Without a Dowry and Other Plays

by Alexander Ostrovsky

MME NYEGIN. Well, read the other one.

  ALEXANDRA. No, Mama, I don’t want to, it’s embarrassing!

  MME NYEGIN. Embarrassing! You get a lot of letters that are embarrassing, and you read those to me.

  ALEXANDRA. All right, Mama, prepare yourself. (She reads.) “I fell in love with you at first sight. To see and hear you is an inexpressible delight for me. Forgive me for making my declaration in a letter, but because of inborn timidity I would never dare to transmit my feelings to you aloud. My happiness now depends on you. And my happiness, what I dream about, my adorable Alexandra Nikolavna, is this. At my country home, in my splendid castle, in my palace, there is a young lady of the house to whom all, starting with me, bow, whom all obey like slaves. Thus the summer passes. In the fall my charming lady and I go to one of our southern towns. She goes onto the stage of a theater which is completely dependent on me; she goes on in full glory, and I rejoice and take pride in her successes. Beyond that I do not dream, we shall live and see. Don’t be angry with me for my dreams, for everyone can dream. I shall read my sentence tomorrow in your eyes, they’ll tell me if you accept me. If you don’t accept me, I will go away with a broken heart but without complaint, punished by your scorn for my boldness. Your Velikatov.” (In tears.) Mama, what is this? What is this disgusting man writing here? Who gave him permission?

  MME NYEGIN. What permission?

  ALEXANDRA. That… to fall in love with me.

  MME NYEGIN. Oh you silly girl, does a man have to ask permission for that!

  ALEXANDRA I could kill him.

  Silence.

  MME NYEGIN (pensively). Swans… He says swans swim on the lake.

  ALEXANDRA. Oh, what do I care about that!

  Silence.

  MME NYEGIN. Sasha, my own little Sasha, you know you and I have never had a serious talk about some things, and now’s the time. You live in poverty, and here’s a chance for wealth! But good heavens, could this be some kind of calamity?! A temptation?! Is it the devil, Lord forgive us, who’s turned up here? At the very time… when we’ve started thinking about our need. That’s just like the devil. But how much kindness is in this man, how much of every virtue! So, my flighty girl, let’s you and I have a serious talk about this business.

  ALEXANDRA. “Serious,” you say, a serious talk about such business. But what do you take me for! Is this a “business”? It’s shameful, that’s all! You remember what he said, it was he who said it, my dear boy, my Petya! How can I do any thinking about this, what’s there to think about, what’s there to discuss! And if you can’t stand the uncertainty, then take tea leaves or something and tell from them what I’m going to do! Yes, I’ll be in your hands. And that’s the end of it. (She takes Meluzov’s note.)

  MME NYEGIN. But what’s gotten into you! How could I!… It’s your affair. Lord help me! May God and all good people…

  ALEXANDRA (reads from Meluzov’s note). “But if you should find two or three free minutes, then run out into the garden, I’ll be waiting for you there.” Oh, my poor, poor boy! How little I’ve loved him! While I feel now that I love him with all my soul. (She takes Narokov’s letter.) Oh, and this one too! I’ll have to save this all my life! Nobody will ever love me like that. Give me my shawl. I’m going.

  MME NYEGIN. Where are you going, where? What’s gotten into you?

  ALEXANDRA. Oh, stop it, it’s none of your business!

  MME NYEGIN. How is it none of my business! You’re my daughter.

  ALEXANDRA. All right, I’m your daughter, you can do what you want with me. But my soul’s my own. I’m going to Petya. He really loves me, he feels for me, he’s taught me what’s good and right.

  MME NYEGIN. But what about that other business? Just say something.

  ALEXANDRA. Oh, that business, that! All right, tomorrow, tomorrow, let’s leave it for tomorrow. But right now don’t you get in my way. Now I’m good and honorable, such as I’ve never been before, and such as I might not be tomorrow. I feel very good in my soul now, very honorable, and you shouldn’t get in the way.

  MME NYEGIN. All right, all right, do what you want, do what you want.

  ALEXANDRA (covering herself with the shawl). I don’t know, I might come back right away, I might stay till morning… But don’t you say a word to me, no look…

  MME NYEGIN. Why say that, don’t you think I’m your mother, don’t you think I’m a woman! Don’t I understand I shouldn’t get in your way, do you think I don’t have a soul?

  ALEXANDRA. I’m going then.

