Redemption

Author : Leo Tolstoy

(1828 - 1910)

Father of Christian Anarchism

: In 1861, during the second of his European tours, Tolstoy met with Proudhon, with whom he exchanged ideas. Inspired by the encounter, Tolstoy returned to Yasnaya Polyana to found thirteen schools that were the first attempt to implement a practical model of libertarian education. (From: Anarchy Archives.)
• "Only by recognizing the land as just such an article of common possession as the sun and air will you be able, without bias and justly, to establish the ownership of land among all men, according to any of the existing projects or according to some new project composed or chosen by you in common." (From: "To the Working People," by Leo Tolstoy, Yasnaya P....)
• "...the dissemination of the truth in a society based on coercion was always hindered in one and the same manner, namely, those in power, feeling that the recognition of this truth would undermine their position, consciously or sometimes unconsciously perverted it by explanations and additions quite foreign to it, and also opposed it by open violence." (From: "A Letter to a Hindu: The Subjection of India- Its....)
• "There are people (we ourselves are such) who realize that our Government is very bad, and who struggle against it." (From: "A Letter to Russian Liberals," by Leo Tolstoy, Au....)

christian anarchist (1)

russian (147)

anarchist (284)

christian (54)

Characters

THEODORE VASÍLYEVICH PROTOSOV (FÉDYA). ELISABETH ANDRÉYEVNA PROTOSOVA (LISA). His wife. MÍSHA. Their son. ANNA PÁVLOVNA. Lisa’s mother. SASHA. Lisa’s younger, unmarried sister. VICTOR MICHAELOVITCH KARÉNIN. SOPHIA DMÍTRIEVNA KARÉNINA. PRINCE SERGIUS DMÍTRIEVICH ABRÉSKOV. MASHA. A gypsy girl. IVÁN MAKÁROVICH. An old gypsy man. Masha’s parent. NASTASÏA IVÁNOVNA. An old gypsy woman. Masha’s parent. OFFICER. MUSICIAN. FIRST GYPSY MAN. SECOND GYPSY MAN. GYPSY (From: TheAnarchistLibrary.org.)

Act 1, Scene 1

Protosovs’ flat in Moscow. The scene represents a small dining room. ANNA PÁVLOVNA, a stout, gray-haired lady, tightly laced, is sitting alone at the tea-table on which is a samovár. Enter NURSE carrying a tea-pot. Nurse (enters R. I, over to table C.). Please, Madam, may I have some water? Anna Pávlovna (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 Pávlovna. But I thou... (From: TheAnarchistLibrary.org.)

Act 1, Scene 2

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. FÉDYA 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. Afrémov (standing L. U.). Asleep? Fédya (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. Fédya. Afterwards. Now let’s have “No More at Evening.” ... (From: TheAnarchistLibrary.org.)

Act 1, Scene 3

SOPHIA KARÉNINA’S boudoir. SOPHIA KARÉNINA, 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 Abréskov. Sophia Karénina (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’espère que je ne force pas la consigne. [Crossing to sofa L. He kisses her hand. He is a charming old diplomat of seventy. Sophia Karénina. Ah, you know well que vous êtes toujours le bie... (From: TheAnarchistLibrary.org.)

Act 1, Scene 4

A plainly furnished room, bed, table and stove. FÉDYA alone writing. At rise MASHA is heard outside calling “FÉDYA! FÉDYA!” MASHA enters R. I, crosses to FÉDYA on bed C. and embraces him. Fédya. Ah, thank Heaven you’ve come. I was wasting away in boredom. Masha. Then why didn’t you come over to us? (Sees wine glass on chair near bed.) So, you’ve been drinking again? And after all your promises! Fédya (embarrassed). I didn’t come over because I had no money. Masha. Oh, why is it I love you so. Fédya. Masha! Masha (imitating him). Masha! Masha! What’s that mean? If you loved me, by now you’d have yo... (From: TheAnarchistLibrary.org.)

Act 1, Scene 5

Private room in a cheap restaurant. FÉDYA is shown in by a shabby waiter. Waiter. This way, sir. No one will disturb you here. Here’s the writing paper. [Starts to exit. Fédya (as waiter starts to exit). Bring me a bottle of champagne. Waiter. Yes, sir. [Exits R. C. [FÉDYA sits at table L. C., and begins to write. IVÁN PETROVICH appearing in the doorway R. C. Iván. I’ll come in, shall I? Fédya (sitting L. of table L. C. Very serious). If you want to, but I’m awfully busy, and—(seeing he has already entered) Oh, all right, do come in. Iván Petrovich (C.). You’re going to write an answer to their demand... (From: TheAnarchistLibrary.org.)

Act 1, Scene 6

The PROTOSOVS’ drawing-room. KARÉNIN and LISA. Karénin (sitting chair R.). He’s promised me definitely, and I’m sure he’ll keep to it. Lisa (sitting chair R. C.). I’m rather ashamed to confess it, Victor, but since I found out about this—this gypsy, I feel completely free of him. Of course, I am not in the least jealous, but knowing this makes me see that I owe him nothing more. Am I clear to you, I wonder? Karénin (coming closer to her). Yes, dear, I think I’ll always understand you. Lisa (smiling). Don’t interrupt me, but let me speak as I think. The thing that tortured me most was I seemed to love both of you at once, and that made me ... (From: TheAnarchistLibrary.org.)

Act 2, Scene 1

A dirty, ill-lighted underground dove; people are lying around drinking, sleeping, playing cards and making love. Near the front a small table at which FÉDYA sits; he is in rags and has fallen very low. By his side is PETUSHKÓV, a delicate spiritual man, with long yellow hair and beard. Both are rather drunk. Candle light is the only lighting in this Scene. Petushkóv (R.C. of table C.). I know. I know. Well, that’s real love. So what happened then? Fédya (L. C. of table C., pensively). You might perhaps expect a girl of our own class, tenderly brought up, to be capable of sacrificing for the man she loved, but this girl was a gypsy, reared in greed, yet she gave me the purest sort of se... (From: TheAnarchistLibrary.org.)

Act 2, Scene 2

In the country. A veranda covered by a gay awning; sunlight; flowers; SOPHIA KARÉNINA, LISA, her little boy and nurse. Lisa (standing C. in door. To the little boy, smiling), Who do you think is on his way from the station? Misha (excitedly). Who? Who? Lisa. Papa. Misha (rapturously). Papa’s coming! Papa’s coming! [Exits L. through C. door. Lisa (contentedly, to SOPHIA KARÉNINA). How much he loves Victor! As if he were his real father! Sophia Karénina (on sofa L. knitting—back to audience). Tant mieux. Do you think he ever remembers his father? Lisa (sighing). I can’t tell. Of course I’ve never said anything to him. What’s the us... (From: TheAnarchistLibrary.org.)

Act 2, Scene 3

The room of the examining magistrate, who sits at a table talking to MÉLNIKOV, 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. Mélnikov. (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 Karén... (From: TheAnarchistLibrary.org.)

Act 2, Scene 4

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. IVÁN 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? Iván Petrovich. Why shouldn’t I? The law says these sessions are public. Guard. You can’t get by and that’s enough. Iván 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? Ivá... (From: TheAnarchistLibrary.org.)

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Redemption

By Leo Tolstoy (1900)

Entry 10268

Public