The man who was dead (The living corpse), The cause of it all; dramas

Contents

PAGE

The Man Who Was Dead . . . > . . n The Cause of It All . . w > lm . . . 159

DRAMATIS PERSONS

Act I

Anna Pavlovna, a stout, mid- 'die-aged, tight-laced lady, is sitting at the tea-table.

The Nurse enters, with a teapot in her hand.

Nurse.

May I take some boiling water?

Anna Pavlovna.

Oh, certainly. How is baby?

Nurse.

As restless as can be. What is the good of ladies trying to nurse their babies themselves! All their worries the baby has to suffer for. When a mother stays awake all night long, and never leaves off crying, what can her milk be worth?

Anna Pavlovna.

Oh, that's over, I think. She is quiet now.

ii

Nurse.

Quiet, indeed! I can't stand looking at the poor dear. Just now she started off to write, and how she cried all the time !

Sasha (entering). ( To Nurse.) Lisa wants you.

Nurse.

I'm coming. (She goes out.)

Anna Pavlovna.

Nurse says she still goes on crying. I do wish she could manage to get over it!

Sasha.

Mother, you are perfectly astonishing! How on earth can you expect her to behave as if nothing had happened, when she's just left her husband and taken her baby with her?

Anna Pavlovna.

I don't exactly. But the past must be left to take care of itself. You may be quite sure that if I approve of my daughter having left her husband, and if I welcome the step she has taken — well, that he deserved it. She has no reason to make herself miserable. She ought only to be overjoyed at being free now from such an abominable wretch.

Sasha.

How can you talk like that, mother? You know perfectly well it isn't true. He's not a wretch; he's a wonderful man — yes, he is. Oh, of course, I know he has faults, but he's wonderful!

Anna Pavlovna.

Wonderful, indeed! The moment he has money, whether he gets it from his own pocket or somebody else's —

Mother! He has never taken anybody else's money.

Anna Pavlovna.

Yes, he has. Hasn't he taken his wife's money ?

Sasha.

Why, he settled the whole of his fortune on Lisa!

Anna Pavlovna.

It was the only thing for him to do. He knew he would squander everything he could lay hands on.

Sasha.

I'm sure I don't care whether he would or he wouldn't. All I know is that a wife ought not to leave her husband — particularly a husband like Fedia.

Anna Pavlovna.

I suppose you would have liked her to wait till he had spent absolutely everything they had, and not have objected in the least when he brought his gipsy mistresses home with him?

Sasha.

He hasn't got any mistresses.

Anna Pavlovna.

That is the worst of it — he seems to have bewitched you all; I don't know how. I should like to see him try it on with me. I can see through him, and he knows it. In Lisa's place I would have left him a good twelve months ago.

Sasha.

Oh, you think it's all so easy!

Anna Pavlovna.

That's just where you're mistaken. It's very far from easy for me to see my daughter separated from her husband. It is, indeed. But anything is better than that a young life like hers should be ruined. I consider it truly providential that she has made up her mind to go, and that everything is over between them.

Sasha.

Perhaps it isn't.

Anna Pavlovna.

It will be. If only he will consent to a divorce.

Sasha.

What will be the good of that?

Anna Pavlovna.

The good will be that she is young and that she may still have some happiness in store for her.

Sasha.

It is simply disgusting to hear you talk like that, mother I Lisa can't love another man.

Anna Pavlovna.

Why not? Why shouldn't she, when she's free? There are men a thousand times better than your adored Fedia who would be enchanted to marry Lisa.

Sasha.

I know whom you mean, mother. It's very wrong of you. I know you mean Victor Karenin.

Anna Pavlovna.

Well, there's no harm in it if I do. He's been in love with her for ten years, and she loves him.

Sasha.

She doesn't love him in the least as a husband. They have just been friends ever since they were children.

Anna Pavlovna.

I know what such friendships mean. Oh, if only nothing crops up to prevent it !

A Maid enters.

What is it?

Maid.

The porter has come back with an answer to the note for Victor Mikhailovich.

Anna Pavlovna.

Who sent him?

Maid.

Elizaveta Andreevna.

Anna Pavlovna.

