The Complete Works of Leo Tolstoy (25+ Works with active table of contents) (433 page)

MAGISTRATE (raising his voice. Rising excitedly). Be silent or I'll have you turned out.

FÉDYA. God! Who should I be afraid of! I'm dead, dead, and away out of your power. (Suddenly overcome with the horror of the situation.) What can you do to me? How can you punish me--a corpse?

[Beating his breast.

MAGISTRATE. Be silent! (To CLERK, who is down L.) Take him out!

[FÉDYA turns, seeing his wife, he falls on his knees before her ... kisses the hem of her dress, crying bitterly.

[Slowly he rises, pulls himself together with a great effort, then exits L.

[The lights dim and out.

CURTAIN

SCENE IV

A corridor at the lower courts; in the background a door opposite which stands a GUARD; to the right is another door through which the PRISONERS are conducted to the court. IVÁN PETROVICH in rags enters L., goes to this last door, trying to pass through it.

GUARD (at door R. C.). Where do you think you're going, shoving in like that?

IVÁN PETROVICH. Why shouldn't I? The law says these sessions are public.

GUARD. You can't get by and that's enough.

IVÁN PETROVICH (in pity). Wretched peasant, you have no idea to whom you are speaking.

GUARD. Be silent!

[Enter a YOUNG LAWYER from R. I.

LAWYER (to Petrovich). Are you here on business?

IVÁN PETROVICH. No. I'm the public. But this wretched peasant won't let me pass.

LAWYER. There's no room for the public at this trial.

IVÁN PETROVICH. Perhaps, but I am above the general rule.

LAWYER. Well, you wait outside; they'll adjourn presently.

[He is just going into courtroom through door R. C. when PRINCE SERGIUS enters L. and stops him.

PRINCE SERGIUS. How does the case stand?

LAWYER. The defense has just begun. Petrúshin is speaking now.

PRINCE SERGIUS. Are the Karénins bearing up well?

LAWYER. Yes, with extraordinary dignity. They look as if they were the judges instead of the accused. That's felt all the way through, and PETRÚSHIN is taking advantage of it.

PRINCE SERGIUS. What of Protosov?

LAWYER. He's frightfully unnerved, trembling all over, but that's natural considering the sort of life he's led. Yes, he's all on edge, and he's interrupted, both judge and jury several times already.

PRINCE SERGIUS. How do you think it will end?

LAWYER. Hard to say. The jury are mixed. At any rate I don't think they'll find the Karénins guilty of premeditation. Do you want to go in?

PRINCE SERGIUS. I should very much like to.

LAWYER. Excuse me, you're Prince Sergius Abréskov, aren't you? (To the Prince.) There's an empty chair just at the left.

[The guard lets PRINCE SERGIUS pass.

IVÁN PETROVICH. Prince! Bah! I am an aristocrat of the soul, and that's a higher title.

LAWYER. Excuse me.

[And exits down R. C. into courtroom.

[PETUSHKÓV, FÉDYA'S companion in the dive, enters approaching IVÁN PETROVICH.

PETUSHKÓV (R.). Oh, there you are. Well, how're things going?

IVÁN PETROVICH (L.). The speeches for the defense have begun, but this ignorant rascal won't let us in. Curse his damned petty soul.

GUARD (C.) Silence! Where do you think you are?

[Further applause is heard; door of the court opens, and there is a rush of lawyers and the general public into the corridor.

A LADY. Oh, it's simply wonderful! When he spoke I felt as if my heart were breaking.

AN OFFICER. It's all far better than a novel. But I don't see how she could ever have loved him. Such a sinister, horrible figure.

[The other door opens over L.; the accused comes out.

THE LADY (this group is down R.). Hush! There he is. See how wild he looks.

FÉDYA (seeing IVÁN PETROVICH). Did you bring it?

[Goes to PETROVICH.

PETROVICH. There.

[He hands FÉDYA something; FÉDYA hides it in his pocket.

