Redemption and Two Other Plays by Leo Tolstoy et al

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REDEMPTION AND TWO OTHER PLAYS

By LEO TOLSTOY

Introduction By ARTHUR HOPKINS

CONTENTS

INTRODUCTION BY ARTHUR HOPKINS
REDEMPTION
THE POWER OF DARKNESS
FRUITS OF CULTURE

INTRODUCTION

After making a production of _Redemption_, the chief feeling of the
producer is one of deep regret that Tolstoi did not make more use of
the theatre as a medium. His was the rare gift of vitalization: the
ability to breathe life into word-people which survives in them so
long as there is any one left to turn up the pages they have made
their abode.

In the world of writing, many terms that should be illuminative have
become meaningless. So often has the barren been called "pregnant,"
the chill of death "the breath of life," the atrophied "pulsating,"
that when we really come upon a work with beating heart we find it
difficult to give it place that has not already been stuffed to
suffocation with misplaced dummies.

We seat it at table with staring wax figures and bid it to join the
feast. There is no exclusion act in art, no passport bureau, not even
hygienic segregation.

In writing the briefest introduction to Tolstoi's work, I am appointed
by the publisher, a sort of reception committee of one to escort the
work to some fitting place where it may enjoy the surroundings and
deference it deserves.

The place to which I escort it is built of words, but what words have
been left me by the long procession of previous committees? Where they
have been truthfully used they have been glorified, and offer all the
rarer material for my structure, but how often have they been
subjected to base use. Perhaps some day we will learn the proper
respect of such simple words as love and truth and life, and then when
we meet them in books we shall know how to greet them.

The study of _Redemption_ is so simple that it needs no illumination
from me. The characters may walk in strange lands without
introduction. They are part of us. Fedya is in all of us. His one cry
"There has always been so much lacking between what I felt and what I
could do" instantly makes him brother to all mankind. His simultaneous
physical degeneration and spiritual regeneration is the glory that all
people have invested in death. Tolstoi's cry against convention that
disregards spiritual struggle, and system that ignores human growth,
will find answering cries in many breasts in many lands.

Utterly disregarding effect, technique or method, Tolstoi has explored
his own soul and there touched hands with countless other souls, and
since he has trod the path of countless millions who will come after
him, the mementos of his journey will long be sought.

ARTHUR HOPKINS.

The translation of _Redemption_ here published is the one produced by
Mr. Arthur Hopkins at the Plymouth Theatre, New York, in the season of
1918-1919. The part of FEDYA was played by Mr. John Barrymore.

REDEMPTION

CHARACTERS

THEODORE VASILYEVICH PROTOSOV (FEDYA).
ELISABETH ANDREYEVNA PROTOSOVA (LISA). His wife.
MISHA. Their son.
ANNA PAVLOVNA. Lisa's mother.
SASHA. Lisa's younger, unmarried sister.
VICTOR MICHAELOVITCH KARENIN.
SOPHIA DMITRIEVNA KARENINA.
PRINCE SERGIUS DMITRIEVICH ABRESKOV.
MASHA. A gypsy girl.
IVAN MAKAROVICH. An old gypsy man. Masha's parent.
NASTASIA IVANOVNA. An old gypsy woman. Masha's parent.
OFFICER.
MUSICIAN.
FIRST GYPSY MAN.
SECOND GYPSY MAN.
GYPSY WOMAN.
GYPSY CHOIR.
DOCTOR.
MICHAEL ALEXANDROVICH AFREMOV.
STAKHOV. One of Fedya's boon companions.
BUTKEVICH. One of Fedya's boon companions.
KOROTKOV. One of Fedya's boon companions.
IVAN PETROVICH ALEXANDROV.
VOZNESENSKY. Karenin's secretary.
PETUSHKOV. An artist.
ARTIMIEV.
WAITER IN THE PRIVATE ROOM AT THE RESTAURANT.
WAITER IN A LOW-CLASS RESTAURANT.
MANAGER OF THE SAME.
POLICEMAN.
INVESTIGATING MAGISTRATE.
MELNIKOV.
CLERK.
USHER.
YOUNG LAWYER.
PETRUSHIN. A lawyer.
LADY.
ANOTHER OFFICER.
ATTENDANT AT LAW COURTS.
PROTOSOVS' NURSE.
PROTOSOVS' MAID.
AFREMOV'S FOOTMAN.
KARENINS' FOOTMAN.

