The Light Shines in Darkness

Notes
I should have considered it all very pretty. I will tell him the plain fact, my dear. At the rate things are going. There is no reason for it to stop. I should put an end to all these fads. And plays the bountiful left and right. We know something about it. All the rest of it. He was very nice, and like everybody else. Everything will be lost. To take measures. God helps those who help themselves. I’ll tell him the truth. But do stop, for heaven’s sake. What right have you? There are limits to human endurance. Speak of the sun and you see its rays. Fixed idea. She s... (From : TheAnarchistLibrary.org.)

Act 5, Scene 1
Disciplinary Battalion. A cell. Prisoners sitting and lying. Borís is reading the Gospel and explaining it. A man who has been flogged is brought in. “Ah, if there were but a Pugachev to revenge us on such as you.” The Princess bursts in, but is turned out. Conflict with an officer. Prisoners led to prayers. Borís sent to the Penitentiary Cell: “He shall be flogged!” Scene changes. The Czar’s Cabinet. Cigarettes; jokes; caresses. The Princess is announced. “Let her wait.” Enter petitioners, flattery, then the Princess. Her request is refused. Exit. Scene changes. Mary Ivánovna talks about illness with the doctor. “He has changed, has become more gentle, but is dispirited.” Enter Nicholas Ivánovich and speaks to Doctor about the uselessness of treatment. But for his wife’s sake he agrees to it. Enter Tónya with Sty&oacut... (From : TheAnarchistLibrary.org.)

Act 4, Scene 2
Nicholas Ivánovich’s room. The dance music is heard in the distance. Nicholas Ivánovich has an overcoat on. He puts a letter on the table. Alexander Petróvich, dressed in ragged clothes, is with him. ALEXANDER PETRÓVICH. Don’t worry, we can reach the Caucasus without spending a penny, and there you can settle down. NICHOLAS IVÁNOVICH. We will go by rail as far as Túla, and from thence on foot. Well, I’m ready. [Puts letter in the middle of the table, and goes to the door, where he meets Mary Ivánovna] Oh! Why have you come here? MARY IVÁNOVNA. Why indeed? To prevent your doing a cruel thing. What’s all this for? Why d’you do it? NICHOLAS IVÁNOVICH. Why? Because I cannot continue 404living like this. I cannot endure this terrible, depraved life. MARY IVÁNOVNA. It is awful. My life—which I give wholly to you... (From : TheAnarchistLibrary.org.)

Act 4, Scene 1
In Moscow a year later. A drawing-room in the Sarýntsov’s town house is prepared for a dance. Footmen are arranging plants round the grand piano. Enter Mary Ivánovna in an elegant silk dress, with Alexándra Ivánovna. MARY IVÁNOVNA. A ball? No, Only a dance! A “Juvenile Party” as they once used to say. My children took part in the Theatricals at the Mákofs, and have been asked to dances everywhere, so I must return the invitations. ALEXÁNDRA IVÁNOVNA. I am afraid Nicholas does not like it. MARY IVÁNOVNA. I can’t help it. [To Footmen] Put it here! [To Alexándra Ivánovna] God knows how glad I should be not to cause him unpleasantness. But I think he has become much less exacting. ALEXÁNDRA IVÁNOVNA. No, no! Only he does not show it so much. I saw how upset he was when he went off to his own room after dinner. (From : TheAnarchistLibrary.org.)

Act 3, Scene 3
Room in Hospital. Head Doctor, Assistant Doctor, an Officer-Patient in a dressing-gown, and two Warders wearing blouses. PATIENT. I tell you that you are only leading me to perdition. I have already several times felt quite well. HEAD DOCTOR. You must not get excited. I should be glad to sign an order for you to leave the hospital, but you know yourself that liberty is dangerous for you. If I were sure that you would be looked after … PATIENT. You think I should take to drink again? No, I have had my lesson, but every extra day I spend here only does me harm. You are doing [gets excited] the opposite of what you ought to do. You are cruel. It’s all very well for you! HEAD DOCTOR. Don’t get excited. [Makes a sign to Warders; who come up from behind]. PATIENT. It’s easy for you to argue, being at liberty; but how about us who are kept among madmen! [To Warders] What are you after? Be off... (From : TheAnarchistLibrary.org.)

