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TLAYS OF TO-DAY AND TO-MORROW

THE LOWE

"DEPTHS

Plays of To-day and To-morrow

DON.
"

By RUDOLF BESIER.
'

is a man who can see and think for himself, and constructs as setting for the result of that activity a form of his own. The construction of Don is as daring as it is original." Mr. Max Beerbohni in The Saturday Review. " and full of good things." Mr. It is a fresh and moving story . . A. B. Walkley in The Times. "'Don' is a genuine modern comedy, rich in observation and courage, and will add to the author's reputation as a sincere dramatist." Mr. E. F. Spence in The Westminster Gazette.

Mr. Besier

'

THE EARTH.
"A
attack

By JAMES
and a

B. PAGAN.
vital

magnificent play

at

one and the same time a

and

fearless

on

political

fraud,

brilliantly-written

strong

human

The Daily Chronicle. "'The Earth' must conquer every one by its buoyant irony, its pungent delineations, and not least by its rich stores of simple and wholesome moral feeling." The Pall Mall Gazette.
drama."

LADY PATRICIA.
"

By RUDOLF
'

BESIER.
;

One

us in

most delightful productions which the stage has shown recent years. Mr. Besier' s work would read deliciously it is
of the
it is
'

literary,

witty,

it is

remarkable.

' .
.

Lady

Patricia

'

is

much more

than merely a success of laughter. It is also a success of literature. It is difficult, if not impossible, to convey the delicate feeling for words, the quaint, satirical quizzing of Mr. Besier of the firecieuse, the dabblers in sentiment, the poseurs who form the people of his play." The Standatd.

THE MASTER OF MRS. CHILVERS.

By JEROME
play."
"
is

K. JEROME.

" It cannot be denied that Mr. Jerome has written an excellent acting

Glasgow Herald. There is no caricature of the suffragist, and every type in the play both carefully and skilfully drawn." Aberdeen Free Press.

THE WATERS OF BITTERNESS Three and THE CLOD(A Play HOPPER (An Incredible Comedy).
in

Acts)

By

S.

M. Fox.

"I am inclined to think that we shall hear a great deal of Mr. Fox supposing that Mr. Fox writes other plays as clever as 'The Waters of Bitterness,' and supposing that managers think the public clever enough to appreciate them. Anyhow his is a strong and bold debut." Mr. Max Beerbohm in The Saturday Review.

LONDON

T.

NEW YORK:

FISHER UNWIN DUFFIELD & CO.

MAXIM GORKY.

THE

LOWER "DEPTHS
A TLAT IN FOU^ ACTS
BY

3MAXIM gORKI
TRANSLATED FROM THE ORIGINAL RUSSIAN BY

LAURENCE IRVING

LONDON: r. FISHED ADELPHI TERRACE

(All tighls reserved.)

The

Cast of "

The Lower Depths,"

as

it

at the Kingsway Theatre, London, on

2,

was produced December

1911

Luka
Vassilisa

Vaska Pepel
Natasha

The Actor Anna

Satine

Nastya

The Baron
Kvashnya
Boobnoff
Kleeshtsh

HOLMAN CLARKE FRANCES WETHERALL O. P. HEGGIE JEAN BLOOMFIELD LEWIS WILLOUGHBY HAIDEE WRIGHT HERBERT BUNSTON LYDIA YAVORSKA VINCENT CLIVE CLARE GREET
E. H.
C. F.

BROOKE
COLLINGS

Myedvyedyeff
Kostoloff

ALBAN ATTWOOD
J.

H.

BREWER

The Tartar
Alyoshka

IVAN BERLYN

When

..

RICHARD NEVILLE SIDNEY TEVERSHEM

THE FIRST ACT

THE FIRST ACT

SCENE.
cave -like cellar. The ceiling is with the plaster peeling off. The light comes from a square window high The right corner is up in the right wall. partitioned off with thin boards; it forms PEPEL'S room Close to the door of this room are BOOBNOFF'S sleeping -planks. In left corner is a large Russian stove ; in the stone
arched, grimy,
.

wall left is the kitchen door, where KVASHNYA, the BARON, and NASTYA live. Against the wait, between the stove and the door, is a

large bed with dirty print curtains. Sleep ingplanks around the walls. To the front by the left wall is a block of wood with a vice, and

an

anvil, also

another lower block of wood.

(On the lower block KLESSHTSH is seated At his feet trying keys into old locks.
are

two large bundles of miscellaneous keys, strung on wire rings, a battered tin

In the samovar, hammer, and pincers. middle of the shelter are a large table, two seats, a stool, all dirty and of plain wood. KVASHNYA is behind the table
attending to the samovar, the BARON is chewing some black bread, and NASTYA
11

12
is

THE LOWER DEPTHS

stool, leaning her elbow on the In the bed, reading a tattered book behind the curtains, ANNA lies coughing. BOOBNOFF is seated on his planks with an old hat shape between his knees, considering how he shall deal with a pair of unstitched old trousers. Scattered about

on the

table,

him are a couple of vizors, some pieces SATINE has only just of buckram, a rag.
off to sleep on his planks; he grunts his sleep. The ACTOR, out of sight, tosses about on the stove and coughs.)

gone
in

(It is

an early spring morning.)

THE BARON.
And
after
I

KVASHNYA.
No, says
I've
I, it,

tried

no, dearie, just you see

.

you stow and it's

it,

says

no

more

marriages for

me

BOOBNOFF.
(To SATINE.)
Stop that grunting
I

KVASHNYA. What for,

mistress

says

me

a free woman,

my own
1

what for should I go and give up my saddle myself with a husband no and passport let alone one of them I wouldn't marry no man American Princes, that I wouldn't
!

KLESSHTSH You lie

!

THE LOWER DEPTHS

KVASHNYA. What -at ?
KLESSHTSH. You lie You'll marry Abramka.
1

13

THE BARON.
(Reading the title of the book he has snatched " The Fatal Love away from NASTYA.) (He laughs.)

"...

NASTYA.
(Extending
. . .

hand.)
1

Give

now
book

give

it

stop fooling

(The

BARON

flourishes the

in the air.)

KVASHNYA.
(To KLESSHTSH.)

me

I lie

You red goat, you Just don't you dare to give me

telling

none of

them coarse words.

THE BARON.
you
(Striking the book on little fool
!

NASTYA'S head.) Nastya,

NASTYA.
Give
it

here.

KLESSHTSH.
Quite the
to
fine lady.
. . . .

But you'll be married

Abramka
to.

and

you

know

you're

just

dying

...

14

THE LOWER DEPTHS

I just see myself Aren't you clever done your wife nearly to death.
I

KVASHNYA.
. . .

you

as 'as

KLESSHTSH.
Stop
yours.
.

it,
.

you
.

hag

Tain't

no

affair

of

KVASHNYA.
Ah, ha, you can't stand the truth
!

THE BARON.
They're started.

Nasty a, where are you?

ANNA.
(Putting
.her
I

Morning
. . .

at last

head through the curtains.} For Heaven's sake don't shout

stop quarrelling.

KLESSHTSH.
Moaning moaning
.

ANNA.
Every blessed day.
peace.
.

Might

let

me

die in

BOOBNOFF.
Noise
ain't

no 'indrance to dying.

KVASHNYA.
(Approaching ANNA.) managed, you poor soul, to

'Ow

yer

ever

'ave
?

live with

such a beast

ANNA.
Don't
.

don't.

THE LOWER DEPTHS

KVASHNYA.
Well, well
I

15

You're such a patient thing

Ain't the chest no easier?

THE BARON.
Kvashnya
!

Time

for market.

KVASHNYA.
Just a second
!

(To ANNA.)

'Ud yer

like

some of

my

'ot

pies?

ANNA.
No, no

...

thanks.

Why

should

eat?

KVASHNYA.
some
I'll leave you 'Ot ones soothing. then when you feel like a cup Come on, Baron. it, yer gobble it up. Er you dirty beast (To KLESSHTSH.)

Must

eat.

in

(Goes into kitchen.)

ANNA.
(Coughing.)
Lord, Lord.
.

THE BARON.
(Softly
.

nudging NASTYA'S elbow.)

silly
1

Chuck

it

yer

NASTYA.
(Growls.)

Do

go.

let

you alone.

(THE BARON goes out

whistling.)

after

KVASHNYA,

16

THE LOWER DEPTHS

Can't think who (Sitting up on his planks.) was that pummelled me yesterday ?

SATINE.
it

BOOBNOFF.
Does
SATINE. Leave
though
?
it

matter

much

'oo

it

was

it

at

that.

But what was

it

for,

BOOBNOFF.

Was
SATINE.

yer play in' cards

Played.

BOOBNOFF.
Well, then, that's 'ow
it

was.

SATINE.

The blackguards.

THE ACTOR.
One of (Raising his head from the stove.) these days you'll get such a real pummelling a pummelling to death.
SATINE.
Don't talk
rot.

THE ACTOR.

Why

rot?

SATINE. Because

man

can't

die

twice over.

THE LOWER DEPTHS

THE ACTOR.
(After a silence.)
can't

17

What do you mean?

How

he?

KLESSHTSH. Come down off that stove, and sweep up. ... What are yer shamming there ?

THE ACTOR.
That's none of your business.
. . .

KLESSHTSH.
Wait
yours
.

till

Vassilisa

comes

she'll

soon show yer

THE ACTOR.
Vassilisa can go to the devil. Baron day to sweep.
. . . !

It's

the Baron's

(BARON coming out from

the kitchen.)

THE BARON.
I've no time for sweeping. market with Kvashnya.

...

I'm

off

to

THE ACTOR.
For
.

all I
It's

care

your turn to sweep on to doing other people's jobs.

. . .

you may be going to jail. and I'm not

.

THE BARON.
Let Nastya do it. Hi, Oh, go to blazes fatal love Buck up you there, (Takes book from NASTYA.)
!

18

THE LOWER DEPTHS

(Getting up.}

NASTYA.
puppy
!

What now? Give it here And you call yerself a gentleman.

back
the
for

You
. .
.

THE BARON.
(Giving

going

to

sweep up

Nastya book.) me understood ?

You're

NASTYA.
(Going
into
I

kitchen.)

Likely

indeed.

What

next

KVASHNYA.
(To

BARON through
They can do
it

on

you was asked

kitchen door.) Now come without you. Actor you do it ... it won't kill yer
. .
.

THE ACTOR.
Yes
it.
.

it's

always

me.

...

don't

see

...
(BARON comes out
earthen
pots strung covered with rags.)
of kitchen carrying on a pole

some and

THE BARON.

bit

heavy to-day.

SATINE.
Fat
think
!

lot
.

of
.
.

good being born a Baron,

don't

KVASHNYA.
(To ACTOR.) Just you be sure and sweep up (Goes off pushing the BARON before her.)
I

THE LOWER DEPTHS

THE ACTOR.
(Coming down from

19

me

to

inhale
is

the

It's harmful for stove.) dust. (With pride.)

. . .

My

poisoned with alcohol. meditating on planks.)

organism

(Seated

SATINE.

Organism

organon.

ANNA.
Andree Mitritch.
.

KLESSHTSH.
Well, what?

ANNA.
Left

some

pies for

me Kvashnya

did

you have

them.

KLESSHTSH

(Approaching ANNA.)

Well, won't you?

ANNA.
work
No, no. ... you
;
. .

Why
.

should
it.

eat?

You've to

you need

...

KLESSHTSH.
Frightened?
get
all

Don't be frightened
. . .

might

right.

ANNA. Go and
soon.

eat

In

a bad way

...

all

over

20

THE LOWER DEPTHS

. .

KLESSHTSH. Come, come you never know

round
. . .

may

pull

such things happen

(Goes into kitchen.}

THE ACTOR.
(Loud, as if he had suddenly woken up.) Yesterday in the hospital, the doctor he said to me - Your organism," he said, -' is thoroughly poisoned with alcohol
:

"...
. . .

SATINE.
(Smiling.)

Organon.

THE ACTOR.
Not organon
or-ga-nism.

SATINE.
Sicambri.
.

THE ACTOR.
(Waving
say
this,
.

his

hand

at him.)
If
it

and
. .

seriously.

poisoned

why, then

I Oh, rubbish is organism must be harmful for

1

the

me

to

sweep the floor

to inhale the dust.

SATINE.
Macrobistik
.
.

ha

THE ACTOR.
What
SATINE.
are you muttering?

Words

here's

another

for

you

trans -

cendentalistic.

THE LOWER DEPTHS

BOOBNOFF. What does
SATINE
.

21

it

mean ?

Don't know

forgotten.

BOOBNOFF. What are you coming

SATINE.
Just so

at ?

of all our human I'm sick of 'em. speech I've heard 'em every single one ... at least a thousand times.
.

... I'm tired, mate, ... all of our words.

.
.

THE ACTOR.
In the play of Hamlet " words It's a words, the played grave-digger.
I

"

"

"

they say
.

good piece
. .

...

Words,
I

(KLESSHTSH coming from KLESSHTSH.

Let's see

the kitchen.}

how you
own
I

play with that broom.

THE ACTOR.
Keep
chest.)
to your

business
.
. .

(Strikes his

Ophelia
!

think of

me

in thy

prayers

(In

the distance is heard a

cries,
sits

dull

murmur,

and a police
to his
file.)

whistle.

KLESSHTSH

down

work, and scrapes away

with a

22

THE LOWER DEPTHS

I

SATINE.
little

love difficult, rare words. When I was a chap ... I was in a telegraph office
.

read a heap of books.

BOOBNOFF.
Did you work the telegraph?
SATINE.
I
. .

did.
.

There are some very good books

.
. .

and

quantities of curious words.

.
.

I've

received an education

see?

BOOBNOFF. You don't

done yer a place of
!

let

Now I my own

one forget it Much good it'd I was a fur -dyer had

! . . . . . .

the dye
all

dyed 'em

this

and

yaller right up to the elbows " I shall never get 'em thought,

'ands all yaller with 'ands dyed 'em that "

:

Well,"

clean in this

world
'ands."
dirt

...
.

I
.

But look
. .

shall just die with these 'ere yaller at 'em now, there's only

on 'em

nothing

else.

SATINE.
Well, what of
it ?

BOOBNOFF.
That's just
all

about

it.

...

SATINE.

What

are you talking about?

THE LOWER DEPTHS

BOOBNOFF.
Just
off

23

so

...
it all

just

comparing.
off, ay,

...
it

It

yer whatever you does to the outside

all

shows comes

...
Ah

comes

ay.

SATINE.
. . .

my

bones are aching

THE ACTOR.
Education's bosh, (Seated nursing his knee.) the great thing is talent. I knew an actor . had to spell out his parts, but he played heroes in a way that why, the theatre would just rock
.

with the delight of the audiences.

SATINE.
BoobnofT, lend us five kopyeks?

BOOBNOFF.
All
I

have's two.

THE ACTOR. I say ...

talent.

to

play
.

heroes
belief

you
in

must

have
in

And

talent's
.

just
.

yourself,

your

own powers.

SATINE.
Give

me
.

five

kopyeks and
Klesshtsh,

I'll

have belief in
!

you

I'll

believe you a hero, a crocodile, a police

.
.

inspector.

five

kopyeks

KLESSHTSH.

Go

to hell

The whole pack

of you

24

THE LOWER DEPTHS

What
are you cursing at?

SATINE.

You
!

haven't got a

stiver in the

world

know

yer

ANNA.
Andree Mitritch
can't breathe
!

...

I'm choking

...

KLESSHTSH What can

BOOBNOFF.
Open

do?

the passage door

KLESSHTSH.
Thanks. Nice for you up there ; I've to be on the floor ... if I was in your place I'd say " I'm cold enough without no Open it." door open.
.

BOOBNOFF.
It

wasn't for

me ...

it

was

for yer wife.

KLESSHTSH.
(Sulkily.}

Makes no odds who

it's

for.

SATINE.

My

head's

all

buzzing.

Eh

why

must people be thumping each other's heads?

BOOBNOFF.
Not only each
other's
other's heads, but all over each Coin' to buy 'ole bodies. (Gets up.}

THE LOWER DEPTHS

some thread
.
.

25

they're late in showin' up to-

day our losses

(Goes out.}

(ANNA coughs: SATINE

his

lies

motionless, with

hands folded behind his head.)

THE ACTOR.
ANNA.)
(After a melancholy look round, approaching Feeling bad, eh?

ANNA.
. . .

the choking

THE ACTOR.
into the passage ? Up her to rise, pulls a kind (He helps shawl her round of shoulders, and supports her towards the passage.) it's a job. Ay ay I'm ill myself poisoned with alcohol.
like to

Would you

go out

you get, then.

(KOSTOLOFF
KOSTOLOFF.
Having a
stroll?

in

doorway.)

Here's a very pretty pair, Gallant knight and lady fair.

THE ACTOR.
Get
invalids

on
!

one

side

there.

way

for

the

KOSTOLOFF.
Pass out, pass out.
. . .

(He hums an anthem

26

THE LOWER DEPTHS

tune, glances round suspiciously, and inclines his head to the L. as if he were listening for something in PEPEL'S room.)

(Exeunt

ACTOR and ANNA.)

and

(KLESSHTSH

his keys jangling with his scraping away file.)

is
!

How

you squeak

KLESSHTSH. What d'you say?

KOSTOLOFF.
I say you squeak. Er (Pause.) was something* I wanted to ask you. low.) Wife not been here ?
. . .

There

(Quick and

KLESSHTSH.
Ain't seen her.

KOSTOLOFF.
approaching the door of PEPEL'S lot of room that you take up for a room.) and then month. The bed rouble a your Five roubles' where you sit ... hum, yes I shall worth of room as Heaven's above us. . have to stick you on half a rouble.
(Carefully
It's
.

KLESSHTSH.
You'd put a rope round my neck, and strangle me. ... You're near the grave, and you think
of nothing but half -roubles.
.

THE LOWER DEPTHS

KOSTOLOFF.

27

Why strangle you ? What were the use of that ? Live in the Lord, live and prosper. But I shall have to stick you on half a rouble 'ave to that it may buy oil for the sacred lamp burn before the Holy Ikons in atonement of my And my sins will be forgiven me, sins. and yours too. Your sins you don't think about no, verily. Oh, Andruishka, you are a wicked man Your wife is perishing through your wickedness ... no one loves you, nor esteems you your work is squeaky, dis. . .
.

turbing to everybody.

KLESSHTSH. What do you come here

for

baiting

me ?

(SATINE gives a loud growl.)

KOSTOLOFF.
(With
you.
. .

a
.

start.)

Lord,

there's

noise

for

(The

ACTOR

entering.)

THE ACTOR.
I've sat her

down

in the passage,

and wrapped

her up.

KOSTOLOFF.
There Here's what I call a real good fellow. be shall all deeds. are good They paid back
to you.

THE ACTOR. When?

28

THE LOWER DEPTHS

there

KOSTOLOFF.
In the other world, my boy every one of our acts, they shall up.
. . .

all,

all

be reckoned

...
to

THE ACTOR.
Suppose you were
reward

me

for

my goodness

down

here.

KOSTOLOFF.

How
Wipe

can

do that

THE ACTOR.
out half

my

debt.

KOSTOLOFF.

He he You are always joking, my dear boy, always poking fun. ... Is the goodness of the heart to be paid for in money? Goodness is above all other gifts. But your debt to me that is ... your debt to me. And accordingly you should pay me back. Doing me good for its own sake, to me, who am an old man.
!

THE ACTOR.
Old man
you old rogue
gets
1

...

(KLESSHTSH
passage.)

(Goes into the kitchen.) up and goes into the

KOSTOLOFF. The squeaker

he's

hooked

it.

He he

He

has no love for me.

THE LOWER DEPTHS

SATINE.

29

Who

but the Devil does love you?

KOSTOLOFF.
Yet I love all of Oh, you've a bad tongue you. ... I see that you are my poor, downtrodden, useless, fallen brothers. (Suddenly
!
.

and rapidly.)
SATINE.

And Vaska

is

he at home?

Look
!

(Going Vaska

to

the

door

and
at

knocking

at

it.)

