Читать книгу Voyage - Tom Stoppard - Страница 10
ОглавлениеACT ONE
SUMMER 1833
Premukhino, the Bakunin estate, a hundred and fifty miles north-west of Moscow.
Interior, verandah, garden. There are places to sit in the garden, and a hammock. One setting is intended to serve for Act One.
Family supper is coming to an end. At the table—ALEXANDER BAKUNIN (sixty-five) and his wife, VARVARA (forty-two); their daughters, LIUBOV (twenty-two), VARENKA (twenty-one), TATIANA (eighteen) and ALEXANDRA (seventeen); MISS CHAMBERLAIN, a young English governess; and BARON RENNE (thirty-six), a cavalry officer in uniform. Household servants (serfs), notably SEMYON, who is senior, attend the table as may be. ‘English’ dialogue is spoken with a Russian accent, except in the case of Miss Chamberlain. The tempo is lively. Alexander Bakunin's rule is benign despotism, but the family atmosphere is prevailingly democratic.
ALEXANDER Speaking of which—Liubov, say something in English for the Baron.
LIUBOV What do you want me to say, Papa?
ALEXANDER All my daughters have been educated in five languages—call me a liberal if you like, I read Rousseau as a young man, I was there at the storming of the Bastille, not storming it personally but I remember my feelings were decidedly mixed, that's how liberal I was when I was nineteen. But education for women, yes indeed!—not just piano lessons and Russian grammar pour les filles Bakunin, though mind you, they write better Russian than I do—what a shame there's nothing worth reading (over his daughters’ protests), apart from …
DAUGHTERS Pushkin!
ALEXANDER … Pushkin. But I tell you, Baron, in choosing my eldest daughter you have chosen the cleverest—
VARVARA I prefer Kozlov.
ALEXANDER —brains before beauty, I wish I'd done the same—
DAUGHTERS Oh shame!—Shame on you, Papa—I hereby protest on behalf of my beautiful sister—Don't you listen, Liubov—
VARVARA Quiet when your father is speaking—
MISS CHAMBERLAIN What did your father say?
LIUBOV I take it as a compliment, Papa.
VARVARA So do I.
TATIANA The Baron doesn't think so, do you?
RENNE No! No … Liubov is as beautiful as your wife is intelligent.
ALEXANDER That's what I said. What a diplomat! Come on, Liubov, my darling, we're waiting.
LIUBOV I'm sure the Baron doesn't want …
ALEXANDRA I can, Papa! (She pops up, standing rigid. In ‘English’) ‘How do you do, Baron Renne! I say! charming weather, you do not think!'
She sits just as suddenly, and Tatiana follows suit.
TATIANA (in ‘English’) ‘The quality of mercy is not strained, it dropping like the gentle dew from heaven!’
Tatiana sits. Alexander continues imperturbably.
ALEXANDER I myself was educated in Italy. My doctorate in philosophy is from the University of Padua.
MISS CHAMBERLAIN Jolly good effort, Tatiana.
RENNE Really? Philosophy?
VARVARA What did she say?
ALEXANDER My dissertation was on worms.
TATIANA Shakespeare, Maman.
RENNE Worms the philosopher?
ALEXANDER No, just worms.
VARVARA I mean Miss Chamberlain, qu'est-ce qu'ele a dit? [What did she say?]
RENNE Ah, the philosophy of worms.
VARENKA Elle l'a félicitée, Maman, c'est tout. [Good effort, Maman, that's all.]
ALEXANDER Not at all. Worms have no philosophy, as far as is known.
VARVARA How can you teach them anything if you can't talk to them?
ALEXANDER Exactly.
MISS CHAMBERLAIN I'm so sorry, what did your mother say?
ALEXANDRA (in English’) ‘No lessons tomorrow, she said, holiday.’
MISS CHAMBERLAIN I think not, see me afterwards.
ALEXANDER That's enough English for now. Anyway, a wife who knows English is not the first consideration for an officer in the Cavalry, otherwise you'd be better off with the governess—No, I only have one serious objection to this marriage, my dear Baron—
DAUGHTERS Oh, no!—What's he going to say next?!—Don't you listen, Liubov!—Father, don't—!
VARVARA (raps the table) Enough!
ALEXANDER Thank you. What was I saying? Oh, well, it's gone.
