“Late Love” A. N

Victor Khanov “A Woman’s Gaze or the Sibyl’s Epiphany?” This article is about the work of Svetlana Churaeva, or a tale about how multifaceted a person is, and especially a creator. One facet of our heroine is a mediocre short story writer. The second facet is a gifted poetess. And finally, the third, most

UDC 82: 09 O-77

T.V. Chaikina

PLAY BY A.N. OSTROVSKY “LATE LOVE”: SPECIFICS OF THE GENRE

When interpreting Ostrovsky's plays, it is necessary to take into account their genre designations. “Scenes from the life of the outback” “Late Love” shows a separate episode from the life of the characters, which reflects the life, customs, and value systems of the inhabitants of the Moscow outskirts. Four scenes following each other are plot-related, the events are extremely concentrated in time and space.

Key words: genre, scenes, critical assessments, key episodes, everyday atmosphere, spiritual environment, love affair, stage directions, dialogues, monologues, chronotope.

A.L. Stein rightly emphasized that

A.N. Ostrovsky was a great master of the Russian genre, and his art is everyday, genre. Following the title of each of his plays, the author gave a genre subtitle, clearly indicating the features of the dramatic action, as well as the space of the image. One of the most common genres in Ostrovsky’s dramaturgy was scenes. Already in 1850, scenes from “The Morning of a Young Man” appeared. In 1858 - “scenes from village life” “The Kindergarten”, then “scenes from Moscow life” “Hard Days” (1863), “The Abyss” (1866), “Not everything is Maslenitsa for the cat” (1871).

In 1873, in “Notes of the Fatherland,” Ostrovsky published “scenes from the life of the outback,” “Late Love,” and in 1874, “Labor Bread” with the same genre subtitle. In these plays, the playwright reflected the contradictions of life in the 70s of the 19th century. “The Moscow that was captured in “Bankrupt” and “The Poor Bride” has gone, disappeared, and when he wanted to remember it in some new play of his, to look into its former corners that were miraculously preserved, he had to, as if apologizing, note every time: “Scenes from the life of the outback”^ ...> The style of life, her whole appearance, was different,” noted

B.Ya. Lakshin.

Ostrovsky's new approach to recreating life caused contradictory and sometimes hostile judgments in criticism. Thus, the position of the reviewer of the newspaper “Grazhdanin”, who had his own stereotypes in the perception of Ostrovsky, was irreconcilable. He is clearly trying satirically to convey the content of the play and characterize its characters. The critic’s reflections are sometimes filled with sarcasm: he calls Lyudmila, the main character of the play, “a thief with cynicism”

and “nihilist”; Shablova's sons - Cain and Abel, emphasizing the honesty and kindness of one and the dissipation of the other. The critic explains the weakness of the play by the fact that “Late Love,” in his opinion, was originally conceived by the playwright as a parody of some kind of comedy. In conclusion, the reviewer of “Citizen” bluntly states: “Is it really all that we just saw that was Ostrovsky’s play? But where is his talent, where are his rich types, where is at least a trace of some kind of struggle, where is at least something similar to Ostrovsky? . What kind of fight did the reviewer want to see? Obviously, the one that the playwright N.A. Dobrolyubov noted: the clash of “two parties - older and younger, rich and poor, willful and irresponsible.”

The reviewer of the Odessa Bulletin, S.G., did not see the originality of Ostrovsky’s new play. Her-tse-Vinigradsky, V.P. Burenin, critic of the St. Petersburg Gazette, as well as V.G. Avseenko, who categorically pointed out the playwright’s connection with the traditions of Gogol in an effort to portray a “low-lying, rough environment.”

An exception to the general chorus of voices was a note in the St. Petersburg Gazette dated November 30, 1873, the author of which pointed out a number of advantages of Ostrovsky’s new play. According to the reviewer, the first two acts of the play are especially good, since “the action is lively, all the faces are masterfully outlined, and, as always with Mr. Ostrovsky, the conversation is replete with successful, apt, typical expressions.” The St. Petersburg Gazette critic considers the strength of “Late Love” to be the originality of the characters, pointing out that the best characters in the play are “the old woman Shablova, the simpleton son of her and Lebyadkin, especially the latter.” A word-sensitive reviewer

© T.V. Chaikina, 2009

notices the uniqueness of the characters’ speech, in which “the most cynical things” are expressed, albeit naively, but at the same time cleverly and uniquely. Thus, he believes that “among the most successful touches are the words of the old woman Shablova: “What kind of character does a poor man have? Can a poor man have character?.. His dress is bad - that’s why he’s shy. Otherwise - character!” ".

The author of the review does not at all seek to compare the scenes of “Late Love” with the “major plays” of the playwright, understanding that this work belongs to a new stage of Ostrovsky’s work, when there is not only a rethinking of some dramatic principles and the author’s approaches to depicting the way of life, pictures of everyday life, characters , but cardinal changes are also planned in life itself, and, as a consequence of this, the space of action also changes. Following the “pictures” and “scenes of Moscow life,” “scenes from the life of the outback” appear. Moreover, in the draft autograph there was a clarification, which the playwright later abandoned (“scenes from the life of the Moscow backwoods”) [OR IRLI, f. 218, op. 1, units hr. 30, l. 4], thereby strengthening the typicality of the characters and the dramatic situation.

The critical thought of the playwright’s time was not yet ready to admit that Ostrovsky in the 1870s began to write no worse, but differently, “mastering new facts of the drama of life and new forms of its embodiment.” There were also minor attempts to interpret “Late Love” based on the characteristics of its genre. Only later, when “scenes from the life of the outback” “Labor Bread” appeared, the reviewer of “Moskovskie Vedomosti” Outsider would be one of the first to pay attention to the genre designations: “What does this mean? What is a scene, a picture in dramatic art? The same as an etude, sketch, studio in painting. By designating his latest plays this way, Mr. Ostrovsky, as it were, warns the viewer or reader not to expect from him a work that is complete, fully thought out and completed, but to treat it with the undemandingness with which one looks at a sketch, at experience.”

In 1876, while working on the play “Truth is good, but happiness is better,” conceived as “scenes,” Ostrovsky himself, in a letter to F.A. Burdinu noted: “... this is not a comedy, but scenes from Moscow

what kind of life, and I don’t give them much importance.” By the way, E.G. Kholodov also believed that by calling plays “scenes” (or “pictures” close to them), “the playwright not only evaded a precise genre definition (comedy, drama), but also seemed to agree with the public (and with criticism) that this time he does not offer a full-fledged play, but just “scenes” that do not pretend to be particularly coherent and harmonious in plot.” But still, it would be a mistake to believe that the scenes are plays that are insignificant and unfinished: they show more of Ostrovsky’s creative freedom, the skill of the author, who is not burdened by strict adherence to the laws of comedy and tragedy. By repeatedly creating scenes throughout his career, the playwright significantly enriched ideas about this genre and introduced something new into the genre thinking of his time. If the early scenes of Ostrovsky's "Morning of a Young Man", showing a typical morning of a Russian "philistine among the nobility", rather resemble a plotless everyday sketch, then later works, designated scenes, are plays with a developed plot structure, with a clearly defined intrigue; The author’s detailed approach to depicting pictures of everyday life and the accuracy of his everyday observations remain unchanged. Before the action begins, Ostrovsky always outlines the environment, the everyday atmosphere, within the framework of which the plot begins to develop.

The play “Late Love” opens with an extensive and voluminous remark, recreating in detail the way of life of the characters: “A poor room, darkened by time, in Shablova’s house. On the right side (away from the audience) are two narrow single-door doors: the closest one is to Lyudmila’s room, and the next one is to Shablova’s room; between the doors there is a tiled mirror of a Dutch oven with a firebox. In the back wall, to the right corner, is the door to Margaritov’s room; on the left is an open door to a dark hallway, in which you can see the beginning of the stairs leading to the mezzanine, where Shablova’s sons are housed. Between the doors is an antique chest of drawers with a glass cabinet for dishes. On the left side there are two small windows, in the wall between them there is an old mirror, on the sides of which there are two dim pictures in paper frames; under the mirror there is a large table of simple wood. Prefabricated furniture: chairs of different types and sizes; on the right side, closer to the proscenium,

digging up a half-torn Voltaire chair. Autumn twilight, the room is dark." The location of the action remains unchanged throughout the course of the play - the playwright has extremely concentrated the events in time and space.

Scenes are characterized by the author's interest in an individual, therefore plays of this genre are often based on several episodes from the life of the main character, plot-related and undoubtedly important for the hero, determining his future fate. At the center of the play “Late Love” is the love story of an elderly girl, Lyudmila, modest and virtuous. Already in the 1st scene of the first act, she appears on stage waiting for her beloved Nikolai with the words: “Have you come?.. Have you come?” . The heroine’s interlocutor, Felitsata Antonovna Shablova, Nikolai’s mother and “mistress of a small wooden house,” tells Lyudmila in detail about her son: “He studied well with me, he completed his university course; and, as luck would have it, these new courts have started here! He signed up as a lawyer - things went, and went, and went, raking in money with a shovel. From the very fact that he entered the moneyed merchant circle. You know, to live with wolves, howl like a wolf, and he began this very merchant life, that day in a tavern, and night in a club or wherever. Of course: pleasure; he's a hot man. Well, what do they need? Their pockets are thick. And he reigned and reigned, but things went between hands, and he was lazy; and there are countless lawyers here. No matter how much he got confused there, he still spent the money; I lost the acquaintance and again returned to the same poor situation: to my mother, which means that the sterlet fish soup was used for empty cabbage soup. He got into the habit of going to taverns - he had nothing to go to the good ones, so he started hanging around the bad ones.” Her father, Gerasim Porfirich Margaritov, “a lawyer from retired officials, an old man of handsome appearance,” will tell about the fate of Lyudmila herself: “Saint, I’m telling you. She is meek, sits, works, is silent; there is need all around; after all, she sat through her best years in silence, bending over, and not a single complaint. After all, she wants to live, she must live, and never says a word about herself. He’ll earn an extra ruble, and you’ll see, it’ll be a present for your father, a surprise. After all, there are no such things... Where are they? .

It is noteworthy that, despite the love conflict clearly expressed at the beginning of the play, Ostrovsky is in no hurry to dynamically develop

intrigue. The first phenomenon sets the general tone for the entire play: it represents only conversations between the characters, revealing their everyday worries and spiritual thoughts. However, already in these voluminous dialogues and leisurely conversations, some dynamics in the development of the love affair are noticeable: in them the author of “Late Love” contains not only information about the main characters, but also shows the relationships of the characters, involving new characters in the plot of the play, posing new problems .

It is characteristic that some researchers considered Ostrovsky’s late drama the embodiment of the structural logic of European comedy-intrigue, the drama of which is expressed precisely in the entanglement of complex circumstances within the framework of a multidimensional love conflict. However, the plot twists and turns of “Late Love” (financial scam, the relationship between Nikolai and Lebyadkina, etc.), the abundance of various circumstances that are not directly related to the development of the main love line, constitute only the external outline of the dramatic action, which is dictated rather by the genre features of the scenes. Ostrovsky's skill lies in the fact that in individual scenes he depicts in detail and multifaceted the everyday, spiritual environment in which the main characters live, but the main line associated with the relationship between Lyudmila and Nikolai remains the only and most significant. The playwright himself wrote to his friend and artist F.A. Burdin about the careful work on the play, about the meticulous development of the love intrigue: “It cannot be said that I wrote this comedy hastily, I spent a whole month thinking about the script and stage effects and very carefully finishing the scenes of Nikolai and Lyudmila.”

If the first act represents Lyudmila’s anticipation of a meeting with her lover, then the second act is the meeting itself, where the heroine confesses her feelings, tells Nikolai about her life, about her past: “I lived my youth without love, with only the need to love, I behave modestly, I don’t impose myself on anyone; I, perhaps, with heartache, even gave up the dream of being loved.<...>Is it fair to awaken my feelings again? Your only one hint of love again raised both dreams and hopes in my soul, awakened both the thirst for love and the readiness for self-sacrifice... After all, this is late, perhaps the last love; you know what she's capable of... and you

Bulletin of KSU named after. ON THE. Nekrasova ♦ No. 2, 2009

joke about her." Such memories, the heroes’ return to the past in conversations, explanations and confessions of a narrative-epic nature, undoubtedly slow down the pace of action, expanding its boundaries.

It was important for the author to show the specifics of the characters’ way of life in the next (second) act of the play. The main means of representation here are no longer the author’s remarks, but self-statement monologues, evaluative monologues, dialogues that are not only informative, but also contain elements of reasoning and analysis. So, already in the first appearance, Margaritov, leaving on his official business, warns his daughter: “Here, Lyudmilochka, the side is hungry, the people live from day to day; whatever they snatch, they are satisfied. A drowning man, they say, clutches at straws; Well, the starving man is because he is lying ill. Here everything will be stolen and everything will be sold, and clever people take advantage of this.<.>When you see a rich, well-dressed man come or visit here, know that he did not come for a good deed - he is looking for corrupt honor or conscience.” Lyudmila also believes that rich people “don’t go to the outback to get good things.” Having learned about the upcoming visit of Lebyadkina, a rich widow, to her house, Shablova is also surprised: “Come up with more ideas! Such a lady will go to our chicken coop.”

