Ivan Sergeevich Turgenev
Where it is thin, there it breaks
Collected works in ten volumes. Goslitizdat, Moscow, 1961. OCR Konnik M.V. Additional edit: V. Esaulov, September 2004Comedy in one act
CHARACTERS
Anna Vasilievna Libanova, landowner, 40 years old. Vera Nikolaevna, her daughter, 19 years old. M-lleВienaime, companion and governess, 42 years old. Varvara Ivanovna Morozova, a relative of Libanova, 45 years old. Vladimir Petrovich Stanitsyn, neighbor, 28 years old. Evgeny Andreevich Gorsky, neighbor, 26 years old. Ivan Pavlych Mukhin, neighbor, 30 years old. Captain Chukhanov, 50 years, Butler. Servant.The action takes place in the village of Ms. Libanova.
The theater represents the hall of a rich landowner's house; directly-- dining room door to the right-- into the living room, to the left-- glass door to the garden. Portraits hang on the walls; in the foreground a table covered with magazines; piano, several armchairs; a little behind the Chinese billiards; in the corner is a large wall clock.
Gorsky(included). Nobody here? so much the better ... What time is it? .. Half past ten. (Thinking for a bit.) Today is a decisive day... Yes... yes... (Goes to the table, takes the magazine and sits down.)"Le Journal des Debats" of April 3rd new style, and we're in July... um... Let's see what the news is... (Begins to read. Mukhin comes out of the dining-room. Gorsky looks around hastily.) Ba, ba, ba... Mukhin! what fates? when did you arrive? Mukhin. Tonight, and left the city yesterday at six o'clock in the evening. My coachman lost his way. Gorsky. I didn't know you knew Madame de Libanoff. Mukhin. I am here for the first time. I was introduced to Madame de Libanoff, as you say, at the governor's ball; I danced with her daughter and received an invitation. (Looks around.) And she has a nice house! Gorsky. Still would! the first house in the province. (Shows him the Journal des Debats.) Look, we're getting the Telegraph. Joking aside, life is good here... Such a pleasant mixture of Russian village life with the French vie de chateau... (The life of a country castle (French).) You'll see. The mistress ... well, a widow, and a rich one ... and a daughter ... Mukhin (interrupting Gorsky). Pretty daughter... Gorsky. A! (After a pause.) Yes. Mukhin. What is her name? Gorsky (with solemnity). Her name is Vera Nikolaevna... She has an excellent dowry behind her. Mukhin. Well, that's all the same to me. You know I'm not a fiancé. Gorsky. You are not a fiancé (looking him up and down) dressed as a groom. Mukhin. Are you not jealous? Gorsky. Here's to you! Let's sit down and chat better until the ladies come downstairs for tea. Mukhin. I'm ready to sit down (sits down), and I'll chat later ... Tell me in a few words, what kind of house is this, what kind of people ... You're an old tenant here. Gorsky. Yes, my dead mother could not stand Mrs. Libanova for twenty years in a row ... We have known each other for a long time. I visited her in St. Petersburg and ran into her abroad. So you want to know what kind of people they are, if you please. Madame de Libanoff (it says so on her business cards, with the addition of -exe Salotopine (Nee Salotopina (French).)... Madame de Libanoff is a kind woman, she lives and gives to others to live. She does not belong to high society; but in Petersburg they don't know her at all; General Monplaisir stops by her. Her husband died early; and then she would go out into the people. She keeps herself well; a little sentimental, spoiled; he receives guests either casually or affectionately; you know, there is no real chic ... But at least thank you for not worrying, not talking through your nose and not gossiping. The house keeps in order and manages the estate itself ... The administrative head! A relative lives with her - Morozova, Varvara Ivanovna, a decent lady, also a widow, only a poor one. I suspect that she is evil, like a pug, and I know for sure that she cannot stand her benefactor ... But you never know what is missing! A French governess is found in the house, pours tea, sighs over Paris and loves le petit mot pour rire (A witty phrase (French) . ), languidly rolls her eyes ... surveyors and architects drag behind her; but since she does not play cards, and preference is only good for three, then a ruined retired captain, a certain Chukhanov, who looks like a mustache and a grunt, but in reality is a low-flyer and flatterer, keeps on grazing for this. All these persons do not leave the house anyway; but Madame Libanovy has many other friends... you can't count them all... Yes! I forgot to name one of the most regular visitors, Dr. Gutman, Karl Karlych. He is a young, handsome man, with silky sideburns, he does not understand his business at all, but he kisses Anna Vasilyevna's hands with tenderness ... Anna Vasilyevna is not unpleasant, and her hands are not bad; a little greasy, but white, and the tips of the fingers are bent up ... Mykhin(with impatience). Why don't you say anything about your daughter? Gorsky. But wait. I saved it for the end. However, what can I tell you about Vera Nikolaevna? Right, I don't know. Who can tell a girl at eighteen? She still wanders all over herself, like new wine. But a good woman can come out of her. She is thin, smart, with character; and her heart is tender, and she wants to live, and she is a big egoist. She will get married soon. Mukhin. For whom? Gorsky. I don’t know ... But only she won’t stay too long in the girls. Mukhin. Well, of course, the rich bride... Gorsky. No, that's not why. Mukhin. From what? Gorsky. Because she realized that a woman's life begins only from the day of her wedding; but she wants to live. Listen... what time is it? Mukhin (looking at the clock). Ten... Gorsky. Ten... Well, I still have time. Listen. Between me and Vera Nikolaevna the struggle is terrible. Do you know why I rode here headlong yesterday morning? Mukhin. For what? no, I do not know. Gorsky. And then, that today a young man you know intends to ask for her hand, Mukhin. Who is this? Gorsky. Stanitsyn. Mukhin. Vladimir Stanitsyn? Gorsky. Vladimir Petrovich Stanitsyn, a retired lieutenant of the Guards, is a great friend of mine, however, a very kind fellow. And consider this: I myself brought him into the local house. Yes, I entered! It was precisely then that I brought him in so that he would marry Vera Nikolaevna. He is a kind, modest, close-minded, lazy, homebody person: you can’t even demand a better husband. And she understands it. And I, as an old friend, wish her well. Mukhin. So you rode here to be a witness to the happiness of your protege? (Protégé-- French) Gorsky. On the contrary, I came here in order to upset this marriage. Mukhin. I don't understand you. Gorsky. H'm... well, it seems the matter is clear. Mukhin. Do you want to marry her yourself? Gorsky. No I do not want to; And I don't want her to get married either. Mukhin. You are in love with her. Gorsky. Don't think. Mukhin. You are in love with her, my friend, and you are afraid to speak out. Gorsky. What nonsense! Yes, I'm ready to tell you everything ... Mukhin. Well, that's how you get married... Gorsky. No! In any case, I do not intend to marry her. Mukhin. You are modest - there is nothing to say. Gorsky. No, listen; I speak to you now frankly. The point is this. I know, I know for sure, that if I had asked for her hand in marriage, she would have preferred me to our common friend, Vladimir Petrovich. As for Matushka, Stanitsyn and I are both decent suitors in her eyes... She won't argue. Vera thinks that I am in love with her, and knows that I am more afraid of marriage than fire ... she wants to overcome this timidity in me ... so she is waiting ... But she will not wait long. And not because she was afraid to lose Stanitsyn: this poor young man burns and melts like a candle ... but there is another reason why she will not wait any longer! She's starting to sniff me out, the robber! I'm starting to get suspicious! She, to tell the truth, is too afraid to press me against the wall, yes, on the other hand, she wants to finally find out what I am ... what my intentions are. That's why there is a fight between us. But I feel that today is a decisive day. This snake will slip out of my hands or strangle me myself. However, I still do not lose hope ... Maybe I won’t get into Scylla and I’ll pass Charybdis! One misfortune: Stanitsyn is so in love that he is not capable of being jealous and angry. So he walks with a gaping mouth and sweet eyes. He is terribly funny, but now you can’t take it with ridicule alone ... You have to be gentle. I already started yesterday. And I didn’t force myself, that’s what’s amazing. I cease to understand myself, by God. Mukhin. How did you start it? Gorsky. That's how. I already told you that I arrived quite early yesterday. On the evening of the third day, I learned about Stanitsyn's intention... How, there is nothing to spread about it... Stanitsyn is trusting and talkative. I don't know if Vera Nikolaevna has a presentiment of her admirer's proposal - it will come from her - only yesterday she somehow especially watched me. You cannot imagine how difficult it is, even for an ordinary person, to endure the penetrating gaze of those young but intelligent eyes, especially when she squints them a little. She must have also been struck by the change in my treatment of her. I have a reputation for being mocking and cold, and I am very glad about it: it is easy to live with such a reputation ... but yesterday I had to pretend to be preoccupied and gentle. Why lie? I did feel a little excitement, and my heart softened willingly. You know me, my friend Mukhin: you know that in the most magnificent moments of human life I am not able to stop watching ... and Vera presented yesterday a spectacle captivating for our brother observer. She gave herself up to enthusiasm, if not love—I am not worthy of such an honor—at least curiosity, and she was afraid, and did not trust herself, and did not understand herself... All this reflected so sweetly on her fresh little face. I did not leave her all day, and towards evening I felt that I was beginning to lose power over myself ... O Mukhin! Mukhin, the prolonged closeness of young shoulders, young breathing is a dangerous thing! In the evening we went to the garden. The weather was amazing... the silence in the air was unspeakable... Mademoiselle Bienaime went out onto the balcony with a candle: and the flame did not stir. We walked for a long time together, in sight of the house, along the soft sand of the path, along the pond. The stars twinkled softly both in the water and in the sky... Condescending, nude, cautious Mademoiselle Bienaime followed us with her gaze from the height of the balcony... I invited Vera Nikolaevna to get into the boat. She agreed. I started rowing and slowly swam to the middle of a narrow pond... "Ou allez vous donc?" (Where are you? (French)) came the voice of a French woman. "Nulle part" (Nowhere (French).), I answered loudly and put the oar down. "Nulle part," I added in an undertone... "Nous sommes trop bien ici" (We feel good here too. (French).). Vera looked down, smiled, and began to draw on the water with the tip of her umbrella... A sweet, pensive smile rounded her baby cheeks... She was about to speak and only sighed, but so merrily, that's how children sigh. Well, what else can I tell you? I sent all my precautions, intentions and observations to hell, was happy and stupid, recited poems to her ... by God ... don't you believe? well, by God, I read it, and still in a trembling voice... At supper I sat beside her... Yes... that's all right... My affairs are in an excellent position, and if I wanted to marry... But here's the problem. You can't fool her... no. Others say women fight well with swords. And you can't knock the sword out of her hands. However, let's see today... In any case, I spent an amazing evening... Have you thought of something, Ivan Pavlich? Mukhin. I? I think that if you are not in love with Vera Nikolaevna, then you are either a big eccentric or an unbearable egoist. Gorsky. May be; and who... Those! go... Aux armes! (To arms! (French). ) I hope for your modesty. Mukhin. ABOUT! Of course. Gorsky (looking at the living room door). A! Mademoiselle Bienaime... Always the first... willy-nilly... Her tea is waiting.Enter Mademoiselle Bienaime. Mukhin gets up and bows. Gorsky approaches her.
Mademoiselle, j "ai l" honneur de vous saluer (Mademoiselle, I have the honor to greet you (French).}. M-lle Bienaime(sneaking into the dining room and glancing sullenly at Gorsky). Bien le bonjour, monsieur (Good afternoon, sir (French).}. Gorsky. Toujours fraiche comme une rose (Always fresh as a rose (French).}. M-lle Bienaime(with a smirk). Et vous toujours galant. Venez, j "ai quelque chose a vous dire (And you are always kind. Come on, I have to tell you something (French).}. (Leaves with Gorsky to the dining-room.) Mukhin(one). What an eccentric this Gorsky is! And who asked him to choose me as an attorney? (Walks around.) Well, I came for business... If it were possible...
The glass door to the garden quickly dissolves. Vera enters in a white dress. She has a fresh rose in her hands. Mukhin looks around and bows in confusion. Faith stops in bewilderment.
You... you don't recognize me... I... Faith. Oh! Monsieur... Monsieur... Mukhin; I never expected... when did you arrive? Mukhin. Tonight... Imagine, my coachman... Vera (interrupting him). Mommy will be very happy. Hope you visit us... (Looks around.) Mukhin. Perhaps you are looking for Gorsky... He has just left. Faith. Why do you think I'm looking for Mr. Gorsky? Mukhin (not without confusion). I... I thought... Faith. Are you familiar with him? Mykhin. For a long time; we served together. Faith (goes to the window). What beautiful weather today! Mukhin. Have you already walked in the garden? Faith. Yes... I got up early... (Looks at the hem of her dress and at her boots.) Such dew... Mykhin (with a smile). And your rose, look, all covered in dew... Faith(looks at her). Yes... Mykhin. Let me ask... who did you pick it for? Faith. How for whom? for myself. Mykhin(much). A! Gorsky (leaving the dining room). Would you like some tea, Mukhin? (Seeing Vera.) Hello, Vera Nikolaevna! Faith. Hello. Mukhin (hurriedly and with feigned indifference to Gorsky). Is the tea ready? Well, then I'll go. (Goes to the dining room) Gorsky. Vera Nikolaevna, give me your hand...
She silently gives him her hand.
What's wrong with you? Faith. Tell me, Evgeny Andreevich, is your new friend, monsieur Mukhin, stupid? Gorsky (with bewilderment). I don't know... they say it's not stupid. But what's the question... Faith. Are you great friends with him? Gorsky. I know him... but well... did he tell you anything? Faith (hastily). Nothing... Nothing... I'm so... What a wonderful morning! Gorsky (pointing to a rose). I see you have already walked today. Faith. Yes... Monsieur... Mukhin has already asked me to whom I plucked this rose. Gorsky. What did you answer him? Faith. I answered him that for myself. Gorsky. And in fact, you plucked it for yourself? Faith. No, for you. You see, I am frank. Gorsky. So give it to me. Faith. Now I cannot: I am compelled to tuck it into my belt or give it to Mademoiselle Bienaime. How fun it is! And rightly so. Why are you not the first to go down. Gorsky. Yes, I've been here before everyone else. Faith. So why didn't I meet you first. Gorsky. This insufferable Mukhin... Faith (looking at him from the side). Gorsky! you are cheating with me. Gorsky. How... Faith. Well, I'll prove it to you later ... And now let's go and drink tea. Gorsky (holding her). Vera Nikolaevna! listen, you know me. I am a distrustful, strange person; on the surface I am mocking and cheeky, but in reality I am just timid. Faith. You? Gorsky. ME: Moreover, everything that happens to me is so new to me... You say I'm cunning... Be indulgent with me... put yourself in my position.
