VERA [looking after him]. Anything in the world is better than staying here. [Stands up.] Yes, I have made up my mind. I won’t stop in this house ... not for anything. I can’t endure her soft looks, her smiles, I can’t bear the sight of her, basking and purring in her happiness. . . . She’s happy, however she pretends to be sad and sorrowful. . . . Her caresses are unbearable. . . .
[BELIAYEV appears in the door of the outer room. He looks round and goes up to VERA.]
BELIAYEV [in a low voice]. Vera Alexandrovna, you’re alone?
VERA [looks round, starts, and after a moment, brings out], Yes.
BELIAYEV. I’m glad to find you alone. ... I should not have come in here otherwise. Vera Alexandrovna, I’ve come to say good - bye to you. VERA. Good - bye?
BELIAYEV. Yes, I’m going away. VERA. You are going away? You too? BELIAYEV. Yes ... I too. [With intense suppressed feeling.] You see, Vera Alexandrovna, I can’t stay here. I’ve done so much harm here already. Apart from my having - - I don’t know how - - disturbed your peace of mind and Natalya Petrovna’s, I’ve broken up old friendships. Thanks to me, Mr. Rakitin is leaving this house, you have quarrelled with your benefactress. . . . It’s time to put a stop to it all. After I am gone, I hope everything will settle down and be right again. . . . Turning rich women’s heads and breaking young girls’ hearts is not in my line. . . . You will forget about me, and, in time perhaps, will wonder how all this could have happened. ... I wonder even now. . . . I don’t want to deceive you, Vera Alexandrovna; I’m frightened, I’m terrified of staying here. ... I can’t answer for anything. . . . And you know I’m not used to all this. I feel awkward. ... I feel as though everybody’s looking at me. . . . And in fact it would be impossible for me .. . now . . . with you both. . . .
VERA. Oh, don’t trouble yourself on my account! I’m not staying here long.
BELIAYEV. What do you mean?
VERA. That’s my secret. But I shan’t be in your way, I assure you.
BELIAYEV. Well, but, you see, I must go. Think; I seem to have brought a plague into this house, everyone’s running away. . . . Isn’t it better for me to disappear before more harm’s done? I have just had a great talk with Mr. Rakitin. . . . You can’t imagine how bitterly he spoke. . . . And he might well jeer at my new coat. . . . He’s right. Yes, I must go. Would you believe it, Vera Alexandrovna, I’m longing for the minute when I shall be racing along the high road in a cart. I’m stifling here, I want to get into the open air. I can’t tell you how grieved and at the same time light - hearted I feel, like a man setting off on a long journey overseas; he’s sad and sick at parting from his friends, yet the sound of the sea is so joyful, the wind is so fresh in his face, that it sets his blood dancing, though his heart may ache. . . . Yes, I’m certainly going. I’ll go back to Moscow, to my old companions, I’ll set to work. . . .
VERA. You love her, it seems, Alexey Nikolaitch; you love her, yet you are going away.
BELIAYEV. Hush, Vera Alexandrovna, why do you say that? Don’t you see that it’s all over? It flared up and has gone out like a spark. Let us part friends. It’s time. I’ve come to my senses. Keep well, be happy, we shall see each other again some day. ... I shall never forget you, Vera Alexandrovna. . . . I’m very fond of you, believe me. . . . [Presses her hand and adds hurriedly.] Give this note to Natalya Petrovna for me. . . .
VERA [glancing at him embarrassed]. A note?
BELIAYEV. Yes ... I can’t say good - bye to her.
VERA. But are you going at once?
BELIAYEV. This minute. ... I have not said anything to anybody . . . except Mihail Alexandritch. He approves. I’m going to walk from here to Petrovskoe. There I shall wait for Mihail Alexandritch and we shall drive on to the town together. I’ll write from there. My things will be sent on after me. You see it’s all settled. But you can read the note. There’s only a couple of words in it.
VERA [taking the note from him]. And you are really going?
BELIAYEV. Yes, yes. . . . Give her that note and say . . . No, there’s no need to say anything. . . . What’s the use? [Listening.] Here they come. Good - bye. [Rushes to the door, stops an instant in the doorway, then runs away. VERA is left with the note in her hand. NATALYA PETROVNA comes in.]