(THE ACTOR appears

PEPEL.

the kitchen door,

chewing something.)

Who
It's

is

it?

KOSTOLOFF.

me

me, Vaska

PEPEL.

What d'you want ?

KOSTOLOFF.
(Bawling back).

Open

SATINE.
(Without looking at KOSTOLOFF.)

He

opens,

and there

she'll be.

...

(THE ACTOR makes a grimace.)

KOSTOLOFF.
(Low,
anxiously.)

Eh?

Who'll

be

there?

What do you mean'?

30

THE LOWER DEPTHS

What's that
?

SATINE.

Are you asking me

KOSTOLOFF. What did you say?

SATINE.
I

was

just

talking to myself.

KOSTOLOFF. Look here, my

. .
.

see

Don't get too funny on the Vassili (Bangs door.}

friend
1 I

PEPEL.
(Opening door.}

Now, then?

What's up?

KOSTOLOFF.
(Looking
.

into
.

the

room.}

...

you see

you.

PEPEL.
'Ave yer brought the money?.

KOSTOLOFF.
I

wanted

to tell you.

PEPEL.

Where

is

the

money ?

KOSTOLOFF.

What money?
PEPEL.
the seven roubles for the watch

Why,

now?

THE LOWER DEPTHS

KOSTOLOFF.

31

What
PEPEL.

watch, Vaska

What

a fellow you are

You're a good 'un Yesterday, before witI sold a ticker for ten roubles nesses, you three I had the seven fork it up What are for? You about yer blinking waking prowl
1 . . . I

people up
self

...

and now you don't know yourafter.

what you're

KOSTOLOFF. Sh sh Don't
I

get

angry, Vaska.
. .
.

The

watch, you see

it

was

PEPEL.
Stolen.
. .

KOSTOLOFF.
I receive (Sternly.) that you should think

no stolen goods

PEPEL.
(Taking him by the shoulder.}
did you disturb

Now, what
you want
?

me

for

What

is it

KOSTOLOFF.
I

don't

want
to.

nothing.

...

I'll

be

off

if

you're going

...
!

PEPEL. Be off, and bring the money

KOSTOLOFF.

dreadful surly lot

Who

ever did

(Goes

off.)

32

THE LOWER DEPTHS

It's

THE ACTOR.
a farce they're playing.

SATINE.

Good.

like farce.

PEPEL.

What was he
SATINE.

after,

eh

You don't know? He's after his (Smiling.) wife why don't you settle him, Vaska?
. . .

PEPEL.
Risk

my

life

for a tihing like that.

SATINE.
You're a sharp lad.
Vassilisa
.

Then why shu'd marry

. . .

and become our boss.

PEPEL.

You

are

good

Why, you'd
. .

just fatten

on

me

I'm a soft-hearted farthing I had.

.

fool, you'd drink away every The (Sits on the planks.}

.
.

.1 was having I'd was ; fishing, caught a pro-diNever saw such a one out of <a bream gious There I had him on my hook, and I dream. " " I'd just was just dreading the line'll snap and I out the was thinking to got gaff
old devil
.

woke me up.

a fine dream

myself,

now

in a

moment

SATINE.
That weren't no bream,
it

was Vassilisa.

THE LOWER DEPTHS

THE ACTOR.
He hooked
PEPEL.
Vassilisa long ago.
.
. .

33

You can all go (Angrily.} and you can take her with you
(KLESSHTSH coming out
KLESSHTSH.
Cold
. . .

to the devil
I

of the passage.}

devilish cold.

THE ACTOR.
Have
freeze.
.

you
.

left

Anna

out

there

She'll

KLESSHTSH.
Natasha
kitchen.
. .

'as
.

taken

'er

with

'er

into

the

THE ACTOR.
The
old man'll put her out.
.

KLESSHTSH. down (Sitting

SATINE.
Vaska
1

to
.

his
.
.

work.}

Hum

Natasha'll see to her.

Let's

have

five

kopyeks.

THE ACTOR.
You
.

you and your

.
. .

five

kopyeks.

Give us twenty kopyeks.

3

34

THE LOWER DEPTHS

I'd best

PEPEL.
hurry up
. .

rouble.

There

... or ...

you'll be wantin' a

SATINE.
Gee-bral-tar-r
the world.
!

Crooks are the best folk

in

KLESSHTSH.
(Grumbling.)
. . .

they

don't

Their money's easily come by work.

.

SATINE.

come by their money easily, there's Work? to part with it easily. few precious You make your work so that it's pleasant to me, and I don't say I won't work. ... I might When your work's a pleasure, life's jolly then. When it"s a toil, a duty, then life's slavery (To
Heaps
. .
. !

the

ACTOR.)

Here,

Sardanapalus

Come

on.

...
on, Nebuchadnezzar
like forty

THE ACTOR.
Come
it

down

I'm going to thousand drunkards.

I

swill

(They go out.)

PEPEL.
{Yawning.)
Well, and 'ow's yer wife?

KLESSHTSH.
She
ain't for long.
.
.

(Pause.)

PEPEL. Yer know

look at you

there's

no good

in all

that scraping.

THE LOWER DEPTHS

KLESSHTSH.

35

What
PEPEL.

should

jdo ?

Nothing.

KLESSHTSH. 'Ow should

PEPEL.

live?

People manage.

KLESSHTSH.
Call them people ? Rabble, muck I'm ashamed I'm a man. ... people working I've worked since I was even to look at 'em. a child. D'you think I shan't get clear of all this? I shall, if I leaves all my skin behind
!

Them ?

me
.
.

just

I've

you wait my wife, been here six months, but

.

she'll die.
it

seems

more

like six years.

PEPEL.
There's no one here any worse that you
say what yer like.
. . .
. . .

KLESSHTSH.

No worse
conscience.

They

'aven't

no honour nor no

PEPEL.
(Indifferently.)

Much good

of

them honour,

conscience

Can you

get 'em on to your feet in-

36

THE LOWER DEPTHS

honour and conscience? Honour and conscience does mighty well for them as 'as the power and the strength.
stead of boots
. . .

BOOBNOFF.
(Re-entering.}

Ooh

bitter.

PEPEL.
Boobnoff
!

Got a conscience?

BOOBNOFF. What for ?

PEPEL.
That's just

A
it.

conscience

BOOBNOFF. What 'ud

rich

do with a conscience?

ain't

no

man.

PEPEL.
That's

what

say

honour and conscience

I

they're for the rich, yes it into us ; says we ain't

Here's Klesshtsh

lettin'
.

no consciences.

BOOBNOFF.

Why,
PEPEL.
'E
'as

is

'e

wantin' to borrow

some?

'is

own

supply.

BOOBNOFF.
Oh, then
here.
of
it

'e's sellin' off.

if it

Now,
.

Won't find no market was old cardboard I'd take some

. .

on account.

THE LOWER DEPTHS

PEPEL.

37

You are an ass, Andruishka (Didactically.) Just you let Satine talk to you about consciences ... or try the Baron.
!

KLESSHTSH.
D'you think
I'd talk to sich
!

PEPEL.
They've better 'eads than yours
their drinking.
.

for

all

BOOBNOFF.
'E that can be drunk and wise 'E's a man a man should prize.

PEPEL.
Satine says, every man wants a conscience in his neighbour, but 'e says, no man wants one in and that's a fact. 'isself
. .
.

(NATASHA comes
a
staff,

in.

Alter her,

LUKA

with
ft

pack over his shoulder,

at his waist.)

kettle

and a teapot

LUKA.
Give you good-day, honest people
!

PEPEL.
(Twisting his moustache.)

Ah, Natasha

BOOBNOFF.
(To LUKA.)
year.
.

was honest up to

last

spring

38

THE LOWER DEPTHS

See, here's a

NATASHA.

new room-mate.

LUKA.
all one to me Sharpers I respect There's no two sorts for me ; all just fleas ... all little black fellows ... all about tha-t's the hopping way. Show me,

Oh,

it's

'em, too.

dearie,

where

shall

squeeze myself?

NATASHA.
(Pointing to
kitchen door.}

Go

over there,

daddy.

LUKA.
Thanks,
girlie

dear

It's all just

a place.

Where
happy.

the old man's

warm, there the old man's

PEPEL.

A
us,

wonderful Natasha.
.

little
. .

old boy that you've brought

NATASHA.

A
just

Andree

more interestin' than you. We've got yer wife in the kitchen you come and fetch 'er.
sight
!

KLESSHTSH.
Right.

...

I'm coming.

NATASHA.

And you might try and be kinder She hasn't much longer.
.

to 'er.

THE LOWER DEPTHS

KLESSHTSH.
I

39

know.

NATASHA. You know.

the thing
die.
.

is
.

to do.

There's no good in knowing, Ah, it's a fearful thing to

PEPEL. See me.

...

I'm not afraid.

NATASHA.
Oh, you're a marvel, aren't you?

BOOBNOFF.
(Whistling,)

Urn

sticky thread.

PEPEL.
God's

moment
it

I'm not truth, I'm ready to die.

heart.
too,
.

afraid

This
knife,

very

into

my
. .

And
hand.

gladly,
.

for

plunge without a sound. I'll die I should fall by a pure

Take a

NATASHA
as likes

(Going out.)
it.

Keep your

soft

soap for them

BOOBNOFF.

Um

sticky

sticky.

NATASHA.
(By the passage door.) ishka, about your wife.
.

Don't forget, Andru.

40

KLESSHTSH.
All right
!

PEPEL.
There's a fine girl
!

BOOBNOFF.
Ay, the
girl's all right.

PEPEL.
she's

Why's she so short with me ? Why ? bound to come to grief here.

Ah,

well,

BOOBNOFF.
You'll bring her to grief.
.

PEPEL.

What do you mean

BOOBNOFF.

I ?

I'm sorry for her.

Like the wolf for the lamb.

PEPEL.

You
She

liar

am

right

down

sorry for her.

I

'as

a 'ard

life

'ere.

...

see.

KLESSHTSH.
Wait
her.
.

till
.
.

Vassilisa

spots

you

gabbing

with

BOOBNOFF.
Vassilisa?

go.

...

M'yes, she ain't one to She's a fierce woman.

.

let
.

'er

own

THE LOWER DEPTHS

PEPEL.
(Lying on the planks.)
yer croakers
!

41

Go

to the devil

KLESSHTSH.
You'll see

wait a bit

(LuKA from the

kitchen, singing :)

Through the night we trudge along, Dark as night is all around

.

KLESSHTSH.

Lord

another shouter.

PEPEL.
I'm bored.
All's
.

Why
it

do

get this
all

boredom?
. .

going

along well.

yer kind of dry up and

of a sudden, all gets tiresome. .

Then

BOOBNOFF.
Tiresome
?

Hum ....

PEPEL.

Ay
LUKA.

ay.

(Sings

:)
is

All the road

dark before.

PEPEL. Old man

Hi

(LuKA appearing

in the door.)

42

THE LOWER DEPTHS

Call

LUKA.

me?

PEPEL.
Don't sing
!

LUKA.

You
PEPEL.

don't like it?

When
LUKA.

it

is

good

singing,

like

it.

...

That's to say, then, mine

isn't

good?

PEPEL.
You've
hit it.
. .

LUKA.
There now
!

just always thinking now this is suddenly folks seem not to care for
:

the

did think a way

could sing. That's goes along something I can do. And

I

man he

it.

...

PEPEL.
(Smiling.}
Yes, that's the way.
.

BOOBNOFF.
Say
ing.
. .

you're
.

bored,

and

now

you're

laugh-

PEPEL.
Let

me

alone,

you crow.

THE LOWER DEPTHS

LUKA.

43

Who
PEPEL.

is

it

says they're bored?

Me

here.

(Re-enter the BARON.)

LUKA.
There now
1
!

There's
there,

girlie

there

in

the

kitchen, sitting she's crying

ing.
it

and reading a book, and

is
!

...
is

says to her,

all,

eh?"
"
it,"

"What

she says,

in

The tears are flowWhy, my pet, what is she "Oh," says, "it's so sad!" I says, "that's sad?" "Here," the book." And that's how
That she
"
. . .

people pass

their
.
.

time, eh?

It's

all

from

this

boredom.

THE BARON.
That's girl's a fool.
. .

PEPEL.
Baron
!

Had your

tea?

THE BARON. Had it. ... What

PEPEL.

then?

What

d'you say
?

'ud you like

me

to stand yer

half a bottle

44

THE LOWER DEPTHS

What do you
think
! .

THE BARON.
.
.

What then?

PEPEL.

Go down on

all

fours,

and bark

like

a dog

THE BARON.
Fool drunk ?
!

What

are yer talking about

Are yer

a gentleman.
all

That'll amuse me you're There was a time you thought and yourself better than your brother man
!

PEPEL. Bark go on

the rest of

it.

THE BARON.
Well,

what then?

PEPEL.

What

Why now
to

make you bark

it

lik

a dog,

and you've got

do

are yer going to?

THE BARON.
And
if
I

do.

And where 's

all

do know

that I've fallen even

made me go an

your gain if you below you? You fours when I was above you.

BOOBNOFF.
That's true
!

LUKA.
It's true,

and

it's

good.

THE LOWER DEPTHS

BOOBNOFF.

45

What was, was ; what's left's all nothing. There's no difference here. We're all of us level ; nothing but the bare, naked man.
. . .
.

LUKA.
That means all are equal. dearie, have you been a Baron?
.
.

But

tell

me,

THE BARON.
What
LUKA.
(Laughs.)
. .
.

is it ?

Is

it

a spectre

Counts

I've

seen,

and

I've
I

princes saw, and this only a

but a baron

the

first

that

seen ever

damaged one.

PEPEL.
(Laughing.)
That's up against
you,

Baron.

THE BARON.

We
LUKA.

live

and

learn,

Vassili.

Hey
lads.
.

hey.
.
.

When

I
.

look
. .

around,

my

Your way

of life

BOOBNOFF. Our way

daybreak.
.

of
.
.

life

is

uproar commencin* from

46

THE LOWER DEPTHS

We've some
of us lived better j
lain in
.

THE BARON.
in

my

time, have

Yes I, bed of a morning and

.
. . !
!

drunk

my

coffee

coffee

with cream.

Ay!
LUKA.
But
all
all

of us

are

all

men

You can pretend

you like, and give yourself all the airs, but a man were you born, and a man you have to die. And I see, for all folks gets wiser and busier and though they live worse and
. .

worse

they've the will to live better the stiff-necks ...

. . . I

THE BARON.
What
LUKA.
are you, old 'un
?

Where

are you from

What ?

I ?

THE BARON.

tramp?

LUKA.
Tramps we are
I'm
told, this
all.
. .

And

whole earth

is

they say now, as a tramp in the skies.

THE BARON.
(Severely.)
port
?

Maybe

it is

but

have you a pass-

THE LOWER DEPTHS

LUKA.
(After a
slight

47

pause.)

And what

are you,

then

an informer?

PEPEL.
(Delighted.)
feel

Had Mm,

old 'un

How do

you

now, Baron?

BOOBNOFF.

Um

yes, that

was one for the gentleman.

THE BARON.
Why,

What d'yer (Taken aback.) I was only joking, old man

. .

mean?
1

haven't got

any papers myself.

BOOBNOFF.

Now

you're lying.

THE BARON.
Oh, well
. .

I've

got some papers

for anything.

but none that are

good

LUKA.
But those papers are all the same none of them good for anything.
.

they're

PEPEL.
Baron,
let's

go

to the trakter.

THE BARON.
Right
a rascal
!

Well, goodbye, old

man

you're

48

THE LOWER DEPTHS

Tell

LUKA.

me who

isn't,

friend.

PEPEL.
(By passage door.} (Goes
out, the

Well, come along

BARON

rapidly following.)

LUKA.
Is it

true that that

man was

a Baron?

BOOBNOFF.

Who
It

can say? A gentleman 'e 'as been. comes out every now and then. You can see
. .

he hasn't got rid of

it

yet.

LUKA.
Ay, to be sure, this gentility it's like the smallpox ... a man may get over it, but it leaves its marks.
.

BOOBNOFF.
He's right enough though every now and then breaks out a bit ... like he did about
.

your passport.

(ALYOSHKA ALYOSHKA.
Hey, boys
I

enters,

drunk, with a concer-

tina, whistling.)

BOOBNOFF. What are you bawling

for?

THE LOWER DEPTHS

ALYOSHKA.
I

49

beg pardon

ask your forgiveness

.

I'm

a well-bred man.

BOOBNOFF.

On

another jag?

ALYOSHKA.
This moment the Inspector Many as you like Myedvyedyeff 'e's just thrown me out of the " station 'e said that you keep "See," says he,
!

out of the streets

man
me.
idiot

that's all. .1 am a My master 'e sneers at What is 'e 'imself my master? Fi-i 'E's an a drunkard, my master is ... But I'm
.
.

"...
. . .

of character.

I wish for just such a man that wants nothing You say here's twenty nothing and that's flat roubles But I I don't want nothing. A straight chap like me to 'ave my mate set over Won't stand it, won't me, and a drunkard.
!
!
!

'ave

it

(NASTYA comes out

'Ere's a million

of the kitchen.)
it.

d-d -don't want

(NASTYA stands in the door shaking her head at ALYOSHKA.)

LUKA.
(Good-naturedly.)

Ay,
4

lad,

you've got a bit

mixed up.

...

50

THE LOWER DEPTHS

What
fools

BOOBNOFF.

men

are

ALYOSHKA.
(Lying on the floor.) Well, eat me. For I I am a wretched man. Show want nothing. I me how I'm worse why am worse than others ?
I

Show me?

MyedvyedyefT says, "Keep off the And I I streets or I'll bash in your mug." go and lie down right in the middle of the street crush me. Nothing I want nothing
! . . .

NASTYA.
Poor fellow
already
. .
. . . .

such a kid
to this.
. . .

and now

come

ALYOSHKA.
. . (On his knees before her.} Lady me'mselle Parle franc, ais price -current Been on the spree.
.
!

NASTYA.
(In a loud whisper.}
Vassilisa
!

(VASSILISA opening the door sharply.}

VASSILISA.

(To ALYOSHKA.)

You here again?

ALYOSHKA. Good -day

VASSILISA.

don't be 'arsh.

Puppy,
here
. . .

told you to keep your carcase out of and now you've come back
I

THE LOWER DEPTHS

ALYOSHKA.
Vassilisa

51

play you a funeral

would you Karpovna march?

.

like

me

to

VASSILISA.
(Seizing

him by the shoulder .)

Clear out

ALYOSHKA.
That's not the way Funeral march Stop Real music. .just learnt it Stop that's not the way
! I

VASSILISA.
I'll

teach you

what's the way.

. . .

I'll

'ave the 'ole street

. .
.

on you

you

dirty tattler

you cub,

to dare

go

tattling about

me.

ALYOSHKA.
Well, I'm going.
.

VASSILISA.

in 'ere.

(To BOOBNOFF.) Never you D'you hear me?

let

him

set foot

BOOBNOFF.
I

aint'

your watchman here.

VASSILISA.
It's

nothing to

me what you

are

You're here

out of charity

don't forget

it.

How much

do

you owe me?

52

THE LOWER DEPTHS

(Calmly.)

BOOBNOFF.
Never reckoned.
. .

VASSILISA.
I'll

reckon for you

ALYOSHKA.
(Opens
door
I

and
not

shouts
afraid

Karpovna
afraid
!

I'm

Vassilisa out.) of you n-n-not

(Disappears.)

(LUKA laughs.)
VASSILISA.
Well, what are you?

LUKA.

wayfarer

...

a bird of passage.

VASSILISA.

For the night or to stop?

LUKA.
I'll

look round.

VASSILISA.
Passport
!

LUKA.
Well, yes.
. . .

VASSILISA.

Come on

THE LOWER DEPTHS

LUKA.
I'll

53

fetch

it

...

it'll

arrive with the rest of

my

luggage.

VASSILISA.

A bird of passage be nearer the truth.

LUKA.
(With
mother.
.

...
. . .

eh?

jail-bird

'ud

a
. .

sigh.)