  MME NYEGIN. Wait, wrap yourself up good and warm, don’t catch cold. Anyway, you really have a heart of gold. I won’t lock up, I’ll drink tea and wait up for you awhile.

  Alexandra leaves. Mme. Nyegin goes off behind the partition. The stage is empty awhile, and then Bakin enters.

  BAKIN. There’s nobody here, the door’s not locked, and somebody sneaked out, it had to be her. But where was she going, who to? If it’s to her fiancé’s place, there’s no point, he can come here. She’s probably gone into the garden for a breath of fresh air. I’ll wait for her here. She won’t drive me away, she’ll surely let me stay at least a half hour. I made a bet with Velikatov that I’d drink tea with her and stay till morning. And I don’t feel like losing it. I wanted to let him know whether she received me or not. Ah, here’s what I’ll do, I’ll send the coachman to say I’ve stayed here. If she drives me out, then I’ll walk around somewhere till it’s dawn. (He opens the window.)

  At this moment Meluzov and Alexandra enter. She goes behind the partition.

  Ivan, drive to the railroad station and tell them I’ve stayed here.

  MELUZOV. No, you won’t be staying here. Tell the coachman to wait, for you’re leaving here right now. What do you think you’re doing! All right, then I’ll tell him. (Through the window.) Ivan, stay! Your gentleman is coming out right away.

  BAKIN. What right do you have to give orders in somebody else’s apartment? I don’t know you and don’t want to know you.

  MELUZOV. No, really, why do you want to lie like that? And you’re lying with a bad intent. Do you want to give a girl a bad reputation?

  BAKIN. “A bad reputation”? Does a visit after the theater give somebody a bad reputation? Well now, what do you know about it?

  MELUZOV. But why were you going to send the coachman to say you were staying here?

  BAKIN. You sit up there in the balcony, so how can you understand what goes on between actors and that part of the audience that sits in the front rows of the orchestra!

  MELUZOV. Here’s something I understand: that you, with your front seat in the orchestra, are going to leave here while I, with my seat in the balcony, am going to stay here.

  BAKIN. You’re going to stay here?

  MELUZOV. Yes, I’m going to stay.

  BAKIN. How nice! At least I’ve made a discovery I can share with…

  MELUZOV. With anyone you want.

  BAKIN. Still, haven’t you been bragging a bit too much, in all your excitement?

  MELUZOV. No, you can count on it, I’m going to stay.

  Alexandra enters, dressed in an overcoat.

  ALEXANDRA (places her hand on Meluzov’s shoulder). Yes, he’s going to stay.

  MELUZOV. So now your doubts are over, which means you have just one thing left to do…

  ALEXANDRA. To leave.

  MELUZOV. And the sooner the better.

  BAKIN. The better! I know myself what’s better for me.

  MELUZOV. No, you don’t know, you didn’t let me finish. The sooner you leave the better for you, because then you can leave through the door, but if you take a long time to get ready, you’ll fly off into space through the window.

  ALEXANDRA (embracing Meluzov). Oh, darling.

  BAKIN. Young man, you’re going to remember this! (He leaves.)

  ALEXANDRA. Oh, dear Petya, my darling, let’s go driving now, all night long. The horses are here.

  MELUZOV. Where to, Sasha?

  ALEXANDRA. Anywhere
you want, anywhere at all. Everything, everything will be as you want it till morning. Mama, good-bye, lock the door. We’re going driving.

  Meluzov and Alexandra leave.

  ACT FOUR

  Railroad station’s waiting room for first-class passengers. On the right of the actors is a doorway in the form of an arch; it leads into another waiting room. Directly facing is a glass door, behind which can be seen a platform and cars. In the middle, stretching along the room, is a long table, on which are eating utensils, bottles, a candelabra, and a vase with flowers. The tragedian is sitting at the table. From the platform are heard voices: “The station is Bryakhimov. There will be a stop of twenty minutes. A buffet is provided. Bryakhimov! There will be a stop of twenty minutes.”

  TRAGEDIAN. Where’s my Vasya? Waiter! (He bangs on the table.)

  The waiter enters.

  WAITER. What would you like?

  TRAGEDIAN. Where’s my Vasya?

  WAITER. Really now, how many times have you asked that already! How are we supposed to know?

  TRAGEDIAN. Then in that case, my friend, you can go away.

  The waiter leaves.

  Where’s my Vasya?

  Vasya enters.

  VASYA. Here’s your Vasya. What do you want?

  TRAGEDIAN. Look, friend, where did you disappear to?

