The living corpse; a drama in six acts and twelve tableaux

Front matter

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V

SCENE II. Anna Pavlovna; the nurse {enters with a tea-pot)

Nurse.

May I have a little water?

Anna Pavlovna.

Yes. How is little Misha?

Nurse.

Restless, as one might expect. Nothing is worse than to have madame herself do the nursing. She has her troubles, you see, and the child suffers. What can the milk be like if the mother spends all night crying?

Anna Pavlovna.

It seems she has quieted down now.

Nurse.

Quieted down indeed! It makes one sick to look on! She was writing something and crying at the same time.

SCENE III. Anna Pavlovna, nurse; and Sasha (enters)

Sasha.

To the nurse.

Liza is looking for you.

Nurse.

I'm going, I'm going. (Nurse goes out.)

SCENE IV. Anna Pavlovna and Sasha

Anna Pavlovna.

The nurse says she does not cease to cry. To think that she shouldn't be able to compose herself !

Sasha.

You astonish me, mamma! She has left her husband, the father of her child, and yet you expect her to be composed.

Anna Pavlovna.

Not exactly composed. What's done is done. If I, her mother, not only consented, but rejoiced that my daughter should leave her husband, it means that he deserves it We should be glad, not sorry, that we have rid ourselves of such a horrid person, — such a trance !

Sasha.

Mamma, why do you speak like this? You know it isn't true. He is not horrid, but is, on the contrary, a remarkable, a very remarkable man, in spite of his weaknesses.

Anna Pavlovna.

Precisely, — a remarkable man. As soon as he has any money in his hands — whether his own or that of other people

Sasha.

Mamma, he never took other people's money.

Anna Pavlovna.

Well, his wife's then.

Sasha.

But he gave his entire fortune to his wife. Anna Pavlovna.

Why shouldn't he give it to her, considering he knows that he will squander it all before long, in any event.

Sasha.

Whether he will squander it or not, I only know that a woman should not separate from her husband, and especially from one like Fedya.

Anna Pavlovna.

According to you she should have waited till he had squandered everything, and had brought his gipsy mistresses to the house.

Sasha.

He has no mistresses.

Anna Pavlovna.

That's just where the trouble lies, — he has somehow bewitched you all. But not me, no indeed! I see through him, and he knows it. Were I in Liza's place, I would not have waited till now to throw him over; I'd have done it a year ago.

Sasha.

How lightly you say all this.

Anna Pavlovna.

Oh, no! It's not easy for me, a mother, to see my daughter separated from her husband. Believe me, it is most painful. But just the same it's better than ruining her young life. I thank the Lord that she has made up her mind at last, and that it's all over.

Sasha.

Perhaps it isn't.

Anna Pavlovna.

Oh, if he would only give her a divorce!

Sasha.

What good would that do?

Anna Pavlovna.

Bear in mind that she is young, and may yet be happy.

Sasha.

Oh, mamma ! What terrible things you do say ! Liza cannot learn to love another.

Anna Pavlovna.

Why not, if she were free? There are men a thousand times better than your Fedya, and they would be only too happy to marry her.

Sasha.

Mamma, you do wrong to talk that way. Of course, you are thinking of Victor Karenin; I know it.

Anna Pavlovna.

And why shouldn't I think of him? He has loved her for ten years, and she loves him in return.

Sasha.

Loves him, but not as a husband. It's merely their friendship from childhood.

Anna Pavlovna.

We know those friendships! Let only nothing stand in the way!

SCENE V. Anna Pavlovna and Sasha; maid enters

Anna Pavlovna.

Well?

Maid.

Madame sent the janitor with a note to Victor Michailovich.

Anna Pavlovna.

What madame?

Maid.

Elizaveta Andreevna, the madame.

Anna Pavlovna.

Well, what of it?

Maid.

Victor Michailovich sent word that he would soon be over. Anna Pavlovna.

{Surprised.) We were just talking of him. Only I don't see why she sent for him. {To Sasha.) Perhaps you know?

Sasha.