Vera silently raises her eyes and stares at him intently.
I assure you, I have never had a chance to talk to anyone before... the way I talk to you... that's why it's hard for me... Well, yes, I'm used to pretending... But don't look at me like that... By God, I deserve encouragement. Faith. Gorsky! I am easily deceived... I grew up in the countryside and saw little people... I am easily deceived; yes to what? You won't get much glory from this... But to play with me... No, I don't want to believe it... I don't deserve it, and you won't want to either. Gorsky. Play with you... Yes, look at yourself... Yes, these eyes see through everything.
Vera slowly turns away.
Do you know that when I am with you, I cannot ... well, I absolutely cannot help saying everything that I think ... In your quiet smile, in your calm look, in your silence there is even something so commanding... Faith(interrupting him). Don't you want to speak up? Do you all want to lie? Gorsky. No... But listen, to tell the truth, which one of us speaks out all? even though you... Faith(again interrupting him and looking at him with a grin). Namely: who speaks out all? Gorsky. No, I'm talking about you now. For example, tell me frankly, are you waiting for someone today? Faith(calmly). Yes. Stanitsyn will probably come to us today. Gorsky. You are a terrible person. You have a gift, not hiding anything, not saying anything ... La franchise est la meilleure des diplomatics (Frankness is the best diplomacy (French).), probably because one does not interfere with the other. Faith. So you knew that he should come. Gorsky(with slight embarrassment). Knew. Faith (sniffing a rose). And your monsieur ... Mukhin also ... knows? Gorsky. What are you all asking me about Mukhina? Why are you... Faith (interrupting him). Well, come on, don't be angry... Would you like us to go to the garden after tea? We'll chat... I'll ask you... Gorsky(hurriedly). What? Faith. You are curious... We will talk... about an important matter.
(In an undertone.) As if she hadn't heard that I was here before. (Loudly.) Oui, c "est moi, bonjour, je viens (Yes, it's me, hello, I'm coming (French).}. (As he leaves, he throws the rose on the table and speaks to Gorsky at the door.) Come on. (Goes into the dining room.) Gorsky(slowly takes the rose and remains motionless for a while). Yevgeny Andreevich, my friend, I must tell you frankly that, as far as it seems to me, this devil is beyond your strength. You turn this way and that, but she doesn’t move a finger, and meanwhile you blurt out something. And yet, what? Either I win - so much the better, or I lose the battle - such a woman is not ashamed to marry. It's creepy, for sure ... yes, on the other hand, why save freedom? It's time for us to stop being childish. But wait, Yevgeny Andreevich, wait, you are about to give up. (Looks at the rose.) What do you mean, my poor flower? (Turns around quickly.) A! mother with her friend...He puts the rose carefully in his pocket. Ms. Libano enters from the living room.Vand with VarvarothIvanovna. Gorsky goes to meet them.
Bonjour, mesdames! (Hello ladies! (French). ) how did you sleep? Ms. Libanova(gives him fingertips). Bonjour, Eugene... (Hello, Eugene (French).) My head hurts a little today. Varvara Ivanovna. You go to bed late, Anna Vasilievna! Ms Libanova. Maybe... And where is Vera? Have you seen her? Gorsky. She is in the dining room having tea with Mademoiselle Bienaime and Mukhin. Ms Libanova. Oh yes, Monsieur Mukhin, they say, he arrived last night. Do you know him? (Sits down.) Gorsky. I have known him for a long time. Are you going to drink tea? Ms Libanova. No, tea makes me nervous... Gutman forbade me. But I'm not holding you back... Go, go, Varvara Ivanovna!
Varvara Ivanovna leaves.
And you, Gorsky, are you staying? Gorsky. I already drank. Ms Libanova. What a beautiful day! Le capitaine (Captain (French).) Have you seen him? Gorsky. No, I didn't; he must be walking in the garden as usual... looking for mushrooms. Ms Libanova. Imagine what a game he won yesterday ... Yes, sit down ... why are you standing there?
Gorsky sits down.
I have seven in diamonds and a king with an ace of hearts - of hearts, mind you. I say: I play; Varvara Ivanovna passed, of course; this villain also says: I'm playing; i seven; and he is seven; I am in tambourines; he is in worms. I invite; but Varvara Ivanovna, as always, has nothing. And what do you think she is? take it and go into a small spade ... And my king is a friend himself. Well, of course, he won ... Oh, by the way, I need to send to the city ... (Calling.) Gorsky. For what? Butler (leaves the dining room). What do you order? Ms Libanova. Let's go to the city of Gavrila for crayons... you know what kind I like. Butler. I'm listening, sir. Ms Libanova. Yes, tell them to take more of them ... And what about mowing? Butler. I'm listening, sir. Mowing continues. Ms Libanova. OK then. Where is Ilya Ilyich? Butler. Walking in the garden, sir. Ms Libanova. In the garden... Well, call him. Butler. I'm listening, sir. Ms Libanova. Well, go ahead. Butler. I'm listening, sir. (Goes out the glass door.) Ms. Libanova(looking at her hands). What are we going to do today, Eugene? You know, I rely on you for everything. Come up with something fun... I'm in a good mood today. What, this monsier Mukhin is a good young man? Gorsky. Beautiful. Ms Libanova. Il n "est pas genant? (Won't he embarrass us? (French). } Gorsky. Oh, not at all. Ms Libanova. And plays preference? Gorsky. How... Ms Libanova. Ah! mais c "est tres bien ... (Ah! this is wonderful (French).) Eugene, give me a stool under my feet.
Gorsky brings a stool.
Merci... (Thank you (French).) And here comes the captain. Chukhanov (enters from the garden; he has mushrooms in his cap). Hello, you are my mother! please, a pen. Ms. Libanova (stretching out her hand to him). Hello villain! Chukhanov(kisses her hand twice in a row and laughs). Villain, villain... And I'm the one who loses everything. To Yevgeny Andreevich, my humblest...
Gorsky bows; Chukhanov looks at him and shakes his head.
Eka well done! Well, what about in the military? A? Well, how are you, my mother, how do you feel? Here I got you mushrooms. Ms. Libanova. Why don't you take baskets, captain? How can you put mushrooms in a cap? Chukhanov. Listen, mother, listen. For our brother, an old soldier, it is, of course, nothing. Well, for you, for sure ... I'm listening. I'm going to put them on a plate right now. And what, our little bird, Vera Nikolaevna, deigned to wake up? Ms. Libanova (without answering Chukhanov, to Gorsky). Dites-moi (Say (French).), is this monsieur Mukhin rich? Gorsky. He has two hundred souls. Ms. Libanova(indifferently). A! Why do they drink tea for so long? Chukhanov. Will you order to storm them, mother? Order! we’ll overcome in an instant... We didn’t go under such fortifications... We only wish we had such colonels as Yevgeny Andreevich... Gorsky. What kind of colonel am I, Ilya Ilyich? Have mercy! Chukhanov. Well, not by rank, but by figure ... I'm talking about a figure, I'm talking about a figure ... Ms Libanova. Yes, Captain... come on... look what they've had tea? Chukhanov. Listen, mother... (Goes.) A! yes, here they are.
Enter Vera, Mukhin, Mademoiselle Bienaime, Varvara Ivanovna.
My compliments to the entire company. Faith(in passing). Hello... (Running to Anna Vasilievna.) Bonjour, maman (Hello, mom (French).}. Ms. Libanova(kissing her forehead). Bonjour, petite... (Hello baby (French).}
Mukhin bows.
Monsieur Mukhin, you are welcome... I am very glad that you have not forgotten us... Mukhin. Have mercy... I... so much honor... Ms. Libanova(Vera). And you, I see, have already been running around the garden, minx ... (to Mukhina.) Have you seen our garden yet? Il est grand (He is big (French).). Many colors. I'm terribly fond of flowers. However, with us everyone is free to do what he wants: liberte entiere ... (Complete freedom (French).} Mukhin(smiling). C "est charmant (It's charming (French).}. Ms Libanova. This is my rule... I hate selfishness. It's hard for others, and it's not easy for yourself. So ask them...
Pointing at everyone. Varvara Ivanovna smiles sweetly.
Mukhin(also smiling). My friend Gorsky already told me. (After a pause.) What a beautiful home you have! Ms Libanova. Yes, good. C "est Rastrelli, vous sa-vez, qui en a donne la plan (It was Rastrelli who made the project (French).), to my grandfather, Count Lubin. Mukhin(with approval and respect). A!Throughout this conversation, Vera deliberately turned away from Gorsky and went up now to Mademoiselle Bienaime, now to Morozova. Gorsky immediately noticed this and furtively glances at Mukhin.
Ms. Libanova (addressing the entire community). Why don't you go for a walk? Gorsky. Yes, let's go to the garden. Faith(all without looking at him). Now it's hot... It's almost twelve o'clock... Now it's hot. Ms. Libanova. As you wish... (Mukhina.) We have billiards ... However, liberte entiere, you know ... And you know what, captain, we'll sit down at cards ... It's a little early ... But Vera says that you can’t go for a walk ... Chukhanov(Who doesn't want to play at all). Let's go, mother, let's... How early? You need to win back. Ms Libanova. How... how... how... (With indecision to Mukhin.) Monsieur Mukhin... they say you love preference... Don't you want to? Mademoiselle Bienaime can't play with me, and I haven't played in four for a long time. Mukhin(not expecting such an invitation). I... I would love to... Ms Libanova. Vous etes fort aimable... (You are extremely kind (French).) However, you do not stand on ceremony, please. Mukhin. No, sir... I'm very glad. Ms Libanova. Well, let's go... let's go into the drawing room... The table is already ready... Monsieur Mukhin! donnez-moi votre bras... (Give me your hand (French).} (Rises.) And you, Gorsky, come up with something for us today ... do you hear? Faith will help you... (Goes into the living room.) Chukhanov (approaching Varvara Ivanovna). Allow me to offer you my services... Varvara Ivanovna(shakes hands with him in annoyance). Well, you...Both couplesquietlythey go into the living room. At the door, Anna Vasilievna turns around and says to m-lle Bienaime: "Ne termez pas la porte ..."(Don't close the door (French).} M-lle Bienaime returns with a smile, sits down in the foreground to the left and takes up the canvas with a preoccupied look. Faith that stood for a while indecisive-- whether she should stay or follow her mother.All of a suddengoes to the piano, sits down and begins to play. Gorsky quietly-- approaches her.
Gorsky(after a short silence). What are you playing. Vera Nikolaevna? Faith(without looking at him). Sonata Clementi. Gorsky. My God! what an oldie! Faith. Yes, it's old and boring stuff. Gorsky. Why did you choose her? And what a fantasy to suddenly sit down at the piano! Have you forgotten that you promised me to go with me to the garden? Faith. That's exactly why I sat down at the piano, so as not to go for a walk with you. Gorsky. Why all of a sudden such disgrace! What a whim? Mlle Bienaime. Ce n "est pas joli ce que vous jouez la, Vera (What you are playing. Vera, it's ugly (French).}. Faith(loud). Je crois bien... (I know it... (French).} (To Gorsky, continuing to play.) Listen, Gorsky, I can't and don't like to flirt and be capricious. I'm too proud for that. You yourselves know that I am not capricious now... But I am angry with you. Gorsky. For what? Faith. I am offended by you. Gorsky. Did I offend you? Faith(continuing to disassemble the sonata). You would at least choose a better trusted one. Before I had time to enter the dining room, how could this monsieur ... monsieur ... what do you mean? .. monsieur Mukhin remarked to me that my rose had probably finally reached its destination ... Then, seeing that I did not I answer his courtesies, he suddenly started to praise you, but so awkwardly ... Why is it that friends always praise you so awkwardly? I can't stand him. Gorsky. What do you conclude from this? Faith. I conclude that monsieur Mukhin ... a l "honneur de recevoir vos confidences (I had the honor to earn your trust (French) . }. (He taps hard on the keys.) Gorsky. Why do you think? .. And what could I say to him ... Faith. I don't know what you could have told him... That you are following me, that you are laughing at me, that you are going to turn my head, that I amuse you very much. (Mille Bienaime coughs dryly.) Qu "est ce que vous avez, bonne amie? Pourquoi toussez vous? (What's wrong with you, my friend? Why are you coughing? (French). } Mlle Bienaime. Rien, rien... je ne sais pas... cette sonate doit etre bien difficile (Nothing, nothing... I don't know... this sonata must be very difficult (French).}. Faith (in an undertone). How she bores me... (To Gorsky.) Why are you silent? Gorsky. I? why am I silent? I ask myself: Am I guilty before you? Exactly, I confess: it's my fault. My tongue is my enemy. But listen. Vera Nikolaevna... Remember, I read Lermontov to you yesterday, remember where he talks about that heart in which love fought so madly against enmity...Vera quietly raises her eyes.
Well, well, I can't go on when you look at me like that... Faith(shrugs). Fullness... Gorsky. Listen ... I confess to you frankly: I don't want to, I'm afraid to succumb to that involuntary charm, which I finally cannot but admit ... I try in every possible way to get rid of him, with words, ridicule, stories ... I chatter like an old girl like a child... Faith. Why is this? Why can't we remain good friends?.. Can't relations between us be simple and natural? Gorsky. Simple and natural... Easy to say... (Decidedly.) Well, yes, I am guilty before you and I ask your forgiveness: I was cunning and cunning ... but I can assure you. Vera Nikolaevna, no matter what my assumptions and decisions are in your absence, from your first words all these intentions fly apart like smoke, and I feel ... you will laugh ... I feel that I am in your power ... Faith(slowly stop playing). You told me the same thing last night... Gorsky. Because I felt the same way yesterday. I resolutely refuse to dissemble with you. Faith(with a smile). A! see! Gorsky. I refer to you yourselves: you must finally know that I am not deceiving you when I tell you... Faith(interrupting him). That you like me ... still! Gorsky(with annoyance). Today you are inaccessible and distrustful, like a seventy-year-old usurer! (He turns away; both are silent for a while.) Faith(barely continuing to play). Do you want me to play your favorite mazurka for you? Gorsky. Vera Nikolaevna! don't torture me... I swear to you... Faith(funny). Well, come on, let's have a hand. You are forgiven.