NATALYA PETROVNA [going up to VERA]. Verotchka. . . . [Glances at her and breaks off.] What’s the matter?
[VERA holds out the note without a word.] A note? From whom?
VERA [in a toneless voice]. Read it.
NATALYA PETROVNA. You frighten me. [Reads the note in silence and suddenly presses both hands to her face and sinks into an armchair. A long silence]
VERA [approaching her]. Natalya Petrovna.
NATALYA PETROVNA [not taking her hands from her face]. He is gone! . . . He wouldn’t even say good - bye to me. . . . Oh, to you he said good - bye, anyway!
VERA [sadly]. He doesn’t love me. . . .
NATALYA PETROVNA [taking her hands from her face and standing up]. But he has no right to go off like this. . . . I will ... He can’t do this. . . . Who told him he might break away so stupidly. . . . It’s simply contempt. ... I . . . how does he know I should never have the courage. . . . [Sinks into the armchair.] My God! my God!
VERA. Natalya Petrovna, you told me yourself just now that he must go. . . . Remember.
NATALYA PETROVNA. You are glad now. . . . He is gone. . . . Now we are equal. [Her voice breaks]
VERA. Natalya Petrovna, you said to me just now; these were your very words; instead of tormenting each other hadn’t we better think together how to get out of this position, how to save ourselves. . . . We are saved now.
NATALYA PETROVNA [turning away from her almost with hatred]. Ah! ...
VERA. I understand, Natalya Petrovna; don’t worry yourself. ... I shan’t burden you with my company long. We can’t live together.
NATALYA PETROVNA [tries to hold out her hand to VERA but lets it fall on her lap]. Why do you say that, Verotchka? . . . Do you too want to leave me? Yes, you are right, we are saved now. All is over . . . everything is settled again. . . .
VERA [coldly]. Don’t disturb yourself, Natalya Petrovna. [She looks at NATALYA PETROVNA without speaking. ISLAYEV comes out of the study]
ISLAYEV [after looking for a moment at NATALYA PETROVNA, aside to VERA]. Does she know that he is going?
VERA [puzzled]. Yes . . . she knows.
ISLAYEV [to himself]. But why has he been in such a hurry? . . . [Aloud.] Natasha. . . . [He takes her hand. She raises her head] It’s I, Natasha. [She tries to smile] You’re not well, my darling? I should advise you to lie down, really. . . .
NATALYA PETROVNA. I’m quite well, Arkady; it’s nothing.
ISLAYEV But you’re pale . . . Come, do as I say. . . Rest a little.
NATALYA PETROVNA. Oh! very well. . . . [She tries to get up, and cannot]
ISLAYEV [helping her]. There you see. . . . [She leans on his arm] Shall I help you along?
NATALYA PETROVNA. Oh, I’m not so weak as all that! Come, Vera. [Goes towards the study. RAKITIN comes in from the outer room. NATALYA PETROVNA stops]
RAKITIN. I have come, Natalya Petrovna, to ...
ISLAYEV [interrupting him]. Ah, Michel, come here! [Draws him aside - - in an undertone with vexation.] What made you tell her at once like this? Didn’t I beg you not to! Why be in such a hurry?... I found her here in such a state.
RAKITIN [perplexed], I don’t understand.
ISLAYEV. You’ve told Natasha you are going. . . .
RAKITIN. So you suppose that is what has upset her?
ISLAYEV. Sh! she is looking at us. [Aloud.] You’re not going to lie down, Natasha?
NATALYA PETROVNA. Yes. . . . I’m going. . . .
RAKITIN. Good - bye, Natalya Petrovna! [NATALYA PETROVNA takes hold of the door - handle and makes no reply]
ISLAYEV [laying his hand on RAKITIN’S shoulder]. Natasha, do you know this is one of the best of men. . . .
NATALYA PETROVNA [with sudden vehemence].
Yes, I know he’s a splendid man . . . you’re all splendid men . . . all of you, all ... and yet. . . . [She hides her face in her hands, pushes the door open with her knee and goes out hurriedly. VERA goes out after her. ISLAYEV in silence sits down to the table and leans on his elbows.]
RAKITIN [looks at him for some time and with a bitter smile shrugs his shoulder.] Nice position mine! Glorious, it certainly is! Really it’s positively refreshing. And what a farewell after four years of love! Excellent, serve the talker right. And thank God, it’s all for the best. It was high time to end these sickly, morbid relations. [Aloud to ISLAYEV.] Well, Arkady, good - bye.
