonight?

MIEDVIEDIEFF. Yes—I’ll come—how’s Vaska?

BUBNOFF. Same as ever—

BUBNOFF. Just like always—

MIEDVIEDIEFF. Meaning—he’s getting along—?

MIEDVIEDIEFF. Meaning—he’s doing okay—?

BUBNOFF. Why shouldn’t he? He’s able to get along all right.

BUBNOFF. Why not? He manages just fine.

MIEDVIEDIEFF [doubtfully] Why shouldn’t he? [Luka goes into hallway, carrying a pail] M-yes—there’s a lot of talk about Vaska. Haven’t you heard?

MIEDVIEDIEFF [doubtfully] Why shouldn’t he? [Luka goes into the hallway, carrying a pail] M-yeah—there’s a lot of chatter about Vaska. Haven’t you heard?

BUBNOFF. I hear all sorts of gossip . . .

BUBNOFF. I hear all kinds of rumors . . .

MIEDVIEDIEFF. There seems to have been some sort of talk concerning Vassilisa. Haven’t you heard about it?

MIEDVIEDIEFF. There seems to have been some talk about Vassilisa. Haven’t you heard about it?

BUBNOFF. What?

BUBNOFF. Huh?

MIEDVIEDIEFF. Oh—why—generally speaking. Perhaps you know—and lie. Everybody knows—[Severely] You mustn’t lie, brother!

MIEDVIEDIEFF. Oh—why—usually. Maybe you know—and are lying. Everyone knows—[Severely] You shouldn’t lie, brother!

BUBNOFF. Why should I lie?

BUBNOFF. Why would I lie?

MIEDVIEDIEFF. That’s right. Dogs! They say that Vaska and Vassilisa . . . but what’s that to me? I’m [Pg 26]not her father. I’m her uncle. Why should they ridicule me? [Kvashnya comes in] What are people coming to? They laugh at everything. Aha—you here?

MIEDVIEDIEFF. That’s right. Dogs! They say that Vaska and Vassilisa... but what does that matter to me? I'm [Pg 26] not her father. I’m her uncle. Why should they make fun of me? [Kvashnya comes in] What is this world coming to? They laugh at everything. Aha—you’re here?

KVASHNYA. Well—my love-sick garrison—? Bubnoff! He came up to me again on the marketplace and started pestering me about marrying him . . .

KVASHNYA. Well—my lovestruck garrison—? Bubnoff! He approached me again in the marketplace and wouldn't stop bugging me about marrying him . . .

BUBNOFF. Go to it! Why not? He has money and he’s still a husky fellow.

BUBNOFF. Go for it! Why not? He’s got money and he’s still a strong guy.

MIEDVIEDIEFF. Me—? I should say so!

MIEDVIEDIEFF. Me—? For sure!

KVASHNYA. You ruffian! Don’t you dare touch my sore spot! I’ve gone through it once already, darling. Marriage to a woman is just like jumping through a hole in the ice in winter. You do it once, and you remember it the rest of your life . . .

KVASHNYA. You scoundrel! Don’t you dare touch my sensitive spot! I've been through that before, darling. Being married to a woman is like jumping through a hole in the ice in winter. You do it once, and it sticks with you for the rest of your life . . .

MIEDVIEDIEFF. Wait! There are different breeds of husbands . . .

MIEDVIEDIEFF. Wait! There are different types of husbands . . .

KVASHNYA. But there’s only one of me! When my beloved husband kicked the bucket, I spent the whole day all by my lonely—just bursting with joy. I sat and simply couldn’t believe it was true. . . .

KVASHNYA. But there’s only one of me! When my beloved husband passed away, I spent the whole day all alone—just filled with joy. I sat there and couldn’t believe it was real. . . .

MIEDVIEDIEFF. If your husband beat you without cause, you should have complained to the police.

MIEDVIEDIEFF. If your husband hit you for no reason, you should have reported it to the police.

KVASHNYA. I complained to God for eight years—and he didn’t help.

KVASHNYA. I complained to God for eight years—and He didn’t help.

MIEDVIEDIEFF. Nowadays the law forbids to beat your wife . . . all is very strict these days—there’s law and order everywhere. You can’t beat up people without due cause. If you beat them to maintain discipline—all right . . .

MIEDVIEDIEFF. These days, it's illegal to hit your wife . . . everything is really strict now—there’s law and order everywhere. You can’t assault people without a valid reason. If you hit them to enforce discipline—fine . . .

LUKA [comes in with Anna] Well—we finally managed to get here after all. Oh, you! Why do you, weak as you are, walk about alone? Where’s your bunk?

LUKA [comes in with Anna] Well—we finally made it here after all. Oh, you! Why do you, as weak as you are, wander around by yourself? Where's your bunk?

ANNA [pointing] Thank you, grand-dad.

Thanks, Grandpa.

[Pg 27]

KVASHNYA. There—she’s married—look at her!

KVASHNYA. There—she's married—check her out!

LUKA. The little woman is in very bad shape . . . she was creeping along the hallway, clinging to the wall and moaning—why do you leave her by herself?

LUKA. The little woman is in really bad shape . . . she was slowly making her way down the hallway, holding on to the wall and moaning—why do you leave her all alone?

KVASHNYA. Oh, pure carelessness on our part, little father—forgive us! Her maid, it appears, went out for a walk . . .

KVASHNYA. Oh, what a mistake on our part, little father—forgive us! Her maid seems to have gone for a walk . . .

LUKA. Go on—poke fun at me . . . but, all the same, how can you neglect a human being like that? No matter who or what, every human life has its worth . . .

LUKA. Go ahead—make fun of me . . . but seriously, how can you ignore someone like that? Regardless of who they are or what they do, every human life has its value . . .

MIEDVIEDIEFF. There should be supervision! Suppose she died suddenly—? That would cause a lot of bother . . . we must look after her!

MIEDVIEDIEFF. There should be supervision! What if she died unexpectedly—? That would create a lot of trouble . . . we have to take care of her!

LUKA. True, sergeant!

LUKA. Right, sergeant!

MIEDVIEDIEFF. Well—yes—though I’m not a sergeant—ah—yet!

MIEDVIEDIEFF. Well—yeah—though I’m not a sergeant—ah—yet!

LUKA. No! But you carry yourself most martially!

LUKA. No! But you definitely carry yourself in a very military way!

[Noise of shuffling feet is heard in the hallway. Muffled cries.]

[Footsteps shuffle in the hallway. Muffled cries.]

MIEDVIEDIEFF. What now—a row?

MIEDVIEDIEFF. What now—a fight?

BUBNOFF. Sounds like it?

BUBNOFF. Does it sound like that?

KVASHNYA. I’ll go and see . . .

KVASHNYA. I’ll go check it out . . .

MIEDVIEDIEFF. I’ll go, too. It is my duty! Why separate people when they fight? They’ll stop sooner or later of their own accord. One gets tired of fighting. Why not let them fight all they want to—freely? They wouldn’t fight half as often—if they’d remember former beatings . . .

MIEDVIEDIEFF. I’ll go, too. It's my duty! Why keep people apart when they’re fighting? They’ll stop eventually on their own. People get tired of fighting. Why not let them fight as much as they want—freely? They wouldn’t fight nearly as often if they remembered past beatings . . .

BUBNOFF [climbing down from his bunk] Why don’t you speak to your superiors about it?

BUBNOFF [climbing down from his bunk] Why don’t you talk to your higher-ups about it?

KOSTILYOFF [throws open the door and shouts] Abram! Come quick—Vassilisa is killing Natasha—come quick!

KOSTILYOFF [throws open the door and shouts] Abram! Hurry—Vassilisa is attacking Natasha—come quickly!

[Kvashnya, Miedviedieff, and Bubnoff rush into hallway; Luka looks after them, shaking his head.]

[Kvashnya, Miedviedieff, and Bubnoff rush into the hallway; Luka looks after them, shaking his head.]

[Pg 28]

ANNA. Oh God—poor little Natasha . . .

LUKA. Who’s fighting out there?

LUKA. Who's out there fighting?

ANNA. Our landladies—they’re sisters . . .

ANNA. Our landlords—they're sisters . . .

LUKA [crossing to Anna] Why?

LUKA [turning to Anna] Why?

ANNA. Oh—for no reason—except that they’re both fat and healthy . . .

ANNA. Oh—for no reason—except that they’re both big and well. . .

LUKA. What’s your name?

LUKA. What's your name?

ANNA. Anna . . . I look at you . . . you’re like my father—my dear father . . . you’re as gentle as he was—and as soft. . . .

ANNA. Anna . . . I see you . . . you’re like my dad—my beloved dad . . . you’re as kind as he was—and as tender. . . .

LUKA. Soft! Yes! They pounded me till I got soft! [Laughs tremulously]

LUKA. Soft! Yes! They beat me down until I got soft! [Laughs nervously]

CURTAIN.

[Portrait]

MAXIM GORKY: RUSSIA’S GREATEST LIVING PLAYWRIGHT

[Pg 29]

ACT TWO.

Same as Act I—Night.

On the bunks near the stove Satine, the Baron, Krivoy Zob, and the Tartar play cards. Kleshtch and the Actor watch them. Bubnoff, on his bunk, is playing checkers with Miedviedieff. Luka sits on a stool by Anna’s bedside. The place is lit by two lamps, one on the wall near the card players, the other is on Bubnoff’s bunk.

On the bunks near the stove, Satine, the Baron, Krivoy Zob, and the Tartar are playing cards. Kleshtch and the Actor are watching them. Bubnoff, on his bunk, is playing checkers with Miedviedieff. Luka is sitting on a stool by Anna’s bedside. The place is lit by two lamps, one on the wall near the card players and the other on Bubnoff’s bunk.

THE TARTAR. I’ll play one more game—then I’ll stop . . .

THE TARTAR. I'll play one more game—then I'll be done. . . .

BUBNOFF. Zob! Sing! [He sings]

BUBNOFF. Zob! Sing! [He's singing]

“The sun rises and sets . . .”
“The sun rises and sets . . .”

ZOB [joining in]

ZOB [jumping in]

“But my prison is dark, dark . . .”
“But my prison is dark, dark . . .”

THE TARTAR [to Satine] Shuffle the cards—and shuffle them well. We know your kind—

THE TARTAR [to Satine] Shuffle the cards—and shuffle them well. We know your type—

ZOB AND BUBNOFF [together]

“Day and night the wardens
“Day and night, the guards

Watch beneath my window . . .”
Keep watch outside my window . . .

ANNA. Blows—insults—I’ve had nothing but that all my life long . . .

ANNA. All I’ve ever gotten in my life are blows—insults.

LUKA. Don’t worry, little mother!

LUKA. Don’t worry, mom!

MIEDVIEDIEFF. Look where you’re moving!

MIEDVIEDIEFF. Watch where you're going!

BUBNOFF. Oh, yes—that’s right . . .

THE TARTAR [threatening Satine with his fist] You’re [Pg 30]trying to palm a card? I’ve seen you—you scoundrel . . .

THE TARTAR [threatening Satine with his fist] You’re [Pg 30]trying to hide a card? I’ve seen you—you jerk . . .

ZOB. Stop it, Hassan! They’ll skin us anyway . . . come on, Bubnoff!

ZOB. Cut it out, Hassan! They’re going to take us down anyway . . . let’s go, Bubnoff!

ANNA. I can’t remember a single day when I didn’t go hungry . . . I’ve been afraid, waking, eating, and sleeping . . . all my life I’ve trembled—afraid I wouldn’t get another bite . . . all my life I’ve been in rags—all through my wretched life—and why . . . ?

ANNA. I can’t recall a single day when I wasn’t hungry. I’ve been scared—waking, eating, and sleeping—my whole life. I’ve been shaking, afraid I wouldn’t get another bite. I’ve lived in rags my entire miserable life—and why?

LUKA. Yes, yes, child—you’re tired—never you mind!

LUKA. Yes, yes, kid—you’re tired—don't worry about it!

THE ACTOR [to Zob] Play the Jack—the Jack, devil take you!

THE ACTOR [to Zob] Play the Jack—the Jack, damn you!

THE BARON. And we play the King!

KLESHTCH. They always win.

KLESHTCH. They always dominate.

SATINE. Such is our habit.

SATINE. That's how we roll.

MIEDVIEDIEFF. I have the Queen!

MIEDVIEDIEFF. I have the queen!

BUBNOFF. And so have I!

BUBNOFF. Me too!

ANNA. I’m dying . . .

KLESHTCH. Look, look! Prince, throw up the game—throw it up, I tell you!

KLESHTCH. Look, look! Prince, abandon the game—abandon it, I’m telling you!

THE ACTOR. Can’t he play without your assistance?

THE ACTOR. Can’t he perform without your help?

THE BARON. Look out, Andrushka, or I’ll beat the life out of you!

THE BARON. Watch out, Andrushka, or I’ll knock you out!

THE TARTAR. Deal once more—the pitcher went after water—and got broke—and so did I!

THE TARTAR. Let's try again—the pitcher went to get water—and got smashed—and so did I!

[Kleshtch shakes his head and crosses to Bubnoff.]

[Kleshtch shakes his head and walks over to Bubnoff.]

ANNA. I keep on thinking—is it possible that I’ll suffer in the other world as I did in this—is it possible? There, too?

ANNA. I keep wondering—could it be that I'll experience pain in the afterlife just like I did here—is that really possible? There, too?

LUKA. Nothing of the sort! Don’t you disturb yourself! You’ll rest there . . . be patient. We all suffer, dear, each in our own way. . . . [Rises and goes quickly into kitchen]

LUKA. Not at all! Don’t worry yourself! You can rest there . . . just be patient. We all endure, dear, each in our own way. . . . [Rises and goes quickly into kitchen]

[Pg 31]

BUBNOFF [sings]

BUBNOFF [singing]

“Watch as long as you please . . .”
“Watch for as long as you’d like . . .”

ZOB. “I shan’t run away . . .”

ZOB. “I’m not going to run away . . .”

BOTH [together]

“I long to be free, free—
“I want to be free, really free—

Alas! I cannot break my chains. . . .”
But unfortunately, I can't escape my chains. . . .”

THE TARTAR [yells] That card was up his sleeve!

THE TARTAR [yells] That card was hidden up his sleeve!

THE BARON [embarrassed] Do you want me to shove it up your nose?

THE BARON [embarrassed] Do you want me to stick it up your nose?

THE ACTOR [emphatically] Prince! You’re mistaken—nobody—ever . . .

THE ACTOR [emphatically] Prince! You're wrong—no one—ever . . .

THE TARTAR. I saw it! You cheat! I won’t play!

THE TARTAR. I saw it! You’re cheating! I’m not playing anymore!

SATINE [gathering up the cards] Leave us alone, Hassan . . . you knew right along that we’re cheats—why did you play with us?

SATINE [gathering up the cards] Just leave us alone, Hassan . . . you always knew we were cheats—so why did you play with us?

THE BARON. He lost forty kopecks and he yelps as if he had lost a fortune! And a Prince at that!

THE BARON. He lost forty kopecks and he screams like he lost a fortune! And a Prince, no less!

THE TARTAR [excitedly] Then play honest!

Play fair then!

SATINE. What for?

SATINE. What's the purpose?

THE TARTAR. What do you mean “what for”?

SATINE. Exactly. What for?

SATINE. Right. What for?

THE TARTAR. Don’t you know?

The Tartar. Don’t you know?

SATINE. I don’t. Do you?

SATINE. I don't. Do you?

[The Tartar spits out, furiously; the others laugh at him.]

[The Tartar angrily spits out; the others laugh at him.]

ZOB [good-naturedly] You’re a funny fellow, Hassan! Try to understand this! If they should begin to live honestly, they’d die of starvation inside of three days.

ZOB [good-naturedly] You’re a funny guy, Hassan! Try to get this! If they started living honestly, they’d starve to death in less than three days.

THE TARTAR. That’s none of my business. You must live honestly!

THE TARTAR. That’s not my concern. You have to live truthfully!

[Pg 32]

ZOB. They did you brown! Come and let’s have tea. . . . [Sings]

ZOB. They really did you wrong! Come on over, let’s have some tea. . . . [Sings]

“O my chains, my heavy chains . . .”
“Oh my chains, my heavy chains . . .”

BUBNOFF [sings]

BUBNOFF [performing]

“You’re my steely, clanking wardens . . .”
“You’re my strong, loud protectors . . .”

ZOB. Come on, Hassanka! [Leaves the room, singing]

ZOB. Let's go, Hassanka! [Exits the room, singing]

“I cannot tear you, cannot break you . . .”
“I can’t pull you apart, can’t break you . . .”

[The Tartar shakes his fist threateningly at the Baron, and follows the other out of the room.]

The Tartar shakes his fist menacingly at the Baron and follows the other person out of the room.

SATINE [to Baron, laughing] Well, Your Imperial Highness, you’ve again sat down magnificently in a mud puddle! You’ve learned a lot—but you’re an ignoramus when it comes to palming a card.

SATINE [to Baron, laughing] Well, Your Imperial Highness, you’ve once again managed to sit down beautifully in a mud puddle! You’ve picked up a lot—but you’re clueless when it comes to sleight of hand.

THE BARON [spreading his hands] The Devil knows how it happened. . . .

THE ACTOR. You’re not gifted—you’ve no faith in yourself—and without that you can never accomplish anything . . .

THE ACTOR. You’re not talented—you don’t believe in yourself—and without that, you can never achieve anything . . .

MIEDVIEDIEFF. I’ve one Queen—and you’ve two—oh, well . . .

MIEDVIEDIEFF. I have one Queen—and you have two—oh, well . . .

BUBNOFF. One’s enough if she has brains—play!

BUBNOFF. One is enough if she’s smart—let’s go!

KLESHTCH. You lost, Abram Ivanovitch?

KLESHTCH. Did you lose, Abram Ivanovitch?

MIEDVIEDIEFF. None of your business—see? Shut up!

MIEDVIEDIEFF. It's none of your business—get it? Be quiet!

SATINE. I’ve won fifty-three kopecks.

SATINE. I’ve won fifty-three cents.

THE ACTOR. Give me three of them . . . though, what’ll I do with them?

THE ACTOR. Give me three of them . . . though, what am I going to do with them?

LUKA [coming from kitchen] Well—the Tartar was fleeced all right, eh? Going to have some vodka?

LUKA [coming from kitchen] Well—the Tartar got ripped off, huh? Want some vodka?

THE BARON. Come with us.

The Baron. Come with us.

[Pg 33]

SATINE. I wonder what you’ll be like when you’re drunk.

SATINE. I wonder what you’ll be like when you’ve had a few drinks.

LUKA. Same as when I’m sober.

LUKA. Just like when I’m sober.

THE ACTOR. Come on, old man—I’ll recite verses for you . . .

THE ACTOR. Come on, old man—I’ll read you some lines.

LUKA. What?

LUKA. Huh?

THE ACTOR. Verses. Don’t you understand?

The Actor. Verses. Don’t you get it?

LUKA. Verses? And what do I want with verses?

LUKA. Verses? What do I need with verses?

THE ACTOR. Sometimes they’re funny—sometimes sad.

The Actor. Sometimes they're funny—sometimes sad.

SATINE. Well, poet, are you coming? [Exit with the Baron]

SATINE. So, poet, are you joining us? [Exit with the Baron]

THE ACTOR. I’m coming. I’ll join you. For instance, old man, here’s a bit of verse—I forget how it begins—I forget . . . [brushes his hand across his forehead]

THE ACTOR. I’m on my way. I’ll be with you soon. For example, old man, here’s a little poem—I can’t remember how it starts—I can’t remember . . . [brushes his hand across his forehead]

BUBNOFF. There! Your Queen is lost—go on, play!

BUBNOFF. There! Your Queen is gone—go ahead, take your turn!

MIEDVIEDIEFF. I made the wrong move.

I messed up.

THE ACTOR. Formerly, before my organism was poisoned with alcohol, old man, I had a good memory. But now it’s all over with me, brother. I used to declaim these verses with tremendous success—thunders of applause . . . you have no idea what applause means . . . it goes to your head like vodka! I’d step out on the stage—stand this way—[Strikes a pose]—I’d stand there and . . . [Pause] I can’t remember a word—I can’t remember! My favorite verses—isn’t it ghastly, old man?

THE ACTOR. Once, before my body was wrecked by alcohol, I had a sharp memory, old man. But now it’s all gone for me, brother. I used to perform these lines with huge success—roaring applause... you have no idea what applause feels like... it goes to your head like vodka! I’d walk out on stage—stand this way—[Strikes a pose]—I’d be there and... [Pause] I can’t remember a single word—I can't remember! My favorite lines—isn’t it terrible, old man?

LUKA. Yes—is there anything worse than forgetting what you loved? Your very soul is in the thing you love!

LUKA. Yes—is there anything worse than forgetting what you once loved? Your very soul is in the thing you love!

THE ACTOR. I’ve drunk my soul away, old man—brother, [Pg 34]I’m lost . . . and why? Because I had no faith. . . . I’m done with . . .

LUKA. Well—then—cure yourself! Nowadays they have a cure for drunkards. They treat you free of charge, brother. There’s a hospital for drunkards—where they’re treated for nothing. They’ve owned up, you see, that even a drunkard is a human being, and they’re only too glad to help him get well. Well—then—go to it!

LUKA. Well—then—get yourself treated! These days they have a cure for alcoholics. They treat you for free, my friend. There’s a hospital for alcoholics—where they get treated at no cost. They’ve recognized, you see, that even an alcoholic is a human being, and they’re more than willing to help him recover. Well—then—go for it!

THE ACTOR [thoughtfully] Where? Where is it?

Where? Where is it?

LUKA. Oh—in some town or other . . . what do they call it—? I’ll tell you the name presently—only, in the meanwhile, get ready. Don’t drink so much! Take yourself in hand—and bear up! And then, when you’re cured, you’ll begin life all over again. Sounds good, brother, doesn’t it, to begin all over again? Well—make up your mind!

LUKA. Oh—in some town or something . . . what do they call it—? I’ll tell you the name in a minute—just get ready in the meantime. Don’t drink so much! Pull yourself together—and hang in there! And then, once you’re feeling better, you’ll start fresh. Sounds good, right, brother? To start anew? Well—make up your mind!

THE ACTOR [smiling] All over again—from the very beginning—that’s fine . . . yes . . . all over again . . . [Laughs] Well—then—I can, can’t I?

THE ACTOR [smiling] Here we go again—from the very start—that's cool . . . yeah . . . here we go again . . . [Laughs] Well—then—I can, right?

LUKA. Why not? A human being can do anything—if he only makes up his mind.

LUKA. Why not? A person can do anything—if they just decide to.

THE ACTOR [suddenly, as if coming out of a trance] You’re a queer bird! See you anon! [Whistles] Old man—au revoir! [Exit]

THE ACTOR [suddenly, as if coming out of a trance] You’re an odd one! Catch you later! [Whistles] Old man—goodbye! [Exit]

ANNA. Grand-dad!

Grandpa!

LUKA. Yes, little mother?

LUKA. Yes, mom?

ANNA. Talk to me.

ANNA. Let's chat.

LUKA [close to her] Come on—let’s chat . . .

LUKA [close to her] Come on—let’s talk . . .

[Kleshtch, glancing around, silently walks over to his wife, looks at her, and makes queer gestures with his hands, as though he wanted to say something.]

[Kleshtch, looking around, quietly approaches his wife, gazes at her, and makes strange hand gestures, as if he wants to say something.]

LUKA. What is it, brother?

LUKA. What's that, bro?

KLESHTCH [quietly] Nothing . . .

