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Overview
Discovered in 1923, two decades after Chekhov's death, this play was written while the author was still a medical student. Adapted and translated by Alex Szogyi, it offers the trenchant wit and rich characterizations typical of the dramatist's later works. Woven amid the love affairs, suicide attempts, parties, and shootings are the customary themes of Chekhovian theater: the passions and frailties of human nature, the futility of the search for happiness, and the alternating episodes of comedy and tragedy that shape every life.
Product Details
| ISBN-13: | 9780486814643 |
|---|---|
| Publisher: | Dover Publications |
| Publication date: | 07/19/2016 |
| Series: | Dover Thrift Editions: Plays |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 128 |
| File size: | 693 KB |
About the Author
Read an Excerpt
A Country Scandal (Platonov)
By ANTON CHEKHOV, Alex Szogyi
Dover Publications, Inc.
Copyright © 2016 Dover Publications, Inc.All rights reserved.
ISBN: 978-0-486-81464-3
CHAPTER 1
ACT I
The scene is a garden in the home of ANNA PETROVNA VOINITZEV. Downstage shrubs and flowers adorn a winding path. Garden furniture and lighted lanterns at strategic points. To the left, we see the façade of a great house. There are steps leading up to the house. The sound of laughter and gay conversations is wafted onto the stage. Bits of music suggest dancing. The house and garden are both illuminated. The servants, YAKOV and KATYA, are hanging lanterns and lighting them. It is twilight of a beautiful summer's day. Visitors walk along the paths of the garden. Guests and servants descend the terrace and come into view.
(For the sake of clarity, to indicate each essential beat of the act, we will divide each act into French scenes; each scene starts with the entrance of a new character on stage.)
SCENE I
The elder GLAGOLAEV comes down the stairs followed by TRILETSKI, who is just the slightest bit tipsy.
TRILETSKI. My dear friend, would you refuse me a small favor? I swear to you before Almighty God, I'm not asking for much.
GLAGOLAEV shrugs his shoulders.
Come come, try to be generous. You have more than you need. Piles and piles. You could buy us all. And more.
Pause.
You're not going to tell me that you don't approve of loans. Well, rest assured, it's not at all a question of a loan ... I haven't any intention of paying you back, I swear it....
GLAGOLAEV. Now there's a convincing argument....
TRILETSKI. What a world we live in! The 70s will go down in history as an ungenerous age ... paralyzed by chronic uncertainty.
GLAGOLAEV tries to withdraw.
Come come, Glagolaev, must I go down on my knees? Where is your heart? You must have a heart somewhere!
GLAGOLAEV (smiling). Doctor Triletski, I admire you. As a doctor, you leave much to be desired. But as an extortionist, my compliments.
TRILETSKI. Touché.
GLAGOLAEV (producing his wallet). Well, how much do you need?
TRILETSKI (devouring the bills with his eyes). Holy Mother of God! And they would have us believe that Russia is poor. Where did you get these?
GLAGOLAEV. Here.
He gives him the money.
Fifty rubles. And don't forget; it's the last time.
TRILETSKI. But you're rolling in money. Look, my friend, it's crying out to be spent.
Pleading.
Give it to me.
GLAGOLAEV. Very well, take it. Take it all. If not, you'll steal the shirt off my back. Consider it a down payment. On my health. What a thief you are, Triletski. Professional!
TRILETSKI (still counting). Seventy, seventy-five ...
Teasing.
You're sure they're not counterfeit?
GLAGOLAEV. If that's the way you look at it, give them back.
TRILETSKI (hiding the bundle quickly). I would if they were of any use to you. Tell me, Porfiry Semeonovich, why do you lead such an abnormal life? You drink, you argue, you perspire, you stay up all night when you ought to be in bed early. Look at those circles under your eyes, that wan complexion. Really, my friend, you're committing suicide. Tsk, tsk.
GLAGOLAEV. But, Doctor ...
TRILETSKI. No buts. Don't doctor me ... I don't want to alarm you unduly. You could possibly live several years more. With care. Tell me: are you very rich?
GLAGOLAEV. I could support us both for life. And then some.
TRILETSKI. Then it's really unforgivable. Evenings like this will be the death of you ... Entre nous, do you think I'm blind? I'm on to your tricks. I know why you brave this salon existence.
Pause.
It's the beautiful widow, isn't it?
He laughs.
Really, you'd be better off in bed ... alone ...
GLAGOLAEV. Triletski, you go too far. Although you have your amusing moments, you're nothing but a suspicious bastard.