RENNE Actually, I have to be going myself while there's still light in the sky, if you forgive me, it's a good ride back to camp—
VARVARA Yes, you must, it wouldn't do to break your neck before the happy day, or after, of course.
Noises of arrival and greeting are heard.
ALEXANDER What's going on?
RENNE A thousand thanks—(for Liubov, gallantly)—a thousand and one—
VARENKA Someone's come.
SEMYON (entering) It's Michael, sir, large as life! He's come home!
MICHAEL BAKUNIN is nineteen, in uniform. His entry causes an excited and emotional reunion, as ‘the table’ breaks up.
FAMILY Michael!—Oh my, look at you!—Why didn't you let us know?—So grown up! Look at his uniform!—Let me kiss you!—You're not in trouble, are you? I prayed and prayed for you—How long are you staying?—
MICHAEL No, I'm on leave—I came straight from summer exercises!—
ALEXANDER It's my boy, he's an ensign in the Artillery.
RENNE Of course—the famous Michael.
LIUBOV (to Renne) Thank you for your visit, I'm sorry my family is …
RENNE Oh no, you're all so … wonderfully unrussian …
MICHAEL And congratulations are in order, I believe. Do I have the honour … ?
LIUBOV Baron Renne—I present my brother Michael—
RENNE You have been at the Artillery School in Peter?
ALEXANDRA For five years!
ALEXANDER (to Miss Chamberlain) Run and tell Semyon to bring champagne. ‘Command Semyon to provision—’
MISS CHAMBERLAIN (running out) Champagne, champagne, I understand—
TATIANA Our English governess, do you think she's pretty?
MICHAEL No, I think you're pretty.
RENNE (tapping his glass) Ladies and gentlemen! (addressing Michael) The Cavalry drinks to the Artillery. But a family reunion is a sacred affair, and I was just saying good night—regimental duties, who understands better than you? So farewell! I embrace you, and am proud to call you brother!
Applause from the family. Michael and Renne shake hands and embrace.
ALEXANDER Good! Come along, we'll give you a proper send-off. Semyon!—Pavel!—one of you—his horse—the Baron is leaving!—
A general exodus begins.
ALEXANDER (cont.) (remembering) Ah, yes. That was it. I have only one serious doubt about this marriage—
LIUBOV (tearfully) Father …
VARENKA (to Liubov) It's a joke.
ALEXANDER … and that is the difference in your ages.
RENNE But I'm only thirty-six!
ALEXANDER A good ten years too young for her! The husband should be at least twice the age of the wife.
VARVARA But you're not.
ALEXANDER Not now, of course. (to Renne) Beauty before brains.
ALEXANDRA Are you coming, Michael?
TATIANA (hanging back) Yes, he's coming.
MICHAEL (to Liubov) Do you want to see him off without everybody … ?
LIUBOV (hastily) No, no, let's all go.
ALEXANDER Family on parade! … Handkerchiefs for waving and weeping—(to Renne) My wife was eighteen and I was forty-two. See my point?—just when the wife starts getting a mind to kick over the traces, she realises she only has to show a little patience …
Michael, Varenka and Tatiana are left alone.
MICHAEL Well! He won't do! Liubov doesn't love him, that's obvious.
VARENKA We know that.
TATIANA She won't go against Papa, and the Baron is a good match, isn't he?
Semyon enters with a tray of champagne glasses, and Miss Chamberlain with a bottle. Voices outside: ‘Tatiana! Michael! And where's Varenka?’
MICHAEL Thank you, Semyon. Leave us be.
Semyon leaves deferentially. Miss Chamberlain, unwisely, approaches gushing.
MISS CHAMBERLAIN So you are Michael.
MICHAEL ‘Go away, please.’
Miss Chamberlain gasps. The girls are shocked and admiring. Miss Chamberlain runs out. From outside ‘Varenka!’ is called. Varenka runs out.
MICHAEL (cont.) I'm speaking of love and you are speaking of matchmaking. Tata, Tata, don't you know? Dawn has broken! In Germany the sun is already high in the sky! It's only us in poor behind-the-times Russia who are the last to learn about the great discovery of the age! The life of the Spirit is the only real life: our everyday existence stands between us and our transcendence to the Universal Idea where we become one with the Absolute! Do you see?
TATIANA (desperately) Tell it to me in German.
MICHAEL This marriage cannot take place. We must save Liubov. To give oneself without love is a sin against the inner life. The outer world of material existence is mere illusion. I'll explain it all to Father.