Perhaps I do, and perhaps I don't.

Anna Pavlovna.

Always secrets

Sasha.

Liza will be here soon. She will tell you. Anna Pavlovna.

{Shaking her head; to the maid:) The samovar has to be warmed up. Take it, Dunyasha.

Maid takes the samovar, and goes out.

SCENE VI. Anna Pavlovna and Sasha

Anna Pavlovna.

(To Sasha, who has risen to go.) It happened just as I foretold. She sent for him right away, of course.

Sasha.

Perhaps she sent for him for an altogether different reason.

Anna Pavlovna.

Well, why then?

Sasha.

At this moment Karenin is the same to her as Trifonovna.

Anna Pavlovna.

Very well, you'll see. I know her, let me tell you. She is sending for him to console her.

Sasha.

Oh, mamma, how little you know her if you can think

Anna Pavlovna.

You'll see, all right. I'm glad, very glad.

Sasha.

We'll see. (Turns and goes out.)

SCENE VII. Anna Pavlovna alone

Anna Pavlovna.

(Shakes her head, and mutters:) All right, let her. All right, let her. Well

SCENE VIII. Anna Pavlovna and maid (enters)

Maid.

Victor Michailovich is here.

Anna Pavlovna.

Well, what of it? Show him in, and tell madame. Maid goes out.

SCENE IX. Anna Pavlovna and Victor Karenin

Victor Karenin.

(Enters, shakes hands with Anna Pavlovna.) Elizaveta Andreevna sent me a note that I should come over. I was going

to come to-night anyhow, so I'm very glad, Is Elizavetta An-

dreevna well?

Anna Pavlovna.

Yes, but the baby is a little restless. She'll be here soon. (Sadly.) Yes, yes, hard times; you know everythiing, don't you?

Victor Karenin.

Yes. I was here, you know, the other day, when the letter from him came. But is it really definitely decided?

Anna Pavlovna.

I should say so! Why, of course! To go through all this once more would be terrible.

Victor Karenin.

Yes, this is truly a case of "measure ten times before cutting once." And to cut into the living is very hard.

Anna Pavlovna.

Naturally, it's hard. But, to be sure, their union was cut into long ago. So that to break it was less hard than it seems. He understands very well that after all that has happened he dare not come back.

Victor Karenin.

Why so?

Anna Pavlovna.

How can you expect otherwise after all his nastiness, after he had sworn that it would not happen again, and that if it should, he would deprive himself of all the rights of a husband and give her full freedom?

Victor Karenin.

Yes, but what freedom is there for a woman bound in wedlock?

Anna Pavlovna.

Divorce! He promised to divorce her and we will insist upon it.

Victor Karenin.

But Elizaveta Andreevna loved him so much

Anna Pavlovna.

Her love was subjected to such abuse that there is hardly a shred left of it. She had to put up with drunkenness, deceit, unfaithfulness. Could anyone possibly love such a husband?

Victor Karenin.

For love's sake one can do anything.

Anna Pavlovna.

You talk of love, but how can anyone love such a rag, who cannot be depended upon in any way? What do you think took place only lately? — (looks around at the door and speaks hurriedly.) Their affairs had gone to pieces, everything had to be mortgaged, and there was nothing to pay with. Finally an uncle comes to the rescue with two thousand to pay off the interest. He takes this money and drops out of sight. As for the wife, she stays at home with a sick child, waiting, when at last a note comes from him — asking her to send hira his linen and things!

Victor Karenin.

Yes, yes, I know.

Scene X

Anna Pavlovna, Karenin. Enter Liza and Sasha.

Anna Pavlovna.

Well, as you see, Victor Michailovich has appeared as you requested.

Victor Karenin.

Yes, I was detained a bit. (Shakes hands with the sisters.)

Liza.

Thanks. I have a great favor to ask of you. And I have no one to turn to but you.

Victor Karenin.

I'll do everything I can.

Liza.

You know everything, of course

Victor Karenin.

Yes, I know.

Anna Pavlovna.

