Sasha Negina is a young and very beautiful girl. In general, she is an actress by profession. She is excellent at playing different roles, and on stage she keeps herself very well. She is considered a good actress, as she copes with all her goals. She is popular with people and fans of her game and beauty.
Negina plays in a provincial theater, but the morals of the actors and the whole stage life are no longer to her liking. She resisted all this dirt, which is often present in the theater backstage, of course. Girl in love with one young man- Meluzova. But he is a student, and therefore poor, like her. Meluzov also loves her. Together they often dream of a normal, prosperous life. But often life does everything in its own way. Therefore, everything turned out differently this time.
The beautiful actress was very liked by one rich landowner, who fell in love with her, so to speak. A landowner named Velikatov, that's his name. He embarrasses the poor girl who doesn't know what to do. After all, it is he who offers her the path to wealth and the joys of life. He wants Negina to become his mistress, and therefore persistently goes to the goal, seducing her with wealth and a heavenly life. Negina Sasha suffered for a long time, but finally understands that she will have to sell herself in the name of art, as she put it, in order to alleviate her guilt towards herself and her former beloved.
She leaves, leaving the student to curse her and all the artists.
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The play by A. N. Ostrovsky "Talents and Admirers" was written and first staged on stage in 1882. 136 years have passed since then, during this period changes have affected all aspects of life, but not the human essence, which manifests itself especially brightly at moments moral choice. The heroes of the work come to life today under the auspices of the muse of comedy, demonstrating both the front and the shadow side of the art world hidden from prying eyes. Young, talented, crystal-clearly honest and leading a righteous life, Alexandra Negina (Natalya Tretiak) was born to be an actress, her destiny is predetermined from above. Poverty is not a vice, but a serious obstacle to the realization of goals and plans, even when the main passion captures and leads in the only right direction. In this game, both on the court and behind the scenes, it is important to understand who is on your side, gently scolding and encouraging, and who is turning the situation against you, forgetting about conscience and observing only personal interests. Faithful and devoted allies, despite differences in views and characters, remain the practical Domna Panteleevna (Natalya Tabachkova), the mother of the main character and Pyotr Meluzov (Ilya Rogovin), a student in love who guides the girl on the true path and dreams of quiet family happiness. And also the subtle and intelligent Martyn Prokofich (Pavel Viktorovich Kurochkin), who disinterestedly and wholeheartedly loves the theater, due to his age allows himself only platonic affection, delight in relation to the young actress and delicate bouquets that replace confessions of ardent feelings for his passion. In contrast to them, the wrong side of this works. complex world in the face of Prince Irakli Stratonych Dulebov (Anton Vasiliev), whose fingers, studded with sparkling brilliance precious stones rings, they consider only money, giving power and ground for self-assertion in the form of an obscene proposal. Oil on the fire already difficult life adds Grigory Antonych Bakin (Aleksey Ermakov), provoking unseemly steps under the influence of a momentary whim and a sense of rivalry without any responsibility for the consequences. The threat of the main character’s fall from the height of such a fragile position on the stage reveals the true intentions of her inner circle, leaving the role of savior to the wealthy landowner Ivan Semenych Velikatov (Alexander Bavtrikov), who knows how to behave not only courteously, but also nobly, helping those in need and avoiding unnecessary talking behind your back. The unexpected rise and triumph of Sasha once again proves that successful and accomplished people are the most attractive, attracting fans of all stripes and varieties who come to the light. Sometimes life literally forces you to make a choice, and in this case, everything can be at stake, including moral principles, personal happiness, state of mind and material well-being. What if the stage beckons, calls and evokes spiritual awe, the theater gives a taste of life and unique emotions, and on the other side of the scale is affection and a sense of gratitude in response to care and love? After the third bell, jump on the bandwagon of the train heading into the future, or stay on the well-known platform? There is a great desire to draw an analogy with the Russian drama film "Big" directed by Valery Todorovsky, which tells the story of the ascent of a gifted provincial girl who sacrificed her career as a ballerina because of a tormenting sense of guilt towards her family. Probably the only acceptable choice in our case would be honesty with ourselves, the recognition that brotherly love and a quiet haven cannot replace the fullness of sensations, brilliant career, multiple multiplication of talent and a comfortable existence. Be close to those who make you happy, you can also add - and apologize to those whose lives you ruin with your actions. Sincerely sorry for the one who lives according to the commandments, who chose the side of the world and abandoned everything inappropriate Peter, who nevertheless remained out of work. The true epithet that can characterize the staging of the play on the stage of the Vedogon Theater will be an emotionally rich and deep in meaning word - empathy. The temperamental performance of Natalia Tretiak, bursting laughter and bitter tears, sublimity and inner self-esteem evoke the feeling that the role has found its real actress. The artistic design of the performance is interesting, the choice in this case made in favor of white for both the costumes of all participants, and for decorative elements. Various interpretations are possible, but still the closest thing is the idea that the bright part of the soul, generosity and morality will remain in fashion, despite a variety of temptations and circumstances.
About the play of the same name by A. Ostrovsky.
"Hard Sunday"
Alena Karas, Russian newspaper» (2012):
“The play “Talents and Admirers” first saw the light in the journal “Notes of the Fatherland” in January 1882 and belongs to the late period of the playwright’s work. It is about actors - a special breed of people, persecuted, but freedom-loving.
The main character of the play is the talented young actress Alexandra Negina, whose beauty is the object of sale and purchase of wealthy "admirers", and the excellent service to art requires the greatest moral sacrifices. On the scales are talent and a living heart of the heroine, trembling with love. Before the viewer appears "the wrong side of life"!
There is a lot of humor and bitterness in the comedy Talents and Admirers, a sober knowledge of the truth of life and the mores of the theatrical backstage, and a lot of unrelenting love for the theater, which, of course, inspires and disturbs any director who takes an old play off the shelf.
"Biography of Ostrovsky"
Tamara Eidelman, Encyclopedia "Round the World":
“The fate of the heroine of Ostrovsky’s late play “Talents and Admirers” is hopeless. Alexandra Negina, a young talented actress, is so tormented by eternal need that she cannot find a way out. Her fiancé, a noble, kind, good young man, Petya Meluzov, cannot help his bride. However, it's not just about money. Once again, in Ostrovsky's play, goodness turns out to be weak and helpless, unable to withstand circumstances. As a result, Negina agrees to go to the maintenance of the landowner Velikatov and leaves for his estate, hoping later to start playing in his theater. And although Meluzov in the finale of the play vows not to give up and “do his job to the end”, there is no feeling of his moral victory, because his beloved girl left with the rich man.