KLESHTCH [quietly] Nothing...

[Pg 35]

[Crosses slowly to hallway door, stands on the threshold for a few seconds, and exit.]

[i]Crosses slowly to the hallway door, stands at the entrance for a few seconds, and exits.[/i]

LUKA [looking after him] Hard on your man, isn’t it?

LUKA [looking after him] Tough on your guy, isn’t it?

ANNA. He doesn’t concern me much . . .

ANNA. He doesn’t really bother me much . . .

LUKA. Did he beat you?

LUKA. Did he win against you?

ANNA. Worse than that—it’s he who’s killed me—

ANNA. Even worse—it’s him who’s killed me—

BUBNOFF. My wife used to have a lover—the scoundrel—how clever he was at checkers!

BUBNOFF. My wife used to have a lover—the jerk—he was so good at checkers!

MIEDVIEDIEFF. Hm-hm—

MIEDVIEDIEFF. Hmm—

ANNA. Grand-dad! Talk to me, darling—I feel so sick . . .

ANNA. Grandpa! Please talk to me, I feel really sick . . .

LUKA. Never mind—it’s always like this before you die, little dove—never mind, dear! Just have faith! Once you’re dead, you’ll have peace—always. There’s nothing to be afraid of—nothing. Quiet! Peace! Lie quietly! Death wipes out everything. Death is kindly. You die—and you rest—that’s what they say. It is true, dear! Because—where can we find rest on this earth?

LUKA. It's okay—it's always like this before you die, little dove—it's alright, dear! Just have faith! Once you're dead, you'll finally find peace—always. There's nothing to be scared of—nothing. Be quiet! Find peace! Just lie still! Death removes everything. Death is gentle. You die—and you rest—that's what they say. It's true, dear! Because—where can we find rest on this earth?

[Pepel enters. He is slightly drunk, dishevelled, and sullen. Sits down on bunk near door, and remains silent and motionless.]

[Pepel enters. He’s a bit drunk, messy, and moody. He sits down on the bunk near the door and stays quiet and still.]

ANNA. And how is it—there? More suffering?

ANNA. So, what's it like there? More suffering?

LUKA. Nothing of the kind! No suffering! Trust me! Rest—nothing else! They’ll lead you into God’s presence, and they’ll say: “Dear God! Behold! Here is Anna, Thy servant!”

LUKA. Absolutely not! No suffering! Trust me! Just rest—nothing more! They'll take you into God's presence, and they'll say: "Dear God! Look! Here is Anna, Your servant!"

MIEDVIEDIEFF [sternly] How do you know what they’ll say up there? Oh, you . . .

[Pepel, on hearing Miedviedieff’s voice, raises his head and listens.]

[Pepel, hearing Miedviedieff’s voice, looks up and listens.]

LUKA. Apparently I do know, Mr. Sergeant!

LUKA. It seems I actually do know, Mr. Sergeant!

MIEDVIEDIEFF [conciliatory] Yes—it’s your own affair—though I’m not exactly a sergeant—yet—

MIEDVIEDIEFF [conciliatory] Yes—it’s your business—though I’m not quite a sergeant—yet—

[Pg 36]

BUBNOFF. I jump two!

BUBNOFF. I jump twice!

MIEDVIEDIEFF. Damn—play!

MIEDVIEDIEFF. Damn—let's go!

LUKA. And the Lord will look at you gently and tenderly and He’ll say: “I know this Anna!” Then He’ll say: “Take Anna into Paradise. Let her have peace. I know. Her life on earth was hard. She is very weary. Let Anna rest in peace!”

LUKA. And the Lord will look at you with kindness and compassion and He’ll say: “I know this Anna!” Then He’ll say: “Take Anna into Paradise. Let her find peace. I know. Her life on earth was tough. She is very tired. Let Anna rest in peace!”

ANNA [choking] Grandfather—if it were only so—if there were only rest and peace . . .

ANNA [choking] Grandfather—if only that were true—if there could be rest and peace . . .

LUKA. There won’t be anything else! Trust me! Die in joy and not in grief. Death is to us like a mother to small children . . .

LUKA. There won’t be anything else! Trust me! Die in joy and not in sorrow. Death is to us like a mother to young children . . .

ANNA. But—perhaps—perhaps I get well . . . ?

ANNA. But—maybe—I’ll get better . . . ?

LUKA [laughing] Why—? Just to suffer more?

LUKA [laughing] Why—? Just to feel more pain?

ANNA. But—just to live a little longer . . . just a little longer! Since there’ll be no suffering hereafter, I could bear it a little longer down here . . .

ANNA. But—just to live a little longer . . . just a little longer! Since there won’t be any suffering after this, I could handle it a bit longer down here . . .

LUKA. There’ll be nothing in the hereafter . . . but only . . .

LUKA. There won’t be anything in the afterlife . . . just . . .

PEPEL [rising] Maybe yes—maybe no!

PEPEL [rising] Maybe yes—maybe not!

ANNA [frightened] Oh—God!

ANNA [scared] Oh—God!

LUKA. Hey—Adonis!

MIEDVIEDIEFF. Who’s that yelping?

MIEDVIEDIEFF. Who’s yelling?

PEPEL [crossing over to him] I! What of it?

PEPEL [walking over to him] Me! What about it?

MIEDVIEDIEFF. You yelp needlessly—that’s what! People ought to have some dignity!

MIEDVIEDIEFF. You shout for no reason—that’s what! People should have some dignity!

PEPEL. Block-head! And that’s an uncle for you—ho-ho!

PEPEL. Blockhead! And that’s an uncle for you—haha!

LUKA [to Pepel, in an undertone] Look here—don’t shout—this woman’s dying—her lips are already grey—don’t disturb her!

LUKA [to Pepel, quietly] Listen—don't shout—this woman is dying—her lips are already grey—don't disturb her!

PEPEL. I’ve respect for you, grand-dad. You’re all right, you are! You lie well, and you spin pleasant [Pg 37]yarns. Go on lying, brother—there’s little fun in this world . . .

PEPEL. I respect you, grandpa. You’re a good guy! You tell good stories, and you weave nice [Pg 37]yarns. Keep telling those tales, my friend—there isn’t much fun in this world...

BUBNOFF. Is the woman really dying?

BUBNOFF. Is the woman actually dying?

LUKA. You think I’m joking?

LUKA. You think I’m kidding?

BUBNOFF. That means she’ll stop coughing. Her cough was very disturbing. I jump two!

BUBNOFF. That means she’ll stop coughing. Her cough was really distracting. I jump two!

MIEDVIEDIEFF. I’d like to murder you!

MIEDVIEDIEFF. I want to kill you!

PEPEL. Abramka!

MIEDVIEDIEFF. I’m not Abramka to you!

MIEDVIEDIEFF. I'm not Abramka to you!

PEPEL. Abrashka! Is Natasha ill?

PEPEL. Abrashka! Is Natasha sick?

MIEDVIEDIEFF. None of your business!

None of your business!

PEPEL. Come—tell me! Did Vassilisa beat her up very badly?

PEPEL. Come on—tell me! Did Vassilisa really hurt her badly?

MIEDVIEDIEFF. That’s none of your business, either! It’s a family affair! Who are you anyway?

MIEDVIEDIEFF. That’s not your concern! It’s a family matter! Who do you think you are?

PEPEL. Whoever I am, you’ll never see Natashka again if I choose!

PEPEL. No matter who I am, you won't ever see Natashka again if I decide!

MIEDVIEDIEFF [throwing up the game] What’s that? Who are you alluding to? My niece by any chance? You thief!

MIEDVIEDIEFF [throwing up the game] What’s that? Who are you talking about? My niece, maybe? You thief!

PEPEL. A thief whom you were never able to catch!

PEPEL. A thief you could never catch!

MIEDVIEDIEFF. Wait—I’ll catch you yet—you’ll see—sooner than you think!

MIEDVIEDIEFF. Wait—I’ll get you soon—you’ll see—it’ll be faster than you think!

PEPEL. If you catch me, God help your whole nest! Do you think I’ll keep quiet before the examining magistrate? Every wolf howls! They’ll ask me: “Who made you steal and showed you where?” “Mishka Kostilyoff and his wife!” “Who was your fence?” “Mishka Kostilyoff and his wife!”

PEPEL. If you catch me, good luck to your whole crew! Do you really think I’ll stay quiet in front of the investigating judge? Every wolf howls! They’ll ask me: “Who pushed you to steal and showed you how?” “Mishka Kostilyoff and his wife!” “Who helped you sell it?” “Mishka Kostilyoff and his wife!”

MIEDVIEDIEFF. You lie! No one will believe you!

MIEDVIEDIEFF. You're lying! No one is going to believe you!

PEPEL. They’ll believe me all right—because it’s the truth! And I’ll drag you into it, too. Ha! I’ll ruin the lot of you—devils—just watch!

PEPEL. They'll definitely believe me—because it's true! And I'm bringing you along for the ride, too. Ha! I'm going to take all of you down—wicked ones—just wait and see!

[Pg 38]

MIEDVIEDIEFF [confused] You lie! You lie! And what harm did I do to you, you mad dog?

MIEDVIEDIEFF [confused] You're lying! You're lying! What did I ever do to you, you crazy dog?

PEPEL. And what good did you ever do me?

PEPEL. And what have you ever done for me?

LUKA. That’s right!

LUKA. That's correct!

MIEDVIEDIEFF [to Luka] Well—what are you croaking about? Is it any of your business? This is a family matter!

MIEDVIEDIEFF [to Luka] Well—what are you complaining about? Is it any of your business? This is a family issue!

BUBNOFF [to Luka] Leave them alone! What do we care if they twist each other’s tails?

BUBNOFF [to Luka] Leave them alone! Why should we care if they pull each other’s tails?

LUKA [peacefully] I meant no harm. All I said was that if a man isn’t good to you, then he’s acting wrong . . .

LUKA [peacefully] I didn't mean any harm. All I said was that if a guy isn't treating you right, then he's behaving badly . . .

MIEDVIEDIEFF [uncomprehending] Now then—we all of us here know each other—but you—who are you? [Frowns and exit]

MIEDVIEDIEFF [confused] So, we all know each other here, but you—who are you? [Frowns and leaves]

LUKA. The cavalier is peeved! Oh-ho, brothers, I see your affairs are a bit tangled up!

LUKA. The cavalier is annoyed! Oh, brothers, I see your business is a little messed up!

PEPEL. He’ll run to complain about us to Vassilisa . . .

BUBNOFF. You’re a fool, Vassily. You’re very bold these days, aren’t you? Watch out! It’s all right to be bold when you go gathering mushrooms, but what good is it here? They’ll break your neck before you know it!

BUBNOFF. You’re an idiot, Vassily. You’re pretty daring these days, huh? Be careful! It’s fine to be daring when you’re out picking mushrooms, but what good does it do you here? They’ll snap your neck before you realize it!

PEPEL. Well—not as fast as all that! You don’t catch us Yaroslavl boys napping! If it’s going to be war, we’ll fight . . .

PEPEL. Well—not that fast! You won’t catch us Yaroslavl guys off guard! If there’s going to be a war, we’ll fight . . .

LUKA. Look here, boy, you really ought to go away from here—

LUKA. Look, kid, you really should get out of here—

PEPEL. Where? Please tell me!

PEPEL. Where is it? Please tell me!

LUKA. Go to Siberia!

LUKA. Head to Siberia!

PEPEL. If I go to Siberia, it’ll be at the Tsar’s expense!

PEPEL. If I'm heading to Siberia, it’ll be on the Tsar's dime!

LUKA. Listen! You go just the same! You can [Pg 39]make your own way there. They need your kind out there . . .

LUKA. Listen! You go the same way! You can [Pg 39]make your own path there. They need your kind out there . . .

PEPEL. My way is clear. My father spent all his life in prison, and I inherited the trait. Even when I was a small child, they called me thief—thief’s son.

PEPEL. I know exactly what I need to do. My dad was locked up his whole life, and I got that same fate. Even as a little kid, they called me a thief—the son of a thief.

LUKA. But Siberia is a fine country—a land of gold. Any one who has health and strength and brains can live there like a cucumber in a hot-house.

LUKA. But Siberia is a great place—a land of gold. Anyone with health, strength, and smarts can thrive there like a cucumber in a greenhouse.

PEPEL. Old man, why do you always tell lies?

PEPEL. Old man, why do you keep lying?

LUKA. What?

LUKA. What’s up?

PEPEL. Are you deaf? I ask—why do you always lie?

PEPEL. Are you deaf? I’m asking—why do you always lie?

LUKA. What do I lie about?

LUKA. What should I pretend?

PEPEL. About everything. According to you, life’s wonderful everywhere—but you lie . . . why?

PEPEL. About everything. You say life is amazing everywhere—but that's not true . . . why?

LUKA. Try to believe me. Go and see for yourself. And some day you’ll thank me for it. What are you hanging round here for? And, besides, why is truth so important to you? Just think! Truth may spell death to you!

LUKA. You need to trust me. Go check it out for yourself. Someday you'll be grateful for it. Why are you still here? And honestly, why does the truth matter so much to you? Just consider! The truth could lead to your death!

PEPEL. It’s all one to me! If that—let it be that!

PEPEL. It’s all the same to me! If that’s how it is—then so be it!

LUKA. Oh—what a madman! Why should you kill yourself?

LUKA. Oh—what a crazy person! Why would you want to take your own life?

BUBNOFF. What are you two jawing about, anyway? I don’t understand. What kind of truth do you want, Vaska? And what for? You know the truth about yourself—and so does everybody else . . .

BUBNOFF. What are you two talking about, anyway? I don’t get it. What kind of truth are you looking for, Vaska? And why? You know the truth about yourself—and so does everyone else . . .

PEPEL. Just a moment! Don’t crow! Let him tell me! Listen, old man! Is there a God?

PEPEL. Hold on! Don’t brag! Let him speak! Hey, old man! Is there a God?

[Luka smiles silently.]

Luka smiles quietly.

BUBNOFF. People just drift along—like shavings on a stream. When a house is built—the shavings are thrown away!

BUBNOFF. People just float along—like bits of wood on a stream. When a house is built—the bits are discarded!

PEPEL. Well? Is there a God? Tell me.

PEPEL. So? Is there a God? Let me know.

[Pg 40]

LUKA [in a low voice] If you have faith, there is; if you haven’t, there isn’t . . . whatever you believe in, exists . . .

LUKA [in a low voice] If you believe it, it's real; if you don’t, it's not . . . whatever you believe in is true . . .

[Pepel looks at Luka in staring surprise.]

[i]Pepel looks at Luka in stunned surprise.[/i]

BUBNOFF. I’m going to have tea—come on over to the restaurant!

BUBNOFF. I'm about to grab some tea—join me at the restaurant!

LUKA [to Pepel] What are you staring at?

LUKA [to Pepel] What are you looking at?

PEPEL. Oh—just because! Wait now—you mean to say . . .

PEPEL. Oh—just because! Wait a minute—you’re saying . . .

BUBNOFF. Well—I’m off.

BUBNOFF. Alright—I’m heading out.

[Goes to door and runs into Vassilisa.]

[Goes to the door and bumps into Vassilisa.]

PEPEL. So—you . . .

PEPEL. So—you're . . .

VASSILISA [to Bubnoff] Is Nastasya home?

Is Nastasya home?

BUBNOFF. No. [Exit]

BUBNOFF. No. [Quit]

PEPEL. Oh—you’ve come—?

PEPEL. Oh—you’re here—?

VASSILISA [crossing to Anna] Is she alive yet?

VASSILISA [walking over to Anna] Is she still alive?

LUKA. Don’t disturb her!

LUKA. Don’t interrupt her!

VASSILISA. What are you loafing around here for?

VASSILISA. Why are you just hanging around here?

LUKA. I’ll go—if you want me to . . .

LUKA. I’ll go—if you want me to...

VASSILISA [turning towards Pepel’s room] Vassily! I’ve some business with you . . .

VASSILISA [turning towards Pepel’s room] Vassily! I need to talk to you . . .

[Luka goes to hallway door, opens it, and shuts it loudly, then warily climbs into a bunk, and from there to the top of the stove.]

Luka walks to the hallway door, opens it, and slams it shut. Then, cautiously, he climbs into a bunk and from there makes his way to the top of the stove.

VASSILISA [calling from Pepel’s room] Vaska—come here!

VASSILISA [calling from Pepel’s room] Vaska—come over here!

PEPEL. I won’t come—I don’t want to . . .

PEPEL. I'm not coming—I don't want to . . .

VASSILISA. Why? What are you angry about?

VASSILISA. Why? What’s making you mad?

PEPEL. I’m sick of the whole thing . . .

PEPEL. I’m tired of the whole situation . . .

VASSILISA. Sick of me, too?

VASSILISA. Tired of me, too?

PEPEL. Yes! Of you, too!

PEPEL. Yes! You too!

[Pg 41]

[Vassilisa draws her shawl about her, pressing her hands over her breast. Crosses to Anna, looks carefully through the bed curtains, and returns to Pepel.]

[Vassilisa wraps her shawl around herself, pressing her hands over her chest. She moves to Anna, looks carefully through the bed curtains, and comes back to Pepel.]

Well—out with it!

Well—spill the beans!

VASSILISA. What do you want me to say? I can’t force you to be loving, and I’m not the sort to beg for kindness. Thank you for telling me the truth.

VASSILISA. What do you want me to say? I can't make you be loving, and I'm not someone who begs for kindness. Thanks for being honest with me.

PEPEL. What truth?

PEPEL. What’s the truth?

VASSILISA. That you’re sick of me—or isn’t it the truth? [Pepel looks at her silently. She turns to him] What are you staring at? Don’t you recognize me?

VASSILISA. Are you tired of me—or is that not true? [Pepel looks at her silently. She turns to him] What are you staring at? Don’t you know who I am?

PEPEL [sighing] You’re beautiful, Vassilisa! [She puts her arm about his neck, but he shakes it off] But I never gave my heart to you. . . . I’ve lived with you and all that—But I never really liked you . . .

PEPEL [sighing] You’re gorgeous, Vassilisa! [She puts her arm around his neck, but he shakes it off] But I never truly loved you. . . . I’ve been with you and everything—But I never actually liked you . . .

VASSILISA [quietly] That so? Well—?

VASSILISA [quietly] Is that so? Well—?

PEPEL. What is there to talk, about? Nothing. Go away from me!

PEPEL. What is there to talk about? Nothing. Just leave me alone!

VASSILISA. Taken a fancy to some one else?

VASSILISA. Have you developed an interest in someone else?

PEPEL. None of your business! Suppose I have—I wouldn’t ask you to be my match-maker!

PEPEL. It's not your concern! Even if I do—I wouldn't ask you to play matchmaker for me!

VASSILISA [significantly] That’s too bad . . . perhaps I might arrange a match . . .

VASSILISA [significantly] That’s unfortunate . . . maybe I could set up a match . . .

PEPEL [suspiciously] Who with?

Who are you with?

VASSILISA. You know—why do you pretend? Vassily—let me be frank. [With lower voice] I won’t deny it—you’ve offended me . . . it was like a bolt from the blue . . . you said you loved me—and then all of a sudden . . .

VASSILISA. You know—why are you pretending? Vassily—let me be honest. [In a lower voice] I won’t lie, you hurt me . . . it came out of nowhere . . . you said you loved me—and then all of a sudden . . .

PEPEL. It wasn’t sudden at all. It’s been a long time since I . . . woman, you’ve no soul! A woman must have a soul . . . we men are beasts—we must be taught—and you, what have you taught me—?

PEPEL. It wasn’t unexpected at all. It’s been a while since I . . . woman, you have no soul! A woman needs to have a soul . . . we men are animals—we need to be educated—and you, what have you taught me—?

VASSILISA. Never mind the past! I know—no man [Pg 42]owns his own heart—you don’t love me any longer . . . well and good, it can’t be helped!

VASSILISA. Forget the past! I know—no man [Pg 42] truly owns his own heart—you don’t love me anymore . . . fine, it can’t be helped!

PEPEL. So that’s over. We part peaceably, without a row—as it should be!

PEPEL. So that’s done. We part amicably, without any drama—as it should be!

VASSILISA. Just a moment! All the same, when I lived with you, I hoped you’d help me out of this swamp—I thought you’d free me from my husband and my uncle—from all this life—and perhaps, Vassya, it wasn’t you whom I loved—but my hope—do you understand? I waited for you to drag me out of this mire . . .

VASSILISA. Just a minute! Still, when I was with you, I really thought you’d help me get out of this mess—I believed you’d save me from my husband and my uncle—from this whole life—and maybe, Vassya, it wasn’t you I loved—but my hope—do you get it? I was counting on you to pull me out of this situation . . .

PEPEL. You aren’t a nail—and I’m not a pair of pincers! I thought you had brains—you are so clever—so crafty . . .

PEPEL. You’re not a nail—and I’m not a pair of pliers! I thought you were smart—you’re so clever—so sly . . .

VASSILISA [leaning closely towards him] Vassa—let’s help each other!

VASSILISA [leaning in closely to him] Vassa—let's support each other!

PEPEL. How?

VASSILISA [low and forcibly] My sister—I know you’ve fallen for her. . . .

VASSILISA [quietly and with effort] My sister—I know you’re in love with her. . . .

PEPEL. And that’s why you beat her up, like the beast you are! Look out, Vassilisa! Don’t you touch her!

PEPEL. And that’s why you attacked her, like the monster you are! Watch out, Vassilisa! Don’t you dare touch her!

VASSILISA. Wait. Don’t get excited. We can do everything quietly and pleasantly. You want to marry her. I’ll give you money . . . three hundred rubles—even more than that . . .

VASSILISA. Hold on. Don’t get ahead of yourself. We can do all of this calmly and nicely. You want to marry her. I’ll give you money . . . three hundred rubles—even more than that . . .

PEPEL [moving away from her] Stop! What do you mean?

PEPEL [moving away from her] Stop! What are you talking about?

VASSILISA. Rid me of my husband! Take that noose from around my neck . . .

VASSILISA. Get rid of my husband! Take this noose off my neck…

PEPEL [whistling softly] So that’s the way the land lies! You certainly planned it cleverly . . . in other words, the grave for the husband, the gallows for the lover, and as for yourself . . .

PEPEL [whistling softly] So that's how it is! You really thought this through... in other words, a grave for the husband, the gallows for the lover, and as for you...

[Pg 43]

VASSILISA. Vassya! Why the gallows? It doesn’t have to be yourself—but one of your pals! And supposing it were yourself—who’d know? Natalia—just think—and you’ll have money—you go away somewhere . . . you free me forever—and it’ll be very good for my sister to be away from me—the sight of her enrages me. . . . I get furious with her on account of you, and I can’t control myself. I tortured the girl—I beat her up—beat her up so that I myself cried with pity for her—but I’ll beat her—and I’ll go on beating her!

VASSILISA. Vassya! Why the gallows? It doesn’t have to be you—but one of your friends! And if it were you—who would know? Natalia—just think about it—and you’ll have money—you can go away somewhere . . . you’ll free me forever—and it’ll be really good for my sister to be away from me—the sight of her drives me crazy. . . . I get so angry with her because of you, and I can’t control myself. I hurt the girl—I beat her up—beat her up so much that I cried for her—but I’ll keep beating her—and I won’t stop!

PEPEL. Beast! Bragging about your beastliness?

PEPEL. Beast! Boasting about your wild side?