I'll leave you. (To Sasha.) Come along, let's leave them alone.

SCENE XI. Liza and Karenin

Liza.

Yes, he wrote me a letter that he considered it all ended. I (restraining tears) felt so offended, so well, in a word, I con-

•I sented to break off with him and answered that I accepted his decision.

Victor Karenin.

And now you regret it?

Liza.

Yes, I felt that it was bad on my part, that I couldn't do it. Anything is preferable to separating from him. Well, in a word,

give him this letter. Please, Victor, give him this letter, and

tell bring him back.

Victor Karenin.

(Surprised.) But how?

Liza.

Tell him that I ask him to forget everything and to return. I might simply have sent the letter. But I know him : The first impulse will, as usual, be a good one, but later, under someone's influence, he will change his mind and do something altogether different from his real intentions.

Victor Karenin.

I will do what I can.

Liza.

You are astonished that I should ask just you?

Victor Karenin.

No — well, to tell the truth, yes, I am astonished.

Liza.

But you are not angry?

Victor Karenin.

Can I be angry with you?

Liza.

I asked you because I knew that you loved him.

Victor Karenin.

Both him and you. You know it. I love not for myself, bat for you. And I thank you for trusting me. I will do what I can.

Liza.

I know you will, and I will tell you all: I was just down at Afremov's to find out where he was. They told me he had gone to the gipsies'. And that's just what I am afraid of. It's that infatuation that I fear. I know that if he will not be restrained in time he will let himself be carried away. That's just what must be prevented. So you will go over?

Victor Karenin.

Of course, at once.

Liza.

Go over, find him and tell him that all is forgotten, that I am waiting for him.

Victor Karenin.

(Rises.) But where am I to look for him?

Liza.

He is at the gipsies'. I was there myself. I was at the door; I wanted to send the letter up, but I changed my mind and decided to ask you to do it for me. Here is the address. So tell him to come back, that nothing happened, that all's forgotten. Do it out of love for him and friendship for us.

Victor Karenin.

I will do all I can. (Bows and leaves.)

SCENE XII. Liza alone

Liza.

I cannot, I cannot. Anything is better than 1 cannot.

SCENE XIII. Lisa; Sasha (enters)

Sasha.

Well, did you send it?

Liza. (Nods yes.)

Sasha.

And he consented?

Liza.

Of course.

Sasha.

Why him? I don't understand.

Liza.

Whom else?

Sasha.

But you know that he is in love with you? Liza.

All that was, and is no longer. But whom do you want me to ask, pray? Do you think he'll come back?

Sasha.

I'm sure he will, because

Scene XIV

Liza; Sasha; Anna Pavlovna. (Sasha stops short.) Anna Pavlovna.

And where is Victor Michailovich ?

Liza.

He's gone

Anna Pavlovna.

Gone?

Liza.

I asked him to carry out my request.

Anna Pavlovna.

What request? Another secret?

Liza.

No secret at all. I simply asked him to give the letter personally to Fedya.

Anna Pavlovna.

To Fedya? To Fedor Vasilyevich?

Liza.

Yes, to Fedya.

Anna Pavlovna.

I thought it was all over between you two?

Liza.

I cannot part with him.

Anna Pavlovna.

What! All over again?

Liza.

I wanted to, I tried to, but I couldn't. Anything you want rather than part with him.

Anna Pavlovna.

Well, do you mean to bring him back?

Liza.

Yes.

Anna Pavlovna.

Admit that nasty thing to the house again?

Liza.

Mamma, I ask you not to speak that way of my husband.

Anna Pavlovna.

He was your husband.

Liza.

No, he is my husband now.

Anna Pavlovna.

A squanderer, drunkard, libertine, and you cannot part with him?!

Liza.

Why do you torture me? I feel badly enough as it is, and you seem to torture me on purpose.

Anna Pavlovna.

I'm torturing you ? Then I'll leave at once. I can't stand this.

Liza. {Remains silent.)

Anna Pavlovna.

