ANNA SEMYONOVNA. You owe me seventy kopecks, my good sir. [SCHAAF bows frigidly] You can't punish us all the time. [To NATALYA PETROVNA.] You look pale, Natasha? Are you quite well? Shpigelsky, is she quite well?
SHPIGELSKY [who has been whispering something to RAKITIN]. Oh, perfectly!
ANNA SEMYONOVNA. That's right. . . . I'll go and have a little rest before dinner. . . . I'm dreadfully tired! Liza, come along. . . . Oh, my legs, my legs. . . .
[Goes into the outer room with LIZAVETA BOGDANOVNA. NATALYA PETROVNA walks with her to the door. SHPIGELSKY, RAKITIN and SCHAAF are left in the front of the stage]
SHPIGELSKY [offering SCHAAF his snuff-box]. Well, Adam Ivanitch, wie befinden Sie sich?
SCHAAF [taking a pinch with dignity]. Quite vell. And you?
SHPIGELSKY: Thank you kindly, pretty middling. [Aside to RAKITIN.] So you don't know what's the matter with Natalya Petrovna to-day?
RAKITIN. I don't, really.
SHPIGELSKY. Well, if you don't. .. [Turns round and goes to meet NATALYA PETROVNA who is coming back from the door.] I have a little matter to talk to you about, Natalya Petrovna.
NATALYA PETROVNA [going to the window]. Really! What is it?
SHPIGELSKY. I must speak to you alone. . . . NATALYA PETROVNA. Oh dear!... You alarm me.... [RAKITIN meanwhile has taken SCHAAF'S arm and walks to and fro with him, murmuring something to him in German. SCHAAF laughs and says in an undertone, 'Ja, ja, ja! ja wohl, ja wohl, sehr gut!']
SHPIGELSKY [dropping his voice]. This business, strictly speaking, does not concern you only. . . .
NATALYA PETROVNA [looking out into the garden]. What do you mean?
SHPIGELSKY. Well, it's like this. A good friend of mine has asked me to find out . . . that is ... your intentions in regard to your ward . . . Vera Alexandrovna. NATALYA PETROVNA. My intentions? SHPIGELSKY. That is ... to speak plainly . . my friend. . . .
NATALYA PETROVNA. You don't mean to say he wants to marry her?
SHPIGELSKY. Just so. NATALYA PETROVNA. Are you joking? SHPIGELSKY. Certainly not.
NATALYA PETROVNA [laughing]. Good gracious! She's a child; what a strange commission!
SHPIGELSKY. Strange, Natalya Petrovna? How so? My friend . . .
NATALYA PETROVNA. You're a great schemer, Shpigel-sky. And who is your friend?
SHPIGELSKY [smiling]. One minute. You haven't said anything definite yet in reply. . . .
NATALYA PETROVNA. Nonsense, Doctor. Vera is a child. You know that yourself, Monsieur le diplomate. [Turning round.] Why, here she is. [VERA and KOLYA run in from the outer room.]
KOLYA [runs up to RAKITIN]. Rakitin, some glue, tell them to give us some glue. . . .
NATALYA PETROVNA [to VERA]. Where have you been? [Strokes her cheek.] How flushed you are!
VERA. In the garden. . . . [SHPIGELSKY bows to her]. Good afternoon, Ignaty Ilyitch.
RAKITIN [to KOLYA]. What do you want with glue?
KOLYA. We must have it. ... Alexey Nikolaitch is making us a kite. . . . Ask for it. ... .
RAKITIN [is about to ring]. Very well. In a minute.
SCHAAF. Erlauben Sie. . . . Master Kolya has not learned his lesson to-day. . . . [Takes KOLYA'S hand.] Kommen Sie.
KOLYA [gloomily]. Morgen, Herr Schaaf, morgen. . . .
SCHAAF [sharply]. Morgen, morgen, nur nicht heute, sagen alle faule Leute.... Kommen Sie. [KOLYA resists.]