ISLAYEV [raises his head. There are tears in his eyes]. Good - bye, my dear, dear boy. It’s . . . not quite easy to bear. I didn’t expect it. It’s like a storm on a clear day. Well, grind the corn and there’ll be flour. But anyway, thank you, thank you. You’re a true friend.
RAKITIN [aside through his teeth]. This is too much. [Abruptly.] Good - bye. [Is about to go into outer room. SHPIGELSKY runs in, meeting him.]
SHPIGELSKY. What is it? They tell me Natalya Petrovna is ill. . . .
ISLAYEV [getting up]. Who told you so?
SHPIGELSKY. The girl. . . her maid. . . .
ISLAYEV. No, it’s nothing, Doctor. I think, better not disturb Natasha just now. . . .
SHPIGELSKY. Ah! well, that’s all right. [To RAKITIN.] I hear you’re going to town?
RAKITIN. Yes, on business.
SHPIGELSKY. Ah! on business!. . . [At that instant ANNA SEMYONOVNA, LIZAVETA BOGDANOVNA, KOLYA and SCHAAF burst in from the outer room, all at once.]
ANNA SEMYONOVNA. What is it? What’s the matter? What’s wrong with Natasha?
KOLYA. What’s the matter with Mamma? What is it?
ISLAYEV. Nothing’s the matter with her. ... I saw her a minute ago. What’s the matter with all of you?
ANNA SEMYONOVNA. Really, Arkasha, we were told Natasha’s been taken ill. . . .
ISLAYEV. Well, you shouldn’t have believed it.
ANNA SEMYONOVNA. But why are you so cross, Arkasha? Our sympathy’s only natural.
ISLAYEV. Of course ... of course.
RAKITIN. It’s time for me to start.
ANNA SEMYONOVNA. You are going away?
RAKITIN. Yes. ... I am going.
ANNA SEMYONOVNA [to herself]. Ah! Well, now I understand.
KOLYA [to ISLAYEV]. Papa . ..
ISLAYEV. What do you want?
KOLYA. Why has Alexey Nikolaitch gone out?
ISLAYEV. Where’s he gone?
KOLYA. I don’t know. . . He kissed me, put on his cap and went out. . . . And it’s time for my Russian lesson.
ISLAYEV. I expect he’ll be back soon. . . . We can send to look for him, though.
RAKITIN [aside to ISLAYEV]. Don’t send after him, Arkady, he won’t come back. [ANNA SEMYONOVNA tries to overhear; SHPIGELSKY is whispering with LIZAVETA BOGDANOVNA.]
ISLAYEV. What’s the meaning of that?
RAKITIN. He’s going away, too.
ISLAYEV. Going away . . . where?
RAKITIN. To Moscow.
ISLAYEV. To Moscow? Why, is everybody going mad to - day, or what?
RAKITIN [in a still lower voice]. Well, the fact is ... Verotchka’s fallen in love with him ... so being an honourable man he decided to go. [ISLAYEV, flinging up his hands, sinks into an arm - chair.] You understand now, why. . . .
ISLAYEV [leaping up]. Understand? I understand nothing. My head’s going round. What is one to make of it? All fluttering off in different directions like a lot of partridges, and all because they’re honourable men. . . . And all at once on the same day. . . .
ANNA SEMYONOVNA [coming up from one side]. But what’s this? Mr. Beliayev, you say . . .
ISLAYEV [shouts hysterically]. Never mind, Mamma, never mind! Herr Schaaf, kindly give Kolya his lesson now instead of Mr. Beliayev. Take him away.
SCHAAF. Yes, Sir. [Takes KOLYA’S hand.]
KOLYA. But, Papa . . .
ISLAYEV [shouting]. Go along, go along! [SCHAAF leads KOLYA away.] I’ll come part of the way with you, Rakitin. . . . I’ll have my horse saddled, and wait for you at the dam. . . . And you, Mamma, meanwhile, for God’s sake, don’t disturb Natasha, nor you either, Doctor. . . . Matvey! Matvey! [Goes out hurriedly. ANNA SEMYONOVNA sits down with melancholy dignity. LIZAVETA BOGDANOVNA takes her stand behind her. ANNA SEMYONOVNA turns her eyes upwards, as though disclaiming all connexion with what is going on around her.]