"Understanding Life"
Svetlana Molchanova, Literature newspaper (2003):
Talents and Admirers is one of Ostrovsky's last plays. The fruit of his mature reflections. The premiere took place in the benefit performance of N.I. Musil. The role of Negina was given to Ostrovsky M.N. Yermolova, despite the fact that their relationship in the theater was quite complicated.
Such talent is Negina. Her choice is dramatic, it is no coincidence, we repeat, Ostrovsky himself entrusted this role to Yermolova. Unlike Nezabudkina, Alexandra Nikolaevna Negina sacrifices her love not for the “empty man”, but for the selfless Petya Meluzov and chooses not a person, albeit a rich one, but service to the theater.
In the famous farewell scene with Petya, she explains: “I thought for a long time ... Everything is true, everything is true, what you said, this is how everyone should live, that’s how it should be ... And if talent ... if I have glory ahead? Well, I should refuse, huh? And then regret, kill myself all my life ... If I was born an actress? After all, I'm an actress, but, in your opinion, I need to be some kind of heroine. I am an actress ... How can I live without theater?
M e l u z o v. This is news to me, Sasha.
N e g i n a. News! Therefore, the news is that you still did not know my soul. Why should I be a reproach for others? Yes, the other, perhaps, is not to blame at all .. And I will reproach? Save me, Lord! And my mother and I reasoned like that ... we cried, and reasoned ... "
The verbs "thought" and "reasoned" delimit this impetuous monologue. Before us, if not a stream of consciousness, then at least a stream of reasoning. Negina cannot betray her talent."
From the book of Z.V. Vladimirov “M.O. Knebel" (1991):
“The lyrical theme of Knebel came to light here with all distinctness and continued in the production of “Talents and Admirers” by A.N. Ostrovsky in the theater. V.V. Mayakovsky (1970), glorifying the theater “as the center of everything high and pure, as the most beautiful place on earth,” wrote Z. Vladimirova. In the play "Talents and Admirers", staged by Knebel, there was full agreement between the idea and the embodiment. It was the most "ideal" Knebel performance. In the hall, the audience was presented with upturned backstage, scenery shields lowered from the grate and make-up tables. The miracle began when Narokov - Strauch, the poetic master of the performance (according to Knebel's definition), entered the stage in the very center, and, obeying his mute order (arms outstretched in a majestic gesture), the light on the stage was lit. This exciting ceremony immediately set the audience in a sublime mood, after which the performance could not develop in any other way than the poetic.
Maria Osipovna (Iosifovna) Knebel(May 6 (18), 1898 - June 1, 1985) - Soviet director, teacher, doctor of art history, People's Artist of the RSFSR.
Alexander Nikolayevich Ostrovsky completed work on the play "Talents and Admirers" relatively quickly. Four months were spent on its creation, in December 1881 the author put the last point.
Characters
The main character of the story is the young and beautiful Sashenka. And speaking more clearly, the actress Alexandra Nikolaevna Negina. It should be noted in the summary of Ostrovsky's "Talents and Admirers" that this girl is very poor.
Her lover is a poor graduate student. He wants to become a teacher and is waiting for a job, and the name of the young man is Peter Egorovich Meluzov.
There is an age-old landowner in Ostrovsky's play "Talents and Admirers". He is not just financially secure, but fabulously rich. But a good enough man, a former cavalryman, communicates with merchants and seeks to imitate them in manners and behavior. Bears the name of Ivan Semenovich Velikatov.
These are the main characters of the production, there are secondary characters. Sasha's mother, for example, is an elderly gentleman, an official, as well as other persons.
Brief story
The beautiful Alexandra has an acting talent, she plays on the stage of a provincial theater. The girl has many fans, some are not averse to having fun with a young talent, but Sashenka remains impregnable. The charming actress is disgusted by the laws behind the scenes, numerous lustful suitors and the venality of her sisters in the craft. And do not write off Alexandra's love. Her fiancé Peter has no money, but he is noble, purposeful, dreams of achieving wealth. And Sasha is in the clouds, together with him he dreams of a well-fed, luxurious life.
This is how the young actress would have lived, caring for her mother, shining on the stage and striving for a dream, but mister chance intervenes in the matter. Or rather, a rich gentleman who does not know refusal and is firmly convinced that everything can be bought. He persistently begins to care for Alexandra, promising her a well-fed and comfortable life. Only the master did not take into account the character of the girl, she gives him a sharp and impudent rebuff. And the old rich man becomes furious, he is ready to destroy Sasha's career, especially since the means allow him to trample on the impudent girl.
Two people intervene in the matter: the fiance of the actress and the landowner Velikatov. The former cavalryman is in love with the beautiful Sashenka, he is ready to help her in solving the problem, and asks very little in return. Just become his mistress, play in Velikatov's own theater. He offers a rich life, which the girl aspires to. Alexandra, having tasted the fruits of glory, thinks about Ivan Semenovich's proposal. On the one hand, this contradicts her moral principles, love for the groom Peter and sweet dreams of happy life next to him. And will the girl be satisfied with her fate, realizing that she will have to give up her acting career. Peter is decent, but with him a happy working life awaits her. And Velikatov offers life in the theater, luxury and a brilliant career. On this summary"Talents and Admirers" Ostrovsky can be considered almost finished.
In general, the desire to become a great actress outweighed all principles. Alexandra leaves with Ivan Semyonovich to his estate, leaving poor Peter. And he can only send curses on the heads of the actors and their fans.
Brief analysis
"Talents and Admirers" by A. N. Ostrovsky is direct evidence of how difficult it is to maintain moral principles in the face of constant problems. The cross of poverty is too heavy, and the desire for a luxurious life is a great temptation for a young soul. So the beautiful Sasha rejected her principles, proving once again with this act that everything is bought.
Conclusion
In Ostrovsky's play "Talents and Admirers", the analysis of which can be seen above, the problems of young people who are chasing after beautiful life. In the first place here are their own desires, for the sake of which the most important norms are forgotten, morality is trampled on and their own views on life are rejected. Sasha forgot about such a simple thing as love. She neglected her poor fiancé, left her mother and rushed off for an illusory happiness. But whether the actress will find it next to the unloved person remains a mystery to the reader.
Alexandra Nikolaevna Negina, provincial theater actress, young girl.
Domna Pantelevna, her mother, a widow, a very simple woman, over 40 years old, was married to a musician in a provincial orchestra.
Prince Irakli Stratonych Dulebov, an important gentleman of the old type, an elderly man.
Grigory Antonych Bakin, provincial official in a conspicuous place, 30 years old.
