Anton Chekhov: Plays, Short Stories, Diary & Letters (Collected Edition). Anton Chekhov
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I'm lost, ruined! I've been caught like a mouse in a trap.
MRS. POPOV. Go, or I'll shoot.
SMIRNOV. Shoot! You have no idea what happiness it would be to die in sight of those beautiful eyes, to die from the revolver in this little velvet hand! I'm mad! Consider it and decide immediately, for if I go now, we shall never see each other again. Decide—speak—- I am a noble, a respectable man, have an income of ten thousand, can shoot a coin thrown into the air. I own some fine horses. Will you be my wife?
MRS. POPOV. [Swings the revolver angrily.] I'll shoot!
SMIRNOV. My mind is not clear—I can't understand. Servant—water! I have fallen in love like any young man. [He takes her hand and she cries with pain.] I love you! [He kneels.] I love you as I have never loved before. Twelve women I jilted, nine jilted me, but not one of them all have I loved as I love you. I am conquered, lost; I lie at your feet like a fool and beg for your hand. Shame and disgrace! For five years I haven't been in love; I thanked the Lord for it, and now I am caught, like a carriage tongue in another carriage. I beg for your hand! Yes or no? Will you?—Good!
[He gets up and goes quickly to the door.
MRS. POPOV. Wait a moment!
SMIRNOV. [Stopping.] Well?
MRS. POPOV. Nothing. You may go. But—wait a moment. No, go on, go on. I hate you. Or—no; don't go. Oh, if you knew how angry I was, how angry! [She throws the revolver on to the chair.] My finger is swollen from this thing. [She angrily tears her handkerchief.] What are you standing there for? Get out!
SMIRNOV. Farewell!
MRS. POPOV. Yes, go. [Cries out.] Why are you going? Wait—no, go!! Oh, how angry I am! Don't come too near, don't come too near—er—come—no nearer.
SMIRNOV. [Approaching her.] How angry I am with myself! Fall in love like a schoolboy, throw myself on my knees. I've got a chill! [Strongly.] I love you. This is fine—all I needed was to fall in love. To-morrow I have to pay my interest, the hay harvest has begun, and then you appear! [He takes her in his arms.] I can never forgive myself.
MRS. POPOV. Go away! Take your hands off me! I hate you—you—this is—
[A long kiss.
[Enter Luka with an axe, the gardener with a rake, the coachman with a pitchfork, and workmen with poles.
LUKA. [Staring at the pair.] Merciful heavens!
[A long pause.
MRS. POPOV. [Dropping her eyes.] Tell them in the stable that Tobby isn't to have any oats.
CURTAIN
THE SEAGULL
CHARACTERS
IRINA ABKADINA, an actress
CONSTANTINE TREPLIEFF, her son
PETER SORIN, her brother
NINA ZARIETCHNAYA, a young girl, the daughter of a rich landowner
ILIA SHAMRAEFF, the manager of SORIN’S estate
PAULINA, his wife
MASHA, their daughter
BORIS TRIGORIN, an author
EUGENE DORN, a doctor
SIMON MEDVIEDENKO, a schoolmaster
JACOB, a workman
A COOK
A MAIDSERVANT
The scene is laid on SORIN’S estate. Two years elapse between the third and fourth acts.
ACT I
The scene is laid in the park on SORIN’S estate. A broad avenue of trees leads away from the audience toward a lake which lies lost in the depths of the park. The avenue is obstructed by a rough stage, temporarily erected for the performance of amateur theatricals, and which screens the lake from view. There is a dense growth of bushes to the left and right of the stage. A few chairs and a little table are placed in front of the stage. The sun has just set. JACOB and some other workmen are heard hammering and coughing on the stage behind the lowered curtain.
MASHA and MEDVIEDENKO come in from the left, returning from a walk.
MEDVIEDENKO. Why do you always wear mourning?
MASHA. I dress in black to match my life. I am unhappy.
MEDVIEDENKO. Why should you be unhappy? [Thinking it over] I don’t understand it. You are healthy, and though your father is not rich, he has a good competency. My life is far harder than yours. I only have twenty-three roubles a month to live on, but I don’t wear mourning. [They sit down].
MASHA. Happiness does not depend on riches; poor men are often happy.
MEDVIEDENKO. In theory, yes, but not in reality. Take my case, for instance; my mother, my two sisters, my little brother and I must all live somehow on my salary of twenty-three roubles a month. We have to eat and drink, I take it. You wouldn’t have us go without tea and sugar, would you? Or tobacco? Answer me that, if you can.
MASHA. [Looking in the direction of the stage] The play will soon begin.
MEDVIEDENKO. Yes, Nina Zarietchnaya is going to act in Treplieff’s play. They love one another, and their two souls will unite tonight in the effort to interpret the same idea by different means. There is no ground on which your soul and mine can meet. I love you. Too restless and sad to stay at home, I tramp here every day, six miles and back, to be met only by your indifference. I am poor, my family is large, you can have no inducement to marry a man who cannot even find sufficient food for his own mouth.
MASHA. It is not that. [She takes snuff] I am touched by your affection, but I cannot return it, that is all. [She offers him the snuff-box] Will you take some?
MEDVIEDENKO. No, thank you. [A pause.]
MASHA. The air is sultry; a storm is brewing for tonight. You do nothing but moralise or else talk about money. To you, poverty is the greatest misfortune that can befall a man, but I think it is a thousand times easier to go begging in rags than to — You wouldn’t understand that, though.
SORIN leaning on a cane, and TREPLIEFF come in.
SORIN. For some reason, my boy, country life doesn’t suit me, and I am sure I shall never get used to it. Last night I went to bed at ten and woke at nine this morning, feeling as if, from oversleep, my brain had stuck to my skull. [Laughing] And yet I accidentally dropped off to sleep again after dinner, and feel utterly done up at this moment. It is like a nightmare.
TREPLIEFF. There is no doubt that you should live in town. [He catches sight of MASHA and