Um,

you're

not

gentle,

(VASSILISA goes to the door of PEPEL'S room; ALYOSHKA looks out from the
kitchen.)

ALYOSHKA.
(Whispering.)
VASSILISA.

Has she gone, eh?

(Turning on him.)

You

still

here?

(ALYOSHKA

gives a whistle and disappears.)

(NASTYA and LUKA laugh.)

BOOBNOFF.
(To VASSILISA.)
VASSILISA.
'E ain't there.
.
. .

Who?
BOOBNOFF.
Vaska
.

54

THE LOWER DEPTHS

Did
I

VASSILISA.

ask

if

he was?

BOOBNOFF.
I

saw you was looking

all

about.

VASSILISA.
I

was looking
?

if

things
it's

see

Why's
I

the
told

room not swept

you

often have

d'yer 'Ow out yet ? to be kept clean ?

straight,

was

BOOBNOFF.
It's

the actor's turn.

VASSILISA.

Don't care whose turn.

come along and put a

it's

fine
I

Suppose the inspectors then on me

. . .

out you get,

all

of you

BOOBNOFF.
(Calmly.)

Then what

will

you

live

by?

VASSILISA.

(Goes into the What's up with you? What's your face all swelled up for? Clean the 'As she floor Natasha have you seen her? been here?
I'll

have none of

this litter.

kitchen.

To NASTYA.)

NASTYA.
Don't know
VASSILISA.
.

'aven't seen her.

And he

has he been

home?

THE LOWER DEPTHS

BOOBNOFF.
Vassilisi?

55

Yes

Natasha,
.

she
. .

was

here

talking to Klesshtsh, she was.

VASSILISA.

Did I ask you who she was talking to? Dirt Clean filth Ah, yes pigs everywhere it all up ... d'you hear
.

(Goes out rapidly.}

BOOBNOFF.
That's a wild beast of a

woman

LUKA.
She's a serious lady.
.

NASTYA.
It's

the

life

that's

made her
tied
to

beast.

Any
hers
.

one
.
.

as

was

husband

like

BOOBNOFF.
Come, she don't
let

the tyin* worry her.

LUKA.
Does she always rage around
like that
?

BOOBNOFF.
Always.
'er lover,
. . .

Then, you
wasn't 'ere.

see,

she came after

and

'e

56

THE LOWER DEPTHS

And
that put her out, of course.

LUKA.
Oh-ho-ho
!

of people on this earth is putting in order And with all sorts of punishthings and yet ments, all punishing one another there's no order in life and there's no
all sorts
! .
. . . . .

How

cleanness

BOOBNOFF.
but some Everybody likes things in order enough. Still, for this cleaning-up Nastya you see to it.
.

'asn't brains
.

NASTYA.
I

see myself

(After a silence.)

D'yer think I'm yer servant? I shall get drunk to-day

I

BOOBNOFF.
That'sflat
!

LUKA.

"I'll get

Why, what d'you want to drink for, girlie ? now you say moment back you were crying "
;

drunk

NASTYA
.

(Loud.)
.
.

I'll

drink,
!

and then

I'll

cry again

and

that's all

BOOBNOFF.
It's

not much.

THE LOWER DEPTHS

LUKA.
But what for? a reason for it.
tell

57

me

that.

Every pimple has

...
silent,

(NASTYA remains
So
was

shaking her head.}

1

...
to

ah -ha
.

the

race

to be

made

of it?

...

of men What's Well, then, say that I

the

sweep up

Where do you keep

broom ?

BOOBNOFF.
Behind the door
in

the

passage.
into

(LuKA goes
Nastya
I

the passage.)

NASTYA.
Well?

BOOBNOFF.

Why
NASTYA.
to

did Vassilisa go for Alyoshka?

'E said that Vaska was sick of 'er, and wanted chuck 'er and take on with Natasha. ... I shall leave here and go somewhere
.
.

else.

BOOBNOOF. Why ? Where ?

NASTYA.
I'm sick of
it.
. .
.

I'm not wanted here.

58

THE LOWER DEPTHS

You're not wanted anywhere

BOOBNOOF.
.
.

of all the people on earth

there's

and none none of 'em

.

wanted.

(NASTYA shakes her head.

Gets up, and goes slowly out into the passage.)

in;

(MYEDVYEDYEFF comes
with a broom.)

LUKA

after

him

MYEDVYEDYEFF.
Seems
to

me

don't

know you.

LUKA.

And
all?

all

the other people,

do you know them

MYEDVYEDYEFF. I have to know

here's you
I

every one in

my ward

but

don't

know

LUKA.

Now the cause of that, daddy, world doesn't lie in your ward
.

is
.

that the
.

whole

there's just a

leetle piece outside of

it.

(Goes into kitchen.)

MYEDVYEDYEFF.
(Over to BOOBNOFF.)
a big one
. . . .

It's

true

my

ward's not

worse than the big ones I was comin* off duty I 'ad to as just now, 'E was run in Alyoshka, the bootmaker.
but
it's
.
. .
.

THE LOWER DEPTHS

59

right in the middle of the road, with his con" I want I want nothing certina, and bellowin' " Horses the traffic and all nothing might goin' get run over and so on. ... 'E's a wild Jad
I

...

so

just took
.

him by
.

the collar.

Very fond

of giving trouble.

BOOBNOFF.
'Er yer comin' to play draughts to-night?

MYEDVYEDYEFF.
Coming?
M-yes.
. . .

What

about Vaska?

BOOBNOFF.
Nothing
. .

same

as usual.

MYEDVYEDYEFF.
Means
. . .

he's

getting along?

BOOBNOFF.

Why
along.

shouldn't he get along?

He's able to get

MYEDVYEDYEFF.
(Doubtfully.)

Able to?
into the passage with a bucket

(LuKA goes
in his

hand.}
a
sort

M-yes Vaska

there's

of

talk

about

ain't yer

heard?

60

THE LOWER DEPTHS

I've 'card all sorts of talk.

BOOBNOFF.
. .
.

MYEDVYEDYEFF.
But about Vaska?
Ain't yer noticed?

BOOBNOFF. What?

MYEDVYEDYEFF.

Why ...
(Sternly.)

in general.

Maybe
!

yer

know
. . .

and you're lying?

Why
no

everybody knows.
lies,

Let's 'ave

brother

BOOBNOFF. What should

lie for ?

MYEDVYEDYEFF.
So

...

so

...
.

ah,
. .

come

They say

that

Vaska and Vassilisa what's it to me? I am not her father, I'm her uncle. ... It can't make

me

look

silly.

...
(KVASHNYA comes
in.)

to

But there's a kind of people sprung up who wants make every one look silly. Ah, so there you are.
. . .

KVASHNYA.
in the

BoobnofT Hey, my gallant sentinel Again market he asked me to marry him.

1

THE LOWER DEPTHS

BOOBNOFF.
'e's

61

Well, and what then a sturdy fellow yet.

?
. .

'E's
.

got money, and

MYEDVYEDYEFF. What, I ? Ho-ho

KVASHNYA. You old

Let be, it's my sore grizzle pate I've tried it once, duckie for a woman point. to marry it's like throwin' yerself down a 'ole in the ice when you've done it once, yer never
!

forget

it.

...
a

MYEDVYEDYEFF.

Now
all

wait

bit

...

there are

husbands of

sorts.

KVASHNYA.
I'm always one and the same. When my beloved man breathed his last, may I never 'ave a roof over my 'ead, if I didn't just sit up for joy a whole day and night sat and simply couldn't
old
:

believe in

my

happiness.

MYEDVYEDYEFF.
If your 'usband beat yer why, you should have complained to the police.
. . .

KVASHNYA.
I

'elped

complained none
1

to

God

for seven years

...

it

62

THE LOWER DEPTHS

Nowadays
!

MYEDVYEDYEFF.
forbidden to beat your wife is strict, according to law and order No one is to be beaten wrongfully, all the beating's to be done to keep order.
it's
. . .

all in

these days

(LUKA
LUKA.
Slow but sure

leads in

ANNA.)
we

...

so here

are.

leaving her to go alone Which is your place?

when

she's

so

Fancy weak?

ANNA.
(Pointing.)

Thanks, dear old man.

KVASHNYA.
She's got a 'usband
. .
.

look

LUKA.

The poor soul's in quite a weak state. She creeps along the passage, feeling for the walls, and groaning. Why do yer leave 'er by
. .
.

'erself?

KVASHNYA.
'Adn't noticed,

you

see, 'as just

'Er maid, daddy pardon us out for a stroll. . . gone

!

LUKA.
So now you're making" fun can one neglect a 'uman creature so
.

but 'ow

Whoever

it

is,

all

of us

is

of value.

THE LOWER DEPTHS

MYEDVYEDYEFF.

63

Suddenly say she Supervision there must be dies? Then there's no end of bother.
! .

Watch must be kept

LUKA.

True, Mr. Sergeant.

MYEDVYEDYEFF.
M-yes
. . .

though I'm
. . .

I'm not quite a

sergeant yet.

LUKA.
Not
?

The

bearing's so very heroic

(Noise and scuffling in the passage.

cries.)

Loud

MYEDVYEDYEFF.
Oh, not
not a

row?

BOOBNOFF.
Sounds
like
it.

...

KVASHNYA.

Go and

look.

MYEDVYEDYEFF.
There, I've got to go.
. . .

Ah, the service

fight
?

And why

part

people when they

They'll

64

THE LOWER DEPTHS

.
. .

stop of themselves

ing
.

...
.

if

they was
. .

left to fight it

yer bound to stop fightout in peace

why, they'd fight

it

less,

because they'd not

forget

so easy.

BOOBNOFF.
(Getting off his planks.)
superiors about
it.

Must speak

to

your

...
cries
out,

(KOSTOLOFF
door.)

throwing open the

KOSTOLOFF.

Abraham
. .
.

Come

Vassilisa,

Natasha

she's killing her

come

(KVASHNYA,

MYEDVYEDYEFF,

BOOBNOFF

rush into the passage. LUKA looks after them, shaking his head.)

ANNA.

Lord

poor

little

Natasha

LUKA.

Who
ANNA.
The
LUKA.

is

it

fighting?

mistress

with her

sister.

(Coming

to

ANNA.)

What's

to be

done?

THE LOWER DEPTHS

ANNA.
Well,
health.
.

65

they've
. .

both

food

enough

and

LUKA.

And you what

ANNA.
Anna.
like like

is

your name

...
father
. . .

It
.

seems
.
.

to

me
.
.

you look
. .

my
him

dear father and mild.

my

gentle

LUKA.
It's

the
.
.

knocks
.

I've

'ad

they've

made me

gentle.

(Laughs with a grating laugh.}

END OF THE

FIRST ACT.

THE SECOND ACT

THE SECOND ACT

SCENE.

Same

scene.

Night.

(On the planks round about the stove SATINE, BARON, WHEN, and the TARTAR are KLESSHTSH and the playing at cards.

ACTOR

are watching the game.

BOOB-

NOFF, on

his planks, is playing draughts

with MYEDVYEDYEFF. LUKA is seated on a stool by ANNA'S bed. The shelter is

lighted by two lamps: one on the wall by the card-players, the other on BOOB-

NOFF'S planks.

THE TARTAR.
One more game then
BOOBNOFF.
I

stop.

When

Sing

(He sings:)
rises

The sun

it

and

it

sets.

WHEN.
(Harmonising :)
In

my

prison darkness reigns.

THE TARTAR.
(To SATINE.)
Shuffle
. .
!

Shuffle well

We

know you, yer know.

60

70

THE LOWER DEPTHS

and BOOBNOFF.
(Together :)

WHEN

Day and

night the warders go,

Pacing underneath

my

window.

ANNA.
Yells
.

abuse

nothing
.
.

else

have

seen

nothing

besides.

LuKA.
There, missus, don't
fret
!

MYEDVYEDYEFF.
Look
out,

where are yer moving?

BOOBNOFF.

Ah

yes,

yes,

yes.

THE TARTAR.
(Threatening SATINE with his
yer trying to hide a card
?
I

fist.}
.

Why
. .

er

see yer

yer

beauty

WHEN.
Chuck
.

Hassan it, They're sure to skin us. Boobnoff, strike up

!
!

ANNA.
I

can't

remember when
all

I
.

wasn't hungry.
.
. .

Dreaded. ... I been in rags shouldn't get no more to eat all my life ... all my wretched life
I've

trembled

my

life.

why, why

THE LOWER DEPTHS

LUKA.
There, there, darling
!

71

You're tired.

Never

mind.

THE ACTOR. (To WHEN.)

damn
yer
1

Play

the

Knave the Knave,

f

THE BARON.

We

'ave the

King.

KLESSHTSH

They win every time.

SATINE.
It's

a way er 'ave.

MYEDVYEDYEFF. Crown him

!

BOOBNOFF.

And

... um-m.

ANNA

I'm dying.

KLESSHTSH.
Just

look
it,

at
tell

'em
yer
!

Prince,

you chuck

it

Chuck

THE ACTOR.
You
let

him

alone,

72

THE LOWER DEPTHS

that
I

THE BARON.
Look out, Andruiska, damned hiding
!

don't give you a

THE TARTAR.
One game more.
well so often
it

The

pitcher
at last.

goes to the
his

gets broken

(KLESSHTSH, with a shake of moves over to BOOBNOFF.)

head,

ANNA.
I'm always thinking.
that
in

Oh

Lord, can
I

the

suffer?

world, too, Not there as well?

other

shall

it be have to

LUKA.
Nothing

There won't be nothing Lie and You'll have rest there. ...
! !

listen

little

more
. .
.

patience.

All,

dearie, they all

.
.

suffer

each in his own way.

(Gets up with

quick steps.)

(Goes into the kitchen.)

BOOBNOFF.
(Sings:)

Take your gun, and have some fun.

WHEN.
I'm not going to run away.
.

BOTH.
(Together :)

Longing, longing to be free, But my chains I cannot break.

THE LOWER DEPTHS

THE TARTAR.
(Shouts out.)

73

That card was

in

your sleeve.

THE BARON.
(Confused.) your nose?

Do you

want

me

to

ram

it

under

THE ACTOR.
Prince, (Positively.) never, never in this world.

you're
. . .

wrong

THE TARTAR.
Saw
it
!

Sharper

I'll

play no more

SATINE.
Hassan, go and (Gathering up the cards.) shake yourself yer know we were sharpers. Then why did yer play with us?
.

THE BARON.
I've

won

forty kopyeks,
.

you were beggared

and you shriek come, one more

as
I

if

THE TARTAR.
(Hotly.)

Then play

straight.

SATINE.

What

for?

THE TARTAR. How " What

SATINE.
Just so

for?"

...

what for?

74

THE LOWER DEPTHS

Well, don't yer

THE TARTAR.
know?

SATINE.
I

don't know.

Der you?
spits viciously.

(The TARTAR him.)

All laugh at

WHEN.
You're green, Hassan (Good-naturedly.) If they was to begin living Can't you see honestly, why, in three days they'd starve.
! 1 . .

THE TARTAR.
That's
honestly
!

nothing

to

me

They

must

live

WHEN.
Keep
.

it

now
I

Better

go and
.

'ave

some

tea

Boobnoff

And

Oh,

my

chains,

my

heavy chains.

BOOBNOFF.
Oh,

my

heavy clanking chains.

WHEN.
Come
along, Hassanka
!

(Goes out singing.)

not beat yer.
.
.

Tease

me

not,

and

I'll

(TARTAR threatens and goes out

the

BARON

with his

fist,

after his

companion.)

THE LOWER DEPTHS

SATINE.

75

You, your mightiness, (Smiling to BARON.) You've had an eduyou came another cropper but can't a card. cation, yer palm
!

THE BARON.
(Hands apart.)
pened.
.

Devil

knows how

it

hap-

THE ACTOR.
No
talent

...

no

belief
. .

in
.

yourself

without that no good ever

MYEDVYEDYEFF.
I've

one
!

King

and

you've

two

m-yes

BOOBNOFF.
One's good enough, on yer go
!

if

he's a brainy

one

KLESSHTSH. Er yer winning, Abra'm

Ivanitich?

MYEDVYEDYEFF. None of your

shut yer mouth.
.

business
.

d'yer

see

So

SATINE.
Fifty -three

kopyeks

in.

THE ACTOR.
I

Three kopyeks for me want with three kopyeks

though what do

76

THE LOWER DEPTHS

LUKA.
Well, so youVe (Coming out of kitchen.} cleared out the Tartar? Going to have a glass

now?

THE BARON.
Come along
SATINE.
Let's see

with us.

what yer

like

drunk.

LUKA.

No

better

than

am

sober.

THE ACTOR.
Come
yer.
. .
.

along,

old

man.

I'll

recite

to

LUKA.

What

ever's that?

THE ACTOR.
Verses

understand

LUKA.
Verses
!

What do

want with verses

THE ACTOR.
They're
sad.
.
. .

amusing

sometimes

they're

SATINE.
Hi, recitationist, er yer

coming?

(Goes out with BARON.)

THE LOWER DEPTHS

THE ACTOR.
Coming.
. .

77

I'll

catch yer up

Now,
. . .

for

instance, here's a bit out of one poem, old man. The beginning I've forgotten clean
.

forgotten

...

(Strikes his forehead.)

BOOBNOFF.
There
!

I've taken yer

king

...

on you go

MYEDVYEDYEFF. yEDVYEDYEFF.
If I'd

gone

there, you'd 'ave 'ad 'im.

THE ACTOR.
In the past, before
I

had a
. .
.

fine study, old

see
I
.

used to thunder of applause. You you don't know how it feels applause why, brother, it's like vodka .I'd come on ... stand like this
. .
. . .
I

was poisoned with alcohol, man. But now you It's all up, brother All up with me. give that poem with enormous success
I
. . . 1

stand like this and

. . .

(Silence.)

Can't
.

remember a thing remember Used

1

not a

word
:

can't

to love that piece

in a

bad

way, eh, old 'un?

LuKA.
There can't be no good
loved.
in fergettin'
all

what yer

Where

yer love there's

yer soul.

THE ACTOR.
I've

drunk
.
.

my
.

soul,

old man.

I'm

lost,

brother.
.

Lost

how?

Hadn't

no

belief

I'm done with.

78

THE LOWER DEPTHS

No
1

LUKA.
I

Why?

You

you can be cured

.

In these days they cure people of drunkenness

fact Cure them, brother, fer no thin'. There's a 'ospital been built for drunkards and they cure 'em fer nothin'. It's recignised, yer see, that a drunkard's a man, too, and when 'e wants to be cured, they rejoice at 'im So stir up and be off.
. . . .

THE ACTOR.
(Reflectively.)

Where?

Where

is

it?

LUKA.
Well,
it's
.
. .

it's
1

in

certain

town
1

what d'yer call it Now you just do

Control yourself
wait.
. . .

It's

just

a name like

...
.
.

begin

life

be gettin' ready. yerself in hand, and And then get cured and all over again sounds good,
this
: . 1

... Take

brother,

and

it's

all over again? done.

Make your mind

up,

THE ACTOR.
(Smiling.)

Over again
that's
fine

from the begin.

ning
All

m-yes.
. . .

over again? (Laughs.) I Can't? really can, eh?

Um.

Yes

LUKA. Can yer? Anything a man can do ... makes up his mind to do it.
. . .

if

'e

THE LOWER DEPTHS

THE ACTOR.

79

You're a crank. (Suddenly, as if awakened.) Old boy By-bye for the present (Whistles.) to goodbye yer.
!

(Goes out.)

ANNA.
Gran 'pa, darling
1

LUKA.
What, dearie?

ANNA.
Talk to me.
. .

LUKA.
(Close to her.)

Come now,

let's talk.

(KLESSHTSH

looks round, silently comes towards his wife, looks at her, makes
his

some movements with

though wishing

hands,

as

to speak.)

What's up, comrade?

KLESSHTSH.
(In a

low voice.)

Nothing.

(Goes slowly to passage door, stands in for a few secondsand goes out.)

it

LUKA.
(Following him with his eyes.) heart, does your old man.