ACT I

SCENE I

Protosovs' flat in Moscow. The scene represents a small dining room.
ANNA PAVLOVNA, a stout, gray-haired lady, tightly laced, is sitting
alone at the tea-table on which is a samovar.

Enter NURSE carrying a tea-pot.

NURSE (enters R. I, over to table C.). Please, Madam, may I have some
water?

ANNA PAVLOVNA (sitting R. of table C.). Certainly. How is the baby
now?

NURSE. Oh, restless, fretting all the time. There's nothing worse than
for a lady to nurse her child. She has her worries and the baby
suffers for them. What sort of milk could she have, not peeping all
night, and crying and crying?

[SASHA enters R. I, strolls to L. of table C.

ANNA PAVLOVNA. But I thought she was more calm now?

NURSE. Fine calm! It makes me sick to look at her. She's just been
writing something and crying all the time.

SASHA (to nurse). Lisa's looking for you.

[Sits in chair L. of table C.

NURSE. I'm going.

[Exits R. I.

ANNA PAVLOVNA. Nurse says she's always crying. Why can't she try and
calm herself a little?

SASHA. Well, really, Mother, you're amazing. How can you expect her to
behave as if nothing had happened when she's just left her husband and
taken her baby with her?

ANNA PAVLOVNA. Well, I don't exactly, but that's all over. If I
approve of my daughter's having left her husband, if I'm ever glad,
well, you may be quite sure he deserved it. She has no reason to be
miserable--on the contrary, she ought to be delighted at being freed
from such a wretch.

SASHA. Mother! Why do you go on like this? It's not the truth and you
know it. He's not a wretch, he's wonderful. Yes, in spite of all his
weakness.

ANNA PAVLOVNA. I suppose you'd like her to wait till he'd spent every
kopec they had, and smile sweetly when be brought his gypsy mistresses
home with him.

SASHA. He hasn't any mistresses.

ANNA PAVLOVNA. There you go again. Why, the man's simply bewitched
you, but I can see through him, and he knows it. If I'd been Lisa, I'd
left him a year ago.

SASHA. Oh, how easily you speak of these serious things.

ANNA PAVLOVNA. Not easily, not easily at all. Do you suppose it's
agreeable for me to have my daughter admit her marriage a failure? But
anything's better than for her to throw away her life in a lie. Thank
God, she's made up her mind to finish with him for good.

SASHA. Maybe it won't be for good.

ANNA PAVLOVNA. It would be if only he'd give her a divorce.

SASHA. To what end?

ANNA PAVLOVNA. Because she's young and has the right to look for
happiness.

SASHA. It's awful to listen to you. How could she love some one else?

ANNA PAVLOVNA. Why not? There are thousands better than your Fedya,
and they'd be only too happy to marry Lisa.

SASHA. Oh, it's not nice of you. I feel, I can tell, you're thinking
about Victor Karenin.

ANNA PAVLOVNA. Why not? He loved her for ten years, and she him, I
believe.

SASHA. Yes, but she doesn't love him as a husband. They grew up
together; they've just been friends.

ANNA PAVLOVNA. Ah, those friendships! How should you know what keeps
them warm! If only they were both free!

[Enter a MAID L. U.

Well?

MAID. The porter's just come back with an answer to the note.

ANNA PAVLOVNA. What note?

MAID. The note Elizaveta Protosova sent to Victor Karenin.

ANNA PAVLOVNA. Well? What answer?

MAID. Victor Karenin told the porter he'd be here directly.

ANNA PAVLOVNA. Very well.

[MAID exits L. U.

[To SASHA.

Why do you suppose she sent for him? Do you know?

SASHA. Maybe I do and maybe I don't.

ANNA PAVLOVNA. You're always so full of secrets.

SASHA. Ask Lisa, she'll tell you.

ANNA PAVLOVNA. Just as I thought! She sent for him at once.

SASHA. Yes, but maybe not for the reason you think.

ANNA PAVLOVNA. Then what for?

SASHA. Why, Mother, Lisa cares just about as much for Victor Karenin
as she does for her old nurse.

ANNA PAVLOVNA. You'll see. She wants consolation, a special sort of
consolation.

SASHA. Really, it shows you don't know Lisa at all to talk like this.

ANNA PAVLOVNA. You'll see. Sasha. Yes, I shall see.

ANNA PAVLOVNA (alone to herself). And I am very glad. I'm very, very
glad.

[Enter MAID.

MAID. Victor Karenin.

ANNA PAVLOVNA. Show him here and tell your mistress.

[MAID shows in KARENIN and exits door R. I.

KARENIN (goes C. and stands behind table C.). (Shaking hands with Anna
Pavlovna.) Elizaveta Andreyevna sent me a note to come at once. I
should have been here to-night anyway. How is she? Well, I hope.

ANNA PAVLOVNA. Not very. The baby has been upset again. However,
she'll be here in a minute. Will you have some tea?

KARENIN. No, thank you.

[Sits chair R.

ANNA PAVLOVNA. Tell me, do you know that he and she--.

KARENIN. Yes, I was here two days ago when she got this letter. Is she
positive now about their separating?

ANNA PAVLOVNA. Oh, absolutely. It would be impossible to begin it all
over again.

KARENIN. Yes. To cut into living things and then draw back the knife
is terrible. But are you sure she knows her mind?

ANNA PAVLOVNA. I should think so. To come to this decision has caused
her much pain. But now it's final, and he understands perfectly that
his behavior has made it impossible for him to come back on any terms.

KARENIN. Why?

ANNA PAVLOVNA. After breaking every oath he swore to decency, how
could he come back? And so why shouldn't he give her her freedom?

KARENIN. What freedom is there for a woman still married?

ANNA PAVLOVNA. Divorce. He promised her a divorce and we shall insist
upon it.

KARENIN. But your daughter was so in love with him?

ANNA PAVLOVNA. Her love has been tried out of existence. Remember she
had everything to contend with: drunkenness, gambling, infidelity--
what was there to go on loving in such a person?

KARENIN. Love can do anything.

ANNA PAVLOVNA. How can one love a rag torn by every wind? Their
affairs were in dreadful shape; their estate mortgaged; no money
anywhere. Finally his uncle sends them two thousand rubles to pay the
interest on the estate. He takes it, disappears, leaves Lisa home and
the baby sick--when suddenly she gets a note asking her to send him
his linen.

KARENIN. I know.

[Enter LISA R.I. KARENIN crosses to LISA.

I'm sorry to have been a little detained.

[Shakes hands with LISA.

LISA. Oh, thank you so much for coming. I have a great favor to ask of
you. Something I couldn't ask of anybody else.

KARENIN. I'll do everything I can.

[LISA moves away a few steps down R.

LISA. You know all about this.

[Sits chair R.

KARENIN. Yes, I know.

ANNA PAVLOVNA. Well, I think I'll leave you two young people to
yourselves. (To SASHA.) Come along, dear, you and I will be just in
the way.

[Exit L. U. ANNA PAVLOVNA and SASHA.

LISA. Fedya wrote to me saying it was all over between us. (She begins
to cry.) That hurt me so, bewildered me so, that--well, I agreed to
separate. I wrote to him saying I was willing to give him up if he
wanted me to.

KARENIN. And now you're sorry?

LISA (nodding). I feel I oughtn't to have said yes. I can't. Anything
is better than not to see him again. Victor dear, I want you to give
him this letter and tell him what I've told you, and--and bring him
back to me.

[Gives VICTOR a letter.

KARENIN. I'll do what I can.

[Takes letter, turns away and sits chair R. of table C.

LISA. Tell him I will forget everything if only he will come back. I
thought of mailing this, only I know him: he'd have a good impulse,
first thwarted by some one, some one who would finally make him act
against himself.

[Pause.

Are you--are you surprised I asked you?

KARENIN. No. (He hesitates.) But--well, candidly, yes. I am rather
surprised.

LISA. But you are not angry?

KARENIN. You know I couldn't be angry with you.

LISA. I ask you because I know you're so fond of him.

KARENIN. Of him--and of you too. Thank you for trusting me. I'll do
all I can.

LISA. I know you will. Now I'm going to tell you everything. I went
to-day to Afremov's, to find out where he was. They told me he was
living with the gypsies. Of course that's what I was afraid of. I know
he'll be swept off his feet if he isn't stopped in time. So you'll go,
won't you?

KARENIN. Where's the place?

LISA. It's that big tenement where the gypsy orchestra lives, on the
left bank below the bridge. I went there myself. I went as far as the
door, and was just going to send up the letter, but somehow I was
afraid. I don't know why. And then I thought of you. Tell him, tell
him I've forgotten everything and that I'm here waiting for him to
come home. (Crosses to KARENIN--a little pause.) Do it out of love for
him, Victor, and out of friendship for me.

[Another pause.

KARENIN. I'll do all I can.

[He bows to her and goes out L.U. Enter SASHA L.U., goes L. over
near table C.

SASHA. Has the letter gone? (LISA nods.) He had no objections to
taking it himself?

[LISA, R. C., shakes head.

SASHA (L.C.). Why did you ask him? I don't understand it.

LISA. Who else was there?

SASHA. But you know he's in love with you.

LISA. Oh, that's all past. (Over to table C.) Do you think Fedya will
come back?

SASHA. I'm sure he will, but--

[Enter ANNA PAVLOVNA.

ANNA PAVLOVNA. Where's Victor Karenin?

LISA. Gone.

ANNA PAVLOVNA. Gone?

LISA. I've asked him to do something for me.

ANNA PAVLOVNA. What was it? Another secret?

LISA. No, not a secret. I simply asked him to take a letter to Fedya.

ANNA PAVLOVNA. To Fedor Protosov?

LISA. Oh, to Fedya, Fedya.

ANNA PAVLOVNA. Then it's not going to be over?

LISA. I can't let him leave me.

ANNA PAVLOVNA. Oh, so we shall commence all over again?

LISA. I'll do anything you like, but I can't give him up.

ANNA PAVLOVNA. You don't mean you want him to come back?

LISA. Yes, yes.

ANNA PAVLOVNA. Let that reptile into the house again!

LISA. Please don't talk like that. He's my husband.

ANNA PAVLOVNA. Was your husband.

LISA. No. He's still my husband.

ANNA PAVLOVNA. Spendthrift. Drunkard. Reprobate. And you'll not part
from him!

LISA. Oh, Mother, why do you keep on hurting me! You seem to enjoy it.

ANNA PAVLOVNA. Hurt you, do I? Enjoy it, do I? Very well, then, if
that's the case, I'd better go.

[Pause.

I see I'm in your way. You want me to go. Well, all I can say is I
can't make you out. I suppose you're being "modern" and all that. But
to me, it's just plain disgusting. First, you make up your mind to
separate from your husband, and then you up and send for another man
who's in love with you--

LISA. Mother, he's not.

ANNA PAVLOVNA. You know Karenin proposed to you, and he's the man you
pick out to bring back your husband. I suppose you do it just to make
him jealous.

LISA. Oh, Mother, stop it. Leave me alone.

ANNA PAVLOVNA. That's right. Send off your mother. Open the door to
that awful husband. Well, I can't stand by and see you do it. I'll go.
I'm going. And God be with you and your extraordinary ways.

[Exit L. U. with suppressed rage.

LISA (sinking into a chair R. of table C.). That's the last straw.

SASHA. Oh, she'll come back. We'll make her understand. (Going to the
door and following after her mother.) Now, Mother darling, listen--
listen--

[Exit L. U.

[All lights dim to black out.

CURTAIN

SCENE II

A room at the gypsies', dark but beautifully lit. The actual room is
scarcely seen, and although at first it appears squalid, there are
flaring touches of Byzantine luxury. Gypsies are singing. FEDYA is
lying on the sofa, his eyes closed, coat off. An OFFICER sits at the
table, on which there are bottles of champagne and glasses. Beside him
sits a musician taking down the song.

AFREMOV (standing L. U.). Asleep?

FEDYA (on couch L. Raising his hand warningly). Sh! Don't talk! Now
let's have "No More at Evening."

GYPSY LEADER. Impossible, Fedor Protosov. Masha must have her solo
first.

FEDYA. Afterwards. Now let's have "No More at Evening."

[Gypsies sing.

GYPSY WOMAN (R. C., when they finish singing, turning to Musician who
is sitting at table R., with his back to audience). Have you got it?

MUSICIAN. It's impossible to take it down correctly. They change the
tune each time, and they seem to have a different scale, too. (He
calls a gypsy woman.) Is this it?

[He hums a bar or two.

GYPSY WOMAN (clapping her hands). Splendid! Wonderful! How can you do
it?