VASSILISA. I’m not bragging—I speak the truth. Think now, Vassa. You’ve been to prison twice because of my husband—through his greed. He clings to me like a bed-bug—he’s been sucking the life out of me for the last four years—and what sort of a husband is he to me? He’s forever abusing Natasha—calls her a beggar—he’s just poison, plain poison, to every one . . .

VASSILISA. I’m not bragging—I’m just stating the facts. Think about it, Vassa. You’ve been to jail twice because of my husband—thanks to his greed. He clings to me like a bedbug—he's been draining the life out of me for the past four years—and what kind of husband is he to me? He’s always mistreating Natasha—calling her a beggar—he's nothing but toxic, pure poison, to everyone . . .

PEPEL. You spin your yarn cleverly . . .

PEPEL. You're really good at spinning your story . . .

VASSILISA. Everything I say is true. Only a fool could be as blind as you. . . .

[Kostilyoff enters stealthily and comes forward noisily.]

[i]Kostilyoff sneaks in quietly but then moves forward making a lot of noise.[/i]

PEPEL [to Vassilisa] Oh—go away!

PEPEL [to Vassilisa] Oh—leave me alone!

VASSILISA. Think it over! [Sees her husband] What? You? Following me?

VASSILISA. Think about it! [Sees her husband] What? You? Following me?

[Pepel leaps up and stares at Kostilyoff savagely.]

[i]Pepel jumps up and glares at Kostilyoff fiercely.[/i]

KOSTILYOFF. It’s I, I! So the two of you were here alone—you were—ah—conversing? [Suddenly stamps his feet and screams] Vassilisa—you bitch! You beggar! You damned hag! [Frightened by his own screams which are met by silence and indifference on the part of the others] Forgive me, O Lord . . . Vassilisa—again you’ve led me into the path of sin. . . . I’ve been looking [Pg 44]for you everywhere. It’s time to go to bed. You forgot to fill the lamps—oh, you . . . beggar! Swine! [Shakes his trembling fist at her, while Vassilisa slowly goes to door, glancing at Pepel over her shoulder]

KOSTILYOFF. It’s me! It’s really me! So the two of you were here alone—you were—uh—talking? [Suddenly stamps his feet and screams] Vassilisa—you witch! You beggar! You rotten hag! [Frightened by his own screams, which are met with silence and indifference from the others] Forgive me, O Lord . . . Vassilisa—you’ve led me into sin again. . . . I’ve been searching for you everywhere. It’s time to go to bed. You forgot to fill the lamps—oh, you . . . beggar! Pig! [Shakes his trembling fist at her as Vassilisa slowly walks to the door, glancing at Pepel over her shoulder]

PEPEL [to Kostilyoff] Go away—clear out of here—

PEPEL [to Kostilyoff] Leave—get out of here—

KOSTILYOFF [yelling] What? I? The Boss? I get out? You thief!

KOSTILYOFF [yelling] What? Me? The Boss? I get kicked out? You thief!

PEPEL [sullenly] Go away, Mishka!

PEPEL [sullenly] Leave me alone, Mishka!

KOSTILYOFF. Don’t you dare—I—I’ll show you.

KOSTILYOFF. Don’t you even think about it—I—I’ll prove you wrong.

[Pepel seizes him by the collar and shakes him. From the stove come loud noises and yawns. Pepel releases Kostilyoff who runs into the hallway, screaming.]

Pepel grabs him by the collar and shakes him. Loud noises and yawns come from the stove. Pepel lets go of Kostilyoff, who runs into the hallway, screaming.

PEPEL [jumping on a bunk] Who is it? Who’s on the stove?

PEPEL [jumping on a bunk] Who's there? Who's cooking?

LUKA [raising his head] Eh?

LUKA [looking up] Huh?

PEPEL. You?

EPEL? You?

LUKA [undisturbed] I—I myself—oh, dear Jesus!

LUKA [undisturbed] I—I—oh, dear Jesus!

PEPEL [shuts hallway door, looks for the wooden closing bar, but can’t find it] The devil! Come down, old man!

PEPEL [shuts the hallway door, searches for the wooden closing bar, but can’t find it] Damn it! Come down, old man!

LUKA. I’m climbing down—all right . . .

LUKA. I'm coming down—okay . . .

PEPEL [roughly] What did you climb on that stove for?

PEPEL [roughly] What did you get on that stove for?

LUKA. Where was I to go?

LUKA. Where was I supposed to go?

PEPEL. Why—didn’t you go out into the hall?

PEPEL. Why didn’t you step out into the hallway?

LUKA. The hall’s too cold for an old fellow like myself, brother.

LUKA. This hall is too cold for an old guy like me, brother.

PEPEL. You overheard?

PEPEL. Did you hear?

LUKA. Yes—I did. How could I help it? Am I deaf? Well, my boy, happiness is coming your way. Real, good fortune I call it!

LUKA. Yes—I did. How could I not? Am I deaf? Well, my boy, happiness is on its way to you. I call it real, good fortune!

PEPEL [suspiciously] What good fortune—?

PEPEL [suspiciously] What a lucky break—?

LUKA. In so far as I was lying on the stove . . .

LUKA. As I was lying on the stove . . .

[Pg 45]

PEPEL. Why did you make all that noise?

PEPEL. Why did you make so much noise?

LUKA. Because I was getting warm . . . it was your good luck . . . I thought if only the boy wouldn’t make a mistake and choke the old man . . .

LUKA. Because I was feeling warm . . . it was your lucky day . . . I hoped the kid wouldn’t mess up and accidentally choke the old man . . .

PEPEL. Yes—I might have done it . . . how terrible . . .

PEPEL. Yeah—I could have done it . . . how awful . . .

LUKA. Small wonder! It isn’t difficult to make a mistake of that sort.

LUKA. No surprise there! It's easy to make a mistake like that.

PEPEL [smiling] What’s the matter? Did you make the same sort of mistake once upon a time?

PEPEL [smiling] What’s wrong? Did you make that same kind of mistake before?

LUKA. Boy, listen to me. Send that woman out of your life! Don’t let her near you! Her husband—she’ll get rid of him herself—and in a shrewder way than you could—yes! Don’t you listen to that devil! Look at me! I am bald-headed—know why? Because of all these women. . . . Perhaps I knew more women than I had hair on the top of my head—but this Vassilisa—she’s worse than the plague. . . .

LUKA. Hey, listen to me. Get that woman out of your life! Don’t let her near you! She’ll handle her husband herself—and in a smarter way than you could—yeah! Don’t pay attention to that devil! Look at me! I’m bald—want to know why? Because of all these women. . . . Maybe I’ve known more women than I have hair on my head—but this Vassilisa—she’s worse than the plague. . . .

PEPEL. I don’t understand . . . I don’t know whether to thank you—or—well . . .

PEPEL. I don’t get it . . . I’m not sure if I should thank you—or—well . . .

LUKA. Don’t say a word! You won’t improve on what I said. Listen: take the one you like by the arm, and march out of here—get out of here—clean out . . .

LUKA. Don’t say anything! You can't top what I just said. Listen: take the one you like by the arm and march out of here—just get out—clear out...

PEPEL [sadly] I can’t understand people. Who is kind and who isn’t? It’s all a mystery to me . . .

PEPEL [sadly] I just can't understand people. Who's nice and who's not? It's all a mystery to me . . .

LUKA. What’s there to understand? There’s all breeds of men . . . they all live as their hearts tell them . . . good to-day, bad to-morrow! But if you really care for that girl . . . take her away from here and that’s all there is to it. Otherwise go away alone . . . you’re young—you’re in no hurry for a wife . . .

LUKA. What’s there to get? There are all kinds of guys... they all live by what their hearts say... good today, bad tomorrow! But if you genuinely care about that girl... take her away from here and that’s really all there is to it. Otherwise, just leave by yourself... you’re young—you don’t need to rush into marriage...

PEPEL [taking him by the shoulder] Tell me! Why do you say all this?

PEPEL [grabbing him by the shoulder] Tell me! Why do you say all this?

LUKA. Wait. Let me go. I want a look at Anna [Pg 46]. . . she was coughing so terribly . . . [Goes to Anna’s bed, pulls the curtains, looks, touches her. Pepel thoughtfully and distraught, follows him with his eyes] Merciful Jesus Christ! Take into Thy keeping the soul of this woman Anna, new-comer amongst the blessed!

LUKA. Wait. Let me go. I want to see Anna [Pg 46]. . . she was coughing so badly . . . [Goes to Anna’s bed, pulls the curtains, looks, touches her. Pepel watches him thoughtfully and with concern] Merciful Jesus Christ! Take care of the soul of this woman Anna, who is new among the blessed!

PEPEL [softly] Is she dead?

Is she gone?

[Without approaching, he stretches himself and looks at the bed.]

Without getting closer, he stretches out and looks at the bed.

LUKA [gently] Her sufferings are over! Where’s her husband?

LUKA [gently] Her pain is gone! Where’s her husband?

PEPEL. In the saloon, most likely . . .

PEPEL. In the lounge, probably . . .

LUKA. Well—he’ll have to be told . . .

LUKA. Well—someone will need to let him know . . .

PEPEL [shuddering] I don’t like corpses!

PEPEL [shuddering] I don’t like dead bodies!

LUKA [going to door] Why should you like them? It’s the living who demand our love—the living . . .

LUKA [going to door] Why should you like them? It's the living who need our love—the living . . .

PEPEL. I’m coming with you . . .

PEPEL. I'm going with you...

LUKA. Are you afraid?

LUKA. Are you scared?

PEPEL. I don’t like it . . .

PEPEL. I really don’t like it . . .

[They go out quickly. The stage is empty and silent for a few moments. Behind the door is heard a dull, staccato, incomprehensible noise. Then the Actor enters.]

[They leave quickly. The stage is empty and quiet for a few moments. There's a muffled, staccato noise coming from behind the door. Then the Actor comes in.]

THE ACTOR [stands at the open door, supporting himself against the jamb, and shouts] Hey, old man—where are you—? I just remembered—listen . . . [Takes two staggering steps forward and, striking a pose, recites]

THE ACTOR [stands at the open door, leaning against the frame, and shouts] Hey, old man—where are you—? I just remembered—listen . . . [Takes two unsteady steps forward and, striking a pose, recites]

“Good people! If the world cannot find
“Good people! If the world can't discover

A path to holy truth,
A way to true holiness,

Glory be to the madman who will enfold all humanity
Cheers to the one who loves all of humanity

In a golden dream . . .”
In a golden dream . . .

[Natasha appears in the doorway behind the Actor]

[i]Natasha shows up in the doorway behind the Actor[/i]

Old man! [recites]

Old dude! [recites]

[Pg 47]

“If to-morrow the sun were to forget
“If tomorrow the sun were to forget”

To light our earth,
To shine on our earth,

To-morrow then some madman’s thought
Then some crazy person's idea

Would bathe the world in sunshine. . . .”
Would cover the world in sunshine. . . .”

NATASHA [laughing] Scarecrow! You’re drunk!

NATASHA [laughing] Scarecrow! You’re wasted!

THE ACTOR [turns to her] Oh—it’s you? Where’s the old man, the dear old man? Not a soul here, seems to me . . . Natasha, farewell—right—farewell!

THE ACTOR [turns to her] Oh—it’s you? Where’s the old man, the dear old man? No one seems to be here . . . Natasha, goodbye—yeah—goodbye!

NATASHA [entering] Don’t wish me farewell, before you’ve wished me how-d’you-do!

NATASHA [entering] Don’t say goodbye before you’ve said hello!

THE ACTOR [barring her way] I am going. Spring will come—and I’ll be here no longer—

THE ACTOR [barring her way] I’m leaving. Spring will come—and I won’t be here anymore—

NATASHA. Wait a moment! Where do you propose going?

NATASHA. Hold on! Where do you plan to go?

THE ACTOR. In search of a town—to be cured—And you, Ophelia, must go away! Take the veil! Just imagine—there’s a hospital to cure—ah—organisms for drunkards—a wonderful hospital—built of marble—with marble floors . . . light—clean—food—and all gratis! And a marble floor—yes! I’ll find it—I’ll get cured—and then I shall start life anew. . . . I’m on my way to regeneration, as King Lear said. Natasha, my stage name is . . . Svertchkoff—Zavoloushski . . . do you realize how painful it is to lose one’s name? Even dogs have their names . . .

THE ACTOR. I'm looking for a town to get healed—and you, Ophelia, have to leave! Put on the veil! Just think—there’s a hospital that cures—ah—addicts—a fantastic hospital—made of marble—with marble floors . . . bright—clean—food—and all free! And marble floors—yes! I'll find it—I’ll get healed—and then I’ll start my life over. . . . I'm on my way to rebirth, as King Lear said. Natasha, my stage name is . . . Svertchkoff—Zavoloushski . . . can you imagine how painful it is to lose your name? Even dogs have names . . .

[Natasha carefully passes the Actor, stops at Anna’s bed and looks.]

[i]Natasha quietly walks past the Actor, pauses at Anna's bed, and looks.[/i]

To be nameless—is not to exist!

To be without a name is to not exist!

NATASHA. Look, my dear—why—she’s dead. . . .

NATASHA. Look, my dear—she’s dead. . . .

THE ACTOR [shakes his head] Impossible . . .

THE ACTOR [shakes his head] No way. . . .

NATASHA [stepping back] So help me God—look . . .

NATASHA [stepping back] I swear—look . . .

BUBNOFF [appearing in doorway] What is there to look at?

BUBNOFF [standing in the doorway] What’s there to see?

[Pg 48]

NATASHA. Anna—she’s dead!

NATASHA. Anna—she's gone!

BUBNOFF. That means—she’s stopped coughing! [Goes to Anna’s bed, looks, and returns to his bunk] We must tell Kleshtch—it’s his business to know . . .

BUBNOFF. That means—she’s stopped coughing! [Goes to Anna’s bed, looks, and returns to his bunk] We need to tell Kleshtch—it’s his job to know.

THE ACTOR. I’ll go—I’ll say to him—she lost her name—[Exit]

THE ACTOR. I’ll go—I’ll talk to him—she lost her name—[Exit]

NATASHA. [in centre of room] I, too—some day—I’ll be found in the cellar—dead. . . .

NATASHA. [in center of room] I, too—someday—I’ll be discovered in the basement—dead. . . .

BUBNOFF [spreading out some rags on his bunk] What’s that? What are you muttering?

BUBNOFF [spreading out some rags on his bunk] What’s that? What are you mumbling about?

NATASHA. Nothing much . . .

NATASHA. Not much . . .

BUBNOFF. Waiting for Vaska, eh? Take care—Vassilisa’ll break your head!

BUBNOFF. Waiting for Vaska, are you? Watch out—Vassilisa will have it out for you!

NATASHA. Isn’t it the same who breaks it? I’d much rather he’d do it!

NATASHA. Isn’t it the same who breaks it? I’d much rather he do it!

BUBNOFF [lying down] Well—that’s your own affair . . .

BUBNOFF [lying down] Well—that’s your own business. . . .

NATASHA. It’s best for her to be dead—yet it’s a pity . . . oh, Lord—why do we live?

NATASHA. It’s probably better for her to be gone—still, it’s a shame . . . oh, God—why do we exist?

BUBNOFF. It’s so with all . . . we’re born, live, and die—and I’ll die, too—and so’ll you—what’s there to be gloomy about?

BUBNOFF. It's the same for everyone... we’re born, we live, and we die—and I’m going to die, too—and so will you—so what’s there to be sad about?

[Enter Luka, the Tartar, Zob, and Kleshtch. The latter comes after the others, slowly, shrunk up.]

[Enter Luka, the Tartar, Zob, and Kleshtch. The last one follows the others, moving slowly and appearing smaller.]

NATASHA. Sh-sh! Anna!

NATASHA. Shh! Anna!

ZOB. We’ve heard—God rest her soul . . .

ZOB. We've heard—may she rest in peace . . .

THE TARTAR [to Kleshtch] We must take her out of here. Out into the hall! This is no place for corpses—but for the living . . .

THE TARTAR [to Kleshtch] We need to get her out of here. Let’s move into the hallway! This isn’t a place for dead bodies—but for the living . . .

KLESHTCH [quietly] We’ll take her out—

[Everybody goes to the bed, Kleshtch looks at his wife ever the others’ shoulders.]

[i]Everyone goes to bed, Kleshtch looks at his wife over everyone else's shoulders.[/i]

ZOB [to the Tartar] You think she’ll smell? I don’t [Pg 49]think she will—she dried up while she was still alive . . .

NATASHA. God! If they’d only a little pity . . . if only some one would say a kindly word—oh, you . . .

NATASHA. God! If they’d just show a little compassion . . . if only someone would say a nice word—oh, you . . .

LUKA. Don’t be hurt, girl—never mind! Why and how should we pity the dead? Come, dear! We don’t pity the living—we can’t even pity our own selves—how can we?

LUKA. Don’t be upset, girl—it's all good! Why and how should we feel sorry for the dead? Come on, dear! We don’t feel sorry for the living—we can’t even feel sorry for ourselves—how can we?

BUBNOFF [yawning] And, besides, when you’re dead, no word will help you—when you’re still alive, even sick, it may. . . .

BUBNOFF [yawning] And, besides, when you’re dead, no words will matter—when you’re still alive, even if you’re sick, they might. . . .

THE TARTAR [stepping aside] The police must be notified . . .

THE TARTAR [stepping aside] The police need to be informed . . .

ZOB. The police—must be done! Kleshtch! Did you notify the police?

ZOB. The cops—this has to be handled! Kleshtch! Did you call the police?

KLESHTCH. No—she’s got to be buried—and all I have is forty kopecks—

KLESHTCH. No—she must be buried—and all I have is forty kopecks—

ZOB. Well—you’ll have to borrow then—otherwise we’ll take up a collection . . . one’ll give five kopecks, others as much as they can. But the police must be notified at once—or they’ll think you killed her or God knows what not . . .

ZOB. Well—you’ll need to borrow then—otherwise we’ll start a collection . . . someone will pitch in five kopecks, and others will give what they can. But we have to notify the police right away—or they’ll think you killed her or who knows what else . . .

[Crosses to the Tartar’s bunk and prepares to lie down by his side.]

Crosses to the Tartar’s bunk and gets ready to lie down next to him.

NATASHA [going to Bubnoff’s bunk] Now—I’ll dream of her . . . I always dream of the dead . . . I’m afraid to go out into the hall by myself—it’s dark there . . .

NATASHA [heading to Bubnoff’s bunk] Now—I’ll dream of her . . . I always dream about the dead . . . I’m scared to go out into the hall by myself—it’s dark out there . . .

LUKA [following her] You better fear the living—I’m telling you . . .

LUKA [following her] You should really be scared of the living—I mean it.

NATASHA. Take me across the hall, grandfather.

NATASHA. Take me across the hallway, Grandpa.

LUKA. Come on—come on—I’ll take you across—

LUKA. Come on—let’s go—I’ll take you across—

[They go away. Pause.]

They leave. Pause.

ZOB [to the Tartar] Oh-ho! Spring will soon be [Pg 50]here, little brother, and it’ll be quite warm. In the villages the peasants are already making ready their ploughs and harrows, preparing to till . . . and we . . . Hassan? Snoring already? Damned Mohammedan!

ZOB [to the Tartar] Oh-ho! Spring will soon be [Pg 50]here, little brother, and it’s going to be quite warm. In the villages, the farmers are already getting their plows and harrows ready to farm . . . and we . . . Hassan? Snoring already? Damn Mohammedan!

BUBNOFF. Tartars love sleep!

BUBNOFF. Tartars love their sleep!

KLESHTCH [in centre of room, staring in front of him] What am I to do now?

KLESHTCH [in the center of the room, staring straight ahead] What should I do now?

ZOB. Lie down and sleep—that’s all . . .

ZOB. Just lie down and rest—that's it . . .

KLESHTCH [softly] But—she . . . how about . . .

KLESHTCH [softly] But—she . . . what about . . .

[No one answers him. Satine and the Actor enter.]

No one responds to him. Satine and the Actor come in.

THE ACTOR [yelling] Old man! Come here, my trusted Duke of Kent!

THE ACTOR [yelling] Hey, old man! Get over here, my loyal Duke of Kent!

SATINE. Miklookha-Maklai is coming—ho-ho!

SATINE. Miklookha-Maklai is coming—yay!

THE ACTOR. It has been decided upon! Old man, where’s the town—where are you?

THE ACTOR. It's been decided! Old man, where’s the town—where are you?

SATINE. Fata Morgana, the old man bilked you from top to bottom! There’s nothing—no towns—no people—nothing at all!

SATINE. Fata Morgana, that old man cheated you completely! There’s nothing—no towns—no people—absolutely nothing!

THE ACTOR. You lie!

The Actor. You’re lying!

THE TARTAR [jumping up] Where’s the boss? I’m going to the boss. If I can’t sleep, I won’t pay! Corpses—drunkards . . . [Exit quickly]

THE TARTAR [jumping up] Where's the boss? I'm going to find the boss. If I can't sleep, I won't pay! Corpses—drunks . . . [Exit quickly]

[Satine looks after him and whistles.]

Satine watches him and whistles.

BUBNOFF [in a sleepy voice] Go to bed, boys—be quiet . . . night is for sleep . . .

BUBNOFF [in a sleepy voice] Go to bed, guys—just relax . . . night is for sleeping . . .

THE ACTOR. Yes—so—there’s a corpse here. . . . “Our net fished up a corpse. . . .” Verses—by Béranger. . . .

THE ACTOR. Yeah—so—there’s a dead body here. . . . “Our net caught a dead body. . . .” Verses—by Béranger. . . .

SATINE [screams] The dead can’t hear . . . the dead do not feel—Scream!—Roar! . . . the dead don’t hear!

[In the doorway appears Luka.]

Luka appears in the doorway.

CURTAIN.

Curtain.

[Pg 51]

ACT THREE.

“The Waste,” a yard strewn with rubbish and overgrown with weeds. Back, a high brick wall which shuts out the sight of the sky. Near it are elder bushes. Right, the dark, wooden wall of some sort of house, barn or stable. Left, the grey, tumbledown wall of Kostilyoff’s night asylum. It is built at an angle so that the further corner reaches almost to the centre of the yard. Between it and the wall runs a narrow passage. In the grey, plastered wall are two windows, one on a level with the ground, the other about six feet higher up and closer to the brick wall. Near the latter wall is a big sledge turned upside down and a beam about twelve feet long. Right of the wall is a heap of old planks. Evening. The sun is setting, throwing a crimson light on the brick wall. Early spring, the snow having only recently melted. The elder bushes are not yet in bud.

“The Waste,” a yard filled with trash and overgrown with weeds. In the back, a tall brick wall blocks the view of the sky. Nearby are elder bushes. On the right, the dark wooden wall of some kind of house, barn, or stable. On the left, the gray, crumbling wall of Kostilyoff’s night shelter. It’s built at an angle, so the far corner almost reaches the center of the yard. Between it and the wall is a narrow passage. In the gray plastered wall are two windows: one at ground level and another about six feet higher up, closer to the brick wall. Near that wall is a large sledge turned upside down and a beam about twelve feet long. To the right of the wall is a pile of old planks. Evening. The sun is setting, casting a crimson glow on the brick wall. It’s early spring, and the snow has only recently melted. The elder bushes aren’t in bud yet.

Natasha and Nastya are sitting side by side on the beam. Luka and the Baron are on the sledge. Kleshtch is stretched on the pile of planks to the right. Bubnoff’s face is at the ground floor window.

Natasha and Nastya are sitting next to each other on the beam. Luka and the Baron are on the sled. Kleshtch is lying on the stack of planks to the right. Bubnoff’s face is at the ground floor window.