Gorsky hastily shakes her hand.
Nous faisons la paix, bonne amiel (We made peace, my friend (French).}. M-lle Bienaime(with mock surprise). Ah! Est-ce que vous vous etiez quereiles? (Ah! Did you quarrel? (French). } Faith(in an undertone). O innocence! (Loud.) Oui, un peu (Yes, a little (French).}. (Gorsky.) Well, do you want me to play your mazurka for you? Gorsky. No; this mazurka is too melancholy... One can hear in it a kind of bitter striving into the distance; and I assure you, I'm fine here too. Play me something cheerful, bright, alive, that would play and sparkle in the sun, like a fish in a stream ...
Vera thinks for a moment and begins to play a brilliant waltz.
My God! how cute you are! You yourself look like such a fish. Faith(continues to play). I can see Monsieur Mukhin from here. How fun he must be! I'm sure he's going to remit every now and then. Gorsky. Nothing for him. Faith(after a short silence and still playing). Tell me, why does Stanitsyn never finish his thoughts? Gorsky. Apparently he has a lot of them. Faith. You are evil. He is not stupid; he is a kind person. I love him. Gorsky. He is an excellent solid man. Faith. Yes... But why does the dress always fit so badly on him? like new, just from the tailor?
Gorsky does not answer and silently looks at her.
What are you thinking about? Gorsky. I thought ... I imagined a small room, only not in our snows, but somewhere in the south, in a beautiful far country ... Faith. And you just said that you don't want to go far. Gorsky. One does not want to... Not a single person is familiar around, the sounds of a foreign language are occasionally heard on the street, from the open window it breathes the freshness of the near sea... the white curtain quietly rounds like a sail, the door is open to the garden, and on the threshold, under a light shadow ivy... Faith (with confusion). Oh yes you are a poet... Gorsky. Save me god. I only remember. Faith. Do you remember? Gorsky. Nature - yes; the rest ... everything that you did not let me finish is a dream. Faith. Dreams don't come true... really. Gorsky. Who told you this? Mademoiselle Bienaime? Leave, for God's sake, all such sayings of feminine wisdom to forty-five-year-old girls and lymphatic youths. Reality ... but what is the most ardent, most creative imagination that can keep up with reality, behind nature? Have mercy... some sea crawfish is a hundred thousand times more fantastic than all the stories of Hoffmann; and what poetic work of genius can be compared ... well, at least with this oak that grows in your garden on the mountain? Faith. I'm ready to believe you, Gorsky! Gorsky. Believe me, the most exaggerated, most enthusiastic happiness, invented by the whimsical imagination of an idle person, cannot be compared with the bliss that is really available to him ... if he only remains healthy, if fate does not hate him, if his estates are not sold at auction and if, finally, he himself thoroughly knows what he wants. Faith. Only! Gorsky. But we are ... but I am healthy, young, my estate is not mortgaged ... Faith. But you don't know what you want... Gorsky (resolutely). I know. Faith(suddenly looks at him). Well, tell me if you know. Gorsky. Please. I want you to... Servant(enters from the dining room and reports). Vladimir Petrovich Stanitsyn. Faith(getting up quickly). I can't see him now... Gorsky! I think I understand you at last... Accept him instead of me... instead of me, do you hear... puisque tout est arrange... (Because everything is arranged (French).} (She goes into the living room.) M-lleViennaime. Eh been? Elle s "en va? (Is that so? Has she left? (French)} Gorsky (not without embarrassment). Oui... Elle est a1lee voir... (Yes... She went to see (French).} M-lle Bienaime (shaking head). Quelle petite folle! (What a lunatic! (French). } (Gets up and also goes to the living room.) Gorsky (after a short silence). What am I? Married?.. "I seem to understand you at last"... You see, where she bends... "puisque tout est arrange". Yes, I can't stand her at this moment! Oh, I'm a braggart, braggart! Before Mukhin, I was so brave, but now ... What poetic fantasies I went into! Only the usual words were missing: ask your mother ... Fu! .. what a stupid situation! One way or another, the matter must be ended. By the way, Stanitsyn has arrived! Oh fate, fate! tell me for mercy, are you laughing at me, or something, or are you helping me? But let's see ... But my friend Ivan Pavlich is good ...Enter Stanitsyn. He is dressed smartly. In his right hand he has a hat,Vleft basket wrapped in paper. His face shows excitement. At the sight of Gorsky, he suddenly stops and quickly blushes. Gorsky goes to meet him with the most lasToOVth look and outstretched hands.
Hello Vladimir Petrovich! I'm glad to see you... Stanitsyn. And I... very... How long... how long have you been here? Gorsky. Since yesterday, Vladimir Petrovich! Stanitsyn. Is everyone healthy? Gorsky. Everything, absolutely everything, Vladimir Petrovich, starting with Anna Vasilievna and ending with the dog that you presented to Vera Nikolaevna ... Well, how are you? Stanitsyn. I... I thank God... Where are they? Gorsky. In the living room!... they play cards. Stanitsyn. So early... and you? Gorsky. And here I am, as you can see. What is it you brought? hotel, maybe? Stanitsyn. Yes, Vera Nikolaevna said the other day ... I sent to Moscow for sweets ... Gorsky. To Moscow? Stanitsyn. Yes, it's better there. Where is Vera Nikolaevna? (Puts his hat and notes on the table.) Gorsky. She seems to be in the living room... watching them play preference. Stanitsyn (peeping fearfully into the living room). Who is this new face? Gorsky. Didn't you know? Mukhin, Ivan Pavlych. Stanitsyn Oh yes... (Shifts in place.) Gorsky. You don't want to enter the living room?.. You seem to be in a state of excitement, Vladimir Petrovich! Stanitsyn. No, nothing... the road, you know, the dust... Well, the head too...
In the living room there is an explosion of generallaughter... Everyone shouts: "Without four, without four!" Vera says: "Congratulations, monsieur Mukhin!
(Laughs and looks back into the living room.) What is it there ... someone has become mortified? Gorsky. So why don't you come in? Stanitsyn. Tell you the truth. Gorsky... I would like to have a little talk with Vera Nikolaevna. Gorsky. Alone? Stanitsyn(indecisively). Yes, just two words. I would like ... now ... otherwise during the day ... You yourself know ... Gorsky. Well? come in and tell her... Yes, take your sweets... Stanitsyn. And that's true.He approaches the door and does not dare to enter, when suddenly Anna Vasilievna's voice is heard: "C" est vous, Woldemar? Bonjour... Entrez dons..."(Is that you, Vladimir? Hello ... Come in (French).} He enters.
Gorsky(one). I am dissatisfied with myself... I start to get bored and angry. My God, my God! so what is going on with me? Why does bile rise in me and come to my throat? Why do I suddenly become so unpleasantly cheerful? why am I ready, like a schoolboy, to play tricks on everyone, everyone in the world, and myself, by the way? If I am not in love, why should I tease myself and others? Marry? No, I'm not getting married, whatever you say, especially like that, from under the knife. And if so, can't I sacrifice my pride? Well, she will triumph - well, God bless her. (Goes up to the Chinese billiards and starts pushing the balls.) Maybe it would be better for me if she marries ... Well, no, it's nothing ... Then I won't see her, as my friends left ... (Continues pushing balls.) I'll guess ... Now, if I hit ... Fu, my God, what childishness! (Throws the cue, goes to the table and takes up the book.) What is this? Russian novel... That's how it is. Let's see what the Russian novel says. (Opens a book at random and reads.)“So what? Not five years after the marriage, the already captivating, lively Maria turned into a plump and noisy Marya Bogdanovna ... Where did all her aspirations, her dreams go” ... Oh gentlemen, authors! what kind of children are you! That's what you're complaining about! Is it any wonder that a person grows old, grows heavier and dumber? But here's what's terrible: dreams and aspirations remain the same, eyes do not have time to fade, the fluff from the cheek has not yet come down, and the husband does not know where to go ... Why! a decent person already before the wedding is pounding with a fever ... Here they seem to be coming here ... We must save ourselves ... Fu, my God! as if in Gogol's "Marriage" ... But at least I will not jump out of the window, but will calmly go out into the garden through the door ... Honor and place, Mr. Stanitsyn!While he hastily leaves, Vera and Stanitsyn enter from the living room.
Faith (to Stanitsyn). What is it, it seems, Gorsky ran into the garden? Stanitsyn. Yes, sir... I... I must confess... I told him that I wanted to be alone with you... just two words... Faith. A! you told him... What is he to you... Stanitsyn. He... nothing... Faith. What preparations!... You're frightening me... I didn't quite understand your note yesterday... Stanitsyn. Here's the thing, Vera Nikolaevna... For God's sake, forgive me my insolence... I know... I'm not standing...Vera moves slowly towards the window; he goes after her.
Here's the thing... I... I dare to ask for your hand...
Vera is silent and quietly bows her head.
My God! I know too well that I'm not worthy of you... it's on my part, of course... but you've known me for a long time... if blind devotion... the fulfillment of the slightest desire, if all this... I beg your pardon my courage... I feel.
He stops. Vera silently holds out her hand to him.
Can't I hope? Faith(quiet). You misunderstood me, Vladimir Petrovich. Stanitsyn. In that case ... of course ... forgive me ... But let me ask you one thing, Vera Nikolaevna ... do not deprive me of the happiness of seeing you at least occasionally ... I assure you ... I will not bother you ... Even if with another ... You ... with the chosen one ... I assure you ... I will always rejoice at your joy ... I know my own worth ... where I, of course ... You, of course you're right... Faith. Let me think, Vladimir Petrovich. Stanitsyn. How? Faith. Yes, leave me now... for a short while... I'll see you... I'll talk to you... Stanitsyn. Whatever you decide, you know, I will submit without grumbling. (He bows, goes into the drawing-room and locks the door behind him.) Faith (looks after him, goes to the garden door and calls). Gorsky! come here, Gorsky!
She walks to the front. A few minutes later Gorsky enters.
Gorsky. Did you call me? Faith. Did you know that Stanitsyn wanted to speak to me in private? Gorsky. Yes, he told me. Faith. Did you know why? Gorsky. Probably not. Faith. He asks for my hand. Gorsky. What did you answer him? Faith. I? Nothing. Gorsky. Did you refuse him? Faith. I asked him to wait. Gorsky. For what? Faith. Why, Gorsky? What's wrong with you? Why do you look so coldly, speak so indifferently? what is that smile on your lips? You see, I'm coming to you for advice, I'm holding out my hand - and you... Gorsky. Excuse me. Vera Nikolaevna... Sometimes a kind of stupidity comes over me... I walked in the sun without a hat... Don't laugh... Really, maybe that's why... So, Stanitsyn asks for your hand, and you ask my advice ... and I ask you: what is your opinion about family life in general? It can be compared to milk... but milk soon turns sour. Faith. Gorsky! I do not understand. A quarter of an hour ago, at this place (pointing to the piano), remember, did you talk to me like that? did I leave you? What's wrong with you, are you laughing at me? Gorsky, did I really deserve this? Gorsky(bitterly). I assure you that I do not think to laugh. Faith. How can I explain this sudden change? Why can't I understand you? Why, on the contrary, I ... Tell me, tell me yourself, have I not always been frank with you, like a sister? Gorsky(not without embarrassment). Vera Nikolaevna! I... Faith. Or maybe ... look what you make me say ... maybe Stanitsyn arouses in you ... how can I say ... jealousy, or what? Gorsky. Why not? Faith. Oh, don't pretend... You know too well... And besides, what am I saying? Do I know what you think of me, what you feel for me... Gorsky. Vera Nikolaevna! do you know what? Right, it's better for us to get to know each other for a while ... Faith. Gorsky... what is it? Gorsky. Jokes aside... Our relationship is so strange... We are condemned not to understand each other and torturing each other... Faith. I do not prevent anyone from tormenting me; but I don't want to be laughed at... not to understand each other... - why? Am I not looking directly into your eyes? do I like misunderstandings? don't I say everything I think? Am I incredulous? Gorsky! if we must part, part at least as good friends! Gorsky. If we part, you will never even remember me. Faith. Gorsky! it's as if you want me to... You want a confession from me... Right. But I'm not used to lying or exaggerating. Yes, I like you - I feel attracted to you, despite your oddities - and ... and nothing more. This friendly feeling may develop, or it may stop. It's up to you... That's what's going on in me... But you, you say what you want, what do you think? Don't you understand that I'm not asking you out of curiosity what I really need to know... (She stops and turns away.) Gorsky. Vera Nikolaevna! listen to me. You are happily created by God. Since childhood, you live and breathe freely ... Truth is for your soul, like light for your eyes, like air for your chest ... You boldly look around and boldly go forward, although you do not know life, because for you there is no there will be no obstacles. But don’t demand, for God’s sake, the same courage from a man dark and confused like me, from a man who is much to blame for himself, who has sinned and sins incessantly ... Do not wrest from me the last, decisive word, which I do not I will say it loudly in front of you, perhaps precisely because I have said this word to myself a thousand times in private... I repeat to you: be indulgent towards me or leave me completely... wait a little more... Faith. Gorsky! do I believe you? Tell me - I will believe you - do I finally believe you? Gorsky(with involuntary movement). And God knows! Faith (after a little silence). Think and give me another answer. Gorsky. I always answer better when I'm not thinking. Faith. You are capricious like a little girl. Gorsky. And you are terribly perceptive... But you'll excuse me... I think I told you: "wait." This unforgivably stupid word just slipped out of my mouth... Faith(blushing quickly). Indeed? Thank you for your frankness.Gorsky wants to answer her, but the door from the living room suddenly opens, and the whole company enters, except m lle Bienaime. Anna Vasilievna is in a pleasant and cheerful mood; Mukhin leads her by the arm. Stanitsyn casts a quick glance at Vera and Gorsky.