Takes

it

to

80

THE LOWER DEPTHS

He's nothing

ANNA.
now
to

me.

LUKA. Did

e beat yer?

ANNA.
Worse than
'im.
.

that.

...

I'm

dyin'

through

BOOBNOFF.

My
finely

wife

she 'ad a lover a thorough scoundrel.

. . . .

played draughts
. .

MYEDVYEDYEFF.

Um-m.
ANNA.

Dear -gran'pa can't breathe.

Talk

to

me,

dearie.

...

LUKA.
That's nothing
. . !

Comes
. .

before death,

lovie.

You're goin' to die, and then you'll be at peace there'll be nothing more that yer need fear nothing Calm, peace. Don't move It's very Death it settles all. tender with us. ... You die, you rest, that's to that's what it is, pet Because for say can a man find rest here?
.

Just hope.

(PEPEL comes
dishevelled,

in.

He

is

sullen.

by door,

silent

planks without moving.)

slightly Sits on

drunk,

THE LOWER DEPTHS

ANNA.
If

81

there too

there's

suffering

LUKA.
Trust There won't be anything Nothing Rest and nothing more They'll lead you " Lord, look here, up to God, and they'll say, behold, here is Thy servant, Anna."
! !

me

MYEDVYEDYEFF.
(Severely.)

How

do you know what they say

up there

like that

....
MYEDVYEDYEFF'S
his
voice,

(At the sound of

PEPEL
LUKA.
It's

lifts

up

head and

listens.}

just
. .

like
.

this,

that

do know, Mr. Ser-

geant.

MYEDVYEDYEFF.
(Conciliatory.)
. . .

I don't see myself yes I'm not though yet exactly a sergeant.
!

BOOBNOFF.
I

take two.

MYEDVYEDYEFF.

Lord

...

do go ahead.

LUKA.

And

the Lord,

'E'll

fondly, and He'll

"
say,

look at you mildly and

I

know

that

same Anna."

82

THE LOWER DEPTHS

He'll say,

Then
dise.
life
.

"

Take
at

her, that
.

Anna, into Para.

it
.

for I know 'er peace was very hard she's very weary. Give rest unto Anna."

Let

'er

be

ANNA.
Uncle you are such (Breathing hard.} a dear If it is so ... if there's just rest and to feel nothing more.
.
.

LUKA.
Trust
I

There won't be There won't be anything me Die joyfully, and no worry. tell you, Death it's to us ... like a mother
! !
! . . .

with her

little

children.

ANNA.
Yet

...

may ...

may

get well

LUKA.

What

for?

For fresh suffering?

ANNA.
But more.
little

...
If

to live a little

there's
I

no suffering

just a wee bit could endure a

longer.

could.

LUKA.
There'll be nothing more.
. . .

It's

shnple.

PEPEL.
(Rising.)

May

be

...

and may not be.

THE LOWER DEPTHS

ANNA.
(Frightened.}

83

Oh, Lord

...

LUKA.
Ah, dearie.
.

MYEDVYEDYEFF.
Who's
PEPEL.
that bellowing
?

Me

What

of

it ?

MYEDVYEDYEFF. You shouldn't bellow,

bear themselves quietly.

that's what.

Folk should

PEPEL.

Ah
ho ho

yer block

You're a

fine

uncle

LUKA.
shout turb 'er
1

(To PEPEL in a Low tone.) Please now don't A woman's dying here don't dis.

PEPEL.
I

respect you, gran'pa

!

You're a brick, you

.
. .

You're a good liar nicely Lying's no harm that's cheering in the world
are
!

you put things

there's so little

BOOBNOFF. Is What
!

the

woman

really dyin'

84

THE LOWER DEPTHS

Ay, there's no joke about
it.

LUKA.

...

BOOBNOFF.
disturbin' 'er

Shan't have no more coughing then. Most cough was. ... I take two.
. . . .

MYEDVYEDYEFF.
Ah, I'm done for
I'm done for
I

PEPEL.

Abraham

MYEDVYEDYEFF. Don't call me Abraham.

PEPEL.

Abramka

Is

Natasha

ill ?

MYEDVYEDYEFF.
What's that
to

you

PEPEL.
I

want to know.
?

Was

it

a bad beating Vassilisa

gave her

MYEDVYEDYEFF. And that's none

matter.
. .

of your business

It's

a family

Who

do yer think yer are?

PEPEL.
Don't matter who I am you'll never see Natasha again
.
. .

but

if

choose,

THE LOWER DEPTHS

MYEDVYEDYEFF.
(Leaving the game.} What d'yer say? are yer talkin' of? D'yer think my niece?

85

Who
.

Ah, yer robber

PEPEL.

robber you never could catch.

MYEDVYEDYEFF.
Wait
PEPEL.
Catch
1

I'll

catch yer

you

see.

me and
I'd

I'd flog the

keep quiet " howl Who taughft They say, " Mikhail yer to rob, and showed yer the cribs? " Kostoloff and his wife Who was yer fence? " Mikhail Kostoloff and his wife
to
! 1 I

D'yer Expect a wolf

think

whole nest of yer. before the beak?

MYEDVYEDYEFF.
Lies
!

They won't

believe yer

PEPEL.
it's truth And I'll give ha I'll a twist ... sink the whole lot you of yer, yer devils you see

Yes, they will, for

MYEDVYEDYEFF.
what
cur
I

And (Shaking.) Lies 'arm 'ave I done to

I

lies

And

you?

Yer scabby

...
'ave yer

PEPEL.

And what good

done

to

me?

86

THE LOWER DEPTHS

Ri-ight there

LUKA.
!

MYEDVYEDYEFF. (To LUKA.) What

Is

er

you
?

this
I

any of your business

croaking for? This is a family

.

matter

BOOBNOFF.
(To LUKA.)
Let be
I

Not ours

to

meddle

in.

LUKA.
(Peaceably.)
if
I

one man done well.

'asn't
. .

done good

I only say that said nothing to another, 'e 'asn't

!

MYEDVYEDYEFF.
we
'Ere we are and (Not understanding.) all know one another. But who are you,
.

pray?

(Makes an angry grimace and goes out.)

LUKA. The gentleman's angry.

things here

...
to

Oh -ho, brothers, see things here in a tangle

. .

PEPEL
'E's

gone

whine

to Vassilisa.

BOOBNOFF.
You're foolish, Vassili.
ness has done yer. but its place
. . . .

Much good
Boldness
it

yer boldright in
.

is

all

'ere

cuts
.

no
.

figure.
.

They'll slice yer 'ead off alive.

THE LOWER DEPTHS

PEPEL.
N-no, they won't don't catch us napping
!

87

Us

Yaroslaff
if

...

it's

boys war we

you
shall

fight.

LUKA.
But house
I
.

tell
.

you

truly,

lad,
it.

you get out of

. .
.

this

get clear of

PEPEL.

Where
LUKA.

to?

You

tell

me

that.

Go ...
PEPEL.

to

Siberia.

Ho -ho.
at the

When

go

to Siberia,
.

mean

to

go

charge of the Crown.

LUKA.

Now
can

listen to

me you go

there

There you

make your own way ...

!

you're just the kind

for there

PEPEL.

The way
to.

is

marked out
life
I

for

passed his whole

in prison,
little

me. and

My
'e

father

told

Why, when
and

was a

boy they called

me me

thief

thief's son.

LUKA.
But
it's

country.

A golden a grand country Siberia 'Oo 'as the might 'as the right.
I

88

THE LOWER DEPTHS

PEPEL. Old boy, why are you always lying?

LUKA.
What's
that
?

PEPEL

Deaf ? .Why do yer

lie,

ask

LUKA.
In what do yer

mean

lie ?

PEPEL
.
. .

In all

you say

it's

good
1

there,

good here
it

you're plainly lying

What's

for?

LUKA.

You
yerself.

take

my word and go
say

there,
.

You'll

thanks.

and see fer What's the

are yer so
bit
.
.

good

mad
same

of loafing here ? after the truth?

truth

And
. .
.

why
.

Think a

The

might

cut like a razor.

PEPEL.
I

don't care

If it's

a razor,

it's

a razor.

LUKA.
Oh;
yerself
?

you're

crazy

Why

go

and

destroy

BOOBNOFF. What is it I don't know

that
!

you two are jawing about

sort

What

of

a truth,

Vaska,

THE LOWER DEPTHS

d'yer

89

want?
yerself

And why?

about
it.

...

ay,

Yer know the truth and every one knows

...
I

PEPEL. Hold
tell

on,
.
.

me

stop yer croaking listen, old man

:

want 'im to

is

there a

God?

(LuKA gives
Say now,
is

a silent smile.)

there?

BOOBNOFF.
People just stream ... a
shavings
live
.

like
built
1

shavings
. . .

house
off

is

on a and the

...

they floats

...
there
.
. .

LUKA.
low voice.) If you believe it you don't believe it, there's not which yer believe in, that is. ...
(In a,
if

is

that

(PEPEL looks

at

the old

man

fixedly

and

in surprise.)

BOOBNOFF. Shall we go and have some

to the trakteer
?

tea

come on

Eh ?
What

LUKA.
(To PEPEL.)
are you looking at?

PEPEL.
Just
so.
.

... Now

wait.

Then

that

means

90

THE LOWER DEPTHS

alone.

BOOBNOFF. Then I'll go

(Goes

to door, encounters

VASSILISA.)

PEPEL.
Therefore
VASSILISA.
. . .

you.

(To BOOBNOFF.)

Nastya

at

home?

BOOBNOFF.
No.
(Goes out.)

PEPEL.

Ah

you're there.

VASSILISA.

(Over to ANNA.)

Still

alive?

LUKA.
Don't disturb
VASSILISA.
'er.

What
LUKA.
I'll

er yer

hanging about here for

yer want

go

...

if

me

to.

...
Vassili
I

VASSILISA.

(Towards the door of PEPEL'S room.)

I've somethin' to say ter you.
.

(LUKA goes

to the passage door, opens

it

it,

and shuts on to the

loudly.

planks, the stove.)

Then he clambers and from there on to

THE LOWER DEPTHS

VASSILISA.

91

(From
here
!

PEPEL'S

room.}

Vaska

come

PEPEL.
I'm not coming
VASSILISA.

...

don't

mean

to.

...
?

Ah

what's

wrong?

What's annoyin* yer

PEPEL.
I'm bored
. . .

sick of the

whole rigmarole.

VASSILISA.

And ...
PEPEL.

of

me?

And

of you.

(VASSILISA draws her handkerchief tight over her chest, pressing against it her hands. Goes towards ANNA, looks carefully behind the curtains, and returns to

PEPEL.)
it.

Well

...

out with

...

VASSILISA.

Out with what? and it ain't

. .

in

Can't force people to be kind me to beg for kindness.

.
. .

Thank you

for the truth.

PEPEL.

What

truth?

92

THE LOWER DEPTHS

That I'm a bore
to

VASSILISA.

you

...

or isn't

it

the

truth?

(PEPEL looks
to

at her in silence.

She turns

him.}
staring at?

What

er yer

Don't yer know

me?

PEPEL.
.puts

(With a sigh.) You're beautiful, Vassilisa (she her hand on his shoulder, but he shakes it And off} but my 'eart it was never yours. I lived with you, and the rest of it ... and
.

I've never really liked yer.

VASSILISA.

So-o

well

PEPEL.
Well, we've nothing to talk about
all
! 1

Nothing

at

Get away from

me

VASSILISA.

You fancy some one

PEPEL. Not your business.
you
I'd consult.

else?

...

If

it

was so

it's

not

VASSILISA.
That's
things.

pity.

P'raps

might arrange

THE LOWER DEPTHS

PEPEL.
(Suspiciously.)

93

What

d'yer say?

VASSILISA.

You
Vassili
I'll

know

hide

shabby a whip sudden

how to conceal things. I'm a straight chap. (Lower.) you've dealt with me nothing for no reason you've laid it on with said yer loved me, and all of a

PEPEL.
'Twasn't
there's

sudden
soul
.

for

long time

no
.
.

in

you,

woman ... we

are

beasts.

We

trained

must be ... we must and what 'ave you trained me

be
to
?

VASSILISA.

What was it over ? help 'is own will

. .

yer love

know a man me no more

can't
.

all right.

PEPEL.
That's it, it's at an end. without no rows the
.

part peaceably, proper way

!

We

VASSILISA.

No, wait
together
.

now

It's this.

When we came

drag me out of all this nastiness to free me from my 'usband, my from all this life uncle and p'raps it
I

banked on you

to

wasn't you, Vaska, that

loved

but

my hope

94

THE LOWER DEPTHS

it

...
D'you
out.
.

follow
. .

was that thought of you I loved. ? I expected you to pull

me

PEPEL.

You aren't a nail, you've wits enough

.

I
. .

ain't

pincers

and you're

wily

VASSILISA.

(Coming
. . .

close to him.)
'elp

Vaska
. .
.

Come, now

let's

one another.

PEPEL. 'Ow?
VASSILISA.

(Low

and

forcible.)
I

My
. . .

sister

she's

taken yer fancy,

know.

PEPEL.

And
on
'er.

that's

why you
1

Vassilisa, look 'ere

beat her, you savage Don't dare to lay a finger

1

VASSILISA.

Stop

now

quietly and

well.

Don't get hot D'yer wish

'er
. .
.

It

can

all

be done
I'll

give yer roubles

money with
I

If

can afford

it,

marry 'er? three hundred more.

. . .

to

solid

PEPEL.

(Coming up
What's
it

to

her.)

Stop

why

is

it?

for?

THE LOWER DEPTHS

VASSILISA.

95

Rid me
of that

from
.

my
.

'usband.

Relieve

me

millstone.

PEPEL.

Oh ho -ho
you

So now we've got to it. (Whistling softly.} A very crafty notion . get your 'usband in his grave, your lover doin' time, whilst
!

...

VASSILISA.

Why doin' time ? You won't yerself some of yer pals get Suppose it was ? think who's to know Natasha yerself, now You'll 'ave money can you g"o anyVaska
.
!

where

...

set

me

free for ever, then, too, the

sister, she won't be round me, that's good fer 'er. The sight of 'er's bad for me on account of you I get spiteful arid I can't hold it in. .1 torment the girl, beat her beat her so ... that myself I can cry with pity for her And I will beat yet I beat her. her
. .
. . . .

PEPEL.

You savage
VASSILISA.

Do

yer brag of yer savageness?

I don't brag I speak truth. Think now, Vaska. Twice through my 'usband 'ave you gone to jail 'E's glued to me through 'is avarice. like a limpet four whole years And what
.
. . . .
.

sort

of

'usband

d'yer

call

'im?

'E

scolds

96

THE LOWER DEPTHS

'er
. . .

Natasha, torments her, calls every one 'e's just poison.

a beggar

To

PEPEL.

You do yarn
VASSILISA.

cleverly.

All I say's above board. that won't see what I want.

It's

only a fool

(KOSTOLOFF
forward.}

enters

cautiously

and

steals

PEPEL.
(To VASSILISA.)
VASSILISA.

Oh

get

away

Think it over (Sees husband.} Er yer followin' me?

!

What, you?

(PEPEL

leaps

up

and

eyes

KOSTOLOFF

savagely.}

KOSTOLOFF.
It's

selves

me Ah

me
. . .

ah.

You're You're
.
!

here
. .

(Suddenly stamping with his feet Vaska you devil out.} Beggar
. .
.

by yourhaving a talk and shouting

.

Hag

(Startled at

his
I

own
ask

cries,

met by
. .
.

silence

and

immobility.}
Vassilisa,

pardon.
into sin.

you lead

me

Here again, Been everyIt's

. .

where hunting fer yer. ... (In a scream.} You've forgotten to fill the lamps bedtime
!

THE LOWER DEPTHS

sow. you, you beggar at her with trembling hands.)
. .

97
.

(Points

(VASSILISA slowly goes to passage looking round at PEPEL.)

door,

PEPEL.
(To KOSTOLOFF.)
out.

Get out of here

clear

...
I'm the master
I

KOSTOLOFF.
(Yells.) thief
!

Clear out yourself,

PEPEL.
(Sullenly.)

Be

off,

Mikhail

...
...
I

KOSTOLOFF. You dare

you.
.

to

I'll

show

you.

tell

(PEPEL
and

seizes

him by the

collar

and shakes

him.

noise is heard from the stove a loud yawning. PEPEL releases

into the passage.)

KOSTOLOFF, who runs

PEPEL.

...

(Springing on to the planks.) on that stove?

Who's

there

LUKA.
(Raising his head.)

Eh?

PEPEL.

You?

98

THE LOWER DEPTHS

Me
me
myself.

LUKA.
. . .

... Of

Lord

Jesus

Christ.

PEPEL.
(Closes the

passage door, feels for the bolt

it.)

and
get

can't find

The

devils

...

Old man,

down

LUKA.
All ri-ight
.

getting down.

PEPEL.
(Menacingly.)

Why

did yer get on that stove?

LUKA.

Where
PEPEL.

'ud yer 'ave

me

get?

Yer made as you'd gone

in the passage.

LUKA.
In the passage, comrade,
it's

cold for an old

man.

PEPEL.

You
LUKA.

heard?

Ay heard How not to me deaf? Ah, my lad, your

.

hear

Ud
is

yer 'ave

happiness

coming
to yer.

to yer

.it's happiness that's

coming

THE LOWER DEPTHS

PEPEL.
(Suspiciously.)

99

What

'appiness?

In

what

way?
LUKA.

Why,
PEPEL.

in the

way

that took

me on

to the stove.

Ah
LUKA.

why did you make

that

noise

Why, because
the

was getting aglow

welfare
.

for

orphan

laddie's

yet

knew
. . .

well that the laddie

wrong, that he might be for throttling the old man.

it

might take

all

PEPEL.
Ye-es

...

it

was a near thing.

LUKA.

Ay ... them
PEPEL.

mistakes often get made.

What
LUKA.

are you?

My
woman
way
. .

lad

Now
it
!

listen to

cut

Nothing

to

me, what I say do with 'er

' !

that

keep
listen

out of 'er

way?

She'll put *er 'usband out of the

better ner

you could, yes

. . .

Don't you
at

to her, the devil.

.

Look
all

and why?

Out of
I

ah? Bald these same different

me

sorts of

women ...

should say I've known,

100

THE LOWER DEPTHS

.

maybe, more women than ever there grew hairs And that Vassilisa she upon my head. she's worse than a pagan Finn
. .

PEPEL.
I

don't

knoiw

if

I
.
.

ought to thank yer,

.

or

whether you as well

LUKA.
better
in

Don't you say nothin' than what I've said

!

You'll
1

say nothing the one Listen

:

you fancy, put

away.
.

'er

arm

in yours,

and out of here

double-quick time.
.
.

Get out of here, clean

PEPEL.

No
. .

makin' people out

Who's good,
.
.

'oo's

bad

can't understand a thing.

LUKA.
What's there to understand ? There's all sorts men. ... As their hearts tells 'em, so they live good to-day, bad to-morrow. But if
of
.
.
.

that girl's really got hold of yer heart 'er clear off, and 'ave done with it.
. . . .

take
else

.Or

you're young, you've time to look go alone out for a wife.

PEPEL.
(Takes him by the shoulder.} me, why are you on to this?

No, you

tell

LUKA.

Now

come,

let

me

go.

Must see

to

Anna

THE LOWER DEPTHS

.
. .

101

she was rattling so bad. (Goes to Anna's bed, opens curtains, looks, feels with his hand.)
.
. .

(PEPEL comes
traught.)

after him, thoughtful

and

dis-

Jesus
of

Christ,

most
. .

merciful
servant

Lord,

the

spirit

Thy newly departed Thy peace.

.

Anna

receive into

PEPEL.
(Softly.)

Dead?

(Without approaching, leans

forward so as to obtain a sight of the bed.)

LUKA.
(Softly.)

She

is

gone

Where

will

'er

'us-

band be

PEPEL.
In the trakteer,

most

likely.

LUKA.
Well,
'e

must know.