FÉDYA (seeing PETUSHKÓV). How foolish! How vulgar and how boring all this is, isn't it?

[Men and women enter door L. and stand down L. watching.

[Enter PETRÚSHIN, from R. C., FÉDYA'S counsel, a stout man with red cheeks; very animated.

PETRÚSHIN (rubbing his hands). Well, well, my friend. It's going along splendidly. Only remember, don't go and spoil things for me in your last speech.

FÉDYA (takes him by the arm). Tell me, what'll the worst be?

PETRÚSHIN. I've already told you. Exile to Siberia.

FÉDYA. Who'll be exiled to Siberia?

PETRÚSHIN. You and your wife, naturally.

FÉDYA. And at the best?

PETRÚSHIN. Religious pardon and the annulment of the second marriage.

FÉDYA. You mean--that we should be bound again--to one another----

PETRÚSHIN. Yes. Only try to collect yourself. Keep up your courage. After all, there's no occasion for alarm.

FÉDYA. There couldn't be any other sentence, you're sure?

PETRÚSHIN. None other. None other.

[Exits R. I. FÉDYA stands motionless.

GUARD (crosses and exits L. I. Calling). Pass on. Pass on. No loitering in the corridor.

[VICTOR and LISA enter from door L. Start to go off L. when pistol shot stops them.

FÉDYA (He turns his back to the audience, and from beneath his ragged coat shoots himself in the heart. There is a muffled explosion, smoke. He crumples up in a heap on the floor. All the people in the passage rush to him.) (In a very low voice.) This time--it's well done... Lisa....

[People are crowding in from all the doors, judges, etc. LISA rushes to FÉDYA, KARÉNIN, IVÁN PETROVICH and PRINCE SERGIUS follow.

LISA. Fédya!... Fédya!... What have you done? Oh why!... why!...

FÉDYA. Forgive me---- No other way---- Not for you--but for myself----

LISA. You will live. You must live.

FÉDYA. No--no---- Good-bye---- (He seems to smile, then he mutters just under his breath.) Masha.

[In the distance the gypsies are heard singing "No More at Evening." They sing until the curtain.

You're too late----

[Suddenly he raises his head from LISA'S knees, and barely utters as if he saw something in front of him.

Ah.... Happiness!...

[His head falls from LISA'S knees to the ground. She still clings to it, in grief and horror. He dies.

[The lights dim and out.

CURTAIN

END OF
REDEMPTION
* * * * *

THE POWER OF DARKNESS

OR

IF A CLAW IS CAUGHT THE BIRD IS LOST

CHARACTERS

PETER IGNÁTITCH. A well-to-do peasant, 42 years old, married for the second time, and sickly.

ANÍSYA. His wife, 32 years old, fond of dress.

AKOULÍNA. Peter's daughter by his first marriage, 16 years old, hard of hearing, mentally undeveloped.

NAN (ANNA PETRÓVNA). His daughter by his second marriage, 10 years old

NIKÍTA. Their laborer, 25 years old, fond of dress.

AKÍM. Nikíta's father, 50 years old, a plain-looking, God-fearing peasant.

MATRYÓNA. His wife and Nikíta's mother, 50 years old.

MARÍNA An orphan girl, 22 years old.

MARTHA. Peter's sister.

MÍTRITCH An old laborer, ex-soldier.

SIMON. Marína's husband.

BRIDEGROOM. Engaged to Akoulína.

IVÁN. His father.

A NEIGHBOR.

FIRST GIRL.

SECOND GIRL.

POLICE OFFICER.

DRIVER.

BEST MAN

MATCHMAKER.

VILLAGE ELDER.

VISITORS, WOMEN, GIRLS, AND PEOPLE come to see the wedding

N.B.--The "oven" mentioned is the usual large, brick, Russian baking-oven. The top of it outside is flat, so that more than one person can lie on it.