Ivan Semenych Velikatov, a very rich landowner, owner of well-organized estates and factories, a retired cavalryman, a man of a practical mind, behaves modestly and restrainedly, constantly deals with merchants and, apparently, tries to imitate their tone and manners; middle-aged.
Petr Egorych Meluzov, a young man who has completed a course at a university and is waiting for a teaching position.
Nina Vasilievna Smelskaya, actress, older than Negina.
Martyn Prokofich Narokov, assistant director and props, an old man, dressed very decently, but poorly; good manners.
Action in the provincial city. In the first act in the apartment of actress Negina: to the left (from the actors) there is a window, in the back, in the corner, a door to the front room, to the right a partition with a door to another room; by the window there is a table with several books and notebooks on it; the situation is poor.
PHENOMENON FIRST
Domna Pantelevna (alone).
Domna Pantelevna (speaking out the window). Come back in three or four days; After the benefit, we'll give you everything! BUT? What? Oh deaf! Does not hear. We will have a benefist; So after the benefit, we'll give you everything. Well, gone. (Sits down.) What debt, what debt! A ruble there, two rubles here ... And what else the fee will be, who knows. In the winter, they took a beneficiary, only forty-two and a half went into cleaning, but some crazy merchant presented turquoise earrings ... Very necessary! Eka is unseen! And now the fair, we'll take two hundred. And you will receive three hundred rubles, you will somehow hold them in your hands; everything between the fingers will go away like water. No happiness for my Sasha! He keeps himself very carefully, well, and there is no such disposition among the public: no special gifts, nothing like the others who ... if ... At least a prince ... well, what does he cost! Or Ivan Semenych Velikatov... they say he has sugar factories worth more than one million... To send him two heads; it would be enough for us for a long time ... They sit, buried up to their ears in money, but no, to help a poor girl. I'm not talking about the merchants - what to take from those! They don't even go to the theatre; unless some one is completely stunned, as if he were blown there by the wind ... so what to expect from such, besides disgrace.
Narokov enters.
PHENOMENON TWO
Domna Pantelevna and Narokov.
Domna Pantelevna. Ah, Prokofich, hello!
Narokov(gloomy). Hello, Prokofievna!
Domna Pantelevna. I'm not Prokofievna, I'm Pantelevna, what are you doing!
Narokov. And I am not Prokofich, but Martin Prokofich.
Domna Pantelevna. Oh, excuse me, mister artist!
Narokov. If you want to be with me on "you", just call me Martin; still nicer. And what is "Prokofich"! Vulgar, madam, very vulgar!
Domna Pantelevna. You and I are little people, father, that we need to breed these compliments.
Narokov. "Little"? I don't small man, sorry!
Domna Pantelevna. So is it big?
Narokov. Big.
Domna Pantelevna. So now we will know. Why did you, a big man, come to us, to small people?
Narokov. So, will we continue in this tone, Domna Pantelevna? Where does this arrogance in you come from?
Domna Pantelevna. There is mischief in me, it’s nothing to hide a sin! I love to tease, and to embarrass myself in a conversation with you, I don’t want to.
Narokov. But where does it come from in you, this mischief? From nature or from education?
Domna Pantelevna. Ah, fathers, where are you from? Well, where from... But where could there be anything else? She lived all her life in poverty, between the middle class: swearing, every single day she went around the house around, there was no rest, no respite in this occupation. After all, I was not brought up from a boarding school, I was not brought up with madams. In our rank, only in that time passes that everyone swears among themselves. After all, the rich have different delicacy invented.
Narokov. Reason. I understand now.
Domna Pantelevna. So it’s really impossible to be gentle with everyone, everyone, if I may say so ... I would say a word to you, but I don’t want to offend. Is it possible to say “you” to everyone?
Narokov. Yes, in the common people everything is on “you” ...
Domna Pantelevna. "In the common people"! Tell me please! And what kind of barin are you?
Narokov. I'm a gentleman, I'm quite a gentleman ... Well, let's go to "you", this is not a wonder for me.
Domna Pantelevna. Yes, what a curiosity; ordinary business. What is your mastery?
Narokov. I can tell you like Lear: every inch of me is a master. I am an educated person, I studied at the highest educational institution I was rich.
Domna Pantelevna. Are you?
Narokov. I am!
Domna Pantelevna. Do you?
Narokov. Well, well, swear to you, or what?
Domna Pantelevna. No, why? Don't swear, don't; I believe so. Why do you serve as a shuffler?
Narokov. I'm not chou-fleur and not siffleur, madam, and not even a prompter, but an assistant director. The local theater was mine. ‹chou-fleur - cauliflower (French), siffleur - whistle (French)›
Domna Pantelevna(with surprise). Your? Say goodbye!
Narokov. I kept him for five years, and Gavryushka was my clerk, he rewrote the roles.
Domna Pantelevna (with great surprise). Gavrila Petrovich, amprener here?
Narokov. He is.
Domna Pantelevna. Oh you bitter! So that's it. So, God did not give you happiness in this theatrical business, or what?
Narokov. Happiness! Yes, I did not know what to do with happiness, that's how much it was!
Domna Pantelevna. Why did you fall into decline? Drinking, must be? Where did your money go?
Narokov. I never drank. I paid all my money for happiness.
Domna Pantelevna. What kind of happiness did you have?
Narokov. And I'm lucky that I did what I love. (Thoughtfully.) I love the theatre, I love art, I love artists, do you understand? I sold my estate, got a lot of money and became an entrepreneur. BUT? Isn't that happiness? He rented the local theater, finished everything anew: scenery, costumes; gathered a good troupe and lived like in paradise ... Are there fees, isn’t there, I didn’t look at it, I paid everyone a big salary carefully. I blissed so-and-so for five years, I see that my money is running out; at the end of the season, I calculated all the artists, made a farewell dinner for them, brought each one an expensive gift in memory of me ...
Domna Pantelevna. Well, what then?
Narokov. And then Gavryushka rented my theater, and I went to his service; he pays me a small salary and pays little by little for my furnishing. That's all, dear lady.
Domna Pantelevna. Is that what you feed on?
Narokov. Well, no, I'll always get bread for myself; I give lessons, I write correspondence for newspapers, I translate; and I serve with Gavryushka, because I don’t want to leave the theater, I love art very much. And here I am, an educated person, with a delicate taste, now I live among rude people who insult my artistic feeling at every step. (Going to the table.) What kind of books do you have?
Domna Pantelevna. Sasha studies, the teacher goes to her.
Narokov. Teacher? What teacher?