  VASYA. What will you ask next! If I disappeared, there was a reason. Tell me what you want!

  TRAGEDIAN. Inform me, friend, what is there that you and I haven’t drunk today?

  VASYA. What? I think we’ve drunk everything except vitriol. And I’ll tell you something else! That should be enough for a while!

  TRAGEDIAN. But do you love me or not?

  VASYA. So now you’ve found another topic for conversation.

  TRAGEDIAN. What is it you love me for?

  VASYA. For the fact that our house is a mess and that you have talent. So, that conversation’s ended. But listen! Why wine and more wine all the time? Let’s give that a little rest.

  TRAGEDIAN. All right, let it rest.

  VASYA. I’m sending my assistant to Kharkov, so I’ve got to make things good and clear to him. Let’s go into the third-class waiting room. We can stretch our legs there and relax a bit.

  TRAGEDIAN. All right, let’s go. (He gets up.)

  They go toward the doorway. They are met by Narokov and Meluzov, who are coming from the other waiting room.

  NAROKOV (stopping Vasya). Wait, wait! Here, take my watch. (He takes out his pocket watch and gives it to Vasya.)

  VASYA. But why are you giving me your watch, Martyn Prokofyich?

  NAROKOV. Give me ten rubles for it, give them to me, please.

  VASYA. But you’re crazy, I don’t need your watch.

  NAROKOV. Do me a favor, do me a favor! It’s an emergency.

  VASYA. But if it’s an emergency, I’ll trust you for it.

  NAROKOV. There’s no need for that, no need. Take the watch, I’ll buy it back. It’s expensive, I’ll buy it back soon.

  VASYA. But what do you need the money for? Tell me, take me into your confidence.

  NAROKOV. Oh, why do you go on tormenting me like this? Tell me, will you give me the money or not?

  VASYA. I’m just curious to know, my friend, what kind of business you have here, what kind of commerce.

  NAROKOV. Excuse me for troubling you. I shouldn’t have.

  VASYA. Well, all right, all right. (He puts the watch into his pocket and takes money out of his wallet.) There you are. I won’t take any interest, don’t worry.

  NAROKOV (takes the money and shakes Vasya’s hand). Thank you, thank you, you’ve saved my life.

  Vasya and the tragedian go off into the other waiting room.

  MELUZOV. They’re not here. You must have been mistaken.

  NAROKOV. No, I know it, and my heart tells me she’s going away. You can see I still haven’t recovered.

  MELUZOV. But it’s just not likely. Why should she hide it from me, why deceive me! This morning I received a note from her, and here’s what she wrote: (He takes a note from his pocket and reads.) “Petya, don’t visit us today. Stay home and wait for me. I’ll drop in on you myself in the evening.”

  NAROKOV. Yes, it’s incomprehensible, but she’s leaving, that’s certain. I tried to drop in on them, but they wouldn’t let me in. Domna Pantelyevna came out and shouted at me, “We can’t be bothered with you, not with you, we’re leaving by train right away.” I saw the suitcases, the handbags, the bundles… and I went running to you.

  MELUZOV. Let’s go take a look in the other waiting room; we’ll wait for them at the entrance.

  NAROKOV. I’ve lost my memory. What is it, morning or evening? I don’t know a thing. When does the train leave?

  MELUZOV. Seven p.m., in about twenty minutes.

  NAROKOV. Oh, then they’ll still come. Let’s go.

  They go off into the other waiting room. Through the glass door enter Alexandra carrying a traveling bag, Mme. Nyegin, Nina Smelsky, Dulyebov, Bakin, and Matryona carrying pillows and packages. Alexandra and Nina come forward. Dulyebov and Bakin sit down at the table. Matryona places the packages and pillows on the divan near the door. Mme. Nyegin sorts out the packages and conceals something in them.

  NINA. How soon you got ready, Sasha, and not a word to anyone.

  ALEXANDRA. When could I tell anyone! I got the telegram today and began getting ready right away.

  NINA. If the Prince and I hadn’t dropped in at the station, then you’d have left without saying good-bye.

  ALEXANDRA. I didn’t have any time, I haven’t said good-bye to anyone. I got ready all of a sudden. I planned to write you from Moscow.

  NINA. Then you’re going to Moscow?

  ALEXANDRA. Yes.

  NINA. On what conditions?

  ALEXANDRA. They’re offering very good ones, but I still haven’t made up my mind. I’ll write you from there.