Ms Libanova. Imagine, Eugene, we have completely ruined Mr. Mukhin... Right. But what a hot player he is! Gorsky. A! I didn't know! Ms Libanova. C "est incroyable! (Incredible! (French). ) Remise at every step ... (Sits down.) And now you can walk! Mykhin(going to the window and with restrained annoyance). Hardly; the rain starts to fall. Varvara Ivanovna. The barometer went down a lot today... (Sits a little behind Mrs. Libanova.) Ms Libanova. Indeed? comme c "est contrariant! (How annoying! (French). ) Eh bien (Well (French).), we need to think of something... Eugene, and you, Woldemar, it's up to you. Chukhanov. Would you like someone to fight with me in billiards?Nobody answers him.
Why not have a bite to eat, a glass of vodka to drink?
Again silence.
Well, then I'll go alone, drink to the health of the whole honest company ...
He leaves for the dining room. Meanwhile, Stanitsyn went up to Vera, but did not dare to speak to her... Gorsky stood aside. Mukhin examines the drawings on the table.
Ms Libanova. What are you, gentlemen? Gorsky, start something. Gorsky. Would you like me to read you an introduction to Buffon's natural history? Ms Libanova. Well, completeness. Gorsky. So let's play petits jeux innocents (Innocent games (French).}. Ms Libanova. Whatever you want ... however, I'm not saying this for myself ... The manager must be waiting for me in the office ... Has he come, Varvara Ivanovna? Varvara Ivanovna. Probably, sir, he came. Ms Libanova. Find out, my soul.Varvara Ivanovna gets up and leaves.
Faith! come here... Why are you as if pale today? Are you well? Faith. I am healthy. Ms Libanova. That's the same. Oh yes, Woldemar, don't forget to remind me... I'll give you a commission to the city. (Vera.) Il est si complaisant! (He's so kind! (French). } Faith. Il est plus que cela, maman, il est bon (Moreover, mother, he is kind (French).}.
Stanitsyn smiles enthusiastically.
Ms Libanova. What are you considering with such attention, monsieur Mukhin? Mykhin. Views from Italy. Ms Libanova. Oh yes... I brought this... un souvenir... (Souvenir (French).) I love Italy... I was happy there... (Sighs.) Varvara Ivanovna(entering). Fedot has come, sir, Anna Vasilievna! Ms. Libanova(getting up). A! come! (To Mukhin.) You will find ... there is a view of Lago Maggiore ... Charm! .. (To Varvara Ivanovna.) And the elder came? Varvara Ivanovna. The elder came. Ms. Libanova. Well, goodbye, mes enfants... (My children (French).) Eugene, I entrust them to you ... Amusez-vous ... (Have fun (French).) Mademoiselle Bienaime comes to your aid.M-lle Bienaime enters from the living room.
Let's go, Varvara Ivanovna!...
He leaves with Morozova into the living room. There is a slight silence.
M-lleBienaime (in a dry voice). Eh bien, que ferons nous? (So what are we going to do? (French). } Mukhin. Yes, what are we going to do? Stanitsyn. That is the question. Gorsky. Hamlet said it before you, Vladimir Petrovich! (Suddenly brightening up.) But, by the way, let's, let's... See how it rained... Why really sit back? Stanitsyn. I'm ready... And you, Vera Nikolaevna? Faith(which all this time remained almost motionless). Me too... ready. Stanitsyn. Very well! Mukhin. Have you thought of something, Yevgeny Andreevich? Gorsky. Invented by Ivan Pavlich! Here's what we'll do. Let's all sit around the table... M-lleBienaime. Oh, ce sera charmant! (Oh, that would be lovely! (French). } Gorsky. N "est-ce pas? (Isn't it? (French). ) Let's write all our names on scraps of paper, and whoever pulls out first will have to tell some incongruous and fantastic tale about himself, about another, about anything ... Liberte entiere, as Anna Vasilievna says. Stanitsyn. Good good. Mlle Bienaime. Ah! tres bien, tres bien (Ah! wonderful, wonderful (French).}. Mukhin. But what kind of fairy tale? Gorsky. Whatever you like ... Well, let's sit down, sit down ... Do you like it, Vera Nikolaevna? Faith. Why not?Sits down. Gorsky sits down on her right hand. Mukhin on the left, Stanitsyn near Mukhin, m-lle Bienaime near Gorsky.
Gorsky. Here is a piece of paper (breaks the sheet) and here are our names. (Writes names and rolls up tickets.) Mukhin(Vera) You are something thoughtful today. Vera Nikolaevna? Faith. And how do you know that I'm not always like this? You see me for the first time. Mukhin(grinning). Oh no, sir, how can you always be like this... Faith(with slight annoyance). Indeed? (To Stanitsyn) Your sweets are very good, Woldemar! Stanitsyn. I am very glad... that I have served you... Gorsky. Oh ladies man! (Interferes with tickets.) Here, it's done. Who will pull out?.. Mademoiselle Bienaime, voulez-vous? (Mademoiselle Bienamey, do you want? (French). } Mlle Bienaime. Mais tres volontiers (With pleasure (French).}. (Takes up the ticket with a grimace and reads it.) Kaspadin Stanitsyn. Gorsky(to Stanitsyn). Well, tell us something, Vladimir Petrovich! Stanitsyn. What do you want me to tell you?... I really don't know... Gorsky. Anything. You can say whatever comes to your mind. Stanitsyn. Yes, nothing comes to my mind. Gorsky. Well, of course it's annoying. Faith. I agree with Stanitsyn ... How is it possible, all of a sudden ... Mukhin(hastily). And I am of the same opinion. Stanitsyn. Yes, show us an example, Yevgeny Andreevich, you begin. Faith. Yes, start. Mykhin. Start, start. Mlle Bienaime. Oui, comm "encez, monsieur Gorski (Yes, start, Mr. Gorsky (French. ). }. Gorsky. You certainly want... Excuse me... I'm starting. Hm... (Clears throat.) M-lle Bienaime. Hi, hi, nous allons rire (Hee, hee, let's laugh (French).}. Gorsky. Ne riez pas d "avance (Do not laugh in advance (French).). So listen. One Baron... Mykhin. Was there a fantasy? Gorsky. No, one daughter. Mykhin. Well, it almost doesn't matter. Gorsky. God, how sharp you are today! .. So, one baron had one daughter. She was very good-looking, her father loved her very much, she loved her father very much, everything was going excellently - but suddenly, one fine day, the baroness became convinced that life, in essence, was a nasty thing, she became very bored - she began to cry and went to bed ... The Kamerfrau immediately ran after her parent, the parent came, looked, shook his head, said in German: m-m-m-m-m, went out with measured steps and, calling his secretary, dictated to him three letters of invitation to three young nobles of ancient origin and pleasant appearance. The next day, dressed to the nines, they shuffled in turn in front of the baron, and the young baroness smiled as before - even better than before, and carefully examined her suitors, for the baron was a diplomat, and the young people were suitors. Mykhin. How broadly you speak! Gorsky. My dear friend, what a disaster! Mlle Bienaime. Mais oui, laissez-le faire (Let him continue (French).}. Faith(carefully looking at Gorsky). Go on. Gorsky. So, the baroness had three suitors. Whom to choose? The heart answers this question best of all... But when the heart... But when the heart hesitates? blond, she suddenly turned to him with a question: tell me, what are you ready to do in order to prove your love to me? The fair-haired, by nature very cold-blooded, but even more prone to exaggeration, answered her with fervor: I am ready, at your command, to throw myself from the highest bell tower in the world. The baroness smiled affably, and the very next day proposed the same question to another fiancé, the fair-haired one, after informing him of the fair-haired one's answer. The blond answered in exactly the same words, if possible, with great fervor. The baroness turned at last to the third, the chantret. Shantret was silent for a while, out of decency, and answered that he agreed to everything else, and even with pleasure, but he would not throw himself from the tower, for a very simple reason: having crushed his head, it is difficult to offer a hand and heart to anyone. The baroness was angry with the chantret; but since he ... maybe ... she liked a little more than the other two, she began to pester him: promise, they say, at least ... I will not demand execution in practice ... But the chantret , as a conscientious person, did not want to promise anything ... Faith. You are not in a good mood today, monsieur Gorsky! M-lle Bienaime. Non, il n "est pas en veine, c" est vrai (He's not at his best, it's true (French).). No way, no way. Stanitsyn. Another story, another. Gorsky(not without annoyance). I'm not at my best today ... not every day ... (To Vera.) Yes, and you, for example, today ... Whether it was yesterday! Faith. What do you want to say?Rises; everyone gets up.
Gorsky(referring to Stanitsyn). You cannot imagine, Vladimir Petrovich, what an amazing evening we had yesterday! It's a pity you weren't there, Vladimir Petrovich... Mademoiselle Bienaime was a witness. Vera Nikolaevna and I rode together on the pond for more than an hour ... Vera Nikolaevna admired the evening so much, she felt so good ... She seemed to be flying into the sky ... Tears welled up in her eyes ... I never I will forget this evening, Vladimir Petrovich! Stanitsyn(sadly). I believe you. Faith(who kept her eyes on Gorsky all the time). Yes, we were quite funny yesterday... And you, too, were carried away, as you say, into the sky... Imagine, gentlemen, Gorsky recited poems to me yesterday, but how sweet and thoughtful they all are! Stanitsyn. Did he read poetry to you? Faith. How ... and in such a strange voice ... like a sick person, with such sighs ... Gorsky. You yourself demanded this, Vera Nikolaevna!.. You know that by my own will I rarely indulge in lofty feelings... Faith. Especially since you surprised me yesterday. I know that it is much more pleasant for you to laugh than ... than to sigh, for example, or ... to dream. Gorsky. Oh, I agree with that! And really tell me a thing unworthy of laughter? Friendship, family happiness, love? .. Yes, all these courtesies are good only as an instant rest, and then God bless your feet! A decent person should not afford to wallow in these down jackets ...Mukhin looks with a smile first at Vera, then at Stanitsyn;
Faith notices this.
Faith(slowly). It is evident that you are now speaking from the heart!.. But what are you getting excited about? No one doubts that you have always thought so. Gorsky(forced laugh). Like? Yesterday you were of a different opinion. Faith. Why do you know? No, jokes aside. Gorsky! let me give you some friendly advice... Don't ever get sensitive... She hasn't bothered you at all... You're so smart... You can do without her... Oh yes, it seems the rain has passed... Look, what a wonderful sun! Come on, garden... Stanitsyn! give me your hand. (Turns around quickly and takes Stanitsyn's hand.) Bonne amie, venez vous? (My friend, are you coming? (French). } Mlle Bienaime. Oui, oui, allez toujours... (Yes, yes, go (French).} (Takes a hat from the piano and puts it on.) Faith(to the rest). And you, gentlemen, are you not going? Run, Stanitsyn, run! Stanitsyn(running away with Vera to the garden). If you please, Vera Nikolaevna, if you please. Mlle Bienaime. Monsieur Mukhin, voulez-vous me don-ner votre bras? (Mr. Mukhin, would you be so kind as to give me a hand? (French). } Mukhin. Avec plaisir, mademoiselle... (With pleasure, mademoiselle (French).} (Gorsky.) Farewell, chantret! (Exits with m-lle Bienaime.) Gorsky (one, goes to the window). How he runs! .. and never looks back ... But Stanitsyn, Stanitsyn stumbles for joy! (Shrugs.) Poor man! he does not understand his position... Come on, is he a poor man? I seem to have gone too far. Yes, what do you want to do with bile? During the entire time of my story, this devil did not take his eyes off me ... I was in vain to mention yesterday's walk. If it seemed to her ... it's over, my dear friend Yevgeny Andreevich, pack your suitcase. (Walks around.) Yes, and it's time ... confused. O chance, the misfortune of fools and the providence of wise men! come help me! (Looks around.) Who is this? Chukhanov. Isn't he somehow... Chukhanov(carefully entering from the dining room). Ah, Father Yevgeny Andreevich, how glad I am to find you alone! Gorsky. What do you want? Chukhanov (in an undertone). You see what, Evgeny Andreevich! .. Anna Vasilievna, God bless her, they deigned to invite the fishing line to my house, but they forgot to give the order to the office, sir ... And without an order they don’t give me the forest, sir ... Gorsky. Well, you remind her. Chukhanov. Father, I'm afraid to disturb ... Father! be gentle, make your century pray to God for yourself ... Somehow, between two words ... (winks.) After all, you are a master at this ... can't you, so to speak, side by side? .. (More winks.) Moreover, you read that the owner is already in the house ... hehe! Gorsky. Indeed? Please, I'm happy to... Chukhanov. Father! oblige on the coffin ... (Loudly and with the same manners.) And if you need anything, just blink. (Tilts his head.) Oh, yes, and what a good fellow! .. Gorsky. Well, well ... I will do everything; be calm. Chukhanov. Listen, your Excellency! And old Chukhanov doesn't bother anyone. I reported, asked, ran, and there it will be as the boss wishes. Many are happy and grateful. Turn left, march! (Goes into the dining room.) Gorsky. Well, it seems that nothing can be squeezed out of this "case" ...Behind the garden door, hurried footsteps can be heard on the stairs.
