Act 2, Scene 4

A corridor at the lower courts; in the background a door opposite which stands a GUARD; to the right is another door through which the PRISONERS are conducted to the court. IVÁN PETROVICH in rags enters L., goes to this last door, trying to pass through it.

Guard (at door R. C.). Where do you think you’re going, shoving in like that?

Iván Petrovich. Why shouldn’t I? The law says these sessions are public.

Guard. You can’t get by and that’s enough.

Iván Petrovich (in pity). Wretched peasant, you have no idea to whom you are speaking.

Guard. Be silent!

[Enter a YOUNG LAWYER from R. I.

Lawyer (to Petrovich). Are you here on business?

Iván Petrovich. No. I’m the public. But this wretched peasant won’t let me pass.

Lawyer. There’s no room for the public at this trial.

Iván Petrovich. Perhaps, but I am above the general rule.

Lawyer. Well, you wait outside; they’ll adjourn presently.

[He is just going into courtroom through door R. C. when PRINCE SERGIUS enters L. and stops him.

Prince Sergius. How does the case stand?

Lawyer. The defense has just begun. Petrúshin is speaking now.

Prince Sergius. Are the Karénins bearing up well?

Lawyer. Yes, with extraordinary dignity. They look as if they were the judges instead of the accused. That’s felt all the way through, and Petrúshin is taking advantage of it.

Prince Sergius. What of Protosov?

Lawyer. He’s frightfully unnerved, trembling all over, but that’s natural considering the sort of life he’s led. Yes, he’s all on edge, and he’s interrupted, both judge and jury several times already.

Prince Sergius. How do you think it will end?

Lawyer. Hard to say. The jury are mixed. At any rate I don’t think they’ll find the Karénins guilty of premeditation. Do you want to go in?

Prince Sergius. I should very much like to.

Lawyer. Excuse me, you’re Prince Sergius Abréskov, aren’t you? (To the Prince.) There’s an empty chair just at the left.

[The guard lets PRINCE SERGIUS pass.

Iván Petrovich. Prince! Bah! I am an aristocrat of the soul, and that’s a higher title.

Lawyer. Excuse me.

[And exits down R. C. into courtroom.

[PETUSHKÓV, FÉDYA’S companion in the dove, enters approaching IVÁN PETROVICH.

Petushkóv (R.). Oh, there you are. Well, how’re things going?

Iván Petrovich (L.). The speeches for the defense have begun, but this ignorant rascal won’t let us in. Curse his damned petty soul.

Guard (C.) Silence! Where do you think you are?

[Further applause is heard; door of the court opens, and there is a rush of lawyers and the general public into the corridor.

A Lady. Oh, it’s simply wonderful! When he spoke I felt as if my heart were breaking.

An Officer. It’s all far better than a novel. But I don’t see how she could ever have loved him. Such a sinister, horrible figure.

[The other door opens over L.; the accused comes out.

The Lady (this group is down R.). Hush! There he is. See how wild he looks.

Fédya (seeing IVÁN PETROVICH). Did you bring it?

[Ges to PETROVICH.

Petrovich. There.

[He hands FÉDYA something; FÉDYA hides it in his pocket.

Fédya (seeing PETUSHKÓV). How foolish! How vulgar and how boring all this is, isn’t it?

[Men and women enter door L. and stand down L. watching.

[Enter PETRÚSHIN, from R. C., FÉDYA’S counsel, a stout man with red cheeks; very animated.

Petrúshin (rubbing his hands). Well, well, my friend. It’s going along splendidly. Only remember, don’t go and spoil things for me in your last speech.

Fédya (takes him by the arm). Tell me, what’ll the worst be?

Petrúshin. I’ve already told you. Exile to Siberia.

Fédya. Who’ll be exiled to Siberia?

Petrúshin. You and your wife, naturally.

Fédya. And at the best?

Petrúshin. Religious pardon and the annulment of the second marriage.

Fédya. You mean—that we should be bound again—to one another——

Petrúshin. Yes. Only try to collect yourself. Keep up your courage. After all, there’s no occasion for alarm.

Fédya. There couldn’t be any other sentence, you’re sure?

Petrúshin. None other. None other.

[Exits R. I. FÉDYA stands motionless.

Guard (crosses and exits L. I. Calling). Pass on. Pass on. No loitering in the corridor.

[VICTOR and LISA enter from door L. Start to go off L. when pistol shot stops them.

Fédya (He turns his back to the audience, and from beneath his ragged coat shoots himself in the heart. There is a muffled explosion, smoke. He crumples up in a heap on the floor. All the people in the passage rush to him.) (In a very low voice.) This time—it’s well done... Lisa....

[People are crowding in from all the doors, judges, etc. LISA rushes to FÉDYA, KARÉNIN, IVÁN PETROVICH and PRINCE SERGIUS follow.

Lisa. Fédya!... Fédya!... What have you done? Oh why!... why!...

Fédya. Forgive me—— No other way—— Not for you—but for myself——

Lisa. You will live. You must live.

Fédya. No—no—— Good-bye—— (He seems to smile, then he mutters just under his breath.) Masha.

[In the distance the gypsies are heard singing “No More at Evening.” They sing until the curtain.

You’re too late——

[Suddenly he raises his head from LISA’S knees, and barely utters as if he saw something in front of him.

Ah.... Happiness!...

[His head falls from LISA’S knees to the ground. She still clings to it, in grief and horror. He dies.

[The lights dim and out.

CURTAIN END OF REDEMPTION

(Source: 1918 translation by Arthur Hopkins for the production at Plymouth Theatre, New York.)