  DULYEBOV (to Bakin). I thought Velikatov would have to leave today, so I came to catch him. I said to myself, I’ll drink a bottle of champagne with him to punish him for going off on the sly.

  BAKIN. Me too and for the same reason.

  DULYEBOV. But the train’s already in, and he’s still not here, so he must have stayed in town.

  BAKIN. You know, these gentlemen millionaires love to show up at the very last moment.

  NINA (to Alexandra). But what about Peter Yegorych?

  ALEXANDRA. Oh, don’t talk about him, please!

  NINA. You told him?

  ALEXANDRA. No, he doesn’t know. I’m afraid he’ll come here. If only we could leave soon.

  BAKIN. There’s Ivan Semyonych!

  Velikatov and the head conductor enter from the other waiting room. They stop by the doorway.

  HEAD CONDUCTOR (to Velikatov). The station master has given the order to add a special parlor car.

  VELIKATOV. Yes, I was the one who asked him. (He nods to Dulyebov and Bakin.)

  BAKIN. Are you traveling?

  VELIKATOV. No, I’m seeing off Alexandra Nikolavna and Domna Pantelyevna. (To the head conductor.) When everything’s ready, then arrange for these things to be transferred. And take pains to make sure that everything is good and comfortable.

  HEAD CONDUCTOR. Don’t worry.

  MME NYEGIN. Ivan Semyonych, did you get the tickets?

  VELIKATOV. I got them, Domna Pantelyevna, and I registered all your luggage.

  MME NYEGIN. Then give me the tickets. They won’t let us on without tickets.

  VELIKATOV. I’ll give them to you later, when you sit down in the car.

  MME NYEGIN. If only we’re not late, Ivan Semyonych. They might leave without us, my heart’s all jumpy.

  HEAD CONDUCTOR. Don’t worry. I’ll come for you and seat you myself, without me the train won’t move. And I’ll have them come for your things right away.

  MME NYEGIN. Get somebody reliable to keep everything safe.

  VELIKATOV. See to it.

  HEAD CONDUCTOR (touchin
g his cap). I’ll give the orders right now. (He goes off.)

  VELIKATOV. Gentlemen, to see them off we have to drink off a bottle, I’ve already ordered it to be served. Alexandra Nikolavna, Nina Vasilyevna, please join us.

  MME NYEGIN. Yes, and before we leave everybody has to sit for a moment. Matryona, you sit too.

  They all sit down at the table on the side facing the arch. The waiter enters with a bottle of champagne, puts it on the table, and walks off. Velikatov pours the champagne into the champagne glasses.

  VELIKATOV (raising his glass). A happy journey, Alexandra Nikolavna! Domna Pantelyevna!

  Dulyebov and Bakin stand up and bow.

  MME NYEGIN. Happiness to you who stay, gentlemen!

  NINA (kissing Alexandra). I wish you happiness, Sasha! Write me, please!

  A conductor enters.

  CONDUCTOR. Which things would you like taken?

  MME NYEGIN. Over there, sir! Matryona, show him. And go after him, keep a good eye on things.

  The conductor picks up the articles.

  Conductor!

  CONDUCTOR. Yes?

  MME NYEGIN. You be careful with those pillows, don’t drag them on the floor.

  ALEXANDRA. Mama!

  MME NYEGIN. What do you mean, “Mama”! It’s a lot better when you tell them. (To the conductor.) Don’t touch that bag there, the one on the end! I say not to touch it, it has some rolls. You’d probably spill them out.

  Dulyebov and Bakin laugh.

  ALEXANDRA. Mama!

  MME NYEGIN. What! Try counting on them!

  ALEXANDRA. Take all of it, take it all!

  A bell rings on the platform.

  MME NYEGIN (gets up quickly from her chair). Aie! They’re going.

  VELIKATOV. Don’t worry, Domna Pantelyevna. They won’t go without you.

  CONDUCTOR. That ring was for the third-class passengers, there’s still plenty of time. (He goes off, Matryona after him.)

  MME NYEGIN. They frightened me to death. They wear a person all out with those damn bells.

  Narokov enters from the other room, followed by a waiter with a bottle and then Meluzov. Narokov sits down at the end of the table, near the arch. The waiter sets the bottle in front of him. Meluzov stops by the doorway.

  ALEXANDRA (goes up to Meluzov). Not a word, for God’s sake, not a word! If you really love me, be quiet. I’ll tell you everything later. (She goes off and sits down at her place.)