NATALYA PETROVNA [to VERA]. Whom have you been out with all this time? I've seen nothing of you all day.
VERA. With Alexey Nikolaitch . . . with Kolya. . . .
NATALYA PETROVNA. Ah! [Turning round.] Kolya, what's the meaning of this?
KOLYA [dropping his voice]. Mr. Schaaf. . . Maman. . .
RAKITIN [to NATALYA PETROVNA]. They are making a kite, and you see, it's time for a lesson.
SCHAAF [with a sense of dignity]. Gnädige Frau. . . .
NATALYA PETROVNA [severely, to KOLYA]. You have been playing about enough to-day, do you hear. Go along with Mr. Schaaf.
SCHAAF [leading KOLYA towards the outer room]. Es ist unerhört!
KOLYA [to RAKITIN in a whisper as he goes out]. Ask for the glue, all the same. . .. [RAKITIN nods.]
SCHAAF [pulling KOLYA]. Kommen sie, mein Herr. . . [Goes out with him. RAKITIN follows them out.]
NATALYA PETROVNA [to VERA]. Sit down . . . you must be tired. . . . [Sits down herself.]
VERA [sitting down]. Not at all, Natalya Petrovna. r
NATALYA PETROVNA [to SHPIGELSKY, with a smile]. Shpigelsky, look at her, she is tired, isn't she?
SHPIGELSKY. But that's good for Vera Alexandrovna, you know.
NATALYA PETROVNA. I don't say it's not. . . . [To VERA.] Well, what have you been doing in the garden?
VERA. Playing, running about. First we looked at the men digging the dam, then Alexey Nikolaitch climbed up a tree after a squirrel, ever so high, and began shaking the tree-top. ... It really frightened us. ... The squirrel dropped at last, and Tresor nearly caught it. ... But it got away.
NATALYA PETROVNA [glancing with a smile at SHPIGELSKY]. And then?
VERA. Then Alexey Nikolaitch made Kolya a bow . . and so quickly . . . and then he stole up to our cow in the meadow and all at once leapt on her back . .. and the cow was scared and set off running and kicking . . . and he laughed [Laughs herself] and then Alexey Nikolaitch wanted to make us a kite and so we came in.
NATALYA PETROVNA [pats her cheek]. Child, child, you are a perfect child.... What do you think, Shpigelsky?
SHPIGELSKY [slowly, looking at NATALYA PETROVNA]. I agree with you.
NATALYA PETROVNA. I should think so.
SHPIGELSKY. But that's no hindrance. . . . On the contrary . . .
NATALYA PETROVNA. You think so? [To VERA.] And you've been enjoying yourself?
VERA. Yes. . . . Alexey Nikolaitch is so amusing.
NATALYA PETROVNA. Oh, he is, is he? [.After a brief pause.] And, Vera, how old are you? [VERA looks at her with some surprise.] You're a child ... a child.
[RAKITIN comes in from the outer room.]
SHPIGELSKY [fussily]. Ah, I was forgetting . . . your coachman is ill ... and I haven't had a look at him yet. . . .
NATALYA PETROVNA. What's the matter with him?
SHPIGELSKY. He's feverish, but it's nothing serious.
NATALYA PETROVNA [calling after him]. You are dining with us, Doctor?
SHPIGELSKY. With your kind permission. [Goes out by centre door.]
NATALYA PETROVNA. Mon enfant, vous feriez bien de mettre une autre robe pour le diner. . . . [VERA gets up.] Come to me. . . . [Kisses her on the forehead.] Child. . . . Child. [VERA kisses her hand and goes towards door on right.]
RAKITIN [aside to VERA with a wink]. I've sent Alexey Nikolaitch all you need.
VERA [aside]. Thank you, Mihail Alexandritch. [Goes out.]
RAKITIN [goes up to NATALYA PETROVNA, she holds out her hand to him. He at once presses it]. At last, we are alone. Natalya Petrovna, tell me, what's the matter?
NATALYA PETROVNA. Nothing, Michel, nothing. And if there were, it's all over now. Sit down. [RAKITIN sits down beside her.] That happens to everybody. Clouds pass over the sky. Why do you look at me like that?
RAKITIN. I'm looking at you. ... I am happy. NATALYA PETROVNA [smiles in answer to him]. Open the window, Michel. How lovely it is in the garden! [RAKITIN gets up and opens the window.] How I welcome the wind! [Laughs.] It seems to have been waiting for a chance to burst in. ... [Looks round.] How completely it's taken possession of the room. . . . There's no turning it out now. . . .
RAKITIN. You are as soft and sweet yourself now as an evening after a storm.
NATALYA PETROVNA [dreamily repeating the last words]. After a storm?... But has there been a storm?
RAKITIN [shaking his head]. It was gathering.
NATALYA PETROVNA. Really? [Gazing at him, after a short silence.] Do you know, Michel, I can't imagine a kinder man than you? [RAKITIN tries to stop her.] No, don't prevent my speaking out. You are symp
athetic, affectionate, constant. You never change. I owe you so much.
RAKITIN. Natalya Petrovna, why are you telling me this just now?
NATALYA PETROVNA. I don't know; I feel light-hearted, I'm at rest; don't stop me from chattering, . . .
RAKITIN [pressing her hand]. You are kind as an angel. . . .
NATALYA PETROVNA [laughing]. You wouldn't have said so this morning. But listen, Michel, you know me, you must make allowances for me. Our relations are so pure, so genuine,. . . and at the same time, not quite natural. .. . You and I have the right to look everybody in the face, not only Arkady. . . . Yes, but . . . [Sinking into thought.] That's what makes me sometimes depressed and ill at ease. I feel spiteful like a child, I'm ready to vent my spite on others, especially on you. . . . You don't resent that privilege?
RAKITIN [earnestly]. Quite the contrary.
NATALYA PETROVNA. Yes, at times it gives one pleasure to torture the man whom one loves . . . whom one loves. . . . Like Tatyana, I too can say, why not be frank?
RAKITIN. Natalya Petrovna, you . . . NATALYA PETROVNA [interrupting him]. Yes, I love you; but do you know, Rakitin? Do you know what sometimes seems strange to me? I love you . . . and the feeling is so clear, so peaceful. ... It does not agitate me. ... I am warmed by it. ... [Earnestly.] You have never made me cry .. . and it seems as though I ought to have. . . . [Breaking off.] What does that show?
RAKITIN [rather mournfully]. That's a question that needs no answer.
NATALYA PETROVNA [dreamily]. And we have known each other a long while.
RAKITIN. Four years. Yes, we are old friends.
NATALYA PETROVNA. Friends. . . . No, you are more to me than a friend.
RAKITIN. Natalya Petrovna, don't touch on that. . . . I'm afraid for my happiness, I'm afraid it may vanish at your touch.
NATALYA PETROVNA. No ... no ... no. The whole point is that you are too good. . . . You give way to me too much. . . . You have spoilt me. . . . You are too good, do you hear?
RAKITIN [with a smile]. I hear, madam.
NATALYA PETROVNA [looking at him]. I don't know what you feel but I desire no other happiness. Many women might envy me. [Holds out both hands to him.] Mightn't they?
RAKITIN. I'm in your hands.... Do with me what you will. . . . [The voice of ISLAYEV from the outer room: 'So you've sent for him, have you?']
NATALYA PETROVNA [getting up quickly]. Arkady! I can't see him just now. . . . Good-bye! [Goes out by door on right.]
RAKITIN [looking after her]. What does it mean? The beginning of the end, or the end? [d brief pause.] Or the beginning?
[Enter ISLAYEV looking worried.]