Domna Pantelevna. Student. Pyotr Yegorych. Chai, do you know him?
Narokov. I know. A dagger in the chest up to the hilt!
Domna Pantelevna. What hurts severely?
Narokov. Without regret.
Domna Pantelevna. Wait a minute, he's Sasha's fiancé.
Narokov(with fear). Groom?
Domna Pantelevna. There is, of course, what God will give, but still we call the groom. She met him somewhere, well, and began to go to us. How to name it? Well, you say that, they say, the groom; what will the neighbors say? Yes, and I'll give it for him, if he gets a good place. Where are the grooms to take? If only there was a rich merchant; yes, a good one will not take it; and those who are already very ugly, the joy is not great either. And why not give it away for him, a meek guy, Sasha loves him.
Narokov. Loves? Does she love him?
Domna Pantelevna. Why not love him? What, in fact, is it for a young girl to talk in theaters! You can't get any solidity in life!
Narokov. And is that what you're talking about?
Domna Pantelevna. I'm talking, and I've been talking for a long time. Nothing good but bad.
Narokov. Why, your daughter is talented, she was born for the stage.
Domna Pantelevna. For the stage, for the stage, that's for sure, that's what to say! She was still small, so it used to be impossible to get her out of the theater; standing backstage, all shaking. My husband, her father, was a musician, he played the flute; so, it happened, as he went to the theater, so she followed him. Clings to the wings, and is not breathing.
Narokov. You see now. She only has a place on the stage.
Domna Pantelevna. What a wonderful place!
Narokov. Why, she has passion, you understand, passion! You yourself are talking.
Domna Pantelevna. Hosha would have passion, but there is nothing good in it, there is nothing to praise. This is for you, homeless and dissolute.
Narokov. Oh ignorance! Dagger in the chest to the hilt!
Domna Pantelevna. Come on, you with daggers! You have little worthwhile on the stage; and I keep my daughter on the married line. From all sides they climb up to her, but stick to her, and whisper all sorts of nonsense in her ears ... So Prince Dulebov got into the habit, also in his old age he took it into his head to look after ... Is that good? How do you say?
Narokov. Prince Dulebov! Dagger in the chest to the hilt!
Domna Pantelevna. Oh, you've smashed a lot of people.
Narokov. A lot of.
Domna Pantelevna. And everyone is alive?
Narokov. But how? Of course, they are alive, and everyone is in good health, Lord, prolong their life. Here, give it back! (Gives notebook.)
Domna Pantelevna. What is this?
Narokov. Role. This is what I wrote for her.
Domna Pantelevna. What kind of parade is this? On thin paper, tied with a pink ribbon!
Narokov. Well, give it to her! What is there to talk about!
Domna Pantelevna. But why are these tendernesses in our poverty? I suppose you paid the last two kopecks for a ribbon?
Narokov. Although the latter, so what of this? Her hands are pretty, the darling is even better; you can’t give her a dirty notebook.
Domna Pantelevna. Yes, why, what is it for?
Narokov. What are you surprised? All this is very simple and natural; that's the way it should be, because I'm in love with her.
Domna Pantelevna. Ah, fathers! Time after time it doesn't get any easier! Why, you are an old man, you are an old jester; what more love do you want?
Narokov. Is she good? Say good?
Domna Pantelevna. Well, good; so what about you?
Narokov. Who doesn't love good things? After all, you also love good things. Do you think if a person is in love, so now there is a din ... and he ate it? My soul is woven from fine perfumes. Where can you understand it!
Domna Pantelevna. But you are an eccentric, as I look at you.
Narokov. Thank God I figured it out. I myself know that I'm a weirdo. Why are you scolding me, or something, with this word you wanted to?
Domna Pantelevna(near the window). No way, the prince drove up? And then he.
Narokov. Well, then I'll leave here, through the kitchen. Adieu, madam.
Domna Pantelevna. Adieu, monsieur!
Narokov goes behind the partition. Dulebov and Bakin enter.
PHENOMENON THREE
Domna Pantelevna, Dulebov, Bakin.
Domna Pantelevna. Not at home, Your Excellency, I'm sorry! Went to the living room.
Dulebov. Well, never mind, I'll wait.
Domna Pantelevna. Whatever, your highness.
Dulebov. You do your job, don't worry, please, I'll wait.
Domna Pantelevna leaves.
bakin. Here we are, Prince.
Dulebov. Well, well, it's not crowded here for two.
bakin. But, in any case, one of us is superfluous, and this superfluous one is me. Such is my happiness; drove to Smelskaya, there Velikatov sits, is silent.
Dulebov. And you would talk. You know how to talk, so the chances are on your side.
bakin. Not always, prince. Velikatov is silent much more convincingly than I say.
Dulebov. Why?
bakin. Because rich. And since, according to the Russian proverb: “Do not drag on the rich, but do not fight the strong,” then I retreat. Velikatov is rich, and you are strong in your courtesy.
Dulebov. Well, what do you want to take?
bakin. Courage, prince. Courage, they say, takes cities.
Dulebov. Cities, perhaps, are easier ... But by the way ... that's your business. If you are not afraid of losing, then why not dare to try.
bakin. I'm better prepared to fail than to indulge in pleasantries.
Dulebov. Everyone has their own taste.
bakin. To look after, to be kind, to resurrect the times of chivalry - is this not a lot of honor for our ladies!
Dulebov. Everyone has their own view.
bakin. It seems to me that such a declaration is very satisfied: “I am as you see me, I offer you this and that; would you like to love me?"
Dulebov. Yes, but it's insulting to a woman.
bakin. And it's their business to be offended or not. At least I don't cheat; after all, I can’t, with so many things to do, make love seriously: why should I pretend to be in love, mislead, arouse, perhaps, some unrealizable hopes! Whether business the contract.
Dulebov. Everyone has their own character. Tell me, please, what kind of person is Velikatov?
bakin. I know as much about him as you do. Very rich; a magnificent estate in the neighboring province, a beet-sugar factory, and even a horse-drawn one, and, it seems, a distillery. Here he comes to the fair; Whether to sell or buy horses, I don't know. How he talks to the horse-dealers, I don't know either; but in our society he is more silent.
Dulebov. Is he a delicate person?
bakin. Even very much: he never argues, he agrees with everyone, and you can’t make out in any way whether he is serious or mystifying you.
Dulebov. But he is a very polite person.
bakin. Even too much: in the theater he definitely knows everyone by name, and the cashier, and the prompter, and even the props, he gives a hand to everyone. And he completely charmed the old women; he knows everything; enters into all their interests; well, in a word, for every old woman, the son is the most respectful and helpful.