NASTYA [with closed eyes, nodding her head in rhythm to the tale she is telling in a sing-song voice] So then at night he came into the garden. I had been waiting for him quite a while. I trembled with fear and grief—he trembled, too . . . he was as white as chalk—and he had the pistol in his hand . . .

NASTYA [with closed eyes, nodding her head to the rhythm of the story she's telling in a sing-song voice] So later that night, he came into the garden. I had been waiting for him for quite a while. I was shaking with fear and sadness—he was trembling, too… he was as pale as chalk—and he had the pistol in his hand…

NATASHA [chewing sun-flower seeds] Oh—are these students really such desperate fellows . . . ?

NATASHA [chewing sunflower seeds] Oh—are these students really that desperate . . . ?

[Pg 52]

NASTYA. And he says to me in a dreadful voice: “My precious darling . . .”

NASTYA. And he says to me in a terrible voice: “My precious darling . . .”

BUBNOFF. Ho-ho! Precious—?

BUBNOFF. Haha! Precious—?

THE BARON. Shut up! If you don’t like it, you can lump it! But don’t interrupt her. . . . Go on . . .

THE BARON. Be quiet! If you don’t like it, tough luck! But don’t interrupt her. . . . Keep going . . .

NASTYA. “My one and only love,” he says, “my parents,” he says, “refuse to give their consent to our wedding—and threaten to disown me because of my love for you. Therefore,” he says, “I must take my life.” And his pistol was huge—and loaded with ten bullets . . . “Farewell,” he says, “beloved comrade! I have made up my mind for good and all . . . I can’t live without you . . .” and I replied: “My unforgettable friend—my Raoul. . . .”

NASTYA. “My one and only love,” he says, “my parents,” he says, “won’t give their approval for our wedding—and they threaten to disown me because of my love for you. So,” he says, “I have to end my life.” And his pistol was enormous—and loaded with ten bullets . . . “Goodbye,” he says, “beloved comrade! I’ve made up my mind for good . . . I can’t live without you . . .” and I replied: “My unforgettable friend—my Raoul . . .”

BUBNOFF [surprised] What? What? Krawl—did you call him—?

THE BARON. Nastka! But last time his name was Gaston. . . .

THE BARON. Nastka! But last time it was Gaston. . . .

NASTYA [jumping up] Shut up, you bastards! Ah—you lousy mongrels! You think for a moment that you can understand love—true love? My love was real honest-to-God love! [To the Baron] You good-for-nothing! . . . educated, you call yourself—drinking coffee in bed, did you?

NASTYA [jumping up] Shut up, you jerks! Ugh—you pathetic mutts! You really think you can understand love—true love? My love was real, genuine love! [To the Baron] You useless piece of trash! . . . you call yourself educated—drinking coffee in bed, huh?

LUKA. Now, now! Wait, people! Don’t interfere! Show a little respect to your neighbors . . . it isn’t the word that matters, but what’s in back of the word. That’s what matters! Go on, girl! It’s all right!

LUKA. Now, now! Hold on, everyone! Don’t get involved! Show some respect for your neighbors . . . it’s not the word itself that counts, but what’s behind the word. That’s what really matters! Go ahead, girl! It’s okay!

BUBNOFF. Go on, crow! See if you can make your feathers white!

BUBNOFF. Go ahead, crow! Let's see if you can turn your feathers white!

THE BARON. Well—continue!

The Baron. Well—go on!

NATASHA. Pay no attention to them . . . what are they? They’re just jealous . . . they’ve nothing to tell about themselves . . .

NATASHA. Don't pay any attention to them . . . what are they? They’re just jealous . . . they have nothing interesting to share about themselves . . .

NASTYA [sits down again] I’m going to say no more! If they don’t believe me they’ll laugh. [Stops suddenly, is silent for a few seconds, then, shutting her eyes, [Pg 53]continues in a loud and intense voice, swaying her hands as if to the rhythm of far music] And then I replied to him: “Joy of my life! My bright moon! And I, too, I can’t live without you—because I love you madly, so madly—and I shall keep on loving you as long as my heart beats in my bosom. But—” I say—“don’t take your young life! Think how necessary it is to your dear parents whose only happiness you are. Leave me! Better that I should perish from longing for you, my life! I alone! I—ah—as such, such! Better that I should die—it doesn’t matter . . . I am of no use to the world—and I have nothing, nothing at all—” [Covers her face with her hand and weeps gently]

NASTYA [sits down again] I'm done talking! If they don't believe me, they'll just laugh. [Stops suddenly, is silent for a few seconds, then, shutting her eyes, [Pg 53]continues in a loud and intense voice, swaying her hands as if to the rhythm of distant music] And then I said to him: "Joy of my life! My shining moon! And I, too, can't live without you—because I love you so much, so much—and I'll keep loving you as long as my heart beats in my chest. But—” I say—“don't throw away your young life! Think how precious you are to your beloved parents, who find joy only in you. Leave me! It’s better for me to suffer from longing for you, my love! Just me! I—ah—as it is, such! Better that I should die—it doesn’t matter . . . I’m of no use to the world—and I have nothing, nothing at all—” [Covers her face with her hand and weeps gently]

NATASHA [in a low voice] Don’t cry—don’t!

NATASHA [softly] Don’t cry—please!

[Luka, smiling, strokes Nastya’s head.]

Luka smiles and strokes Nastya’s head.

BUBNOFF [laughs] Ah—you limb of Satan!

BUBNOFF [laughs] Ah—you devil!

THE BARON [also laughs] Hey, old man? Do you think it’s true? It’s all from that book “Fatal Love” . . . it’s all nonsense! Let her alone!

THE BARON [also laughs] Hey, old man? Do you think it’s true? It’s all from that book “Fatal Love” . . . it’s all nonsense! Leave her alone!

NATASHA. And what’s it to you? Shut up—or God’ll punish you!

NATASHA. And what’s it to you? Be quiet—or God will punish you!

NASTYA [bitterly] God damn your soul! You worthless pig! Soul—bah!—you haven’t got one!

NASTYA [bitterly] Damn your soul! You useless pig! Soul—ugh!—you don't have one!

LUKA [takes Nastya’s hand] Come, dear! It’s nothing! Don’t be angry—I know—I believe you! You’re right, not they! If you believe you had a real love affair, then you did—yes! And as for him—don’t be angry with a fellow-lodger . . . maybe he’s really jealous, and that’s why he’s laughing. Maybe he never had any real love—maybe not—come on—let’s go!

LUKA [takes Nastya’s hand] Come on, dear! It’s not a big deal! Don’t be mad—I know—I believe you! You’re right, not them! If you think you had a real love affair, then you did—absolutely! And about him—don’t be angry with your roommate... maybe he’s just jealous, and that’s why he’s laughing. Maybe he’s never really experienced love—who knows—let’s go!

NASTYA [pressing her hand against her breast] Grandfather! So help me God—it happened! It happened! He was a student, a Frenchman—Gastotcha was his name—he had a little black beard—and patent leathers—may God strike me dead if I’m lying! And he loved me so—my God, how he loved me!

NASTYA [pressing her hand against her chest] Grandfather! I swear to God—it really happened! It happened! He was a student, a Frenchman—his name was Gastotcha—he had a small black beard—and shiny shoes—may God strike me dead if I’m lying! And he loved me so much—oh my God, how he loved me!

LUKA. Yes, yes, it’s all right. I believe you! Patent [Pg 54]leathers, you said? Well, well, well—and you loved him, did you? [Disappears with her around the corner]

LUKA. Yeah, yeah, it’s fine. I believe you! Patent [Pg 54] leathers, right? Well, well, well—and you really loved him, huh? [Disappears with her around the corner]

THE BARON. God—isn’t she a fool, though? She’s good-hearted—but such a fool—it’s past belief!

THE BARON. God—she really is a fool, isn’t she? She means well—but what a fool—it's unbelievable!

BUBNOFF. And why are people so fond of lying—just as if they were up before the judge—really!

BUBNOFF. And why do people love to lie—it's almost like they're in front of a judge—seriously!

NATASHA. I guess lying is more fun than speaking the truth—I, too . . .

NATASHA. I guess lying is more fun than telling the truth—I, too . . .

THE BARON. What—you, too? Go on!

The baron. What—you, too? Go on!

NATASHA. Oh—I imagine things—invent them—and I wait—

NATASHA. Oh—I visualize things—invent them—and I wait—

THE BARON. For what?

The Baron. For what?

NATASHA [smiling confusedly] Oh—I think that perhaps—well—to-morrow somebody will really appear—some one—oh—out of the ordinary—or something’ll happen—also out of the ordinary. . . . I’ve been waiting for it—oh—always. . . . But, really, what is there to wait for? [Pause]

NATASHA [smiling confusedly] Oh—I think that maybe—well—tomorrow someone will actually show up—someone—oh—different—or something will happen—also different. . . . I’ve been waiting for it—oh—forever. . . . But, honestly, what is there to wait for? [Pause]

THE BARON [with a slight smile] Nothing—I expect nothing! What is past, is past! Through! Over with! And then what?

THE BARON [with a slight smile] Nothing—I expect nothing! What's done is done! It’s over! And then what?

NATASHA. And then—well—to-morrow I imagine suddenly that I’ll die—and I get frightened . . . in summer it’s all right to dream of death—then there are thunder storms—one might get struck by lightning . . .

NATASHA. And then—well—tomorrow I suddenly imagine that I’ll die—and it scares me . . . in the summer, it’s fine to think about death—then there are thunderstorms—someone could get struck by lightning . . .

THE BARON. You’ve a hard life . . . your sister’s a wicked-tempered devil!

THE BARON. You have a tough life . . . your sister is quite the nasty piece of work!

NATASHA. Tell me—does anybody live happily? It’s hard for all of us—I can see that . . .

NATASHA. Tell me—does anyone actually live happily? It’s tough for all of us—I can see that . . .

KLESHTCH [who until this moment has sat motionless and indifferent, jumps up suddenly] For all? You lie! Not for all! If it were so—all right! Then it wouldn’t hurt—yes!

KLESHTCH [who until this moment has sat motionless and indifferent, jumps up suddenly] For everyone? You’re lying! Not for everyone! If that were true—fine! Then it wouldn’t hurt—yeah!

BUBNOFF. What in hell’s bit you? Just listen to him yelping!

BUBNOFF. What the hell is wrong with you? Just listen to him whining!

[Kleshtch lies down again and grunts.]

Kleshtch lies down again and grunts.

[Pg 55]

THE BARON. Well—I’d better go and make my peace with Nastinka—if I don’t, she won’t treat me to vodka . . .

THE BARON. Well—I should probably go and sort things out with Nastinka—if I don’t, she won’t buy me vodka . . .

BUBNOFF. Hm—people love to lie . . . with Nastka—I can see the reason why. She’s used to painting that mutt of hers—and now she wants to paint her soul as well . . . put rouge on her soul, eh? But the others—why do they? Take Luka for instance—he lies a lot . . . and what does he get out of it? He’s an old fellow, too—why does he do it?

BUBNOFF. Hm—people love to lie . . . with Nastka—I get why. She’s used to painting that mutt of hers—and now she wants to paint her soul too . . . add some blush to her soul, huh? But the others—what’s their deal? Look at Luka for example—he lies a lot . . . and what does he gain from it? He’s an old guy as well—why does he bother?

THE BARON [smiling and walking away] All people have drab-colored souls—and they like to brighten them up a bit . . .

THE BARON [smiling and walking away] Everyone has dull souls—and they enjoy making them a little brighter . . .

LUKA [appearing from round the corner] You, sir, why do you tease the girl? Leave her alone—let her cry if it amuses her . . . she weeps for her own pleasure—what harm is it to you?

LUKA [appearing from around the corner] You, sir, why are you teasing the girl? Leave her alone—let her cry if it makes her happy . . . she’s crying for her own enjoyment—what does it matter to you?

THE BARON. Nonsense, old man! She’s a nuisance. Raoul to-day, Gaston to-morrow—always the same old yarn, though! Still—I’ll go and make up with her. [Leaves]

THE BARON. Nonsense, old man! She’s just a pain. Raoul today, Gaston tomorrow—it's always the same old story! Still—I’ll go and patch things up with her. [Leaves]

LUKA. That’s right—go—and be nice to her. Being nice to people never does them any harm . . .

LUKA. That’s right—go—and be kind to her. Being kind to people never hurts them . . .

NATASHA. You’re so good, little father—why are you so good?

NATASHA. You’re so great, little dad—why are you so great?

LUKA. Good, did you say? Well—call it that! [Behind the brick wall is heard soft singing and the sounds of a concertina] Some one has to be kind, girl—some one must pity people! Christ pitied everybody—and he said to us: “Go and do likewise!” I tell you—if you pity a man when he most needs it, good comes of it. Why—I used to be a watchman on the estate of an engineer near Tomsk—all right—the house was right in the middle of a forest—lonely place—winter came—and I remained all by myself. Well—one night I heard a noise—

LUKA. Good, did you say? Well—call it that! [Behind the brick wall, soft singing and the sounds of a concertina can be heard.] Someone has to be kind, girl—someone must show compassion! Christ had compassion for everyone—and he told us: “Go and do the same!” I’m telling you—if you show compassion to someone when they need it the most, good things come from it. You see—I used to be a watchman at an engineer's estate near Tomsk—all good—the house was right in the middle of a forest—really isolated—winter came—and I was all alone. So, one night, I heard a noise—

NATASHA. Thieves?

[Pg 56]

LUKA. Exactly! Thieves creeping in! I took my gun—I went out. I looked and saw two of them opening a window—and so busy that they didn’t even see me. I yell: “Hey there—get out of here!” And they turn on me with their axes—I warn them to stand back, or I’d shoot—and as I speak, I keep on covering them with my gun, first the one, then the other—they go down on their knees, as if to implore me for mercy. And by that time I was furious—because of those axes, you see—and so I say to them: “I was chasing you, you scoundrels—and you didn’t go. Now you go and break off some stout branches!”—and they did so—and I say: “Now—one of you lie down and let the other one flog him!” So they obey me and flog each other—and then they begin to implore me again. “Grandfather,” they say, “for God’s sake give us some bread! We’re hungry!” There’s thieves for you, my dear! [Laughs] And with an ax, too! Yes—honest peasants, both of them! And I say to them, “You should have asked for bread straight away!” And they say: “We got tired of asking—you beg and beg—and nobody gives you a crumb—it hurts!” So they stayed with me all that winter—one of them, Stepan, would take my gun and go shooting in the forest—and the other, Yakoff, was ill most of the time—he coughed a lot . . . and so the three of us together looked after the house . . . then spring came . . . “Good-bye, grandfather,” they said—and they went away—back home to Russia . . .

LUKA. Exactly! Thieves sneaking in! I grabbed my gun—I went outside. I looked and saw two of them trying to open a window—and they were so focused that they didn’t even notice me. I shouted, “Hey there—get out of here!” They turned towards me with their axes—I warned them to back off, or I’d shoot—and as I spoke, I kept my gun aimed at them, first one, then the other—they dropped to their knees, like they were begging for mercy. By that time I was furious—because of those axes, you see—so I told them: “I was after you, you scoundrels—and you didn’t leave. Now go and break off some sturdy branches!”—and they did. Then I said: “Now—one of you lie down and let the other one hit him!” They complied and hit each other—and then they started begging me again. “Grandfather,” they said, “for God’s sake, please give us some bread! We’re hungry!” There’s thieves for you, my dear! [Laughs] And with an ax, too! Yes—honest peasants, both of them! I told them, “You should have asked for bread right away!” They replied: “We got tired of asking—you beg and beg—and nobody gives you a crumb—it hurts!” So they stayed with me all that winter—one of them, Stepan, would take my gun and go hunting in the forest—and the other, Yakoff, was sick most of the time—he coughed a lot . . . and so the three of us together took care of the house . . . then spring came . . . “Good-bye, grandfather,” they said—and they left—back home to Russia . . .

NATASHA. Were they escaped convicts?

NATASHA. Were they fugitives?

LUKA. That’s just what they were—escaped convicts—from a Siberian prison camp . . . honest peasants! If I hadn’t felt sorry for them—they might have killed me—or maybe worse—and then there would have been trial and prison and afterwards Siberia—what’s the sense of it? Prison teaches no good—and Siberia doesn’t either—but another human being can [Pg 57]. . . yes, a human being can teach another one kindness—very simply! [Pause]

LUKA. That’s exactly what they were—escaped prisoners—from a Siberian prison camp . . . decent peasants! If I hadn’t felt sorry for them—they could have killed me—or maybe something worse—and then there would have been a trial and prison and afterwards Siberia—what’s the point of that? Prison teaches nothing good—and neither does Siberia—but another human being can [Pg 57]. . . yes, a human being can teach another one kindness—very simply! [Pause]

BUBNOFF. Hm—yes—I, for instance, don’t know how to lie . . . why—as far as I’m concerned, I believe in coming out with the whole truth and putting it on thick . . . why fuss about it?

BUBNOFF. Hm—yeah—I, for example, don’t know how to lie . . . why—when it comes to me, I believe in just saying the whole truth and making it clear . . . why bother with anything else?

KLESHTCH [again jumps up as if his clothes were on fire, and screams] What truth? Where is there truth? [Tearing at his ragged clothes] Here’s truth for you! No work! No strength! That’s the only truth! Shelter—there’s no shelter! You die—that’s the truth! Hell! What do I want with the truth? Let me breathe! Why should I be blamed? What do I want with truth? To live—Christ Almighty!—they won’t let you live—and that’s another truth!

KLESHTCH [jumps up like his clothes are on fire and screams] What truth? Where's the truth? [Ripping at his ragged clothes] Here's your truth! No work! No strength! That's the only truth! Shelter—there's no shelter! You die—that's the truth! Hell! What do I need with the truth? Just let me breathe! Why should I be blamed? What do I need with truth? To live—Christ Almighty!—they won't let you live—and that's another truth!

BUBNOFF. He’s mad!

BUBNOFF. He's upset!

LUKA. Dear Lord . . . listen to me, brother—

LUKA. Dear Lord . . . hear me, brother—

KLESHTCH [trembling with excitement] They say: there’s truth! You, old man, try to console every one . . . I tell you—I hate every one! And there’s your truth—God curse it—understand? I tell you—God curse it!

KLESHTCH [shaking with excitement] They say: there’s truth! You, old man, try to comfort everyone . . . I’m telling you—I hate everyone! And there’s your truth—God damn it—get it? I’m telling you—God damn it!

[Rushes away round the corner, turning as he goes.]

[Hurries away around the corner, looking back as he goes.]

LUKA. Ah—how excited he got! Where did he run off to?

LUKA. Ah—he was so excited! Where did he run off to?

NATASHA. He’s off his head . . .

NATASHA. He’s lost his mind . . .

BUBNOFF. God—didn’t he say a whole lot, though? As if he was playing drama—he gets those fits often . . . he isn’t used to life yet . . .

BUBNOFF. Man—didn’t he say a ton, though? It’s like he’s putting on a show—he has those episodes a lot . . . he’s still getting the hang of life . . .

PEPEL [comes slowly round the corner] Peace on all this honest gathering! Well, Luka, you wily old fellow—still telling them stories?

PEPEL [comes slowly around the corner] Peace to this sincere gathering! Well, Luka, you clever old guy—still sharing your tales?

LUKA. You should have heard how that fellow carried on!

LUKA. You should have heard how that guy went on!

PEPEL. Kleshtch—wasn’t it? What’s wrong with him? He was running like one possessed!

PEPEL. Kleshtch—wasn’t it? What’s up with him? He was running like he was crazy!

[Pg 58]

LUKA. You’d do the same if your own heart were breaking!

LUKA. You’d react the same way if your heart was breaking!

PEPEL [sitting down] I don’t like him . . . he’s got such a nasty, bad temper—and so proud! [Imitating Kleshtch] “I’m a workman!” And he thinks everyone’s beneath him. Go on working if you feel like it—nothing to be so damned haughty about! If work is the standard—a horse can give us points—pulls like hell and says nothing! Natasha—are your folks at home?

PEPEL [sitting down] I don’t like him... he has such a terrible temper—and he’s so arrogant! [Imitating Kleshtch] “I’m a worker!” And he thinks everyone is below him. Go ahead and work if you want—there’s no reason to be so damn proud! If work is the measure— a horse can show us up—it works hard and doesn’t complain! Natasha—are your parents home?

NATASHA. They went to the cemetery—then to night service . . .

NATASHA. They went to the cemetery—then to the evening service.

PEPEL. So that’s why you’re free for once—quite a novelty!

PEPEL. So that’s why you’re finally free—what a change!

LUKA [to Bubnoff, thoughtfully] There—you say—truth! Truth doesn’t always heal a wounded soul. For instance, I knew of a man who believed in a land of righteousness . . .

LUKA [to Bubnoff, thoughtfully] There—you say—truth! Truth doesn’t always heal a hurt soul. For example, I knew a man who believed in a place of righteousness . . .

BUBNOFF. In what?

BUBNOFF. In what way?

LUKA. In a land of righteousness. He said: “Somewhere on this earth there must be a righteous land—and wonderful people live there—good people! They respect each other, help each other, and everything is peaceful and good!” And so that man—who was always searching for this land of righteousness—he was poor and lived miserably—and when things got to be so bad with him that it seemed there was nothing else for him to do except lie down and die—even then he never lost heart—but he’d just smile and say: “Never mind! I can stand it! A little while longer—and I’ll have done with this life—and I’ll go in search of the righteous land!”—it was his one happiness—the thought of that land . . .

LUKA. In a land of righteousness. He said: “Somewhere on this earth there must be a righteous land—and wonderful people live there—good people! They respect each other, help each other, and everything is peaceful and good!” And so that man—who was always searching for this land of righteousness—was poor and lived miserably—and when things got so bad for him that it seemed there was nothing left to do except lie down and die—even then he never lost hope—but he’d just smile and say: “Never mind! I can handle it! Just a little while longer—and I’ll be done with this life—and I’ll go in search of the righteous land!”—it was his one happiness—the thought of that land . . .

PEPEL. Well? Did he go there?

PEPEL. So? Did he go there?

BUBNOFF. Where? Ho-ho!

BUBNOFF. Where? Haha!

LUKA. And then to this place—in Siberia, by the way—there came a convict—a learned man with books [Pg 59]and maps—yes, a learned man who knew all sorts of things—and the other man said to him: “Do me a favor—show me where is the land of righteousness and how I can get there.” At once the learned man opened his books, spread out his maps, and looked and looked and he said—no—he couldn’t find this land anywhere . . . everything was correct—all the lands on earth were marked—but not this land of righteousness . . .

LUKA. And then to this place—in Siberia, by the way—came a convict—a knowledgeable guy with books [Pg 59]and maps—yes, a knowledgeable guy who knew all sorts of things—and the other man said to him: “Do me a favor—show me where the land of righteousness is and how I can get there.” The knowledgeable guy immediately opened his books, spread out his maps, and looked and looked, but he said—no—he couldn’t find this land anywhere . . . everything was correct—all the lands on earth were marked—but not this land of righteousness . . .

PEPEL [in a low voice] Well? Wasn’t there a trace of it?

PEPEL [in a low voice] So? Wasn't there any sign of it?

[Bubnoff roars with laughter.]

Bubnoff laughs loudly.

NATASHA. Wait . . . well, little father?

NATASHA. Hold on . . . what is it, little dad?