ISLAYEV [taking off his hat]. Good afternoon, Michel. RAKITIN. We've seen each other already to-day. ISLAYEV. Oh! I beg your pardon. . . . I've had so much to see to. ... [Walks up and down the room.] It's a queer thing! The Russian peasant is very intelligent, very quick of understanding, I've a respect for the Russian peasant ... and yet sometimes, you may talk to him, and explain away. . . . It's clear enough you'd think, but it's all no use at all. The Russian peasant hasn't that. . . that . . .
RAKITIN. You're still busy with the dam, are you?
ISLAYEV. That ... so to speak . . . love for work . . . that's just it, he has no love for it. He won't let you tell him what you think properly. 'Yes, Sir.' . . . Yes, indeed, when he hasn't taken in a word. Look at a German now, it's quite a different thing! The Russian has no patience. For all that, I have a respect for him.... Where's Natasha? Do you know?
RAKITIN. She was here just now.
ISLAYEV. What time is it? Surely, dinner-time. I've been on my feet all day--such a lot to do. ... And I haven't been to the building yet. . . . The time goes so fast. It's dreadful! One's simply behindhand with everything------ [RAKITIN smiles.] You're laughing at me, I see. . . . But I can't help it, old man. People are different. I'm a practical man, born to look after my land--and nothing else. There was a time when I dreamed of other things; but I burnt my fingers--I can tell you--came to grief, you know. Why isn't Beliayev here?
RAKITIN. Who's Beliayev?
ISLAYEV. Our new teacher. He's a shy bird, but he'll get used to us. He has a head on his shoulders. I asked him to see how the building was going on to-day.... [Enter BELIAYEV.] Oh, here he is! Well, how are they getting on? Doing nothing, I expect?
BELIAYEV. No, Sir, they are working.
ISLAYEV. Have they finished the framing of the second barn?
BELIAYEV. They have begun the third.
ISLAYEV. And did you speak to them about the beams?
BELIAYEV. Yes.
ISLAYEV. Well, what did they say?
BELIAYEV. They say that's how they always do it.
ISLAYEV. Hm. ... Is Yermil the carpenter there?
BELIAYEV. Yes.
ISLAYEV. Ah! well, thanks! [Enter NATALYA.] Ah! Natasha! Good afternoon.
RAKITIN. Why twenty greetings to each of us to-day?
ISLAYEV. I tell you, I'm tired out with all I've had to see to. Oh! by the way. I haven't shown you my new winnowing machine, have I? Do come along, it's worth seeing. It's marvellous, a whirlwind, a regular whirlwind. We've time before dinner. . . . What do you say?
RAKITIN. Oh, by all means.
ISLAYEV. Won't you come with us, Natasha?
NATALYA PETROVNA. As though I know anything about your machines! You go by yourselves--and mind you're not late.
ISLAYEV [going out with RAKITIN]. We'll be back immediately.
[BELIAYEV is about to follow them.]
NATALYA PETROVNA [to BELIAYEV]. Where are you going, Alexey Nikolaitch?
BELIAYEV. I ... I. ...
NATALYA PETROVNA. Of course go, if you want a walk. . . .
BELIAYEV. Why no, I've been out of doors all the morning.
NATALYA PETROVNA. Well, then, sit down. ... Sit here. [Motions him to a chair.] We have not had a proper talk, Alexey Nikolaitch. We have not made friends yet. [BELIAYEV bows and sits down.] I want to get to know you.
BELIAYEV. I'm . . . it's very kind of you.
NATALYA PETROVNA [with a smile]. You are afraid of me, I see ... but wait a little, you won't be afraid of me, when you know me. Tell me . .. tell me now how old are you?
BELIAYEV. Twenty-one.
NATALYA PETROVNA. Are your parents living?
BELIAYEV. My mother is dead, my father is living.
NATALYA PETROVNA. Has your mother been dead long?
BELIAYEV. Yes, a long time.
NATALYA PETROVNA. But you remember her?
BELIAYEV. Oh yes ... I remember her.
NATALYA PETROVNA. And does your father live in Moscow?
BELIAYEV. Oh no, in the country.