Dulebov. And among the young, he seems to give no particular preference to anyone and somehow keeps aloof from them.
bakin. On this side, prince, be calm, he is not a dangerous rival to you; he somehow keeps away from the young and is never the first to speak: when they turn to him, he only has the words: “What do you order? anything?"
Dulebov. Or maybe this is calculated coldness, he wants to interest himself?
bakin. What can he expect! He leaves tomorrow or the day after tomorrow.
Dulebov. Yes... isn't it?
bakin. Maybe. He told me himself; he has everything ready for departure.
Dulebov. It's a pity! He is very nice person so calm and calm.
bakin. It seems to me that his calmness comes from narrow-mindedness; you can’t hide your mind, he would have shown himself in something; but he is silent, which means he is not smart; but he is not stupid either, because he considers it better to remain silent than to speak nonsense. He has just enough intelligence and abilities to behave decently and not live out what papa left behind.
Dulebov. The fact of the matter is that papa left him a ruined estate, and he arranged it.
bakin. Well, let's add some more practical sense and prudence to it.
Dulebov. Perhaps I will have to add something else, and a very smart, practical person will come out.
bakin. Somehow I don't want to believe it. And yet, I don't care if he's smart or stupid; that's what is very rich, it's a little annoying.
Dulebov. Really?
bakin. Right. It somehow involuntarily comes to mind that it would be much better if I were rich and he was poor.
Dulebov. Yes, it's better for you, but what about him?
bakin. And to me, damn it; what do I care about him! I'm talking about myself. However, it's time to get down to business. I give you my place without a fight. Goodbye, prince!
Dulebov(holding out hand). Farewell, Grigory Antonych!
Bucky leaves. Enter Domna Pantelevna.
PHENOMENON FOUR
Dulebov and Domna Pantelevna.
Domna Pantelevna. Gone, didn't wait?
Dulebov. What are you paying for this apartment?
Domna Pantelevna. Twelve roubles, Your Excellency.
Dulebov (pointing to a corner). It must be damp in here?
Domna Pantelevna. For money and an apartment.
Dulebov. Will have to change. (Opening the door to the right.) And then what?
Domna Pantelevna. Sasha's bedroom, and to the right is my room, and there is the kitchen.
Dulebov(inwardly). miserly. Yes... of course, that's impossible.
Domna Pantelevna. Within your means, Your Excellency.
Dulebov. Please don't say what you don't understand. A good actress can't live like that, well, you can't, I tell you, it's impossible. This is not appropriate.
Domna Pantelevna. What are the benefits?
Dulebov. What is the word "prosperity"?
Domna Pantelevna. From what income, Your Excellency?
Dulebov. What do we care about your income?
Domna Pantelevna. But where can I get something, Your Excellency?
Dulebov. Well, "where to get"! Who needs! Nobody cares about that; wherever you want, take it there. It's just not possible, it's ... it's ... well, it's just indecent, and that's all.
Domna Pantelevna. Here's a paycheck...
Dulebov. Well, there's a salary or something, that's up to you.
Domna Pantelevna. We take beneficiaries very badly.
Dulebov. And who is to blame? In order to take large benefits, you need a good acquaintance, you need to be able to choose it, to be able to get along ... I can name ten people who need to be attracted to your side; and there will be magnificent benefits: both prizes and gifts. This is a simple matter that has long been known to all. You need to host decent people ... But where is it! What it is? Who will go here?
Domna Pantelevna. But it seems that the public loves her, but you can't lure her into a benefit fist.
Dulebov. What audience? Gymnasium students, seminarians, shopkeepers, petty officials! They are happy to slap their hands all over, they call Negina ten times, and he, the scoundrel, will not pay an extra penny.
Domna Pantelevna. What is true is true, Your Excellency. Of course, if only acquaintance, it's a completely different matter.
Dulebov. By itself. The public cannot be blamed, the public is never to blame; this is also public opinion, and it is ridiculous to complain about it. You have to be able to earn the love of the public. It is necessary that rich young people constantly surround your daughter, well, and the main ones, in fact, her friends would be us, respectable people. We are all busy all day long, some with family and economic affairs, some with public affairs, we have only a few hours free in the evening; where is it more convenient than with a young actress to rest, so to speak, from the burden of worries, one - economic, and the other - about the department or region entrusted to his management.
Domna Pantelevna. This is very tricky for me, Your Excellency. You say these words to Sasha.
Dulebov. Yes, I will say, I will certainly say, I came for this.
Domna Pantelevna. Yes, it looks like she's running.
Dulebov. Just don't bother us!
Domna Pantelevna. Oh, have mercy, but am I an enemy to my offspring.
Negina enters.
What are you taking so long? The prince has been waiting for you for a long time. (Takes her daughter's hat, umbrella, cloak and leaves.)
FIFTH PHENOMENON
Dulebov and Negina.
Dulebov (approaches and kisses Negina's hand). Ah, my joy, I've been waiting for you.
Negina. Sorry, prince! I’m still busy with the benefit performance, such a torment ... (Thinks.)
Dulebov(sitting down). Please tell me my friend...
Negina (coming out of thought). What do you want?
Dulebov. How is this piece that you last played?…
Negina. Uriel Acosta.
Dulebov. Yes, yes ... You played great, great. How many feelings, nobility! I'm not joking, I'm telling you.
Negina. Thank you, prince.
Dulebov. Strange plays are being written these days; you won't understand anything.
Negina. Yes, it has been written for a long time.
Dulebov. For a long time? Whose is she, Karatygina or Grigorieva?
Negina. No, Gutskova.
Dulebov. BUT! Gutskov… I know, I know. He also has a comedy, a wonderful comedy: "The Russian man remembers well."
Negina. That Polevoy, prince.
Dulebov. Ah, yes… I mixed… Polevoi… Nikolai Polevoi. He is from the middle class… He learned French by self-taught, wrote scholarly books, took everything from French… Only then did he argue with someone… with scientists or professors. Well, where, is it possible, and is it decent! Well, he was not ordered to write scholarly books, he was ordered to compose vaudeville. After he was grateful, he received a lot of money. “I would, he says, and not guess.” Why are you so sad?
Negina. A lot of trouble, prince.
Dulebov. You, my beauty, need to be more fun, it's too early for you to think; try to entertain yourself, console yourself with something. Now we talked with your mother ...
Negina. About what, prince?
Dulebov. Of course, about you, my treasure, otherwise about what! Your apartment is not good... It is impossible for an actress, a pretty girl, to live in such a hut; this is not appropriate.