PEPEL.
(Shuddering.)
people.
. .

don't

care

for

dead

LUKA.
for?

(Going to the door.) Care for the living

What's there to care

. .

the living.

PEPEL. I'll come with

yer.

102

THE LOWER DEPTHS

LUKA.
What, afraid?

PEPEL.
Don't like
it.

...
(They go out quickly.)

At the passage (Emptiness and silence. door a dull, incomprehensible, uneven sound is heard. Then enter the

ACTOR.)

THE ACTOR.
(Standing in the open door, supporting himself the door-posts, shouts out) Old man, hi Where are yer? I've remembered
against
!
. . .

listen

(He staggers two steps forward, attitude, and begins:)

strikes an

Then, gentlemen, for all our pain If truth still flee our straining eyes, Shall we not hail the madman's brain:

The

brain that spins us golden lies?

in the

(NATASHA appears ACTOR.)

Old man
1

door behind the

And tho' the earth to atoms fly, And tho' the sun be quenched and

dead,

They shall be re-created by The thought within a madman's head.

THE LOWER DEPTHS

NATASHA
.

103

(Laughs.)

You gaby

You're

full.

THE ACTOR.
little

(Turns to her.) old boy

. .

Ah,
.

it's

you
.
.

Where's the
old man? Natasha, fare-

the darling
clear.
.
.

little
.

Nowhere
well.
.
.

'ere,
.

that's

Farewell

yes.

NATASHA

Never said good -day, now says goodbye.

THE ACTOR.
(Barring the way to her.)

The no more
. .
. .

spring'll

I am going away. come, and you won't see me

NATASHA

Rubbish

where er yer goin'

THE ACTOR.
To
.

find

a town

...

to get cured
.
. .

you
.
.

into a monastery clear out, too. Ophelia . . . yer see, there's a hospital for organisms

drunkards ... a splendid hospital. marble floor Marble Light, clean food And a marble floor all for nothing yes I'll find it, get cured, and ... I shall be all I'm on the way to regeneration over again. ... as said King Lear. Natasha, on the my name was Svertchkoff Yavolski. stage No one knows that no one I've no name
for
. .

104
here.

THE LOWER DEPTHS

. .

Can't you understand

ing

to
.

lose yer

name ?

how that's Dogs even have

galltheir

names

(NATASHA manages to get round the ACTOR, goes over to ANNA'S bed and looks.)

No name, and
NATASHA. Look
.

you're no man.

the poor soul

look

She's

dead

...
can't be.

THE ACTOR.
(Shaking his head.)
It

...
look.

NATASHA

(Moving away.)

God

yes

BOOBNOFF.
(In the door.)

Look

at

what?

NATASHA
Anna
.

she's dead.

BOOBNOFF.
to

Won't cough no more, that means. (Goes ANNA'S bed, looks, goes to his place.) You
tell

must

Klesshtsh

it's

'is

business.

THE ACTOR.
I'll

go and

tell

him

she

has

lost

her

name.
(Goes out.)

THE LOWER DEPTHS

NATASHA.

105

And
for all

then

one

...

too

same

...

struck down.

BOOBNOFF.
(Stretching
planks.)

What

rag of some kind over what er yer mumbling?

his

NATASHA.
So

...

to myself.

BOOBNOFF.
Waiting for Vaska head for yer.
. .

You

see, Vaska'll

break yer

NATASHA
Does

much matter sooner that he did.

it
.

'oo
.

breaks

it?

I'd

BOOBNOFF.
(Lying down.)
That's your affair.
. .

NATASHA.
For surely sad, too. . .
.

it's
!

well she's

Lord

Why
live,
. .

dead do people live?

. .

it's

BOOBNOFF.
die

So with all born, and you too

:

die.
.

And

shall

where's

the

sad-

ness?

(Enter

LUKA,

the
.

TARTAR,

WHEN, and

KLESSHTSH

KLESSHTSH comes behind

the others, slowly, shrunk up.)

106

THE LOWER DEPTHS

NATASHA. Sh Anna.
1

WHEN.
We've
dead.
. .

heard
.

...

in

'eaven,

if

she's

THE TARTAR.
(To KLESSHTSH.) Out into the passage
here
;

You must have her

!

out

Can't keep dead bodies in

.
.

here the living have to sleep.

KLESSHTSH.
(Low.)
(All

Well, take

'er out.

go over to the bed; KLESSHTSH looks

at his wife over the others
1

shoulders.)

WHEN.
There'll

(To the TARTAR.) be no smell

.

You
from

think she'll smell? her she 'ad

. .

wasted alive.

NATASHA. Good Lord

won't yer pity one 'ud speak a kind word

!

'er ?
1

if

some. . .

Oh, you.

LUKA.
Girlie, don't take

on

...

it's

all

right
. .

For
Eh,
.

what

darling ourselves
1

we pity the dead? The living we don't pity we don't pity why her?
.

and how

shall

and

THE LOWER DEPTHS

BOOBNOFF.
(Yawning.) from a word

107

And
.

besides,
illness

may wince from

death don't wince a

word, but death

no

THE TARTAR.
(Going out.}

Must fetch the

police.

WHEN.
that must be done informed the police? yer

Police

Klesshtsh

'ave

KLESSHTSH.

No

she's got to be buried

and

all

I've got's forty

kopyeks.

WHEN.
and Well, in that case yer must borrow one gives five, another what *e can. But get the police and quick Else they'll be fancying it was yer doin', or what
.
. .

we'll club together

. . .

not.
lie

(Goes to the planks and makes ready to

beside the

down

TARTAR.)

NATASHA.
away from BOOBNOFF'S you see I shall dream of the dead always appear in my dreams.
(Moving
.

planks.}
'er
. .
.

Now

...
in

I'm
the

afraid

to
. .

go
.

alone

it's

dark

passage.

LUKA.
(Following her.)
. .

You be
say.
.
.

afraid of the living

.

that's

what

108

THE LOWER DEPTHS

.

NATASHA Come with me, daddy.

LUKA.

Come

come,

I'll

see yer safe

(They go out.

pause.}

WHEN. Oh ho-o
we

Hassan, spring soon, mate Now in the country to 'is plough and 'is already peasant's looking to till all ready for ... 'arrows, gettin' ready
I

shall feel

warmer then.

tilling

m-yes
!

Snoring already

And we ... Hassan Accursed Mahometan

!

BOOBNOFF.
Tartars love to sleep.

KLESSHTSH.
(Standing in the middle of the shelter and What am I gazing vacantly in front of him.)
goin' to do

now ?

WHEN.
Lie down, and sleep
to
it.
. . .

that's

all

there

is

KLESSHTSH.
(Low.)
But
. . .

she

how?

(No one answers.)

(SATINE and the ACTOR come
in.)

THE LOWER DEPTHS

THE ACTOR.
(Shouts out.) Kent.

109

Old

'un

Hither to me,

my

true

SATINE.

Way for Miklooka THE ACTOR.

It's

Maklai.

Ho -ho

fixed
. . .

town

and decided Old where are yer?

!

'un,

wKere's the

SATINE.
Fata Morgana, the old man diddled yer ... There's nothing. No towns, no peoplenothing at all
1

THE ACTOR.
You
lie
1

THE TARTAR.
(Leaping up.)
the master.
If
I
.

Where's the master?

can't
. .

I'll

fetch

sleep

'e

shan't take
.

my
.

money.

Corpses

drunkards.

(Goes out quickly

(SATINE whistles

after him.)

BOOBNOFF.
(In

quiet

...

a sleepy voice.) Lie down, boys, keep in the night yer must sleep.

THE ACTOR.

A corpse. Yes here aha took a corpse up in our nets poetry. B^ranger
.

..." We
. .

"...

110

THE LOWER DEPTHS

Corpses Bellow
.

SATINE.
(Calls out.} can't feel. .
.

can't
. .

hear
.
.

.yell

corpses corpses

can't hear.

(LuKA appears

in the doorway.}

END OF THE SECOND ACT.

THE THIRD ACT

THE THIRD ACT

SCENE." The
Waste," strewn with all sorts of At rubbish and overgrown with long grass. the back, a high brick party wall. It shuts out the sky. Around it are elder bushes. At a dark timber wall belonging to some right At sort of an outhouse, a barn or a stable. the wall the of left grey, crumbling plaster house in which KOSTOLOFF'S night-shelter is. It stands on a slant, so that the further corner reaches almost to the middle of the " Waste." Between it and the party wall a narrow passage. In the grey wall are two windows: one on a level with the ground, the other about six feet higher up and closer to the party wall. By that wall is a big turned down and a beam about sledge upside twelve feet long. At right, by wall, a heap of old planks. The sun is setting, Evening. a red the on throwing light party wall. Early the snow No spring, being lately melted. buds as yet on the black elder branches.

(NATASHA and NASTYA

beam,
side

are seated

on the

by
the

side.

sledge. lying on the pile of timber, right.

BARON on

LUKA and the KLESSHTSH is

In the
"3

ground-floor window BOOBNOFF'S mug.)

8

114

THE LOWER DEPTHS

NASTYA.
(With eyes closed, and nodding her head in tune to the words, relates in a sing-song way) Then at night would he come into the garden and talk with me, as we 'ad agreed and I
. .
.

had been waiting

for

him a long

while,
'is

and

shook with dread and anguish. too, and pale as honey, and 'e
pistol.
.
.

And he
'eld in

shook, 'and a

NATASHA.
(Chewing
that

these
.

reeds.) students
.

Oo

Then
such

it's

true

they're

desperate

fellows.

NASTYA.

And he says to me own precious love."

.

in
.

a terrible voice,
.

"

My

BOOBNOFF.

Ho -oh
Here
her
lie.

Precious

THE BARON.
!

If
.

you don't

like

it,

don't listen, let

When, then?
"

NASTYA.
"

My

imperishable "
'e
.
. .

says, parents," and threaten to curse marry yer ever .because of my love for you. Therefore, " for that reason take my own I must," 'e says, And his pistol was huge, loaded with life."
. . .

'e love," says, will not consent for

my me to me for

THE LOWER DEPTHS

ten
bullets.
f .
.

115

e says, "my I beloved comrade 'ave decided past recall ... to live without you that I cannot." And I replied, " Oh, never can I forget you, my
.

"Farewell,"
1

'cart's

Raoul

!"

BOOBNOFF.
(In

astonishment.}
?

What

what's

that?

Kravol

THE BARON.
last

Come, Nastya, steady on (Laughs.} time it was Gaston

!

Why,

NASTYA.

... Silence, you wretches (Leaping on.} d'yer think you mongrels D'yer think you For Real love ? can understand love ? You mine it was real (To BARON.) Dirt ... an educated man, you lay and drank coffee, did yer ?
I !

LUKA.
wait a bit Come now, come Show respect to folk you interfere
. . . !
!

And
. .
.

don't

not in

word

but in deed.

that matters.

It's the reason for a word Tell That's where the matter lies
!

along, dearie girl,

it's

all

right

BOOBNOFF.
"

For

all

the crow
!

may dye

its

wings."

Dash along

116

THE LOWER DEPTHS

THE BARON.
Well, what then?

NATASHA
Don't

mind

them
.
.

what

are

they?

They're only jealous to tell about themselves.

'cause there's nothing

NASTYA.
won't go
if

(Re -seats herself.) No, I won't any more on. .If they won't believe
.
.
.

I
.

is

(Breaks off suddenly, a few minutes, then, with closed eyes, and keeping time with her hands, as though beating to some far-off music, she goes on again And then I answer to 'im, loudly and heatedly.) " And Joy of my life thou, my limpid moon it is not possible for me to live without I, too
silent

they're going

to laugh.

for

because I love you so wildly, as I shall yer love you as long as a heart beats in this bosom But I say take not away your young life I.t is so necessary to your dear parents, for you are all their joy let me cast give me up life love for out of thee. . . away my my
.
.

am

alone

...
. .

I
.

am

what
.
.

am

am
.

fit
.
.

and I 'ave nothing nothing at all." nothing nothing (Hides her face in her hands, and weeps noiselessly.)
for
.

NATASHA.
(Turning to one
cry
.

side, in a
I

low tone.)
strokes

Don't

yer mustn't cry

(LUKA,

with

smile,

NATASHA'S

head.)

THE LOWER DEPTHS

BOOBNOFF.
(Laughs.)

117

Ah

...

what damned foolery

THE BARON.
that's true
. . .

Old 'un (Also laughing.) " ? All out of a book

I

It's all

lot of trash

D'yer think all Fatal Love." Let 'er alone

The

NATASHA.
Leave
off
!

Just

shut

yer

mouth

God '11

punish yer yet.

NASTYA.
(Bitterly.)

Degraded

creature

Empty
?

fellow

How

could you have

a soul

LUKA.
(Taking
dearie
I

NASTYA 's
nothing
I
. . . .

hand.)
.
!

Come

away,
!

It's
.

don't get angry

.

you that's right, not them. If you believe you had a real love But don't get why, then, you had one 'ad one maybe angry with 'im, with yer room-mate he's envious, and that's what he's laughing for maybe 'e never 'ad one of that real sort
believe
It's
. .
! .

know

'ad nothing

Come

along, then

NASTYA.
Gran'pa
.

(Pressing her hands fast against her bosom.) that's 'ow it was God's truth 'E was a student ... it was, indeed it was a Frenchman we called 'im Gastosha
!

118
or
.

THE LOWER DEPTHS

black beard
. . .

little
.

strike

me dead
'e

if

and wore patent boots I'm lying And 'e loved

.
1

me

so

...

loved

me

so

LUKA. I know
'im

It's

all

right

believe

wear patent boots?

too, didn't

Ai

ai

ai

Did 'e and you loved

!

yer?
(Disappears round the corner.}

THE BARON.
There's a fool of a girl for yer but such a fool it's incredible
! !

Good

BOOBNOFF.

Why
just as

is
if

it? ... people's so fond of lying it's they was up before the beak
.

so

NATASHA.
Can't yer see that lies than the truth ... I too
is

...

jollier

THE BARON.
You too?
Come,
let's

have

it

NATASHA
I

think,
.

and

think

and

think

and

expect

THE BARON.
What?

THE LOWER DEPTHS

NATASHA.
(Smiling
in

119

perturbed

way.')
.
.

Just

Now, somebody
I

think,
. .

to-morrow
.

there'll
.

come

extraordinary something ... or something will 'appen something I'm unusual. I've been expectin' long a ... as But always really expectin'. matter of fact what is there to expect ?
.
.

(Pause.)

THE BARON.
I

(With a faint smile.) Nothing to expect All that was has been expect nothing What then ? Passed, ended
. .
!

NATASHA.

And
. .
.

gets

one storms are about

lightning.
.

... I get a fancy that to-morrow ... I shall die and that me scared. ... In the summer it makes imagine about death ... in summer the
then

suddenly

you may be struck by

THE BARON.
life, it's a hard one has a fiend's temper. yours

Your

that sister of

NATASHA.
Tell
all

me

'oo does live

I

'appily
.

It's

'ard for

...

that

see.

KLESSHTSH.
(Till

then motionless and indifferent, suddenly

120

THE LOWER DEPTHS

For
all
.

jumping up.}
all
!

all?

If

for

...
.
.

That's a lie then all right

I

Not for
!

Then-

there 's no 'arm

yes

BOOBNOFF.
What's

up

is

the

devil
!

biting

yer

You,

indeed, howlin' that

way

(KLESSHTSH

lies

down again

in his place,

muttering.}

THE BARON.

Um

-Natasha ... for a drink.

if
.
.

must go and make it up with I don't I'll not have the money
.

BOOBNOFF.

Um

People's
it's

fond
1

of

lying.

With Nastya
colourin'
'er

clear
. .

mug
. .

She's used to enough and 'ere she is now

.

wantin' to colour her soul

...
the

to put rooge
.

on
.
.

her
'e

soul.
?

But
. .

others.

why
.

do they
lies

Now,
.

for instance, there's

'e

Luka
it.

And an

rarely old man, too

gets nothin' from

...

why

is it

all?

THE BARON.
All men they have {Smiling and going off.} souls all want to rouge 'em and grey they ... up.
all

(LUKA appears from round

the corner.}

THE LOWER DEPTHS

LUKA.

121

Now, dear sir, why do you tease the girl ? Don't interfere with 'er let 'er cry it gives her pleasure. It's for 'er own pleasure, yer where is the see, that she 'as 'er weeps 'arm to you?
. . .
. . . . . .

THE BARON.
It's

rubbish,

old

man

To-day Raoul, to-morrow same old tale I Still

!

She's Cast on

a
. .
.

nuisance.
still

the
it

shall

go and make

up with

'er.

(Goes out.}

LUKA.

Go

along, that's
. . .

it

... go

and fondle
'arm.
.

'er
.

Fondle people

never does no

NATASHA
so

Daddy, 'ow good yer are

Why

are yer

good?

LUKA.

Um that's right, Good, der yer say? the so be ... yes (Behind party wall the sound of low singing to a concertina is heard.} One must, dearie, be good to some one Christ He pitied all, and we must pity people .1 say this if you and so He ordered us. man comes a then of it Here, good pity I in was once a caretaker a villa ... an now, engineer's it was, near the town of Tomsk. The villa stood in a forest, in the Ay, it was 'eart of it and it was winter and there I
. . .

if

122

THE LOWER DEPTHS

in the 'ouse all alone.
. . .

was

Well and good

I

One day
NATASHA.
Thieves

a sound

people rustling

LUKA.

... Pick up ay 'em two went. See my it that the about window so busy openin' " I don't see me. shouts You rascals out, they " be off And then, yer see, they're at me with an 'atchet ... I tell 'em to stand off
Yes.
That's what's
rustlin',
I
1

little

gun, and out

Or

else
it

fire

pointin'

at

And my gun I keeps one and then the other. Down they
!

goes on their knees, as For I tell you I was riled

to say,
' .
. .

"

Have mercy

"

Now, you woodmen, I've says ordered yer off once, and you're not gone. Now just you break me off a birch." They broke it off. " " Lie down to the one, and to the Now, I says " So 'im." other, they flogged one another. Flog And then they began to beseech me. " Dearie " for Christ's sake give us some man," they says, We'll go away we meant no 'arm." Them bread was my robbers, lo vie (Laughs.} Them was Yes their 'atchet, too good peasants both of 'em. ... I says to them 'Why, my wood!

you see

"

cause of the 'atchet,

men, you should 'ave asked right out for bread." And they say " We're tired of asking," they say " and no one gives it's ask and ask " So all that winter they lived with me. cruel The one that was called Stepan he'd take my gun
:

THE LOWER DEPTHS

. . . .

123

and go shootin' in the forest. But the other 'e was Jacob man, ill, coughing always.
.
.

And
of

And Goodbye," they say, gran'pa went were Russia. to they going
I

"

there the three of us together we took care the villa. When the spring came " "
.
. .

off

they

NATASHA Were they runaways ?

.

convicts

LUKA.
That's just what they broken out of prison.
.
.

were
.

runaways Proper moujiks

Besides

If

I'd not pitied

them

maybe
. .

that they'd 'ave killed

.

me ...

or what not.
.

courts,

and

Siberia where's the sense? prison and Prison don't teach nothin' good, and Siberia don't but it's the man 'e teaches yes man, 'e can teach for good very simply
. .

A
!

(Pause.}

BOOBNOFF.
M-m-yes
lie
!

truth,

... But here am ... Why ? To my lights give us just as it is Why 'ide any thin' ?
1

can't

all

the

KLESSHTSH.
(Suddenly leaping up again and shouting out What's truth? Where is an- ecstatic way.) the truth? Here's (Tearing at his rags.) truth No work ... no strength Here's
in
I

truth

No

shelter
. .
.

... no
that
is

shelter
I

We
The

must
I

pant and die

the truth

devil

124

THE LOWER DEPTHS

what do
I

What
room

want with the truth?

. .
.

Give
!

me

to breathe

room

to breathe

Why
!

am

I What's to me ... the truth? guilty? Can't live blast it I can't live Live hell let us live and there is the truth
!

BOOBNOFF.
Touched 'im up a
bit
!
. .