Who is running like this? Ba! Stanitsyn! Stanitsyn (running in a hurry). Where is Anna Vasilievna? Gorsky. Who do you want? Stanitsyn (suddenly stopping). Gorsky... Oh, if you only knew... Gorsky. You are overjoyed... What's the matter with you? Stanitsyn(takes his hand). Gorsky ... I really shouldn't ... but I can't - joy is choking me ... I know you have always taken part in me ... Imagine ... Who could imagine that. .. Gorsky. What is finally? Stanitsyn. I asked Vera Nikolaevna for her hand, and she... Gorsky. What is she? Stanitsyn. Imagine, Gorsky, she agreed... right now, in the garden... she allowed me to turn to Anna Vasilievna... Gorsky, I'm happy as a child... What an amazing girl! Gorsky(barely hiding his excitement). And are you going now to Anna Vasilievna? Stanitsyn. Yes, I know that she will not refuse me... Gorsky, I am happy, immensely happy... I would like to hug the whole world... Let me at least hug you. (Hugs Gorsky.) Oh how happy I am! (Runs away.) Gorsky(after a long silence). Bravissimo! (Bows after Stanitsyn.) I have the honor to congratulate... (Walks about the room in annoyance.) I didn't expect this, I confess. Cunning girl! However, I have to leave now... Or not, I'll stay... Phew! how the heart beats unpleasantly ... Badly. (Thinking for a bit.) Well, well, I'm broken ... But how shamefully broken ... and not so and not where I would like ... (Going to the window, looking out into the garden.) They're coming... At least we'll die with honor...
He puts on his hat, as if he is about to go into the garden, and at the door he runs into Mukhin, with Vera and m-lle Bienaime, Vera holds m-lle Bienaime by the arm.
A! You are already returning; and I was about to go to you... Vera does not raise her eyes. M-lle Viennaime. Il fait encore trop mouille (It's still too damp (French).}. Mukhin. Why didn't you come with us at once? Gorsky. Chukhanov detained me... And you seem to have been running around a lot. Vera Nikolaevna? Faith. Yes... I'm hot.
M-lle Bienaime with Mukhin step aside a little, then they start playing Chinese billiards, which is a little behind.
Gorsky(in an undertone). I know everything, Vera Nikolaevna! I didn't expect this. Faith. You know... But I'm not surprised. What's in his heart is what's on his tongue. Gorsky(with reproach). He has... You will repent. Faith. No. Gorsky. You acted out of frustration. Faith. May be; but I acted wisely and I will not repent ... You applied your Lermontov's verses to me; you told me that I would go irrevocably, wherever chance would lead me... Besides, you yourself know. Gorsky, I would be unhappy with you. Gorsky. Lots of honor. Faith. I say what I think. He loves me and you... Gorsky. And I? Faith. You cannot love anyone. Your heart is too cold and your imagination is too hot. I speak to you as a friend, as about things long gone... Gorsky(muffled). I insulted you. Faith. Yes... but you didn't love me enough to have the right to offend me... However, that's all a thing of the past... Let's part as friends... Give me your hand. Gorsky. I am surprised at you, Vera Nikolaevna! You are transparent as glass, young as a two-year-old child, and determined as Frederick the Great. To give you a hand ... but don't you feel how bitter it must be in my soul? .. Faith. Your ego hurts ... it's nothing: it will heal. Gorsky. Oh yes you are a philosopher! Faith. Listen... This is probably the last time we'll talk about this... You're a smart man, but you made a gross mistake in me. Believe me, I did not put you au pied du mur (To the wall (French).), as your friend monsieur Mukhin puts it, I did not impose tests on you, but sought truth and simplicity, I did not demand that you jump off the bell tower, and instead ... Mukhin (loud). J "ai gagne (I won (French).}. Mlle Bienaime. Eh bien! la revanche (Well! Revenge (French).}. Faith. I didn't let myself be played - that's all ... Believe me, there is no bitterness in me ... Gorsky. Congratulations... Generosity befits a winner. Faith. Give me your hand... here's mine. Gorsky. Sorry, your hand no longer belongs to you.Vera turns away and goes to the billiards.
However, everything is for the best in this world. Faith. Exactly... Qui gagne? (Who is winning? (French). } Mukhin. So far everything is me. Faith. Oh, you are a great man! Gorsky(patting him on the shoulder). And my first friend, isn't it Ivan Pavlich? (Puts hand in pocket.) Oh, by the way, Vera Nikolaevna, come here... (Goes to the front.) Faith (following him). What do you want to tell me? Gorsky(takes a rose out of his pocket and shows it to Vera). A? what do you say? (Laughs.)
Vera blushes and lowers her eyes.
What? isn't it funny? Look, it hasn't faded yet. (With a bow.) Let me return according to my belongings ... Faith. If you had the slightest respect for me, you wouldn't give her back to me now. Gorsky(pulls hand back). In that case, please. Let him stay with me, this poor flower... However, sensitivity did not stick to me... did it? And indeed, long live mockery, gaiety and anger! Here I am again in my element. Faith. And great! Gorsky. Look at me. (Vera looks at him; Gorsky continues, not without emotion.) Farewell ... Now, by the way, I would exclaim: Welche Perle warf ich weg! (What a gem I have neglected! (German). ) But why? It's all for the best. Mykhin (exclaims). J "ai gagne encore un fois! (I won again! (French). } Faith. All goes to good. Gorsky! Gorsky. Maybe ... maybe ... Ah, yes, the door from the living room is opening ... There is a family polonaise!
Anna Vasilievna comes out of the living room. She is led by Stanitsyn. Varvara Ivanovna speaks behind them... Vera runs towards her mother and hugs her.
Ms. Libanova(tearful whisper). Pourvu que tu sois heureuse, mon enfant... (If only you were happy, my child (French).}Stanitsyn's eyes widen. He is ready to cry.
Gorsky (About myself). What a touching picture! And how do you think that I could be in the place of this blockhead! No, decidedly, I was not born for family life... (Loud.) Well, Anna Vasilievna, have you finally finished your wise housekeeping arrangements, your accounts and calculations? Ms Libanova. Finished, Eugene, finished ... but what? Gorsky. I propose to lay down the carriage and go with the whole company to the forest. Ms. Libanova(with feeling). With pleasure. Varvara Ivanovna, my soul, give orders. Varvara Ivanovna. I'm listening, I'm listening. (Goes to the front.) M-lle Bienaime (rolling his eyes under his forehead). Dieu! que cela sera charmant! (God! how adorable! (French). } Gorsky. Look how we will fool around... I'm as happy as a kitten today... (About myself.) From all these incidents, the blood rushed to my head. It was as if I were drunk ... My God, how sweet she is! .. (Loud.) Take your hats; let's go, let's go. (About myself.) Yes, come to her, you stupid man! ..Stanitsyn awkwardly approaches Vera.
Well, like this. Don't worry, my friend, I'll take care of you during the walk. You will appear to me in full splendor. How easy it is for me!.. Fu! and so sad! That is OK. (Loud.) Mesdames, let's go on foot: the carriage will overtake us. Ms Libanova. Let's go, let's go. Mykhin. What is it, like a demon possessed you? Gorsky. The demon is... Anna Vasilievna! give me your hand... I'm still the master of ceremonies, aren't I? Ms Libanova. Yes, yes, Eugene, of course. Gorsky. Well, that's great! Vera Nikolaevna! if you please give a hand to Stanitsyn ... Mademoiselle Bienaime, prenez mon ami monsieur Mukhin ( Mademoiselle Bieneme, go with Mr. Mukhin (French).), and the captain ... where is the captain? Chukhanov (entering from front). Ready for service. Who is calling me? Gorsky. Captain! Give your hand to Varvara Ivanovna... By the way, here she is coming in...
Varvara Ivanovna enters.
And with God! march! The carriage will catch up with us ... Vera Nikolaevna, you open the procession, Anna Vasilievna and I are in the rearguard. Ms. Libanova(quietly to Gorsky). Ah, m "on cher, si vous saviez, combien je suis heureuse aujourd" hui (Ah, my dear, if you only knew how happy I am today (French).}. Mukhin(getting into place with m-lle Bienaime, in Gorsky's ear). It's good, brother, it's good: you are not shy ... but confess, where it is thin, it breaks there.
Everyone leaves. Curtain falls.
18473.1. "Where it is thin, there it breaks"
Interest in the study of subtle emotional experiences born of love manifested itself in Turgenev at the very early stage of his work and became one of the main themes of his entire writing career. An important place in his legacy is occupied by dramatic works, which are based on a love-psychological conflict: "Where it is thin, it breaks there", "A Month in the Village", "Evening in Sorrente". The analysis of the relationship between a man and a woman, proposed by Turgenev in these plays, allows us to see in them an expression of the writer's conceptual idea of love.
According to V. Toporov, still a sixteen-year-old youth, Turgenev, while working on the dramatic poem "Steno", "understood this fatal duel of two wills - an integral female and a bifurcated male - and saw his future role in it" (236; 91). The writer first presented a vivid artistic embodiment of the indicated conflict in the play "Where it is thin, it breaks there."
The proverb itself, placed in the title, testified to the special subtlety of the "material" undergoing dramatic processing. F. I. Tyutchev even denied the lyric ability to convey the entire depth of a person’s spiritual life, fixing the doubt with the famous “how the heart can express itself.” With regard to the field of stage literature, this doubt becomes especially acute. With the title of his first psychological play, Turgenev seems to legitimize the view of the dramatic genre as a form of artistic activity limited in the possibilities of psychological analysis. P. Karatygin immediately agreed with this in an epigram to the writer's play:
Turgenev, even though we deserve fame,
On stage, he is not very successful!
In his comedy he was so thin,
What do you say reluctantly: where it is thin, it breaks there
(43; 332).
However, the metaphorical meaning of the title of Turgenev's play in terms of characterizing its artistic features can also be seen in another way: the subtlety of the dramatic techniques used by the writer turned out to be ahead of the stage canons of the time and broke with them, not wanting to obey established norms. This is clearly seen when revealing the typological relationship "Where it is thin, there it breaks" with proverb plays (proverbes) - a special dramatic genre popular in Russia in the 1830s.
The origins of the genre go back to the salon or secular comedy of the French playwright of the 18th century P. Marivaux. Based on the norms of classicist aesthetics, he concentrated the development of the action in a secular living room (salon), the driving spring of which he determined the verbal picking of the characters. A. Musset in the 19th century gave plays of this type a structural completeness with a set of stable dramatic elements. The main thing in the proof was the verbal duel between the characters, demonstrating the sharpness of the mind, intellectual ingenuity and the graceful lightness of the speech passages of the characters. At the end of the play-proverb, an aphoristic remark was to sound, designed to sum up the instructive outcome of what was happening and to reveal the instructive meaning of the events. At the same time, Musset paid much attention to the psychological development of characters, the validity of the motivations for verbal altercations.
The special interest of the Russian public in the plays of Musset can be evidenced by the success in 1837 of the St. Petersburg production of the French author's comedy "Caprice" ("A woman's mind is better than any thoughts"). Upon learning of this, the actress Allan also chose Musset's work for her touring benefit performance in the Russian capital, and when she returned home, she insisted on including the play in the Comedie Francaise repertoire.
Domestic authors working in the proverba genre did not achieve high artistic results. They were mostly content with the edifying morality of "dramatic proverbs", caring little about the persuasiveness of the characters of the characters. So, N. A. Nekrasov and V. P. Botkin, analyzing the play by S. Engelhardt "The mind will come - it's time to pass", criticized her for the superficiality of the plot, ponderous humor, the lack of interesting images-characters and came to the conclusion that "in general, with it has become a custom for us to deal with this kind of dramatic works very unceremoniously" (164; 299). Undoubtedly, the appearance of Turgenev's play "Where it is thin, there it breaks" stood out against the general background of Russian proverbs. Even such a strict critic of the writer's dramatic experiments as A. Grigoriev was forced to admit this, although in general he considered the genre of "dramatic proverb" lightweight and did not welcome Turgenev's attention to it (79; 240).
Defending the classic from accusations of lightness, most Soviet literary scholars denied the connection between Turgenev's play and the traditions of proverb, seeing in the "subtle psychological validity of the writer's dialogues a break with the aesthetic settings of the" dramatic proverb "(29; 141). However, back in the 1920s, L. Grossman emphasized that Turgenev in "Where it is thin, there it breaks" interest in the psychological development of characters within the genre of proverba inherited from Musset, and in the late 1980s A. Muratov, insisting on such a genetic relationship of the work, put this thesis in the title of an article about play ("Secular comedy" by I. S. Turgenev "Where it is thin, there it breaks") (158). "The main thing is," the researcher writes, "that "Where it is thin, there it breaks" repeats the basic genre principle of "proverbs" : these are also "small dramatic conversations" almost devoid of stage action, reproducing the style of behavior and the circle of interests of people of the nobility" (158; 185).
While agreeing with the general approach of the scientist to Turgenev's work as a kind of "secular play", one cannot, however, accept Muratov's indication of "almost lack of stage action" as a genre characteristic of the proverb in general and Turgenev's play in particular. In this case, it is important to trace what the writer has introduced into the development of "secular comedy", turning it into a psychological drama and thereby giving an expanded concept of "stage action", which will be theoretically established only at the turn of the century and recognizes the admissibility of the phenomenon of "underwater ", "invisible" action on the three-dimensional space of the scene.
Here it is necessary to pay attention to the fact that in the Russian theater even before Musset there was an enrichment of "secular comedy" with elements of psychologism, if we look at the play "Woe from Wit" by A. S. Griboedov as a work with the features of this genre model.
There is an action taking place in a secular living room (the house of an influential Moscow nobleman), constant verbal fights of characters (Chatsky - Famusov, Chatsky - Molchalin, Chatsky - Sofya, Sofya - Famusov, Lisa - Famusov, etc.) and the aphoristic capacity of the language of the work, phrases from which, according to Pushkin's well-known prediction, quickly dispersed into proverbs. But Griboyedov endows the main character of his play with a deep internal conflict ("mind and heart are not in harmony"), which provides the image of Chatsky with a special attraction and fullness of life, not characteristic of the gallant characters of the traditional "secular play". And the social acuteness of the issues raised in verbal disputes brings the problems of Griboedov's work to a socially significant level, which was also not required from the followers of Mariveau and Musset.
Turgenev also followed the same path of internal transformations while observing the external genre forms of proverba. In the play “Where it is thin, it breaks there”, the writer retains the visible signs of a “dramatic proverb”: an aphoristic statement is placed in the title of the work, and at the end it sounds like a replica of one of the characters - Mukhin, with which he reproaches his friend for the excessive subtlety of the psychological game with a charming girl; verbal duels permeate the entire active fabric of the play; events unfold in "the hall of a rich landowner's house in the village of Mrs. Libanova" (249; II, 74-75).