Ostrovsky begins the third act with vivid everyday signs, where Shablova’s first line - “the samovar has all boiled away” - adds a special flavor. The author continues to develop the love conflict no less vividly, during which the heroes find themselves in a difficult situation. The position of Nikolai, irrevocably entangled in the financial scam of Lebyadkina and the merchant Dorodnov, is hopeless; the position of Lyudmila is no less dramatic, giving her last money to her lover and ultimately betraying her own father, handing Nikolai a loan letter from Lebyadkina for his salvation. However, Ostrovsky did not seek to develop the action towards tragedy.

Actor Burdin, in a letter to Ostrovsky, accurately noted that the playwright “set the course of the play at the end of the 3rd act so that the viewer predicts the denouement in advance.” For Ostrovsky's scenes, this feature in the development of intrigue was typical. The ending of “The Pupil” (1859) is not unexpected, where patriarchal

the rows skillfully outlined by the author initially lead the action to the debunking of the heroine’s hopes; the denouement in “Labor Bread” (1874) does not look unexpected, where a girl living an independent working life has the right to choose her own groom, etc. The denouement in the fourth act of “Late Love” is a logical outcome in the relationship between Lyudmila and Nikolai. Ostrovsky showed that “readiness for self-sacrifice can change the person in whose name it is committed.” And Nikolai promises to give up his idle life and start working.

It is especially significant that in “Late Love” the denouement of the love affair does not at all coincide with the real end of the action. In a letter to Burdin dated October 29, 1873, Ostrovsky noted: “You still find a mistake in the fact that after the end of the play there is a conversation about cards; Yes, have mercy, for God’s sake, this is an ordinary, centuries-old classical technique, you will find it in both the Spaniards and Shakespeare.” This technique is a characteristic feature of Ostrovsky’s dramaturgy, which allows similar transitions from pathos to comedy. In addition, the characters’ conversations after the resolution of the intrigue continue to recreate the heroes’ lives in a continuous flow, and due to the absence of final remarks, they add some understatement to the action. It is known that Ostrovsky himself considered such incompleteness of the play’s action an important genre feature of the scenes: “They may object to us that we have few completely finished artistic dramatic works. And where are there many of them? Let us only point out the everyday trend in drama that is emerging in our country, expressed in essays, paintings and scenes from folk life; the trend is fresh, completely devoid of routine and stiltedness, and extremely practical.”

Thus, “scenes from the life of the outback” “Late Love” is a separate stage in the life of the main character of the play, dramatic and, at the same time, the most important in her fate. The play consists of four key episodes, plot-related, sequentially revealing the story of the heroine's late love. Slowly developing a love line, abandoning a complicated plot, depriving the action of unexpected turns and denouement, constantly resorting to accurate and detailed everyday sketches, Ostrovsky forms the aesthetics of scenes - an independent and specific dramatic genre.

Bibliography

1. Ostrovsky A.N. Full collection cit.: In 12 vols. -M., 1973-1980.

2. A.N. Ostrovsky and F.A. Burdin. Unpublished letters. - M.; Pg., 1923.

3. Babicheva Yu.V. Ostrovsky on the eve of the “new drama” // A.N. Ostrovsky, A.P. Chekhov and the literary process of the 19th-20th centuries. - M., 2003.

4. Dobrolyubov N.A. Literary criticism: In 2 volumes. T. 2. - L., 1984.

5. Zhuravleva A.I. Ostrovsky is a comedian. - M., 1981.

6. Critical literature about the works of A.N. Ostrovsky / Comp. N. Denisyuk Vol. 3, 4. - M., 1906.

7. Lakshin V.Ya. Alexander Nikolaevich Ostrovsky. - M., 2004.

8. Milovzorova M.A. On the peculiarities of intrigue in the late comedies of A.N. Ostrovsky // Shchelykovsky readings 2002.: Sat. articles. - Kostroma, 2003.

10. Farkova E.Yu. Virtue and vice in the play by A.N. Ostrovsky “Late Love” // Spiritual and moral foundations of Russian literature: collection. scientific articles in 2 parts. Part 1. - Kostroma, 2007.

11. Kholodov E.G. Ostrovsky A.N. in 1873-1877 // Ostrovsky A.N. Full collection cit.: In 12 volumes. T. 4. - M., 1975.

12. Chernets L.V. Plot and plot in the plays of A.N. Ostrovsky // Shchelykov Readings 2007: Sat. articles. - Kostroma, 2007.

13. Stein A.L. Master of Russian drama: Sketches about the work of Ostrovsky. - M., 1973.

UDC 82.512.145.09 Sh 17

Z.M. Shaidullina

EMOTIONALLY-EXPRESSIVE PHRASES IN DISCOVERING THE CREATIVE WORLD OF NUR AKHMADIEV

This article reveals the originality of the creative world of the famous Tatar poet Nur Akhmadiev through a number of key concepts.

The artistic world of the poet:

a) the psychological state of the lyrical hero;

c) emotionally expressive phrases.

The expressive coloring of words in lyrical works differs from the expression of the same words in non-figurative speech. In a lyrical context, vocabulary receives additional semantic shades that enrich its expressive coloring and help reveal the poet’s inner world through the psychological state of the lyrical hero.

The poetic creativity of Nur Akhmadiev has been little studied in Tatar literary criticism. This article examines only one side of the author’s poetic skill. That is, the features of expression of emotionally - expressive phrases in his artistic world.

Emotional meanings in a literary work are divided into types. Each of them is considered separately and plays an important role in revealing the author’s artistic world. One of these is emotional meaning, which is given in only one sentence, despite this it reveals the poet’s emotions completely. This emotional meaning is also a semantic component of the microtheme. In pro-

In the works of Nur Akhmadiev, emotional phrases are widely used, allowing, with the help of heroes - characters, to more fully show the artistic world of the author. These emotional phrases are distinguished by their brightness and rich, deep meaning. For example, one of the excerpts from the poem “Ketu kitkende”. Ketunets ktulere, Ketu kichen kaytyr ele, Tik... gomer ugulere.

(Ketu kitkende)

The herd goes to pasture, But the herd will return in the evening, Only... life passes.

(our translation)

Bulletin of KSU named after. ON THE. Nekrasova ♦ No. 2, 2009

© Z.M. Shaidullina, 2009

Felitsata Antonovna Shablova, the owner of a small wooden house.

Gerasim Porfirich Margaritov, a lawyer from retired officials, an old man of handsome appearance.

Lyudmila, his daughter, a middle-aged girl. All her movements are modest and slow, she is dressed very cleanly, but without pretension.

D o r m e d o n t, Shablova’s youngest son, is Margaritov’s clerk.

O n u f r i y Potapych Dorodnov, a middle-aged merchant.

A poor, darkened room in Shablova’s house. On the right side (away from the audience) are two narrow single-door doors: the closest one is to Lyudmila’s room, and the next one is to Shablova’s room; between the doors there is a tiled mirror of a Dutch oven with a firebox. In the back wall, to the right corner, is the door to Margaritov’s room;

on the left is an open door to a dark hallway, in which you can see the beginning of the stairs leading to the mezzanine, where Shablova’s sons are housed. Between the doors is an antique chest of drawers with a glass cabinet for dishes. On the left side there are two small windows, in the wall between them there is an old mirror, on the sides of which there are two dim pictures in paper frames; under the mirror there is a large table of simple wood. Prefabricated furniture: chairs of different types and sizes; on the right side, closer to the proscenium, there is an old half-torn Voltaire chair. Autumn twilight, the room is dark.

SCENE ONE

Lyudmila leaves her room, listens and goes to the window.

Then Shablova leaves her room.

Shablova (without seeing Lyudmila). As if someone had knocked on a gate. No, it was my imagination. I have really pricked up my ears. What a weather! In a light coat now... oh-oh! Is my dear son walking somewhere? Oh, children, children - woe is mother! Here is Vaska, what a wandering cat, but he came home.

Lyudmila. Did you come?.. Did you really come?

Shablova. Ah, Lyudmila Gerasimovna! I don’t even see you, I’m standing here and fantasizing among myself...

Lyudmila. You say he came?

Shablova. Who are you waiting for?

Lyudmila. I? I'm nobody. I just heard you say “he came.”

Shablova. This is me expressing my thoughts here; It’s going to boil in my head, you know... The weather, they say, is such that even my Vaska came home. He sat down on the bed and purred like that, even choking; I really want to tell him that I’m home, don’t worry. Well, of course, he warmed himself up, ate, and left again. It's a man's business, you can't keep it at home. Yes, here is a beast, and even he understands that he needs to go home - to see how it is, supposedly, there; and my son Nikolenka has been missing for days.

Lyudmila. How do you know what's going on with him?

Shablova. Who would know if not me! He doesn’t have any business, he’s just busy.

Lyudmila. He is a lawyer.

Shablova. What abbreviation! There was a time, but it has passed.

Lyudmila. He is busy with some lady's business.

Shablova. Why, mother, lady! Ladies are different. Just wait, I'll tell you everything. He studied well with me and completed his university course; and, as luck would have it, these new courts have started here! He signed up as a lawyer - things went, and went, and went, raking in money with a shovel. From the very fact that he entered the moneyed merchant circle. You know, to live with wolves, howl like a wolf, and he began this very merchant life, that day in a tavern, and night in a club or wherever. Of course: pleasure; he's a hot man. Well, what do they need? Their pockets are thick. And he reigned and reigned, but things went between hands, and he was lazy; and there are countless lawyers here. No matter how much he got confused there, he still spent the money; I lost the acquaintance and again returned to the same poor situation: to my mother, which means that the sterlet fish soup was used for empty cabbage soup. He got into the habit of going to taverns - he had nothing to go to the good ones, so he started hanging around the bad ones. Seeing him in such decline, I began to find him something to do. I want to take him to a lady I know, but he’s shy.

Lyudmila. He must be timid in character.

Shablova. Come on, mother, what a character!

Lyudmila. Yes, there are people of a timid character.

Shablova. Come on, what a character! Does a poor person have character? What other character have you found?

Lyudmila. So what?

Shablova. The poor man has character too! Wonderful, really! The dress is not good, that's all. If a person has no clothes, that’s a timid character; How can he have a pleasant conversation, but he must look around himself to see if there is a flaw somewhere. Take it from us women: why does a good lady have a cheeky conversation in company? Because everything on it is in order: one is fitted to the other, one is neither shorter nor longer than the other, the color is matched to the color, the pattern is matched to the pattern. This is where her soul grows. But our brother is in trouble in high company; It seems better to fall through the ground! It hangs here, briefly here, in another place like a bag, sinuses everywhere. They look at you like you're crazy. Therefore, it is not madams who sew for us, but we ourselves are self-taught; not according to magazines, but as it had to, on a damn wedge. It was also not the Frenchman who sewed for his son, but Vershkokhvatov from behind the Dragomilovskaya outpost. So he thinks about the tailcoat for a year, walks, walks around the cloth, cuts and cuts it; he will cut it on one side or the other - well, he will cut out a sack, not a tailcoat. But before, too, how money was there, Nikolai was dandy; Well, it’s wild for him in such and such disgrace. I finally persuaded him, and I wasn’t happy either; He’s a proud man, he didn’t want to be worse than others, that’s why she’s a dandy from morning to night, and he ordered a good dress from a dear German on credit.

Lyudmila. Is she young?

Shablova. It's time for a woman. That's the problem. If it were an old woman, she would pay the money.

Lyudmila. And what about her?

Shablova. The woman is light, spoiled, and relies on her beauty. She is always surrounded by young people - she is used to everyone pleasing her. Another will even consider it a pleasure to help.

Lyudmila. So he bothers for nothing for her?

Shablova. It cannot be said that it was completely free. Yes, he probably would have, but I’ve already taken a hundred and a half from her. So all the money that I took from her for it, I gave it all to the tailor, and here’s your profit! In addition, judge for yourself, every time you go to her, he takes a cab from the stock exchange and keeps him there for half a day. It's worth something! And what does it beat from? Divi... The wind is all in my head.

Lyudmila. Maybe he likes her?

Shablova. But it’s a disgrace for a poor man to court a rich woman and even spend money himself. Well, where should he go: there are such colonels and guardsmen there that you really can’t find words. You look at him and just say: oh, my God! Tea, they’re laughing at ours, and look, she’s laughing too. Therefore, judge for yourself: a sort of colonel will roll up to the porch on a couple with a harness, rattle a spur or saber in front, glance in passing, over his shoulder, in the mirror, shake his head and straight into her living room. Well, but she is a woman, a weak creature, a meager vessel, she will look at him with her eyes, well, as if she’s boiled and done. Where is it?

Lyudmila. So that's what she is like!

Shablova. She only looks like a great lady, but when you look closer, she is quite cowardly. She gets entangled in debts and cupids, so she sends for me to tell her fortunes with cards. You talk and talk to her, but she cries and laughs like a little child.

Lyudmila. How strange! Is it really possible to like such a woman?

Shablova. But Nikolai is proud; I got it into my head that I’ll conquer it, so I’m tormented. Or maybe he was out of pity; therefore it is impossible not to feel sorry for her, poor thing. Her husband was just as confused; They ran around and made debts, they didn’t tell each other. But my husband died, and I had to pay. Yes, if you use your mind, you can still live like this; otherwise she will get confused, dear, head over heels. They say she started giving bills in vain, she signs without knowing what. And what kind of condition it was, if only it were in hand. Why are you in the dark?