Negina (somewhat offended). Not a good apartment? Well, so what? I myself know that there are apartments better than this ... You, prince, should have pity on me, do not remind me of my poverty, I feel it every hour, every minute even without you.
Dulebov. Don't I pity you? I pity you, my beauty.
Negina. So you pity yourself, your excellency! Your regrets are of no use to me, and it is unpleasant to hear them. You find that my apartment is not good; but I find that it is convenient for me, and I better not need it. You don't like my apartment, it's unpleasant for you to be in such an apartment, but no one is forcing you.
Dulebov. Don't get excited, don't get excited, my joy! You will not listen to the end, and be angry with a person who is devoted to you with all his heart ... You can’t do that ...
Negina. Feel free to speak, I'm listening.
Dulebov. I am a delicate person, I never offend anyone, I am known for my delicacy. I would never dare to condemn your apartment if I didn't mean...
Negina. What, prince?
Dulebov. Offer you another, much better.
Negina. For the same price?
Dulebov. Well, what do you care about the price?
Negina. I don't understand something, prince.
Dulebov. You see, my bliss, I am a very kind, gentle person - this is also known to everyone ... I, despite my years, still retained all the freshness of feeling ... I can still get carried away like a young man ...
Negina. I'm very happy; But what does all this have to do with my apartment?
Dulebov. Very simple. Don't you notice? I love you... To cherish you, to pamper you... that would be a delight for me... that is my need; I have a lot of tenderness in my soul, I need to caress someone, I can't live without it. Well, come to me, my chick!
Negina(stands up). You are crazy!
Dulebov. Rough, my friend, rough!
Negina. Yes, what did you think? Have mercy! I didn’t give you any reason ... How dare you utter it?
Dulebov. Quiet, quiet, my friend!
Negina. What is this! To come to someone else's house and for no reason start a stupid, offensive conversation.
Dulebov. Be quiet, be quiet, please! You are still very young to talk like that.
Negina. That's cute! "You are still young!" This means that young people can be offended as much as they like, and they must be silent.
Dulebov. What's the insult here? What is the offense? The most common thing. You know neither life nor decent society, and you dare to condemn a respectable man! What are you, really! You offend me!
Negina(in tears). Oh my god! No, it's over the top...
Dulebov. There is a decent form for everything, ma'am! You have no good manners at all; if you don't like my proposal, you should have thanked me anyway and expressed your unwillingness courteously or somehow reduced it to a joke.
Negina. Ah, leave me, please! I don't need your moralizing. I myself know what to do, I myself know what is good and what is bad. Oh, my God! ... Yes, I do not want to listen to you.
Dulebov. Why are you screaming?
Negina. Why shouldn't I scream? I'm at home, who should I be afraid of?
Dulebov. Wonderful! Only you remember, my joy, that I do not forget insults.
Negina. Well, well, well, I will remember
Dulebov. Excuse me, I thought you were a well-bred girl; I could never have expected that you would burst into tears and become emotional at every little thing, like a cook.
Negina. Yes, well, well; Well, I'm a cook, but I want to be honest.
Domna Pantelevna appears from the door.
Dulebov. And congratulations! Only honesty alone is not enough, you have to be smarter and more careful so as not to cry later. Do not send me a ticket, I will not go to your benefit performance, I have no time; and if I decide, I’ll send it to you at the box office. (Exits.)
Enter Domna Pantelevna.
PHENOMENON SIX
Negina and Domna Pantelevna.
Domna Pantelevna. What? What do you have here? Has the prince left? Wasn't he angry?
Negina. Let him be angry!
Domna Pantelevna. What you! Come to your senses! Before the beneficiary? Are you in your mind?
Negina. Why, it's impossible! What he says! Would you listen!
Domna Pantelevna. What about you! Let him speak. His words won't hurt you.
Negina. Why, you don't know what he said; Why are you interfering with something that isn't your business?
Domna Pantelevna. I know very well, I know very well all this that men say.
Negina. And can you listen to it with indifference?
Domna Pantelevna. And what is it! City as much as you want. Let it grind for your pleasure, and you know, laugh!
Negina. Oh don't study! Leave, please! I know how to behave.
Domna Pantelevna. It’s obvious that you know: just before the beneficiary, you quarreled with such a person!
Negina. Mommy, can't you see that I'm upset? I'm trembling all over, and you pester me.
Domna Pantelevna. No, you wait! You listen to the reason from the mother! How is it possible to scold in front of the beneficiary, if which people you need? ... Couldn't you wait? Well, after the benefit, swear all you want, I won't say a word to you. Therefore, it is also impossible to give them the will; should be limited. Oh, they say, you are a garden scarecrow! ...
Negina. Mom, that's enough...
Domna Pantelevna. No, wait! And in front of the beneficiary, you had to politely ...
Negina. Yes, I didn’t scold, I just got offended and told him to leave me alone.
Domna Pantelevna. That's stupid, that's stupid! You should have been as polite as you can be. “Like, your Excellency, we are always very pleased with you and always grateful to you; we just don't want to listen to such vile people. We are, they say, quite the opposite of how you understand us.” Here's how to say it! Therefore honestly, nobly and courteously.
Negina. What is done is done; there is nothing to talk about it now!
Domna Pantelevna. I'm not a scientist, but I know how to talk to people; and your teacher teaches you...
Negina. What else are you talking about a teacher? ... After all, you don’t understand anything of this, so there’s nothing for you to interfere in your own business.
Domna Pantelevna. What is there to understand? Definitely a student… Eka, what is the importance, please tell me! Not some kind of baron! ... We have seen this title is enough. Only at the conversation and take them ... Gol on the gol and the gol drives. Only one force, and there is no decent sertuchik.
Negina. What did he do to you ... well, why are you? Why are you torturing me too?
Domna Pantelevna. Well, yes, how, what a person! And don't you dare talk about it! No, mother, no one will forbid me; I’ll pick up the most offensive words, and I’ll print them out directly to him ... So you know how to argue with your mother, how to talk to your mother.
Negina. Get away!
Domna Pantelevna. Here's another; "Go away"! Yes, leave yourself, if you are closely with me.
Negina. Someone drove up, it seems ... Go away, mama! Who cares to listen to our smart conversations!
Domna Pantelevna. So I won't leave. Look at you ... Itself will hurt the mother as well as possible, and even presents various claims ... "Clever conversations." I'm not stupider than you with a student, with yours, with a shaggy one.
Negina (looking out the window). Velikatov! For the first time to us ... and here we are ...