NATALYA PETROVNA. And have you any brothers and sisters?
BELIAYEV. One sister. NATALYA PETROVNA. Are you fond of her? BELIAYEV. Yes. She's much younger than I am. NATALYA PETROVNA. And what's her name? BELIAYEV. Natalya.
NATALYA PETROVNA [eagerly]. Natalya! How odd! I'm Natalya too! . . . [Pauses.] And you are very fond of her?
BELIAYEV. Yes.
NATALYA PETROVNA. Tell me what do you think of my Kolya?
BELIAYEV. He is a dear boy.
NATALYA PETROVNA. He is, isn't he? And so affectionate. He's devoted to you already.
BELIAYEV. I'll do my best. . . . I'm glad.
NATALYA PETROVNA. You see, Alexey Nikolaitch, of of course I should like to make him a thoroughly able man--I don't know whether I shall succeed in that, but anyway I want him to look back on his childhood with pleasure. Let him grow up in freedom, that's the great thing. I was brought up very differently, Alexey Nikolaitch; my father was not an unkind man, but he was stern and irritable; everyone in the house, including my mother, was afraid of him. My brother and I used to cross ourselves in terror whenever we were summoned to his room. Sometimes my father would pet me, but even in his arms I was in a panic. My brother grew up, and you may perhaps have heard of his rupture with my father. ... I shall never forget that awful day. ... I
remained an obedient daughter up to my father's death. . . . He used to call me his consolation, his Antigone (he was blind for some years before his death) ... but however tender he was he could never make me forget those early impressions. ... I was afraid of him, a blind old man, and never felt at ease in his presence. The traces of timidity, of those years of repression, haven't perhaps quite disappeared even now.... I know that at first sight I seem ... how shall I say? . . . frigid, perhaps. . . . But I notice I'm talking to you about myself, instead of talking about Kolya. I only meant to say that I know from my own experience how good it is for a child to grow up in freedom. You now, I imagine, have never been repressed as a child, have you?
BELIAYEV. I don't know really. . . . Of course nobody repressed me, nobody bothered about me.
NATALYA PETROVNA [shyly]. Why, didn't your father....
BELIAYEV. He'd no time to spare. He was always going round among the neighbours ... on business ... or if not business exactly. . . . He got his living through them, in a way. . . . By his services. . . .
NATALYA PETROVNA. Oh! So then nobody troubled about bringing you up?
BELIAYEV. As a matter of fact, nobody did. I dare say that's evident though, I'm only too aware of my defects.
NATALYA PETROVNA. Perhaps ... but on the other hand. . . . [Checks herself and adds in some embarrassment.] Oh, by the way, Alexey Nikolaitch, was that you singing in the garden yesterday?
BELIAYEV. When?
NATALYA PETROVNA. In the evening ... by the pond . .. was it you?
BELIAYEV. Yes. [Hurriedly.] I didn't think . . . the pond is such a long way off. ... I didn't think it could be heard from here.
NATALYA PETROVNA. Are you apologizing? You have a very pleasant musical voice and you sing so well. You have studied music?
BELIAYEV. No, not at all. I only sing by ear ... only simple songs.
NATALYA PETROVNA. You sing them capitally. ... I'll ask you some time . . . not just now, but when we know each other better, when we are friends. . . . We are going to be friends, Alexey Nikolaitch, aren't we? I feel confidence in you; the way I've been chattering is a proof of it. . . . [She holds out her hand for him to shake hands. BELIAYEV takes it irresolutely and after some hesitation, not knowing what to do with the hand, kisses it. NATALYA PETROVNA flushes and draws away her hand. At that moment SHPIGELSKY comes in from the outer room, stops short, then takes a step forward, NATALYA PETROVNA gets up quickly, BELIAYEV does the same.] NATALYA PETROVNA [embarrassed]. Oh, it's you, Doctor . . . here Alexey Nikolaitch and I have been having
A Month in the Country Page 2