Lyudmila. Nothing, it's better that way.

Shablova. Well, let's wait a bit and wait for Nikolai. But someone came; go get a candle. (Leaves.)

Lyudmila (at the door to the hallway). It is you?

Dormedon enters.

PHENOMENA SECOND

Lyudmila, Dormedont, then Shablova.

Dormedont. I'm with.

Lyudmila. And I thought... Yes, however, I’m very glad, otherwise it’s boring alone.

Shablova enters with a candle.

Shablova. Where have you been? After all, I thought that you were at home. You'll feel cold, you'll get sick, look.

Dormedont (warming himself by the stove). I was looking for my brother.

Shablova. Found?

Dormedont. Found.

Shablova. Where is he?

Dormedont. Everything is there.

Shablova. Another day at the tavern! Please tell me what it looks like!

Dormedont. He plays billiards.

Shablova. Why didn't you take him home?

Dormedont. He called, but he didn’t come. Go, he says, tell mommy that I’m an adult, so she doesn’t worry. Home, he says, when I feel like it, I’ll find the way without you; I don’t need escorts, I’m not drunk. I already cried in front of him. “Brother, I say, remember the house! What a miner you are! People are looking for work, but you yourself are running away from business. Today, I say, two shopkeepers came to write a petition to the magistrate, but you are not at home. This way you will drive everyone away.” - “I don’t like collecting pennies,” he says. But he begged my last ruble. Well, I gave it away - my brother, after all.

Shablova. Are you cold?

Dormedont. Not good. I'm all for the house, but he's not. If I ever chop wood, so what’s the importance! Now I put on a robe, went to chop, and even exercise. Isn’t that right, Lyudmila Gerasimovna?

Lyudmila. Do you love your brother?

Dormedont. How come...

Lyudmila. Well, love it more! (Gives Dormedon his hand.) You are a kind, good person. I'll go get work. (Leaves.)

Shablova (following Lyudmila). Come, let's get bored together. (To Dormedon.) Look, you’re so cold, you still can’t get warm.

Dormedont. No, mummy, nothing; It’s just that there was no possession in the middle finger, but now it’s gone. Now I'm all about writing. (Sits down at the table and sorts out the papers.)

Shablova. I'll lay out the cards for now. (Takes cards out of his pocket.)

Dormedont. Mama, don’t you notice anything in me?

Shablova. No. And what?

Dormedont. But, Mama, I’m in love.

Shablova. Well, then, to your health.

Dormedont. Yes, Mom, seriously.

Shablova. I believe it's not a joke.

Dormedont. What jokes! Tell your fortune!

Shablova. Let's guess! Come on, old and small, pour from empty to empty.

Dormedont. Don't laugh, mummy: she loves me.

Shablova. Eh, Dormedosha! You are not the kind of man that women love. Only a woman can love you.

Dormedont. Which one?

Shablova. Mother. For a mother, the worse the child, the sweeter it is.

Dormedont. Well, mummy, what's wrong with me? I'm for home...

Shablova. But I know who you're talking about.

Dormedont. After all, how can you not know, you’re already alone. But now I came, rushed to the door, said: “Is that you?”

Shablova. Did you rush? Look! But she wasn't waiting for you. Isn't it your brother?

Dormedont. It’s impossible, Mama, have mercy.

Shablova. Well look! But it looks like it’s happening!

Dormedont. Me, mummy, me! Now, if only I had the courage, and the time to find out, so that I could open my whole soul just right. Act?

Shablova. Take action!

Dormedont. And what about the cards, Mama? What are they telling me?

Shablova. There's some confusion, I can't figure it out. There, it seems, the merchant is getting ready to go home; go tell him to shine the light. (Leaves.)

Dorodnov and Margaritov come out.

PHENOMENA THIRD

Dormedont, Dorodnov and Margaritov.

Margaritov. But you and I are old friends.

Dorodnov. Still would! How many years. Gerasim Porfiryich, you know what? Let's have a drink now. Now I'm a coachman for Bauer...

Margaritov. No, no, don't ask!

Dorodnov. How strange are you, brother! Now I suddenly have a fantasy; should you respect?

Margaritov. This fantasy comes to you often. Are you talking about business... Tomorrow we need to see a broker...

Dorodnov. What about the matter! I'm on you like a stone wall. You see, I haven't forgotten you; that's where I found it.

Margaritov (shakes his hand). Thank you, thank you! Yes, this is where fate has brought me. You are a kind person, you found me; and others abandoned, abandoned to be a victim of poverty. There are almost no serious things to do, I get by with a few things; and I love big appeal cases, so that there is something to think about and work on. But in old age there is nothing to do, they began to run around; It's boring without work.

Dorodnov. It wouldn’t be boring at all, but come on, tea, come and be hungry.

Margaritov. Yes, yes, and hungry.

Dorodnov. Cheer up, Gerasim Porfiryich! Perhaps with my light hand... You, by acquaintance, try!

Margaritov. What kind of requests! I know my stuff.

Dorodnov. Come by tomorrow evening. Don’t be afraid, I won’t force you, I’ll treat you lightly.

Margaritov. Okay, okay, I'll come in.

Dorodnov. Well, then, it’s a pleasant time.

Margaritov. Oh, wait, wait! forgot. Wait a bit!

Dorodnov. What else?

Margaritov. I forgot to give you a receipt indicating what documents I received from you.

Dorodnov. Here's another! No need.

Margaritov. No, order.

Dorodnov. No need, weirdo. I believe.

Margaritov. I won't let you out without it.

Dorodnov. And why only these proclamations?

Margaritov. God is free in life and death. Of course, they won’t disappear from me, I’ve become careful now...

Dorodnov. But what happened?

Margaritov. Was. This is what happened to me. When my name was still thundering throughout Moscow, I had a dime a dozen of other people’s affairs and documents. All this is in order, in cabinets, in boxes, under numbers; Only, out of my own stupidity, did I previously have trust in people; It happened that you would send a clerk: get it, they say, there’s something in such and such a box; well, he carries it. And the clerk stole one document from me and sold it to the debtor.

Dorodnov. How big is the document?

Margaritov. Twenty thousand.

Dorodnov. Wow! Well, what are you doing?

Margaritov (with a sigh). Paid.

Dorodnov. Did you pay everything?

Margaritov (wiping away tears). All.

Dorodnov. How did you get away with it?

Margaritov. I gave away all my work money, sold the house, sold everything that could be sold.

Dorodnov. Is that how you fell into decline?

Margaritov. Yes.

Dorodnov. Did you suffer unnecessarily?

Margaritov. Yes.

Dorodnov. Wasn't it easy?

Margaritov. Well, I already know what it was like for me. Do you believe? There is no money, no money from work, no nest, no nest, my wife was already ill, and then she died - she couldn’t bear it, she lost her trust, (in a whisper) she wanted to kill herself.

Dorodnov. What you! Our place is sacred! Are you crazy, or what?

Margaritov. You'll be crazy. So one evening, melancholy gnaws at me, I walk around the room, looking for where to hang the noose...

Dorodnov. Look, God be with you!

Margaritov. Yes, I looked into the corner, there was a crib there, my daughter was sleeping, she was two years old at the time. I think who will be left with her? A? Do you understand?

Dorodnov. How can you not understand, head!

Margaritov. Who will be left with her, huh? Yes, I’m looking at her, I’m looking at this angel, I can’t leave my place; and in my soul there seemed to be some warmth pouring out, all the opposing thoughts seemed to begin to make peace with each other, to calm down and settle into their places.

Dorodnov. And this, it turns out, is arbitrary.

Margaritov. Listen, listen! And since then I have been praying to her as my savior. After all, if it weren’t for her, oh, brother!

Dorodnov. Yes, it definitely happens; God save everyone!

Margaritov. So... What did I start talking about? Yes, so since then I’ve been careful, I lock it with a key, and my daughter has the key. She has everything, money and everything. She's a saint.

Dorodnov. Well, why are you saying such words?

Margaritov. I'm sorry, what! You do not believe? Holy, I tell you. She is meek, sits, works, is silent; there is need all around; after all, she sat through her best years in silence, bending over, and not a single complaint. After all, she wants to live, she must live, and never says a word about herself. He’ll earn an extra ruble, and you’ll see, it’ll be a present for your father, a surprise. After all, there are no such things... Where are they?

Dorodnov. I would like to get married.

Margaritov. Yes, with what, you wonderful man, with what?

Dorodnov. Well, God willing, you will do something for me worth two hundred thousand, so then...

Margaritov. Well, just wait, I’ll give you a receipt now...

Dorodnov. Okay, I'll wait.

SCENE FOUR

Dorodnov and Dormedont.

Dorodnov (sits down). There are all sorts of things in the world, everything is different, everyone has their own, and everyone should take care of themselves. And you can’t help but feel sorry for others, and you can’t feel sorry for everyone; because suddenly a sin might happen to you, so you need to save pity for yourself. (Looks at Dormedont.) Write, write! Should I talk to you?

Dormedont. What, sir?

Dorodnov. You... how are you?.. Popisukhin, come closer here!

Dormedont. You would be more polite if you don’t know the person.

Dorodnov. Oh, sorry, your honor! And you live without complaints, you will be fuller. Come here, I'll give you some money.

Dormedont (approaching). For what?

Dorodnov (gives three rubles). Yes, you live well.

Dormedont. I humbly thank you, sir. (Bows.)

Dorodnov (ruffles Dormedont's hair). Oh, you shaggy, not our country!

Dormedont. Completeness! what do you?

Dorodnov. And what, dear friend, won’t this same lawyer falsify the documents if you believe him?

Dormedont. How is it possible that you!

Dorodnov. I would give it to a good one, but they are very arrogant, they should call him sir, and it’s expensive. So if you notice any falsity, run to me now, this way and that, they say.

Dormedont. Yes you! Be at peace.

Dorodnov. Well, go ahead and write!

Dormedont. Yes, I'm done, sir.

Dorodnov. Only you don’t give a damn to the lawyer! Do you get a lot of salary?

Dormedont. Ten rubles a month.

Dorodnov. Well, that's okay, okay. You also need to eat something. Everyone owes their labors; therefore, look: is it a bird or something...

Margaritov enters, Dormedont leaves.

SCENE FIFTH

Margaritov and Dorodnov.

Margaritov (giving the receipt). Here, hide it!

Dorodnov (hides the receipt). What kind of little clerk is this?

Margaritov. Well, clerk? Nothing. He's stupid, but he's a good guy.

Dorodnov. The rogue, I see, has a big hand. Keep your eyes peeled for him.

Margaritov. Well, don't talk idle!

Dorodnov. Take a look, I advise you. Well, the guests will sit, sit, and then go. (Wants to go.) Wait! I forgot about that. I still have a document at home, this is an individual article; I don’t interfere with him and those. I should at least leave him at that time; Yes, let me, I think, I’ll get some advice on what to do with him, it’s still a pity.

Margaritov. What's the matter?

Dorodnov. I inherited this very document from my uncle, along with all the papers that I brought to you. Yes, he's kind of dubious. Well, I think he got so much already, there’s nothing to regret about it, no matter what you get from him, everything is fine, otherwise even if he disappears.

Margaritov. Who is the document for?

Dorodnov. For a woman. There is only one widow here, her nickname is Lebedkina. Confused woman.

Margaritov. Does she have anything?

Dorodnov. How not to be! I've squandered it, but I'm still able to pay.

Margaritov. So let's get it.

Dorodnov. You can get it if you scare it.

Margaritov. How?

Dorodnov. The document was issued with the guarantee of her husband, they didn’t really believe her, but the guarantee was fake. The husband was in paralysis, without any movement, when she issued the document.

Margaritov. So scare.

Dorodnov. It follows; Only a thorough merchant should get involved with a woman, as I understand it, morality. I’ll tell you, you can do it on your own behalf, as you wish, so that I don’t get confused.

Margaritov. Well, then consider that this money is in your pocket.

Dorodnov. Get at least half!

Margaritov. I'll get everything.

Dorodnov. You won't regret it, then?

Margaritov. Why feel sorry for the rogues!

Dorodnov. The resourceful little woman wouldn’t entangle you in your old age; speaks - you will melt.

Margaritov. Well, here's another! Interpret here! Here's my hand to you, that in two days you have all the money.

Dorodnov. So, get this article out of your head. Tomorrow I will give you the document. Well, you can’t talk through everything, we’ll leave something for tomorrow; and now, in my opinion, if you don’t drink, it’s time to sleep. Goodbye!

Margaritov. Someone shine a light there! (He leaves with the merchant into the hallway.)

Margaritov, Shablova and Dormedont return from the hallway. Lyudmila leaves her room.

SCENE SIX

Margaritov, Shablova, Lyudmila and Dormedont.

Shablova. Would you like some dinner?

Margaritov. Have dinner if you want, I won’t have dinner. Lyudmilochka, I’ll be sitting for a long time today, you go to sleep, don’t wait for me. (Walks around the room.)

Lyudmila. I myself want to sit longer today and work. (To Shablova.) You will have dinner now, won’t you wait for anyone?

