Works of Ivan Turgenev (Illustrated)

by Ivan Turgenev

  RAKITIN [bitterly]. Oh no! you’re not mistaken!

  ISLAYEV. Well, you see! So you are going away?

  RAKITIN. Yes.

  ISLAYEV. H’m! And how suddenly this has burst on us! If only you had not been so confused when my Mother and I came upon you. . . .

  MATVEY [coming in]. The bailiff is here.

  ISLAYEV. Ask him to wait! [MATVEY goes out.] But, Michel, you won’t be away for long? That’s nonsense.

  RAKITIN. I don’t know . . . really ... a good time, I expect.

  ISLAYEV. But you don’t take me for an Othello, do you? Upon my word, I don’t believe there has been such a conversation between two friends since the world began! I can’t part from you like this. . . .

  RAKITIN [pressing his hand]. You’ll let me know when I can come back. . . .

  ISLAYEV. There’s nobody who can fill your place here! Not Bolshintsov, anyway!

  RAKITIN. There are others. . . .

  ISLAYEV. Who? Krinitsyn? That conceited fool? Beliayev, of course, is a good - natured lad ... but you can’t speak of him in the same breath.

  RAKITIN [ironically]. Do you think so? You don’t know him, Arkady. . . . Look at him more attentively. ... I advise you. . . . Do you hear? He’s a very . . . very remarkable fellow!

  ISLAYEV. Pooh! To be sure, Natasha and you were always meaning to finish his education! [Glancing towards the door.] Ah! here he is, coming here, I do believe. . . . [Hurriedly.] And so, dear Michel, it’s settled . . . you are going away ... for a short time ... some days. . . . No need to hurry . . . we must prepare Natasha, . . . I’ll soothe my Mother. . . . And God give you happiness! You’ve lifted a load off my heart. . . . Embrace me, dear boy! [Hastily embraces him and turns to BELIAYEV who is coming in.] Ah! . . . it’s you! Well. . . well, how are you?

  BELIAYEV. Very well, thank you, Arkady Sergeyitch.

  ISLAYEV. And where’s Kolya?

  BELIAYEV. He’s with Herr Schaaf.

  ISLAYEV. Ah ... that’s right! [Takes his hat.] Well, I must be off, my friends. I’ve not been anywhere this morning, neither to the dam nor the building. . . . Here, I’ve not even looked through my papers. [Gathers them up under his arm.] Good - bye for now! Matvey! Matvey! Come with me! [Goes out. RAKITIN remains in front of stage, plunged in thought.]

  BELIAYEV [goes up to him]. How are you feeling this morning, Mihail Alexandritch?

  RAKITIN. Thank you. Just as usual. And you?

  BELIAYEV. I’m quite well.

  RAKITIN. That’s obvious!

  BELIAYEV. How so?

  RAKITIN. Why . . . from your face. . . . And oh! you’ve put on your new coat this morning. . . . And what do I see? A flower in your buttonhole! [BELIAYEV, blushing, snatches it out.] Oh! why . . . why. . . . It’s charming. [A pause.] By the way, Alexey Nikolaitch, if there’s anything you want . . . I’m going to the town tomorrow.

  BELIAYEV. To - morrow?

  RAKITIN. Yes . . . and from there on to Moscow, perhaps.

  BELIAYEV [with surprise]. To Moscow? Why, only yesterday you said you meant to be here another month or so....

  RAKITIN. Yes . . . but business . . . things have turned up....

  BELIAYEV. And shall you be away for long?

  RAKITIN. I don’t know ... a long time, perhaps.

  BELIAYEV. Do you mind telling me - - does Natalya Petrovna know of your intention?

  RAKITIN. No. Why do you ask me about her?

  BELIAYEV. Why? [A little embarrassed.’] Oh, nothing.

  RAKITIN [pausing and looking round]. Alexey Nikolaitch, there’s nobody in the room but ourselves; isn’t it queer that we should keep up a farce before each other? Don’t you think so?

  BELIAYEV. I don’t understand you, Mihail Alexandritch.

  RAKITIN. Oh, you don’t? Do you really not understand why I’m going away?

  BELIAYEV. No.

  RAKITIN. That’s strange. . . . However, I’m willing to believe you. Perhaps you really don’t know the reason ... would you like me to tell you why I’m going?