Well?

Maid.

Victor Mikhailovich told the porter He would be here directly.

Anna Pavlovna.

How extraordinary, when we were just talking about him ! But what can she want him for now? ( To Sasha.) Do you know?

Sasha.

Maybe I do. Maybe I don't.

Anna Pavlovna.

You always make secrets of things.

Sasha.

Lisa will tell you when she comes.

shakes her head. (To the Maid.) The samovar is cold. Take it away, Duniasha, and make the water boil again.

The Maid takes the samovar and goes out. Sasha rises as if to follow her from the room.

1 8 THE MAN WHO WAS DEAD Anna Pavlovna.

You see I was right. She has sent for him at once.

Sasha.

I dare say it's some perfectly different reason from what you think.

Anna Pavlovna.

What for, then?

Sasha.

She doesn't care a scrap more for Karenin than for that old nurse Tripovna.

Anna Pavlovna.

You will see. I know her. She's sent for him because she wants him to console her.

Sasha.

O mother, how little you know her if you can think — -

Anna Pavlovna.

You will see. Yes, and I am very, very glad indeed.

Sasha.

We'll see. (She goes out, humming.)

Anna Pavlovna. (Alone, shaking her head and muttering to herself.) Very well, I don't mind. Very well, I don't mind. I —

Maid (entering.^ Victor Mikhailovich has come.

Anna Pavlovna.

Ask him in, and tell Elizaveta Andreevna.

The Maid goes out by the door leading to the inner apartments.

Victor Karenin

entering, and shaking hands with Anna Pavlovna. I got a note from Elizaveta Andreevna asking me to come round. I meant in any case to call this evening, so I was delighted ... is she quite well?

Anna Pavlovna.

She is all right; the baby is a little ailing. She will be here in a minute. (Sadly.) We are having a hard time just now. But you know all about that.

Karenin.

I know. I was here the day before yesterday, when that letter came from him. But is this really a final decision?

Anna Pavlovna.

I should think so ! It would be utterly impossible to begin all over again.

Karenin.

I should like to urge that in this case particularly second thoughts may be best. It is a terrible thing to tear lives apart that have been bound together.

Anna Pavlovna.

No doubt. But with them the rift began long ago, and the complete severance was easier than one would have thought. He understands that after all that has happened he could not return home, even if it had been open to him to do so.

Karenin.

Why?

Anna Pavlovna.

After his disgusting conduct? He swore it should never never happen again, and he gave his word that if it did he would voluntarily resign all claims on his wife, and give her back her entire freedom.

Karenin.

How can a wife tied by the marriage bond be given back her freedom?

Anna Pavlovna.

She can be made free by a divorce. He has agreed to a divorce, and we shall insist on it.

Karenin.

But Elizaveta Andreevna loved him so deeply —

Anna Pavlovna.

Her love has been so terribly tried that there is hardly anything left of it. Drinking, gambling, unfaithfulness — what love could bear with such a husband ?

Karenin.

True love holds in spite of all.

Anna Pavlovna.

You say : love. But who could love a man like that? He was perfectly unreliable; there was no depending on him in anything. You know the last thing that happened (looking back at the door, and finishing quickly what she had to say.) Their situation was absolutely critical, everything was pawned — they had nothing to meet the most necessary expenses. At last his uncle sent two thousand roubles due as interest. He takes that money and disappears, leaving his wife alone with the sick baby, waiting for him; and then comes a note, asking to have his clothes and things sent after him.

Karenin.

Yes, I know.

Sasha and Lisa come in together.

Anna Pavlovna.

Victor Mikhailovich does come, you see, when you send for him.

Karenin.

I would have come sooner, but I was detained {he shakes hands with the sisters.)

Lisa.

Thank you so much. I have a great service to ask you. There is no one else I could turn to.

Karenin.

Anything I can do, I will.

Lisa.

You know all about this, don't you?

Karenin.

Yes, I know.

THE MAN WHO WAS DEAD 23 Anna Pavlovna.

Then I will leave you to yourselves. (To Sa-

sha.) Come with me. We shall be in the way.

(Anna Pavlovna and Sasha go out.)

Lisa.