I see that you want me to go, that I'm in your way. I cannot endure it. I don't understand any of your doings, any of those new-fangled notions of yours. First you decide to separate from him, then you suddenly send for the man who is in love with you

Liza.

Nothing of the kind.

Anna Pavlovna.

Karenin proposed to you and you send him to fetch back

your husband! And why? To arouse Karenin's jealousy?

Liza.

Mamma, what you say is terrible. Leave me!

Anna Pavlovna.

That's right — drive your mother out of the house and bring back your scamp of a husband. I won't be long in going, I tell you. Good-bye, then. The Lord be with you! Do as you please !

{Goes out, slamming the door.)

SCENE XV. Lisa and Sasha

Liza. {Drops into a chair.) This is too much!

Sasha.

Never mind! It'll turn out all right. We shall manage to pacify mamma.

SCENE XVI. Liza; Sasha; Anna Pavlovna (passes by), Anna Pavlovna

Dunyasha! My suit-case!

Sasha.

Mamma, listen! (Follows her, and winks to her sister.)

Scene I

A room at the gipsies'. The chorus is singing "Kanavela." Fedya is lying on a couch, face down, without his coat. Afremov is astride of a chair, facing the leader of the chorus. An officer sits at the table on which stand champagne-bottles and glasses. At the same table a composer sits, taking down the melodies.

Afremov.

Fedya, are you asleep?

Fedya.

Keep quiet ! Now let's have " 'Twas Not At Eventide."

Gipsy.

Not just now, Feodor Vasilyevich. Now let Masha sing alone.

Fedya.

All right then. But after that, " 'Twas Not At Eventide." {lies down again.)

Officer.

"The Fatal Hour!"

Gipsy.

Agreed ?

Afremov.

It'll do.

Officer.

{To the composer.) Well, did you take it down? Composer.

Impossible. It sounds different every time. And the scale is somehow altogether unusual. Look here {to the gipsy girl, who is looking on), how does this go? {Hums.)

Gipsy Girl.

That's just right! That's fine!

Fedya.

{Rising.) He won't take it down, and if he takes it down and sticks it into an opera he'll spoil it all. Well, Masha, let's have it, "The Hour," for all I care. Take the guitar. {Gets up, sits down in front of her, and gases into her eyes.)

Masha. {Sings.)

Fedya.

Bravo! Talk about Masha! Now let's have "'Twas Not At Eventide."

Afremov.

No! Stop a moment! Sing mine first, a dirge.

Officer.

Why a dirge?

Afremov.

Why, because when I'll be dead — you understand, of course, that I shall die some time or other — the gipsies will come to my grave — you understand. That's what I'll demand of my wife in my last will. And they'll sing "A hundred leagues I wandered once," and I'll jump out of my grave — understand? (To the composer:) That's what you're to take down! Well, let's have it!

(The gipsies sing.)

Afremov.

Well, how's that? Now let's have "Come, brave lads." (The gipsies sing.)

Afremov. (Winks slyly.)

The gipsies smile and continue to sing; applause.

Afremov.

(Sits down. The singing comes to an end.)

Gipsies.

Talk about Michail Andreevich — a full-fledged gipsy!

Fedya.

Now lefs have "'Twas not at eventide."

(The gipsies sing.)

Fedya.

That's the way! That's it! Wonderful! And where does all that is expressed here happen? Ah, fine! And why^ can a man attain to such ecstasy, and yet not be able to sustain it?

Composer.

(Writing down.) Yes, it is very strange.

Fedya.

It's not strange; it's only truly beautiful.

Afrei.iov.

Now, let me try it. {Takes the guitar and sits down near Katya.)

Composer.

After all, it's very simple; it's all in the rhythm.

Fedya.

(Motions disapproval, goes over to Maska and sits down on the sofa at her side.) Ah, Masha, Masha, how you stir up my innermost being!

Masha.

Well, and what do I ask of you in return?

Fedya.

What? Money? (Takes some out of his trouser-pocket.) Well, here you are, take it.

Masha. (Laughs, takes the money, and hides it in her bosom.)

