Plays by Anton Chekhov, Second Series. Антон ЧеховЧитать онлайн книгу.
extremely unhappy as soon as ever the excitement of the miracle had worn off. In the other play Mme. Ranevsky can be saved from ruin if she will only consent to a perfectly simple step—the sale of an estate. She cannot do this, is ruined, and thrown out into the unsympathetic world. Chekhov is the dramatist, not of action, but of inaction. The tragedy of inaction is as overwhelming, when we understand it, as the tragedy of an Othello, or a Lear, crushed by the wickedness of others. The former is being enacted daily, but we do not stage it, we do not know how. But who shall deny that the base of almost all human unhappiness is just this inaction, manifesting itself in slovenliness of thought and execution, education, and ideal?
The Russian, painfully conscious of his own weakness, has accepted this point of view, and regards “The Cherry Orchard” as its master-study in dramatic form. They speak of the palpitating hush which fell upon the audience of the Moscow Art Theatre after the first fall of the curtain at the first performance—a hush so intense as to make Chekhov’s friends undergo the initial emotions of assisting at a vast theatrical failure. But the silence ryes almost a sob, to be followed, when overcome, by an epic applause. And, a few months later, Chekhov died.
This volume and that of Marian Fell—with which it is uniform—contain all the dramatic works of Chekhov. It considered not worth while to translate a few fragments published posthumously, or a monologue “On the Evils of Tobacco”—a half humorous lecture by “the husband of his wife;” which begins “Ladies, and in some respects, gentlemen,” as this is hardly dramatic work. There is also a very short skit on the efficiency of provincial fire brigades, which was obviously not intended for the stage and has therefore been omitted.
Lastly, the scheme of transliteration employed has been that, generally speaking, recommended by the Liverpool School of Russian Studies. This is distinctly the best of those in the field, but as it would compel one, e.g., to write a popular female name, “Marya,” I have not treated it absolute respect. For the sake of uniformity with Fell’s volume, the author’s name is spelt Tchekoff on the title-page and cover.
J. W.
RUSSIAN WEIGHTS AND MEASURES AND MONEY EMPLOYED IN THE PLAYS, WITH ENGLISH EQUIVALENTS
1 verst = 3600 feet = ⅔ mile (almost)
1 arshin = 28 inches
1 dessiatin = 2.7 acres
1 copeck = ¼ d
1 rouble = 100 copecks = 2s. 1d.
ON THE HIGH ROAD
A DRAMATIC STUDY
CHARACTERS
TIHON EVSTIGNEYEV, the proprietor of a inn on the main road
SEMYON SERGEYEVITCH BORTSOV, a ruined landowner
MARIA EGOROVNA, his wife
SAVVA, an aged pilgrim
NAZAROVNA and EFIMOVNA, women pilgrims
FEDYA, a labourer
EGOR MERIK, a tramp
KUSMA, a driver
POSTMAN
BORTSOV’S WIFE’S COACHMAN
PILGRIMS, CATTLE-DEALERS, ETC.
The action takes place in one of the provinces of Southern Russia
[The scene is laid in TIHON’S bar. On the right is the bar-counter and shelves with bottles. At the back is a door leading out of the house. Over it, on the outside, hangs a dirty red lantern. The floor and the forms, which stand against the wall, are closely occupied by pilgrims and passers-by. Many of them, for lack of space, are sleeping as they sit. It is late at night. As the curtain rises thunder is heard, and lightning is seen through the door.]
[TIHON is behind the counter. FEDYA is half-lying in a heap on one of the forms, and is quietly playing on a concertina. Next to him is BORTSOV, wearing a shabby summer overcoat. SAVVA, NAZAROVNA, and EFIMOVNA are stretched out on the floor by the benches.]
EFIMOVNA. [To NAZAROVNA] Give the old man a nudge dear! Can’t get any answer out of him.
NAZAROVNA. [Lifting the corner of a cloth covering of SAVVA’S face] Are you alive or are you dead, you holy man?
SAVVA. Why should I be dead? I’m alive, mother! [Raises himself on his elbow] Cover up my feet, there’s a saint! That’s it. A bit more on the right one. That’s it, mother. God be good to us.
NAZAROVNA. [Wrapping up SAVVA’S feet] Sleep, little father.
SAVVA. What sleep can I have? If only I had the patience to endure this pain, mother; sleep’s quite another matter. A sinner doesn’t deserve to be given rest. What’s that noise, pilgrim-woman?
NAZAROVNA. God is sending a storm. The wind is wailing, and the rain is pouring down, pouring down. All down the roof and into the windows like dried peas. Do you hear? The windows of heaven are opened … [Thunder] Holy, holy, holy …
FEDYA. And it roars and thunders, and rages, sad there’s no end to it! Hoooo … it’s like the noise of a forest. … Hoooo. … The wind is wailing like a dog. … [Shrinking back] It’s cold! My clothes are wet, it’s all coming in through the open door … you might put me through a wringer. … [Plays softly] My concertina’s damp, and so there’s no music for you, my Orthodox brethren, or else I’d give you such a concert, my word!—Something marvellous! You can have a quadrille, or a polka, if you like, or some Russian dance for two. … I can do them all. In the town, where I was an attendant at the Grand Hotel, I couldn’t make any money, but I did wonders on my concertina. And, I can play the guitar.
A VOICE FROM THE CORNER. A silly speech from a silly fool.
FEDYA. I can hear another of them. [Pause.]
NAZAROVNA. [To SAVVA] If you’d only lie where it was warm now, old man, and warm your feet. [Pause.] Old man! Man of God! [Shakes SAVVA] Are you going to die?
FEDYA. You ought to drink a little vodka, grandfather. Drink, and it’ll burn, burn in your stomach, and warm up your heart. Drink, do!
NAZAROVNA. Don’t swank, young man! Perhaps the old man is giving back his soul to God, or repenting for his sins, and you talk like that, and play your concertina. … Put it down! You’ve no shame!
FEDYA. And what are you sticking to him for? He can’t do anything and you … with your old women’s talk … He can’t say a word in reply, and you’re glad, and happy because he’s listening to your nonsense. … You go on sleeping, grandfather; never mind her! Let her talk, don’t you take any notice of her. A woman’s tongue is the devil’s broom—it will sweep the good man and the clever man both out of the house. Don’t you mind. … [Waves his hands] But it’s thin you are, brother of mine! Terrible! Like a dead skeleton! No life in you! Are you really dying?
SAVVA. Why should I die? Save me, O Lord, from dying in vain. … I’ll suffer a little, and then get up with God’s help. … The Mother of God won’t let me die in a strange land. … I’ll die at home.
FEDYA. Are you from far off?
SAVVA. From Vologda. The town itself. … I live there.
FEDYA. And where is this Vologda?
TIHON. The other side of Moscow. …
FEDYA. Well, well, well. … You have come a long way, old man! On foot?
SAVVA. On foot, young man. I’ve been to Tihon of the Don, and I’m going to the Holy Hills. [Note: