Redemption and Two Other Plays by Leo Tolstoy et al

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LISA. Here he comes. (LISA runs to the edge of the veranda.) There's
some one with him--a lady in a bonnet! Oh, it's mother! How splendid!
I haven't seen her for an age!

[Enter ANNA PAVLOVNA up C.

ANNA PAVLOVNA (kissing LISA). My darling. (To SOPHIA KARENINA.) How do
you do? Victor met me and insisted on my coming down.

[Sits bench L. C. beside SOPHIA.

SOPHIA KARENINA. This is perfectly charming!

[Enter VICTOR and MISHA.

ANNA PAVLOVNA. I did want to see Lisa and the boy. So now, if you
don't turn me out, I'll stay till the evening train.

KARENIN. (L. C., kissing his wife, his mother and the boy).
Congratulate me--everybody--I've a bit of luck, I don't have to go to
town again for two days. Isn't that wonderful?

LISA. (R. C.). Two days! That's glorious! We'll drive over to the
Hermitage to-morrow and show it to mother.

ANNA PAVLOVNA. (holding the boy). He's so like his father, isn't he? I
do hope he hasn't inherited his father's disposition.

SOPHIA KARENINA. After all, Fedya's heart was in the right place.
LISA. Victor thinks if he'd only been brought up more carefully
everything would have been different.

ANNA PAVLOVNA. Well, I'm not so sure about that, but I do feel sorry
for him. I can't think of him without wanting to cry.

LISA. I know. That's how Victor and I feel. All the bitterness is
gone. There's nothing left but a very tender memory.

ANNA PAVLOVNA. (sighing). I'm sure of it. Lisa. Isn't it funny? It all
seemed so hopeless back there, and now see how beautifully
everything's come out!

SOPHIA KARENINA. Oh, by the way, Victor, did you get my wool?

KARENIN. I certainly did. (Brings a bag and takes out parcels.) Here's
the wool, here's the eau-de-cologne, here are the letters--one on
"Government Service" for you, Lisa---- (Hands her the letter. LISA
opens letter, then strolls R, reading it, suddenly stops.) Well, Anna
Pavlovna, I know you want to make yourself beautiful! I must tidy up,
too. It's almost dinner time. Lisa, you've put your another in the
Blue Room, haven't you?

[Pause.

[LISA is pale. She holds the letter with trembling hands and
reads it, KARENIN seeing her.

What's the matter, Lisa? What is it?

LISA. He's alive. He's alive. My God! I shall never be free from him.
(VICTOR crosses to LISA.) What does this mean? What's going to happen
to us?

KARENIN (taking the letter and reading). I don't believe it.

SOPHIA KARENINA. What is it? (Rising.) What's the matter? Why don't
you tell us?

KARENIN. He's alive! They're accusing us of bigamy! It's a summons for
Lisa to go before the Examining Magistrate.

ANNA PAVLOVNA. No--no! It can't be!

SOPHIA KARENINA. Oh, that horrible man!

KARENIN. So it was all a lie!

LISA (with a cry of rage). Oh! I hate him so! Victor!--Fedya!--My God!
I don't know what I'm saying. I don't know what I'm saying.

[Sinks in chair down R.

ANNA PAVLOVNA (rising). He's not really alive?

[Lights dim and out.

CURTAIN

SCENE III

The room of the examining magistrate, who sits at a table talking to
MELNIKOV, a smartly dressed, languid, man-about-town.

At a side-table a CLERK is sorting papers.

MAGISTRATE. (sitting R. of table R. C.). Oh, I never said so. It's her
own notion. And now she is reproaching me with it.

MELNIKOV. (sitting C. back to audience). She's not reproaching you,
only her feelings are awfully hurt.

MAGISTRATE. Are they? Oh, well, tell her I'll come to supper after the
performance. But you'd better wait on. I've rather an interesting
case. (To the CLERK.) Here, you, show them in.

Clerk. (sitting C. facing audience). Both? Excellency. Magistrate. No,
only Madame Karenina.

[CLERK exits L. I.

CLERK (calling off stage). Madame Protosova, Madame Protosova.

MAGISTRATE. Or, to dot my i's, Madame Protosova.

MELNIKOV (starting to go out). Ah, it's the Karenin case.

MAGISTRATE. Yes, and an ugly one. I'm just beginning the
investigation. But I assure you it's a first-rate scandal already.
Must you go? Well, see you at supper. Good-bye.

[Exit MELNIKOV, R.

[The CLERK shows in LISA; she wears a black dress and veil.

MAGISTRATE. Please sit down, won't you? (He points to a chair L. C.
LISA sits down.) I am extremely sorry that it's necessary to ask you
questions.

[LISA appears very much agitated. MAGISTRATE appears unconcerned
and is reading a newspaper as he speaks.

But please be calm. You needn't answer them unless you wish. Only in
the interest of every one concerned, I advise you to help me reach the
entire truth.

LISA. I've nothing to conceal.

MAGISTRATE (looking at papers). Let's see. Your name, station,
religion. I've got all that. You are accused of contracting a marriage
with another man, knowing your first husband to be alive.

LISA. But I did not know it.

MAGISTRATE (continuing). And also you are accused of having persuaded
with bribes your first husband to commit a fraud, a pretended suicide,
in order to rid yourself of him.

LISA. All that's not true.

MAGISTRATE. Then permit me to ask you these questions: Did you or did
you not send him 1200 rubles in July of last year?

LISA. That was his own money obtained from selling his things, which I
sent to him during our separation, while I was waiting for my divorce.

MAGISTRATE. Just so. Very well. When the police asked you to identify
the corpse, how were you sure it was your husband's?

LISA. Oh, I was so terribly distressed that I couldn't bear to look at
the body. Besides, I felt so sure it was he, and when they asked me, I
just said yes.

MAGISTRATE. Very good indeed. I can well understand your distraction,
and permit me to observe, Madame, that although servants of the law,
we remain human beings, and I beg you to be assured that I sympathize
with your situation. You were bound to a spendthrift, a drunkard, a
man whose dissipation caused you infinite misery.

LISA (interrupting). Please, I loved him.

MAGISTRATE (tolerantly). Of course. Yet naturally you desired to be
free, and you took this simple course without counting the
consequence, which is considered a crime, or bigamy. I understand you,
and so will both judges and jury. And it's for this reason, Madam, I
urge you to disclose the entire truth.

LISA. I've nothing to disclose. I never have lied. (She begins to
cry.) Do you want me any longer?

MAGISTRATE. Yes. I must ask you to remain a few minutes longer. No
more questions, however. (To the CLERK.) Show in Victor Karenin. (To
LISA.) I think you'll find that a comfortable chair. (Sits L. C.)

[Enter KARENIN, stern and solemn.

Please, sit down.

KARENIN. Thank you. (He remains standing L. U.) What do you want from
me?

MAGISTRATE. I have to take your deposition.

KARENIN. In what capacity?

MAGISTRATE (smiling). In my capacity of investigating magistrate. You
are here, you know, because you are charged with a crime.

KARENIN. Really? What crime?

MAGISTRATE. Bigamy, since you've married a woman already married. But
I'll put the questions to you in their proper order. Sure you'll not
sit down?

KARENIN. Quite sure.

MAGISTRATE (writing). Your name?

KARENIN. Victor Karenin.

MAGISTRATE. Rank?

KARENIN. Chamberlain of the Imperial Court.

MAGISTRATE. Your age?

KARENIN. Thirty-eight.

MAGISTRATE. Religion?

KARENIN. Orthodox, and I've never been tried before of any charge.
(Pause.) What else?

MAGISTRATE. Did you know that Fedor Protosov was alive when you
married his wife?

KARENIN. No, we were both convinced that he was drowned.

MAGISTRATE. All right. And why did you send 1200 rubles to him a few
days before he simulated death on July 17th?

KARENIN. That money was given me by my wife.

MAGISTRATE (interrupting him). Excuse me, you mean by Madame
Protosova.

KARENIN. By my wife to send to her husband. She considered this money
his property, and having broken off all relations with him, felt it
unjust to withhold it. What else do you want?

MAGISTRATE. I don't want anything, except to do my official duty, and
to aid you in doing yours, through causing you to tell me the whole
truth, in order that your innocence be proved. You'd certainly better
not conceal things which are sure to be found out, since Protosov is
in such a weakened condition, physically and mentally, that he is
certain to come out with the entire truth as soon as he gets into
court, so from your point of view I advise....

KARENIN. Please don't advise me, but remain within the limits of your
official capacity. Are we at liberty to leave?

[He goes to LISA who takes his arm.

MAGISTRATE. Sorry, but it's necessary to detain you. (KARENIN looks
around in astonishment.) No, I've no intention of arresting you,
although it might be a quicker way of reaching the truth. I merely
want to take Protosov's deposition in your presence, to confront him
with you, that you may facilitate your chances by proving his
statements to be false. Kindly sit down. (To CLERK.) Show in Fedor
Protosov.

[There is a pause. The CLERK shows in FEDYA in rags, a total
wreck. He enters slowly, dragging his feet. He catches sight of
his wife, who is bowed in grief. For a moment he is about to
take her in his arms--he hesitates--then stands before the
MAGISTRATE.

MAGISTRATE. I shall ask you to answer some questions.

FEDYA. (rises, confronting the MAGISTRATE). Ask them.

MAGISTRATE. Your name?

FEDYA. You know it.

MAGISTRATE. Answer my questions exactly, please.

[Rapping on his desk.

FEDYA (shrugs). Fedor Protosov.

MAGISTRATE. Your rank, age, religion?

FEDYA. (silent for a moment). Aren't you ashamed to ask me these
absurd questions? Ask me what you need to know, only that.

MAGISTRATE. I shall ask you to take care how you express yourself.

FEDYA. Well, since you're not ashamed. My rank, graduate of the
University of Moscow; age 40; religion orthodox. What else?

MAGISTRATE. Did Victor Karenin and Elizaveta Andreyevna know you were
alive when you left your clothes on the bank of the river and
disappeared?

FEDYA. Of course not. I really wished to commit suicide. But--
however, why should I tell you? The fact's enough. They knew nothing
of it.

MAGISTRATE. You gave a somewhat different account to the police
officer. How do you explain that?

FEDYA. Which police officer? Oh yes, the one who arrested me in that
dive. I was drunk, and I lied to him--about what, I don't remember.
But I'm not drunk now and I'm telling you the whole truth. They knew
nothing; they thought I was dead, and I was glad of it. Everything
would have stayed all right except for that damned beast Artimiev. So
if any one's guilty, it's I.

MAGISTRATE. I perceive you wish to be generous. Unfortunately the law
demands the truth. Come, why did you receive money from them?

[FEDYA is silent.

Why don't you answer me? Do you realize that it will be stated in your
deposition that the accused refused to answer these questions, and
that will harm (he includes LISA and VICTOR in a gesture) all of you?

[FEDYA remains silent.

Aren't you ashamed of your stubborn refusal to aid these others and
yourself by telling the entire truth?

FEDYA (breaking out passionately). The truth--Oh, God! what do you
know about the truth? Your business is crawling up into a little
power, that you may use it by tantalizing, morally and physically,
people a thousand times better than you.... You sit there in your smug
authority torturing people.

MAGISTRATE. I must ask you----

FEDYA (interrupts him). Don't ask me for I'll speak as I feel.
(Turning to CLERK.) And you write it down. So for once some human
words will get into a deposition.

[Raising his voice, which ascends to a climax during this speech.

There were three human beings alive: I, he, and she.

[He turns to his wife with a gesture indicating his love for her.
He pauses, then proceeds.

We all bore towards one another a most complex relation. We were all
engaged in a spiritual struggle beyond your comprehension: the
struggle between anguish and peace; between falsehood and truth.
Suddenly this struggle ended in a way that set us free. Everybody was
at peace. They loved my memory, and I was happy even in my downfall,
because I'd done what should have been done, and cleared away my weak
life from interfering with their strong good lives. And yet we're all
alive. When suddenly a bastard adventurer appears, who demands that I
abet his filthy scheme. I drive him off as I would a diseased dog, but
he finds you, the defender of public justice, the appointed guardian
of morality, to listen to him. And you, who receive on the 20th of
each month a few kopeks' gratuity for your wretched business, you get
into your uniform, and in good spirits proceed to torture--bully
people whose threshold you're not clean enough to pass. Then when
you've had your fill of showing off your wretched power, oh, then you
are satisfied, and sit and smile there in your damned complacent
dignity. And....

MAGISTRATE (raising his voice. Rising excitedly). Be silent or I'll
have you turned out.

FEDYA. God! Who should I be afraid of! I'm dead, dead, and away out of
your power. (Suddenly overcome with the horror of the situation.) What
can you do to me? How can you punish me--a corpse?

[Beating his breast.

MAGISTRATE. Be silent! (To CLERK, who is down L.) Take him out!

[FEDYA turns, seeing his wife, he falls on his knees before
her ... kisses the hem of her dress, crying bitterly.

[Slowly he rises, pulls himself together with a great effort,
then exits L.

[The lights dim and out.

CURTAIN

SCENE IV

A corridor at the lower courts; in the background a door opposite
which stands a GUARD; to the right is another door through which the
PRISONERS are conducted to the court. IVAN PETROVICH in rags enters
L., goes to this last door, trying to pass through it.

GUARD (at door R. C.). Where do you think you're going, shoving in
like that?

IVAN PETROVICH. Why shouldn't I? The law says these sessions are
public.

GUARD. You can't get by and that's enough.

IVAN PETROVICH (in pity). Wretched peasant, you have no idea to whom
you are speaking.

GUARD. Be silent!

[Enter a YOUNG LAWYER from R. I.

LAWYER (to Petrovich). Are you here on business?

IVAN PETROVICH. No. I'm the public. But this wretched peasant won't
let me pass.

LAWYER. There's no room for the public at this trial.

IVAN PETROVICH. Perhaps, but I am above the general rule.

LAWYER. Well, you wait outside; they'll adjourn presently.

[He is just going into courtroom through door R. C. when PRINCE
SERGIUS enters L. and stops him.

PRINCE SERGIUS. How does the case stand?

LAWYER. The defense has just begun. Petrushin is speaking now.

PRINCE SERGIUS. Are the Karenins bearing up well?

LAWYER. Yes, with extraordinary dignity. They look as if they were the
judges instead of the accused. That's felt all the way through, and
PETRUSHIN is taking advantage of it.

PRINCE SERGIUS. What of Protosov?

LAWYER. He's frightfully unnerved, trembling all over, but that's
natural considering the sort of life he's led. Yes, he's all on edge,
and he's interrupted, both judge and jury several times already.

PRINCE SERGIUS. How do you think it will end?

LAWYER. Hard to say. The jury are mixed. At any rate I don't think
they'll find the Karenins guilty of premeditation. Do you want to go
in?

PRINCE SERGIUS. I should very much like to.

LAWYER. Excuse me, you're Prince Sergius Abreskov, aren't you? (To the
Prince.) There's an empty chair just at the left.

[The guard lets PRINCE SERGIUS pass.

IVAN PETROVICH. Prince! Bah! I am an aristocrat of the soul, and
that's a higher title.

LAWYER. Excuse me.

[And exits down R. C. into courtroom.

[PETUSHKOV, FEDYA'S companion in the dive, enters approaching
IVAN PETROVICH.

PETUSHKOV (R.). Oh, there you are. Well, how're things going?

IVAN PETROVICH (L.). The speeches for the defense have begun, but this
ignorant rascal won't let us in. Curse his damned petty soul.

GUARD (C.) Silence! Where do you think you are?

[Further applause is heard; door of the court opens, and there is
a rush of lawyers and the general public into the corridor.

A LADY. Oh, it's simply wonderful! When he spoke I felt as if my heart
were breaking.

AN OFFICER. It's all far better than a novel. But I don't see how she
could ever have loved him. Such a sinister, horrible figure.

[The other door opens over L.; the accused comes out.

THE LADY (this group is down R.). Hush! There he is. See how wild he
looks.

FEDYA (seeing IVAN PETROVICH). Did you bring it?

[Goes to PETROVICH.

PETROVICH. There.

[He hands FEDYA something; FEDYA hides it in his pocket.

FEDYA (seeing PETUSHKOV). How foolish! How vulgar and how boring all
this is, isn't it?

[Men and women enter door L. and stand down L. watching.

[Enter PETRUSHIN, from R. C., FEDYA'S counsel, a stout man with
red cheeks; very animated.