ACT I

The Act takes place in autumn in a large village. The Scene represents PETER'S roomy hut. PETER is sitting on a wooden bench, mending a horse-collar. ANÍSYA and AKOULÍNA are spinning, and singing a part-song.

PETER (looking out of the window). The horses have got loose again. If we don't look out they'll be killing the colt. Nikíta! Hey, Nikíta! Is the fellow deaf? (Listens. To the women.) Shut up, one can't hear anything.

NIKÍTA (from outside). What?

PETER. Drive the horses in.

NIKÍTA. We'll drive 'em in. All in good time.

PETER (shaking his head). Ah, these laborers! If I were well, I'd not keep one on no account. There's nothing but bother with 'em. (Rises and sits down again.) Nikíta!.... It's no good shouting. One of you'd better go. Go, Akoúl, drive 'em in.

AKOULÍNA. What? The horses?

PETER. What else?

AKOULÍNA. All right.

[Exit.

PETER. Ah, but he's a loafer, that lad ... no good at all. Won't stir a finger if he can help it.

ANÍSYA. You're so mighty brisk yourself. When you're not sprawling on the top of the oven you're squatting on the bench. To goad others to work is all you're fit for.

PETER. If one weren't to goad you on a bit, one'd have no roof left over one's head before the year's out. Oh, what people!

ANÍSYA. You go shoving a dozen jobs on to one's shoulders, and then do nothing but scold. It's easy to lie on the oven and give orders.

PETER (sighing). Oh, if 'twere not for this sickness that's got hold of me, I'd not keep him on another day.

AKOULÍNA (off the scene). Gee up, gee, woo.

[A colt neighs, the stamping of horses' feet and the creaking of the gate are heard.

PETER. Bragging, that's what he's good at. I'd like to sack him, I would indeed.

ANÍSYA (mimicking him). "Like to sack him." You buckle to yourself, and then talk.

AKOULÍNA (enters). It's all I could do to drive 'em in. That piebald always will....

PETER. And where's Nikíta?

AKOULÍNA. Where's Nikíta? Why, standing out there in the street.

PETER. What's he standing there for?

AKOULÍNA. What's he standing there for? He stands there jabbering.

PETER. One can't get any sense out of her! Who's he jabbering with?

AKOULÍNA (does not hear). Eh, what?

[PETER waves her off. She sits down to her spinning.

NAN (running in to her mother). Nikíta's father and mother have come. They're going to take him away. It's true!

ANÍSYA. Nonsense!

NAN. Yes. Blest if they're not! (Laughing.) I was just going by, and Nikíta, he says, "Good-bye, Anna Petróvna," he says, "you must come and dance at my wedding. I'm leaving you," he says, and laughs.

ANÍSYA (to her husband). There now. Much he cares. You see, he wants to leave of himself. "Sack him" indeed!

PETER. Well, let him go. Just as if I couldn't find somebody else.

ANÍSYA. And what about the money he's had in advance?

[NAN stands listening at the door for awhile, and then exit.

PETER (frowning). The money? Well, he can work it off in summer, anyhow.

ANÍSYA. Well, of course you'll be glad if he goes and you've not got to feed him. It's only me as'll have to work like a horse all the winter. That lass of yours isn't over fond of work either. And you'll be lying up on the oven. I know you.

PETER. What's the good of wearing out one's tongue before one has the hang of the matter?

ANÍSYA. The yard's full of cattle. You've not sold the cow, and have kept all the sheep for the winter: feeding and watering 'em alone takes all one's time, and you want to sack the laborer. But I tell you straight, I'm not going to do a man's work! I'll go and lie on the top of the oven same as you, and let everything go to pot! You may do what you like.

PETER (to Akoulína). Go and see about the feeding, will you? it's time.

AKOULÍNA. The feeding? All right.

[Puts on a coat and takes a rope.

ANÍSYA. I'm not going to work for you. You go and work yourself. I've had enough of it, so there!