Well, he has written to me saying it's all over between us. I (restraining her tears) was so hurt that — . Anyhow, I agreed to separate. I have answered that I am willing to part, as he wishes it.

Karenin.

And now you are sorry for having said so?

Lisa.

Yes. I feel I ought not to have accepted. I cannot. — Anything, but not to part with him. Now, give him that letter. Please, Victor, give him the letter and tell him. — Bring him back !

Karenin (surprised.) Well, but —

Lisa.

Say I ask him to forget all that has happened, and to come back. Of course I could send him the letter. But I know him so well : his first impulse, as always, would be a good one; but then somebody else's influence would come in, and he would change his mind and do the contrary of what he really wished. #

Karenin.

I will do what I can.

Lisa.

You are surprised at my asking you to help me?

Karenin.

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

Lisa.

But not angry?

Karenin.

How can I be angry with you?

Lisa.

I asked you because I know you love him.

Karenin.

Him, and you. You know that. And you know that I love you for yourself alone, not for anything I may hope from you. Thank you for trusting me. I will do all I can.

THE MAN WHO WAS DEAD 25 Lisa.

I know you will. I will tell you everything. I called to-day at Afremov's to ask if they knew where he was. They told me that he had gone to the gipsies. I am in terrible anxiety. I am so afraid of his passion for them. If he is not restrained in time, it will enslave him again. It must be prevented. You will look for him?

Karenin.

I'll go at once.

Lisa.

Go. Find him, and tell him IVe forgotten everything and am waiting for him.

Karenin (rising.) But where shall I go to find him?

Lisa.

He is at the gipsies'. I went to the place myself. I went to the door. — I was just going to send in the letter, but then I thought I had better not, and decided to ask you. Here is the address. Tell him that he is to come back as if nothing had happened; that I have forgotten everything. Do it out of love for him, and out of friendship for us.

Karenin.

I will do everything I can. {He bows to her and goes out.)

Lisa {alone.)

I cannot, I cannot. Anything but — I cannot !

{Enter Sasha.)

Sasha.

Well, have you asked him?

Lisa {nods.)

Sasha.

And he was willing to go?

Lisa.

Of course.

Sasha.

But why did you ask him to do it? I can't understand.

Lisa.

Whom else could I ask?

Sasha.

But you know that he is in love with you.

Lisa.

That is a thing of the past. And whom else would you have me ask? Tell me: you think he will come back?

SashA.

I am sure he will. He -^

Anna Pavlovna. (coming back.) Where is Victor Mikhailovich ?

Lisa.

Gone.

Anna Pavlovna.

Gone?

Lisa.

I have asked him to do something for me.

Anna Pavlovna.

What was it? Another secret?

Lisa.

No secret at all. I simply asked him to take a letter to Fedia.

Anna Pavlovna.

To Fedia? To Fedor Vasilievich?

Lisa.

Yes, to Fedia.

Anna Pavlovna.

I thought it was all over between you.

Lisa.

I cannot part from him.

Anna Pavlovna.

What! The same old story beginning again?

Lisa.

I wanted to : I tried hard, but I can't. I'll do anything you like, but I can't part from him.

Anna Pavlovna.

You don't mean you want him to come back?,

Lisa. iYes, I do.

Anna Pavlovna.

To have that wretch again in your house !

Lisa.

Mother, I wish you would not talk about my husband like that.

Anna Pavlovna.

He was your husband, but he is so no more.

Lisa.

He is my husband.

Anna Pavlovna.

A spendthrift, a drunkard, a rake — and you cannot part from him.

Lisa.

Why do you torture me? I am wretched enough as it is. You are so inconsiderate —

Anna Pavlovna.

That is how you take it. I torture you, do I? Very well. Then I had better go. I cannot stand it.

(Lisa keeps silent.)

I see; I am in your way, and you want me to go. I can only say I am disgusted. I don't understand you, or what you want. You are wholly unreliable. One moment you decide to leave your husband, the next you send for the man who is in love with you.

Lisa.

Nothing of the kind.

Anna Pavlovna.

You know that Karenin proposed to you, and now you send him to bring back your husband. Do you simply want to make him jealous?