Tatiana and Michael are being called from outside. She launches herself at Michael to embrace him, and runs out.
MICHAEL (cont.) God, I'm starving!
Michael pauses to stuff his mouth with food from the table, then follows Tatiana.
SPRING 1835
Garden and verandah.
Varvara comes out onto the verandah.
VARVARA Where are you all? The newlyweds are here!
Liubov appears in the garden.
LIUBOV Maman, they've been married for months.
VARVARA You wouldn't be so calm if you knew what I know!
She sees Tatiana and Alexandra and calls to them before hurrying back inside.
VARVARA (cont.) Come on!—Varenka's here with her husband.
Tatiana and Alexandra enter, making a beeline for Liubov and beside themselves with outrage. Alexandra has a letter.
ALEXANDRA Liubov! Michael's in love with guess who, Natalie Beyer!
TATIANA No, he's not, she's in love with him. The nerve of the woman!
VARVARA (reappearing crossly) Tatiana!
TATIANA We're coming, Mother, what's all the fuss?
LIUBOV Varenka's having a baby.
VARVARA (panicked) Who told you?
LIUBOV You did.
VARVARA I did not, I did not! You don't know, do you hear, you don't know. (She darts back inside.)
TATIANA (sobered) Poor Varenka!
ALEXANDRA Aunties! What a day!
LIUBOV What's happened?
ALEXANDRA Michael's back from Moscow and he's brought this stupid letter from Natalie Beyer … listen, it's to you too, are you ready? ‘My friends! I take up my pen as a duty to myself, to you, and to the Universal Idea. Michael has opened his heart to me. Ah, if only you knew the Michael I know! If only you understood him!’
TATIANA Imbecile!
LIUBOV But in Moscow she was all over Nicholas Stankevich.
TATIANA It's because Nicholas Stankevich likes you. (Liubov demurs.) Yes, he does, he led Natalie up the garden; she told us. Go on, Alexandra!
ALEXANDRA ‘With all the love you bear him, you can't see that Michael's virile and vigorous nature is being frustrated by your'—yes, my friends, your—listen to this—'limited progress in transcending the objective reality in which you see him only as your brother—’
LIUBOV What's he been complaining about?
TATIANA Not getting his own way in everything, I suppose.
LIUBOV None of her business. Anyway, he does.
ALEXANDRA There's lots more.
But Varenka comes from inside, her eyes brimming with emotion. Her pregnancy does not show.
VARENKA Oh, there you are! It's just us … Oh good.
ALEXANDRA Varenka!—look at this. From Natalie Beyer!
TATIANA She's after Michael!
LIUBOV Varenka … !
ALEXANDRA Can you believe the little minx?
Then they recall themselves to Varenka, suddenly shy.
ALEXANDRA (cont.) How are you?
TATIANA Hello, Varenka.
LIUBOV We've missed you horribly.
VARENKA Oh, so have I! I've told Dyakov I'm going to come back again and stay for a few months.
TATIANA Until the—?
Alexandra claps her hand over Tatiana's mouth.
ALEXANDRA We don't know, we don't know!
The four sisters collapse together in tearful happy embraces.
Alexander appears on the verandah, fulminating.
ALEXANDER Did you know about this?
TATIANA AND ALEXANDRA No!
LIUBOV About what?
ALEXANDER Where is he? Damnable boy! Egotist! Wait till he's got children of his own. Oh, congratulations, my dear—Dyakov told me—very good.
DYAKOV, aged about fifty, a cavalry officer, smoking a celebratory cigar, joins Alexander. His three sisters-in-law respond.
SISTERS Congratulations! How lovely! We can't wait! …
DYAKOV I'm the happiest man in the world.
ALEXANDER (resuming) Your brother's going to end up in the Peter-and-Paul Fortress under lock and key!
He goes back inside with Dyakov.
LIUBOV (to Tatiana) What did she say?
Michael, keeping a canny eye out for Alexander, appears from near the house smoking a cigar. He is in uniform.
MICHAEL Have you heard? Wonderful news. I'm going to be an uncle! Well, of course you have.
LIUBOV Congratulations.
MICHAEL Thank you, thank you. I haven't got used to it yet. Yes, it's an amazing feeling, an uncle at last. Congratulations to you, too, Varenka. And Dyakov, of course. Another cavalry officer! Behind my back while I was serving my country.
TATIANA Father's looking for you.