Shablova. Yes, we should wait.

Lyudmila. Well, then I'll sit with you.

Dormedont. Is there really a businessman for me, Gerasim Porfiryich, for company?

Margaritov. Wait, it will matter to you too. Lyudmila, I have work to do, work to do again. Fortune smiles; lucky, luck fell, luck fell.

Lyudmila. I'm so happy for you, dad!

Margaritov. For me? I don’t need anything, Lyudmila; I live for you, my child, for you alone.

Lyudmila. And I am for you, dad.

Margaritov. Enough! God willing, we will have contentment; in our craft, if you’re lucky, you’ll soon get rich - so you’ll live for yourself, and how you’ll live!

Lyudmila. I don't know how to live for myself; The only happiness is when you live for others.

Margaritov. Don’t say that, my child, don’t belittle yourself; you make Me Feel sad. I know my guilt, I ruined your youth, well, I want to correct my guilt. Do not offend your father, do not refuse in advance the happiness that he wishes for you. Well, goodbye! (Kisses Lyudmila on the head.) Guardian angel above you!

Lyudmila. And above you, dad.

Margaritov goes to his room.

Shablova. This is something nice to see, but I have sons...

Dormedont. Mommy, is it me? Am I not giving you peace, am I not a caretaker for the home?

Shablova. That’s right, but there’s not much to expect from you. But my brother is smart, yes... and there’s no better way to say it! Tortured my mother! Handle him like some kind of cripple. (Listens.) Well, he knocks, we didn’t wait long. Go tell them to let them in and lock the gates. (Leaves.)

Lyudmila comes to the window.

SCENE SEVEN

Lyudmila and Dormedont.

Dormedont (to himself). Shouldn't we start now? (Lyudmila.) Lyudmila Gerasimovna, how do you understand your brother?

Lyudmila. I don't know him at all.

Dormedont. However, by his actions?

Lyudmila. According to what?

Dormedont. Against mommy.

Lyudmila. What did he do against her?

Dormedont. And he sits in the tavern.

Lyudmila. Maybe he's having fun there.

Dormedont. Not much is fun. That's how I would go.

Lyudmila. Why aren't you coming?

Dormedont. No, sir, I don’t have those rules. For me, home is better, sir.

Lyudmila. Completeness! What's good here! Well, there’s nothing to say about us; but for a man, especially a young one...

Dormedont. Yes, sir, when he doesn’t feel it.

Lyudmila. What do you feel?

Dormedont. Yes I am, yes I am...

Shablova enters with a note in her hands.

SCENE EIGHTH

Lyudmila, Dormedont and Shablova.

Dormedont (to himself). They got in the way!

Shablova wipes away her tears.

Lyudmila. What's wrong with you?

Shablova. Yes, here is my child...

Lyudmila (with fear). What's happened?

Shablova (giving a note). Here he sent it with a boy from the tavern.

Lyudmila. Can I read it?

Shablova. Read it!

Lyudmila (reading). “Mama, don’t wait for me, I’m playing too much. I have an unpleasant incident - I’m losing; I got involved to play with a player who is much stronger than me. He seems to be a decent person, he needs to give money, but I don’t have money; that’s why I "I can't stop playing and I'm getting more and more drawn out. If you want to save me from shame and insults, send me thirty rubles by messenger. If only you knew how much I suffer because of such an insignificant amount!"

Shablova. Please say "insignificant"! Work it out, go ahead!

Lyudmila. “For speed, I sent a boy in a cab; I’m waiting and counting the minutes... If you don’t have it, find it somewhere, borrow it! Don’t spare money, have pity on me! Don’t ruin me out of penny payments! Either the money or you You won't see me again. Send the money in a sealed envelope. Your loving son Nikolai."

Shablova. Good love, nothing to say!

Lyudmila. What do you want to do?

Shablova. What to do? Where can I get it? I only have ten rubles, and even then they’ve been put aside for provisions.

Lyudmila. But you have to send it.

Shablova. Lost, you see! Who forced him to play? I would stay at home, things would be better that way.

Lyudmila. It's too late to talk about this now.

Shablova. Divi would really need it! And then he lost, the extreme is small.

Lyudmila. No, it's big. You heard him write: “You won’t see me again.”

Shablova. Well, then, my fathers, I won’t be torn apart because of him. Tyrant, tormentor! What a punishment! And for what, for what? Didn't I love him...

Lyudmila. Let me! Why all this talk? Only time passes, and he waits there, suffering, poor thing.

Shablova. He is suffering, such a barbarian! Take a piece of paper, Dormedosha, and write to him: why did you think that your mother would send you money? You should carry it into the house yourself, and not drag it out of the house.

Lyudmila. Wait! This is impossible, it’s inhumane! Give me the envelope! Just write it down! (Takes out a fifty-ruble note from his purse. Dormedont writes on the envelope.)

Shablova. What are you, what are you! Fifty rubles!

Lyudmila. Now there is no place to change, and no time.

Shablova. And aren't you the last ones yet?

Lyudmila. This is exactly the case when the latter are sent. (Takes the envelope from Dormedont, puts the money in and seals it.)

Shablova. After all, he won’t bring change; Now how long will you have to live with me for this money?

Lyudmila. Not at all, you will get yours. I’m not giving this money to you, I’ll take him into account.

Shablova. Yes, you are a heavenly angel! Oh, my God! Where are these people born? Well, I would...

Lyudmila. Bring it, bring it! He's waiting, counting the minutes.

Shablova. Dormedosha, go to dinner, you are welcome too; I'm now...

Lyudmila. I won't.

Shablova. Dormedosha, go! There are such virtuous people in the world. (Leaves.)

Dormedont (to himself). Now, it must be just right... (Lyudmila.) How do you feel about our family...

Lyudmila (thoughtfully). What do you?

Dormedont. What a location, I say...

Lyudmila. Yes Yes.

Dormedont. Of course, not everyone...

Shablova behind the scenes: “Go, or something, I’m waiting!”

Wait, mommy. Of course, I say, not everyone can feel...

Lyudmila (thoughtfully). I don't understand.

Dormedont. You are here for my brother, but I feel it. Can he...

Lyudmila (giving her hand). Good night! (Leaves.)

Shablova behind the scenes: “Go ahead! How long will you wait?”

Dormedont. Eh, mummy! This may be my whole destiny, but you are in the way! (Looks around.) Now she’s gone. Well, another time; it seems that things are going well.

ACT TWO

M a r g a r i t o v.

L u d m i l a.

Sh a b l o v a.

Nikolay Andreich Shablov, Shablova’s eldest son.

D o r m e d o n t.

Varvara Kharitonovna Lebedkina, widow.

The scenery is the same.

SCENE ONE

Nikolai sits at the table and sleeps with his head in his hands. Margaritov and Lyudmila enter.

Lyudmila. Goodbye dad!

Margaritov. Farewell, my soul! (Gives Lyudmila the keys.) Here are the keys for you! When you leave home, take it with you, don’t leave it! I have documents on my desk, but I don’t trust anyone here. Here, Lyudmilochka, the side is hungry, the people live from day to day, whatever they snatch, they are satisfied with. A drowning man, they say, clutches at straws; Well, the starving man is because he is lying ill. Here everything will be stolen and everything will be sold, and clever people take advantage of this. You need to bribe a person for forgery, for a crime, you need to buy a girl’s honor - come here, buy it, and buy it inexpensively. When you see a rich, well-dressed man come or visit here, know that he did not come for a good deed - he is looking for corrupt honor or conscience.

Lyudmila. And yesterday a rich merchant came to you.

Margaritov. So this is a miracle. At first I thought that either he needed a fake spiritual will, or he was planning to rob creditors, so I came for good advice. Such and such gentlemen came to me, and I drove them away quite a few times. And if I lived in the center of Moscow, would they dare to show up with such proposals? Remember also, Lyudmila, that vice always lives next to need - this is more terrible. Need can be forgiven a lot, and the law does not judge it so harshly; and when your work is stolen in order to drink it away with a whistling noise, with a fuss, and squander it in a rowdy company - that’s when it’s offensive. Look! (Points to Nikolai.) He needs money, he really needs it - to drink in the cellar, to lose at billiards in the tavern.

Lyudmila (with fear). Dad, he will hear!

Margaritov. Let him hear, I'm telling the truth. We should run away from this house, but where? Cheap apartments are all like this: either there are artisans behind the partition, who never speak humanly at all, but only swear from morning to night, or the landlady has a husband or son who is a drunkard. And you, angelic soul, must live under the same roof with such a gentleman. Just to see him is an insult for a decent girl.

Lyudmila (reproachfully). Dad, be quiet!

Margaritov. What kind of ceremonies are these people! How can you not be afraid of him? He won’t earn a penny a week, and every evening he needs money to sit in some Konigsberg or Adrianople. Take care of your documents most of all, and lock up your money tightly! Speaking of money; give it to me for expenses!

Lyudmila. I have no money.

Margaritov. Where are you going with them?

Lyudmila. Spent it.

Margaritov looks at her intently.

Why are you looking at me like that? What an inquisition, dad! If you want, I'll tell you where...

Margaritov (interrupting her). No, no, don't... I know. What am I looking for in your eyes? Did you spend it for yourself, poor thing, for your needs, for your necessities, or again for pampering for me, a worthless old man. I see now, I see, I’ll wait, Lyudmila, wait... you didn’t know how to hide. I’ll take the money from the merchant, don’t worry. Goodbye! (Leaves.)

Lyudmila (at the front door). Goodbye dad! (He approaches the table and looks tenderly at Nikolai.) My dear, my dear! How uncomfortable he is, poor thing! Will I wait, my dear, for you to rest your smart, beautiful head in my arms? What happiness this would be for me! (Looks silently at Nikolai.)

Shablova enters.

PHENOMENA SECOND

Lyudmila, Shablova and Nikolai.

Shablova. Yes, just admire it! What a mother it is to watch! Ah, dissolute head!

Shablova. Oh, you unlucky one! Why did you come up with the idea to send to your mother for money? What kind of money does your mother have? Yes, look at it, otherwise...

Nikolai. Well, what a problem! You know the proverb: “If you lose, you don’t steal; you don’t have money, so you’re at home.” I humbly thank you! They borrowed it! (He wants to hug his mother.)

Shablova. And don't come near!

Nikolai. Well, whatever. (Sits down at the table and rests his head on his hand.)

Shablova. This will continue for a long time! please tell me!

Nikolai. What is this"?

Shablova. Gulba is yours.

Nikolai. Oh, really, I don’t know. Until the first case, I think.

Shablova. Don't make excuses! What a way to anger God! You had things to do and now you have things to do.

Nikolai. No, that's not the case.

Shablova. What do you think this is?

Nikolai. Trivia.

Shablova. Well, if you please, talk to him when he doesn’t accept any reason. Has all the money gone? Did you bring a lot home? I need to feed you.

Lyudmila. There is no need to talk about this. I beg you.

Shablova. Well, perhaps, well, as you wish. But it’s a pity, we are not millionaires, to squander so much at a time. Fathers, something hissed in the kitchen! Run quickly! (Leaves.)

PHENOMENA THIRD

Lyudmila and Nikolai.

Nikolai. Let me be curious, why on earth did you stop your mother from talking about money and by what miracle did she listen to you?

Lyudmila. I asked her simply out of delicacy. She didn't need to talk about money.

Nikolai. And what about?

Lyudmila. She should have felt sorry for you, not...

Nikolai. That is, how can you regret?

Lyudmila. We regret that you are wasting your health and ask you to take care of it.

Nikolai. And you would agree with her, of course?

Lyudmila. Yes, and I would... beg you for the same.

Nikolai. Beg? It's too much of an honor for me.

Lyudmila. And I would beg you to leave bad society and not waste your abilities.

Nikolai. And so on and so forth... I know. You behave as a sensitive young lady should; Sensitive hearts always mind their own business and meddle in with advice where they are not asked. But mommy...

Lyudmila. Money can be purchased, but poor health...

Nikolai. Irreversible. Incomparable. But mamma... She is not distinguished by sensitivity, nor by delicacy; For her, the most important thing is money, for her there is no higher crime than spending extra money, and she fell silent. I was waiting for the storm and had already stocked up on patience for two days; and suddenly, instead of the usual phrase: “a spendthrift, a drunkard, he ransacked the house” - I hear morals from strangers who don’t care about me. Some kind of miracles!

Lyudmila. Sorry!

Nikolai. There is nothing. Talk if it makes you happy.

Lyudmila. It is always a great pleasure for me to talk with you.

Nikolai. That is, to teach me.

Lyudmila. Oh no!

Nikolai. Why not teach! It's so cheap.

Lyudmila. Don't be unfair, don't offend me! I don't deserve any harm from you.

Nikolai. And gratitude. Of course, how can I not thank you! You teach me without having any right to do so; you consider me a fool because you tell me truths that every ten-year-old boy knows as news.

Lyudmila. Not that, Nikolai Andreich, not that. I just ask you... it's all that simple.

Nikolai. Are you asking? For what? you don’t know my life, my character, or the situation I’m in... Mama is a simple woman, and even she did better: she knew that I needed money, not advice, and sent me money.

Lyudmila. I sent you money, not mummy.

Nikolai. You?

Lyudmila. I didn’t want to tell you, but you yourself forced me.