Lisa.

Mother! how abominable! Do leave me in peace, can't you?

Anna Pavlovna.

Turn out your mother, do; and welcome your depraved husband. No, no; I won't wait for you to do it. I shall go at once. And you can do whatever you choose. (She goes out, banging the door.)

Lisa.

(dropping into a chair.) That, too !

Sasha.

Don't worry. That will be all right. We will make peace with mother.

Anna Pavlovna. (crossing the room.) Duniasha, my bag!

Sasha.

Listen, mother !

(She follows her mother out of the room looking significantly at Lisa.)

A room at the gipsies'. Gipsies sing " Kanavella."

(Fedia is lying on the sofa, his

face down; he has taken of his coat.

AFREMOV is sitting astride on a

chair, facing the leader of the gipsy

singers.

An Officer sits at the table, on which are standing bottles of champagne and glasses. At his side sits a Musician taking down the songs.)

Afremov.

You asleep, Fedia?

Fedia. (rising.) Shut up! Now then, "Not the evening hour."

Gipsy.

Not yet, Fedor Vasilievich. Let Masha sing a song first.

Fedia.

All right. And after that, " Not the evening hour." (He lies down again.)

Officer.

Let's have " The fatal hour!"

32 THE MAN WHO WAS DEAD Gipsy. (to Afremov.) Shall she sing that?

Afremov.

I don't mind.

Officer. (to the Musician.) Have you got it right?

Musician.

It's impossible to take it down correctly. Each time the tune changes somehow. And they seem to have a different scale. Now, here. (He calls to a gipsy woman.) How is this? (Humming the tune.) Is this right?

Gipsy Woman.

Quite right. Splendid.

Fedia.

(rising.) He won't get it right on paper, and even if he does, and then shovels it into an opera, he'll make it seem absolutely rotten. Well, Masha, fire away! Anything will do: " The fatal hour," if you like. Take the guitar. (He rises, sits down facing her, and looks in her eyes.)

(Masha sings.)

That's wonderful. And you're wonderful too, Masha ! Now then, " Not the evening hour."

Afremov.

Wait a moment. Let's have my funeral song first.

Officer.

Funeral? What's that?

Afremov.

Why, when I die. . . . Really die, you know ; when I am lying in the coffin, the gipsies will come ... I shall give directions to my wife in my will, you know. And then, when they begin singing their " Shol-me-wersta," I shall jump out of the coffin, don't you know. That is the song you ought to note down. Now then, start in!

( The Gipsies sing.)

Afremov.

What do you say to that? Eh? And now, " Love, my dear ones."

{The Gipsies sing.) (Afremov dances to the tune.

The Gipsies, smiling, go on singing and beat the measure.

Afremov sits down. The song ends.)

Gipsy.

I say, Mikhail Andreevich, you dance like a true

gipsy.

Fedia.

And now, " Not the evening hour."

(The Gipsies sing.)

That's it. That is the song. Wonderful! And how does it all happen? What is it all about? Wonderful, wonderful! To think that man can reach such ecstasy and then — nothing more; nothing further — we can achieve nothing with it !

Musician. (taking notes.) Yes, it is very original.

Fedia.

Original is not the word. It is the real thing.

Afremov.

Well, Pharaoh's tribe, take a rest. (He takes a guitar , and sits down at the side of the gipsy girl Katia.)

Musician.

It is very simple, on the whole, but there's something queer about the rhythm.

Fedia.

(with a gesture, comes near Masha and sits down on the sofa close to her,) O Masha, Masha, you turn my soul inside out.

Masha.

Well ? What is it I asked you for ?

Fedia.

What? Money. (He takes money out from his trousers' pockets.) There, take it.

(Masha laughs, takes the money, and hides it in her bodice.)

Fedia.

(to the Gipsies.) Incomprehensible creature! She unlocks the gates of heaven for me ! And then all she asks for is — money ! In the devil's name, do you understand yourself what you are doing?

Masha.

I don't know what there is to understand. I understand that if I care for some one I do my best to please him, and I sing for him better than for all the rest.

Fedia.

Do you care for me?

Masha.

You know how much.