LUKA. The man wouldn’t believe it. . . . “It must exist,” he said, “look carefully. Otherwise,” he says, “your books and maps are of no use if there’s no land of righteousness.” The learned man was offended. “My plans,” he said, “are correct. But there exists no land of righteousness anywhere.” Well, then the other man got angry. He’d lived and lived and suffered and suffered, and had believed all the time in the existence of this land—and now, according to the plans, it didn’t exist at all. He felt robbed! And he said to the learned man: “Ah—you scum of the earth! You’re not a learned man at all—but just a damned cheat!”—and he gave him a good wallop in the eye—then another one . . . [After a moment’s silence] And then he went home and hanged himself!

LUKA. The man couldn't believe it. “It has to exist,” he said, “look closely. Otherwise,” he continued, “your books and maps are useless if there’s no land of righteousness.” The educated man took offense. “My plans,” he replied, “are accurate. But there is no land of righteousness anywhere.” That’s when the other man got furious. He had lived, endured pain, and always believed in the existence of this land—and now, according to the plans, it didn’t exist at all. He felt cheated! He shouted at the educated man: “Ah—you worthless scum! You’re not a learned man at all—but just a damn fraud!”—and he punched him in the eye—then hit him again . . . [After a moment’s silence] And then he went home and hanged himself!

[All are silent. Luka, smiling, looks at Pepel and Natasha.]

[i]Everyone is quiet. Luka, smiling, looks at Pepel and Natasha.[/i]

PEPEL [low-voiced] To hell with this story—it isn’t very cheerful . . .

PEPEL [low-voiced] To hell with this story—it’s not very uplifting.

NATASHA. He couldn’t stand the disappointment . . .

NATASHA. He couldn't handle the disappointment . . .

BUBNOFF [sullen] Ah—it’s nothing but a fairy-tale . . .

BUBNOFF [sullen] Ah—it’s just a fairy tale ...

PEPEL. Well—there is the righteous land for you—doesn’t exist, it seems . . .

PEPEL. Well—there's the promised land for you—it doesn’t seem to exist. . . .

[Pg 60]

NATASHA. I’m sorry for that man . . .

NATASHA. I’m sorry about that guy . . .

BUBNOFF. All a story—ho-ho!—land of righteousness—what an idea! [Exit through window]

BUBNOFF. Just a story—ha!—a place where everything is right—what a thought! [Exit through window]

LUKA [pointing to window] He’s laughing! [Pause] Well, children, God be with you! I’ll leave you soon . . .

LUKA [pointing to window] He’s laughing! [Pause] Well, kids, God be with you! I’ll be leaving you soon . . .

PEPEL. Where are you going to?

PEPEL. Where are you going?

LUKA. To the Ukraine—I heard they discovered a new religion there—I want to see—yes! People are always seeking—they always want something better—God grant them patience!

LUKA. To Ukraine—I heard they found a new religion there—I want to see—yes! People are always searching—they always want something better—God grant them patience!

PEPEL. You think they’ll find it?

PEPEL. Do you think they'll find it?

LUKA. The people? They will find it! He who seeks, will find! He who desires strongly, will find!

LUKA. The people? They’ll find it! Those who seek will find! Those who desire strongly will find!

NATASHA. If only they could find something better—invent something better . . .

NATASHA. If only they could discover something better—invent something better . . .

LUKA. They’re trying to! But we must help them girl—we must respect them . . .

LUKA. They’re doing their best! But we need to help them, girl—we have to respect them.

NATASHA. How can I help them? I am helpless myself!

NATASHA. How can I help them? I'm just as helpless!

PEPEL [determined] Again—listen—I’ll speak to you again, Natasha—here—before him—he knows everything . . . run away with me?

PEPEL [determined] Listen—I’ll talk to you again, Natasha—right here—he knows everything... will you run away with me?

NATASHA. Where? From one prison to another?

NATASHA. Where? Moving from one prison to another?

PEPEL. I told you—I’m through with being a thief, so help me God! I’ll quit! If I say so, I’ll do it! I can read and write—I’ll work—He’s been telling me to go to Siberia on my own hook—let’s go there together, what do you say? Do you think I’m not disgusted with my life? Oh—Natasha—I know . . . I see . . . I console myself with the thought that there are lots of people who are honored and respected—and who are bigger thieves than I! But what good is that to me? It isn’t that I repent . . . I’ve no conscience . . . but I do feel one thing: One must live differently. One must live a better life . . . one must be able to respect one’s own self . . .

PEPEL. I told you—I’m done being a thief, I swear! I’ll quit! If I say it, I mean it! I can read and write—I’m willing to work—He’s been telling me to go to Siberia on my own—let’s go there together, what do you think? Do you think I’m not sick of my life? Oh—Natasha—I know . . . I see . . . I tell myself there are lots of people who are honored and respected—and who are bigger thieves than I am! But what good does that do me? It’s not that I regret it . . . I have no conscience . . . but I do feel one thing: One has to live differently. One has to live a better life . . . one must be able to respect oneself . . .

[Pg 61]

LUKA. That’s right, friend! May God help you! It’s true! A man must respect himself!

LUKA. That’s right, buddy! May God help you! It’s true! A man must have self-respect!

PEPEL. I’ve been a thief from childhood on. Everybody always called me “Vaska—the thief—the son of a thief!” Oh—very well then—I am a thief— . . . just imagine—now, perhaps, I’m a thief out of spite—perhaps I’m a thief because no one ever called me anything different. . . . Well, Natasha—?

PEPEL. I've been a thief since I was a kid. Everyone always referred to me as "Vaska—the thief—the son of a thief!" Oh—fine then—I am a thief— . . . just think about it—maybe I'm a thief out of spite—maybe I'm a thief because no one ever called me anything else. . . . So, Natasha—?

NATASHA [sadly] Somehow I don’t believe in words—and I’m restless to-day—my heart is heavy . . . as if I were expecting something . . . it’s a pity, Vassily, that you talked to me to-day . . .

NATASHA [sadly] I don't know, I just can't believe in words—and I'm feeling uneasy today—my heart feels so heavy . . . like I'm waiting for something . . . it's too bad, Vassily, that you spoke to me today . . .

PEPEL. When should I? It isn’t the first time I speak to you . . .

PEPEL. When should I? This isn't the first time I've talked to you.

NATASHA. And why should I go with you? I don’t love you so very much—sometimes I like you—and other times the mere sight of you makes me sick . . . it seems—no—I don’t really love you . . . when one really loves, one sees no fault. . . . But I do see . . .

NATASHA. And why should I go with you? I don’t really love you that much—sometimes I like you—and other times just seeing you makes me sick . . . it seems—no—I don’t truly love you . . . when someone really loves, they don’t see any faults . . . But I do see . . .

PEPEL. Never mind—you’ll love me after a while! I’ll make you care for me . . . if you’ll just say yes! For over a year I’ve watched you . . . you’re a decent girl . . . you’re kind—you’re reliable—I’m very much in love with you . . .

PEPEL. Don’t worry—you’ll come to love me soon! I’ll make you care for me . . . if you’ll just agree! For more than a year, I’ve been watching you . . . you’re a good person . . . you’re kind—you’re dependable—I’m truly in love with you . . .

[Vassilisa, in her best dress, appears at window and listens.]

[i]Vassilisa, in her best dress, appears at the window and listens.[/i]

NATASHA. Yes—you love me—but how about my sister . . . ?

NATASHA. Yes—you love me—but what about my sister . . . ?

PEPEL [confused] Well, what of her? There are plenty like her . . .

PEPEL [confused] Well, what about her? There are lots of people like her.

LUKA. You’ll be all right, girl! If there’s no bread, you have to eat weeds . . .

LUKA. You’ll be fine, girl! If there’s no bread, you have to eat weeds . . .

PEPEL [gloomily] Please—feel a little sorry for me! My life isn’t all roses—it’s a hell of a life . . . little happiness in it . . . I feel as if a swamp were sucking me under . . . and whatever I try to catch and hold on to, is rotten . . . it breaks . . . Your sister—oh—I [Pg 62]thought she was different . . . if she weren’t so greedy after money . . . I’d have done anything for her sake, if she were only all mine . . . but she must have someone else . . . and she has to have money—and freedom . . . because she doesn’t like the straight and narrow . . . she can’t help me. But you’re like a young fir-tree . . . you bend, but you don’t break . . .

PEPEL [gloomily] Please—feel a little sorry for me! My life isn’t all roses—it’s really tough . . . there’s barely any happiness in it . . . I feel like a swamp is dragging me down . . . and everything I try to grasp and hold on to is rotten . . . it falls apart . . . Your sister—oh—I [Pg 62]thought she was different . . . if she weren’t so obsessed with money . . . I’d have done anything for her, if she were only all mine . . . but she has to have someone else . . . and she wants money—and freedom . . . because she doesn’t like to play by the rules . . . she can’t help me. But you’re like a young fir tree . . . you bend, but you don’t break . . .

LUKA. Yes—go with him, girl, go! He’s a good lad—he’s all right! Only tell him every now and then that he’s a good lad so that he won’t forget it—and he’ll believe you. Just you keep on telling him “Vasya, you’re a good man—don’t you forget it!” Just think, dear, where else could you go except with him? Your sister is a savage beast . . . and as for her husband, there’s little to say of him? He’s rotten beyond words . . . and all this life here, where will it get you? But this lad is strong . . .

LUKA. Yes—go with him, girl, go! He’s a good guy—he’s alright! Just tell him once in a while that he’s a good guy so he won’t forget it—and he’ll believe you. Just keep on saying “Vasya, you’re a good man—don’t you forget it!” Just think, dear, where else could you go except with him? Your sister is a wild beast . . . and as for her husband, there’s not much to say about him? He’s terrible beyond words . . . and all this life here, where will it lead you? But this guy is strong . . .

NATASHA. Nowhere to go—I know—I thought of it. The only thing is—I’ve no faith in anybody—and there’s no place for me to turn to . . .

NATASHA. Nowhere to go—I know—I’ve thought about it. The only thing is—I don’t trust anyone—and there’s no place for me to turn to . . .

PEPEL. Yes, there is! But I won’t let you go that way—I’d rather cut your throat!

PEPEL. Yes, there is! But I'm not going to let you take that route—I’d rather slit your throat!

NATASHA [smiling] There—I’m not his wife yet—and he talks already of killing me!

NATASHA [smiling] There—I’m not his wife yet—and he’s already talking about killing me!

PEPEL [puts his arms around her] Come, Natasha! Say yes!

PEPEL [puts his arms around her] Come on, Natasha! Just say yes!

NATASHA [holding him close] But I’ll tell you one thing, Vassily—I swear it before God . . . the first time you strike me or hurt me any other way, I’ll have no pity on myself . . . I’ll either hang myself . . . or . . .

NATASHA [holding him close] But I’ll tell you one thing, Vassily—I swear to God . . . the first time you hit me or hurt me in any way, I won’t have any sympathy for myself . . . I’ll either kill myself . . . or . . .

PEPEL. May my hand wither if ever I touch you!

PEPEL. I hope my hand withers if I ever touch you!

LUKA. Don’t doubt him, dear! He needs you more than you need him!

LUKA. Don’t question him, my dear! He needs you more than you need him!

VASSILISA [from the window] So now they’re engaged! Love and advice!

VASSILISA [from the window] So they’re officially engaged now! Love and guidance!

[Pg 63]

NATASHA. They’ve come back—oh, God—they saw—oh, Vassily . . .

NATASHA. They're back—oh, God—they saw—oh, Vassily . . .

PEPEL. Why are you frightened? Nobody’ll dare touch you now!

PEPEL. Why are you scared? No one would dare to mess with you now!

VASSILISA. Don’t be afraid, Natalia! He won’t beat you . . . he don’t know how to love or how to beat . . . I know!

VASSILISA. Don’t be scared, Natalia! He won’t hurt you . . . he doesn’t know how to love or how to hit . . . I know!

LUKA [in a low voice] Rotten old hag—like a snake in the grass . . .

LUKA [in a low voice] Old hag—like a snake hiding in the grass.

VASSILISA. He dares only with the word!

VASSILISA. He only has the courage to speak!

KOSTILYOFF [enters] Natashka! What are you doing here, you parasite? Gossiping? Kicking about your family? And the samovar not ready? And the table not cleared?

KOSTILYOFF [enters] Natashka! What are you doing here, you freeloader? Spreading gossip? Messing around with your family? Is the samovar not ready? And the table isn't cleared?

NATASHA [going out] I thought you were going to church . . . ?

NATASHA [going out] I thought you were going to church. . . ?

KOSTILYOFF. None of your business what we intended doing! Mind your own affairs—and do what you’re told!

KOSTILYOFF. It's none of your business what we were planning! Stay out of our matters—and follow the instructions given to you!

PEPEL. Shut up, you! She’s no longer your servant! Don’t go, Natalia—don’t do a thing!

PEPEL. Be quiet! She’s not your servant anymore! Don’t go, Natalia—don’t do anything!

NATASHA. Stop ordering me about—you’re commencing too soon! [Leaves]

NATASHA. Stop bossing me around—you're starting too early! [Leaves]

PEPEL [to Kostilyoff] That’s enough. You’ve used her long enough—now she’s mine!

PEPEL [to Kostilyoff] That’s enough. You’ve had your turn with her—now she’s mine!

KOSTILYOFF. Yours? When did you buy her—and for how much?

KOSTILYOFF. Yours? When did you get her—and how much did you pay?

[Vassilisa roars with laughter.]

Vassilisa laughs heartily.

LUKA. Go away, Vasya!

LUKA. Leave me alone, Vasya!

PEPEL. Don’t laugh, you fools—or first thing you know I’ll make you cry!

PEPEL. Don’t laugh, you idiots—or before you know it, I’ll make you cry!

VASSILISA. Oh, how terrible! Oh—how you frighten me!

VASSILISA. Oh, that's awful! Oh—you're scaring me!

LUKA. Vassily—go away! Don’t you see—she’s goading you on . . . ridiculing you, don’t you understand . . . ?

LUKA. Vassily—leave! Can’t you see—she’s egging you on… mocking you, don’t you get it…?

[Pg 64]

PEPEL. Yes . . . You lie, lie! You won’t get what you want!

PEPEL. Yeah . . . You're lying, lying! You're not going to get what you want!

VASSILISA. Nor will I get what I don’t want, Vasya!

VASSILISA. And I won't get what I don't want, Vasya!

PEPEL [shaking his fist at her] We’ll see . . . [Exit]

PEPEL [shaking his fist at her] We'll see . . . [Exit]

VASSILISA [disappearing through window] I’ll arrange some wedding for you . . .

VASSILISA [disappearing through window] I’ll set up a wedding for you . . .

KOSTILYOFF [crossing to Luka] Well, old man, how’s everything?

KOSTILYOFF [crossing to Luka] Well, old man, how’s everything going?

LUKA. All right!

LUKA. All good!

KOSTILYOFF. You’re going away, they say—?

KOSTILYOFF. Heard you’re leaving—?

LUKA. Soon.

LUKA. Coming soon.

KOSTILYOFF. Where to?

KOSTILYOFF. Where to next?

LUKA. I’ll follow my nose . . .

LUKA. I’ll follow my instincts . . .

KOSTILYOFF. Tramping, eh? Don’t like stopping in one place all the time, do you?

KOSTILYOFF. Hiking, huh? You don’t like staying in one spot all the time, do you?

LUKA. Even water won’t pass beneath a stone that’s sunk too firmly in the ground, they say . . .

LUKA. Even water won’t flow beneath a stone that’s sunk too deep in the ground, they say . . .

KOSTILYOFF. That’s true for a stone. But man must settle in one place. Men can’t live like cockroaches, crawling about wherever they want. . . . A man must stick to one place—and not wander about aimlessly . . .

KOSTILYOFF. That’s true for a stone. But a person has to settle in one place. People can’t live like cockroaches, scurrying around wherever they want. . . . A person has to stay in one spot—and not roam around aimlessly . . .

LUKA. But suppose his home is wherever he hangs his hat?

LUKA. But what if his home is wherever he puts his hat?

KOSTILYOFF. Why, then—he’s a vagabond,—useless . . . a human being must be of some sort of use—he must work . . .

KOSTILYOFF. Why, then—he's a drifter—worthless . . . a person has to be of some kind of value—he has to put in some effort . . .

LUKA. That’s what you think, eh?

LUKA. Is that what you think?

KOSTILYOFF. Yes—sure . . . just look! What’s a vagabond? A strange fellow . . . unlike all others. If he’s a real pilgrim then he’s some good in the world . . . perhaps he discovered a new truth. Well—but not every truth is worth while. Let him keep it to himself and shut up about it! Or else—let him speak in a way which no one can understand . . . don’t let him interfere . . . don’t let him stir up people without cause! It’s none of his business how other people live! Let him follow his own righteous path . . . in the woods—or [Pg 65]in a monastery—away from everybody! He mustn’t interfere—nor condemn other people—but pray—pray for all of us—for all the world’s sins—for mine—for yours—for everybody’s. To pray—that’s why he forsakes the world’s turmoil! That’s so! [Pause] But you—what sort of a pilgrim are you—? An honest person must have a passport . . . all honest people have passports . . . yes . . . !

KOSTILYOFF. Yes—definitely . . . just look! What’s a vagabond? A strange guy . . . different from everyone else. If he’s a true pilgrim, then he’s got something good to offer the world . . . maybe he found a new truth. But not every truth is valuable. He should keep it to himself and stop talking about it! Or, if he must speak, he should do it in a way no one can understand . . . don’t let him get involved . . . don’t let him stir up trouble for no reason! It’s not his place to dictate how others live! Let him follow his own righteous path . . . in the woods—or [Pg 65]in a monastery—away from everyone! He shouldn’t interfere—or judge other people—but just pray—pray for all of us—for all the world’s sins—for mine—for yours—for everyone’s. To pray—that’s why he turns away from the chaos of the world! That’s right! [Pause] But you—what kind of pilgrim are you—? An honest person must have a passport . . . all honest people have passports . . . yes . . . !

LUKA. In this world there are people—and also just plain men . . .

LUKA. In this world, there are people—and also just regular guys . . .

KOSTILYOFF. Don’t coin wise sayings! Don’t give me riddles! I’m as clever as you . . . what’s the difference—people and men?

KOSTILYOFF. Don’t come up with wise sayings! Don’t give me riddles! I’m just as clever as you . . . what’s the difference between people and men?

LUKA. What riddle is there? I say—there’s sterile and there’s fertile ground . . . whatever you sow in it, grows . . . that’s all . . .

LUKA. What's the riddle here? I mean—there's barren land and there's fruitful land . . . whatever you plant in it, will thrive . . . that's all . . .

KOSTILYOFF. What do you mean?

LUKA. Take yourself for instance . . . if the Lord God himself said to you: “Mikhailo, be a man!”—it would be useless—nothing would come of it—you’re doomed to remain just as you are . . .

LUKA. Take yourself for example . . . if the Lord God himself said to you: “Mikhailo, be a man!”—it would be pointless—nothing would change—you’re destined to stay just as you are . . .

KOSTILYOFF. Oh—but do you realize that my wife’s uncle is a policeman, and that if I . . .

KOSTILYOFF. Oh—but do you know that my wife's uncle is a cop, and that if I . . .

VASSILISA [coming in] Mikhail Ivanitch—come and have your tea . . .

VASSILISA [coming in] Mikhail Ivanitch—come and have your tea.

KOSTILYOFF [to Luka] You listen! Get out! You leave this place—hear?

KOSTILYOFF [to Luka] Listen! Get out! Leave this place—understand?

VASSILISA. Yes—get out, old man! Your tongue’s too long! And—who knows—you may be an escaped convict . . .

VASSILISA. Yes—get lost, old man! You talk way too much! And—who knows—you might be an escaped convict . . .

KOSTILYOFF. If I ever see sign of you again after to-day—well—I’ve warned you!

KOSTILYOFF. If I ever see any sign of you again after today—well—I’ve warned you!

LUKA. You’ll call your uncle, eh? Go on—call him! Tell him you’ve caught an escaped convict—and maybe uncle’ll get a reward—perhaps all of three kopecks . . .

LUKA. So, are you going to call your uncle? Go ahead—call him! Tell him you’ve caught an escaped convict—and maybe he’ll get a reward—maybe even three kopecks . . .

[Pg 66]

BUBNOFF [in the window] What are you bargaining about? Three kopecks—for what?

BUBNOFF [in the window] What are you negotiating about? Three kopecks—for what?

LUKA. They’re threatening to sell me . . .

LUKA. They’re threatening to sell me...

VASSILISA [to her husband] Come . . .

BUBNOFF. For three kopecks? Well—look out, old man—they may even do it for one!

BUBNOFF. For three kopecks? Well—watch out, old man—they might even do it for one!

KOSTILYOFF [to Bubnoff] You have a habit of jumping up like a jack-in-the-box!

KOSTILYOFF [to Bubnoff] You have a tendency to spring up like a jack-in-the-box!

VASSILISA. The world is full of shady people and crooks—

VASSILISA. The world is full of shady characters and con artists—

LUKA. Hope you’ll enjoy your tea!

LUKA. Hope you enjoy your tea!

VASSILISA [turning] Shut up! You rotten toadstool!

VASSILISA [turning] Shut up! You awful toadstool!

[Leaves with her husband.]

Leaves with her spouse.

LUKA. I’m off to-night.

LUKA. I’m off tonight.

BUBNOFF. That’s right. Don’t outstay your welcome!

BUBNOFF. That’s right. Don’t overstay your welcome!

LUKA. True enough.

LUKA. Fair enough.

BUBNOFF. I know. Perhaps I’ve escaped the gallows by getting away in time . . .

BUBNOFF. I know. Maybe I've dodged the noose by leaving when I did . . .

LUKA. Well?

LUKA. So?

BUBNOFF. That’s true. It was this way. My wife took up with my boss. He was great at his trade—could dye a dog’s skin so that it looked like a raccoon’s—could change cat’s skin into kangaroo—muskrats, all sorts of things. Well—my wife took up with him—and they were so mad about each other that I got afraid they might poison me or something like that—so I commenced beating up my wife—and the boss beat me . . . we fought savagely! Once he tore off half my whiskers—and broke one of my ribs . . . well, then I, too, got enraged. . . . I cracked my wife over the head with an iron yard-measure—well—and altogether it was like an honest-to-God war! And then I saw that nothing really could come of it . . . they were planning to get the best of me! So I started planning—how to kill my wife—I thought of it a whole lot . . . but I thought better of it just in time . . . and got away . . .

BUBNOFF. That’s true. It was like that. My wife got involved with my boss. He was really good at his job—could dye a dog's fur to look like a raccoon's—could turn a cat's fur into kangaroo—muskrats, all kinds of things. Well—my wife got together with him—and they were so into each other that I got scared they might poison me or something—so I started taking it out on my wife—and my boss hit me . . . we fought hard! Once he ripped off half my facial hair—and broke one of my ribs . . . well, then I got really angry too . . . I hit my wife on the head with a metal yardstick—well—and overall it felt like a real war! And then I realized that nothing good would come of it . . . they were scheming to get rid of me! So I started planning—how to kill my wife—I thought about it a lot . . . but I changed my mind just in time . . . and got away . . .

[Pg 67]

LUKA. That was best! Let them go on changing dogs into raccoons!

LUKA. That was the best! Let them keep turning dogs into raccoons!

BUBNOFF. Only—the shop was in my wife’s name . . . and so I did myself out of it, you see? Although, to tell the truth, I would have drunk it away . . . I’m a hard drinker, you know . . .

BUBNOFF. Only—the shop was in my wife’s name . . . and so I missed out on it, you see? Honestly, I probably would have just drunk it all anyway . . . I’m a heavy drinker, you know . . .