LUKA. Lord Jesus

now

listen,

love

You

KLESSHTSH.

You talk about (Quivering with excitement.} truth. You, old man, you go about and you soothe every one. ... I tell yer ... I loathe And that's a truth blast the every one truth Now do you hear ? Now do you know ?
!
. . .

say to you

blast

it

(Rushes off round the corner, turning as he goes.)

LUKA.
Ai ai Where's
ai
'e
!

It's

run

off

a real shock to?

'e's

'ad.

NATASHA.
'Is

raving don't matter.

BOOBNOFF.
'E
let
it
.
.

go
.

theatres.

fine The way they do in the not Often 'appens that way
! .
.

got used to the

life.

(PEPEL comes slowly round the corner.)

THE LOWER DEPTHS

PEPEL.
Peace be to
this

125

honest assemblage

Well,

Luka, my wily old boy, story of yer life ?

been givin' them the

LUKA.

You ought
a -shouting
I

to 'ave 'card just

now 'ow one

fell

PEPEL.
'E's runnin* as if

What, Klesshtsh, was it? What's up with 'im? he was scalded.

. . .

LUKA.

When

yer run

like
'eart.

that,
.
.

it
.

means

.it's

gone right to yer

PEPEL.
spiteful
'e's beastly down.} Don't like 'im and 'aughty. (Imitates KLESSHTSH.) I am a working man. Every one's beneath 'im. Work, if yer want to ... nothin' to be cocky about ? If yer value people by their work ... a 'orse can give any man points 'e Natasha Your people says nothin' pulls and

(Sitting

-in?

NATASHA.
They're gone in the Square
service
.

then to evenin'

126

THE LOWER DEPTHS

I

PEPEL.
So, yes,
see that you're free for once

...

novelty

LUKA.
(Reflectively
to
. .

BOOBNOFF.) Now
.

see

you say truth ment for man

with the truth.
case
:

.it's not always a good treatcan't always heal the soul

.
.

For instance, now

'ere's

knew a man

'oo believed in a land of

righteousness.

BOOBNOFF.
In wha-at?

LUKA.
" In a land of righteousness. There must," 'e " on the earth be a land of said, righteousness and there must be dwelling in that land an ex.

ceptional kind of people

... good
it's
.

people

they

respect one another, and to help one another

.

is
.

them and all about them " And there was that man wonderfully good 'oo was always wantin' to go and seek the
just natural to
. ! . .
. .

land of righteousness. and when ably

it

'E was poor, lived misergot so bad with 'im that

still

even

" Never 'eart, he'd only just smile and 'e'd say I can bear it mind A little more waiting and I've done with all this life and I shall go off to the land of righteousness." ... It was
:
I I

lyin'

down

didn't 'elp 'im

'e

didn't lose

his one delight,

was that land.

THE LOWER DEPTHS

PEPEL. Well?

127

Did

'e

go?

BOOBNOFF. Where ? Ho, ho

LUKA.

And
there

then to this place

exile,
'ad,
.

came an books and plans 'e

sort

was in Siberia was a scholar that scholar 'ad, and every

all this
'e
.

be so kind, where does the land of righteousness lie, and which is the way there?" At once the scholar opens 'is 'e looked looked books, undoes 'is plans
scholar
:

of thing. "

Then the man

if

says to the

Show me,

you

will

no, there's

quite true, for a righteousness one

nowhere no land of righteousness. It's the countries there are all marked, but
there isn't such
!

PEPEL.

What ?

None ?

(BOOBNOFF

laughs.)

NATASHA

Stop now.

Well, uncle?

LUKA. The man won't

'e

believe.

"
.
.

not," 'e says, yer books and yer plans they're no use if there isn't any land of righteousness." The scholar " " was offended. My plans," 'e says, are the

says

..." look

There must be,"

"
:

well

If

very

latest,

and there

isn't

nowhere not any land of

128

THE LOWER DEPTHS

1

righteousness at all." Well, and then the man " Can't be I've lived and lived and grew angry. suffered and suffered and always believed there is and your plan says that there's not " " Then 'e says to the scholar Ah, Robbery You're a swindler, not a you you scum
!

scholar

"...

and gives 'im one

1

whack

on

'is

ear

Then another

...

(Silence.')

And

after that 'e

went 'ome and 'anged 'imself

(All are silent, LUKA, with a smile, looks at PEPEL and NATASHA.)

PEPEL.
low tones.) Oh, the devil cheerful tale. not a
(In
I

...

that's

NATASHA

'E couldn't stand the deceit.

BOOBNOFF.
(Sullen.)

All of

it's

made

up.

PEPEL.
M-yes
eousness

... ...

so
it

much

for your land of right.

.

wasn't to be found.

NATASHA.
I'm sorry for that man.
.

THE LOWER DEPTHS

BOOBNOFF.
a story. Ho, ho There's notion a righteousness
It's

129

all

the land of

Ho, ho, ho

(Disappears from window.}

LUKA.

Eh(Nodding towards window.) 'E laughs ... Well, children live in hay-hay God I'll soon be leaving you.
I 1 . .
. I

PEPEL.

Where
LUKA.

are yer off?

To
it

little

Russia.

.I'm
. . .

told

that

they've

found there a new faith

'ave to look into

...

yes

wishing
patience
!

better

People are way.

always
. .

God

seeking and 'em give

PEPEL. 'Ow d'yer think

will

they find it?

LUKA.
If

people will
.

They'll

find

it

Who
finds
1

wishes

finds

who wishes

strongly

NATASHA.
If they'd found anything arranged better than
. . . .

they'd

'ave

LUKA.
little

But they must be 'elped, They're arranging must be respected. one they
I
. . .

130

THE LOWER DEPTHS

I
.

NATASHA. 'Ow can

myself.
. .

'elp?

I'm without

'elp

for

PEPEL.
(Decisively.}

Once more I'm

ter

again
this

ter
'e

talk

yer

knows

all.

Come

I'm going It's Natasha. with me

.

NATASHA. Where?
PEPEL.

To

prison?

told you I'll chuck thieving God's truth I can chuck it What I've said I'll do I'll work. read and write. Here's 'e been tellin* me to go to Siberia on my own hook let's go together eh? D'yer it don't think my life, jar me ? Ah, Natasha
I
!

I'll

consoles myself because I see others steals more than me, and they live in honour though they don't help
I
I

know ...

see

...
.

me
do

It

ain't

that

ain't
. .

repentin'
. I

...
be

don't believe in conscience.

feel
!

But this thing

better

must Must live

I

live

different

Must

live

...
.

so

as

can

able

to respect myself.

LUKA.
'elp yer

God grant it ... Christ That's true, friend True a man ought to respect 'imself.
1 ! :

THE LOWER DEPTHS

PEPEL.
I've

131

been from
1

always said to thief." Aha

thief
I

my cradle a thief ... all 'ave me " Vaska's a thief, the son of a Eh? There it is Set down a
:

been a might from badness yes but I 'ave been a because no one ever called me anythin' else. Say now. Natasha, well?

...

Yer see
.

'ave

thief
thief
. . .

NATASHA
.

Some (Sorrowfully.} not in any words.

. . . .

way,
. .

don't
I

believe

And

feels

uneasy
I

to-day

my

'cart's

'eavy
. . .

...
It's
. .

as though
pity,

was expectin' somethin'. you started on this to-day.

Vassili,

PEPEL.
But when then?
It isn't

for the

first

time.

should I go with you? As to . loving you. ... I don't much love you. At times you do please me ... then sometimes I can't bear to see you when it's one sees nothing bad in one's sweetlove heart but I see
. .
.

NATASHA And where

.

PEPEL.
You'll love

me

never fear

I'll
1

make you

care

watched only you'll say yes I over a for see a year. you're yer straight
if

...

I've

...

132
girl
'e
.

THE LOWER DEPTHS

.
.

good

...

man
.

yer can trust

loves yer very

much.

(VASSILISA, in her best dress, the window and listens.}

appears in

NATASHA.
Well, you love me, but

my

sister

PEPEL.
. .

Well, what (Agitated.} don't count. they

. .
.

of
.

'er?

That

sort

LUKA.
Never mind that, girlie. When yer can't get good bread, yer put up with stale stuff. When there's no clean, good, fresh bread.
. . . . .

PEPEL.
Per'aps yer might pity me. My (Gloomily.} not soft ... a wolf's life little joy in and whatit ... like a man in a swamp ever I catches at ... it's all rotten ... no hold nowhere .... Your sister ... I thought different ... if she weren't so ... so 'ot after for good money I'd gladly 'ave taken 'er ... If as she'd be mine altogether. and all She But she wants other things.
life's
.
. .

wants money
'er

'elp

way me.
it

is
.

to
.

to
.

and 'er own way go on the loose. She

. .

and
can't

But you're like a young

it

fir-tree,
.

and

may

rock, yet

'olds firm.

THE LOWER DEPTHS

LUKA.

133

And
you
so,
I

I
1

say

you go with him, dearie, you go

!

with 'im

just

. yer. . that you're a

.

" don't forget it And think, too, dearie, where else is there you could go to ? um ? Your sister, she's just a fierce

And a good lad keep on remindin' 'im 'e's a good lad, 'E'll believe mean, as e shan't forget it. " Only you say to 'im, Vaska, it's certain
'E's the right sort
f

good man

beast

and 'er husband what can one say of 'im ? There's no words bad enough for the old man and all of this life 'ere what can it lead to? But the lad's strong.
. . .

NATASHA. Nowhere
thought of
believe
to.

to
it.
.

go
.

...
Only
.

know
this.

I've

it's

...

don't
to

nobody.

But

I've

nowhere

go

...

PEPEL.

One way
go.

but that way

I'd
kill

I'll
.

not
.

let

yer

...
.

Sooner

yer.

NATASHA

(Smiling.)

There
'e's

...
of

I'm not his wife

killin'.

yet,

and already

talkin'

PEPEL.
(Putting his

arm round

her.)

Come, Natasha,

say yer will

134

THE LOWER DEPTHS

But this one thing. speak it before God time you strike me, or any way insult either 'ang myself ... or ...
.

NATASHA.
(Pressing herself to him.}
I

say,

Vaska

and

the

first
I'll

me,

PEPEL.

May my
LUKA.

'and rot

off,

if

touches yer

It's all right, never doubt dearer to 'im than 'e to you.

it,
. .

lovie.
.

You're

VASSILISA.

(Out of the window.}

pretty
.

So

that's

arranged

love

council

NATASHA
Vaska
I

She's there.
. .
.

Oh Lord

She's seen

ah,

PEPEL.

What

er

yer frightened for

!

No one

dare

touch yer
VASSILISA.

now

Don't fear, Natasha He'll not beat yer. 'E can't beat, for 'e can't love. ... I know
!

LUKA.
(Low.} snake
1
.

Ah,

woman

poisonous

THE LOWER DEPTHS

VASSILISA.
*E
'its

135

yer with words.

(KOSTOLOFF
KOSTOLOFF.
Natasha
the
!

enters.}

What
not

er yer after 'ere, sluggard?

at yer relatives
. . .

Tittle-tattling?

Grumbling
ready?

And
not

samovar
?

the

table

touched

NATASHA

(Going out.) Church.

.
. .

thought

you was goin'

to

KOSTOLOFF.
That's
!

none

of

your
!

goin' Keep to your do as yer ordered

own

business where business

.

we're
.

and

PEPEL. Hold you

She's no longer yer servant Natasha, don't go ... don't do nothing

!

...
!

NATASHA. You stop ordering

bit early
!

you're

beginning a

PEPEL.
(To KOSTOLOFF.)
.

So

that's

'ow

get

left
I

never mind

Now
did

she

is

...
'er ?

mine

KOSTOLOFF.
Yours
?

When

you buy

Fer 'ow

much?
(VASSILISA laughs.)

136

THE LOWER DEPTHS

you be
off.

LUKA.
Vaska
!

.'".

PEPEL.
You're
pleased
to
you'll learn that
it's

think it funny a cryin' matter

I

Maybe

VASSILISA.

Oh, 'ow

terrible

Oh,

ain't

terrified

LUKA.
Vassili

be

off

for see

she's

drawing

yer on stand?

...

working yer up

don't yer under-

PEPEL.
Yes
. . .

aha

She's lying
all

you

lie

You

won't have

it

your way

VASSILISA.

And
Vaska
1

it

won't be the way that

don't want,

PEPEL.
(Clenching his
fist

at her.)

We'll see

(Goes out.)
VASSILISA.
(Disappearing from window.)
I'll

arrange you

a wedding.

THE LOWER DEPTHS

KOSTOLOFF.
Well,

137

my

old

man ?

LUKA.
Just so,

my

old

man

...

KOSTOLOFF.
So

...

you're going away, they say?

LUKA.
Soon.

KOSTOLOFF. Where?
LUKA.

Where my
KOSTOLOFF.

eyes draw me.

On
taste,

the tramp, you mean.

I

Ain't to yer
?

see,

stoppin*

in

one place

LUKA. Under a

firm stone no water flows, they say.

KOSTOLOFF.
That's
for a stone.

But a

man ought
just

to live

on one spot. Men ought not to each one popping about

. .
.

live like beetles

as

ever

*e

pleases.

A man
.
.

place earth.

not

ought to settle 'imself in one wander at random over the

138

THE LOWER DEPTHS

is

LUKA.
But supposing that every place
his place?

KOSTOLOFF.

Why, that shows 'e's a tramp ... man ... a man, 'e ought to be of
he ought to labour.
.

a useless use
. .
.

LUKA.
Get on
!

KOSTOLOFF.
Yes.

Consider

...

a vagrant

what

is

... a man not like others .... Suppose 'e a real pilgrim knows somethin' that's no good to any one though it be true enough but there's not good in every truth
he
?
. .

A man apart

yes
still

Well,
!

let

'im keep

it

to 'imself

and

If
'e *e

then

he's a real pilgrim, 'e is silent. don't wish for nothing, don't interfere,
. .

keep But

'Ow people without reason. 'E ought people live's none of 'is business. to follow a righteous life ... to live in the
don't annoy
. .
.
.

woods

...

in the fastnesses

out of sight
. .

And
the

interfere with

no one, judge no one

all

but only pray for

...
.

for
.
.

all

the sins of
thine
. . .

world
so

for

mine

for

for all.

It's

...
man
'as

for that 'e forsakes all earthly cares as to pray. And that's the way.
.
. .

(Pause.) are you

what sort of a pilgrim But you You've no passport ... a good should 'ave a passport ... all good people
?
.

passports

yes

THE LOWER DEPTHS

LUKA.
that

139

There are people, and then there are others are men.
.

KOSTOLOFF.
Won't do
.
. .

for me. Don't give I'm as clever as you.

. .
!

me no riddles. What stuff

.

people and men

LUKA.
Where's the riddle
that won't take seed
fertile
.
.
. .

?
.
.

say

there
in

is

ground
grows

and

there's land that's

it it

whatever
that
. .

you
.

put

and by

KOSTOLOFF. What er yer

LUKA.

gettin' at?

Now
. . .

thus,
all

for

example.
"
.
. .

Suppose

Lord God 'Imself

It's

says, settled

Mikhail, be you a without no

. . .

man

the "
!

bother

...

as

you are

so you remain.

KOSTOLOFF.
But
uncle
but are you aware my wife a policeman. And if I ...
. .
.

'as

an

(VASSILISA comes in.)

VASSILISA.

Mikhail Ivanitch, go and 'ave yer tea.

140

THE LOWER DEPTHS

get out of here
clear out

KOSTOLOFF.
Here's fer yer
of this place
I ! !

VASSILISA.
Yes, you get out, old

man
and

a sight too long not a runaway.

yes,

'oo

Your tongue's knows you're

KOSTOLOFF.

From
look out

to-day take yer carcase

!

off

or else

LUKA.
Call

caught reward

Call uncle up uncle a runaway. Uncle

I
.

think

if

*e

might
.

get

three

kopyeks.

BOOBNOFF.
(At window.)
that fer three

What's that for sale?

What's

kopyeks?

LUKA.
It's

me

they're threatening to sell.

VASSILISA.

(To husband.)

Come

on.

...

BOOBNOFF.
they'd

For three kopyeks? Why, you sell you for one.

. . .

see, old

man,

THE LOWER DEPTHS

KOSTOLOFF. You sprang up
. .

141

just

like

devil

from

under the stove?

VASSILISA.

(Going with

his

wife.}

What 'eaps of shady people and every kind of swindlers.

LUKA. Wish you a good
VASSILISA.

in the
. .

world

appetite

...

(Turning round.}
rotten toadstool
I

Shut your mouth

yer

(Disappears
corner.}

with

her

husband

round

the

LUKA.
This night
I'm
off.

...

BOOBNOFF.
That's best.

Never outstay your welcome.

LUKA. You say

true.

BOOBNOFF.
I

know.

Maybe

I'd

be

in prison, if

'adn't

gone

off in time.

LUKA. Urn?

142

THE LOWER DEPTHS

This way
.

BOOBNOFF.

my wife took up with the say truth, the master was all 'e was a rare 'and at changing dog's right cat's too coat, re-dyin' it, into racoon
:

True.
.

master.

... To

musk-rat and all sorts. kangaroo A knock out So you see the wife took up with 'im and they were that gone on one another
into
. . . . . .
!

that

I feared they might poison me, or get me out of the world some'ow. So I beat the wife
.

ful fights.

and the master me. Once 'e pulled out

.

We
my
in

'ad dread-

broke my I cracked
yard 'Owever,
.

rib.

my
.

beard and once wife over the noddle with an iron

'alf

Then

I'd get wild too

and altogether we was

see

the wars.
.

nothin' can
it
1

come
.

of all this
I

they get the best of

myself I'd kill But powerful

!

my
I
.

thought thought of it pulled myself up in time and

wife
.
.

And

then

to

cleared off.

LUKA.
That was the best Leave 'em to go on changing dogs into racoons
I

BOOBNOFF.
Only that the shop was in the wife's name and I was left as you see Though, to tell the For, yer truth, I'd 'ave drunk away the shop.
.

see,

'as

those drinking spells.

LUKA.
Drinkin' spelli
?

Ah

THE LOWER DEPTHS

143

BOOBNOFF. The worst yer can Once I begin to put it down I do in everything, leave nothin' but my It's awful skin. What's more I'm lazy.
! .

'ow

'ate

work

(SATINE and ACTOR enter quarrelling.}

SATINE. Rot
!

pack of lies. that stuff into

You won't go anywhere Old man why did

!

it's

a
all

yer pour

'is

ears

THE ACTOR.
You
lie
!

Uncle

tell

'im that

'e

lies

I-

am
. .

To-day I worked, swept the floor going and took no vodka. How's that? Here they are two five kopyeks, and I'm sober
1 .

SATINE.

You pack
Get out

of fools

Give

it

here,

I'll

drink

it

THE ACTOR.
1

That's

all

towards

it.

LUKA.
(To SATINE.)

And you

why do you

lead 'im

away?
SATINE.
what's
Tell me, you magician, beloved of the gods my life going to be? Blown myself,
I

But it's all gone yet, have, into smithereens uncle there are sharpers in the world cleverer
than

me

144

THE LOWER DEPTHS

agreeable

LUKA.
You're merry, Konstantine
.
.
.

BOOBNOFF.
Actor
1

Come

along

'ere

(The

in front of

ACTOR comes to the window, and sits BOOBNOFF on the sill.)

SATINE.

good
time

In early days, brother, I was a great wag. It's to remember ... One of the boys in my
I . .
.

danced

splendidly
.

played
.
.

on
. .

the
.

stage

liked to

amuse people

fine.

LUKA. 'Ow did yer get out of yer

SATINE.
have to know

bearings,

eh?

Aren't you just curious, little old chappie all ... but why?

You

LUKA.
I

and

want to understand the ways of men You're a look at you I don't understand
. . .
!

bold fellow, Konstantine all at once

.

... no

fool

yet

SATINE.
Prison,

daddy
in

Four years and seven months

. .
.

did

sit

prison

after

the prison

nowhere

to

go

THE LOWER DEPTHS

LUKA.