Fedia.

You — marvel ! ( Kisses her.y

(The Gipsies, Men and Women, leave the room. A few couples remain: Afremov with Katia, the Officer with another girl, Gasha. The Musician writes. A gipsy plays a waltz on the guitar very softly.)

Fedia.

I am a married man. And you belong to your gipsy troupe. They would not let you — •

Masha.

My heart and the troupe have nothing to do with one another. If I love a man, I love him no matter what comes. Or if I hate a man, I hate him, and no help for it.

Fedia.

I am happy! I am happy! And you — are you happy?

I'm always happy when nice visitors come, and then we all have fun.

Gipsy.

(entering, to Fedia.) A gentleman is asking for you.

Fedia.

What gentleman?

Gipsy.

Don't know. He is well dressed. Sable fur coat.

Fedia.

Rich? Well, ask him in.

Afremov.

Who can it be wants to see you here?

Fedia.

The devil knows. Who can want me!

(Karenin comes in looking round the room.)

Fedia.

Victor ! You are the last man I would have expected. Take off your coat. What wind has blown you here? Sit down. They will sing " Not the evening hour " for you.

Karenin.

Fedia.

What about?

Karenin.

Fedia.

{takes the letter, reads, frowns, then smiles affectionately.) Listen, Karenin; you know, I dare say, what that letter contains?

Karenin.

I know. And I want to tell you ==s

Fedia.

Wait, wait. Don't imagine, please, that I am drunk, and that my words are unaccountable — I mean, that I am unaccountable. I am drunk, but my head is quite clear about this. But what have you been told to tell me?

Karenin.

Your wife has asked me to find you, and to say that she is waiting for you. She begs you to forget everything, and to come back.

Fedia.

(listens silently, looking into his eyes.) I still don't understand. Why have you? . . .

Karenin.

Elizaveta Andreeva sent for me, and asked me^-H

Fedia.

Then^-

Karenin.

But it is not so much in your wife's name as on my own behalf that I implore you to come home with me !

Fedia.

You're a better man than I am. What a ridiculous way to put it ! It's not hard to be better than me: I'm a scoundrel, and you are a good man. That's why I won't go back on my decision. And not only because of that. I simply cannot, and will not. How could I go back?

40 THE MAN WHO WAS DEAD Karenin.

Come to me first. I will tell her you have come back, and to-morrow \ — :

Fedia.

Well — to-morrow? To-morrow I shall be just what I am now, and she will be the same as she is. (He goes to the table and drinks.) Better have the tooth straight out. I told her that if I didn't keep my word, she was to leave me. I did not keep it, and there's an end of it.

Karenin.

For you, but not for her.

Fedia.

It's very extraordinary that you should take so much trouble to prevent our marriage from being broken up.

(Karenin is about to say something, when Masha enters.)

Fedia.

(interrupting him.) Now just hear her sing " The Flax." Masha, sing for him.

(The Gipsies gradually return to the room.)

THE MAN WHO WAS DEAD 41 Masha. (whispering.) We ought to give him a cheer.

Fedia.

(laughing.) Give him a cheer 1 Three cheers for Victor Mikhailovich !

(The Gipsies sing, cheering Karenin.)

Karenin.

(listens, somehow confused. To FEDIA.)' 'How much ought I to give them?

Fedia.

Give them twenty-five roubles.

(Karenin gives the money, then quietly leaves the room.) There, that's good. Now "The Flax." (Looking round.) Hullo! Karenin has vanished. Devil take him !

(The Gipsies disperse.)

Fedia.

(sitting down close to Masha.) You know who that was?

Masha.

I heard the name.

He is an excellent fellow. He came to fetch me home, to my wife. She loves me, and that is how I behave, fool that I am!

Masha.

You're wrong. You ought to have pity on her.

Fedia.

You think so? I don't.

Masha.

Of course, if you don't love her, you oughtn't to.

Fedia.

How do you know that?

Masha.

Maybe I know.

Fedia.

Give me a kiss. Now, " The Flax," and then let us stop.

(The Gipsies sing.)

Fedia.

Wonderful! Wonderful! Oh, never to wake up ! To die like that without waking !