VARENKA (in regard to Alexander) What have you been up to?
MICHAEL What have you been up to is more like it.
Varenka, speechless for a moment, turns to flee in tears. Liubov, with a reproachful look at Michael, leaves with Varenka—further into the garden.
MICHAEL (cont.) (watching them go) Illusion … it's only illusion. Well … can I have my letter back?
ALEXANDRA It's not yours, it's to us.
MICHAEL The letter is to you but the paper and ink were only on loan.
Alexandra crumples the letter and throws it at him.
ALEXANDRA There you are, keep it! Natalie Beyer is a pompous impertinent little snot and she's going to get what for!
TATIANA Go to her, then—it's obvious you care more for her than us, she understands you so well.
MICHAEL So in general you disagree with her analysis.
ALEXANDRA In general she can go and boil her head. And you should know better. She isn't even pretty.
TATIANA Yes, she is. (Tatiana bursts into tears.)
MICHAEL Tata, Tata, my beloved, don't cry. I renounce all love except pure philosophical love, your love, the love I have for my sisters. The so-called love of talking animals removes people two by two from the only possibility of happiness, which is the communion of beautiful souls.
TATIANA No, no—we don't mind—you'll meet somebody one day.
MICHAEL It's not for me. Don't be angry with Natalie. She thinks it's your fault that I couldn't … that I can't be …
ALEXANDRA What?
Alexander, emerging, sees them from the verandah.
ALEXANDER No spunk, simple as that! (Explains.) Your brother's an army deserter!
MICHAEL (casually) Oh yes, I've resigned my commission.
ALEXANDER He's refusing to return to duty.
MICHAEL On grounds of ill health, Papa. I'm sick of the Army.
ALEXANDER No discipline, that's the problem!
MICHAEL No, it's riddled with discipline, that's the problem. That and Poland.
ALEXANDER Come inside, sir!
MICHAEL Poland is simply impossible.
Alexander goes in. The girls escort Michael, chattering anxiously.
TATIANA AND ALEXANDRA Resigned from the Army? You haven't! Oh, Michael, won't you be in trouble? What did they say? What did you … ?
MICHAEL ‘March here, march there, present arms, where's your cap?'—you've no idea, the whole Army's obsessed with playing at soldiers …
They go together into the house.
AUTUMN 1835
Liubov and Varenka ‘return’ to the garden. Varenka is eight months pregnant. Liubov has a book.
LIUBOV That was the last time everything was all right, in the time of Baron Renne. When we were all on the same side in everything, the way we'd always been. I would rather have married him if I'd known what terrible rows …
VARENKA (lightly) Where was Michael when I needed saving? But Dyakov's all right, if it wasn't for … and that's not his fault, we can't all be philosophers when it comes to love. This has been a godsend, even the feeling sick part, not having to want to. Did you ever want to with Baron Renne?
LIUBOV Oh no!
VARENKA It's the spurs.
LIUBOV Oh, Varenka.
They hug each other, laughing and weeping.
LIUBOV (cont.) (Pause.) Do you think it's ever wonderful, apart from in stories, like in George Sand?
VARENKA I wouldn't mind it with … Eugene Onegin!
LIUBOV Yes!
They giggle complicitly.
LIUBOV (cont.) Don't you think Nicholas Stankevich looks like Onegin ought to look?
VARENKA Perhaps I'll meet my Onegin and run off with him.
LIUBOV (shocked) Varenka! (Pause.) Anyway, in Pushkin's story, Tatiana stayed with her husband.
VARENKA That's because she hadn't read George Sand.
LIUBOV Yes!
VARENKA To follow our heart wherever it leads us! To love where we may, whomever we may, to let love be our guide to the greater good!
LIUBOV (Pause.) Sand doesn't tell you the things you want to know, though.
VARENKA I'll tell you if you want.
LIUBOV No. Well … go on then.
VARENKA You have to ask.
LIUBOV I can't.
VARENKA Remember that time the tinker's jackass got into Betsy's paddock?
LIUBOV Yes!
VARENKA Like that, only you're lying on your back.
LIUBOV Oh …
VARENKA Not as big as that.
They laugh complicity, through Liubov's confusion. Voices are heard within.
LIUBOV Is that them? Don't look.
Michael is seen indoors, with NICHOLAS STANKEVICH, a beautiful dark-haired young man aged twenty-two. Michael, hearing the laughter, has gone to the window.