He goes into a fit of coughing.
TRILETSKI. Tsk, tsk. As your doctor and your friend, I prescribe a short rest in the summerhouse. It will do you a world of good.
GLAGOLAEV (going off). Perhaps you are right. But you're still a suspicious ...
He leaves.
SCENE II
TRILETSKI (counting his money more carefully). Banker's money. Peasant's money. How may it best be spent?
Servants cross the stage. He gives them each a ruble. They bow and thank him. As they leave, VOINITZEV descends the staircase, ANNA PETROVNA appears behind him at the window.
VOINITZEV. But Mama! I've been looking for her everywhere. I don't know where she could be.
ANNA PETROVNA (sweetly). Look in the garden, noodle!
She goes back into the house.
VOINITZEV (calling). Sofia! Sofia!
To TRILETSKI.
Doctor, I can't find my wife. Have you seen her anywhere?
TRILETSKI. No. I don't think so. But I have something for you. Three adorable rubles.
He places the bills in VOINITZEV'S hand, VOINITZEV at first pockets them mechanically, then throws them away angrily and runs into the garden.
Not even so much as a thank-you. Nauseating. That's present-day humanity for you. No gratitude.
He leans over to retrieve the bills.
SCENE III
SACHA enters, coming from the house, pushing her father ahead of her.
SACHA. Let's please go now.
IVAN TRILETSKI. But why, my dear?
SACHA. It's not yet dinnertime and already you're hopelessly drunk. Aren't you ashamed to humiliate me in this way?
IVAN TRILETSKI. My child, you're so naïve! You could never understand a man like myself. Your mother was the same. Same hair, same eyes, same sweet little goose. God rest her soul.
SACHA. Father!
IVAN TRILETSKI. I'm not the only one. Look at that dignified creature ...
Indicating his son, NICHOLAS.
sprawled on the lawn.
SACHA. My God, will it never stop? Get up, Nicholas. Isn't it enough your father drinks? Not you, too ...
NICHOLAS TRILETSKI. Patience. Patience. I'm putting a little money aside.
SACHA. Nicholas, don't you ever consider your position? A doctor ought to be an example ...
IVAN TRILETSKI. She's right. Absolutely right!
SACHA. And Father, at your age. You really must care more what people think of you ... Shame ...
IVAN TRILETSKI. Sacha, my little flower. You're delirious. I cannot lie. I have tippled. And why not? I'm a military man. In the army, one understands these things. That's life. ... If I had stayed in the army a little longer, I would now be a general. Think of it.
SACHA. Come home.
IVAN TRILETSKI. I said, a general.
SACHA. Generals do not drink. Come.
IVAN TRILETSKI. What are you saying? Generals are made of drink. In the army we have joie de vivre. My child, you're just like your poor mother. She spent her entire life criticizing the inevitable. Neither of you ever understood me. When I think I'll never see her sweet face again ... Oh, how I loved her. God gave her to me, and God took her away.
Kneeling.
Forgive me, Sacha. I'm an old fool, but you're my daughter. Tell me you forgive me.
SACHA. Of course, I forgive you. I forgive you. Get up.
IVAN TRILETSKI. Swear you forgive me.
SACHA. I swear it. But you'll promise me something, too.
IVAN TRILETSKI. And that is ...
SACHA. Promise me you'll give up drinking. If Nicholas conducts himself shamelessly, well and good! But that behavior is unworthy of an elderly gentleman, such as yourself.
IVAN TRILETSKI. My little one, the shadow of your dear departed mother lives on in you. From this moment, not a drop of alcohol will cross these lips. On my honor, as a soldier. However, if it's prescribed as medicine ...
SACHA. I think Michael is in the summerhouse. I'll tell him we're leaving.
She exits to summerhouse.
NICHOLAS TRILETSKI (he has picked up the bills and approaches his father). One hundred kopecks, Father. For your medication.
IVAN TRILETSKI. One hundred kopecks? Young man, are you by any chance the son of Colonel Ivan Ivanovich Triletski, who served in the Imperial Guard?
NICHOLAS TRILETSKI. I am.
IVAN TRILETSKI. In that case, I receive it willingly.
They both laugh.
Thank you. I refuse charity, but I accept a son's gift. I am honest. Yet, in my life I have witnessed such utter corruption it could be called ... Babylonian. I was above it all.
NICHOLAS TRILETSKI. Father, we owe it to ourselves to be modest.
IVAN TRILETSKI. I am modest. I was simply giving you a sermon. Will I not have to answer for you before God? Good night.