Nikolai. Have you sent money? What's happened? Why did you do this? Who asked you? Mommy? She borrowed from you, did she promise to give it back to you?

Lyudmila. No.

Nikolai. How did this happen?

Lyudmila. I read your letter, I vividly imagined your situation; there was no time to think, we had to hurry.

Nikolai (feelingly takes her hand). Thank you. Of course, I will give you this money as soon as possible; but let me tell you: you acted carelessly.

Lyudmila. May be.

Nikolai. You don't know me, I may not pay you; and you are not so rich as to throw away fifty rubles.

Lyudmila. I didn't think about it; I only thought that you needed money.

Nikolai. Let you be surprised.

Lyudmila. Why be surprised here, Nikolai Andreich? We live in the same house, I see almost no one but you... you have so many advantages...

Nikolai. My God! (Covers his face with his hands.) Do you love me?

Lyudmila. It would be surprising if I didn’t fall in love with you.

Nikolai. Why is this, why? At least I don’t blame myself, it seems I didn’t give you any reason.

Lyudmila. No, they did. Remember, about a month ago, here, at this window, you kissed my hand and said that you would die of happiness if a woman like me loved you.

Nikolai. But these are phrases, this is the same joke.

Lyudmila. Why didn’t you say then that you were joking? You would have saved me from suffering. And the tears in your eyes? After all, if the tears are not true, then they are pretense, deception, and not a joke. What kind of heart does it take to joke about a girl like me?

Nikolai. My God! Sorry! No, I wasn't joking, I...

Lyudmila. I lived my youth without love, with only the need to love, I behave modestly, I do not impose myself on anyone; I, perhaps, with heartache, even gave up the dream of being loved. But I am a woman, love is everything to me, love is my right. Is it easy to overcome yourself, to overcome your nature? But imagine that I overcame myself and was calm and happy in my own way. Is it fair to awaken my feelings again? Your only one hint of love again raised dreams and hopes in my soul, awakened both the thirst for love and the readiness for self-sacrifice... After all, this is late, perhaps the last love; you know what she's capable of... and you're making fun of her.

Nikolai. No. You truly deserve both the respect and love of every decent person; but I am capable of ruining you, ruining your life.

Lyudmila. What do I need it for? Ruin! I will be satisfied if I can somehow sweeten your life and console you.

Nikolai. Just to please, console, and ruin yourself for it! You value yourself too little.

Lyudmila. Of course, my dreams are different. My dream is to see you calm and happy, and for this I am ready to make all kinds of sacrifices, absolutely all kinds.

Nikolai. My angel, Lyudmila Gerasimovna, forgive me for the past! And this time I will deal with you honestly - I will disappoint you. Your dreams will remain dreams; It’s impossible to save me, you don’t have the means to do this: I’m in very deep. You will only destroy yourself, and therefore it is better to move out of my way. I don’t deserve and can’t desire either calm happiness or a woman like you; I need something else.

Lyudmila. What else?

Nikolai. I'm embarrassed to tell you.

Lyudmila. If it’s a shame to say it, it means it’s a shame to want and do it.

Nikolai. Yes you are right. But either I was born with bad inclinations, or I haven’t gotten over it yet. Oh, how tired I am, how broken I am!

Lyudmila. Rest.

Nikolai (sitting down at the table). Yes, I need to rest a little, sit at home for a day or two.

Lyudmila. I am so glad!

Nikolai. How kind you are! Eh, my life is ugly, Lyudmila Gerasimovna; and the future is even uglier.

Lyudmila (approaching him). At least don't run around me when you need consolation or participation.

Nikolai (giving her his hand). Thank you, thank you.

Lyudmila (noticing Nikolai’s revolver in his pocket, takes it). And give this to me.

Nikolai. Be careful, it's loaded.

Lyudmila. Why do you have it?

Nikolai. I bought it cheap, in passing, from someone who was wearing it, and caught my eye. There was money left, I thought I’d squander it anyway, but this is a useful thing, maybe it will come in handy.

Lyudmila. I'll lock him up; when you need it, you tell me.

Nikolai (with a smile). Perhaps lock it up. In fact, you better take it away, otherwise you look, look at him, and perhaps...

Lyudmila. What terrible things are you talking about so indifferently?

Nikolai (laughing). I'll do a lot of things. Are you hopelessly in love, have you spent your government money? As if there were no simpler reasons...

Lyudmila. Which ones?

Nikolai. There is no reason to live. How you want to live, you can’t; but how can it be, I don’t want to. Yes, better clean it up... It’s a bad life, Lyudmila Gerasimovna.

Lyudmila. Stop, don't torture me. For my frankness, be frank with me too.

Nikolai. What is it you want? So that I tell you all the disgustingness of my situation? Perhaps not now, I'm very tired.

Lyudmila. And I need to leave the yard; but already, in the twilight... Do you promise? Will you be home?

Nikolai. At home.

Lyudmila. Well, goodbye. (He goes into his room, leaves the revolver there, puts on a burnous and a scarf, then locks his door and leaves.)

Nikolai. This is inappropriate. I’m not in such a mood now to get confused in these sentimentalities. But, well, it’s a small obstacle. Still, it’s somehow warmer when someone loves you.

Dormedont runs out of the hall.

SCENE FOUR

Nikolai, Dormedont, then Shablova.

Dormedont. Mama, mamma, Varvara Kharitonovna has arrived!

Shablova enters.

Shablova. Come up with more ideas! Such a lady will go to our chicken coop. She doesn’t know how to send something! And if she sends a footman, her mother will run to her at a dog’s trot; otherwise she really needs to go herself.

Dormedont. But I don’t know, sir; who should it be if not her! Look!

Shablova (looking out the window). What a miracle! And that's her. It looks like it's a hurry!

Nikolai. Mama, if she asks me, tell me that you’re not at home! (Leaves.)

Shablova. Oh, you alistocrat! Apparently, it’s not a matter of cravings; apparently, she has something better than you. Run, meet! (He goes out into the hallway and returns with Lebedkina.)

SCENE FIFTH

Shablova, Lebedkina and Dormedont.

Shablova. What destinies, mother benefactress? Who will you order to pray to?

Lebedkina. Who is this?

Shablova. Son, mother.

Lebedkina (Dormedont). Are you also a lawyer?

Dormedont. No, sir, I am.

Shablova. Where is he! He's on the home side. (To Dormedon.) Why are you hanging around here?

Dormedont leaves.

Lebedkina. My soul, Felitsata Antonovna, hurry up!

Shablova. But what about quickly? Would you like some tea?

Lebedkina. Well, tea! You give me cards.

Shablova. Instantly, mother. I always have cards with me. Like a soldier with a gun, so am I with them. (Takes the deck out of his pocket.) For what part? Amorous, or what?

Lebedkina. Yes, yes, hurry up!

Shablova. Should I put the king of clubs, the same one?

Lebedkina. Yes, all the same, clubs; Just gouge out his eyes with a pin!

Shablova (stabs the king with a pin). Here's to you, offender! (Lays out the cards.) Mother Vantage.

Lebedkina. What an advance from him! There's no sign of another week; I was exhausted, couldn’t resist, and rushed to you.

Shablova (looking at the cards). Will come.

Lebedkina. Yes, take a good look! Get busy, get busy! What kind of lady is this? What does she have to do with it? That's why he should gouge out his eyes.

Shablova. Don't sin! She's on the sidelines. You see, he turned away from her.

Lebedkina. Is that true?

Shablova. Look for yourself, if you don’t believe it! Why are you insulting me? Didn't I guess for you? As it used to be, I’ll say “wait!”, well, so it is, in the evening and then, right there, you’ll be happy.

Lebedkina (mixing cards). Well, I believe it. Lay it out some more! I completely forgot about it.

Shablova. Now for the lady?

Lebedkina. On me.

Shablova (laying out). What's the matter?

Lebedkina. Look!

Shablova. I see it's a matter of money.

Lebedkina. You take a good look whether you pay me or not.

Shablova (looking at the cards). Perhaps that's what you'll pay; apparently it turns out that way.

Lebedkina. Oh, I don't want to! It's time for winter; You know what my winter expenses are. Opera, evenings, news from abroad will soon be received, only gloves will be ruined.

Shablova. Well, what can I say!

Lebedkina. Oh, I don't want to pay. By winter, good people borrow, and you pay. It's a lot of fun to pay! I need the money myself. Here's the hat! What's special about it? And they charged me for it beyond words. Good?

Shablova. All is well with the good; But even if you put it on a wolf, it will still be a wolf. Yes, you should, or what?

Lebedkina. Of course you should. When should I not be there?

Shablova. To whom?

Lebedkina. Merchant Dorodnov. I borrowed money from my uncle, but he inherited it. He was a polite man, he would have waited, but this guy is gray.

Shablova. Doesn't it give benefits?

Lebedkina. The deadline passed, so I stopped by his place this morning to rewrite the document. You, he says, don’t owe me anything, madam; I handed over your loan letter to the solicitor Margaritov, and please take him into consideration. Apparently he wants to collect money.

Shablova. Margaritov? Well, he lives with me, in these rooms.

Lebedkina. What is he like?

Shablova. Ethiopian.

Lebedkina. Won't give in?

Shablova. Not a poppy seed.

Lebedkina. And so that he can make a deal; It's not your money. He would have taken half from me, and I would have given him a thousand rubles for it.

Shablova. And he won’t let you stutter. Honesty had overcome him in a painfully inopportune way. Is half too big?

Lebedkina. Six thousand.

Shablova. Look! It seems that if my hands were right, I would steal the document for you.

Lebedkina. Steal it, my dear! I don't want to pay death!

Shablova. You'll steal from him! He locks it with seven locks. This is where he lives. His daughter is also a thin young lady; but for all that, it seems that he is amorous with Nikolai.

Lebedkina. Yes, speak directly! Mistress, or what, is she his?

Shablova. No, mother, what are you talking about! She is a modest girl. And that she’s in love like a cat, that’s true.

Lebedkina. Well, that’s good too. A great idea came to my mind. Perhaps my business will get better. Is he at home?

Shablova. I wasn't told to say anything.

Lebedkina. Busy?

Shablova. What a job! He walked all night, resting.

Lebedkina. Doesn't he need money? I wish I could. Is it impossible to see him?

Shablova. What can’t I have for you? Everything is possible. (At the door.) Nicolas, come here! Interpret, and I won’t interfere.

Nikolai enters, Shablova leaves.

SCENE SIX

Lebedkina and Nikolai.

Nikolai (bowing). To what do I owe happiness?..

Lebedkina. Better yet, say: bliss.

Nikolai (dryly). What do you want?

Lebedkina. I won't order anything. Do you want to ride?

Nikolai. What's happened? I don't understand.

Lebedkina. It’s very simple, I want to go for a ride and I invite you with me.

Nikolai. And you didn't find anyone but me? It seems you have no shortage of guides.

Lebedkina. Well, let's say it's my whim.

Nikolai. Today you have a whim: to caress a person, tomorrow you have a whim: to push him away, almost drive him away. As you wish, but respecting yourself and wishing yourself peace of mind, with all...

Lebedkina. Negotiate! I let.

Nikolai. With all my love for you, I try to stay away from your whims.

Lebedkina. You don't know women. You need to be able to take advantage of their whims; A woman can do a lot out of whim.

Nikolai. I'm not Don Juan.

Lebedkina. Not everyone is a Don Juan; sometimes we like dreamers and idealists. (After a pause.) They say that the winter garden in Strelna is good.

Nikolai. Yes, they say.

Lebedkina. I wish I could go.

Nikolai. Well, go!

Lebedkina. But Strelna is a tavern after all, it’s indecent to go alone.

Nikolai. And together with a young man?

Lebedkina. Also indecent. But out of two evils, I always choose the one that is more pleasant. You can sit under a palm tree... and have lunch. What are you afraid of! I won’t keep you, I’ll bring you back home, I’ll come from there to drink tea with you. Well, be nice!

Nikolai. Perhaps!

Lebedkina. Ah, my dear friend, how boring it can be to live in the world sometimes!

Nikolai. Well, you can still live, but for me...

Lebedkina. Are you unhappy too? Poor him. Run away from the woman! Who can comfort you like a woman? Give me your hand!

Nikolai (giving his hand). What are you crying about?

Lebedkina. Ah, my dear friend, how hard it is for a woman to live without support, without a leader! You do not know. I'm very unhappy.

Nikolai. Apparently, I will have to console you, and not you me.

Lebedkina. Oh no! I have this for one minute; I'll have fun again now. (Comes to the door and loudly.) Goodbye!

Shablova and Dormedont come out and help Lebedkina get dressed.

SCENE SEVEN

Lebedkina, Nikolai, Shablova, Dormedont, then Lyudmila.

Lebedkina (Shablova). I'm taking your son with me.

Shablova. Yes, take it, it's good for you to enjoy it. What did he not see at home?

Lebedkina. We're going to the park.

Shablova. Have fun! Is it really possible to sit still? More thoughts will pop into your head. What a desire to think; We don’t have to write books. Thinking can cause harm.

Lebedkina (to Nikolai). Well, let's go! (Sings from "Pericole.") "I'm ready, I'm ready!"

Nikolai takes his hat and ties a muffler around his neck.

Lyudmila enters and, without undressing, stops at her door.