Moreover, in Turgenev's work, the classicist principle of the unity of not only place, but also time is strictly observed. Moreover, the temporal tension is deliberately accentuated by the playwright. The remark describing the situation refers to a large wall clock hanging "in the corner" (249; II; 75), which should accurately fix time intervals, since throughout the action they are indicated aloud by the participants in the events. At the very beginning, Gorsky will ask himself and immediately give the answer: "What time is it? .. Half past nine, - and then he will determine the essence of the moment, - Today is the decisive day ..." (249; II; 75). Soon he will again ask the question about time to Mukhin, and he will say that "ten" (249; II; 78). Then Vera will not want to go for a walk in the garden, because "it's hot now ... It's almost twelve o'clock" (249; II; 89). And before lunch, all the necessary decisions will be made by the actors - no more than four hours will pass from the beginning of the events.
The temporal space of the play also palpably contains yesterday's evening, when Gorsky and Vera went boating, and Yevgeny Aleksandrovich read to Lermontov's girlfriend, and the forthcoming walk by all the inhabitants of the Libanovs' house into the forest after Vera accepted Stanitsyn's proposal. The situation unfolding within four hours is intended to explain why there was a change of partner in a duet with the younger Libanova.
The situation is organized by the "fight" of two main characters: the nineteen-year-old daughter of the owner of the estate and the young neighbor-landowner Yevgeny Gorsky. A man perceives his relationship with a girl only in terms of military operations: "A terrible struggle is going on between me and Vera Nikolaevna" (249; II; 78); "Aux armes!" (let's arm ourselves) (249; II; 81); "Either I will prevail, or I will lose the battle..." (249; II; 85); "We are condemned not to understand each other and to torture each other..." (249; II; 99); "Well, why am I broken ... But how shamefully broken ... Let us die, at least with honor" (249; II; 109). It is not by chance that the retired captain Chukhanov conferred on Gorsky a high military rank: “They didn’t go under such fortifications ... We only need such colonels as Evgeny Andreevich” (249; II; 87-88).
The theme of the game is closely intertwined with the main plot motif of the struggle in the work, which is generally typical for the genre of "salon play", which creates a model of reality based on the principle "life is a game". About the game in the comedy "Where it is thin, there it breaks" is said no less often than about battles. And this refers to a card game, and a piano game, and Chinese billiards, and a psychological game, with others and with oneself. Varieties of games complement, brighten up the measured existence of people, becoming its constant background. At the end of the play, the conversation about preference will become a reflection of the psychological game, summing up its result. And the scene of Gorsky's last explanation with Vera will take place to the "accompaniment" of the remarks of Mukhin and the governess playing billiards. Faith. Listen... this is probably the last time we'll talk about this... You're a smart man, but you've misjudged me rudely.
Mukhin (loudly). J "ai gagne. (I won).
M "lle Bienaime. Eh bien! la revanche. (Well, revenge).
Faith. I didn’t let myself be played - that’s all ... Believe me, there is no bitterness in me ...
Gorsky. Congratulations... Generosity befits a winner.
Faith. Give me your hand... here's mine.
Gorsky. Sorry, your hand no longer belongs to you. (Vera turns away and goes to the billiards.)
However, everything is for the best in this world.
Faith. Exactly... Qui gagne? (Who is winning?)
(249; II; 110).
The technique of parallel dialogue used in this scene allows Turgenev to show how the game of feelings and the excitement of the winner in the billiard game merge together. The second exposes the first as an untenable occupation that devastates the soul and deprives a person of the fullness of life perception.
The main player in the field of psychological fun is Gorsky. He leads the game, "directs" the situation and watches others and himself. "... I'm in the most magnificent moments of human life is not able to stop watching ...", - Evgeny Andreevich admits (249; II; 80).
The character, like Pechorin, constantly analyzes what is happening. After another clarification of relations with Vera, Turgenev necessarily gives Gorsky a moment of loneliness, when he can aloud evaluate the event, the girl's behavior and his own. In terms of sober analysis, frankness and merciless attitude towards himself and others, Gorsky is not inferior to Lermontov's hero. In literary criticism, the relationship between the images of Pechorin and Gorsky has been pointed out more than once.
However, it is worth noting that in dramaturgy before Turgenev, the image of a person who does not fit into the strict framework of a positive or negative character was not developed. At the end of the century, L. N. Tolstoy will still consider such a task relevant when creating the play "The Living Corpse". Turgenev in the play "Where it is thin, there it breaks" for the first time in stage literature recorded the complex "dialectics of the soul" of a "fluid" personality.
It should also be emphasized that, unlike the "homeless" Pechorin, Gorsky exists in a homely atmosphere, loving and appreciating the comfort of life: "... After all, I am healthy, young, my estate is not mortgaged" (249; II; 94). Comfort, stability and solidity are part of the character's value system, he is endowed with a rare gift to see the beauty of reality: "... What poetic work of a genius can be compared ... well, at least with this oak that grows in your garden on the mountain?" (249; II; 93). At the same time, Gorsky feels a genuine fear of marriage, such a seemingly necessary condition for complete earthly bliss, and the relationship between a man and a woman is seen by him as an arena of constant struggle. Even at the moment of the “wonderful moment” that Yevgeny Andreevich allowed himself (evening walk with Vera), he reads to the girl Lermontov’s poem about the heart, where “love fought so madly with enmity” (“Justification”, 1841).
In this regard, A. Muratov notes that "in the work of Lermontov, Turgenev's hero finds support for his judgments about life" and the poem "Justification" was chosen by Gorsky not by chance, because he "highlights in it the motive of love-hate, one of the most stable in Lermontov's poetry and close to his consciousness" (158; 178).
With the tale of the baroness and the three suitors, Yevgeny Andreevich tries to explain to Vera that a woman always demands promises, and a man never wants to promise anything. Four years after the appearance of Turgenev's play, F.I. Tyutchev in the poem "Predestination" (1852) will give a classic formula for the conflict between a man and a woman, calling them "a fatal duel."
Gorsky's fear of marriage is most openly manifested in the episode when he violently pushes billiard balls, drowning out irritation from jealous thoughts. Yevgeny Andreevich comes across a novel that tells about disappointments in family life. He reads aloud: “So what? Not five years after the marriage, the already captivating, living Maria turned into a plump and noisy Marya Bogdanovna ...”. However, the impossible metamorphoses of the future wife frighten Gorsky: “But this is terrible: the dreams and aspirations remain the same, the eyes do not have time to fade, the fluff from the cheek has not yet left, and the husband does not know where to go ... Yes, a decent person already before the wedding, the fever is pounding. We must save ourselves ... Fu, my God! just like in Gogol's "Marriage" ... "(249; II; 96).
Gorsky here compares himself with Gogol's Podkolesin, who ran away from his bride on the eve of the wedding through the window. And it's not a situational similarity (Turgenev's character did not even get to the marriage proposal), but the mystical horror of marriage, which overcomes both heroes. Another parallel suggests itself, this time Turgenev is not openly indicated in the text of the play. The surnames Gorsky and Gorich from "Woe from Wit" by A.S. Griboedov coincide in sound. The family life of Platon Mikhailovich is very dull: complete subordination to his wife, mental apathy and laziness. "And who will not marry us!" he sighs (78; 111). It is this bitter fate of a man who loses interest in life in marriage that frightens Gorsky - he lets go, scares away the girl in whom he is genuinely interested. Rather, she refuses to continue to participate in Gorsky's complex psychological experiments and accepts the offer of a rustic, funny Stanitsyn, who is in love with her without memory.
In the relationship between Gorsky and Vera Libanova, the German researcher E. Zabel saw a projection of the communication between Benedict and Beatrice from Shakespeare's play Much Ado About Nothing (300; 157). But Turgenev's heroine does not have the passion, pressure and offensiveness of Shakespeare's girl. A. Muratov even sees in the central female image of the play "Where it is thin, there it breaks" the features of an ingenue - a role built on playing out the character's naivety and straightforwardness (158; 178). However, this characteristic does not express the essence of the image. In this case, it is better to trust Turgenev himself. Through the lips of the intelligent, insightful and sober-minded Gorsky, the author gives the following assessment to Vera Libanova: "She is still fermenting all by herself," like new wine. But a good woman can come out of her. She is thin, smart, with character; and her heart is tender, and she wants to live, and she is a big egoist" (249; II; 78).
At nineteen, Vera does not need to "learn to control herself" - she is fluent in this art and does not allow herself to be offended. This is clearly manifested in the climactic scene, which therefore becomes the highest point in the development of the conflict in the play, because Vera boldly accepts Gorsky's challenge, not allowing herself to be laughed at. Soft, feminine and calm in appearance, she, just like Evgeny Andreevich, cruelly destroys the charm of yesterday's evening spent together, and gives to the ears of everyone what is dear to her soul. She fearlessly fends off the attacks of male vanity, opposing to him female vanity. After collaborating with Gorsky on the defeat of both dear memories, Vera decides to marry Stanitsyn.
It would be an exaggeration to say that the girl is experiencing a deep personal drama. It was not love that determined their relationship with Gorsky, but a premonition, anticipation of it. The thrill of waiting for love, personal interest in each other connected the younger Libanova and Evgeny Andreevich. Nothing connects the girl with Stanitsyn. It is hardly possible to be happy in marriage without experiencing a real feeling, without even knowing what it is. The personal dramas of Vera Nikolaevna are yet to come. Turgenev has already told us about a similar female fate in "Indiscretion" and will tell us more in "A Month in the Country".
It is generally accepted that "Vera defeats Gorsky" (158; 178). The only question is what is the meaning of victory. The girl, of course, did not allow Gorsky to impose someone else's will on herself, but at what cost? After all, ahead of Vera is waiting for marriage with a man who recently caused only ridicule.
There are no winners in the play "Where it is thin, there it breaks". As Y. Babicheva shrewdly noted, "the action of the comedy has only a formal conclusion ... the struggle of vanities and wills has not ended - life continues" (16; 15). Let us add to what has been said the future internal problems of Vera Nikolaevna in order to note the unresolved conflict of the play, the openness of the finale of the work, characteristic of all Turgenev's dramas.
Thus, the author violated the genre setting of checking for the exhaustion of the action with an instructive verbal summary in the form of a proverb. In the play, before our eyes, the possible happiness of people was torn apart, and with a sense of the disintegration of spiritual ties, they enter the next stage of their lives. And the unformed union of Vera and Gorsky is regarded by the author as a natural result of the eternal "fateful duel" between a man and a woman. The psychological conflict in Turgenev's play reflects this existential conflict, which the writer perceives as an archetypal model of gender relations.
It is significant that when in 1912 at the Moscow Art Theater the play "Where it is thin, there it breaks" was staged with O. Gzovskaya and V. Kachalov in the lead roles, the critics noted the depth of the psychological layers in identifying the conflict: "In cursory artistic allusions, here are the irreconcilable age-old contradictions of life" (86; 319).
Therefore, the sharp comparison of Vera with a snake, which Gorsky resorts to, looks quite natural. "This snake will slip out of my hands or strangle me myself," Yevgeny Andreevich reflects at the beginning of the play (249; II; 79). An ancient mythological image synthesizing the feminine and diabolical beginnings (modern scientific etymology even raises the name of the biblical Eve to the word "snake" in the Aramaic and Phoenician languages (154; 419), acquires in Gorsky's mind the appearance of a lovely young girl.
The internal action of the play is precisely aimed at revealing the causes of Gorsky's strange and inconsistent behavior, which sometimes goes against the norms of secular etiquette, and Evgeny Andreevich's constant stay in an offensive-defensive position in relation to the girl.
The verbal "fights" between Gorsky and Vera feed on the intensity of their inner experiences. In order for the psychological background of what is happening to show through visibly, Turgenev uses an extensive system of remarks. Some point to the emotional state of the characters through their physical actions: "Vera silently raises her eyes and stares at him", "Vera quietly turns away" (249; II; 84); Gorsky, seeing the flower left by the girl, "slowly takes the rose and remains motionless for some time", "looks at the rose", "carefully puts the rose in his pocket" (249; II; 85); in the scene of the explanation with Stanitsyn "Vera slowly moves towards the window; he follows her", "Vera is silent and quietly bows her head", "He stops. Vera silently holds out her hand to him" (249; II; 97).
Other remarks record unspoken assessments of events and people: the constant "sweet smiles" of Varvara Ivanovna, a poor relative who does not have the right to her own voice and is forced to obey the slightest whim of a wealthy landowner. The third type of remarks draws the attention of readers to the discrepancy between the words and desires of the inhabitants of the Libanovs' house: "Chukhanov (who does not want to play at all). Let's go, mother, let's ... What is it too early? You need to win back" (249; II, 89).
To convey the feelings of the characters, Turgenev actively uses music. When Vera is irritated and offended by Gorsky's behavior, she begins to play Clementi's sonata, "an old and boring piece", "banging hard on the keys" (249; II; 90); waltz" (249; II, 92). The music here is not the background, but expresses the mood of the heroine, its rapid change.
Working with the subtle "material" of human feelings, Turgenev is looking for non-verbal forms of their expression in the drama and proves, contrary to even the title of his own play, that the transfer of emotional experiences is completely subject to stage literature and their depiction in the theater can be effective.
New dramatic techniques and appeal to the substantive nature of the conflict within the framework of the proverb genre allowed Turgenev to create the first example of a play in the Russian theater, which is based on the psychological contradictions of the relationship between a man and a woman. The source of drama here is the feeling itself, and not external obstacles that prevent the union of loving people.
In the dramaturgy of the turn of the century, this conflict was most fully and painfully frankly expressed by A. Strindberg, in the middle of the nineteenth century Turgenev revealed it in the elegant form of a salon play.
This article is devoted to the analysis of such a topic as the specifics of the actions of negative programs. Namely, the principle "Where it is thin, there it breaks."
Perhaps this article will allow you to find answers to the questions: “Why is this happening to me? Why exactly is this happening?
