The author of the play Kremlin chimes 7 letters. Sophia is wisdom, but not God

"Kremlin Chimes" is the second part of Nikolai Pogodin's famous dramatic trilogy dedicated to Lenin. The action of this play takes place in 1920 in Moscow - at the time when a plan for the electrification of the country (the very same GOELRO) is being developed. Naturally, the greatest need at such a moment is for specialists, for power engineers. And one of them - Zabelin - instead of working in a direct specialty, demonstratively sells matches practically near the Kremlin itself. He quite openly speaks about his dissatisfaction with the existing order, the devastation that has swallowed the country, and, as a result, more than once says that such a country has very little life left. In his speeches, he most often mentions the country's main clock - the Kremlin chimes, which stopped, as if symbolizing a stop of time for the entire state. And so, they grab him and take him straight to Lenin. The ending is more than idealistic - life is getting better, Zabelin gets a job that is necessary not only for him, but also for the country, young heroes (the love line of the play) find each other, and the ill-fated Kremlin chimes begin to go, counting off a new era of a great country ...

For the first time the Moscow Art Theater showed its performance based on this play (director of the production - V.I.Nemirovich Danchenko, directors - L. Leonidov, M. Knebel) on January 22, 1942 in evacuation in Saratov. In the same year, the production was awarded the Stalin Prize. And now, fifteen years later, they decided to renew it, inviting Maria Osipovna Knebel for this. The "Chimes" were to be restored with a new cast, and most importantly - with a new performer of the role of Lenin.

It was decided to restore the scenery, created in the 40s by V. Dmitriev, and much could be done only from memory, since not only the decorations themselves, the materials have not survived.

Lenin was now played by Boris Smirnov, and in his performance, unlike the first version, the main emphasis was no longer on "similarity." The director and actor sought to "feel the special nature of Lenin's thought," as Maria Knebel wrote. As a result, Smirnov succeeded so much that later he embodied this image in two theatrical productions and several films, having received the Lenin Prize for it.

As many noted, the most interesting "new performer", apart from Smirnov, was Boris Livanov, who was to play Zabelin after Khmelev himself. He played, first of all, a scientist, and a scientist-practitioner, for whom the profession is continuous work. He needed the consciousness that now, having somehow found himself thrown out of normal working life, he continues to work. And, selling matches, he did not act like a fool, did not philosophize, but worked. A huge internal struggle was played by Livanov in the scene where Lenin offers his hero cooperation. Not wanting to follow the lead of the Bolsheviks, he, at the same time, like a real scientist, is more and more carried away by the specific questions proposed to him. “I don’t know if I’m capable,” he says uncertainly, but it’s quite obvious that he will not return to the match trade.

A kind of mascot of the "Kremlin chimes" was the actor Boris Petker, who played in all versions a very small role of a master watchmaker. Perhaps it was one of the most brilliant episodes of the entire performance. This image of an eccentric old man, created by Petker, was at the same time deeply romantic. He, like Shakespeare's Hamlet, sees that "the connection of times has disintegrated," and, in the case of Petker, he sees this clearly. But it is in his power to restore this connection.

The restored performance continued for many years. He was also represented abroad several times. And now, it can be seen and not on the old television tape.

For the birthday of Nikolai Pogodin.

From the editor:

November 16, 1900 is the birthday of the playwright Nikolai Pogodin. Proposed text Oleg Davydov was written in September 1991 and was first published at the same time - in the journal "Syntax", Paris. Analyzing the symbols and archetypes that surfaced in the play of the classic of social realism "Kremlin chimes", Oleg Davydov examines the hidden meaning of this one of the main works of Leniniana, simultaneously revealing the non-obvious meanings of such key concepts as "electrification", "Soviet power", "communism" and others. Quote: “It so happened that Pogodin in his play gave (the very material he touched, forced to give) an idea that many Russian philosophers tried to comprehend under the sign of sophianism”. If you look a little more broadly, then this text can also be considered an analysis of what is happening in Russia now ...