Domna Pantelevna. Don't worry, madame, Mamzel Negina, a famous actress, we know the treatment as well as you do... Only I'll remember it for you.
Negina. Smelskaya with him.
Domna Pantelevna. Yes, people can do it...
Negina. What horses, what horses!
Domna Pantelevna. Smelskaya rides, and we walk on foot.
Enter Smelskaya and Velikatov.
PHENOMENON SEVENTH
Negina, Domna Pantelevna, Smelskaya and Velikatov.
Domna Pantelevna. Please, please, Nina Vasilievna!
Smelskaya. Hello, Domna Pantelevna! I brought a guest to you, Ivan Semenych Velikatov.
Velikatov bows.
Domna Pantelevna. Ah, it's very nice to meet you. I have known you for a long time, I often saw you in the theater, but I never got to know you.
Smelskaya. Hello Sasha! I was going to your place, I already put on my hat, and Ivan Semyonitch stopped by; Well, he got in touch with me. Are you angry at me? She's our prisoner.
Negina (gives hand to Velikatov). Ah, what are you! I'm very happy. You should have guessed a long time ago, Ivan Semyonitch.
Velikatov. Do not dare, Alexandra Nikolaevna; I am a timid person.
Smelskaya. Yes, perishing timid – it seems!
Negina. Say better, proud.
Domna Pantelevna. Here you are in vain; Ivan Semyonitch is a courteous person to everyone, I saw it myself. They don't have that pride at all.
Velikatov. Not at all, Domna Pantelevna.
Domna Pantelevna. I love to tell the truth.
Velikatov. Me too, Domna Pantelevna.
Negina. Sit down, Ivan Semyonitch.
Velikatov. Don't worry, do me a favor! You probably have some business; you do not pay attention to us. I'll have a talk with Domnaya Pantelevna. (Sits down at the table.)
Negina and Smelskaya speak in whispers.
Negina(Smelsky). That's it, Nina...
Smelskaya. Really?
Negina. Yes. I don't know what to do.
Smelskaya. How can it be? Would you... (Speaks in a whisper.)
Domna Pantelevna. What are you really whispering? Is that kind of polite?
Velikatov. Don't disturb them! Everyone has their own business.
Domna Pantelevna. What business! Everything is nonsense. Because I know what they're talking about. About rags. Here's what they're doing!
Velikatov. For you and me, rags are nothing, but for them it is an important matter.
Domna Pantelevna. There is no dress for the benefit, and no money.
Velikatov. Well, you see! And you say it's nonsense. (Glancing out the window.) Are the chickens yours?
Domna Pantelevna. Which?
Velikatov. And here are the Cochin.
Domna Pantelevna. No, where can we breed Kokhetian! There were two gilyankas and two shanks, and a Russian cock; an eagle, not a rooster - yes, they plundered everyone.
Velikatov. Do you like chickens, Domna Pantelevna?
Domna Pantelevna. To passion, father, I love every bird.
Meluzov enters.
PHENOMENON EIGHT
Negina, Smelskaya, Domna Pantelevna, Velikatov and Meluzov.
Negina(Velikatov). Let me introduce you! Pyotr Yegorych Meluzov. Ivan Semenych Velikatov.
Smelskaya. Ah, you know, Ivan Semyonitch, Pyotr Yegorych is a student; he is Sasha's fiancé.
Velikatov(holding out hand). It's very nice to meet you.
Meluzov. What is there for you to enjoy? After all, it's a phrase. Well, we got to know each other, and we'll get to know each other. That's all.
Velikatov(respectfully). Quite rightly; a lot of empty phrases are spoken, I agree with you; but what I said, sorry, is not a phrase. I am pleased that actresses marry decent people.
Meluzov. Yes, if so... thank you! (Goes up and warmly shakes hands with Velikatov.)
Negina. Come on, Nina, I'll show you the dress! See if you can make something out of it! (Velikatov.) Excuse us for leaving you! But I know that you will not be bored: you will talk to an educated person, that's not what's with us. Mommy, let's go! Open the closet!
Leave Negina, Smelskaya and Domna Panteleevna.
PHENOMENON NINE
Velikatov and Meluzov.
Velikatov (noticing the books on the table). Books and notebooks.
Meluzov. Yes, we are learning.
Velikatov. And are there any successes?
Meluzov. Some are, so to speak, relative.
Velikatov. And that's enough. Alexandra Nikolaevna has little time: almost every day a new play, it is necessary to prepare a role and think about a costume. I don’t know what you think, but it seems to me that it’s rather difficult: to learn both roles and grammar together.
Meluzov. Yes, it doesn't provide much convenience.
Velikatov. At least there is a desire, there is a hunt, and that is a great thing. Honor and glory to you.
Meluzov. What is the glory for, for example?
Velikatov. For noble intentions. Who would think of teaching an actress grammar!
Meluzov. Are you laughing, maybe?
Velikatov. Not at all, please; I will never allow myself. I love young people very much.
Meluzov. As if?
Velikatov. I really like to listen to them ... it refreshes the soul. Such noble, lofty plans... even enviable.
Meluzov. What is there to envy? Who is stopping you from having noble, high intentions?
Velikatov. No, where are we, have mercy! The prose of life has overcome us. And I would be glad to heaven, but sins are not allowed.
Meluzov. What are your sins?
Velikatov. Heavy. Practical considerations, material calculations - these are our sins. You constantly rotate in the sphere of the possible, achievable; well, the soul is getting smaller, it doesn’t even come to mind with lofty, noble ideas.
Meluzov. What do you call noble intentions?
Velikatov. And such plans, in which there is a lot of nobility and very little chance of success.
Enter Negina, Smelskaya and Domna Pantelevna.
PHENOMENON TENTH
Velikatov, Meluzov, Negina, Smelskaya and Domna Pantelevna.
Smelskaya(Negina.) All this, my soul, is no good.
Negina. I see it myself. Doing something new will be very expensive.
Smelskaya. Yes, how can it be! you can't... Let's go, Ivan Semyonitch!
Velikatov. At your service. (Gives her hand to Negina.) I have the honor to bow!
Negina. What kind of horses do you have! Here's some ride.
Velikatov. Whenever you want, just order. (Gives her hand to Meluzov, then to Domna Pantelevna.) Domna Pantelevna, my respect! And how you look like my aunt.
Domna Pantelevna. Do you?
Velikatov. After all, this is amazing ... such a resemblance ... I almost called you an aunt.
Domna Pantelevna. Yes, call, what was the matter!
Smelskaya. Well, let's go! Farewell, Sasha! Farewell! (Bows to everyone.)