  BELIAYEV. Please do.

  RAKITIN. Well, you see, Alexey Nikolaitch - - but I rely on your discretion - - you found me just now with Arkady Sergeyitch. . . . We have had a rather important conversation. In consequence of which I have decided to depart. And do you know why? I’m telling you all this because I think you are a really good fellow. . . . He imagined that I ... oh! well, that I’m in love with Natalya Petrovna. What do you think of that? It’s a queer notion, isn’t it? But I am grateful to him for speaking to me simply, straight out instead of being underhand, keeping watch on us and all that. Come, tell me now what would you have done in my place? Of course, there are no grounds at all for his suspicions, still he’s worried by them. . . . For the peace of mind of his friends, a decent man must be ready at times to sacrifice . . . his own pleasure. So that’s why I’m going away. . . . I’m sure you think I’m right, don’t you? You too ... you would certainly do the same in my place, wouldn’t you? You would go away too?

  BELIAYEV [after a pause]. Perhaps.

  RAKITIN. I am very glad to hear that. . . . Of course, I can’t deny that my making off has its comic side. It’s as though I imagine I’m dangerous; but you see, Alexey Nikolaitch, a woman’s honour is such an important thing. . . . And at the same time - - of course, I don’t say this of Natalya Petrovna - - but I have known women pure and innocent at heart, perfect children for all their cleverness, who just through that very purity and innocence, are more apt than others to give way to sudden passion. . . . And so, who knows? One can’t be too discreet in such cases, especially as ... By the way, Alexey Nikolaitch, you may perhaps still imagine that love is the greatest bliss on earth?

  BELIAYEV [coldly]. I have had no experience, but imagine that to be loved by a woman one loves is a great happiness.

  RAKITIN. God grant you long preserve such pleasant convictions! It’s my belief, Alexey Nikolaitch, that love of every kind, happy as much as unhappy, is a real calamity if you give yourself up to it completely.. .. Wait a bit! You may learn yet how those soft little hands can torture you, with what sweet solicitude they can tear your heart to rags. . . . Wait a bit! You will learn what burning hatred lies hidden under the most ardent love! You will think of me when you yearn for peace, for the dullest, most commonplace peace as a sick man yearns for health, when you will envy any man who is free and light - hearted. . . . You wait! You will know what it means to be tied to a petticoat, to be enslaved and poisoned - - and how shameful and agonizing that slavery is! ... You will learn at last how little you get for all your sufferings. . . . But why am I saying all this to you, you won’t believe me now. The fact is that I am very glad of your approval. . . yes, yes ... in such cases one ought to be careful.

  BELIAYEV [who has kept his eyes fixed on RAKITIN]. Thanks for the lesson, Mihail Alexandritch, though I didn’t need it.

  RAKITIN [takes his hand]. Please forgive me, I had no intention ... it’s not for me to give lessons to anyone whatever ... I was just talking. .. .

  BELIAYEV [with slight irony]. Not apropos of anything?

  RAKITIN [a little embarrassed]. Just so, not apropos of anything in particular. ... I only meant.... You haven’t hitherto had occasion, Alexey Nikolaitch, to study women. Women are peculiar creatures.

  BELIAYEV. But of whom are you speaking?

  RAKITIN. Oh ... no one in particular.

  BELIAYEV. Of women in general?

  RAKITIN [with a constrained smile]. Yes, perhaps. I really don’t know what business I have to adopt this lecturing tone, but do let me at parting give you this one piece of advice. [Breaking off with a gesture of dismissal] But there! I’m not the man to give anyone advice! Please forgive my running on like this....

  BELIAYEV. Oh, not at all. . . .

  RAKITIN. So you don’t want anything in the town?

  BELIAYEV. Nothing, thank you. But I’m sorry you’re going away.

  RAKITIN. Thanks very much. ... So am I, I can assure you. . . . [NATALYA PETR
OVNA and VERA come in from the study. VERA is very sad and pale] I am very glad to have made your acquaintance. . . . [Presses his hand again]

  NATALYA PETROVNA [looks at them and then goes up to them]. Good morning.