PETRUSHIN (rubbing his hands). Well, well, my friend. It's going along
splendidly. Only remember, don't go and spoil things for me in your
last speech.

FEDYA (takes him by the arm). Tell me, what'll the worst be?

PETRUSHIN. I've already told you. Exile to Siberia.

FEDYA. Who'll be exiled to Siberia?

PETRUSHIN. You and your wife, naturally.

FEDYA. And at the best?

PETRUSHIN. Religious pardon and the annulment of the second marriage.

FEDYA. You mean--that we should be bound again--to one another----

PETRUSHIN. Yes. Only try to collect yourself. Keep up your courage.
After all, there's no occasion for alarm.

FEDYA. There couldn't be any other sentence, you're sure?

PETRUSHIN. None other. None other.

[Exits R. I. FEDYA stands motionless.

GUARD (crosses and exits L. I. Calling). Pass on. Pass on. No
loitering in the corridor.

[VICTOR and LISA enter from door L. Start to go off L. when pistol
shot stops them.

FEDYA (He turns his back to the audience, and from beneath his ragged
coat shoots himself in the heart. There is a muffled explosion, smoke.
He crumples up in a heap on the floor. All the people in the passage
rush to him.) (In a very low voice.) This time--it's well done...
Lisa....

[People are crowding in from all the doors, judges, etc. LISA
rushes to FEDYA, KARENIN, IVAN PETROVICH and PRINCE SERGIUS
follow.

LISA. Fedya!... Fedya!... What have you done? Oh why!... why!...

FEDYA. Forgive me---- No other way---- Not for you--but for myself----

LISA. You will live. You must live.

FEDYA. No--no---- Good-bye---- (He seems to smile, then he mutters
just under his breath.) Masha.

[In the distance the gypsies are heard singing "No More at
Evening." They sing until the curtain.

You're too late----

[Suddenly he raises his head from LISA'S knees, and barely utters
as if he saw something in front of him.

Ah.... Happiness!...

[His head falls from LISA'S knees to the ground. She still clings
to it, in grief and horror. He dies.

[The lights dim and out.

CURTAIN

END OF _REDEMPTION_

* * * * *

THE POWER OF DARKNESS

OR

IF A CLAW IS CAUGHT THE BIRD IS LOST

CHARACTERS

PETER IGNATITCH. A well-to-do peasant, 42 years old, married for the
second time, and sickly.

ANISYA. His wife, 32 years old, fond of dress.

AKOULINA. Peter's daughter by his first marriage, 16 years old, hard
of hearing, mentally undeveloped.

NAN (ANNA PETROVNA). His daughter by his second marriage, 10 years old

NIKITA. Their laborer, 25 years old, fond of dress.

AKIM. Nikita's father, 50 years old, a plain-looking, God-fearing
peasant.

MATRYONA. His wife and Nikita's mother, 50 years old.

MARINA An orphan girl, 22 years old.

MARTHA. Peter's sister.

MITRITCH An old laborer, ex-soldier.

SIMON. Marina's husband.

BRIDEGROOM. Engaged to Akoulina.

IVAN. His father.

A NEIGHBOR.

FIRST GIRL.

SECOND GIRL.

POLICE OFFICER.

DRIVER.

BEST MAN

MATCHMAKER.

VILLAGE ELDER.

VISITORS, WOMEN, GIRLS, AND PEOPLE come to see the wedding

N.B.--The "oven" mentioned is the usual large, brick, Russian
baking-oven. The top of it outside is flat, so that more than one
person can lie on it.

ACT I

The Act takes place in autumn in a large village. The Scene represents
PETER'S roomy hut. PETER is sitting on a wooden bench, mending a
horse-collar. ANISYA and AKOULINA are spinning, and singing a
part-song.

PETER (looking out of the window). The horses have got loose again. If
we don't look out they'll be killing the colt. Nikita! Hey, Nikita! Is
the fellow deaf? (Listens. To the women.) Shut up, one can't hear
anything.

NIKITA (from outside). What?

PETER. Drive the horses in.

NIKITA. We'll drive 'em in. All in good time.

PETER (shaking his head). Ah, these laborers! If I were well, I'd not
keep one on no account. There's nothing but bother with 'em. (Rises
and sits down again.) Nikita!.... It's no good shouting. One of you'd
better go. Go, Akoul, drive 'em in.