Velikatov (Domna Pantelevna). Goodbye, aunty!
Exit Smelskaya and Velikatov. Domna Pantelevna escorts them to the door.
Domna Pantelevna. Ah, the prosecutor! (Negina.) And you say he's proud! nothing proud. For something even more gracious. (Exits.)
PHENOMENON ELEVEN
Negina and Meluzov.
Negina(near the window). How they rolled! What a delight! Happy this Nina; here is an enviable character.
Meluzov hugs her.
Oh, bear hugs! ... I don’t love to death. No, Petya, leave me!
Meluzov. Sasha, but I haven’t seen a single kindness from you yet. Good bride and groom!
Negina. After, Petya, after. Let me calm down a little! I'm not up to it now.
Meluzov. And if not before, so let's study!
Negina. What teaching! I can't get a benefit performance out of my head; no dress, that's my problem.
Meluzov. We will not talk about the dress, this is not my subject; I am not fit to be a teacher in this area.
Negina. Oh, now I don't need teaching, but money.
Meluzov. Well, on this part I also seams. Here I will get a place, I will harness; then we will live comfortably. Well, what are we going to do? But here's the thing, Sasha: let's get down to confession!
Negina. Ah, it always makes me feel awkward!
Meluzov. Are you ashamed of me?
Negina. No, but somehow it’s hard ... unpleasant.
Meluzov. You need to overcome this unpleasant feeling in yourself. After all, you asked me to teach you how to live; Well, how am I going to teach you, not lectures? But you tell me what you felt, said and did; and I tell you how to feel, speak and act. So you gradually improve and over time you will ...
Negina. What will I do, my dear?
Meluzov. You will be a very good woman, such as you need, as it is now required of your brother.
Negina. Yes, I am grateful to you. I have already become so much better, I feel it myself ... And I owe everything to you, my dear ... Well, if you please.
Meluzov (sits down at the table). Sit next to me!
Negina (sits down beside, Meluzov embraces her with one arm). Well, listen! This morning Prince Dulebov came to see me. He said that my apartment was not good, that it was indecent to live like that; well, I was a little offended, I said that if he didn’t like my apartment, no one was forcing him to come here.
Meluzov. Why is it for him?
Negina. And then, that he has a lot of tenderness in his soul and that, you see, he has no one to caress.
Meluzov(laughs). Here is an unexpected syllogism! Since I have no one to caress, but I need to caress, this apartment is not good, and you must move to a new apartment. (Laughs.) Ah yes, the prince! Borrowed.
Negina. You're laughing, you're having fun, and I burst into tears.
Meluzov. And so it should be: I laugh, and you cry.
Negina. Why is that?
Meluzov. Yes you think! If you had a lot of fun from such conversations, and I would cry, would it be good?
Negina(thinking). Yes, that would be very bad. Oh you head! (Pats him on the head.) Tell me, Petya, why are you so smart?
Meluzov. Smart or not is another question; but that I am smarter than many of you, of that there is no doubt. And smarter because I think more than I speak; and you talk more than you think.
Negina. Well, now I'll tell you the most intimate thing ... Only you, please don't be angry! this is our female vice. I envied today.
Meluzov. Who can you envy, honey? In what?
Negina. But don't be angry! Smelskaya ... that she lives so cheerfully, rides such horses. It's bad, I know it's bad.
Meluzov. Envy and jealousy are dangerous feelings; men know this well and take advantage of your weakness. Out of envy and jealousy, a woman can do a lot of bad things.
Negina. I know, I know, I've seen examples. It just crossed my mind for a minute, then I changed my mind.
Meluzov. We need one thing, Sasha. You and I want to lead an honest, working life, so should we think about horses!
Negina. Oh sure! After all, working life has its pleasures, Petya? After all, there are?
Meluzov. Still would!
Negina. You can dine with us! After dinner, I will read the role to you, and we will spend the whole day together. Let's get used to the quiet family life.
Meluzov. Fantastic!
Negina (listening). What is this? Someone drove up.
Enter Smelskaya with two bundles in her hands.
PHENOMENON TWELVE
Negina, Meluzov and Smelskaya.
Smelskaya. Here, Sasha, on! (Gives one bundle.) It was Ivan Semyonitch who bought us a dress each. This is for you and this is for me.
Deploy and look at both pieces.
Meluzov. But what right does he have to give gifts to Alexandra Nikolaevna?
Smelskaya. Ah, please leave your reasoning! Your philosophy is out of place now. This is not a gift at all, it is for her a ticket to a benefit performance.
Meluzov. What are you for?
Smelskaya. And what do you care! For loving me.
Negina. Exactly what I need, Nina. Ah, how sweet!
Smelskaya. After all, I chose; I already know what you need. Well, let's go, Sasha, let's go quickly!
Negina. Where?
Smelskaya. Ride, I'm on Ivan Semenych's horses, and then dine at the station. He called the whole troupe, he wants to say goodbye to everyone; he's leaving soon.
Negina(thoughtfully). Right, I don't know.
Smelskaya. What are you, have mercy! What is there to think about! can you refuse? You must thank him.
Meluzov. Quite curious, what would you do in this case?
Negina. Do you know what, Pyotr Yegorych? I think I should go, otherwise it is impolite. You can arm the entire public against yourself: the prince is already angry, and Velikatov may be offended.
Meluzov. And when will we get used to a quiet family life?
Smelskaya. This is after the benefit performance, Pyotr Yegorych. Is now the time to think about family life. It's funny even. Even family life will have time to get bored; and now you need to take advantage of the opportunity.
Negina.(decisively). No, Pyotr Yegorych, I will go. In fact, it is not good to refuse.
Meluzov. As you please; it's up to you.
Negina. It's not a matter of whether I like it; maybe I don't like it; but it is necessary to go; Of course, it is necessary, and there is nothing to argue.
Meluzov. So go!
Smelskaya. Get on, get on!
Negina. I am now. (Goes behind the partition with a bundle.)
Smelskaya. Are you thinking of being jealous? So calm down, he's leaving in a day, and I won't give him up to Sasha.
Meluzov. "I won't give up." Excuse me, I don't understand such relations between men and women.
Smelskaya. But where else can you understand! After all, you do not know life at all. But live between us, so learn to understand everything.
Enter Negina dressed.
Well, let's go! Farewell! (Exits.)
Negina. Petya, you come in the evening; we will learn; I will be smart; I will always obey you in everything, and now forgive me! Well, I'm sorry, honey! (Kisses him and runs away.)
Meluzov (pulls his hat on). Hm! (Thinking.) Let's go to the courtyards! Nothing to do about!