The penetration of negative energy occurs, first of all, into that area of human life where the negative "feels" the weakest point.
A few examples to give an idea of this principle.
According to the strength of materials, the structure will crack at its weakest point.
The rope begins to tear and burst at its thinnest point.
The garment will crack at the weakest point of the seam.
The river, which is blocked by a blockage, will first “test” the blockage for strength, and if the pressure of the water does not break through the blockage, then the river will spill into streams over the space available to it.
Likewise, humans have weaknesses. Every person. Is it one or more. Not only in the body, but in life in general. And it is in these places that it is worth waiting for the first blow, if “dirty deeds” have begun to be done over it.
What are these weak points? Everyone has their own. But they can be "calculated" according to certain principles.
And now - examples from life.
The family lived. Mom, dad, daughter 8 years old. And one aunt started up, who at first wanted to take dad out of the family, and then she got angry that it didn’t work out, and decided to do something nasty to him and his whole family. (From love to hate is one step, as you know). But nothing significant happened until one day the daughter was run over by a tram ... And the presence of negativity in the family was determined after the death of the child when analyzing the situation. And there was a discharge of negativity at the weakest link.
This aunt didn’t need the death of a child, she just wanted to take revenge “how the card falls” on both the man and his family. And the negative worked on the child.
One lady, the owner of a chain of stores, had a "blood enemy." And as soon as this enemy "hit" her - for health, basically, she fell ill, and at the same time, trade in her stores fell sharply. She gave half her life to build this trading network on her own, and valued this work of her whole life higher than her health. She rooted for them with all her heart, and it was they who became her weak point, which was “torn” along with her health. She retreated from the problems of health impacts herself, and the shops did not “rise” themselves without active assistance in their resuscitation.
But why is that? The practice of observations made it possible to determine a number of principles on how “where it is thin, it breaks” works.
If there is negativity in the family, either the weakest or the youngest suffer especially from it. It is on them - on the weak (weak in health, spirit, character) or younger, that the greatest concentration of negativity goes. Because the weak and the younger ones have low resistance to negativity. They are the weakest link, the “thin spot”.
And by the way, if the negative will “choose where to go” between the old man and the child (even if they are equally weak in terms of health), it will most likely go to the child. Because life has already “chewed” and tempered the old people.
And when choosing between children, the principle of “attractiveness” is more likely to work here, not the youngest, but the weakest. Weak in spirit, character, will, health, karma. Although, often here you can’t guess for sure ...
However, sometimes there is a conscious setting of oneself for the role of a “weak link”, in the mode of self-sacrifice, a “human shield”.
Many have heard about cases, or have themselves observed such cases in their lives, when a cat (dog), which loves its owner very much and is attached to him, comes to a sick (spoiled, dying) person, "breathes" his negativity, his illness, impregnated with its negativity, suffers, but suffers consciously. And then he goes to die.
So love and compassion consciously, wanting to help, alleviate the suffering of a loved one, readily makes self-sacrifice in order to share (take away) the negative of another. Parents are rooting for their children, wives (husbands) take the hit themselves, deliberately removing the negative from the partner, taking it for themselves. Consciously becoming a “weak link”. Here, it is the impulse from the very depths of the soul that turns on the mechanism of self-sacrifice. But not everyone can do it.
However, it is impossible to assign yourself a “thin place” in order to insure more important things, and to get by with “little blood”.
You can’t say: “Let me lose my car, but let me keep my health”, “Let me die, but not my child”, “I’d rather go broke than lose my beloved.” The weak link pops up by itself, and you can see what “broke” in this particular place only by the fact of destruction. You can’t bargain with negativity about what he should take away and what should be spared. You just need to get rid of it.
Often when applying a negative to achieve a specific goal, a different effect is obtained.
I will surprise you with the fact that even damage to death in more than half of the cases does not lead to death. You can live with it, and live for a long time. True, "falling apart" and observing the destruction around him.
If a person has good health, and a person is negative for death, then health will withstand the siege (gradually weakening), and then the program and energy of the negative will seek its outlet and implementation elsewhere. And where will this negativity go - in a weak spot. The method of "probing" these weak points - in business, in personal relationships, in close people.
Weaknesses should be identified in advance and strengthened.
Sometimes the aggressors deliberately figure out weak points and hit them in order to deliver more torment to the victim (often children). And then either they rejoice at his losses, or they finish off the victim, weakened by suffering, sorrows, experiences, losses.
The next principle that determines which link in your life is weak is the one you worry about the most. And also where there are already problems.
Unstable business or work - this area is under threat.
Relationships are “shaky” - they are under threat.
Health is “limping” - it is under threat.
The child “makes nerves” - it is he who is in the “risk group” in anticipation of problems.
There were chronic diseases in health - they were in danger of worsening when attacked.
You used to have negative effects (even if they were cleared) - you are an easier target for new magical attacks.
In case of damage to health or death, the weakest link will “burst” in health. This can explain those seemingly "sudden" and sudden deaths from cases where many survive.
There is also such a mechanism as "discharging" the negative. "Compensatory Explosion". If a person has a strong negative, but there is also protection, then such an explosion can literally happen. Such cases occur during car accidents, when the car is shattered, and the person has no scratches or minor injuries.
A person can create a weak spot for himself, but not understand exactly where. First of all, with their emotions - fear, anxiety, worries.
Suspiciousness, hypochondria, exhaustion, loss of strength - a "thin place" for damage to health.
Weakness of character, suggestibility, statement, weak will, immaturity of the personality - a "thin spot" for a love spell.
A “shattered” business or weak positions at work is a “thin spot” for damage to business, bad luck, ruin.
What was the weak point of the parents (especially when it comes to the so-called "ancestral", karmic problems, including birth damage or a curse), then with a high probability these places will be a "thin spot" in a person.
A person who has an old, “uncleaned” negative, which is easier for negative attacks. The new negativity will “wake up” the old negativity and together they will become stronger. There were many cases when a medium-strength love spell met with an old, almost gone negative, and created the effect of a nuclear explosion - destroying the personality, turning the victim into an obsessed psychopath.
If we talk about relations between people, then here they can “crack” precisely at the weak link. If your partner is weak-willed, weak-willed, mentally unbalanced, “spoiled”, then your relationship is at risk.
Another example.
The woman found a “lining” at her door. An adult son lived with her, who was at that time in a state of nervous exhaustion (he turned out to be a weak link in the family at that time). And the son at that time had a tense relationship with his bride (the weak point of the son). And that same evening, after a grandiose scandal with her, they broke up. And my mother knew a lot about cleaning, and cleaned the apartment, both herself and her son. After 3 days, the son met with the bride and they reconciled, and everyone could not understand why they were so mad at each other.
We continue the conversation... With a love spell, it will work quickly if, as I wrote above, the client is already weakened by previous negative programs. Moreover, if the client's character warehouse helps this - lack of will, a statement, suggestibility, spleen, genetic inclinations for "festivities".
And you yourself can create a “weak link” in your life out of your relationship. There is no need to be surprised at “cracks” in relationships, breakdowns in the family, “sudden” departures and love spells, if there is a routine cooling of feelings, if “everyday life is stuck”, if cooling occurs in intimacy, if one of the parties accumulates irritation, fatigue, apathy. Then this marriage and this relationship becomes a “thin place”. The percentage of troubles and the threat of leaving, the gap would be less if these relationships were cherished as the “apple of an eye”.
Better to be overdressed than underdressed.
Frequent words: "After all, everything was fine, everything suited him, and then everything suddenly became bad ...". Yes, yes ... until they pressed on a weak spot. Where it is thin, it breaks there. And such “subtle” is often defined already post factum - when everything has already “cracked” or broken ...
And by the way, in a midlife crisis (35-45 years old), men become a solid “thin spot”, if not rougher - they are not friends with their heads. Here problems can be expected from anywhere. So, dear ladies, get ready for this period in the life of your companion, and try to prevent the "hemorrhoids" that this period of his life will prepare for you.
And now - tips.
Conduct a constant "audit" of your life for the presence of weaknesses in them, and also for the possible threat of attack - both for you and for your weaknesses.
Learn to notice early signs that “something is wrong.” Observe, analyze, compare. The disease has symptoms, and in the areas of life there are symptoms that will allow you to determine that it is this area of \u200b\u200blife that is “sick”.
Listen and observe signals from the space around you. It is "thinner", more sensitive than you. It reacts to the symptoms of negativity earlier than it "gets" to you.
Scandals from scratch, minor or major troubles, one-by-one illnesses, losses, breakdowns, accidents, disrupted meetings and plans, deterioration in relations with you, and many other problems.
However! It is worth defining signals as a sign of a threat only if they are regularly, systemically, frequently repeated. According to the principle: "One is an accident, two is a coincidence, three is a pattern."
And the first thing to do is to check yourself for negativity and clean up.
And “turn on” your intuition, and start trusting it.
Be vigilant, careful. Find your weaknesses, strengthen them, eliminate threats in the early stages. And be happy.
Stanislav Kucherenko.
Text sources
The first handwritten edition, with the full text of Gorsky's fairy tale, prohibited by censorship when submitting the comedy to print. Draft autograph, on 26 sheets of a notebook (size 222×181), written on both sides. The date of the manuscript is July 1848. Later, on the first page, above the heading, it is inscribed: "Dedicated to Natalia Alekseevna Tuchkova." In the same manuscript, a pencil note of 12 titles of scenes and comedies, some already written, some not yet completed (“Student”), some only conceived (see p. 526 of this volume) and a draft version of the second edition of the tale of the three suitors (l . 1 vol.), dated June 26, 1849. The autograph is stored in the manuscript department GPB(f. 795, no. 19). See: State Order of the Red Banner of Labor Public Library named after M. E. Saltykov-Shchedrin. Proceedings of the Department of Manuscripts. Manuscripts of I. S. Turgenev. Description. L., 1953, p. 14.
Typographic galleys of the magazine text of the comedy, sealed with the signature of the censor A. L. Krylov (three large type-setting sheets, 8 pages each, ending with Vera's remark: "Really? Thank you for your frankness" - p. 100 of this volume). On the first sheet there is a typographical mark: “To Mr. Censor. Oct. 6". There are several changes in the text of the galleys made by the hand of the censor (see about them below). The last two proofs of the same set, with the censor's amendments and with his own note of October 12, 1848, on the permission of the play for publication, belonged to A.A. Aleksandrov until 1917, but did not reach us. See about them in the "Catalogue of the exhibition in memory of I. S. Turgenev at the Imperial Academy of Sciences", 2nd ed., with corrections. Compiled by F. A. Vitberg and B. L. Modzalevsky. SPb., 1909, p. 40. The first three proofs are stored in the Museum of I. S. Turgenev in Orel, where they were transferred from the archive of O. V. Galakhova.
Sovre, 1848, No. 11. p. 5–38.
A white autograph of the second edition of the tale of the three suitors, from the words "At a Baron's" to "I have not yet had time to collect information on this", on two sheets of note paper, pasted into the print of the first printed magazine text of the comedy. This print, now kept in the manuscript department IRLI, previously belonged to the Library of the Imperial Theaters (Inv. No. 612). In the printed text - a number of marks and abbreviations of the director's order. The printed list of characters was supplemented by hand with the names of the first performers of the play on the St. Petersburg stage on December 10, 1851.
The clerk's copy of the magazine text of the comedy, supplemented by Gorsky's tale about the three suitors of the baroness (according to the manuscript IRLI) and submitted to the theatrical censorship on November 29, 1851. A copy on 50 sheets, bound. The text of the play is divided into 28 phenomena and is full of censorship and director's cuts. On the first sheet is the mark of the senior theater censor A. Gederstern dated December 3, 1851 on the permission of the play to be staged. This copy, which was kept in the Library of the Imperial Theaters (Inventory No. 611), is now in the Leningrad Theatrical Library. A. V. Lunacharsky (No. 1063, code: II. 1. 94), see below, p. 575–576.
For easy reading, vol. IV, p. 173–227.
Table of corrections and additions made by Turgenev in 1868 in the text For easy reading in preparation for the 1869 edition; white autograph ( gim, fund of I. E. Zabelin, No. 440, unit. ridge 1265, l. 169).
T, Soch, 1869, part VII, p. 95–146.
T, Soch, 1880, vol. 10, p. 97–148.
Comedy first published: Sovre, 1848, No. 11, p. 5–38, with a dedication to N. A. Tuchkova. Signature: Iv. Turgenev. Gorsky's tale about the princess's three suitors, which was excluded from the magazine text by censorship, has been replaced by p. 31st with two rows of dots. Reprinted, with a new version of the tale: For easy reading, vol. IV, p. 173–227. The dedication to N. A. Tuchkova was absent here and was not repeated in any reissue of the comedy. With minor cuts and stylistic corrections, it entered T, Soch, 1869. In preparing this edition, Turgenev made several corrections on a special sheet to the text of the comedy, which was published in 1857 in the collection For easy reading. The most important of these corrections: p. 174 collections - “you see” is corrected for “you will see”; With. 175 - "looking around" is replaced by "looking around him"; the word "better" was also removed there; With. 180 - after the word "accustomed" added "man"; With. 184 - after "he" added "something you said"; With. 187 - after "and" added "says"; With. 192 - added after "said" (After a pause.) What a beautiful house you have!”; With. 194 - "took" is replaced by "chosen"; With. 205 - “I say” is replaced by “I will talk”; With. 208 - "should be" corrected to "should know"; With. 211 - remark added after the words "Varvara Ivanovna" "(entering)"; With. 218 - “it is visible” is corrected to “it is visible that”. In addition, six typos in French words have been corrected.
The text of the comedy, established in 1869, was reprinted in all subsequent editions of Turgenev's works.
In this edition, the comedy "Where it is thin, there it breaks" is printed according to the latest authorized text ( T, Soch, 1880, vol. 10, p. 97-148), with the elimination of misprints noted by Turgenev himself. Moreover, two misprints were eliminated that Turgenev had not noticed in 1880 in Gorsky’s remarks: instead of the erroneous one: “if his estates are not lost at auction”, it is printed: “if his estates are not sold at auction” (p. 93, lines 40 –41); instead of "Not so. Don't worry, my friend." - "Well, yes. Do not worry, my friend” (p. 112, lines 11–12). These corrections are made according to the manuscript and the text of the first publications of the comedy.