Fedya.

(To the gipsies.) How is one to understand it? To me she opens up the door of heaven, and all she cares for is the money she gets! You see, you don't for a moment understand what you are doing!

Masha.

How can you say that I don't? I understand that whom I love, for him I try to sing my best.

Fedya.

And you love me?

Mas h a.

Plain enough I do.

Fedya.

Glorious! (Kisses her.)

Scene II

The gipsies and the gipsy-girls go out. Three couples remain. Fedya with Masha; Afremov with Kayta; the Officer with Gasha. The Composer continues writing. The gipsy runs his fingers over the strings of the guitar, playing a walse.

Fedya.

I'm married, you know. And as for you, the chorus doesn't one bit like what you're doing.

Masha.

The chorus can get along well enough without me, but a heart's a heart. Whom I love, I love. And whom I hate I hate.

Fedya.

Ah, wonderful! Are you happy?

Masha.

Of course I am. When the guests are the right sort, we, too, have a jolly time.

SCENE III. A gipsy enters

Gipsy. {To Fedya.) A gentleman is asking for you.

Fedya.

Who is it?

Gipsy.

I don't know. He's well dressed: a sable coat.

Fedya. 'Somebody of importance? Well, call him in.

> THE LIVING CORPSE.

SCENE IV. The same, without the gipsy

Afremov.

Who can be looking for you here?

Fedya.

The devil knows ! Who has any business with me ?

SCENE V. The same; Karenin enters and looks around

Fedya.

Ah, Victor ! Didn't expect you, to be sure ! Take off your things. What wind blew you here? Well, sit down. You'll hear " 'Twas Not At Eventide."

Victor Karenin.

Je voudrais vous parler sans temoins.

Fedya.

What about?

Victor Karenin.

Fedya.

(Takes the letter, reads it, frowns, then smiling pleasantly.) Listen, Karenin, you must know what's in this letter?

Victor Karenin.

I know and wish to say

Fedya.

Hold on, hold on. Please don't think that I am drunk, and that I'm not responsible for what I say. I am drunk, but in this matter I see everything clearly. Well, what were you instructed to say?

Victor Karenin.

I was instructed to find you and to tell you that — she — is waiting for you. She asks you to forget everything and to come back.

Fedya.

(Listens silently, looking into his eyes.) I don't understand, just the same, why it was you ?

Victor Karenin.

Elizaveta Andreevna sent for me and asked me to—

Fedya.

I see.

Victor Karenin.

But I ask you, not so much in your wife's name as in my own, to return home with me.

Fedya.

You're so much better than I am. What nonsense! It isn't very hard to be better than I am. I'm a good-for-nothing, and you're a very excellent person. And for this very reason I shall not change my decision. But that't not really the reason. T simply cannot and will not do it. And how could I?

Victor Karenin.

Let us go to my home now. I shall tell them that you will return, and to-morrow

Fedya.

And to-morrow, what then? It will be all the same. I'll be I, and she'll be she. (Goes to the table and takes a drink.) A tooth should be pulled out at the first attempt. I told her, you know, that if I should break my word again, she should throw me over t I broke it : that ends it all.

Victor Karenin.

For you, but not for her.

Fedya.

Strange that you should be so anxious that our union should not be broken.

Victor Karenin.

(Is about to say something. Masha approaches.)

Fedya.

(Interrupting him.) Just hear how she sings "Through the fields a-sowing flax." Masha!

The gipsies gather.

Masha. (In a whisper.) I say, let's sing a toast to the stranger!

Fedya. (Laughingly.) A toast to Victor Michailovich ! (The gipsies sing.)

Victor Karenin.

(Listens in embarrassment, then asks:) How much shall I give them?

Fedya.

Twenty-five will do.

Victor Karenin.

(Gives them the money.)

Fedya.

Marvelous ! Now let's have "Through the fields a-sowing flax."

(The gipsies sing.)

Fedya.

(Looking around.) Karenin has skipped! Well, to the deuce with him !

(The gipsies scatter.)