MICHAEL It's Liubov. Varenka's with her.
STANKEVICH The laughter of women is like the spiritual communion of angels. Women are holy beings. For me, love is a religious experience.
VARENKA I don't think he does it.
LIUBOV Varenka! … (anxiously) Don't you?
VARENKA Nicholas Stankevich is keeping himself for you. The next step has got him baffled. But Michael says Nicholas has the most brilliant mind in the Philosophical Circle, so perhaps an idea will come to him … Ask him if he'd like you to show him the …
LIUBOV The what? The fishpond? (suddenly) Promise not to tell—I've got his keepsake!
Liubov retrieves from ‘next to her heart’ the keepsake, a miniature penknife, an inch or two long when folded.
VARENKA Well, why didn't you say!
LIUBOV (laughing, embarrassed) Right next to my heart!
VARENKA What did he give you? His penknife?
LIUBOV Oh, no … he didn't give it, I … (in tears) I'm a fool. Natalie was just making mischief.
Liubov makes to flee. Varenka catches her and hugs her.
Indoors Michael and Stankevich, pupil and guide, sit at the table with their collection of hooks.
STANKEVICH Schelling's God is the cosmos, the totality of Nature struggling towards consciousness, and Man is as far as the struggle has got, with the animals not too far behind, vegetables somewhat lagging, and rocks nowhere as yet. Do we believe this? Does it matter? Think of it as a poem or a picture. Art doesn't have to be true like a theorem. It can be true in other ways. This truth says the universe is all of a oneness, not just a lot of bits which happen to be lying around together. In other words, it says there is a meaning to it all, and Man is where the meaning begins to show. How do we get the rest of the meaning? Schelling says: by unlocking our innermost being. By letting the meaning flow through us. This is morality. Kant says: but morality has no meaning unless we are free to choose, so it follows that we are the only government of our real lives, the ideal is to be discovered in us, not in some book of social theory written by a Frenchman. Idealism—the self—the autonomous will—is the mark of God's faith in his creations. Well, who'd have thought that God's chosen people would turn out to be the Germans?
In the garden, Liubov and Varenka have settled on the bench. Varenka stands up decisively.
VARENKA I'm going to ask him.
LIUBOV No!
VARENKA Well, stay here where he can see you reading.
LIUBOV I won't fling myself at him.
VARENKA Loosen your hair a little.
LIUBOV Varenka, don't …
VARENKA I won't, I won't.
Varenka leaves. Liubov sits and opens her book.
STANKEVICH The inner life is more real, more complete, than what we call reality—which has no meaning independent of my observing it. (pausing to look) I look out of the window. What is my thought experience? A garden. Trees. Grass. A young woman in a chair reading a book. I think: if there were no chair she would fall on the grass. If there were no book she would not be reading. Now the young woman touches her hair where it's come undone. How can we be sure there is a world of phenomena, a woman reading in a garden? Perhaps the only thing that's real is my sensory experience, which has the form of a woman reading—in a universe which is in fact empty! But Kant says no—I cannot have the experience without there being something out there to cause the experience. In fact, a woman reading. Am I, therefore, no more than an instrument for registering the phenomenal world of appearances, a woman now closing her book and standing up? But again Kant says—no! Because what I perceive as reality includes concepts which I cannot experience through the senses. Time and space. Cause and effect. Relations between things. These concepts already exist in my mind, I must use them to make sense of what I observe. And thus my existence is necessary to a complete description of reality. Without me there is something wrong with this picture. The trees, the grass, the woman are merely—oh, she's coming! (nervously) She's coming in here!—I say, don't leave!—where are you going?
MICHAEL Father's looking for me anyway … (gloomily) I've had to ask him to settle a few debts here and there in the world of appearances, so now he's been busy getting me a job.
Liubov enters from the garden, with her book.
LIUBOV Oh—Michael!—(noticing Stankevich) Excuse me—
MICHAEL Nobody seems to understand Stankevich and I are engaged in a life-or-death struggle over material forces to unite our spirit with the Universal—and he has to go back to Moscow tomorrow! (as Liubov makes to leave) No, it doesn't matter now. (to Stankevich) The Provincial Governor is father's friend, so it follows that I should have an inky job in the civil service, and think myself lucky after my distinguished career in the military.
LIUBOV You'll only be in Tver, we'll see you often.
MICHAEL Alas, it is not to be. Nicholas and I intend to go to Berlin, to the fountainhead.