From the outside, everything was very stupid
(I told the facts, concealed the vision).
Vladimir Soloviev. Three dates

Doll for the daughter of a Red Army soldier

In the first scene of Nikolai Pogodin's play "Kremlin Chimes", electrical engineer Zabelin, on the occasion of the devastation selling matches on an improvised market, provokes a red-faced doll seller like this: "The Kremlin chimes are silent ... What do you think about this, madam?" The answer of the doll seller: “My alarm clock fell from the dresser too and stopped. I don’t know who to fix it. ” According to Zabelin, this is nonsense, and he immediately informs the merchant about it. If I were in his place, I would be careful not to say such things to a woman whose watch is broken. I would rather ask why did she drop her alarm clock on the floor?

If your friend's watch breaks, this most likely means that some kind of malfunction has happened in her body. Plunging into her worries, she could accidentally drop or ruin the watch. After all, the female body is precisely the real clock ... However, real life is too complicated to be able to draw any definite conclusions from such trifles as a broken clock. Now, if a woman dreamed of, say, her stopped watch, then one could think more seriously about the state of her menstrual cycle. And a man's dream with a stopped woman's watch makes you think. And, of course, the stopping of the clock in a literary work or on stage really attracts attention.

For in an ideal space, which is a scene or a book page, every action, every object, every replica has a meaning not so much everyday as symbolic. I may be breaking through an open door, but since such things are often forgotten, I want to emphasize again: not real people act on the stage and in books, but ideal entities, deities. This ideal space is originally a space for worship and epiphany. It will remain that way forever, no matter how much they try to emasculate it, to lower it to everyday life. This is the world of being, where there is no place for anything accidental. Here, any gun hung on the wall will surely fire to the last act - even if the author hung it up just for beauty and knows absolutely nothing about any shooting. Of course, in our everyday world, behind the veil of everyday life, there is an otherworldly existence, "imperishable porphyry," as Soloviev says, "under the coarse crust of matter." But in a specially fenced-off space, with the help of a special device, it is more convenient to see it.

Pogodin's play begins with a replica of a doll dealer: “The dolls are satin, silk, brocade. The best gift for children ... ". A Red Army soldier who is returning home from the Civil War buys a doll for his daughter. Restless Zabelin urges: “I won not much, soldier! A doll and a pack of matches! " Confused by his intellectual myths, Zabelin does not understand that the soldier has won a lot. I would even say I won too much. It would be better if he did not conquer for his posterity, poor soldier, this terrible doll, made by a tradeswoman who broke her watch.

But all this is a saying, so to speak, an overture, the grain in which Pogodin hid not even the content of his play, but the content of the entire subsequent history, up to the present day. Towards the end of this text, everything will be explained: the doll, and the soldier who acquired it for his daughter, and this daughter, and the merchant, and much more. In the meantime, let's see what Pogodin's play is all about.

Insidious demon of the economy

It has three collisions, three intertwined plots inserted into one another. First, a purely love conflict: Commissar Rybakov (formerly a sailor who fought on land) loves Zabelin's daughter Masha. The efforts of his love have so far been fruitless. He tries to use force - locks Masha with a key: "You will sit." But for some reason the tried and tested commissar's technique does not work in this situation, it only turns out worse. “Where does this tone come from? Are you trying to order me? " the girl asks in response to the Bolshevik administration, and then the commissar begins to whine: “I'm not your toy! And the same as you, man! You are better educated than me, and your upbringing is not equal to mine, but for some reason you behave terribly rude to me. " Masha is an embodied intellectual culture, almost a Blok's Stranger, who, as is known from The Twelve, under the name Katka, “went to fornicate with a soldier.” Zabelin senses his daughter's potency: "If she becomes a street girl tomorrow, I won't be surprised." Yes, in fact, Masha has long been ready to surrender herself to the commissioner Rybakov, but so far something is bothering her. So far she is only flirting: "Well, of course, I am a demon ... I am insidious and evil!"