Live up, live up, my dear gentleman! (Shablova.) Farewell, my soul! Wait, we'll come back to you for tea.

Shablova. Welcome.

Leaving: Lebedkina, Nikolai, Shablova and Dormedont.

Lyudmila. Father says that rich people don’t come to our outback for good things. My heart is somehow restless; It seems to me that this visit is not good. (Undresses and goes to the window.)

Dormedont returns.

SCENE EIGHTH

Lyudmila and Dormedont.

Dormedont (to himself). Here's a case! That's when it's just right. Lyudmila Gerasimovna, would you like to tell daddy something? I'm going, he told me to come to the district court.

Lyudmila. There is nothing.

Dormedont. Lyudmila Gerasimovna, do you see?

Lyudmila. What?

Dormedont (pointing to the window). Brother, he looks like some kind of baron lounging in a stroller. The man has no shame! He should be hiding. Wow, let's go!..

Lyudmila (sitting down at the table). Why hide?

Dormedont. From good people, and from creditors. After all, he’s on the fence, Lyudmila Gerasimovna.

Lyudmila. I'm sorry, what?

Dormedont. Tomorrow they will lower you into the pit.

Lyudmila (with fear). How? which hole?

Dormedont. To the Resurrection Gate, for debts: without fail, sit with him, and sit for a long time. I myself saw the writ of execution, and the feed was presented; I just don’t tell my mother; Why bother her?

Lyudmila almost falls; leans his elbows on the table and supports his head with his hands.

And it serves him right! Of course, it’s a pity because of family. You and I, Lyudmila Gerasimovna, will visit him - he is a brother after all. We will wear Kalachikov for him. Right, Lyudmila Gerasimovna? Ay, what is it? Mama, Lyudmila Gerasimovna is dying!

ACT THREE

Sh a b l o v a.

Nikolay.

D o r m e d o n t.

L u d m i l a.

Lebedkina.

The scenery is the same.

SCENE ONE

Lyudmila is sitting by the window, Shablova is standing next to her.

Shablova. The samovar has completely boiled away. Look, they're rolling! And even then I can say that they are in a hurry! They sit and take a nap, eat sterlet and drink champagne. There is nothing to say, Varvara Kharitonovna knows how to live, a woman with taste. Well, this works to my advantage: lordly manners, no money; and with her he will ride in a carriage and smoke a cigar, lounging, as if he really were a landowner. And here they come.

Lyudmila. Do me a favor, Felitsata Antonovna, when this lady leaves, tell me: I need to talk to Nikolai Andreich. I’ll go rest, I’m so tired today, I walked a lot. (Leaves.)

Lebedkina and Nikolai enter.

PHENOMENA SECOND

Shablova, Lebedkina and Nikolai.

Shablova (helping Lebedkina undress). Well, Mother Varvara Kharitonovna, I see you again. Eco happiness! Twice a day. And the samovar knows exactly who it is for, it tries so hard, it’s full, it’s boiling.

Lebedkina. Drink it yourself, I already drank.

Shablova. No way! At least one cup.

Lebedkina. Wait, Felitsata Antonovna, don’t bother us; We're having an interesting conversation.

Shablova. Well, whatever. Maybe you can have a drink afterwards, I'll wait.

Nikolai. Is Lyudmila Gerasimovna at home?

Shablova. At home; nothing, she lay down to rest.

Nikolai (Lebedkina). In any case, keep your voice down.

Lebedkina. And I’m complaining to you about your son, he can help me, but he doesn’t want to.

Shablova. What are you really doing, Nikolai! Don't shame me in front of my benefactress! The importance must be left behind. We owe everything to Varvara Kharitonovna... like slaves... indiscriminately.

Nikolai. Okay, mommy, okay!

Shablova. Yes, it seems... yes, if she makes me kill a man, I’ll kill for her, really; and not just a little bit.

Lebedkina. Come on, Felitsata Antonovna, I'm joking.

Shablova. What a joke! No, he was born that way, nothing for the house. Among us, mother, among poor people, whoever carries it into the house is the guardian.

Nikolai. First you need to honestly get it, and then bring it to the house.

Shablova. There is nothing more disgusting to me than this philosophy of yours. When you wait for your honor, but you want to eat every day; So it’s fair, it’s not fair, but you have to drag it into the house.

Lebedkina. Leave us for a minute, we need to talk.

Shablova leaves.

PHENOMENA THIRD

Nikolai and Lebedkina.

Nikolai. Wow, we had lunch!

Lebedkina. And you won't fall asleep!

Nikolai. No wonder.

Lebedkina. Well, how, how, my friend? Speak! Wake up!

Nikolai. Here's my advice: bring money, bring it tomorrow! There is nothing else left for you.

Lebedkina. Good advice! Thank you very much! Suddenly give so much...

Nikolai. What is there to talk about! Now the money, now; Then only I promise to save you from criminal court with my influence. After all, you yourself said that the guarantee is false.

Lebedkina. Well, what is it! If I had asked, my husband would never have refused me, so it doesn’t matter.

Nikolai. But you didn't ask? After all, the signature is not his!

Lebedkina. How strange you talk! How could he sign when he was paralyzed!

Nikolai. And this is a forgery. After all, do you know what happens?

Lebedkina. Oh, don't worry! I know that this is very bad.

Nikolai. So bring the money. No, just get it and borrow it for whatever interest you may have.

Lebedkina. Oh, how I don’t want to...

Nikolai. But you should, because you took money against this document.

Lebedkina. That's nice, what reasons! Of course she did. But I spent the money I took, and now I have to give back my own. Please understand me!

Nikolai. Trust me that I am offering you the best that is possible.

Lebedkina. No, you don’t love me, that’s why you say so. This is not the best. I don’t want to believe that it was impossible to persuade the lawyer to deceive this Dorodnov. I'd take half, but for the trouble you'll split it in half.

Nikolai. How do you want me to approach an honest man with such a proposal! How will he look at me? What will he say to me straight to my face?

Lebedkina. Well, then do what I told you.

Nikolai. Impossible.

Lebedkina (quietly). But she loves you terribly, because you yourself said. Is it possible to refuse anything to someone you love? I judge by myself.

Nikolai. After all, this is a pure creation.

Lebedkina. And great. The easier it is to deceive. Then half is yours. The money is good, my friend, and not unnecessary for you.

Nikolai. Don't tempt me with money! I am in extremes, in terrible extremes; You can’t vouch for yourself, you might find a moment of weakness, and you’ll fall so low... Tomorrow they’ll take me to the pit for debt, shame and humiliation await me. Have pity on me, don’t tempt me!

Lebedkina. So save yourself from shame, here is a remedy for you.

Nikolai. There is something else.

Lebedkina. It's so easy.

Nikolai. That’s even easier... I’d rather shoot myself in the forehead...

Lebedkina (with tears). But what should I do? I have no money, I have nowhere to get it, who will believe me? I owe so much.

Nikolai. Tears won't help, you need to act. Do you have things, diamonds?

Lebedkina (with tears). And even a lot.

Nikolai. That's fine. They need to be included in the board of guardians.

Lebedkina. Yes, to the guardianship council, but I don’t know how...

Nikolai. I will help you.

Lebedkina. I humbly thank you. You are my true friend.

Nikolai. Tomorrow we'll go early together.

Lebedkina. Well, you see how it all works out perfectly. (Laughs.) Ha, ha, ha!

Nikolai. What's wrong with you? Why are you laughing?

Lebedkina. And you want me to part with my things? You're crazy! What fun! (Laughs.)

Nikolai. Excuse me, please, I'm the only one from the location...

Lebedkina. Oh, what an eccentric you are! Is it possible to advise a woman like me to pawn things, diamonds?

Nikolai. So what should we do?

Lebedkina. No, you are still very young. Do you really think that I don’t have that kind of money, that it’s really difficult for me to find it? I will deliver this amount of money to you in an hour.

Nikolai. So what's the deal? I don't understand.

Lebedkina. But the fact is that even though this debt is not very important for me, I don’t want to pay it. Twelve thousand, for anyone, is a calculation. And so I wanted to test whether you are worth my love, which you have been seeking for so long.

Nikolai. Yes, this completely changes things.

Lebedkina. You should have guessed a long time ago.

Nikolai. But I don’t understand how you can love a person who did something nasty, even for you.

Lebedkina. Do not worry! I myself am not very virtuous, and I do not judge others strictly. If I see that a person is devoted to me without boundaries, I myself am ready to make all sorts of sacrifices for him.

Nikolai. It's worth thinking about.

Lebedkina. How? Do you still want to think? Can you hesitate? But it’s close, because in front of you is what you have been looking for for so long and in vain. I don’t know if you love me, but I know for sure that you are proud... satisfaction of vanity...

Nikolai. Oh, damn it! you're driving me crazy.

Lebedkina. I bring it to mind. Get a lot of money, enjoy the favor of a woman known in society, whom everyone is courting, arouse envy and jealousy! To do this, you can sacrifice something. You are very nice, smart, but still you...

Nikolai. Insignificance in front of you. Of course I have to confess.

Lebedkina. No, that's too much. Why humiliate yourself? I'll tell you more gently: you are not the kind of man who is dangerous to us. You can’t, you don’t have the means to pursue... you have to... look for yourself... in the outback. Rate it.

Nikolai. I appreciate it.

Lebedkina (kisses him). There's plenty of time until tomorrow... I'll bring all the money, just in case, and see if you love me. I allow you to kiss me here too. (She offers him her cheek.) Felitsata Antonovna, I’m on my way.

Shablova behind the scenes: “I’m running as fast as I can, mother!”

What are you thinking?

Nikolai. I think I'm going crazy.

Shablova enters.

SCENE FOUR

Nikolai, Lebedkina and Shablova.

Shablova. Going home already? Why didn't you stay enough?

Lebedkina (quietly). Here you go! After all, you know my affairs, maybe what you prophesied will come true, maybe it will come, so you need to be at home.

Shablova. In this case, I don’t dare to delay you, go, go!

Lebedkina (to Nikolai). Farewell! Kiss! (Holds out his hand.) Otherwise I’ll put on a glove. Apply until it's too tight! (to Shablova.) Well, goodbye! (Quiet.) This is for you! (Gives her a large banknote.) Run sometime! (Sings.) “Drunk Street”...

Shablova (kissing Lebedkina on the shoulder). Oh you bird! Oh you bird, oh you my bird of paradise!

Lebedkina leaves. Shablova and Nikolai see her off. Lyudmila enters.

SCENE FIFTH

Lyudmila, then Nikolai and Shablova.

Lyudmila. It seems she has finally left. I waited, waited, thought, thought... But what can you come up with! We need money here. Seeing the shame of a loved one!.. It’s easier to see misfortune than shame! A young man, full of strength, smart... and he is locked in prison along with squandered libertines, with malicious bankrupts. I can’t stand it, tears will flow from me.

Shablova and Nikolai enter.

Shablova (Lyudmila). Here's Nikolai for you; you wanted to see him. (To Nikolai.) Well, luck has struck you; there is no end to women. Life has come to you. (Leaves.)

Lyudmila. Am I disturbing you?

Nikolai. Not at all.

Lyudmila. Do you seem upset? Are you worried? Maybe you're expecting something bad?

Nikolai (looks at her intently). You know? Tell me, do you know?

Lyudmila. I know.

Nikolai. Just don't despise me, please.

Lyudmila. No, why?

Nikolai. Well, that’s good, less hassle, no need to make excuses.

Lyudmila. There is no need to make excuses. But if you were so kind...

Nikolai. Anything you want for you.

Lyudmila. I need to know in detail about your current situation.

Nikolai. If you please.

Lyudmila. Just everything, everything, for God’s sake, don’t hide anything.

Nikolai. You ask not to hide anything; It means you suspect something very bad about me.

Lyudmila. If I suspected, I wouldn't love you.

Nikolai. My whole problem is that I owe a lot.

Lyudmila. Yes, yes, I just need to know how you owe it, to whom, how much.

Nikolai. But when I was little Jules-Favre and imagined that I was the first lawyer in Moscow, I lived very well. After being a student without money, and suddenly having three or four thousand in my pocket, well, my head started spinning. Dinners and carousing, I became lazy, and there were no serious things to do, and by the end of the year it turned out that there was no money, but quite a lot of debts, although small. It was here that I did an unforgivable stupidity, from which I am now dying.

Lyudmila. What have you done?

Nikolai. I thought that I shouldn’t give up this way of life, so as not to lose my acquaintances. He borrowed a significant amount from one person at a high interest rate, paid off all the small debts and lived again as before, in anticipation of future benefits. It all seemed to me that I would get a big process. Well, the rest is simple. I didn’t get a big process, I lived on the money, but the debt was like a noose around my neck. The noose presses, melancholy, despair... And because of melancholy, an idle, tavern life... That's my whole simple story.

Lyudmila. How much do you owe?

Nikolai. Three thousand. For me the amount is huge.

Lyudmila. And you have no hope of improving your affairs?

Nikolai. No.

Lyudmila. And there is nothing in mind?

Nikolai. Nothing.

Lyudmila. All you have to do is...

Nikolai. Go to jail. Yes. How unwell I am! How my head is burning!

Lyudmila. Wait, I'll get some cologne.