  RAKITIN [turning quickly]. Good morning, Natalya Petrovna .... Good morning Vera Alexandrovna. . . . [BELIAYEV bows to NATALYA PETROVNA and VERA without speaking. He is confused]

  NATALYA PETROVNA [to RAKITIN]. What are you doing this morning?

  RAKITIN. Oh, nothing. . . .

  NATALYA PETROVNA. Vera and I have been walking in the garden. . . . It’s a lovely day. . The scent of the lime trees is so delicious. We’ve been walking under the lime trees. . . . It’s delightful to listen to the humming of the bees in the shade overhead. . . . [Timidly to BELIAYEV.] We expected to meet you there. [BELIAYEV is silent]

  RAKITIN [to NATALYA PETROVNA]. Ah! You too can admire the beauties of nature to - day. ... [A pause] Alexey Nikolaitch couldn’t go into the garden. ... He has got his new coat on.

  BELIAYEV [reddening]. Of course, it’s the only one I have, and I dare say it might get torn in the garden. ... I suppose that’s what you mean?

  RAKITIN [blushing]. Oh no ... I didn’t mean that. . . . [VERA goes in silence to sofa on Right, sits down and takes up her work. NATALYA PETROVNA gives BELIAYEV a constrained smile. A brief, rather oppressive silence. RAKITIN goes on with malicious carelessness] Ah, I’d forgotten to tell you, Natalya Petrovna, I’m going away to - day. . . .

  NATALYA PETROVNA [with some agitation]. Going? Where?

  RAKITIN. To the town. . . . On business.

  NATALYA PETROVNA. Not for long, I hope.

  RAKITIN. That’s as my business goes.

  NATALYA PETROVNA. Mind you come back as soon as you can. [To BELIAYEV without looking at him] Alexey Nikolaitch, was it your sketches Kolya was showing me? Did you draw them?

  BELIAYEV. Yes . . . they’re nothing much.

  NATALYA PETROVNA. Not at all, they are very charming. You have talent.

  RAKITIN. I see you are discovering new talents in Mr. Beliayev every day.

  NATALYA PETROVNA [coldly]. Perhaps ... so much the better for him. [To BELIAYEV.] I expect you have some other sketches, you must show them to me. [BELIAYEV bows]

  RAKITIN [who stands all this time as though on thorns]. But I remember it’s time to pack. . . . Good - bye. [Goes to door of outer room.]

  NATALYA PETROVNA. But you’ll come to say good - bye to us. ...

  RAKITIN. Of course.

  BELIAYEV [after some hesitation]. Mihail Alexandritch, wait a minute, I’m coming with you. I must have a few words with you. . . .

  RAKITIN. Ah! [They go out together. NATALYA PETROVNA is left in the middle of the stage; after a little while, she sits down on Left.]

  NATALYA PETROVNA [after an interval of silence]. Vera!

  VERA [not lifting her head]. What is it?

  NATALYA PETROVNA. Vera for goodness sake, don’t treat me like this ... for goodness sake, Vera . . . Verotchka. [VERA says nothing. NATALYA PETROVNA gets up, walks across the stage and slowly sinks on her knees before VERA. VERA tries to make her get up, turns away and hides her face. NATALYA PETROVNA speaks on her knees.] Vera, forgive me; don’t cry, Vera. I’ve behaved badly to you, I’m to blame. Can’t you forgive me?

  VERA [through her tears]. Get up, get up. ...

  NATALYA PETROVNA. I won’t get up, Vera, till you forgive me. It’s hard for you . . . but think, is it any easier for me . . . think, Vera. . . . You know everything. . . . The only difference between us is that you have done no wrong, while I ...

  VERA [bitterly]. That’s all the difference! No, Natalya Petrovna, there’s another difference between us.... You’re so soft, so kind, so warm this morning. . . .

  NATALYA PETROVNA [interrupting her]. Because I feel how wrong I’ve been. . . .

  VERA. Really? Is it only that?

  NATALYA PETROVNA [gets up and sits beside her]. What other reason can there be?

  VERA. Natalya Petrovna, don’t torture me any more, don’t ask me questions. . . .

  NATALYA PETROVNA [with a sigh]. Vera, I see you can’t forgive me.

  VERA. You’re so kind and soft to - day because you feel you are loved.