NICHOLAS IVÁNOVICH SARÝNTSOV. MARY IVÁNOVNA SARÝNTSOVA. His wife. LYÚBA. Their daughter. STYÓPA. Their son. VÁNYA. A younger son. MISSY. Their daughter. THE SARÝNTSOVS’ LITTLE CHILDREN. ALEXANDER MIKÁYLOVICH STARKÓVSKY. (Lyúba’s betrothed in Act IV). MITROFÁN ERMÍLYCH. Ványa’s tutor. THE SARÝNTSOVS’ GOVERNESS. ALEXÁNDRA IVÁNOVNA KÓHOVTSEVA. Mary Ivánovna’s sister. PETER SEMYÓNOVICH KÓHOVTSEV. Her husband. LISA. Their daughter. PRINCESS CHEREMSHÁNOV. BORÍS. Her son. TÓNYA. Her daughter. A YOUNG PRIEST. THE SARÝNTSOVS’ NURSE. (From : TheAnarchistLibrary.org.)

In the same country-house. It is raining outside. A drawing-room with a grand piano. Tónya has just finished playing a sonata of Schumann’s and is sitting at the piano. Styópa is standing by the piano. Borís is sitting. Lyúba, Lisa, Mitrofán Ermílych and the young Priest are all stirred by the music. LYÚBA. That andante! Isn’t it lovely! STYÓPA. No, the scherzo. Though really the whole of it is beautiful. LISA. Very fine. 364 STYÓPA. But I had no idea you were such an artist. It is real masterly play. Evidently the difficulties no longer exist for you, and you think only of the feeling, and express it with wonderful delicacy. LYÚBA. Yes, and with dignity. T&Oa... (From : TheAnarchistLibrary.org.)

The scene is laid in Moscow. A large room. In it a carpenter’s bench; a table with papers on it; a book-cupboard; a looking-glass and pictures on the wall behind, with some planks leaning in front of them. A Carpenter and Nicholas Ivánovich wearing a carpenter’s apron are working at the bench, planing. NICHOLAS IVÁNOVICH [takes a board from the vice] Is that all right? CARPENTER [setting a plane] Not quite, you must do it more boldly—like this. NICHOLAS IVÁNOVICH. It is easy to say boldly, but I can’t manage it. CARPENTER. But why should your honor trouble to learn to be a carpenter? There are such a lot of us nowadays that we can hardly get a living as it is. NICHOLAS IVÁNOVICH [at work a... (From : TheAnarchistLibrary.org.)

In the same country-house, a week later. The scene represents a large dining-hall. The table is laid for tea and coffee, with a samovár. A grand piano and a music-stand are by the wall. Mary Ivánovna, the Princess and Peter Semyónovich are seated at the table. PETER SEMYÓNOVICH. Ah, Princess, it does not seem so long ago since you were singing Rosina’s part, and I … though nowadays I am not fit even for a Don Basilio. PRINCESS. Our children might do the singing now, but times have changed. PETER SEMYÓNOVICH. Yes, these are matter-of-fact times … But your daughter plays really seriously and well. Where are the young folk? Not asleep still, surely? MARY IVÁNOVNA. Yes, they went out... (From : TheAnarchistLibrary.org.)

Village street. Iván Zyábrev, covered with a sheepskin coat, is lying near a hut. IVÁN ZYÁBREV. Maláshka! A tiny girl comes out of the hut with a baby in her arms. The baby is crying. IVÁN ZYÁBREV. Get me a drink of water. Maláshka goes back into the hut, from where the baby can be heard screaming. She brings a bowl of water. IVÁN ZYÁBREV. Why do you always beat the youngster and make him howl? I’ll tell mother. MALÁSHKA. Tell her then. It’s hunger makes him howl! 360 IVÁN ZYÁBREV [drinks] You should go and ask the Démkins for some milk. MALÁSHKA. I went, but there wasn’t any. And there was no one at home. IVÁN Z... (From : TheAnarchistLibrary.org.)