Leaves. Nikolai sits down on a chair and lowers his head. Lyudmila takes out of her room a burnous and a scarf in one hand, a bottle of cologne in the other; He leaves Burnous on a chair by the door, pours cologne on his hand and wets Nikolai’s head.

Nikolai. Thank you, thank you.

Lyudmila. Who do you owe?

Nikolai. What do you need to know! There is such a moneylender, known throughout Moscow.

Lyudmila. Say your last name quickly. (He wants to put on a burnous.) I’ll go and ask him to give you some time. I will beg, cry in front of him...

Nikolai. In vain. Nothing will help; This is not a person, but iron. Stay!

Lyudmila (approaching Nikolai). But how can we help you?

Nikolai. No way. I did something stupid that nothing can correct... No... that is, it can be done.

Lyudmila. Speak, speak!

Nikolai. I did something stupid and got confused; to unravel, you need to do...

Lyudmila. What to do? (Places his hands on Nikolai’s head.)

Nikolai. Oh, how good it feels for me!

Lyudmila. And I feel good.

Dormedon enters.

SCENE SIX

Nikolai, Lyudmila and Dormedont.

Dormedont (to himself). That's it! Clever, brother! (Loudly.) Lyudmila Gerasimovna, I’m from your daddy, sir.

Lyudmila approaches him.

They ordered me to give it to you. (Hands over a folded paper. Lyudmila opens it and examines it.) Now, she says, put it in your briefcase and lock it.

Lyudmila. Good good. (Hides the paper in his pocket) Anything else?

Dormedont. Nothing, sir. But what trust is there in me, sir! “I’ll believe you,” he says, “you’re not like a brother.”

Nikolai. Did he say that?

Lyudmila. Don't be angry with dad! He doesn't like you for some reason. This is because he doesn't know you.

Dormedont. “I won’t trust your brother, he says, a penny, but I can trust you.”

Nikolai. Well, good! (To Dormedon.) Get out!

Dormedont. What are you showing off? I come to Lyudmila Gerasimovna with noble intentions, not like you.

Nikolai (to Lyudmila). Drop him! Come to me!

Dormedont. I, Lyudmila Gerasimovna, seriously need to talk to you, very seriously.

Lyudmila. Yes Yes. I'm very happy. And I need it, just not now, someday.

Nikolai. They tell you to get out!

Dormedont. I'll go. You don’t know... Look what else we’ll have with Lyudmila Gerasimovna! (Leaves.)

SCENE SEVEN

Nikolai and Lyudmila.

Lyudmila. You said there was a remedy...

Nikolai. Yes, I have. I did something stupid and got confused; to unravel, you need to do...

Lyudmila. What?

Nikolai. Crime.

Lyudmila (pulling away). Terrible! What are you saying!

Nikolai. You demanded frankness from me, I am telling the truth. To get out of debt, to get rid of shame, there is only one way left for me - to commit a crime.

Lyudmila. How easily you talk about such things!

Nikolai. You are very pure, you rarely hear such conversations...

Lyudmila. Don't, don't commit a crime! Oh my God! Oh my God! But if it is necessary, force me, order me... I will do... What crime?

Nikolai. Theft.

Lyudmila. Disgusting, disgusting!

Nikolai. Yes, it's ugly.

Lyudmila. Do not joke. I have suffered and been exhausted listening to you.

Nikolai. So calm down! Why should you suffer in vain? Leave me to my fate. (Wants to go.)

Lyudmila. No, wait! Don't push me away! I decided to do everything for you... Whatever you plan, I am your accomplice. What to steal? Who?

Nikolai. Your father's.

Lyudmila. You laugh at my grief! There is nothing to steal from my father.

Nikolai. The loan letter from the woman you saw today has been handed over to your father. She didn’t want to pay all the money, and she offered me half if I stole it.

Lyudmila. Oh, what suffering! (Wiping away tears.) Well, is this money enough to save you?

Nikolai. Even too much.

Lyudmila. And when you pay off your debt, will you give up your idle life and work?

Nikolai. Of course. I will not only quit, I will curse my old life; Such a lesson will teach at least anyone. To experience next time what I am experiencing now, God forbid. What's ahead of me when I get out of prison, what kind of career? To be a clerk in a neighborhood, you have to bow to be allowed in. My reputation is lost forever. And if I could somehow get rid of this misfortune, I swear to you by all that is holy in the world, I will become a good person. But it is impossible for me, Lyudmila Gerasimovna, to escape. Don't think badly of me, calm down! To save myself, I will not seek any immoral means. I blush for myself: how could I hesitate, how could I listen without indignation, this vile proposal!

Lyudmila. Dear, noble man! But how can we save you? I love you. For me there is no life without love for you.

Nikolai. Don't worry yourself, calm down! I did something stupid and I have to pay. Yes, that's it... give me back the revolver.

Lyudmila. No, no, this is also a crime, even worse.

Nikolai. Do not be afraid! What do you! I won’t dare... unless it becomes very unbearable.

Lyudmila (takes a few steps to the door, stops thoughtfully, then takes out the paper brought by Dormedont and hands it to Nikolai). Here, take it!

Nikolai. What is this? (Looks at the paper.) Lebedkina’s loan letter! No, I will not accept this sacrifice from you.

Lyudmila. Take it, take it! Let you have it, do with it what you want, it is your will.

Nikolai. Impossible, impossible! What do you! Come to your senses!

Lyudmila. I have a remedy in my hands... I must help you... I don’t know any other love, I don’t understand... I’m only doing my duty. (Goes to the door.)

Nikolai. You have fulfilled your duty, now I know what I need to do.

ACT FOUR

M a r g a r i t o v.

L u d m i l a.

Sh a b l o v a.

Nikolay.

D o r m e d o n t.

Lebedkina.

The scenery is the same.

SCENE ONE

Shablova, then Lebedkina.

Shablova (looking into the oven). The firewood was completely burned out, at least it was time to close it. There would be no fuss! Well, he has his own head, but money is paid for firewood. What a waste of heat! Al wait? Who is God carrying? Some woman, as if she were a stranger. Unlock go. (He goes into the hall and unlocks it.)

Lebedkina enters, simply dressed and covering her head with a scarf.

You're welcome! Who do you want?

Lebedkina (taking off her scarf). Don't you recognize me?

Shablova. Ah, Mother Varvara Kharitonovna! And I didn’t recognize that. How did you sneak up?

Lebedkina. I'm in a cab; It’s awkward to drive in your direction in a carriage; Now the curious will appear: who came, and to whom, and why; the servants are talkative. But I don’t want them to know that I was with you today.

Shablova. And no one will know.

Lebedkina. Solicitor at home?

Shablova. No, mother, he left early.

Lebedkina. And his daughter?

Shablova. She won’t come in, what should she do here! We only work here together in the evenings so as not to burn too many candles separately; otherwise he sits in his room all day. But nowadays I’m either sick or upset... What do you need, my dear?

Lebedkina. Nikolai Andreich.

Shablova. I'll call now. Don’t worry, I’ll keep watch; If the lawyer comes, I will hide you. (He goes into the hall.)

Nikolai enters.

PHENOMENA SECOND

Lebedkina and Nikolai.

Lebedkina. Hello!

Nikolai bows silently.

Here I am.

Nikolai. I see. Did you bring money?

Lebedkina. I brought it.

Nikolai. All?

Lebedkina. Everyone... Is everyone really needed?

Nikolai. Certainly. What were you hoping for?

Lebedkina. On you, my friend.

Nikolai. Who do you take me for?

Lebedkina. I have always taken you for a noble man; but you love me so much... For the woman you love, you can make up your mind...

Nikolai. And are you absolutely sure of my love?

Lebedkina. Isn’t this true, don’t I see in your eyes...

Nikolai. You are insightful. Have you probably experienced the power of your charms over men’s hearts more than once?

Lebedkina. Yes, it happened. I am happy about this, they sacrificed a lot for me.

Nikolai. So you wouldn't be at all surprised if I...

Lebedkina. Why be surprised, my friend!

Nikolai. Yes you are right. (Hands her the paper.)

Lebedkina (after a quick glance, she hides the paper). Oh! That's what I expected. Thank you, my dear friend! This love, this passion can be believed.

Nikolai. And reward.

Lebedkina. Yes, of course you are standing. But, my dear Nikolai Andreich, wait a little. After all, the heart cannot be disposed of at will... if it is busy, what can you do?

Nikolai. But besides your heart...

Lebedkina. Money, you mean? ABOUT! I'll give you the money. Although not suddenly - I myself am in need; but I will pay you little by little everything I promised - this is my first debt.

Nikolai. But let me! I did the job: you have a valuable document in your hands, but I have nothing, only promises, words that have no value. You're deceiving me.

Lebedkina. No, I will do everything, but not suddenly. Wait!

Nikolai. Give me back the document!

Lebedkina. You are either very simple yourself, or you think I’m a fool, my friend.

Nikolai. In this case, I will declare that you stole the document from me; they will search you... I will not let you out of here.

Lebedkina. Oh, how scary! You're not joking like that! Well, if I were a nervous woman, you would scare me terribly. It’s good that I have character and never lose my presence of mind. So now I will act very cleverly and carefully. (Goes to the stove.)

Nikolai. What are you doing?

Lebedkina (throwing paper into the oven). Look how merrily it burns: how quickly the lines disappear! Even the ashes flew down the chimney, not a trace of my debt remained.

Nikolai. I can only wonder at you.

Lebedkina. Oh, my heart was relieved! It’s completely easy for me now.

Nikolai. I believe.

Lebedkina. How quickly and simply it was done! And you know, I have nothing to blame myself for. It’s all by someone else’s hands, isn’t it, it’s almost not my fault.

Nikolai. Talk, talk, I'm listening.

Lebedkina. Why are you looking at me so contemptuously? Are you better? Of course, I offered money; but it was necessary for a gentleman to be found who would dare to undertake such a feat. When you can do everything in the world for money, you will inevitably be tempted. I don’t consider myself guilty, as you please. It would never have occurred to me; Although I live openly, I am always surrounded by people who are more or less decent. After all, it was necessary for such a sweet, obliging young man to come into our society, so amiable, who... of course, for money...

Nikolai. Well, that's enough! Let me talk a little too! You, entrusting me with this unclean task, wanted to test whether I was worthy of your love; at least that's what you said. Well, imagine that I, trusting you, also wanted to test whether you were worth my love.

Lebedkina. And it turned out that I wasn’t worth it. It's a pity! But what can you do, you can’t please everyone. However, it is easy for you to console yourself; you are loved by a girl who probably has all the advantages you need. You can be happy with her.

Nikolai. Yes, I'll try.

Lebedkina. And great. I'm not envious.

Shablova enters.

PHENOMENA THIRD

Lebedkina, Nikolai, Shablova, then Dormedont.

Shablova. The lawyer, mother, is coming, I recognized him from a distance.

Lebedkina (covering herself with a scarf). Hide me for now, my soul; and when he comes, you send me out.

Shablova. I'll take you to the back porch.

Lebedkina. Remember, Felitsata Antonovna, I wasn’t with you and you didn’t see me.

Shablova. Okay, mother, I didn’t see it, I didn’t see it. Why do you need this, I don’t know; but, at least to swear, I didn’t see it. Tea, you also have your reasons.

Lebedkina. By itself. I left the carriage nearby, near the zoological garden; I’ll take a walk and in about ten minutes I’ll pick you up again, then that means I’ve really arrived.

Shablova. Yes, as your darling wishes, so it will be. Do whatever comes into your head, but our job is to please you.

Nikolai. How subtle and cunning all this is!

Lebedkina. We women cannot live without tricks.

Shablova. This is the truth, these are your fair words! You will cheat and lie, and you will only live for your own pleasure.

Lebedkina. Well, let's go! Tell your son that I will not remain in his debt.

Shablova. And I don’t want to talk. Does he dare to doubt?

Lebedkina and Shablova leave. Dormedon enters.

Dormedont. Get down to business! (Sorts out the papers on the table.) With just one power of attorney, write seven copies. At least it would help, really.

Nikolai. Come on, I'll take care of it upstairs; and you, Dormedont, do me a favor, call me when Lyudmila Gerasimovna leaves her room, I need to talk to her before she sees her father.

Dormedont. Okay, I'll click.

Nikolai leaves.

Well, just wait! You have nothing to talk about with Lyudmila Gerasimovna, you only have trifles on your mind. No, brother, I’m not a sucker for nonsense. Sit upstairs. Apparently he had nothing to go to the tavern with, he was so bored.

Margaritov enters.

SCENE FOUR

Dormedont and Margaritov.

Margaritov. Why are you looking at me! Write write! I'm tired, brother; There’s a lot of hassle, and I’m getting old, it’s not the same time. And now I just need cheerfulness; things have collapsed, Dormedont, processes have collapsed. Yesterday I was at Dorodny’s party, this drinking group gathered, all the aces - they completely overwhelmed me: one has a case, another has a lawsuit, another has a lawsuit. “Show us your honesty, they say, so we’ll make you rich.” Honesty! Yes, I say, more honest than all of you. “Well, they say, and we humbly thank you.” Now just to finish two or three good things, to establish yourself; Otherwise, just shovel the money. What, Lyudmilochka didn’t come out?

Dormedont. Didn't go out, sir.