145

Oh -ho, ho
SATINE. For a
rage
cards.
. .
.

What were you

in for?

rascal.
.

...
in

killed
I

the

rascal

in

and
.

the prison

learned to play

LUKA.

Was

the killing

for a

woman?

SATINE. For my own

off it.
I

sister.

Anyhow

you come
. . .
.

don't care for being questioned

all that
.
. .

and
sister

...
. .

died
.

then.

of a girl,

My happened long ago. nine years have passed since Ah, brother, she was a real brick my sister was.
. . .

LUKA. You take

life

easily

Yet
yell

the locksmith

'ow he did

'ere just ai
.

now was
ai ai
!

SATINE.
Klesshtsh
?

LUKA.
Yes.
"
there's

'There's
"

no

work,"

'e

cries

..

nothing

SATINE.
He'll

get

used to

it.

... What

shall

be

up

to

now?
10

146

THE LOWER DEPTHS

See
'ere

LUKA.
(Softly.}
!

he comes
in

(KLESSHTSH
bowed.)

comes

slowly,

his

head

SATINE.
Hey, widower
for?
!

What do

yer hang yer head

What

are you pondering?

KLESSHTSH.
Thinkin'
tools
.

what

shall

do

I've got
!

no

...

all

gone

for

the funeral

SATINE.
give you some advice Simply dig up the world
I'll
!

... do

nothing

KLESSHTSH.
That's what yer say before men.
.

...

should be ashamed

SATINE.

Men aren't ashamed to let you live Come off Think now you stop worse than a dog. and a hundred more working, I don't work thousands all see? All chuck d'yer No one will do anything then what '11 work happen
!

KLESSHTSH.
They'll
all

die of hunger

THE LOWER DEPTHS

LUKA.

147

(To SATINE.) If these are your notions, you " there's a ought to go to the fugitives

"...
.
.

people they call the

"

fugitives."

SATINE.
I

know

they're no
is

fools,

ancient.

(NATASHA window
Stop!
.

heard
crying
.

from KOSTOLOFF'S
out,

"

What

for?

What

'ave I

done? ")

LUKA.
(Agitated .)

Natasha

It

was her cryin'-

Ah

(From the KOSTOLOFFS' apartment is heard noise, scuffling, the sound of broken and the shrill cry of crockery, KOSTOLOFF " A h ! heretic ! hag ! " )
VASSILISA.

Wait a
there
!

bit
.

...

I'll

teach

her

...

there,

NATASHA.
Beating

me

killing

me.

SATINE.
(Shouts in at the window.)

Hi

in there

LUKA.
(In
call

trepidation.)

Vassili

call

'im
.
.

Vaska.
1

Oh,

Lord

Brothers

children

148

THE LOWER DEPTHS

Here, now.
.I'll find *im

THE ACTOR.
at

(Running out.) once

!

BOOBNOFF.
It's

nothin'

uncommon,

their beatin' 'er.

SATINE.

Come
LuKA.

on, old

man

.we'll act as witnesses

(Following
witness
'im.
. .
!

SATINE.)
Vassili
.

I
.

ain't
.

no

sort

of

It's
.

quick

and

fetch

NATASHA
Sister
.

sister,

dear

Va a a

BOOBNOFF.
They've
look.
. . .

stopped

'er

mouth

I'll

go

and

(The noise

KOSTOLOFFS' apartment to die away as if they had gone out into the passage. The cry of an old man heard: " " The loud slam of a door, Stop !
in

the

diminishes,

seems

which seems, as
to

it

cut off

all

sound.

were, with a hatchet, Quiet on the

stage.

Evening

twilight.)

KLESSHTSH.
(Seated on the sledge, rubs his hands firmly Then begins to mutter something together.

THE LOWER DEPTHS

at first indistinguishable, then}
live.

149

'Ow, then?
. . .

Must
well? alone

No

(Aloud.} roof nothing

. . .

Must have a roof

1

Man
.

alone
.

that's

all.

.No

hope.

(Slowly he goes out.}

(A few seconds of ominous

somewhere

silence, then, in the passage, a volume of sound, chaos of cries. It increases and

approaches.
tinguishable.}

Individual voices are dis-

VASSILISA.

I'm her

sister

Let

me

go.

...

KOSTOLOFF.

What

right have

you got

VASSILISA.
Jail -bird
1

...
When
'im

SATINE. Call Vaska

quick

give

it

(A police

whistle.}

(TARTAR runs

in, his

right

hand bandaged.}

THE TARTAR.
'Ere's a pretty pass
light
!
1

murder

in

broad day-

(Enter

WHEN,

followed by

MYEDVYEDYEFF.)

150

THE LOWER DEPTHS

!

WHEN.
Ha
I

gave 'im one for 'imself

MYEDVYEDYEFF. You you've been

fighting,

too

THE TARTAR.
And you ?

Do

yer

own duty

MYEDVYEDYEFF.
(Feeling for his cord.}
whistle.
. .

Here

give up

my

(KOSTOLOFF runs
KOSTOLOFF. Abraham
It's

in.)

Stop 'im

Seize 'im

murder

(From around the corner come KVASHNYA and NASTYA, supporting NATASHA, all dishevelled. SATINE moves backwards towards the house, dragging VASSILISA,
to get at her sister; leaping about her like a madman, whistling in her ears, shriekAlso other tattered ing, roaring.
is

who

trying
is

ALYOSHKA

persons

men and women.)

SATINE.
(To VASSILISA.) owl
!
.

Would you?

you damned

THE LOWER DEPTHS

VASSILISA.
Let
pieces.
jail -bird

151

go,
. .
.

you

I'll

tear

you

to

KVASHNYA.
(Taking away NATASHA.) Karpovna, leave ... aren't you ashamed? Er you mad?
off

MYEDVYEDYEFF.
(Seizes

SATINE.)

Aha

I've got yer

SATINE.

When
(All

flay

'em

Vaska;

Vaska

are struggling in a mass near the They passage, near the party wall. draw NATASHA away to the R., and
set

her

down on
in

the

pile

of wood.}

(PEPEL rushes
ful

and

silently,

with power-

movements, forces them.)

his

way through

PEPEL.

Where

are you

Natasha?

KOSTOLOFF.
Vaska Robber
(Getting behind the corner.) us brothers, help
1
I

Abraham

Seize
!

...

take Vaska

footpad

152

THE LOWER DEPTHS

PEPEL.
you old goat (Violently he strikes the old man.} round,
I

You

swinging

(KOSTOLOFF

falls

so

that

only the upper

part of his body is in sight. rushes to NATASHA.)

PEPEL

VASSILISA.
Beat robber

Vaska
!

Good people

...

beat

the

MYEDVYEDYEFF.
(Cries to SATINE.)

a family matter
er

Let be ... this They're relations

.

is
.
.

...
what

you?
I

KVASHNYA.
child's

Look, look the savages poor feet.

. . .

They've scalded the

NASTYA.

The samovar

upset.

THE TARTAR. Maybe ...

truth
.
. .

an accident mustn't talk wildly.

.

must 'ave the

,

NATASHA.
(Half fainting.) save me
.

Vassilisi

take

me

THE LOWER DEPTHS

VASSILISA.

153

Good

folk
I

look here

look,

see

Dead

Murdered
(All

gather round KOSTOLOFF in the BooBNOFF comes out from passage. the throng, goes to PEPEL.)

BOOBNOFF.
(Low}. Vaska
1

the old

man

It's

done now

PEPEL.
.
.

(Looks at him, seems not to take it in.} and call take 'im to the hospital
.
.

Go
. . .

leave

me

to deal with

them

BOOBNOFF.
I

say
. . .

the

old

man some

one's

finished

im.

(The noise on the stage goes out like blazing wood extinguished by water. Separate half -whispered ejaculations:

" Not

"Done it this time!" really?" "Let^s get out of it!" "Oh, the " " Some one's in " devil! it! The
for

crowd decreases.}

(BOOBNOFF and

the

TARTAR go
to the

off.}

(NASTYA and KVASHNYA rush of KOSTOLOFF.)

body

154

THE LOWER DEPTHS

ground, cries my 'usband
!

VASSILISA.
(Getting up from the triumphantly} Killed 'im
there's
I

out
.

'is

murderer

saw it Good people Vaska? the police

!

I Vaska murdered 'im I saw it ... And now

!

PEPEL.

(Doming from NATASHA.) Take 'er away (Looks at the OLD MAN. To VASSILISA.) Well? You're glad? (Touches the body with his foot.} But It's come your way. Croaked the old dog
I I

can't

serve you the

same?

(Rushes at her.}

(SATINE and WHEN pounce upon him VASSILISA rushes into the passage.) SATINE.

Hold on

WHEN.
Proo
I

Where

are you jumping to

VASSILISA.
(Reappearing.) What, Vaska, darling friend? AbraPolice You've got to go on trial. ham Whistle
. .

MYEDVYEDYEFF.
They
tore
it

away, the devils

ALYOSHKA.
Here
it

is

(He

whistles.

MYEDVYEDYEFF

runs after him.)

THE LOWER DEPTHS

SATINE.
Vaska,
it

155

don't

funk

is

that's
.

nothing

Manslaughter that's all That doesn't cost you

much.

VASSILISA.

Hold Vaska
SATINE.

'E killed 'im.

saw 'im

I gave 'im three Can't have good taps. needed much Call me as a witness, Vaska.
. . .
!

PEPEL.
I don't want to acquit myself. What I want's to bring Vassilisa in ... and I will bring 'er into it. She wished for it ... she 'as urged
. .

me
to.

to

kill

'er

'usband

...

'as

urged

me

...

NATASHA.
(Suddenly
. .
.

and
?

loud.)
.

Ah
. .

I
!

understand.

So, Vassili

one

My

sister

Good people They are at and him they are at one

I

They had arranged

it

all

So,

Vassili,

that's

why you
. .
.

talked to

me

to-night

...

so that she
I

She might overhear it all? Good people is 'is lover you know it ... all know it She ... it was she they are at one 'e was in their got 'im to kill 'er 'usband and I was in their way. See 'ow way they've mangled me.
. .

156

THE LOWER DEPTHS

What
d'yer

PEPEL.
Natalya say?
!

say

what d'yer

SATINE.

The

devil's in

it all

VASSILISA.

You lie She's Vaska's the murderer

!

lying
!

...

...

He,

NATASHA
They
of yer.

are

at

one

Curse you both

Both

SATINE.
'Ere's a

muddle

Take
1

care, Vassili.

They'll

sink yer between

'em

WHEN.
No
understanding
it.

... What

a world

it is

PEPEL.
Natalya
I

No,

it

can't be

you do really?
. . .

you

can't believe that

me and

her

SATINE.
God's sake, Natasha, think what you're saying
VASSILISA.
(//z
. . . I

the passage.}

They've killed
.

my

'usband

Vaska Pepel, a thief Your worships. ... he 'as killed him, Mr. Inspector. ... I saw it, they all saw it. ...
.
.

THE LOWER DEPTHS

NATASHA. (Her mind wandering.}

157

Good
. .

people
!

my

sister

police

and Vaska they're murderers .it's she, you can 'ear them

The

it's
.
.

my
her

sister, she's urged him persuaded lover there 'e is, the wretch
.

him
. .
.

the

murderers

Take them
! ! . . .

And take me let me go to

to prison

they are judge. For Christ's sake

.
.

prison

END OF THE THIRD ACT.

THE FOURTH ACT

THE FOURTH ACT

SCENE..

PEPEL'S room is Setting of First Act. gone, the partition is broken, and in the place
where KLESSHTSH
(In the corner
sat there is

no

anvil.

TARTAR

where PEPEL'S room was the lies, moving and groaning from time to time. Behind the table KLESSHTSH is seated; he is mending a concertina for a leak in the bellows. At the other end of the table SATINE, BARON, and NASTYA. In front of them
a
bottle of vodka, three bottles of beer, a large hunk of black bread. The ACTOR is turning about on the stove and cough-

The scene is lighted by ing. Night. a lamp in the middle of the table. Wind in the yard.}

KLESSHTSH.
Y-yes
.
. .

during

all

of that shindy

'e

cleared out.

THE BARON.
Vanished
before
the
fire.
.

police.
.
.

Just

like

smoke

dies

before

SATINE.
Just as

evildoers flee the faces of the

just

102

THE LOWER DEPTHS

...
But

NASTYA.
'E was good was the little old man you're not men you're mildew
. .
.

THE BARON.
(Drinks.}

To your

health, lady

SATINE.

An
here

interesting old boy yes she's fallen in love with him.

.
. .

Nasturka

NASTYA.
'im

In love with 'im 'E 'Onest

I

arid
.

dead
. .

in love with
.

saw
.

everythin'

understood everythin'

SATINE.
(Smiling.}

And on
.

the
.

whole

...

he was

for a lot of yer you've no teeth.

good

like slops are

when

THE BARON.
(Laughing.}

Or a

plaster

on a

boil.

KLESSHTSH
SATINE.

'E 'ad pity

you

'asn't

no

pity.

Does

it

help yer

if

pity yer?

KLESSHTSH. You may

pity
. . .

it's

but

it

is

that

not that you should 'ave yer shouldn't give

offence

THE LOWER DEPTHS

THE TARTAR.
hand

163

(Sitting on the planks and nursing his damaged like a child.} The old 'un was good
.

'ad the law in

soul's

good.

'Oo 'as the law in 'is Lose the law and yer done for
'is

soul

THE BARON.
What
law, Prince
?

THE TARTAR.
Just
just
. .
. .

different

ones

you

know

THE BARON.
What then?

THE TARTAR.
Don't offend people
there's the

law

SATINE.

We

call

that

"

The

code

of

punishments,

criminal and correctional."

THE BARON.
an act for the regulation of And, moreover punishments to be inflicted by justices of the
peace."
. .

"

THE TARTAR.
Koran
law.
. .

tells
.

your Koran ought to be yer

.

The

soul ought to be the Koran.

Yes

164

THE LOWER DEPTHS

damn
.

KLESSHTSH.
(Testing concertina.} Wheezes, wheezes, ... but the Prince 'e says right live by the law ... by the gospel.
it
!
.
.

must
.

SATINE.
Live
it.

...

THE BARON. Try it. ...

THE TARTAR.
Mahomet gave
!

the

Koran

*e

said

'Ere's

the

law Do as it's written there. Then in course of time the Koran's not enough time gives its own law, a new law. Each time gives
. . . . .

its

own

law.

SATINE.
Just so. of

... Time

punishments

"...

went by and gave A strong law

. .

"
.

a code
.

you

won't soon get rid of

it.

NASTYA.

And what (Bangs her glass on the table.} why do I live here with you? I'll go go off to some place ... to the end away of the world
for
. .
.

THE BARON.
In your slippers, lady?

NASTYA. Naked

On

all

fours

THE LOWER DEPTHS

THE BARON.
Quite a picture, lady
. . .

165

if

on

all

fours

NASTYA.
Yes, I'll crawl look at your mug.
!

If

it's

only not to have to

it
.

Ah, 'ow
! .

all

revolts

me

All life

...

all

people

SATINE.

Go
off

at

'e's on, and take the Actor with yer on some goose chase he's learned that, exactly half a verst from the end of the world,
.

there's a 'ospital for organons.

THE ACTOR.
(Getting yer fool
!

up from

the stove.)

Or-ga-nisms

SATINE. For organons poisoned with alcohol.

THE ACTOR.
Yes, he'll go
!

he'll

go

just

see

THE BARON.
He
who, monsieur?

THE ACTOR.
I
!

THE BARON.
Merci, servant of the Goddess
. . .

what's
.

'er
. .

name?

of plays, of tragedy what on earth's she called?

The Goddess

106

THE LOWER DEPTHS

idiot

THE ACTOR.
The Muse
Muse,
!

Not

Goddess

but

SATINE.

Hera
'ell

Aphrodite
!

Atropos

...
.
.

to

with

em
it

It's

all

the old
.

man

that's
?

screwed

into the Actor

d'yer see, Baron

THE BARON.
The old
'un's

an ass.

THE ACTOR.
Clods
!

Goths

less creature,

you

shall see

hence, ye dismal spirits

.
.
.

"

Mel-po-me-ne he'll go
.

"
!

HeartGet ye

verses of Be*ranger

yes

He'll find 'im

a place where there's

no

...

no

...

THE BARON.
No, anything, monsieur
!

THE ACTOR.
That ditch shall be my Nothing tomb, sick and exhausted I die "... Why do you live ? Why ?
! !

Yes

"

THE BARON.
You
bellow
"
1 1

Kean or genius and excess

"
:

don't

THE LOWER DEPTHS

THE ACTOR.
You
lie
!

167

will

bellow

NASTYA.
(Looking up from the table wrings her hands.)
,

Shriek

Let 'em listen

THE BARON.
I

don't quite take you, lady

SATINE.
Quiet, Baron
split their sense, too.
.
!

Oh,

'ell

own
.

ears

... Let 'em shout ... let 'em That's

!
!

Don't
yes,
all

'inder

folk,

as

the

old
bird
.

man

put

it

...

he's just turned

yer know, that old our people's heads.

.
.

KLESSHTSH.
'E pointed 'em some place never showed 'em the way.
.
.
. .

and then

THE BARON.
The
old 'un was a

humbug.

NASTYA.

You

lie

You're a 'umbug yerself

THE BARON.
Silence, lady
I

KLESSHTSH. The truth

'e

didn't like

it,

the old

'im.

168
didn't.

THE LOWER DEPTHS

'E stood firm against the truth
. . .

right

'e

was

Yes
.
.

where 's there truth

. . .

'ere

and But
the
see

without it yer can't breathe. Prince there 'e's spoiled

.

Look
'and

at

'is

workin*
off,
!

....
.

'e'll
. .

'ave to 'ave
there's

'is

'and sawed
of yer

now

and

some

truth

SATINE.
(Striking
his

hand on the
cattle
!

table.}

Silence

You're
the old

all

of yer
1 I

man
all
. .

(Calmer.')

Boys shut up about You, Baron are the

worst of stand
.

...

and

Not a thing do yer underThe old 'un's no humyer lie

! . .

bug

truth

What is the truth? Man there's the He understood that you don't
. 1

You're
old
fer

as dead as bricks.
.

...
.
!

He lied yes. devil take you, yer pity people that lie out of pity for their neighbours. inI I've read know Beautifully,
man
.
. . .

understand the but out of There's lots of

spiredly, affectingly they

lie

There's the con-

... the lie to lie, preceptive the burden that crushes the hand of the justify I labourer ... to lay blame on the starving. The weak of spirit and them know about lies
soling the
lie
!

that live

on the sap of others

.

it's

lying screens.
.

some But him

.

it

supports,
his

them that need and others it

. . .

that's

own master

who

don't depend on others and don't feed on others why should he lie? Lying's the religion Truth's the God of of slaves and masters.
.
.

the free

man

THE LOWER DEPTHS

THE BARON.
Bravo
like a

169

Finely spoken decent man

! !

agree

You

talk

SATINE.
Shan't
a

rogue

sometimes

speak

the

truth,
. . .

when decent
The old
. .
.

folk so often talk like rogues ? I've forgotten a lot, but I shall know something

'un

He had
like acid

brains.

... He ...
Fill

worked on

me

does on a dirty old coin.

!

Let's drink to his health

up.

...

(NASTYA pours out a

it

glass of beer

and gives

to

SATINE.

He

laughs,)

SATINE.

own way looks at I asked own Once everything through eyes. him: "Daddy! why are men alive?"
The
old
lives his
. . .

man

his

(Trying to speak in LUKA'S voice and to

imitate his demeanour.)

"

Why

they

live

for

Now,

let's

say, there's carpenters

. .

masses

people.

man, dearie and the rest And then out of them a

the
better
!

carpenter's born ... a carpenter such as never was in all the world above 'em all never was his like fer carpent'ring. 'E stamps 'imself on the whole carpent'ring trade shoves the whole thing twenty years forward. And so for all the others. Locksmiths then bootmakers and other working folk and all the agricultural and even the gentry they
:
: .

