with me. But I know perfectly well. Oh, it's a bore to talk about. . . . [With a Jewish accent] Excyuz me. . . . Do you know any funny stories?

LVOV No, I don't.

ANNA Nicholas does. . . . I wonder why people are so unjust--why don't they return love for love?--why do they repay truth with lies? Tell me this: how long will my father and mother hate me? They live thirty-five miles from here, yet night and day--even when I'm asleep--I can feel their hatred. And another thing: how do you explain this despondency of Nicholas's? He says it's only in the evening that he stops loving me . . . when he's crushed by despair. I can understand that--I can even accept it. But just suppose the time comes when he stops loving me altogether. It seems impossible, but just suppose it happens. . . . No, no, I won't even let myself think about it. [Sings.]

Swallow, swallow, where were you?

[Shudders.] What dreadful notions I have. . . . You're not married, Doctor. There are many things you can't understand.

LVOV I certainly don't understand you. [He sits nearby.] Please explain this to me: how did it happen that you, an intelligent, honest, almost saintly, woman, allowed yourself to be deceived and dragged into this owl's nest? What are you doing here? What do you have in common with this cold, heartless, and--all right, let's forget your husband for a moment. What do you have in common with this empty, trifling atmosphere? Good God! This grouchy, creaking, crazy old Count. This thief and scoundrel of scoundrels, Mischa, with his repulsive face. Tell me, what are you doing here? How did you happen to


act two

A ballroom in the Lebedev house. Upstage center is an exit into the garden. There are doors to the right and left. The furniture is antique, expensive, and covered. There are pictures on the walls, and illumination is provided by a chandelier.

come here?

ANNA [laughing] That's exactly the way he used to talk to me. Exactly. But his eyes are large, and when he talked about something that way, they'd burn like coals. . . . Go on, talk. . . . Please talk. . . .

LVOV [gets up and shrugs] What more can I say? Better go inside.

ANNA You say Nicholas is this or he's that-- how do you know? Do you think you can know a man in six months? He's a remarkable man, Doctor, and I'm only sorry you didn't meet him two or three years ago. Now he's grim, silent, accomplishing nothing, but then . . . he was wonderful! I fell in love with him at first sight. [She laughs.] I took one look--and I was trapped! He said, "Let's go," and I cut everything away from me the way you prune dead branches from a tree. [A pause.] But now things are changed. Now he goes to the Lebedevs' to enjoy himself with other women, and I sit in the garden and listen to the hooting of the owls. [The night watchman is heard on his rounds.]

ANNA Doctor, do you have any brothers?

LVOV No.

[Anna begins to cry.]

LVOV What's the matter? What's wrong?

ANNA [ getting up] I can't stand it any longer, Doctor. I'm going there.

LVOV Where?

ANNA Over there, where he is. . . . I'm going. . . . Tell them to get the carriage ready. [She runs into the house.]

LVOV I won't be responsible for you if you go. [To himself] It's bad enough that they don't pay me a cent--do they have to tear my soul to pieces? No--I won't be responsible. [He goes into the house.]

Seated center on a sofa is Zinaida Savishna, Lebedev's wife, an either side of her are elderly female guests. Younger people are scattered about the room on chairs, and upstage a card game is going on, the players including Kosich, a government employee, Avdotya Nazarovna, an

-107-

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Makers of the Modern Theater
Table of contents

Table of contents

  • Title Page ii
  • Contents vii
  • John Gabriel Borkman 7
  • Selected Bibliography 11
  • Act One 12
  • Act Two 23
  • Act Two 35
  • Act Two 42
  • To Damascus, Part I 49
  • Selected Bibliography 53
  • Act One 54
  • Scene Two 62
  • Scene Two 66
  • Scene Two 66
  • Scene Two 68
  • Scene Two 71
  • Scene Two 71
  • Scene Two 72
  • Scene Two 76
  • Scene Two 76
  • Scene Two 79
  • Scene Two 82
  • Scene Two 84
  • Scene Two 86
  • Scene Two 86
  • Scene Two 86
  • Scene Two 88
  • Scene Two 89
  • Scene Two 90
  • Scene Two 90
  • Scene Two 92
  • Ivanov 95
  • Selected Bibliography 99
  • Act One 100
  • Act Two 107
  • Act Two 116
  • Act Two 125
  • Hannele 133
  • Selected Bibliography 137
  • Act One 138
  • Act Two 148
  • Getting Married 157
  • Selected Bibliography 162
  • On Baile's Strand Purgatory 211
  • Selected Bibliography 215
  • Purgatory 228
  • The Well of the Saints 233
  • Selected Bibliography 237
  • Act One 238
  • Act Two 246
  • Purple Dust 259
  • Selected Bibliography 263
  • Act One 264
  • Act Two 280
  • Act Two 293
  • Hoppla! Such is Life! 309
  • Prologue 315
  • Act One 319
  • Act One 319
  • Scene Two 321
  • Act Two 329
  • Act Two 329
  • Act Two 333
  • Act Two 338
  • Act Two 338
  • Act Two 339
  • Act Two 339
  • Act Two 340
  • Act Two 346
  • Act Two 346
  • Act Two 347
  • Act Two 349
  • Act Five 354
  • Scene Two 355
  • Scene Three 355
  • Henry IV 357
  • Selected Bibliography 361
  • Act One 362
  • Act Two 377
  • Act Three 387
  • The Queen and the Rebels 393
  • Selected Bibliography 397
  • Act Three 409
  • Act Three 416
  • Act Four 422
  • Sodom and Gomorrah Song of Songs 429
  • Selected Bibliography 433
  • Prologue 435
  • Act One 438
  • Act One 453
  • Song of Songs 468
  • Antigone 485
  • Selected Bibliography 489
  • The Master of Santiago 517
  • Act One 522
  • Scene Two 524
  • Scene Two 525
  • Scene Two 525
  • Scene Two 530
  • Scene Two 530
  • Scene Two 530
  • Scene Two 530
  • Scene Two 530
  • Scene Two 535
  • Scene Two 535
  • Act Three 538
  • Scene Two 538
  • Scene Two 539
  • Scene Two 540
  • Scene Two 541
  • Ariadne 547
  • Act One 552
  • Act Two 565
  • Act Two 578
  • Act Two 591
  • The Bald Soprano 601
  • Yerma 621
  • Act One 626
  • Scene Two 629
  • Scene Two 633
  • Scene Two 633
  • Scene Two 636
  • Scene Two 640
  • Scene Two 640
  • Scene Two 642
  • The Long Voyage Home 649
  • Selected Bibliography 653
  • Camino Real 663
  • Prologue 668
  • A View from the Bridge 711
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