LUKA. A hard drinker—oh . . .

LUKA. A heavy drinker—oh . . .

BUBNOFF. The worst you ever met! Once I start drinking, I drink everything in sight, I’ll spend every bit of money I have—everything except my bones and my skin . . . what’s more, I’m lazy . . . it’s terrible how I hate work!

BUBNOFF. The worst person you'll ever meet! Once I start drinking, I drink everything around me. I’ll spend every last bit of money I have—everything except my bones and my skin . . . and on top of that, I’m lazy . . . it’s awful how much I loathe work!

[Enter Satine and the Actor, quarreling.]

[Satine and the Actor enter, arguing.]

SATINE. Nonsense! You’ll go nowhere—it’s all a damned lie! Old man, what did you stuff him with all those fairy-tales for?

SATINE. Nonsense! You’re not going anywhere—it’s all a total lie! Old man, why did you fill his head with all those fairy tales?

THE ACTOR. You lie! Grandfather! Tell him that he lies!—I am going away. I worked to-day—I swept the streets . . . and I didn’t have a drop of vodka. What do you think of that? Here they are—two fifteen kopeck pieces—and I’m sober!

THE ACTOR. You’re lying! Grandfather! Tell him he’s lying!—I’m leaving. I worked today—I swept the streets . . . and I didn’t have a single drop of vodka. What do you think about that? Here they are—two fifteen-kopeck coins—and I’m sober!

SATINE. Why—that’s absurd! Give it to me—I’ll either drink it up—or lose it at cards . . .

SATINE. That’s ridiculous! Hand it over—I’ll either drink it or gamble it away.

THE ACTOR. Get out—this is for my journey . . .

THE ACTOR. Leave—this is for my journey.

LUKA [to Satine] And you—why are you trying to lead him astray?

LUKA [to Satine] And you—why are you trying to mislead him?

SATINE. Tell me, soothsayer, beloved by the Gods, what’s my future going to be? I’ve gone to pieces, brother—but everything isn’t lost yet, grandfather . . . there are sharks in this world who got more brains than I!

SATINE. Tell me, fortune teller, favored by the Gods, what does my future hold? I’m falling apart, brother—but not everything is lost yet, grandpa . . . there are sharks in this world who are smarter than I am!

LUKA. You’re cheerful, Constantine—and very agreeable!

LUKA. You're so cheerful, Constantine—and really nice!

BUBNOFF. Actor, come over here! [The Actor crosses to window, sits down on the sill before Bubnoff, and speaks in a low voice with him]

BUBNOFF. Actor, come over here! [The Actor walks over to the window, sits on the sill in front of Bubnoff, and speaks quietly with him]

SATINE. You know, brother, I used to be a clever [Pg 68]youngster. It’s nice to think of it. I was a devil of a fellow . . . danced splendidly, played on the stage, loved to amuse people . . . it was awfully gay . . .

SATINE. You know, brother, I used to be a sharp [Pg 68]youngster. It’s nice to think back on it. I was quite the character . . . danced beautifully, performed on stage, enjoyed making people laugh . . . it was so much fun . . .

LUKA. How did you get to be what you are?

LUKA. How did you become who you are?

SATINE. You’re inquisitive, old man! You want to know everything? What for?

SATINE. You're really curious, old man! Do you want to know everything? What's the point?

LUKA. I want to understand the ways of men—I look at you, and I don’t understand. You’re a bold lad, Constantine, and you’re no fool . . . yet, all of a sudden . . .

LUKA. I want to understand how men think—I look at you, and I don’t get it. You’re a daring guy, Constantine, and you’re smart . . . yet, out of nowhere . . .

SATINE. It’s prison, grandfather—I spent four years and seven months in prison . . . afterwards—where could I go?

SATINE. It’s prison, grandpa—I spent four years and seven months locked up . . . after that—where could I go?

LUKA. Aha! What were you there for?

LUKA. Aha! What were you doing there?

SATINE. On account of a scoundrel—whom I killed in a fit of rage . . . and despair . . . and in prison I learned to play cards . . .

SATINE. Because of a jerk—who I killed in a moment of anger . . . and hopelessness . . . and in prison, I learned how to play cards . . .

LUKA. You killed—because of a woman?

SATINE. Because of my own sister. . . . But look here—leave me alone! I don’t care for these cross-examinations—and all this happened a long time ago. It’s already nine years since my sister’s death. . . . Brother, she was a wonderful girl . . .

SATINE. Because of my sister. . . . But listen—just let me be! I’m not interested in these interrogations—and all this happened ages ago. It’s been nine years since my sister passed away. . . . Brother, she was an amazing person . . .

LUKA. You take life easily! And only a while ago that locksmith was here—and how he did yell!

LUKA. You really take life lightly! Just a little while ago, that locksmith was here—and he sure was loud!

SATINE. Kleshtch?

LUKA. Yes—“There’s no work,” he shouted; “there isn’t anything . . .”

SATINE. He’ll get used to it. What could I do?

SATINE. He'll get used to it. What can I do?

LUKA [softly] Look—here he comes!

LUKA [softly] Look—he's coming!

[Kleshtch walks in slowly, his head bowed low.]

[Kleshtch walks in slowly, his head down.]

SATINE. Hey, widower! Why are you so down in the mouth? What are you thinking?

SATINE. Hey, widower! Why do you look so glum? What's on your mind?

KLESHTCH. I’m thinking—what’ll I do? I’ve no food—nothing—the funeral ate up all . . .

KLESHTCH. I’m thinking—what am I going to do? I have no food—nothing—the funeral consumed everything . . .

SATINE. I’ll give you a bit of advice . . . do nothing! Just be a burden to the world at large!

SATINE. I’ll give you some advice . . . do nothing! Just be a drain on the world around you!

[Pg 69]

KLESHTCH. Go on—talk—I’d be ashamed of myself . . .

KLESHTCH. Go ahead—speak—I’d feel embarrassed about myself . . .

SATINE. Why—people aren’t ashamed to let you live worse than a dog. Just think . . . you stop work—so do I—so do hundreds, thousands of others—everybody—understand?—everybody’ll quit working . . . nobody’ll do a damned thing—and then what’ll happen?

SATINE. Why are people not embarrassed to let you live worse than a dog? Just think about it… you stop working—so do I—so do hundreds, thousands of others—everyone—got it?—everyone will stop working… nobody will do a damn thing—and then what’s going to happen?

KLESHTCH. They’ll all starve to death . . .

KLESHTCH. They’re all going to starve to death . . .

LUKA [to Satine] If those are your notions, you ought to join the order of Begunes—you know—there’s some such organization . . .

LUKA [to Satine] If that’s what you think, you should join the order of Begunes—you know—there’s a group like that . . .

SATINE. I know—grandfather—and they’re no fools . . .

SATINE. I know—grandpa—and they're not idiots . . .

[Natasha is heard screaming behind Kostilyoff’s window: “What for? Stop! What have I done?”]

Natasha can be heard screaming from behind Kostilyoff’s window: “What for? Stop! What have I done?”

LUKA [worried] Natasha! That was she crying—oh, God . . .

LUKA [worried] Natasha! That was her crying—oh, God . . .

[From Kostilyoff’s room is heard noise, shuffling, breaking of crockery, and Kostilyoff’s shrill cry: “Ah! Heretic! Bitch!”]

[From Kostilyoff’s room, there's noise, shuffling, breaking dishes, and Kostilyoff's high-pitched shout: “Ah! Heretic! Bitch!”]

VASSILISA. Wait, wait—I’ll teach her—there, there!

VASSILISA. Wait, wait—I’ll show her—there, there!

NATASHA. They’re beating me—killing me . . .

NATASHA. They're hurting me—killing me . . .

SATINE [shouts through the window] Hey—you there—. . .

SATINE [shouts through the window] Hey—you over there—. . .

LUKA [trembling] Where’s Vassily—? Call Vaska—oh, God—listen, brothers . . .

THE ACTOR [running out] I’ll find him at once!

THE ACTOR [running out] I’ll locate him right away!

BUBNOFF. They beat her a lot these days . . .

BUBNOFF. They hit her frequently these days . . .

SATINE. Come on, old man—we’ll be witnesses . . .

LUKA [following Satine] Oh—witnesses—what for? Vassily—he should be called at once!

LUKA [following Satine] Oh—witnesses—what do we need them for? Vassily—he should be called immediately!

NATASHA. Sister—sister dear! Va-a-a . . .

NATASHA. Sister—my dear sister! Va-a-a . . .

BUBNOFF. They’ve gagged her—I’ll go and see . . .

BUBNOFF. They’ve silenced her—I’ll go check it out . . .

[The noise in Kostilyoff’s room dies down gradually as if they had gone into the hallway. The old man’s cry: [Pg 70]“Stop!” is heard. A door is slammed noisily, and the latter sound cuts off all the other noises sharply. Quiet on the stage. Twilight.]

[The noise in Kostilyoff’s room fades away slowly as if they’ve stepped into the hallway. The old man shouts: [Pg 70]“Stop!” A door slams loudly, cutting off all the other sounds abruptly. It's quiet on stage. Dusk.]

KLESHTCH [seated on the sledge, indifferently, rubbing his hands; mutters at first indistinguishably, then:] What then? One must live. [Louder] Must have shelter—well? There’s no shelter, no roof—nothing . . . there’s only man—man alone—no hope . . . no help . . .

KLESHTCH [sitting on the sledge, casually rubbing his hands; initially murmurs indistinctly, then:] So what? You have to live. [Louder] You need shelter—so what? There’s no shelter, no roof—nothing . . . there’s just people—people alone—no hope . . . no help . . .

[Exit slowly, his head bent. A few moments of ominous silence, then somewhere in the hallway a mass of sounds, which grows in volume and comes nearer. Individual voices are heard.]

[i]He exits slowly, his head down. After a moment of tense silence, a cacophony of sounds emerges from down the hallway, increasing in volume as it approaches. Individual voices can be heard.[/i]

VASSILISA. I’m her sister—let go . . .

VASSILISA. I'm her sister—let go . . .

KOSTILYOFF. What right have you . . . ?

KOSTILYOFF. What right do you have . . . ?

VASSILISA. Jail-bird!

VASSILISA. Ex-con!

SATINE. Call Vaska—quickly! Zob—hit him!

SATINE. Call Vaska—hurry! Zob—attack him!

[A police whistle. The Tartar runs in, his right hand in a sling.]

[i]A police whistle. The Tartar rushes in, his right arm in a sling.[/i]

THE TARTAR. There’s a new law for you—kill only in daytime!

THE TARTAR. There’s a new rule for you—only kill during the day!

[Enter Zob, followed by Miedviedieff.]

[Enter Zob, then Miedviedieff.]

ZOB. I handed him a good one!

ZOB. I gave him a really good one!

MIEDVIEDIEFF. You—how dare you fight?

MIEDVIEDIEFF. You—how dare you battle?

THE TARTAR. What about yourself? What’s your duty?

THE TARTAR. What about you? What’s your role?

MIEDVIEDIEFF [running after] Stop—give back my whistle!

MIEDVIEDIEFF [running after] Stop—give me back my whistle!

KOSTILYOFF [runs in] Abram! Stop him! Hold him! He’s a murderer—he . . .

[Enter Kvashnya and Nastya supporting Natasha who is disheveled. Satine backs away, pushing away Vassilisa who is trying to attack her sister, while, near her, Alyoshka jumps up and down like a madman, whistles into her ear, shrieking, roaring. Also other ragged men and women.]

[Enter Kvashnya and Nastya helping Natasha, who looks a mess. Satine steps back, shoving Vassilisa away as she tries to attack her sister, while nearby, Alyoshka jumps up and down like a lunatic, whistling in her ear, screaming and shouting. There are also other disheveled men and women.]

SATINE [to Vassilisa] Well—you damned bitch!

SATINE [to Vassilisa] Well—you damn bitch!

[Pg 71]

VASSILISA. Let go, you jail-bird! I’ll tear you to pieces—if I have to pay for it with my own life!

VASSILISA. Let go, you criminal! I'll rip you apart—if it costs me my own life!

KVASHNYA [leading Natasha aside] You—Karpovna—that’s enough—stand back—aren’t you ashamed? Or are you crazy?

KVASHNYA [leading Natasha aside] You—Karpovna—that’s enough—step back—are you not embarrassed? Or are you out of your mind?

MIEDVIEDIEFF [seizes Satine] Aha—caught at last!

MIEDVIEDIEFF [seizes Satine] Aha—got you at last!

SATINE. Zob—beat them up! Vaska—Vaska . . .

[They all, in a chaotic mass, struggle near the brick wall. They lead Natasha to the right, and set her on a pile of wood. Pepel rushes in from the hallway and, silently, with powerful movements, pushes the crowd aside.]

[They all, in a chaotic crowd, struggle near the brick wall. They guide Natasha to the right and place her on a pile of wood. Pepel rushes in from the hallway and, silently, with strong movements, pushes the crowd aside.]

PEPEL. Natalia, where are you . . . you . . .

PEPEL. Natalia, where are you... you...

KOSTILYOFF [disappearing behind a corner] Abram! Seize Vaska! Comrades—help us get him! The thief! The robber!

KOSTILYOFF [disappearing behind a corner] Abram! Grab Vaska! Friends—help us catch him! The thief! The robber!

PEPEL. You—you old bastard! [Aiming a terrific blow at Kostilyoff. Kostilyoff falls so that only the upper part of his body is seen. Pepel rushes to Natasha]

PEPEL. You—you old jerk! [Throwing a powerful punch at Kostilyoff. Kostilyoff falls so that only the upper part of his body is visible. Pepel runs to Natasha]

VASSILISA. Beat Vaska! Brothers! Beat the thief!

VASSILISA. Hit Vaska! Brothers! Hit the thief!

MIEDVIEDIEFF [yells to Satine] Keep out of this—it’s a family affair . . . they’re relatives—and who are you . . .

MIEDVIEDIEFF [yells to Satine] Stay out of this—it’s a family thing . . . they’re related—and who are you . . .

PEPEL [to Natasha] What did she do to you? She used a knife?

PEPEL [to Natasha] What did she do to you? Did she use a knife?

KVASHNYA. God—what beasts! They’ve scalded the child’s feet with boiling water!

KVASHNYA. God—what monsters! They’ve burned the child’s feet with boiling water!

NASTYA. They overturned the samovar . . .

NASTYA. They knocked over the samovar . . .

THE TARTAR. Maybe an accident—you must make sure—you can’t exactly tell . . .

THE TARTAR. It could be an accident—you need to confirm—you can’t really be sure . . .

NATASHA [half fainting] Vassily—take me away—

NATASHA [half fainting] Vassily—get me out of here—

VASSILISA. Good people! Come! Look! He’s dead! Murdered!

[All crowd into the hallway near Kostilyoff. Bubnoff leaves the crowd and crosses to Pepel.]

[Everyone gathers in the hallway by Kostilyoff. Bubnoff steps away from the crowd and walks over to Pepel.]

BUBNOFF [in a low voice, to Pepel] Vaska—the old man is done for!

BUBNOFF [in a low voice, to Pepel] Vaska—the old man is finished!

[Pg 72]

PEPEL [looks at him, as though he does not understand] Go—for help—she must be taken to the hospital . . . I’ll settle with them . . .

PEPEL [looks at him, as if he doesn’t understand] Go—get help—she needs to be taken to the hospital . . . I’ll take care of it . . .

BUBNOFF. I say—the old man—somebody’s killed him . . .

BUBNOFF. I mean—the old guy—someone's killed him . . .

[The noise on the stage dies out like a fire under water. Distinct, whispered exclamations: “Not really?” “Well—let’s go away, brothers!” “The devil!” “Hold on now!” “Let’s get away before the police comes!” The crowd disappears. Bubnoff, the Tartar, Nastya, and Kvashnya, rush up to Kostilyoff’s body.]

[The noise on the stage fades out like a fire snuffed out underwater. Clear, whispered remarks: “No way?” “Come on—let’s get out of here, guys!” “What a joke!” “Wait a second!” “Let’s make a run for it before the cops show up!” The crowd scatters. Bubnoff, the Tartar, Nastya, and Kvashnya rush over to Kostilyoff’s body.]

VASSILISA [rises and cries out triumphantly] Killed—my husband’s killed! Vaska killed him! I saw him! Brothers, I saw him! Well—Vasya—the police!

VASSILISA [stands up and shouts with excitement] He’s dead—my husband’s dead! Vaska killed him! I saw it! Brothers, I saw it! Alright—Vasya—call the police!

PEPEL [moves away from Natasha] Let me alone. [Looks at Kostilyoff; to Vassilisa] Well—are you glad? [Touches the corpse with his foot] The old bastard is dead! Your wish has been granted! Why not do the same to you? [Throws himself at her]

PEPEL [moves away from Natasha] Leave me alone. [Looks at Kostilyoff; to Vassilisa] So—are you happy now? [Touches the corpse with his foot] The old bastard is dead! Your wish has come true! Why not do the same to you? [Throws himself at her]

[Satine and Zob quickly overpower him, and Vassilisa disappears in the passage.]

Satine and Zob quickly take him down, and Vassilisa vanishes into the passage.

SATINE. Come to your senses!

SATINE. Get it together!

ZOB. Hold on! Not so fast!

ZOB. Wait up! Not so quick!

VASSILISA [appearing] Well, Vaska, dear friend? You can’t escape your fate. . . . Police—Abram—whistle!

VASSILISA [appearing] Well, Vaska, my dear friend? You can’t escape your destiny. . . . Police—Abram—whistle!

MIEDVIEDIEFF. Those devils tore my whistle off!

MIEDVIEDIEFF. Those guys pulled my whistle off!

ALYOSHKA. Here it is! [Whistles, Miedviedieff runs after him]

SATINE [leading Pepel to Natasha] Don’t be afraid, Vaska! Killed in a row! That’s nonsense—only manslaughter—you won’t have to serve a long term . . .

SATINE [leading Pepel to Natasha] Don't worry, Vaska! Killed in a row? That's ridiculous—it's just manslaughter—you won't have to serve a long sentence.

VASSILISA. Hold Vaska—he killed him—I saw it!

SATINE. I, too, gave the old man a couple of blows—he was easily fixed . . . you call me as witness, Vaska!

SATINE. I also hit the old man a few times—he didn’t take much effort to handle . . . you’re calling me to testify, Vaska!

PEPEL. I don’t need to defend myself . . . I want to drag Vassilisa into this mess—and I’ll do it—she [Pg 73]was the one who wanted it . . . she was the one who urged me to kill him—she goaded me on . . .

PEPEL. I don’t have to justify myself . . . I want to pull Vassilisa into this chaos—and I will—she [Pg 73]was the one who wanted it . . . she was the one who pushed me to kill him—she egged me on . . .

NATASHA [sudden and loud] Oh—I understand—so that’s it, Vassily? Good people! They’re both guilty—my sister and he—they’re both guilty! They had it all planned! So, Vassily, that’s why you spoke to me a while ago—so that she should overhear everything—? Good people! She’s his mistress—you know it—everybody knows it—they’re both guilty! She—she urged him to kill her husband—he was in their way—and so was I! And now they’ve maimed me . . .

NATASHA [sudden and loud] Oh—I get it now—so that’s what's going on, Vassily? Good people! They’re both to blame—my sister and him—they're both guilty! They had it all planned out! So, Vassily, that’s why you talked to me earlier—so she would overhear everything—? Good people! She’s his mistress—you know it—everyone knows it—they’re both guilty! She—she pushed him to kill her husband—he was in their way—and so was I! And now they’ve hurt me . . .

PEPEL. Natalia! What’s the matter with you? What are you saying?

PEPEL. Natalia! What's wrong with you? What are you talking about?

SATINE. Oh—hell!

SATINE. Oh—crap!

VASSILISA. You lie. She lies. He—Vaska killed him . . .

VASSILISA. You're lying. She’s lying. He—Vaska killed him . . .

NATASHA. They’re both guilty! God damn you both!

NATASHA. You're both guilty! Damn you both!

SATINE. What a mix-up! Hold on, Vassily—or they’ll ruin you between them!

SATINE. What a mess! Hang on, Vassily—or they’ll mess you up!

ZOB. I can’t understand it—oh—what a mess!

ZOB. I just don’t get it—ugh—what a disaster!

PEPEL. Natalia! It can’t be true! Surely you don’t believe that I—with her—

PEPEL. Natalia! It can’t be true! Surely you don’t think that I—with her—

SATINE. So help me God, Natasha! Just think . . .

SATINE. I swear, Natasha! Just think . . .

VASSILISA [in the passage] They’ve killed my husband—Your Excellency! Vaska Pepel, the thief, killed him. Captain! I saw it—everybody saw it . . .

VASSILISA [in the passage] They’ve killed my husband—Your Excellency! Vaska Pepel, the thief, killed him. Captain! I witnessed it—everyone saw it . . .

NATASHA [tossing about in agony; her mind wandering] Good people—my sister and Vaska killed him! The police—listen—this sister of mine—here—she urged, coaxed her lover—there he stands—the scoundrel! They both killed him! Put them in jail! Bring them before the judge! Take me along, too! To prison! Christ Almighty—take me to prison, too!

NATASHA [tossing about in agony; her mind wandering] Good people—my sister and Vaska killed him! The police—listen—my sister—right here—she pushed and convinced her lover—there he is—the scoundrel! They both killed him! Lock them up! Bring them in front of the judge! Take me with them, too! To prison! Oh my God—take me to prison, too!

CURTAIN.

CLOSING.

[Pg 74]

ACT FOUR.

Same as Act I. But Pepel’s room is no longer there, and the partition has been removed. Furthermore, there is no anvil at the place where Kleshtch used to sit and work. In the corner, where Pepel’s room used to be, the Tartar lies stretched out, rather restless, and groaning from time to time. Kleshtch sits at one end of the table, repairing a concertina and now and then testing the stops. At the other end of the table sit Satine, the Baron, and Nastya. In front of them stand a bottle of vodka, three bottles of beer, and a large loaf of black bread. The Actor lies on top of the stove, shifting about and coughing. It is night. The stage is lit by a lamp in the middle of the table. Outside the wind howls.

Same as Act I. But Pepel’s room is gone now, and the partition has been taken out. Also, the anvil where Kleshtch used to sit and work is no longer there. In the corner, where Pepel’s room was, the Tartar is lying down, a bit restless, groaning every now and then. Kleshtch is at one end of the table, fixing a concertina and occasionally checking the stops. At the other end of the table are Satine, the Baron, and Nastya. In front of them are a bottle of vodka, three bottles of beer, and a big loaf of black bread. The Actor is lying on top of the stove, shifting around and coughing. It’s night. The stage is illuminated by a lamp in the center of the table. Outside, the wind is howling.

KLESHTCH. Yes . . . he disappeared during the confusion and noise . . .

KLESHTCH. Yeah . . . he vanished in all the chaos and noise . . .

THE BARON. He vanished under the very eyes of the police—just like a puff of smoke . . .

THE BARON. He disappeared right in front of the police—just like a puff of smoke . . .

SATINE. That’s how sinners flee from the company of the righteous!

SATINE. That's how sinners avoid being around the righteous!

NASTYA. He was a dear old soul! But you—you aren’t men—you’re just—oh—like rust on iron!

NASTYA. He was such a kind old guy! But you—you’re not real men—you’re just—oh—like rust on iron!

THE BARON [drinks] Here’s to you, my lady!

THE BARON [drinks] Cheers to you, my lady!

SATINE. He was an inquisitive old fellow—yes! Nastenka here fell in love with him . . .