FEDYA (rising. Goes to table L. back of couch and pours out glass of
wine). He'll never get it. And even if he did and shovelled it into an
opera, he'd make it seem absolutely meaningless.

AFREMOV. Now we'll have "The Fatal Hour."

[Gypsies sing quartette. During this song, FEDYA is standing down
R., keeping time with the wine glass from which he has drunk.
When they finish he returns to the couch and falls into MASHA'S
arms.

FEDYA. God! That's it! That's it! That's wonderful. What lovely things
that music says. And where does it all come from, what does it all
mean?

[Another pause.

To think that men can touch eternity like that, and then--nothing--
nothing at all.

MUSICIAN. Yes, it's very original.

[Taking notes.

FEDYA. Original be damned. It's real.

MUSICIAN. It's all very simple, except the rhythm. That's very
strange.

FEDYA. Oh, Masha, Masha! You turn my soul inside out.

[Gypsies hum a song softly.

MASHA (sitting on couch L. with FEDYA). Do I? But what was it I asked
you for?

FEDYA. What? Oh, money. Voila, mademoiselle.

[He takes money front his trousers pocket. MASHA laughs, takes
the money, counts it swiftly, and hides it in her dress.

FEDYA. Look at this strange creature. When she sings she rushes me
into the sky and all she asks for is money, little presents of money
for throwing open the Gates of Paradise. You don't know yourself, at
all, do you?

MASHA. What's the use of me wondering about myself? I know when I'm in
love, and I know that I sing best when my love is singing.

FEDYA. Do you love me?

MASHA (murmuring). I love you.

FEDYA. But I am a married man, and you belong to this gypsy troupe.
They wouldn't let you leave it, and--

MASHA (interrupting). The troupe's one thing, and my heart's another.
I love those I love, and I hate those I hate.

FEDYA. Oh, you must be happy to be like that.

MASHA. I'm always happy when handsome gentlemen come and say nice
things to me. (Gypsies stop singing.)

[A GYPSY entering speaks to FEDYA.

GYPSY. Some one asking for you.

FEDYA. Who?

Gypsy. Don't know. He's rich, though. Fur coat.

FEDYA. Fur coat? O my God, show him in.

AFREMOV. Who the devil wants to see you here?

FEDYA (carelessly). God knows, I don't. (Begins to hum a song.)

[KARENIN comes in, looking around the room.

(Exclaiming). Ha! Victor! You're the last man in the world I expected
to break into this enchanting milieu. Take off your coat, and they'll
sing for you.

KARENIN. Je voudrais vous parler sans temoins.

[MASHA rises and joins the group R.

FEDYA. Oh.... What about?

KARENIN. Je viens de chez vous. Votre femme ma charge de cette lettre,
et puis--

[FEDYA takes the letter, opens it, reads. He frowns, then smiles
affectionately at KARENIN.

FEDYA. You know what's in this letter, Victor?

[He is smiling gently all the time.

KARENIN (looking at FEDYA rather severely). Yes, I know. But really,
Fedya, you're in no--

FEDYA (interrupting). Please, please don't think I'm drunk and don't
realize what I'm saying. Of course I'm drunk, but I see everything
very clearly. Now go ahead. What were you told to tell me?

KARENIN (is standing L. C. Shrugging his shoulders). Your wife asked
me to find you and to tell you she's waiting for you. She wants you to
forget everything and come back.

[Pause.

KARENIN (stiffly). Elizaveta Protosova sent for me and suggested that
I--

FEDYA (as he hesitates). Yes.

KARENIN (finishing rather lamely). But I ask you not so much for her
as for myself--Fedya, come home.

FEDYA (looking up at him, smiling rather whimsically). You're a much
finer person than I am, Victor. Of course that's not saying much. I'm
not very much good, am I? (Laughing gently.) But that's exactly why
I'm not going to do what you want me to. It's not the only reason,
though. The real reason is that I just simply can't. How could I?

KARENIN (persuasively). Come along to my rooms, Fedya, and I'll tell
her you'll be back to-morrow.

FEDYA (wistfully). To-morrows can't change what we are. She'll still
be she, and I will still be I to-morrow. (Goes to the table and
drinks.) No, it's better to have the tooth out in one pull. Didn't I
say that if I broke my word she was to leave me? Well, I've broken it,
and that's enough.

KARENIN. Yes. For you, but not for her.