NICHOLAS TRILETSKI. Where are you going?
IVAN TRILETSKI. Home. Sacha, poor dear, must be taken home. Evening parties frighten her. It's unfortunate to see people behaving as they actually are. I'll put her to bed and I'll be right back.
NICHOLAS TRILETSKI. Here, take three rubles for the trip.
IVAN TRILETSKI (suddenly angry). Did I not make myself understood? There hasn't been the slightest taint of corruption in my life. My son, when I served during the war against the Turks ...
NICHOLAS TRILETSKI. Bravo, Colonel! Forward march ... one-two, one-two ...
SACHA (returns). Let's go. Please ...
IVAN TRILETSKI. May God protect you, Nicholas. You are a good man. Your brother-in-law Michael Platonov is a freethinker but he too, God rest his soul, is a good man. And Anna Petrovna ...
SACHA drags him off stage.
I'm coming. I'm coming. One-two, one-two.
SACHA. You're nothing but a child.
IVAN TRILETSKI. Yes, it's true. Aren't we all? One-two, one-two ...
SCENE IV
PETRIN and VENGEROVICH, usurers, enter arm in arm.
PETRIN. Well, Abram Abramovich, you may put fifty thousand rubles right here, in front of me, and I swear, I'll steal them. But I don't intend to be caught. Anyone would do the same. You, too. Don't try to deny it.
VENGEROVICH. No. Not me.
PETRIN. I'd steal even one measly ruble. Honesty, ugh! An honest man is stupid.
VENGEROVICH. Then I am stupid, Petrin.
NICHOLAS TRILETSKI. Here's a ruble for your honesty, my friends.
He gives each of them a bill.
VENGEROVICH (as they pocket them). Oh, thank you, Doctor.
PETRIN. Well, that disappeared like lightning, honest Vengerovich.
ANNA PETROVNA appears at the window.
ANNA PETROVNA. Triletski, give me a ruble too, eh?
She disappears from the window.
NICHOLAS TRILETSKI. No, not one, but five, since you are a major general's wife. And I'll bring it to you ... personally.
He enters the house.
SCENE V
PETRUST. I can't stand that woman. Proud creature. She's too showy. Widows ought at least to be discreet and quiet. They've nothing to boast about.
VENGEROVICH. Still, Glagolaev is fond of her.
PETRIN. He's senile, money or no money.
VENGEROVICH. He chases her at every party. Sits there, gaping, like an idiot, until she looks back at him. I ask you, is that how to woo a woman?
PETRIN. They say he wants to marry her.
VENGEROVICH. At his age!
He sneers.
He's a hundred years old if he's a day.
PETRIN. That may be, but I'd like to see them married. Since her husband's death, the widow has swallowed up all the family money. And what she hasn't swallowed up, her stepson has. As you well know, the house and property are mortgaged.
Pause.
If she married old Glagolaev, I might get my money back. I'd sell my shares of the mortgage. She owes me sixteen thousand rubles. Think of it.
VENGEROVICH (as they go off). And she owes me more than that. ...
They disappear into the house.
SCENE VI
SOFIA and VOINITZEV enter; they speak quickly, as if they have been quarreling.
SOFIA. I have nothing more to say to you.
VOINITZEV. It's too soon to have secrets from your husband.
They sit down on a bench.
SOFIA. I don't know what's wrong with me. Don't pay any attention to me.
Silence, then a sudden plea.
Sergey, let's leave here.
VOINITZEV. Leave here? Whatever for?
SOFIA. I need to. Let's go abroad. Oh, say you will.
VOINITZEV. Give me one good reason.
SOFIA. Please: don't ask me any questions.
VOINITZEV (kissing her hand). Very well. We'll leave as soon as we can. Who is to blame? Mother?
SOFIA. No one is responsible.
Afraid.
I'm bored ... tired ...
VOINITZEV. Ennui! Boredom! You Russian women ...
He kisses her on the cheek.
Let's be happy. Let's live. You ought to emulate Platonov. Talk to him sometimes. And Mother. And Triletski. Have a chat with them. Don't be such a little snob all the time. When you know them better, you'll like them ...
SCENE VII
ANNA PETROVNA (from her window). Sergey! Sergey!
VOINITZEV. Yes, Mama.
ANNA PETROVNA. Come here a moment.
VOINITZEV. Coming ...
To SOFIA.
I promise you, we'll leave tomorrow.
A kiss.
Unless you change your mind, of course.
He enters the house.