SATINE. He was a curious old guy—yeah! Nastenka here fell for him . . .

NASTYA. Yes! I did! Madly! It’s true! He saw everything—understood everything . . .

NASTYA. Yes! I did! Like crazy! It’s true! He saw everything—got it all . . .

SATINE [laughing] Yes, generally speaking, I would say that he was—oh—like mush to those who can’t chew. . . .

SATINE [laughing] Yes, overall, I’d say he was—oh—like mush for those who can’t chew. . . .

[Pg 75]

THE BARON [laughing] Right! Like plaster on a boil!

THE BARON [laughing] Exactly! Just like putting a band-aid on a sore spot!

KLESHTCH. He was merciful—you people don’t know what pity means . . .

KLESHTCH. He was compassionate—you folks don’t understand what feeling sorry means. . . .

SATINE. What good can I do you by pitying you?

SATINE. What good does it do to pity you?

KLESHTCH. You needn’t have pity—but you needn’t harm or offend your fellow-beings, either!

KLESHTCH. You don’t need to feel sorry for me—but you also shouldn’t hurt or insult your fellow humans, either!

THE TARTAR [sits up on his bunk, nursing his wounded hand carefully] He was a fine old man. The law of life was the law of his heart . . . and he who obeys this law, is good, while he who disregards it, perishes . . .

THE TARTAR [sits up on his bunk, nursing his wounded hand carefully] He was a great old man. The law of life was the law of his heart . . . and those who follow this law are good, while those who ignore it, perish . . .

THE BARON. What law, Prince?

The Baron. What law, Prince?

THE TARTAR. There are a number—different ones—you know . . .

THE TARTAR. There are several different kinds, you know...

THE BARON. Proceed!

The Baron. Proceed!

THE TARTAR. Do not do harm unto others—such is the law!

THE TARTAR. Do not harm others—this is the law!

SATINE. Oh—you mean the Penal Code, criminal and correctional, eh?

SATINE. Oh—you’re talking about the Penal Code, the criminal and correctional laws, right?

THE BARON. And also the Code of Penalties inflicted by Justices of the Peace!

THE BARON. And also the Code of Penalties imposed by Justices of the Peace!

THE TARTAR. No. I mean the Koran. It is the supreme law—and your own soul ought to be the Koran—yes!

THE TARTAR. No. I mean the Quran. It is the ultimate law—and your own soul should embody the Quran—yes!

KLESHTCH [testing his concertina] It wheezes like all hell! But the Prince speaks the truth—one must live abiding by the law—by the teachings of the Gospels . . .

KLESHTCH [testing his concertina] It wheezes like crazy! But the Prince speaks the truth—one has to live according to the law—according to the teachings of the Gospels . . .

SATINE. Well—go ahead and do it!

SATINE. Alright—let's do this!

THE BARON. Just try it!

The Baron. Just try it!

THE TARTAR. The Prophet Mohammed gave to us the law. He said: “Here is the law! Do as it is written therein!” Later on a time will arrive when the Koran will have outlived its purpose—and time will bring forth its own laws—every generation will create its own . . .

THE TARTAR. The Prophet Mohammed gave us the law. He said: “Here is the law! Follow what is written in it!” Eventually, there will come a time when the Koran will no longer serve its purpose—and time will establish its own laws—each generation will create its own . . .

SATINE. To be sure! Time passed on—and gave [Pg 76]us—the Criminal Code . . . It’s a strong law, brother—it won’t wear off so very soon!

SATINE. Absolutely! Time went by—and gave [Pg 76]us—the Criminal Code . . . It’s a serious law, my friend—it won’t fade away anytime soon!

NASTYA [banging her glass on the table] Why—why do I stay here—with you? I’ll go away somewhere—to the ends of the world!

NASTYA [banging her glass on the table] Why—why do I stay here—with you? I’ll go away somewhere—to the ends of the earth!

THE BARON. Without any shoes, my lady?

THE BARON. No shoes for you, my lady?

NASTYA. I’ll go—naked, if must be—creeping on all fours!

NASTYA. I’ll go—naked if I have to—crawling on all fours!

THE BARON. That’ll be rather picturesque, my lady—on all fours!

THE BARON. That will be quite a sight, my lady—on all fours!

NASTYA. Yes—and I’ll crawl if I have to—anything at all—as long as I don’t have to see your faces any longer—oh, I’m so sick of it all—the life—the people—everything!

SATINE. When you go, please take the actor along—he’s preparing to go to the very same place—he has learned that within a half mile’s distance of the end of the world there’s a hospital for diseased organons . . .

SATINE. When you leave, make sure to take the actor with you—he's getting ready to go to the exact same place—he found out that just half a mile from the edge of the world there's a hospital for sick organons . . .

THE ACTOR [raising his head over the top of the stove] A hospital for organisms—you fool!

THE ACTOR [lifting his head above the stove] A hospital for living beings—you idiot!

SATINE. For organons—poisoned with vodka!

SATINE. For tools—poisoned with vodka!

THE ACTOR. Yes! He will go! He will indeed! You’ll see!

THE ACTOR. Yes! He’ll go! He definitely will! You’ll see!

THE BARON. Who is he, sir?

The Baron. Who is he, sir?

THE ACTOR. I!

The Actor. Me!

THE BARON. Thanks, servant of the goddess—what’s her name—? The goddess of drama—tragedy—whatever is her name—?

THE ACTOR. The muse, idiot! Not the goddess—the muse!

THE ACTOR. The muse, you fool! Not the goddess—the muse!

SATINE. Lachesis—Hera—Aphrodite—Atropos—oh! To hell with them all! You see—Baron—it was the old man who stuffed the actor’s head full with this rot . . .

SATINE. Lachesis—Hera—Aphrodite—Atropos—oh! To hell with them all! You see—Baron—it was the old guy who filled the actor’s head with this nonsense . . .

THE BARON. That old man’s a fool . . .

THE BARON. That old man is an idiot . . .

THE ACTOR. Ignoramuses! Beasts! Melpomene—that’s her name! Heartless brutes! Bastards! You’ll [Pg 77]see! He’ll go! “On with the orgy, dismal spirits!”—poem—ah—by Béranger! Yes—he’ll find some spot where there’s no—no . . .

THE ACTOR. Idiots! Animals! Melpomene—that’s her name! Heartless monsters! Jerks! You’ll [Pg 77]see! He’ll leave! “Let the party continue, gloomy souls!”—poem—ah—by Béranger! Yes—he’ll find some place where there’s no—no . . .

THE BARON. Where there’s nothing, sir?

The Baron. Where's nothing, sir?

THE ACTOR. Right! Nothing! “This hole shall be my grave—I am dying—ill and exhausted . . .” Why do you exist? Why?

THE ACTOR. Right! Nothing! “This hole is going to be my grave—I’m dying—sick and worn out . . .” Why do you even exist? Why?

THE BARON. You! God or genius or orgy—or whatever you are—don’t roar so loud!

THE BARON. You! God, genius, or wild party—whatever you are—don’t yell so loud!

THE ACTOR. You lie! I’ll roar all I want to!

THE ACTOR. You're lying! I’ll shout as much as I want!

NASTYA [lifting her head from the table and throwing up her hands] Go on! Yell! Let them listen to you!

NASTYA [lifting her head from the table and throwing up her hands] Go ahead! Yell! Let them hear you!

THE BARON. Where is the sense, my lady?

THE BARON. What’s the point, my lady?

SATINE. Leave them alone, Baron! To hell with the lot! Let them yell—let them knock their damned heads off if they feel like it! There’s a method in their madness! Don’t you go and interfere with people as that old fellow did! Yes—it’s he—the damned old fool—he bewitched the whole gang of us!

SATINE. Leave them alone, Baron! To hell with all of them! Let them scream—let them bang their stupid heads if they want to! There’s a method to their madness! Don’t you go interfering with people like that old guy did! Yes—it’s him—the stupid old fool—he put a spell on the whole group of us!

KLESHTCH. He persuaded them to go away—but failed to show them the road . . .

KLESHTCH. He convinced them to leave—but couldn't point them in the right direction.

THE BARON. That old man was a humbug!

THE BARON. That old man was a fraud!

NASTYA. Liar! You’re a humbug yourself!

NASTYA. Liar! You're just a fraud yourself!

THE BARON. Shut up, my lady!

THE BARON. Be quiet, my lady!

KLESHTCH. The old man didn’t like truth very much—as a matter of fact he strongly resented it—and wasn’t he right, though? Just look—where is there any truth? And yet, without it, you can’t breathe! For instance, our Tartar Prince over there, crushed his hand at his work—and now he’ll have to have his arm amputated—and there’s the truth for you!

KLESHTCH. The old man didn’t have much love for the truth—in fact, he really resented it—and wasn’t he justified in that? Just take a look—where can you find any truth? And yet, without it, you can’t survive! For example, our Tartar Prince over there, he smashed his hand while working—and now he’s going to lose his arm—and that’s the truth for you!

SATINE [striking the table with his clenched fist] Shut up! You sons of bitches! Fools! Not another word about that old fellow! [To the Baron] You, Baron, are the worst of the lot! You don’t understand a thing, and you lie like the devil! The old man’s no humbug! What’s the truth? Man! Man—that’s the truth! He [Pg 78]understood man—you don’t! You’re all as dumb as stones! I understand the old man—yes! He lied—but lied out of sheer pity for you . . . God damn you! Lots of people lie out of pity for their fellow-beings! I know! I’ve read about it! They lie—oh—beautifully, inspiringly, stirringly! Some lies bring comfort, and others bring peace—a lie alone can justify the burden which crushed a workman’s hand and condemns those who are starving! I know what lying means! The weakling and the one who is a parasite through his very weakness—they both need lies—lies are their support, their shield, their armor! But the man who is strong, who is his own master, who is free and does not have to suck his neighbors’ blood—he needs no lies! To lie—it’s the creed of slaves and masters of slaves! Truth is the religion of the free man!

SATINE [hitting the table with his fist] Shut up! You bastards! Idiots! Don’t say another word about that old guy! [To the Baron] You, Baron, are the worst of all! You don’t get it at all, and you lie like hell! The old man’s not a fraud! What’s the truth? Man! Man—that’s the truth! He [Pg 78]understood people—you don’t! You’re all as thick as bricks! I get the old man—sure! He lied—but he did it out of pity for you . . . Damn it! Lots of people lie out of compassion for others! I know! I’ve read about it! They lie—oh—beautifully, inspiringly, stirringly! Some lies bring comfort, and others bring peace—a lie can justify the weight that crushed a worker’s hand and blame those who are starving! I know what lying really means! The weak and those who are parasites because of their weakness—they both need lies—lies are their support, their shield, their armor! But a strong person, who is his own master, who is free and doesn’t have to drain his neighbors’ lifeblood—he doesn’t need lies! To lie—it’s the principle of slaves and those who control slaves! Truth is the faith of the free man!

THE BARON. Bravo! Well spoken! Hear, hear! I agree! You speak like an honest man!

THE BARON. Bravo! Well said! Hear, hear! I’m with you! You speak like a true man!

SATINE. And why can’t a crook at times speak the truth—since honest people at times speak like crooks? Yes—I’ve forgotten a lot—but I still know a thing or two! The old man? Oh—he’s wise! He affected me as acid affects a dirty old silver coin! Let’s drink to his health! Fill the glasses . . . [Nastya fills a glass with beer and hands it to Satine, who laughs] The old man lives within himself . . . he looks upon all the world from his own angle. Once I asked him: “Grand-dad, why do people live?” [Tries to imitate Luka’s voice and gestures] And he replied: “Why, my dear fellow, people live in the hope of something better! For example—let’s say there are carpenters in this world, and all sorts of trash . . . people . . . and they give birth to a carpenter the like of which has never been seen upon the face of the earth . . . he’s way above everybody else, and has no equal among carpenters! The brilliancy of his personality was reflected on all his trade, on all the other carpenters, so that they advanced twenty years [Pg 79]in one day! This applies to all other trades—blacksmiths and shoemakers and other workmen—and all the peasants—and even the aristocrats live in the hopes of a higher life! Each individual thinks that he’s living for his own Self, but in reality he lives in the hope of something better. A hundred years—sometimes longer—do we expect, live for the finer, higher life . . .” [Nastya stares intently into Satine’s face. Kleshtch stops working and listens. The Baron bows his head very low, drumming softly on the table with his fingers. The Actor, peering down from the stove, tries to climb noiselessly into the bunk] “Every one, brothers, every one lives in the hope of something better. That’s why we must respect each and every human being! How do we know who he is, why he was born, and what he is capable of accomplishing? Perhaps his coming into the world will prove to be our good fortune . . . Especially must we respect little children! Children—need freedom! Don’t interfere with their lives! Respect children!” [Pause]

SATINE. And why can’t a crook sometimes tell the truth—when honest people sometimes act like crooks? Sure—I’ve forgotten a lot—but I still know a thing or two! The old man? Oh—he’s wise! He hit me like acid hits a dirty old silver coin! Let’s raise a glass to him! Fill the glasses . . . [Nastya fills a glass with beer and hands it to Satine, who laughs] The old man lives within himself . . . he sees the world from his own perspective. Once I asked him: “Grand-dad, why do people live?” [Tries to imitate Luka’s voice and gestures] He answered: “Well, my dear fellow, people live in hope for something better! For instance—let’s say there are carpenters in this world, and all kinds of people . . . and they give birth to a carpenter unlike any the world has ever seen . . . he’s far superior to everyone else, and has no equal among carpenters! The brilliance of his personality reflects on his trade and motivates all the other carpenters, so they advance twenty years [Pg 79]in one day! This goes for all trades—blacksmiths, shoemakers, and other workers—and all the peasants—even the aristocrats live hoping for a better life! Each person thinks they’re living for themselves, but really, they live for the hope of something better. We expect, and sometimes wait a hundred years or longer, for a finer, higher life . . .” [Nastya stares intently into Satine’s face. Kleshtch stops working and listens. The Baron bows his head low, drumming softly on the table with his fingers. The Actor, peering down from the stove, tries to climb quietly into the bunk] “Everyone, brothers, everyone lives in the hope of something better. That’s why we must respect every single person! How can we know who someone is, why they were born, or what they’re capable of? Maybe their arrival will bring us good fortune . . . Especially we must respect little children! Children—need freedom! Don’t interfere with their lives! Respect children!” [Pause]

THE BARON [thoughtfully] Hm—yes—something better?—That reminds me of my family . . . an old family dating back to the time of Catherine . . . all noblemen, soldiers, originally French . . . they served their country and gradually rose higher and higher. In the days of Nicholas the First my grandfather, Gustave DeBille, held a high post—riches—hundreds of serfs . . . horses—cooks—

THE BARON [thoughtfully] Hm—yes—something better?—That reminds me of my family . . . an old family that goes back to the time of Catherine . . . all noblemen, soldiers, originally French . . . they served their country and gradually rose higher and higher. During Nicholas the First’s reign, my grandfather, Gustave DeBille, held a high position—wealth—hundreds of serfs . . . horses—cooks—

NASTYA. You liar! It isn’t true!

NASTYA. You're lying! That's not true!

THE BARON [jumping up] What? Well—go on—

What? Well—go on—

NASTYA. It isn’t true.

NASTYA. That's not true.

THE BARON [screams] A house in Moscow! A house in Petersburg! Carriages! Carriages with coats of arms!

[Kleshtch takes his concertina and goes to one side, watching the scene with interest.]

Kleshtch grabs his concertina and steps to the side, observing the scene with curiosity.

NASTYA. You lie!

NASTYA. You're lying!

THE BARON. Shut up!—I say—dozens of footmen . . .

THE BARON. Quiet!—I mean—lots of footmen . . .

[Pg 80]

NASTYA [delighted] You lie!

NASTYA [excited] You’re lying!

THE BARON. I’ll kill you!

THE BARON. I’m going to kill you!

NASTYA [ready to run away] There were no carriages!

NASTYA [ready to run away] There were no vehicles!

SATINE. Stop, Nastenka! Don’t infuriate him!

SATINE. Hold on, Nastenka! Don’t make him angry!

THE BARON. Wait—you bitch! My grandfather . . .

THE BARON. Wait—you jerk! My grandfather . . .

NASTYA. There was no grandfather! There was nothing!

NASTYA. There was no grandpa! There was nothing!

[Satine roars with laughter.]

Satine bursts out laughing.

THE BARON [worn out with rage, sits down on bench] Satine! Tell that slut—what—? You, too, are laughing? You—don’t believe me either? [Cries out in despair, pounding the table with his fists] It’s true—damn the whole lot of you!

THE BARON [worn out with anger, sits down on bench] Satine! Tell that bitch—what—? You’re laughing too? You—don’t believe me either? [Cries out in despair, pounding the table with his fists] It’s true—damn all of you!

NASTYA [triumphantly] So—you’re crying? Understand now what a human being feels like when nobody believes him?

NASTYA [triumphantly] So—you’re crying? Now you get what it’s like to be a human when no one believes you?

KLESHTCH [returning to the table] I thought there’d be a fight . . .

KLESHTCH [returning to the table] I thought there would be a fight. . . .

THE TARTAR. Oh—people are fools! It’s too bad . . .

THE TARTAR. Oh—people are such fools! It’s a shame.

THE BARON. I shall not permit any one to ridicule me! I have proofs—documents—damn you!

THE BARON. I won’t allow anyone to make fun of me! I have evidence—documents—damn you!

SATINE. Forget it! Forget about your grandfather’s carriages! You can’t drive anywhere in a carriage of the past!

SATINE. Let it go! Stop thinking about your grandfather’s carriages! You can’t get anywhere in an old-fashioned carriage!

THE BARON. How dare she—just the same—?

THE BARON. How could she—just like that—?

NASTYA. Just imagine! How dare I—?

NASTYA. Just imagine! How could I—?

SATINE. You see—she does dare! How is she any worse than you are? Although, surely, in her past there wasn’t even a father and mother, let alone carriages and a grandfather . . .

SATINE. You see—she’s bold! How is she any worse than you? Although, of course, in her past, she didn’t even have a father and mother, much less carriages and a grandfather . . .

THE BARON [quieting down] Devil take you—you do know how to argue dispassionately—and I, it seems—I’ve no will-power . . .

THE BARON [quieting down] Damn you—you really can argue without getting emotional—and I, it looks like—I have no self-control . . .

SATINE. Acquire some—it’s useful . . . [Pause] Nastya! Are you going to the hospital?

SATINE. Get some—it’s handy . . . [Pause] Nastya! Are you heading to the hospital?

[Pg 81]

NASTYA. What for?

NASTYA. Why?

SATINE. To see Natashka.

SATINE. To see Natasha.

NASTYA. Oh—just woke up, did you? She’s been out of the hospital for some time—and they can’t find a trace of her . . .

NASTYA. Oh—just woke up, huh? She’s been out of the hospital for a while now—and they can’t find any sign of her . . .

SATINE. Oh—that woman’s a goner!

SATINE. Oh—that woman’s done for!

KLESHTCH. It’s interesting to see whether Vaska will get the best of Vassilisa, or the other way around—?

KLESHTCH. It’s interesting to see if Vaska will come out on top against Vassilisa, or if it’ll be the other way around—?

NASTYA. Vassilisa will win out! She’s shrewd! And Vaska will go to the gallows!

NASTYA. Vassilisa will come out on top! She’s clever! And Vaska will end up at the gallows!

SATINE. For manslaughter? No—only to jail . . .

SATINE. For manslaughter? No—just to jail . . .

NASTYA. Too bad—the gallows would have been better . . . that’s where all of you should be sent . . . swept off into a hole—like filth . . .

NASTYA. What a shame—the gallows would’ve been a better option . . . that’s where all of you deserve to be sent . . . tossed away into a pit—like trash . . .

SATINE [astonished] What’s the matter? Are you crazy?

SATINE [astonished] What’s going on? Are you out of your mind?

THE BARON. Oh—give her a wallop—that’ll teach her to be less impertinent . . .

THE BARON. Oh—give her a smack—that’ll teach her to be less rude . . .

NASTYA. Just you try to touch me!

NASTYA. Go ahead, try to touch me!

THE BARON. I shall!

The Barron. I will!

SATINE. Stop! Don’t insult her! I can’t get the thought of the old man out of my head! [Roars with laughter] Don’t offend your fellow-beings! Suppose I were offended once in such a way that I’d remember it for the rest of my life? What then? Should I forgive? No, no!

SATINE. Stop! Don’t insult her! I can’t stop thinking about that old man! [Roars with laughter] Don’t disrespect your fellow humans! What if I were offended in a way that I’d remember it for the rest of my life? Then what? Should I forgive? No, no!

THE BARON [to Nastya] You must understand that I’m not your sort . . . you—ah—you piece of dirt!

THE BARON [to Nastya] You need to realize that I’m not your type . . . you—you filthy thing!

NASTYA. You bastard! Why—you live off me like a worm off an apple!

NASTYA. You jerk! Why do you leech off me like a worm leeches off an apple!

[The men laugh amusedly.]

The men laugh happily.

KLESHTCH. Fool! An apple—?

KLESHTCH. Fool! An apple?

THE BARON. You can’t be angry with her—she’s just an ass—

THE BARON. You can’t be mad at her—she’s just a jerk—

NASTYA. You laugh! Liars? Don’t strike you as funny, eh?

NASTYA. You think that's funny? Liars? Doesn't seem amusing to you, huh?

THE ACTOR [morosely] Give them a good beating!

THE ACTOR [gloomily] Give them a good beating!

[Pg 82]

NASTYA. If I only could! [Takes a cup from the table and throws it on the floor] That’s what I’d like to do to you all!

NASTYA. If only I could! [Takes a cup from the table and throws it on the floor] That’s what I want to do to all of you!

THE TARTAR. Why break dishes—eh—silly girl?

The Tartar. Why break dishes, silly girl?

THE BARON [rising] That’ll do! I’ll teach her manners in half a second!

THE BARON [rising] That’s enough! I’ll show her how to act properly in no time!

NASTYA [running toward door] Go to hell!

SATINE [calling after her] Hey! That’s enough! Whom are you trying to frighten? What’s all the row about, anyway?

SATINE [calling after her] Hey! That’s enough! Who are you trying to scare? What’s all the fuss about, anyway?

NASTYA. Dogs! I hope you’ll croak! Dogs! [Runs out]

NASTYA. Dogs! I hope you’ll drop dead! Dogs! [Runs out]

THE ACTOR [morosely] Amen!

The actor [morosely] Amen!

THE TARTAR. Allah! Mad women, these Russians! They’re bold, wilful; Tartar women aren’t like that! They know the law and abide by it. . . .

THE TARTAR. Wow! Those Russians are insane! They’re daring and headstrong; Tartar women aren’t like that! They understand the rules and follow them.

KLESHTCH. She ought to be given a sound hiding!

KLESHTCH. She should definitely be punished!

THE BARON. The slut!

The hook-up!

KLESHTCH [testing the concertina] It’s ready! But its owner isn’t here yet—that young fellow is burning his life away . . .

KLESHTCH [testing the concertina] It’s ready! But its owner isn’t here yet—that young guy is wasting his life away . . .

SATINE. Care for a drink—now?

SATINE. Want a drink—now?

KLESHTCH. Thanks . . . it’s time to go to bed . . .

SATINE. Getting used to us?

SATINE. Getting used to it?

KLESHTCH [drinks, then goes to his bunk] It’s all right . . . there are people everywhere—at first you don’t notice it . . . but after a while you don’t mind. . . .