LIUBOV But how will you live?
MICHAEL Oh, I can teach … mathematics—I don't know, what does it matter? (earnestly) You see, Liubov, I'm one of those who are born for their time. I will do such things I know not, but I must sacrifice everything to that sacred purpose, to strengthen my resolve until I can say, ‘Whatever I want, that's what God wants.’ (leaving, airily) I'll explain it all to Father.
Michael goes out. Stankevich is at a loss, Liubov no less so. Stankevich tidies up his books. Presently there are faintly heard the sounds of a gigantic row from a distant room. It goes on for some time, then stops. Liubov is on the point of speaking when the door is flung open and Tatiana and Alexandra rush in speaking over each other.
TATIANA AND ALEXANDRA Oh, Liubov!—Did you hear? Michael and Papa—Oh!—Sorry!—It's nothing!—
They are hardly in before they're out. Stankevich is about to speak when Varvara hurries into the room.
VARVARA (without pausing, to Liubov) Now he thinks he's God!
Varvara crosses the room and leaves. Stankevich loses his nerve and makes to leave.
LIUBOV So you're going to Moscow tomorrow.
STANKEVICH Yes. (Blurts.) It's a long time since you came to the Philosophical Circle. We miss the … feminine viewpoint.
LIUBOV (haplessly) Doesn't Natalie Beyer still go?
STANKEVICH (mistaking her, coldly) I … I understand your meaning. …
LIUBOV (panicking miserably) I didn't mean any meaning!
Stankevich hastily starts gathering his books. Liubov snatches one up at random.
LIUBOV (cont.) May I borrow this? To read. (She examines the title.) Grundlegung zur Metaphysik der Sitten. Is it good?
STANKEVICH It's in German.
LIUBOV Ich weiss. [I know.]
STANKEVICH Yes … yes, of course, if you wish. But you have a book. Is it philosophy?
LIUBOV No. I don't know. It's only a novel, by George Sand.
STANKEVICH The philosopher of love.
LIUBOV Yes, she says love is the highest good.
STANKEVICH Perhaps in France. Kant says the only good actions are those performed out of a sense of duty, not from instinct … like passion or desire …
LIUBOV So to act out of love can never be good?
STANKEVICH In the sense that you cannot take moral credit from it. Because you are really pleasing yourself.
LIUBOV Even if it gives happiness to another?
STANKEVICH Yes. Consequences don't come into it.
LIUBOV And to act out of a sense of duty, even if it leads to unhappiness … ?
STANKEVICH Is a moral action, yes.
LIUBOV (timidly) In Germany.
STANKEVICH (insistently) In the system of Kant a man is judged only by his intention.
LIUBOV (still timidly) A fool can mean well.
STANKEVICH (bursts out) And usually does! How was I to know that Natalie Beyer mistook my intentions? I only talked to her about philosophy!
LIUBOV Yes. Only another fool would make that mistake.
She takes the little penknife from her pocket and holds it out to him.
LIUBOV (cont.) I found this. I think it's your penknife.
STANKEVICH Mine? No, it's not mine.
LIUBOV Oh. Didn't you lose one?
STANKEVICH No. (Pause.) Perhaps I should have one.
LIUBOV Yes. Well, you can …
Michael bursts in with a bulging satchel over each shoulder.
MICHAEL We're leaving!
He puts one satchel over Stankevich's shoulder, as Tatiana, Alexandra and Varenka rush in, talking over each other, while Michael gathers up the books, thrusting them at Stankevich.
VARENKA Michael—just for once—
TATIANA Don't go, don't go! What will you do? We'll all beg Father—
STANKEVICH What happened?
MICHAEL Dahin! Dahin! Lass uns ziehn! [There, there lies our path!]
ALEXANDRA When will you come back?
MICHAEL Never!
Michael starts pulling Stankevich to the garden.
MICHAEL (cont.) I've sent Semyon to hold the mail—
Varvara rushes into the room and joins the rout.
VARVARA You have broken your father's heart! When you get to Moscow, go to Pliva's and tell them to send another metre of the grey silk—will you remember?—the grey silk!
Michael, Stankevich, Varvara, Varenka, Tatiana, Alexandra, and now also two SERFS with bits of baggage, stream across the garden amid general lamentation and rebuke.
MICHAEL I don't need parents! I renounce them! They don't exist! They'll never see me again!