SCENE VIII
SOFIA (after a moment of silence, to herself). What can I do? Dear God, what shall I do?
PLATONOV enters.
PLATONOV. Sofia Egorovna. All alone?
SOFIA. Yes.
SOFIA gets up and makes a move to leave.
PLATONOV. It's stifling here. I shouldn't have done any drinking tonight. Tell me. Why do you avoid people?
SOFIA. I'm not avoiding anyone.
She sits down.
PLATONOV (sitting down next to her). Why are you avoiding me? When I come into a room, you go out of it. When I step into the garden, you disappear into the house.
SOFIA (quickly, relieved). I am avoiding you. A little. If I knew it hurt you, I wouldn't have.
PLATONOV (interrupting). So you admit it. Why?
SOFIA (breathlessly). Don't speak so loudly. I dislike people who raise their voices.
Silence.
When we first met, as students at the university ... I loved you ... We were happy together then ... but university loves, as you told me, Michael, are only temporary ... you married Sacha ... I married Sergey.
Pause.
Still here in Voinitzeva ... and now, you behave as if I owe you something. As if, once in your past, you missed something ... you want very much now. You follow me around. I'm never free of your gaze. Never a moment's peace. What do you want from me?
PLATONOV. So that's how you feel. I appreciate your honesty.
He moves away from her.
SOFIA. Now you're angry. Don't be angry, Michael.
PLATONOV (returning). Oh, I understand. You don't hate me. You're afraid.
He comes close to her.
Sofia Egorovna, you're afraid.
SOFIA. Stop it, Platonov! You're ... I'm not afraid!
PLATONOV (laughing suddenly after the outburst). So, you're being pursued. Spied upon. Seduced. Poor pitiful creature, someone wants to steal her from her husband! And that awful Platonov loves her. How grotesque!
SOFIA. You're out of your mind ...
He goes away.
It's terrible ... I must find him and explain. Michael ...
SCENE IX
SOFIA goes toward the house looking for PLATONOV. YAKOV and KATYAcross the stage conversing, just as OSSIP, a horse thief, comes toward them.
YAKOV. The devil only knows what these guests will think of next. Why don't they play cards like civilized people?
OSSIP (confronting them). Is Abram Abramovich Vengerovich here?
YAKOV and KATYA stop dead as they notice his dirty attire.
KATYA. In the house.
OSSIP. Go and find him. Tell him I'm here.
KATYA goes out. Almost immediately, OSSIP takes down a lentern, extinguishes it and puts it in his pocket.
YAKOV (he is afraid of OSSIP, but tries to be brave). These lanterns have not been put up for your pleasure. You have no right to take them down.
OSSIP. What's that to you, imbecile?
He takes YAKOV'S hat and throws it in the air.
Well, do something about it. Slap me. You won't? You don't dare?
YAKOV. I won't soil my hands.
OSSIP. Kneel ... before me.
He advances menacingly.
Do you hear? On your knees. Down.
YAKOV kneels.
YAKOV. You're heaping sins on your soul, Ossip. You'll answer for it one day.
SCENE X
VENGEROVICH, a wealthy Jewish merchant, enters. YAKOV takes advantage of his arrival to scramble off.
YAKOV. Boor!
He disappears into the house.
VENGEROVICH. Who is it?
OSSIP (insolent). It is I, Excellency.
VENGEROVICH. What do you want?
OSSIP. You asked for me at the tavern?
VENGEROVICH. This place is hardly suitable ...
OSSIP. For men of quality like ourselves, Excellency, any place is ... suitable.
(Continues...)
Excerpted from A Country Scandal (Platonov) by ANTON CHEKHOV, Alex Szogyi. Copyright © 2016 Dover Publications, Inc.. Excerpted by permission of Dover Publications, Inc..
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Table of Contents
A Russian version of Don Juan is the focus of Chekhov's first play, a farce in which a newly arrived schoolmaster proves irresistible to the bored women of a provincial community. Platonov's charm lies in his novelty, and his seductions are strictly passive as a libidinous widow, her idealistic stepdaughter, and an earnest student vie for his romantic attentions.
Discovered in 1923, two decades after Chekhov's death, this play was written while the author was still a medical student. Adapted and translated by Alex Szogyi, it offers the trenchant wit and rich characterizations typical of the dramatist's later works. Woven amid the love affairs, suicide attempts, parties, and shootings are the customary themes of Chekhovian theater: the passions and frailties of human nature, the futility of the search for happiness, and the alternating episodes of comedy and tragedy that shape every life.
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