AKOULINA. What? The horses?

PETER. What else?

AKOULINA. All right.

[Exit.

PETER. Ah, but he's a loafer, that lad ... no good at all. Won't stir
a finger if he can help it.

ANISYA. You're so mighty brisk yourself. When you're not sprawling on
the top of the oven you're squatting on the bench. To goad others to
work is all you're fit for.

PETER. If one weren't to goad you on a bit, one'd have no roof left
over one's head before the year's out. Oh, what people!

ANISYA. You go shoving a dozen jobs on to one's shoulders, and then do
nothing but scold. It's easy to lie on the oven and give orders.

PETER (sighing). Oh, if 'twere not for this sickness that's got hold
of me, I'd not keep him on another day.

AKOULINA (off the scene). Gee up, gee, woo.

[A colt neighs, the stamping of horses' feet and the creaking of
the gate are heard.

PETER. Bragging, that's what he's good at. I'd like to sack him, I
would indeed.

ANISYA (mimicking him). "Like to sack him." You buckle to yourself,
and then talk.

AKOULINA (enters). It's all I could do to drive 'em in. That piebald
always will....

PETER. And where's Nikita?

AKOULINA. Where's Nikita? Why, standing out there in the street.

PETER. What's he standing there for?

AKOULINA. What's he standing there for? He stands there jabbering.

PETER. One can't get any sense out of her! Who's he jabbering with?

AKOULINA (does not hear). Eh, what?

[PETER waves her off. She sits down to her spinning.

NAN (running in to her mother). Nikita's father and mother have come.
They're going to take him away. It's true!

ANISYA. Nonsense!

NAN. Yes. Blest if they're not! (Laughing.) I was just going by, and
Nikita, he says, "Good-bye, Anna Petrovna," he says, "you must come
and dance at my wedding. I'm leaving you," he says, and laughs.

ANISYA (to her husband). There now. Much he cares. You see, he wants
to leave of himself. "Sack him" indeed!

PETER. Well, let him go. Just as if I couldn't find somebody else.

ANISYA. And what about the money he's had in advance?

[NAN stands listening at the door for awhile, and then exit.

PETER (frowning). The money? Well, he can work it off in summer,
anyhow.

ANISYA. Well, of course you'll be glad if he goes and you've not got
to feed him. It's only me as'll have to work like a horse all the
winter. That lass of yours isn't over fond of work either. And you'll
be lying up on the oven. I know you.

PETER. What's the good of wearing out one's tongue before one has the
hang of the matter?

ANISYA. The yard's full of cattle. You've not sold the cow, and have
kept all the sheep for the winter: feeding and watering 'em alone
takes all one's time, and you want to sack the laborer. But I tell you
straight, I'm not going to do a man's work! I'll go and lie on the top
of the oven same as you, and let everything go to pot! You may do what
you like.

PETER (to Akoulina). Go and see about the feeding, will you? it's
time.

AKOULINA. The feeding? All right.

[Puts on a coat and takes a rope.

ANISYA. I'm not going to work for you. You go and work yourself. I've
had enough of it, so there!

PETER. That'll do. What are you raving about? Like a sheep with the
staggers!

ANISYA. You're a crazy cur, you are! One gets neither work nor
pleasure from you. Eating your fill, that's all you do; you palsied
cur, you!

PETER (spits and puts on coat). Faugh! The Lord have mercy! I'd better
go myself and see what's up.

[Exit.

ANISYA (after him). Scurvy long-nosed devil!

AKOULINA. What are you swearing at dad for?

ANISYA. Hold your noise, you idiot!

AKOULINA (going to the door). I know why you're swearing at him.
You're an idiot yourself, you bitch. I'm not afraid of you.

ANISYA. What do you mean? (Jumps up and looks round for something to
hit her with.) Mind, or I'll give you one with the poker.

AKOULINA (opening the door). Bitch! devil! that's what you are! Devil!
bitch! bitch! devil!

[Runs off.

ANISYA (ponders). "Come and dance at my wedding!" What new plan is
this? Marry? Mind. Nikita, if that's your intention, I'll go and....
No, I can't live without him. I won't let him go.

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