KLESHTCH [drinks, then goes to his bunk] It’s fine . . . there are people all around—at first you don’t really see it . . . but after some time, it doesn’t bother you. . . .

[The Tartar spreads some rags over his bunk, then kneels on them and prays.]

The Tartar lays some rags over his bunk, then kneels on them and prays.

THE BARON [to Satine, pointing at the Tartar] Look!

THE BARON [to Satine, pointing at the Tartar] Check it out!

SATINE. Stop! He’s a good fellow! Leave him alone! [Roars with laughter] I feel kindly to-day—the devil alone knows the reason why . . .

SATINE. Stop! He's a good guy! Leave him be! [Roars with laughter] I'm in a good mood today—the devil knows why...

THE BARON. You always feel kindly when you’re drunk—you’re even wiser at such times . . .

THE BARON. You always feel generous when you’re drunk—you’re even smarter at those moments . . .

SATINE. When I’m drunk? Yes—then I like everything—right—He [Pg 83]prays? That’s fine! A man may believe or not—that’s his own affair—a man is free—he pays for everything himself—belief or unbelief—love—wisdom . . . a man pays for everything—and that’s just why he’s free! Man is—truth! And what is man? It’s neither you nor I nor they—oh, no—it’s you and they and I and the old man—and Napoleon—Mohammed—all in one! [Outlines vaguely in the air the contour of a human being] Do you understand? It’s tremendous! It contains the beginning and the end of everything—everything is in man—and everything exists for him! Man alone exists—everything else is the creation of his hands and his brain! Man! It is glorious! It sounds—oh—so big! Man must be respected—not degraded with pity—but respected, respected! Let us drink to man, Baron! [Rises] It is good to feel that you are a man! I’m a convict, a murderer, a crook—granted!—When I’m out on the street people stare at me as if I were a scoundrel—they draw away from me—they look after me and often they say: “You dog! You humbug! Work!” Work? And what for? to fill my belly? [Roars with laughter] I’ve always despised people who worry too much about their bellies. It isn’t right, Baron! It isn’t! Man is loftier than that! Man stands above hunger!

SATINE. When I’m drunk? Yeah—then I like everything—right—He [Pg 83]prays? That’s cool! A guy can believe or not—that’s his own business—a guy is free—he pays for everything himself—belief or unbelief—love—wisdom . . . a guy pays for everything—and that’s why he’s free! Man is—truth! And what is man? It’s not you or I or them—oh, no—it’s you and them and me and the old man—and Napoleon—Mohammed—all in one! [Outlines vaguely in the air the contour of a human being] Do you get it? It’s amazing! It contains the beginning and the end of everything—everything is in man—and everything exists for him! Only man exists—everything else is created by his hands and his mind! Man! It’s glorious! It sounds—oh—so grand! Man must be respected—not looked down on with pity—but respected, respected! Let’s drink to man, Baron! [Rises] It feels good to know you’re a man! I’m a convict, a murderer, a crook—sure!—When I’m out on the street people look at me like I’m a scoundrel—they back away from me—they watch me and often say: “You dog! You fake! Work!” Work? And what for? To fill my stomach? [Roars with laughter] I’ve always looked down on people who care too much about their stomachs. It’s not right, Baron! It’s not! Man is greater than that! Man stands above hunger!

THE BARON. You—reason things out. . . . Well and good—it brings you a certain amount of consolation. . . . Personally I’m incapable of it . . . I don’t know how. [Glances around him and then, softly, guardedly] Brother—I am afraid—at times. Do you understand? Afraid!—Because—what next?

THE BARON. You think things through. . . . That’s fine—it gives you some comfort. . . . I personally can’t do it . . . I don’t know how. [Looks around him and then, gently, cautiously] Brother—I feel scared—sometimes. Do you get it? Scared!—Because—what comes next?

SATINE. Rot! What’s a man to be afraid of?

SATINE. Rot! What’s a guy supposed to be scared of?

THE BARON [pacing up and down] You know—as far back as I can remember, there’s been a sort of fog in my brain. I was never able to understand anything. Somehow I feel embarrassed—it seems to me that all my life I’ve done nothing but change clothes—and why? [Pg 84]I don’t understand! I studied—I wore the uniform of the Institute for the Sons of the Nobility . . . but what have I learned? I don’t remember! I married—I wore a frock-coat—then a dressing-gown . . . but I chose a disagreeable wife . . . and why? I don’t understand. I squandered everything that I possessed—I wore some sort of a grey jacket and brick-colored trousers—but how did I happen to ruin myself? I haven’t the slightest idea. . . . I had a position in the Department of State. . . . I wore a uniform and a cap with insignia of rank. . . . I embezzled government funds . . . so they dressed me in a convict’s garb—and later on I got into these clothes here—and it all happened as in a dream—it’s funny . . .

THE BARON [pacing up and down] You know, ever since I can remember, there’s always been this fog in my mind. I’ve never been able to understand anything. I feel embarrassed—it's like I’ve spent my whole life just changing clothes—and for what? [Pg 84]I don’t get it! I studied—I wore the uniform of the Institute for the Sons of the Nobility . . . but what did I really learn? I can’t remember! I got married—I wore a frock coat—then a dressing gown . . . but I ended up with a difficult wife . . . and why? I don’t know. I wasted everything I had—I wore some kind of grey jacket and brick-colored pants—but how did I end up ruining myself? I have no idea. . . . I had a job in the Department of State . . . I wore a uniform and a cap with rank insignia . . . I embezzled government money . . . so they put me in a convict's outfit—and later on I ended up in these clothes—and it all felt like a dream—it’s strange . . .

SATINE. Not very! It’s rather—silly!

SATINE. Not really! It’s kind of—silly!

THE BARON. Yes—silly! I think so, too. Still—wasn’t I born for some sort of purpose?

THE BARON. Yes—silly! I think so, too. Still—wasn’t I born for some kind of purpose?

SATINE [laughing] Probably—a man is born to conceive a better man. [Shaking his head]—It’s all right!

SATINE [laughing] Maybe—a man is meant to create a better man. [Shaking his head]—It’s all good!

THE BARON. That she-devil Nastka! Where did she run to? I’ll go and see—after all, she . . . [Exit; pause]

THE BARON. That she-devil Nastka! Where did she go? I’ll check it out—after all, she . . . [Exit; pause]

THE ACTOR. Tartar! [Pause] Prince! [The Tartar looks round] Say a prayer for me . . .

THE ACTOR. Tartar! [Pause] Prince! [The Tartar looks around] Pray for me . . .

THE TARTAR. What?

The Tartar. What?

THE ACTOR [softly] Pray—for me!

Pray for me!

THE TARTAR [after a silence] Pray for your own self!

THE TARTAR [after a silence] Pray for yourself!

THE ACTOR [quickly crawls off the stove and goes to the table, pours out a drink with shaking hands, drinks, then almost runs to passage] All over!

THE ACTOR [quickly crawls off the stove and goes to the table, pours a drink with trembling hands, drinks it, then almost rushes to the passage] All done!

SATINE. Hey, proud Sicambrian! Where are you going?

SATINE. Hey, proud Sicambrian! Where are you headed?

[Satine whistles. Miedviedieff enters, dressed in a woman’s flannel shirt-waist; followed by Bubnoff. Both are slightly drunk. Bubnoff carries a bunch of pretzels in one hand, a couple of smoked fish in the other, a bottle of vodka under one arm, another bottle in his coat pocket.]

Satine whistles. Miedviedieff enters, wearing a woman's flannel shirt dress; followed by Bubnoff. Both are a bit tipsy. Bubnoff holds a bunch of pretzels in one hand, a couple of smoked fish in the other, and has a bottle of vodka under one arm, with another bottle in his coat pocket.

[Pg 85]

MIEDVIEDIEFF. A camel is something like a donkey—only it has no ears. . . .

MIEDVIEDIEFF. A camel is kind of like a donkey—except it doesn’t have ears. . . .

BUBNOFF. Shut up! You’re a variety of donkey yourself!

BUBNOFF. Shut up! You’re just another kind of donkey!

MIEDVIEDIEFF. A camel has no ears at all, at all—it hears through its nostrils . . .

MIEDVIEDIEFF. A camel doesn’t have any ears at all—it hears through its nostrils . . .

BUBNOFF [to Satine] Friend! I’ve looked for you in all the saloons and all the cabarets! Take this bottle—my hands are full . . .

BUBNOFF [to Satine] Friend! I’ve searched for you in every bar and cabaret! Take this bottle—my hands are full . . .

SATINE. Put the pretzels on the table—then you’ll have one hand free—

SATINE. Put the pretzels on the table—then you'll have one hand free—

BUBNOFF. Right! Hey—you donkey—look! Isn’t he a clever fellow?

BUBNOFF. Right! Hey—you idiot—look! Isn’t he a smart guy?

MIEDVIEDIEFF. All crooks are clever—I know! They couldn’t do a thing without brains. An honest man is all right even if he’s an idiot . . . but a crook must have brains. But, speaking about camels, you’re wrong . . . you can ride them—they have no horns . . . and no teeth either . . .

MIEDVIEDIEFF. All crooks are smart—I get it! They can’t get by without brains. An honest person is fine even if they’re clueless . . . but a crook needs to be sharp. But, when it comes to camels, you’re mistaken . . . you can ride them—they don’t have horns . . . and no teeth, either . . .

BUBNOFF. Where’s everybody? Why is there no one here? Come on out . . . I treat! Who’s in the corner?

BUBNOFF. Where is everyone? Why isn't anyone here? Come on out... I'll buy! Who's hiding in the corner?

SATINE. How soon will you drink up everything you have? Scarecrow!

SATINE. How soon are you going to drink everything you have? Scarecrow!

BUBNOFF. Very soon! I’ve very little this time. Zob—where’s Zob?

BUBNOFF. Coming right up! I hardly have anything this time. Zob—where’s Zob?

KLESHTCH [crossing to table] He isn’t here . . .

KLESHTCH [walking over to the table] He’s not here . . .

BUBNOFF. Waughrr! Bull-dog! Brr-zz-zz!—Turkey-cock! Don’t bark and don’t growl! Drink—make merry—and don’t be sullen!—I treat everybody—Brother, I love to treat—if I were rich, I’d run a free saloon! So help me God, I would! With an orchestra and a lot of singers! Come, every one! Drink and eat—listen to the music—and rest in peace! Beggars—come, all you beggars—and enter my saloon free of charge! Satine—you can have half my capital—just like that!

BUBNOFF. Woof! Dog! Brr-zz-zz!—Turkey! Don’t bark and don’t growl! Drink—have fun—and don’t be grumpy!—I treat everyone—Brother, I love to treat—if I were rich, I’d open a free bar! I swear I would! With a band and a bunch of singers! Come on, everyone! Drink and eat—enjoy the music—and relax! Beggars—come, all you beggars—and enter my bar for free! Satine—you can have half my fortune—just like that!

SATINE. You better give me all you have straight away!

SATINE. You'd better give me everything you've got right now!

[Pg 86]

BUBNOFF. All my capital? Right now? Well—here’s a ruble—here’s twenty kopecks—five kopecks—sun flower seeds—and that’s all!

BUBNOFF. Is this all my money? Right now? Well—here’s a ruble—here’s twenty kopecks—five kopecks—sunflower seeds—and that’s it!

SATINE. That’s splendid! It’ll be safer with me—I’ll gamble with it . . .

SATINE. That's great! It'll be safer with me—I’ll take my chances with it.

MIEDVIEDIEFF. I’m a witness—the money was given you for safe-keeping. How much is it?

MIEDVIEDIEFF. I saw it happen—the money was handed over to you for safekeeping. How much is it?

BUBNOFF. You? You’re a camel—we don’t need witnesses . . .

ALYOSHKA [comes in barefoot] Brothers, I got my feet wet!

ALYOSHKA [comes in barefoot] Brothers, my feet are wet!

BUBNOFF. Go on and get your throat wet—and nothing’ll happen—you’re a fine fellow—you sing and you play—that’s all right! But it’s too bad you drink—drink, little brother, is harmful, very harmful . . .

BUBNOFF. Go ahead and have a drink—and nothing will happen—you’re a great guy—you sing and you play—that’s fine! But it’s a shame you drink—drinking, little brother, is bad for you, really bad . . .

ALYOSHKA. I judge by you! Only when you’re drunk do you resemble a human being . . . Kleshtch! Is my concertina fixed? [Sings and dances]

ALYOSHKA. I can tell by you! You only look like a decent person when you're drunk . . . Kleshtch! Is my concertina fixed? [Sings and dances]

“If my mug were not so attractive,
“If my face weren't so attractive,

My sweetheart wouldn’t love me at all . . .”
My sweetheart wouldn’t love me at all . . .”

Boys, I’m frozen—it’s cold . . .

Boys, I’m freezing—it’s so cold . . .

MIEDVIEDIEFF. Hm—and may I ask who’s this sweetheart?

MIEDVIEDIEFF. Hm—and can I ask who this sweetheart is?

BUBNOFF. Shut up! From now on, brother, you are neither a policeman nor an uncle!

BUBNOFF. Be quiet! From now on, brother, you are neither a cop nor an uncle!

ALYOSHKA. Just auntie’s husband!

ALYOSHKA. Just my aunt's husband!

BUBNOFF. One of your nieces is in jail—the other one’s dying . . .

BUBNOFF. One of your nieces is in jail—the other one’s dying. . . .

MIEDVIEDIEFF [proudly] You lie! She’s not dying—she disappeared—without trace . . .

MIEDVIEDIEFF [proudly] You're lying! She’s not dying—she vanished—without a trace . . .

[Satine roars.]

Satine yells.

BUBNOFF. All the same, brothers—a man without nieces isn’t an uncle!

BUBNOFF. Still, brothers—a man without nieces isn't really an uncle!

ALYOSHKA. Your Excellency! Listen to the drummer of the retired billygoats’ brigade! [Sings]

[Pg 87]

“My sweetheart has money,
“My partner has cash,

I haven’t a cent.
I don’t have a dime.

But I’m a cheerful,
But I’m a happy,

Merry lad!”
Joyful guy!”

Oh—isn’t it cold!

Oh—it's so cold!

[Enter Zob. From now until the final curtain men and women drift in, undress, and stretch out on the bunks, grumbling.]

[Enter Zob. From now until the end, people come in, take off their clothes, and stretch out on the bunks, complaining.]

ZOB. Bubnoff! Why did you run off?

ZOB. Bubnoff! Why did you leave?

BUBNOFF. Come here—sit down—brother, let’s sing my favorite ditty, eh?

BUBNOFF. Come here—sit down—bro, let’s sing my favorite song, okay?

THE TARTAR. Night was made for sleep! Sing your songs in the daytime!

THE TARTAR. Night is meant for sleeping! Save your songs for the daytime!

SATINE. Well—never mind, Prince—come here!

SATINE. Never mind, Prince—come here!

THE TARTAR. What do you mean—never mind? There’s going to be a noise—there always is when people sing!

BUBNOFF [crossing to the Tartar] Count—ah—I mean Prince—how’s your hand? Did they cut it off?

BUBNOFF [crossing to the Tartar] Count—oh—I mean Prince—how's your hand? Did they cut it off?

THE TARTAR. What for? We’ll wait and see—perhaps it won’t be necessary . . . a hand isn’t made of iron—it won’t take long to cut it off . . .

THE TARTAR. Why? We’ll wait and see—maybe it won’t be needed . . . a hand isn’t made of iron—it won’t take long to cut it off . . .

ZOB. It’s your own affair, Hassanka! You’ll be good for nothing without your hand. We’re judged by our hands and backs—without the pride of your hand, you’re no longer a human being. Tobacco-carting—that’s your business! Come on—have a drink of vodka—and stop worrying!

ZOB. It’s your own business, Hassanka! You won’t be worth anything without your hand. People judge us by our hands and strength—without the pride in your hand, you’re no longer a person. Carrying tobacco—that’s your job! Come on—have a drink of vodka—and stop stressing!

KVASHNYA [comes in] Ah, my beloved fellow-lodgers! It’s horrible outside—snow and slush . . . is my policeman here?

KVASHNYA [comes in] Ah, my dear housemates! It’s dreadful outside—snow and slush . . . is my policeman here?

MIEDVIEDIEFF. Right here!

KVASHNYA. Wearing my blouse again? And drunk, eh? What’s the idea?

KVASHNYA. Wearing my blouse again? And you're drunk, huh? What's the deal?

MIEDVIEDIEFF. In celebration of Bubnoff’s birthday . . . besides, it’s cold . . .

[Pg 88]

KVASHNYA. Better look out—stop fooling about and go to sleep!

KVASHNYA. You better watch out—stop messing around and go to sleep!

MIEDVIEDIEFF [goes to kitchen] Sleep? I can—I want to—it’s time—[Exit]

SATINE. What’s the matter? Why are you so strict with him?

SATINE. What’s wrong? Why are you being so hard on him?

KVASHNYA. You can’t be otherwise, friend. You have to be strict with his sort. I took him as a partner. I thought he’d be of some benefit to me—because he’s a military man—and you’re a rough lot . . . and I am a woman—and now he’s turned drunkard—that won’t do at all!

KVASHNYA. You can't be any other way, my friend. You need to be tough with his type. I took him on as a partner. I thought he’d be useful to me—since he’s a military guy—and you’re all a tough crowd . . . and I’m a woman—and now he’s become a drunkard—that's not acceptable at all!

SATINE. You picked a good one for partner!

SATINE. You chose a great partner!

KVASHNYA. Couldn’t get a better one. You wouldn’t want to live with me . . . you think you’re too fine! And even if you did it wouldn’t last more than a week . . . you gamble me and all I own away at cards!

KVASHNYA. You couldn't find a better option. You wouldn't want to live with me... you think you're too good for that! And even if you did, it wouldn't last more than a week... you’d just gamble me and everything I own away at cards!

SATINE [roars with laughter] That’s true, landlady—I’d gamble . . .

SATINE [laughs hard] That’s true, landlady—I’d bet.

KVASHNYA. Yes, yes. Alyoshka!

KVASHNYA. Yeah, yeah. Alyoshka!

ALYOSHKA. Here he is—I, myself!

ALYOSHKA. Here I am—me!

KVASHNYA. What do you mean by gossiping about me?

KVASHNYA. What do you mean by talking behind my back?

ALYOSHKA. I? I speak out everything—whatever my conscience tells me. There, I say, is a wonderful woman! Splendid meat, fat, bones—over four hundred pounds! But brains—? Not an ounce!

ALYOSHKA. Me? I say everything—whatever my conscience tells me. There, I say, is an amazing woman! Great features, full-figured, over four hundred pounds! But brains—? Not a bit!

KVASHNYA. You’re a liar! I’ve lot of brains! What do you mean by saying I beat my policeman?

KVASHNYA. You're lying! I have a lot of brains! What do you mean by saying I beat up my policeman?

ALYOSHKA. I thought you did—when you pulled him by the hair!

ALYOSHKA. I thought you did—when you yanked his hair!

KVASHNYA [laughs] You fool! You aren’t blind, are you? Why wash dirty linen in public? And—it hurts his feelings—that’s why he took to drink . . .

KVASHNYA [laughs] You idiot! You can see, can’t you? Why air your dirty laundry in public? And—this hurts his feelings—that’s why he turned to drinking...

ALYOSHKA. It’s true, evidently, that even a chicken likes vodka . . .

ALYOSHKA. It’s true, apparently, that even a chicken enjoys vodka. . . .

[Satine and Kleshtch roar with laughter.]

[i]Satine and Kleshtch roar with laughter.[/i]

[Pg 89]

KVASHNYA. Go on—show your teeth! What sort of a man are you anyway, Alyoshka?

KVASHNYA. Go ahead—show your teeth! What kind of man are you, anyway, Alyoshka?

ALYOSHKA. Oh—I am first-rate! Master of all trades! I follow my nose!

ALYOSHKA. Oh—I’m doing great! Jack of all trades! I go with my gut!

BUBNOFF [near the Tartar’s bunk] Come on! At all events—we won’t let you sleep! We’ll sing all night. Zob!

BUBNOFF [near the Tartar’s bunk] Come on! Either way—we’re not letting you sleep! We’re going to sing all night. Zob!

ZOB. Sing—? All right . . .

ZOB. Sing—? Okay . . .

ALYOSHKA. And I’ll play . . .

SATINE. We’ll listen!

SATINE. We’re listening!

THE TARTAR [smiling] Well—Bubnoff—you devil—bring the vodka—we’ll drink—we’ll have a hell of a good time! The end will come soon enough—and then we’ll be dead!

THE TARTAR [smiling] Well—Bubnoff—you rascal—bring the vodka—we’ll drink—we’ll have an incredible time! The end will come soon enough—and then we’ll be dead!

BUBNOFF. Fill his glass, Satine! Zob—sit down! Ah—brothers—what does a man need after all? There, for instance, I’ve had a drink—and I’m happy! Zob! Start my favorite song! I’ll sing—and then I’ll cry. . . .

BUBNOFF. Fill his glass, Satine! Zob—take a seat! Ah—brothers—what does a man really need? Look, for example, I’ve had a drink—and I’m happy! Zob! Play my favorite song! I’ll sing—and then I’ll cry...

ZOB [begins to sing]

ZOB [starts singing]

“The sun rises and sets . . .”
“The sun rises and sets . . .”

BUBNOFF [joining in]

BUBNOFF [participating]

“But my prison is all dark. . . .”
“But my prison is totally dark. . . .”

[Door opens quickly.]

Door swings open fast.

THE BARON [on the threshold; yells] Hey—you—come—come here! Out in the waste—in the yard . . . over there . . . The actor—he’s hanged himself. . . .

THE BARON [on the threshold; yells] Hey—you—get over here! Out in the wasteland—in the yard… over there… The actor—he’s killed himself…

[Silence. All stare at the Baron. Behind him appears Nastya, and slowly, her eyes wide with horror, she walks to the table.]

[Silence. Everyone looks at the Baron. Behind him, Nastya appears, and slowly, with her eyes wide in fear, she walks to the table.]

SATINE [in a matter-of-fact voice] Damned fool—he ruined the song . . . !

SATINE [in a matter-of-fact voice] What an idiot—he messed up the song. . . !

CURTAIN.

Transcriber’s Note

This transcription is based on images digitized by the University of Connecticut and posted by the Internet Archive at:

archive.org/details/lowerdepthsdrama00gork

In general, this transcription attempts to retain the formatting, punctuation and spelling of the source text. The following changes were noted:

In general, this transcription aims to keep the formatting, punctuation, and spelling of the original text. The following changes were observed:

p. 8: I’m sick myself—poisoned with alchohol . . .—Changed “alchohol” to “alcohol”.
The portrait of Gorky originally between pages 26 and 27 was moved so that it appears after page 28, between Acts One and Two.
p. 50: SATINE [screams] The dead can’t hear . . . the dead do not feel—Scream!—Roar! . . . the deaf don’t hear!—A hand-written note in the source images changed the word “deaf” to “dead”. To verify the change, translations by David Magarshack, in The Storm and Other Russian Plays (New York: Hill and Wang, 1960), Edwin Hopkins (first published in the Winter 1905 issue of Poet Lore as “A Night’s Lodging”), and Laurence Irving (London: T. Fisher Unwin, 1912?) were checked. As a result, the line “the deaf don’t hear!” was changed to “the dead don’t hear!”
p. 72: You can’t escape your fate. . . . police—Abram—whistle!—Capitalized “police” for consistency.
p. 75: The law of life was the law of his heart. . . . and he who obeys this law, is good—The period preceding the ellipsis was deleted for consistency.

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