FEDYA (down L. Politely insolent). You know ... it's rather odd, that
you, of all men, should take so much trouble to keep our marriage from
going to pieces.

KARENIN (revolted). Good God, Fedya! You don't think--

[MASHA crosses L., goes to FEDYA. FEDYA interrupting him with a
return of his former friendliness.

FEDYA. Come now, my dear Victor, you shall hear them sing.

MASHA (whispering to FEDYA). What's his name? We must honor him with a
song.

FEDYA (laughing). O good God, yes! Honor him by all means. His name is
Victor Michaelovitch. (Saluting Karenin.) Victor, my lord! son of
Michael!

[The gypsies sing a song of greeting and laudation. As they begin
to sing, MASHA and FEDYA sit on couch L.

(When song is finished.)

KARENIN (in an imploring tone). Fedya!

[Exits quietly L. U.

FEDYA (business with MASHA). Where's the fur coat? Gone, eh? All
right. May the devil go with it.

FEDYA. Do you know who that was?

MASHA. I heard his name.

FEDYA. Ah, he's a splendid fellow. He came to take me home to my wife.
You see she loves even a fool like me, (caressing her hair) and look
what I'm doing.

MASHA. You should go back to her and be very sorry.

FEDYA. Do you think I should? (He kisses her.) Well, I think I
shouldn't.

MASHA. Of course, you needn't go back to her if you don't love her.
Love is all that counts.

FEDYA (smiling). How do you know that?

MASHA (looking at him timidly). I don't know, but I do.

FEDYA. Now, let's have "No More at Evening." (As the gypsies sing,
MASHA lies on her back across his lap, looking up into his face, which
she draws down to her, and they kiss until the music begins to cease.)
That's wonderful! Divine! If I could only lie this way forever, with
my arms around the heart of joy, and sleep ... and die.... (He closes
his eyes; his voice trails away.)

[Lights dim and out, then the

CURTAIN

SCENE III

SOPHIA KARENINA'S boudoir. SOPHIA KARENINA, VICTOR'S mother, is
reading a book. She is a great lady, over fifty, but tries to look
younger. She likes to interlard her conversation with French words. A
servant enters.

SERVANT (enters R., announcing). Prince Sergius Abreskov.

SOPHIA KARENINA (on sofa over L.). Show him in, please.

[She turns and picks up hand mirror from table back of couch,
arranging her hair.

PRINCE SERGIUS (enters R. I. Entering). J'espere que je ne force pas
la consigne.

[Crossing to sofa L. He kisses her hand. He is a charming old
diplomat of seventy.

SOPHIA KARENINA. Ah, you know well que vous etes toujours le bien
venu.... Tell me, you have received my letter?

PRINCE SERGIUS. I did. Me voila. (Sits L. on sofa L.) Sophia Karenina
(working up to distress). Oh, my dear friend, I begin to lose hope.
She's bewitched him, positively bewitched him. Il est ensorcele. I
never knew he could be so obstinate, so heartless, and so indifferent
to me. He's changed completely since that woman left her husband.

PRINCE SERGIUS. How do matters actually stand?

SOPHIA KARENINA. Well, he's made up his mind to marry her at any cost.

PRINCE SERGIUS. And her husband?

SOPHIA KARENINA. He agrees to a divorce.

PRINCE SERGIUS. Really?

SOPHIA KARENINA. And Victor is willing to put up with all the
sordidness, the vulgarity of the divorce court, the lawyers, evidences
of guilt ... tout ca est degoutant. I can't understand his sensitive
nature not being repelled by it.

PRINCE SERGIUS (smiling). He's in love, and when a man's really in
love--

SOPHIA KARENINA (interrupting). In our time love could remain pure,
coloring one's whole life with a romantic friendship. Such love I
understand and value.

PRINCE SERGIUS (sighing). However, the present generation refuses to
live on dreams. (He coughs delicately.) La possession de l'ame ne leur
suffit plus. So what is the alternative? But tell me more of Victor.

SOPHIA KARENINA. There's not very much to say. He seems bewitched,
hardly my son. Did you know I'd called upon her? Victor pressed me so
it was impossible to refuse. But Dieu merci, I found her out. So I
merely left my card, and now she has asked me if I could receive her
to-day, and I am expecting her (she glances at her watch) any moment
now. I am doing all this to please Victor, but conceive my feelings. I
know you always can. Really, really, I need your help.

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