SHPIGELSKY [slyly and stealthily to RAKITIN]. Well, Mihail Alexandritch, may I have the honour of driving you along the high road with my three new horses?
RAKITIN. Why? Have you got the horses already?
SHPIGELSKY [discreetly]. I had a little talk with Vera Alexandrovna. ... So may I?
RAKITIN. By all means! [Bows to ANNA SEMYONOVNA.] Anna Semyonovna, I have the honour to ...
ANNA SEMYONOVNA [still as majestically, not getting up]. Good - bye, Mihail Alexandritch.... I wish you a successful journey. . . .
RAKITIN. I thank you . . . Lizaveta Bogdanovna. . . . [Bows to her. She curtsies in reply. He goes into outer room.]
SHPIGELSKY [going up to kiss ANNA SEMYONOVNA’S hand]. Good - bye, gracious lady. .. .
ANNA SEMYONOVNA [less majestically but still severely], Ah! you are going too, Doctor. . . .
SHPIGELSKY. Yes. My patients, you know, madam. . . . Besides, you see my presence here is not needed. [As he bows himself out, winks slyly at LIZAVETA BOGDANOVNA, who replies with a smile.] Good - bye for the present. . . . [Runs off after RAKITIN.]
ANNA SEMYONOVNA [lets him disappear, then folding her arms, turns deliberately to LIZAVETA BOGDANOVNA]. And what do you think of all this, my dear, pray?
LIZAVETA BOGDANOVNA [sighing]. I really don’t know what to say, Anna Semyonovna.
ANNA SEMYONOVNA. Did you hear, Beliayev too has gone? . . .
LIZAVETA BOGDANOVNA [sighing again]. Ah, Anna Semyonovna, perhaps I, too, may not be staying here much longer. ... I too am going away. [ANNA SEMYONOVNA stares at her in unutterable amazement. LIZAVETA BOGDANOVNA stands before her, without raising her eyes.]
CURTAIN
A PROVINCIAL LADY
A play in One Act
Translated by Constance Garnett, 1899
CONTENTS
CHARACTERS IN THE PLAY
A PROVINCIAL LADY
CHARACTERS IN THE PLAY
Alexey Ivanovitch Stupendyev, a district Government clerk, aged 48.
Darya Ivanovna, his wife, aged 28.
Misha, a distant cousin of Darya Ivanovna, aged 19.
Valeryan Nikolayevitch, Count Lyubin, aged 49.
Valet of the Count, aged 30.
Vassilyevna, Stupendyev’s cook, aged 50.
Apollon, Stupendyev’s house - boy, aged 17.
A PROVINCIAL LADY
The action takes place in a provincial town in the house of the Stupendyevs.
The drawing - room in the house of a not well - to - do Government clerk. In Centre, door into hall; on Right, door into study; on Left, two windows and door into little garden. On Left in corner, a low screen and in foreground a sofa, two chairs, a little table, and an embroidery frame; on Right, a small piano in background, and in foreground a table and chair. Darya Ivanovna is sitting at embroidery frame. She is simply but tastefully dressed. Misha is sitting quietly on the sofa, reading a book.
Darya [going on with her work and not raising her eyes]. Misha!
Misha [putting down the book]. What is it? Darya. Have you . . . been to Popov’s? Misha. Yes. Darya. What did he say?
Misha. He said that everything shall be sent punctually. I particularly asked him about the red wine. You can be sure of that, he said. [A pause.] May I ask, are you expecting somebody, Darya Ivanovna? Darya. I am.
Misha [again a pause]. May I ask, whom? Darya. You are inquisitive. However, you are not a gossip, and I can tell you whom I am expecting, Count Lyubin.
Misha. That rich gentleman who ha
s come to his estate here lately? Darya. Yes.
Misha. Well, he is expected to - day at Kulyeshkin’s hotel. But may I ask, do you know him?
Darya. I don’t now.
Misha. Ah! then you used to?
Darya. Are you cross - examining me?
Misha. I beg your pardon. [J pause.] It was stupid of me to ask, though. Of course he must be the son of the Countess Lyubin who was your benefactress.
A Sportsman's Sketches: Works of Ivan Turgenev 1 Page 337