The second collision: the stopping of the Kremlin chimes is connected with this initial love failure of the Bolshevik in the play. I have already said that stopping the clock means in the space of ideal entities a delay in periodic processes in a healthy female body. That is, illness or pregnancy. It seems to be too early to talk about pregnancy, but illness ... Lenin gave Rybakov an assignment - to find a watchmaker who could fix the Kremlin chimes. Rybakov "probed old Moscow and finally found such a watchmaker." It is characteristic that Masha, as soon as she found out about this, immediately softened and prepared to move on to the productive relationship that Commissar Ilyich expects from her so much: “Darling ... it's very easy with you. I don’t know why, but my whole drama has finally blurred ”. Today Rybakov must come to the Zabelins' house and talk to Mashin's father about marriage ... But can you come to an agreement with this old-regime donkey? Rybakov in the eyes calls him a saboteur, wonders why he has not yet been imprisoned - and only opens his mouth to start educating a stupid specialist ... as comrades come and without further ado, take Zabelin away - to heal the economy.

And finally, thirdly, the collision of electrification. The clock also turns out to be a symbol of the economy that has stopped as a result of the revolution and civil war, which, without a doubt, is a female body and which at all costs must be made to work, its cycles must be twisted. And then it becomes finally clear that the play is not just about a love affair between an ordinary commissar and an ordinary professor's daughter, but about a great world-historical romance between Vladimir Ilyich Lenin and the former Russian Empire. And no matter how Ilyich struggles, no matter how he tries to take possession of her body and soul with the help of his sexual affairs, Commissar Rybakov, Russia is not going to give in yet, her body (economy) for some reason opposes the passionate efforts of the new government. It is natural. After all, how did Rybakov get used to acting, where did he start? It is very simple: "I summoned the small, middle and large bourgeoisie to the theater and put a machine gun and an alarm clock on the stage ...". And three hours later, when the alarm went off, the bourgeoisie put three million on the table. Radical, but not very productive. With the economy, such things do not work. It stops working, or even responds to violence - the Kronstadt uprising and Antonovism, for example. Other methods are needed. So you have to turn to the father of a capricious girl so that at least he would help galvanize the obstinate economy.

Sophia and Empiria

In Pogodin's play, all three collisions, intertwining and supporting each other, are resolved very successfully and (which is especially important) simultaneously: Masha loves Rybakov, the chimes on the Spasskaya Tower are beating, an electrification plan is being developed. It turns out that the play presents different aspects of a single organism. The female body, because the chimes link together Masha Zabelina and the Russian economy. The clock is, as it were, a common place of this design. The conscious and personal part of her is Masha, and the unconscious and organic part is the economy. Moreover, Masha seems to be not just the personification of the economy, but the economy itself, which is in a human, personal guise. And the physiological processes of the economy then turn out to be the processes of vital activity of the body of a flirtatious girl.

I do not think that Pogodin deliberately built this structure: he, of course, had a completely different concern - to fulfill the social order according to Leninianism. But it so happened that in his play he gave (the very material he touched, forced to give) an idea of ​​what many Russian philosophers tried to comprehend under the sign of sophianism. In particular, Father Sergiy Bulgakov wrote about the sophianic nature of the economy: "It is possible thanks to the involvement of man in both worlds, to Sophia and to empiricism."

But what is Sophia? It can be rudely (and therefore wrong) to say that this is the hypostatized and personified wisdom of the deity. Any deity, for in the religious cults of all peoples, one way or another, such a feminine principle is present. For example, in Buddhism, this is Shakti implanted on the bodhiswatva's oud. In the book of Proverbs of Solomon, this is the Wisdom of God, which existed even before any creation: “The Lord had me as the beginning of His path, before His creatures, from time immemorial; I have been anointed from time immemorial, from the beginning, before the existence of the earth. " Among Christian peoples, Sophia usually merges with the image of the Mother of God. In Byzantium, from where Russia got Christianity, Sophia was identified with the Logos. And only in Russia, as Vladimir Soloviev notes, Sofia appeared "in the form of a separate divine being."