Margaritov. Just now she brought me a glass of tea, put the keys to the chest of drawers and went into her room. I was busy and didn’t exchange a word with her. Are you really healthy?

Dormedont. I don't know, sir.

Margaritov. Write write! I’ll just take my briefcase and sit next to you. You write quite clearly, but you lie in such a way that you can only spread your arms apart.

Dormedont. I can lie, sir, but without intent, Gerasim Porfiryich, from a dream, sir.

Margaritov. Don't dream when you're doing it. And then the third day, instead of “department”, he wrote: “fixatoire”, and how clearly he wrote it.

Dormedont. I was thinking about curling it so that my hair would hold tighter, and I kept the fixator in mind.

Margaritov (shaking his head). You need “department”, and you are “fixator”.

Dormedont. Now I won’t write a fixatuary, sir.

Margaritov. Well, what fixator? Why a fixator? And you write!.. (Leaves.)

Dormedont. No, it's a coven! It's impossible for me to dream. Whatever is in your head, you can write it down. Just recently I ruined a stamp sheet worth forty kopecks, but this is a calculation. I need to print out a copy of the deed of sale, “of such and such a year,” and I said, “I dropped the ring of the maiden’s soul into the sea,” and only on the fourth verse did I come to my senses and hit myself on the forehead.

Margaritov comes in with a briefcase and sits down at the table.

Margaritov. "Prove to us your honesty!" How does it feel to hear that, Dormedont! But how did I, I say, prove my dishonesty? You, I say, come to me yourself and learn honesty. Do we have a lot of documents? look at the list.

Dormedont. Sixteen, and I brought the seventeenth yesterday.

Margaritov (sorting through papers). You, I say, are deceiving the people yourself; so if you, they say, are the only honest person among us, we really need it. Fourteen, fifteen, sixteen... Where is the seventeenth?

Dormedont. Look!

Margaritov. Where is the seventeenth? Submit the list here.

Dormedont (serving). If you please, sir.

Margaritov checks the list.

Yes, that's all here; they made a mistake, they miscalculated.

Margaritov. There is no loan letter from Lebedkina.

Dormedont. Here.

Margaritov. No, they tell you.

Dormedont. Here.

Margaritov. No. Take a look yourself.

Dormedont. It can’t be, I don’t believe it!

Margaritov. Oh you stupid!

Dormedont. Can't be. That’s why we have honesty: you gave it to me, told me to take it home, but I have everything that is in your pocket, just as honestly and nobly. I gave it to Lyudmila Gerasimovna, they are even more honest than you and me; I say: put it in your briefcase; Well, that means it's in the briefcase. At least kill me, or take the oath.

Margaritov, having sorted through more documents, looks intently at Dormedont.

Why are you looking like that? Why are you looking at me so scary?

Margaritov. You are a robber!

Dormedont. Well, no, sir. I don’t hope, Gerasim Porfiryich; I don't hope to be a robber.

Margaritov. Which of you ran to Lebedkina? Or was she here herself? Speak!

Dormedont. Yesterday I was, sir, I was even there twice.

Margaritov. You are a robber!

Dormedont (with tears). Why do you offend?

Margaritov (With despair). Sold!

Dormedont. Is it possible to sell it if I gave it to Lyudmila Gerasimovna? Not in the briefcase, but with them.

Margaritov. Call her to me.

Dormedont (at the door). Lyudmila Gerasimovna, can I come in? (To Margaritov.) They don’t answer.

Margaritov. Knock well!

Dormedont (knocks, the door opens by itself). A-ah-y! Guard! (Trembles and stamps his feet.)

Margaritov. What's happened?

Dormedont. Killed! Gerasim Porfiryich, killed, motionless! A-ah-y!

Margaritov (walks, staggering). How? Really? Which one of you?

Lyudmila comes out of the door, rubbing her sleepy eyes.

SCENE FIFTH

Margaritov, Dormedont and Lyudmila.

Lyudmila (to Dormedont). Oh, how you scared me!

Dormedont (quietly). Why do you have a gun on the table next to your bed?

Lyudmila. It's none of your business, please be quiet! (To my father.) I hardly slept at night, now I lay down and fell asleep so sweetly.

Margaritov (Dormedont). Oh you fool! Oh you fool! What are you doing to me?

Dormedont. No, you ask what happened to me! Was I alive? To this day my heart trembles like a sheep’s tail.

Margaritov. Well, sit down and write! Don't lie out of fear.

Dormedont. I will try so hard, which is surprising.

Margaritov. Lyudmila, did he give you Lebedkina’s loan letter?

Lyudmila. Gave.

Dormedont. What? I told you.

Margaritov. Sorry brother! Well, now I'm calm. Write! write!

Dormedont. The honesty is extraordinary.

Margaritov (Lyudmila). So do you have it?

Lyudmila. I don't have one.

Margaritov. Where is it?

Lyudmila. I gave it away.

Margaritov. How! Who did you give it to? For what?

Lyudmila. It was necessary; I couldn't do otherwise.

Nikolai enters and stops in the distance.

SCENE SIX

Margaritov, Lyudmila, Dormedont and Nikolai.

Margaritov. How! How could I not! My daughter, is this what you say? You couldn’t save, protect someone else’s, what doesn’t belong to us, what was entrusted to your father, hoping for his honesty? I do not understand anything.

Margaritov. Either I have become old and stupid, or everything in the world has turned upside down - there is no more other people's property, no more honesty, theft is no longer called theft!

Lyudmila. I couldn't do otherwise.

Margaritov. Tell me, what tricks and traps did they use to catch you? What devils were called from hell to deceive and seduce your righteous soul?

Lyudmila. There was nothing: no one seduced me, no one deceived me, I gave it myself. I saw that a person was dying, and that if you didn’t help him right away, he would face shame and, perhaps, suicide. When could I think! It was necessary to help, save, give everything that was at hand.

Dormedont (in tears). Brother, you tormented us, this is not enough for you; You wanted to destroy us completely.

Margaritov. So is this him?

Lyudmila. He.

Margaritov. That's when I'm a beggar, a despicable old man! I was poor, I was pitiful, but then I had a daughter, now I don’t have her.

Lyudmila. Are you giving up on me?

Margaritov. No, no, forgive me! I don't know what I'm saying. How can I roam the world without you? Come to me, I will forgive you, we will grieve together, we will mourn together your new sin, your weakness. Oh no, no, I won't leave you! I myself felt scared!.. Am I really going to leave you to him?.. To a moth, a drunkard...

Lyudmila. I beg you...

Margaritov. Thief.

Lyudmila. I beg you.

Nikolai. Shut up, old man!

Margaritov. He lives on someone else's grief, on someone else's tears. His mother and brother work hard, and he drinks away their hard-earned pennies. What kind of money does a poor family have? Are they enough for debauchery? Are there poorer workers somewhere else who are simpler? And rob those, let them cry and howl in grief. What does he care about other people's tears! He needs fun. My child, come to me, let's get away from them!

Nikolai. I won’t respond to your abuse with abuse, you are very old. Without scolding, but much more painfully, I will punish you for your injustice. (To Lyudmila.) Not to him, but to me! Come here to me. (He hits himself in the chest.) I need to be consoled, I’m offended and I’m offended in vain.

Margaritov. O monster! Lyudmila, run! To me, to me!

Lyudmila. Dad, I'll go...

Margaritov. Come to me, come!

Lyudmila. I'll go to him. (Approaches Nikolai.)

Margaritov. Stop, stop! You once returned my life, but you yourself are taking it away.

Lyudmila. Fate connected me with him... what should I do?.. I see, I feel that I am killing you... I myself am dying, but I... him. Oh, if I could live for you two! Push me away, curse me, but... love him!

Margaritov. His? His? For what? He took everything from me: he took money, other people’s money, which I can’t pay back, can’t earn in my entire life, he took my honor. Yesterday they still considered me an honest person and trusted me with hundreds of thousands; and tomorrow, tomorrow they will point fingers at me, call me a thief, from the same gang as him. He took the last thing from me - he took my daughter...

Nikolai (approaching Margaritov). I didn't take anything from you. I have never done anything bad to you. Here is your daughter, here is your document. (Gives the loan letter to Lebedkina.)

Margaritov. Like, what, a document? (He holds the document up to the light.)

Dormedont. I said that everything is honest and noble.

Margaritov. What does this mean? Didn't have time to sell it? Has your conscience gotten to you?

Nikolai. I regret that I gave it to you. You do not know how to appreciate nobility in others and do not deserve to be treated honestly. I saw Lebedkina today.

Margaritov. Why did you have this document? Why did you take it from Lyudmila?

Nikolai. I am Lebedkina's attorney; I won’t tell you why I needed the document... well, let’s say that I needed a copy of it.

Margaritov (giving his hand). Sorry brother! I'm hot, I'm hot... but the side here is such that you can't help but think...

Nikolai (to Lyudmila). Farewell!

Lyudmila. Where are you going? What will happen to you? I'm scared.

Nikolai. Don't worry, I've decided to submit to my fate; I now have good things ahead: this is your love.

Shablova enters.

SCENE SEVEN

Margaritov, Lyudmila, Nikolai, Dormedont, Shablova, then Lebedkina.

Shablova. Varvara Kharitonovna Lebedkina drove up and ran to meet her. (He goes into the hall.)

Margaritov. By the way, it didn’t keep me waiting.

Lebedkina and Shablova enter.

Lebedkina. I need to see lawyer Margaritov.

Shablova. Here it is, mother!

Lebedkina. Are you Margaritov's lawyer?

Margaritov. At your service, madam. Collegiate assessor Gerasim Porfirich Margaritov. Please humbly sit down!

Lebedkina. Do not worry! You have been given a loan letter issued by me to the merchant Dorodnov.

Margaritov. That's right, madam.

Lebedkina. I wish to pay money.

Margaritov. And you’re doing great, madam! Please.

Lebedkina. What?

Margaritov. Money.

Lebedkina. Give me the document! I will only give it to the one who has the document in his hands. Without a document, I will not give money for anything.

Margaritov. Quite fair. Give me the money, then you will receive the document.

Lebedkina. Oh my god! Do you dare to doubt? Here's the money! (Throws a stack of large tickets onto the table.) Show me the document, I want to see it.

Margaritov. This is the order. Please! (Shows the loan letter from his hands.) Is this your signature, madam? Do you recognize her?

Lebedkina. What's happened? Let me, let me!

Margaritov. You can choose not to recognize the signature if you wish.

Lebedkina. No, this is my hand.

Margaritov. And in this case, I will count the money and make an inscription on the document. (Carefully counts the money, moves it away from him and signs receipt on the loan letter. Nikolai, at Lebedkina’s sign, approaches her.)

Lebedkina (to Nikolai). What does this mean?

Nikolai. This means that I was more careful than you just now, for which I am very grateful. I only gave you a copy; You should take a good look.

Lebedkina. Yes, that's it!

Nikolai. Won't you reproach me?

Lebedkina. No, I won't.

Margaritov. Here, madam, is a document for you, and money for me. (Hands over the document to Lebedkina.) Lyudmila, yesterday I asked Dorodnov for money for expenses, and he told me: “Get it from Mrs. Lebedkina, half is yours, that’s why I considered this money wasted.”

Lebedkina. Ignorant!

Margaritov. Really ignorant. Here's half for you, Lyudmila.

Lyudmila. Me, dad, me?

Margaritov. To you, to you! take it, don't be afraid! This is your dowry.

Lyudmila. This means that these are not mine, they will have to be given away.

Margaritov. Oh, you stupid thing! Of course, give it to the groom.

Lyudmila (to Nikolai). So here's to you! (Gives money.)

Margaritov. What you? What are you doing?

Lyudmila. You yourself said: give it to the groom. This is his deposit; he wants to be your assistant.

Nikolai. No, a clerk, with only one condition.

Margaritov. With which?

Nikolai. Are you a good lawyer, do you have powers of attorney? You won't take it otherwise?

Margaritov. Of course, with confidence.

Nikolai. So entrust all matters to me. You are an old man, you have finished your career, but I need to start.

Lyudmila (hugging her father). Dad, you need to rest; we will calm you down.

Shablova (Dormedont). And you said that she loves you.

Dormedont (wiping away tears). Well, mama, it’s okay, let it go! I'm home. He will have a lot of trouble, running around the courts, and I will be running around the house; I, mamma, will babysit his children.

Shablova (Lebedkina). Well, mother, the cards told the truth, I had to pay you.

Lebedkina. Eh! Whatever I spend or pay, I never regret. And why regret it! If only they were mine, otherwise I borrowed these too. This is all nonsense, but I have serious business with you: tell me your fortune!

Shablova. Again on the club?

Lebedkina. No, come on! Tired of it. I don’t know what suit to put it in.

Shablova. Motley, or what?

Lebedkina. The mustache is a different color.

Shablova. Whatever you choose, no matter what wool it is, even though you won’t find one like it in the deck, I’ll still guess for you. I will draw a black mustache for the red king of hearts and make a wish.

Lebedkina. Well, let's go quickly! (Bowing.) Advice and love.

Margaritov. So it will be, madam! Dormedont, write a power of attorney from me addressed to Nikolai Shablov. Just don't lie!

Dormedont. I'll do it right. And don’t doubt it, everything with us is honest and noble.