170

THE LOWER DEPTHS

man
!

live for the better

Each
it's
. .
.

thinks
for

'e's

livin'

fer

'imself,

yet

it

turns out

that

better

man. we 'as

A
to

'undred years

and maybe longer,

go on

livin' till the better

man

"

(NASTYA looks

fixedly into

KLESSHTSH

SATINE'S face. stops working at the con-

The BARON, certina, and also listens. with his head lowered, drums with his
fingers softly on the table. got off the stove.}

ACTOR

has

SATINE.
"
All,

dearie

boy,
!

all

in

their

way

live

for

the better

man
'e

Therefore you must show reit's

spect unto all

'e is,

...

clear

we

can't

know who

was born, and what 'e can do ... 'e why have been born for our 'appiness ... to may us Arid) the most of all ... bring 'elp. that we must respect children the little bits of mites For the little children there must be no cramping Never interfere with the
.
.

children

respect the mites

"

(Pause.}

THE BARON.
(Thoughtfully.}

man?
old

So
.

family

... ...
.
.

it

For the better M-yes. was in our family ... an

. .
.

of

Catherine's

time.

Noblemen originally French. ... service rose and rose. Under Nicholas, my grandIn the
father,

Gustave Debille, held a high post.

. . .

Riches.
,

Hundreds

of

serfs

horses

cooks.

THE LOWER DEPTHS

NASTYA.
Lies
!

171

'E never did

THE BARON.
(Leaping up
.

What ? Well

and

after

NASTYA.
'E never did
!

THE BARON.
(Shouts out.} Petersburg arms.
in
!

house

in
.

Moscow
.
.

house

Carriages

with

coats -of -

(KLESSHTSH

takes the concertina^ gets up,

and goes

to one side, from where he watches the scene.)

NASTYA.
Never 'ad
!

THE BARON.
Silence
1

say

ten

footmen

NASTYA.
(With exultation.)

N -never

'ad

THE BARON.
I'll

kill

you

NASTYA.
(Preparing to run.) There was no carriages
!

SATINE.
Stop, Nasturka
!

Don't

rile

'im.

172

THE LOWER DEPTHS

spawn
!

THE BARON.
Just wait, yer

My

grandfather

NASTYA. 'Ad no gran'father

'Ad nothin'

(SATINE laughs.)

THE BARON.
(Worn
Satine,
.
. .

out

with
.
.

rage
.

sits

on
.
.

the
.

tell

'er

the
!

slut.

bench.) You, too

don't
his fists

you're

laughing
It's true,

You

too

believe

me ?

(Cries in despair,

pounding
all
!

on the table.)

damn you

NASTYA.
(Triumphant.)

A -ah,

got

'im.

D'yer know
believe

now 'ow

it

is

when people won't

yer

KLESSHTSH.
(Returning to table.)
fight.
.

thought there'd be a

THE TARTAR. Ah Silly folk

!

Very bad

THE BARON. I ... won't

SATINE.
Stole

myself be jeered got proofs, documents, damn it

let
!

at.

I've

them

And

forget about your

uncle's
can't

carriages

...

in a carriage that

was you

go anywhere.

THE LOWER DEPTHS

THE BARON.
That she should dare, anyhow
I

173

NASTYA.
D'yer hear
'im?

Should dare

...

SATINE
?

How's she any worse than laughing in her you Though past we'll take it that she's had no carriages and grandfathers, or even a father and mother.
'E's only
I . . .

THE BARON.
(Growing
you're
.

calmer.)

Devil

take
.

yer
. .

...

able

But

it
.

coolly. judge things seems time. I've no strength of

. .
.

...
. .

to

character.

SATINE. Get some

It's of use. Nastya, er yer going to the hospital

1 . .

(Pause.)

NASTYA.
Why.?
SATINE.

To

Natasha.

NASTYA.

What
. . .

er yer thinking of.?

Been out long since

!

came

out

and

disappeared

No

findin'

'er.

174

THE LOWER DEPTHS

she's a goner.

SATINE.
That's to say

KLESSHTSH.
It's interestin' to

see who's goin' to floor which

Vaska

Vassilisa,

or

she

him?

NASTYA.
Vassilisa'll
he'll

win

She's cunning.
.

But Vaska

go

to penal servitude.

SATINE. For manslaughter

only to prison.

NASTYA.
You're better off in penal servitude. That's where yer ought all to be ... in penal servitude ... all mixed up together all mixed up ... like rubbish ... in the
Pity.
. .

dust-hole.

SATINE.
(Astonished.)

What

are

you saying?

Are

you mad?

THE BARON. Now I'm just

her insults
!

going to give her one

for

NASTYA.
Try
it
!

Touch me

THE BARON.
I'll

try

it

THE LOWER DEPTHS

SATINE.
Let

175

be

Don't
!

touch

her

give

offence to folk
that old

I
1

can't get

him

out of

my

no head

folk, call

Give no offence to (Laughs.} does me an offence what I a life -long offence what then? Forgive? No matter Nothing

man
a

and

if

man

THE BARON.
(To NASTYA.) You ought to know that I'm I'm on a different level to you! You .;. ,

muck

NASTYA.
live

Ah, you poor wretch Why you you on me like a worm does in a little apple
I .

(Laughter of the men.)

KLESSHTSH You
. .

stupid

little

apple

THE BARON.
You
idiot
I

can't

...

be angry

she's such

an

NASTYA.
Laughing?
it

That's a

lie

too

You

don't find

funny

THE ACTOR.
(Gloomily.)

Thrash 'em

176

THE LOWER DEPTHS

only
I

NASTYA.
If

...

could

I'd give yer

(Takes cup from table and throws the ground.)

that's

it

on

'ow

THE TARTAR.

Why
ninny
1

break

the

crockery?

La

...

yer

THE BARON.
No, (Getting up.) teach her manners
.

now I'm

goin'

...

to

NASTYA.
(Running away.)

Go

to the devil

SATINE.
(After her.)

Here

Stop

What

are you

running for

NASTYA. Wolves

may

yer choke

yer wolves

THE ACTOR.
(Gloomily
.

Amen

THE TARTAR.
O-o.
1

She's

bad
!

woman

the

Russian

Not the Tartar woman woman the law woman knows Tartar the
Scolding wilful
I

THE LOWER DEPTHS

KLESSHTSH.
Give
'er

177

a shaking.

THE BARON.
The huzzy
!

KLESSHTSH.
But 'er Finished (Trying the concertina.} 'E's on the master didn't come for 'er.
!

loose.

SATINE.

Come on

drink

KLESSHTSH. Thanks Bedtime soon.

!

>'

SATINE.

Are you getting used

to us?

KLESSHTSH.
(Having had a drink, goes over to the corner where his planks are.} It's all right.
.

Everywhere
see
that
. .

there's
.

men ...
. . .

at first

yer don't
find
!

then

you look round, you

it's

that they're all

men

all

right

(The

something on his on his knees, and prays.) planks, goes

spreads

TARTAR

THE BARON.
(Pointing the

TARTAR

out to SATINE.) 12

Look

178

THE LOWER DEPTHS

good
I

SATINE.
He's a Stop alone (Laughs.} Devil knows why
!

chap. to-day am
.

Let
.

him
. .

good.

THE BARON.
You're always good when you're drunk
clever.
.

and

SATINE.
. .

When I'm drunk ... He prays ? Fine

.
.

like everything.

A man
his
affair

Yes. can believe or

I

not believe
free

that's

A man
!
.

is
.
.

he pays for everything himself for belief, for unbelief, for love, for wisdom. man pays everything himself, and therefore is
free
!

...

that's the truth What not you, not me, not them no It's you, I, them, the old 'un, Napoleon, Mahomet ... in one (Draws in the air the a with his man face of D'yer see? finger.) That's prodigious In that is the beginning and
. . . !

The man
.

is

man?
!

It's

end of

all.

All

is

in

man,
!

all for
is

man

exists only

man, hands and of his brains nificent That sounds You must respect mankind
all
!

the rest

the
!

There work of his

!

Man
.

That's

mag!
.

not lower him with pity Let's drink to Mankind

It's

mighty. Mankind Not pity him must respect him

.
!
!

Baron

good
I

to feel yourself a

man

(Gets up.) I'm a ticket !

of -leave,

When

a murderer, a scoundrel yes, I am walk the streets people eye me for a

THE LOWER DEPTHS

crook
after
. .
.
!

179

and they draw away, and they glare " blackme, and they often say to me, Loafer " work work guard Why To fill my belly? I've always despised people who (Laughs,) It worry too much about stuffing themselves. isn't that, Baron? That isn't it. Man is higher
1

than that.

Man

is

higher than repletion

THE BARON.
(Nodding
. .
.

his

head.)
.

You're

getting

at

it

that's

prime
I
!

one's heart.

that's the thing to I haven't got that.

.
.

warm
don't

...
.

know how

(Looks round then softly, causometimes. tiously) I, brother, I'm afraid because what D'you see? Get in a funk
.

after

SATINE.
Rubbish
fear?
!

There's nothing that a

man

should

THE BARON.
ber

from when first I can remembeen inside my noddle a sort of fog. Never anything have I understood. I'm ... in some way I'm clumsy. It seems to me all my life I've done nothing but dress up and why? Went to school wore the uniform of the Institute for the Sons of the Nobility Don't remember. but what did I learn? Married in a frock-coat, and an overbut I picked out the wrong wife and coat why? Don't understand. Squandered all I
Yer know
. . .

there's

180
had, wore trousers

THE LOWER DEPTHS

some
. .

sort of a grey pea-jacket and red but where did it all get to? Never noticed. Entered the Court of Exchequer uniform, and a cap with a cockade made away with some Government money they then I got put me into the convict's gown into this lot here. And all ... like in a dream .ah? That's funny.
.
.

SATINE.

Not very.

...

should say

stupid.

THE BARON.
Yes and I think it's stupid. must have been born for some reason.
. .

But

.Eh?

SATINE.

Man is born for Probably. (Smiling.} So ... his the better man head.) (Shaking
.
.

it's

all

right

THE BARON.
That
off
.
. .

Nastya

to

I'll

go, and see

run she Where's where she is ?

.
.

For

after all

...

she

(Goes out.

pause.)

THE ACTOR.
Tartar
!

(Pause.)

Prince

(The TARTAR turns his head.)

THE ACTOR. For me ...

pray.

..

THE LOWER DEPTHS

THE TARTAR. Why? THE ACTOR.
Pray for me.
.

181

THE TARTAR.
(After a silence.)

Pray yerself

THE ACTOR.
(Gets quickly from the stove, goes to the table, pours himself some vodka with trembling hands,
drinks,
off
!

and almost runs into the passage.)

I'm

SATINE.
Hi, you, off where?

(Enter

MYEDVYEDYEFF
jacket,

in

wadded
;

woman's
drunk,
of

and BOOBNOFF
very drunk.
is

but not

In

both one

hand BOOBNOFF
cracknels;

carrying a packet has a bottle of vodka in one armpit, and another sticking out of the pocket of his pea-

he

jacket.)

MYEDVYEDYEFF.

camel

it's
.

a kind
. .

of a donkey

Only

with no ears.

BOOBNOFF. Chuck it

Yerself

yer a kind of a donkey.

182

THE LOWER DEPTHS

.

MYEDVYEDYEFF

A
it

camel, hears with

it

hasn't
its

got no ears at
. .
.

all

...

nostrils.

BOOBNOFF.
(To SATINE.)
yer the bottle,
in
all

Chum
trakteers

I've
all

been looking for

stills
1

the
all

the
1

Take

my

'ands

is

full

SATINE.

You

put the cracknels on the table, then you'll

. .
.

have one hand free.

BOOBNOFF.
all

True So
1 I

You're right.
there,

eh?

... Wire

Jumble, look at boy.

it

MYEDVYEDYEFF.
Sharpers
. . .

know

They
bound
.

'ave

all clever they're be to clever. got

...
A

good

man he
'un, 'e's

may be
.
.

yer
'e

know

stupid and good, but a wrong to 'ave wits But, about the camel, can yer get me up on 'im
. . . . . .

'asn't

no

'orns, not no teeth.

BOOBNOFF.
'Ere, get

Where's every one? Why's there no one 'ere? up ... it's my treat
!

SATINE.
You'll soon drink
all

you've got, blockhead

THE LOWER DEPTHS

BOOBNOFF.
Soon, yer say?
capital

183

This time I've gathered some

pile.
. .
.

little

When

Where's

When?
KLESSHTSH.
(Going to table.)

Not here.

BOOBNOFF.
Don't bark, don't don't turn yer nose up. ... I treats everybody Why, mates, I loves to stand treat If I was rich ... I'd ...
!

Ooo-r-r
I

Yer

peacock
1

growl

Drink, be
!

jolly,

With Yes, my God Come, troupe of singers. drink, eat, listen to the singers gladden yer 'earts. A man's a sad creature come along to me to my free trakteer For you Saline 'ere, take 'alf of all my capital you This way
I'd build a free trakteer
!

music,

and

SATINE. Give it me

all in

a lump

BOOBNOFF. The 'ole

.
.

Then At once? Right a and here's here's a rouble twenty kopyeks ... a five kopyeks ... a two kopyeks
capital?
!

all.

SATINE.
That'll

do

It's

safer with

me.

I'll

play cards

with

it

184

THE LOWER DEPTHS

am
a witness
. . .

MYEDVYEDYEFF.
I
. .
.

the

money
is it ?

is

placed in

your keepin'

'ow

much

BOOBNOFF. You? You're

nesses.
.

a camel

... we

want no wit-

ALYOSHKA.
(Comes
soaking.
in barefooted.}

Fellows

my

feet are

BOOBNOFF.

Go and
like

soak yourself

only

all
.

over
.
.

you. But, drinking that's a poor game very good That does 'arm, brother ; drinking does 'arm
!

You

sing and you play

that's
1

ALYOSHKA.

Why,

look at yer

And

it's
.

drunk yer anythin'

like

a man.

only when yer Klesshtsh

.
.

My

concertina

mended?

(Dances, and sings:)

If

my

Then

nozzle weren't so bonny, my gossip wouldn't love me.

1

I'm frozen, fellows

Cold

MYEDVYEDYEFF.

Um. ...
gossip
?

If

one was

to

ask

'Oo

is

that

THE LOWER DEPTHS

BOOBNOFF.
Keep
still.
.

185

You're no done with

"
!

You're no one now, brother. " in these days bobby you're " No bobby " nor no uncle.
.
. .

ALYOSHKA.
You're just
auntie's darling

hubby

BOOBNOFF. One of yer

dyin'

nieces

is

in

gaol,

the

other's

MYEDVYEDYEFF.
(Proudly.)

Yer

lie

She's not dyin'

she's

disappeared without

tellin'

no one

(SATINE laughs.)

BOOBNOFF.
All the same, brother
'e's
I

A man

with no niece

not an uncle

ALYOSHKA.
Your Excellency
!

The

retired

drum -major

has 'er savings, I've not got a penny! Oh, aren't I a merry boy?
gossip

My

And

Oh, I
It's

am

so

good!

cold

(WHEN
act

enters;

some

figures.

then until the end of the other male and female They undress, get on to the

planks, snore.)

186

THE LOWER DEPTHS

What made
yer 'ook
it?

WHEN.
Boobnoff?

BOOBNOFF.

Come

'ere
.

Sit
.

down
?

let's sing,

mate

My

beloved

eh

THE TARTAR.
In the night yer

must sleep

Sing songs in

the day

SATINE.
That's
all

right,

Prince.

You come here

THE TARTAR. How all right? There'll be a noise. When there's singing, it means a noise.
BOOBNOFF.
{Going to him.)
'Ave they cut
it

Prince

'ow's

yer

'and?

off?

...
Without man's valued No hand no
1

WHEN.
Means the
a hand
gutter for you, Hassan
?
.

what er yer good for

'ands

A
.

by

'is
I

and

'is
I

back.

man

Go and

drink

Nothing

like

it

(KVASHNYA comes KVASHNYA.

Ah,
in

in.)

my dear good
!

people

Out

in the yard,
is

out

the yard

The
!

cold, the slush

my man

here?

Mannie

THE LOWER DEPTHS

MYEDVYEDYEFF.

187

Me?
KVASHNYA.
Got on
to

my

me ...
it?

jacket again a bit on, ah?

and

it

seems

What

d'yer

mean

by

MYEDVYEDYEFF.

On
.

account

of

the
.

birthday
.
.

Boobnoff

and

the cold

the slush

KVASHNYA.
Look
.

at

me

the
.
.

slush

No

foolery.

Come

to bed.

MYEDVYEDYEFF..
will.

(Going into the kitchen..} Sleep, yes ... I want to ... it's time
!

...

(Exit.}

SATINE.

Why

are yer so beastly strict with

him?

KVASHNYA.
It's

the only way,

my

friend.

A man

like

'im 'as got to be kept strict.

together,

now

thought
'e's

'e

keep 'ouse would be a 'elp to

. .

We

me

seein' as

'ad discipline, but you

.

you're

disorderly

crew.

I've

got

my

188

THE LOWER DEPTHS

... let 'im go my book
!

woman's view That don't suit

SATINE.

gettin'

drunk.

>

You've chosen your help wrong.

...

KVASHNYA.
than you you'd never live I'd see yer a fellow like you one week in twenty you'd gamble away me and my very insides
better
.

No

with

me ...

SATINE.
(Laughs.} would.
. .
.

That's

true,

my

girl

KVASHNYA. So now Alyoshka

!

ALYOSHKA.
Yes
here

am

KVASHNYA.
What's
this

you've been saying about

me ?

ALYOSHKA. I? No 'arm. I've said, there, a woman Wonderful woman

!

I've said, there's Flesh, fat bones

good

forty stone,

and brains

not a ha'porth

THE LOWER DEPTHS

KVASHNYA. And there
brains.

189

I've got a deal of you're wrong No, and why did yer say that I beat
!

my man?
ALYOSHKA.
I

thought that was beatin' 'im when you seized

'is

'old of

'air.

KVASHNYA.
(Smiling.)

Fool

Then
tales
.
.

just

you don't see

school
?

Why
talk

do you carry
'is

out
.

of
It's

And

yer 'urt
'e's

feelin's too.

cause of your

took to drinkin'.

ALYOSHKA.
Then
drink
I

the sayin's true, then, even a bear likes

(KLESSHTSH and SATINE laugh.)

KVASHNYA.
You're a pretty sort of man, you are, Alyoshka
!

ALYOSHKA.
I'm the very first superfine sort of man for I just go where my eyes lead me any job
!
!

BOOBNOFF.
(By the TARTAR'S planks.)

Come
1

along
!

It's

no use
drink
.

they'll not let us sleep

Come and

the night through,

When

190

THE LOWER DEPTHS

Why
not.

WHEN.
Drink?
. .
.

ALYOSHKA. And I'll play

SATINE.
Let's 'ear yer

to yer

THE TARTAR.
Well, Boobnoff, yer devil fetch the wine We'll drink, we'll rollick death comes we've got to die
. .
! ! .

BOOBNOFF.
Pour 'im out, Satine When, squat Ah, Does a man want much ? I've drunk a bit and When Strike me lad happy
I

pals
I'll

sing.

I'll

pay

WHEN.
(Sings
.-)

The sun

it

rises

and

it

sets

BOOBNOFF.
(Going on.}
In

my

prison
is

all

is

dark!

(The door

opened suddenly.

BARON on

the threshold.)

THE LOWER DEPTHS

THE BARON. Hi ... you
the waste
he's
. .

191

Go ... go
. . .

.out there
!

over there the Actor

On
.

hanged himself

(Silence.

AIL look at the BARON. NASTYA appears behind his back, and slowly, with wide -opened eyes, goes over to

the table.}

SATINE.
(In a

low voice.}
.
.

Ah
!

he's spoiled the

song

the fool

THE END.

Sjjt (Jlrtsljam TQtttt,

UNWIN BROTHERS, LIMITED

WOKING AND LONDON.

UC SOUTHERN REGIONAL LIBRARY FAOLIT