  NATALYA PETROVNA [embarrassed], Vera?

  VERA [turning to her]. Well, isn’t it the truth?

  NATALYA PETROVNA [sadly], I assure you we are both equally unhappy.

  VERA. He loves you!

  NATALYA PETROVNA. Vera, why do we torture each other? It’s time for both of us to think what we’re doing. Remember the position I’m in, the position we are both in. Remember that our secret, though my fault, of course, is known to two men here already. . . . [Breaks off.] Vera, instead of tormenting each other with suspicions and reproaches, hadn’t we better consider together how to get out of this dreadful position . . . how to save ourselves! Do you imagine I can stand these shocks and agitations? Have you forgotten who I am? But you’re not listening.

  VERA [looking dreamily at the floor]. He loves you. . . .

  NATALYA PETROVNA. Vera, he’s going away.

  VERA [turning away]. Oh, leave me alone. . . . [NATALYA PETROVNA looks at her irresolutely. At that instant, ISLAYEV’S voice calls from the study: ‘Natasha, Natasha, where are you?’]

  NATALYA PETROVNA [gets up quickly and goes to study - door]. I’m here . . . what is it?

  ISLAYEV [from the study]. Come here, I’ve something to tell you. . . .

  NATALYA PETROVNA. In a minute. [She turns to VERA and holds out her hand. VERA does not stir. NATALYA PETROVNA sighs and goes out into the study.]

  VERA [alone; after a silence]. He loves her! . . . And I must stay in her house. . . . Oh! it’s too much. . [She hides her face in her hands and sits motionless. SHPIGELSKY puts his head in at the door leading to the outer room. He looks round cautiously and goes on tip - toe up to VERA, who does not notice him.’]

  SHPIGELSKY [standing before her, his arms crossed and a malicious grin on his face]. Vera Alexandrovna! . . . Vera Alexandrovna!

  VERA [raising her head]. Who is it? You, Doctor. . . . SHPIGELSKY. What is it, my young lady, not well, or what? VERA. Oh, nothing.

  SHPIGELSKY. Let me feel your pulse. [Feels her pulse.] H’m! Why is it so quick? Ah, young lady, young lady. You won’t listen to me. . . . And yet it’s your welfare I wish for.

  VERA [looking at him resolutely]. Ignaty Ilyitch . . . SHPIGELSKY [alertly], I’m all ears, Vera Alexandrovna. . . . What a look, upon my word. . . . I’m all ears.

  VERA. That gentleman . . . Bolshintsov, your friend, is he really a good man?

  SHPIGELSKY. My friend Bolshintsov? The most excellent, the best of men ... a pattern and paragon of all the virtues.

  VERA. He’s not ill - natured?

  SHPIGELSKY. Most kind - hearted, upon my soul. He’s not a man, he’s made of dough, really. You’ve only to take him and mould him. You wouldn’t find another such good - natured fellow if you searched with a candle by daylight. He’s a dove, not a man.

  VERA. You answer for him?

  SHPIGELSKY [lays one hand on his heart and raises the other upwards]. As I would for myself!

  VERA. Then, you can tell him . . . that I am willing to marry him.

  SHPIGELSKY [with joyful amazement]. You don’t say so! VERA. But as soon as possible - - do you hear? ... As soon as possible. . . .

  SHPIGELSKY. To - morrow, if you like. ... I should rather think so! Bravo, Vera Alexandrovna! You’re a young lady of spirit! I’ll gallop over to him at once. Won’t he be overjoyed. . . . Well, this is an unexpected turn of affairs! Why, he worships the ground you tread on, Vera Alexandrovna. . . .

  VERA [with impatience]. I didn’t ask you that, Ignaty Ilyitch.

  SHPIGELSKY. As you please, Vera Alexandrovna, as you please. Only you’ll be happy with him, you’ll be grateful to me, you’ll see. . . . [VERA makes a gesture of impatience.] There, I’ll hold my tongue. ... So then I can tell him? . . .

  VERA. You
can, you can.

  SHPIGELSKY. Very good. So I’ll set off at once. Good - bye. [Listens.]. And here’s somebody coming, by the way. [Goes towards study and in the doorway makes a grimace expressing surprise to himself.] Good - bye for the present. [Goes out]

  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. . . .