The comedy “Where it is thin, there it breaks” was written by Turgenev in Paris, in July 1848. The time of work on this play, which delayed the completion of the previously planned “Freeloader”, is documented by a mark on the title page of her draft autograph: (“Dramatic essays. Paris. July 1848".
The first mention of the new play is a letter from Herzen from Paris to his Moscow friends: “Turgenev,” he reported on August 5, 1848, “wrote a small play, very nice, for the theater, and is writing another for Mikh. Sem. » ( Herzen, vol. 23, p. 90).
N. A. Tuchkova, to whom Turgenev’s new play was dedicated, notes in her memoirs that “Where it is thin, there it breaks” was read in her father’s house during A. A. Tuchkov’s stay with his daughters in Paris. The memoirs of N. A. Tuchkova testify to Turgenev’s great attention to her at that time, which is also confirmed by a letter to her by N. P. Ogarev, dating back to the beginning of January 1849: “Today I read Turgenev’s comedy,” he wrote. - There is so much observation, talent and grace here that I am convinced of the future of this man. He will create something important for Rus'. And then he loves you Rus Propylaea, vol. IV, p. 73).
“On the third day, Annenkov read your comedy “Where it is thin, there it breaks” with us in the evening,” wrote N. A. Nekrasov on September 12, 1848 from St. Petersburg to Paris to Turgenev. – Without exaggeration I will tell you that it is unlikely to find gizmos more graceful and artistic in today's Russian literature. Well conceived and well executed, sustained to the last word. This is the opinion of not just me, but of all who listened to this comedy, and there were about ten of them - by the way, Druzhinin, whom I introduced to Annenkov. I noticed (and everyone with me immediately agreed) that the fairy tale about dolls is a bit awkward, because respectable audience can take the whole place in the most ardent direction and burst into foal laughter. Bring this place to mind, look at it with this point, - perhaps you will find this remark worthy of attention and consider it necessary to replace that place. For this purpose, I am informing you of it. If you send more stories, then I would publish the comedy in No. 11, and I would leave all the stories, how many of them there are, in the first No. Write how you want. If the comedy is number 11, then hurry up with the amendment (of course, if you decide to make it) ”( Nekrasov, vol. X, p. 114-116).
However, before the “most respectable public” could respond to Gorsky’s “fairy tale”, about which the author Nekrasov warned about some ambiguity, this entire episode was unconditionally removed from the printed text of the comedy by censorship: “A fairy tale was deleted from your comedy,” Nekrasov wrote on December 17, 1848 Turgenev, - and I replaced this place with dots, there was nothing to do! I tried to defend, but in vain” (ibid., p. 121).
From the magazine edition of the comedy, not only the text of the fairy tale about the three suitors of the princess was completely removed {20}, but also a few more passages recognized by the censor of Sovremennik as inadmissible in the press. Among the eliminated words and lines were those that sharpened the satirical characteristics of representatives of the ruling class (for example, the remark "old sycophant" in the data about Captain Chukhanov on p. 78, the word "landowner" in the mention of "noisy landowner Maria Bogdanovna" on p. 96, some essential details of Gorsky's auto-confessions (for example, on p. 85: "This ridiculous caution, this exaggerated fear, does it imply some kind of childish faith in the future and in life") and even individual words (for example, on p. 99 in the remark: “But don’t demand, for God’s sake, the same courage and freedom from a dark and confused person like me,” the words “and freedom” were removed.) It is characteristic that in all later reprints of the play, Turgenev did not eliminate the 1848 by censorship of distortions of the initial text.
According to the manuscript of the comedy, Turgenev returned to the finalization of the text “Where it is thin, there it breaks”, in mid-June 1849, probably referring to the possible staging of the play on stage. Leaving the main text unchanged, he remade only Gorsky's tale of the three suitors, taking into account censorship requirements. The exact date of the new version of the tale is determined by a mark in the manuscript of the first edition of the comedy (sheet 20v.) in the margins of the original version of the tale: “NB. Look. Le 26 June 1849. This date was repeated twice more on the same sheet, and once in the form "26 (14) J.", which allows you to set the time for processing according to the old and new styles. With the same ink and the same pen, on the second sheet of the manuscript, which had previously remained blank, Turgenev sketched out the second edition of the tale. This new version of it was significantly different from the original, in which it was not about the baroness, but about the princess, not about the baron, but about the king, not about two suitors, distinguished by their clothes (“yellowish” and “bluish”), but about three , distinguished by the color of their hair (blond, blond and black-haired). In the new version of the tale, the motif of the trials offered to the suitors of the princess was developed, and the lines about dolls were completely removed, the inappropriateness of which was noted in Nekrasov's letter of September 12, 1848.
Not only a draft autograph of a new version of Gorsky's tale has come down to us (see. T, PSS and P, Works, vol. II, p. 326-328), but also its white text - on two sheets of thin postal paper pasted by Turgenev into the print of the first printed text of the comedy ( IRLI, 4192, p. 39, l. 17 and 19). From this consolidated text, a clerk's copy of the play was made, with the director's breakdown of it into 28 events, presented on November 29, 1851 to the theatrical censorship. The comedy was allowed to be staged on December 3, 1851, with some additional changes: in Gorsky’s first monologue, “general” was replaced by “baron”, and instead of “sniffing out”, “recognizing” was put. In Gorsky's remark: "What a touching picture," etc. (p. 111), "stupid" is replaced by "stupid." On the next page, in the line: “After all, I still remain the master of ceremonies,” “yours” is inserted before the last word. Us. 106 crossed out: “God bless your feet! A decent person should not afford to wallow in these down jackets ”(see: Pypin, Playlists T, With. 204–205).
In addition, several directorial cuts were made in the theatrical version of the comedy, and French maxims and dialogues were translated into Russian. In the same censorship-theatrical list of the comedy, the director's version of its ending has been preserved:
« Mukhin (falling into place with m-lle Bienaimé, into Gorsky's ear). Okay brother, okay. But agree...
Gorsky. Where it is thin, it breaks there. Agree! (A curtain.)"
The premiere of the comedy “Where it is thin, there it breaks” took place on December 10, 1851 in St. Petersburg in a benefit performance by N.V. Samoilova. The play was staged among six other one-act comedies and vaudevilles in the presence, apparently, of Turgenev himself. The list of performers of the play, which was made by Turgenev on the first page of her draft manuscript, belonged to the same time: “Sosnitskaya. V. Samoilov. M-lle J. Bras. Martynov. Maksimov. Karatygin 2nd. Grigoriev" {21}.
“The playbill is wonderful,” wrote the famous vaudevillian and director N. I. Kulikov, impressed by this performance, on December 10, 1851. “Six different pieces, the performance ended at 1 o’clock ... but alas ... the collection was very small, compared with previous benefit performances . The best of all is Turgenev's play “Where it is thin, there it breaks”, a comedy in one act. V. Samoilova and Maksimov 1 performed their roles admirably. Although there is no real comedy in the play according to the vulgar rules of dramaturgy, the scenes are full of life, mind and feelings. Onegin's idea with Tatyana - which, however, is still new on the stage ”(Theater and Art Library, 1913, book IV, p. 25).
The play, however, was not successful and after two more performances (December 12 and 16) was removed from the repertoire ( Wolf, Chronicle. Part II. SPb., 1877, p. 170; SPb Ved, 1851, № 278, 282, 284).
The anonymous author of the review “Petersburg Theaters in November and December 1851”, characterizing “Where it is thin, there it breaks” as a “beautiful comedy”, concluded his detailed retelling of its content with the following words: “Judging by the fact that this play appeared on the stage three years after it was printed, we can conclude that it was not written for the stage. In fact, there is very little of the stage in it, very little that would amaze everyone, would please everyone. It also has a lot of lengths that are very entertaining and even necessary to read, but tedious on stage. That is why this play made a dubious impression, despite the fact that it was beautifully acted. Ms. Samoilova 2nd and Mr. Maksimov very correctly understood their roles and were able to convey their psychological side with great skill ”( Otech Zap, 1852, No. 1, sec. VIII, p. 60).
On June 15, 1856, Nekrasov turned to Turgenev with a request to give permission to reprint the comedy “Where it is thin, it breaks there” in the series he published For easy reading (Nekrasov, vol. X, p. 278). In letters dated July 4 and 10 of the same year, Turgenev agreed to this reprint, after which his play was included in the fourth volume of the publication. For easy reading.
In this collection, allowed by the censors on September 13, 1856, the comedy "Where it is thin, there it breaks" first appeared in print with the text of Gorsky's fairy tale about the three suitors of the baroness, but not in the version that was included in the theatrical edition of the comedy in 1851 g., and with some new corrections of the stylistic order, which then passed without any changes to the edition of 1869.
The text "Where it is thin, there it breaks", published in the collection For easy reading in 1856, had one more feature: it lacked the dedication of the play to N. A. Tuchkova, who was already at that time the wife of the emigrant N. P. Ogarev. There is every reason to believe that the removal of the dedication in this case was explained not by the will of the author, but by censorship and police requirements, since this dedication was also absent in a separate edition of the comedy released by the bookseller F. Stellovsky in 1861, without any participation of Turgenev {22}. The text of this edition, authorized by censorship on January 18, 1861, was a mechanical reprint of the comedy's magazine text distorted by censorship, with all its defects, even with two rows of dots, which replaced Gorsky's fairy tale in Sovremennik in 1848. In the edition of 1856, the comedy "Where it is thin, there it breaks", with the most insignificant cuts and corrections, was included in the edition of "Scenes and Comedies" in 1869.
A special literary and theatrical genre, the themes and forms of which Turgenev learned in “Where it is thin, there it breaks”, was canonized in the late thirties and early forties in Alfred Musset’s “Dramatic proverbs” (“Proverbes dramatiques”). The characterization of plays of this type, given on the pages of Sovremennik immediately after the publication of “Where it is thin, there it breaks”, so skillfully determined the specific features of the new dramatic style that, despite the absence in this anonymous article (apparently, I I. Panaev) of direct references to Turgenev, it can now be considered as the first historical and literary commentary on one of the most popular subsequently "scenes and comedies".
“Mr. Musset created another new kind of small dramatic conversations, which he called proverbs (proverbe), because by their action they express the meaning contained in these proverbs ...
Where it is thin, there it breaks
Wed Turgenev. (Comedy title).
Wed Where it is thin - there it breaks: in the sense - whoever has little, he loses (literally and allegorically).
Wed He felt fits of shortness of breath and began to fall on one leg ... And on top of that, the usual St. Petersburg bad weather ... by virtue of the proverb: "Where it's thin, it breaks there"... appeared before him in all their hopelessness.
Saltykov. Collection. Old grief.
Wed Your mind goes beyond your mind ... and where it is thin, there it breaks.
Dal. The Tale of the Shemyakin Court.
Wed Man zerreisst den Strick, wo er am dunnsten ist.
Wed From the one who does not have, what he has will be taken away.
Matt. 25, 29. Luke. 19, 26.
Cm. bumps fall on poor Makar .
Russian thought and speech. Yours and someone else's. Experience of Russian phraseology. Collection of figurative words and parables. T.T. 1-2. Walking and well-aimed words. Collection of Russian and foreign quotations, proverbs, sayings, proverbial expressions and individual words. SPb., type. Ak. Sciences.. M. I. Mikhelson. 1896-1912.
See what "where it's thin, it breaks" in other dictionaries:
Where it is thin, it breaks there. Where it is bad, here it will be flogged. See HAPPINESS LUCK Where it is thin (or: briefly), it breaks there. See WORRY OF OFFENSE… IN AND. Dal. Proverbs of the Russian people
Where thin, there it breaks. Wed Turgenev. (Title of comedy). Wed Where thinly there it breaks: in the sense of one who has little, he loses (literally and allegorically). Wed He felt fits of shortness of breath and began to fall on one leg ... And besides that, and ... ... Michelson's Big Explanatory Phraseological Dictionary (original spelling)
Where it is thin, it breaks there (Turgeneva)- comedy... Dictionary of literary types
Blenalme, m-lle ("Where it is thin - there it breaks")- See also >> companion and governess 42 years old. He sighs over Paris, loves le petit mot pour rire and rolls his eyes languidly... Dictionary of literary types
Gorsky, Evgeny Andreevich ("Where it is thin - there it breaks")- See also Neighbor Libanova, 26 years old, smart man, old friend of Vera; reputed to be a mocking and cold person. By his own will, he rarely indulges in lofty feelings. It doesn't have sensitivity. He is much more pleasant to laugh, ... ... Dictionary of literary types
Gutman, Karl Karlych ("Where it is thin - there it breaks")- See also the Doctor, young, handsome, with silky sideburns, he did not understand his business at all ... Dictionary of literary types
Grooms ("Where it's thin, it breaks there")- See also blond, fair-haired, brown-haired; pack. l... Dictionary of literary types
Libanova, Anna Vasilievna ("Where it is thin, there it breaks")- See also Landowner 40 years old, rich widow, n? e Salotopine, kind woman, she lives herself and gives life to others. Does not belong to high society; Petersburg, she is not known at all, but her house is the first in the province. Administrative head ... House in ... ... Dictionary of literary types
Mukhin, Ivan Pavlovich ("Where it is thin, there it breaks")- See also Libanova's Neighbor, 26 years old, hot player... Dictionary of literary types
Stanitsyn, Vladimir Petrovich ("Where it is thin, there it breaks")- See also Libanova's Neighbor, 28 years old, retired lieutenant of the guard, the kindest fellow, a modest man, of a narrow mind, lazy, a homebody. Trusting and talkative: what is in his heart, then in his tongue. Gorsky calls him a ladies' man... Dictionary of literary types
Books
- I. S. Turgenev. Works in twelve volumes. Volume 2, I.S. Turgenev. 1979 edition. The safety is good. The second volume includes scenes and comedies by I. S. Turgenev: "Carelessness", "Lack of money", "Where it is thin, there it breaks", "Freeloader", "Bachelor", "Breakfast at ...