Of course, people who knew and saw Sophia closely describe her in the strongest terms. Soloviev, for example, says that for our ancestors Sophia was "a heavenly entity hidden under the guise of the lower world, the radiant spirit of reborn humanity, the guardian angel of the Earth, the coming and final manifestation of the Divine." But the same Solovyov, who told about his meetings with Sophia in the poem "Three Dating" (though he refuses to call "Eternal Friend" by name there), ends the description of each of the meetings with one way or another underlined indication that in the eyes " serious "people, all this mysticism looks silly... Indeed, it is better to stick to what you can somehow understand. Therefore, without in any way denying any high visions, let us turn to only one aspect of Sophia, which has far-reaching consequences and, moreover, explains a lot in our life.

The book "Russia and the Universal Church" says: "The Russian people knew and loved under the name of Saint Sophia the social embodiment of the Divine and the Universal Church." In his other works, Soloviev calls Sophia "true, complete and pure humanity." And also "perfect perfect humanity." It is clear that this "ideal humanity" (as, indeed, any collective) is not just a collection of individuals. It is, as Soloviev explains, "an integral, together universal and individual organism." Not only the individuals themselves, but also what connects them. "Sophia, already in its eternal being, necessarily consists of a plurality of elements, of which it is a real unity."

"The innermost man of the heart"

All this will become a little clearer if we abstract from sophiology directly, and turn to the reflections of Russian philosophers about society. The vague “faith of the fathers” was especially clearly formulated by Vladimir Solovyov: “Everything that is in common life certainly affects individuals in one way or another, is assimilated by them and only in them and through them reaches its final reality or completion; and if you look at the same thing from the other side, in personal life everything valid its content is obtained through the social environment and, in one way or another, is conditioned by its given state. In this sense, we can say that society is a supplemented or expanded personality, and personality is a compressed or concentrated society "("Justifying Good").

In essence, what we are talking about here is what it is about when they talk about Sophia: in the soul of every person there is (should be) a special structure, which is, as it were, a representation of society in us. It binds us to society and at the same time allows us to live in society. This device is a personal being, a living matrix of meanings, which is in me, but which is also projected outside: in the form of myths, social institutions, economic patterns, language features, legends, traditions, etc. This matrix makes a person wearing it in to his soul, a full-fledged member of society, and a society built on the basis of this matrix - by the unity of people brought up so (and in order) to live in this society. This, so to speak, is the genetic code of society, what gives rise to both the person living in the society and the society in which the person lives. And one more thing: it is, as it were, the face of society, visible in every individual person, an ideal person living in every real one.

This is all very clear, indisputable, and logically necessary. The only new and problematic thing that Russian philosophy has introduced here is what a device (matrix) is, and there is a personality. For example, Jung, who discovered such a matrix in the European individualist and called it the collective unconscious, did not at all see a person in it. And Russian philosophers, no matter how differently they call this matrix ("Sophia", "we", "choral principle", "symphonic personality", "whole creature", "total unity", "numerical identity"), always saw it as a person. Why is this so? And most likely because they could observe the collective personality with their own eyes. Jung had to discover the collective unconscious by examining individuals. And ours did not need to open anything, they saw with their own eyes the collective unconscious - in the gatherings of the rural community. And it, this unconscious, could be understood as a form of personality manifestation.

Even people who (due to their positivism) never thought of any collective personality, involuntarily introduced into their descriptions of the community some "direct person", such as Zlatovratsky: mutual exposure, manifestation of the broadest publicity. At the same time, when, apparently, the private interests of each reach the highest degree of tension, in in turn, public interest and justice reach the highest degree of control. This is a remarkable feature of public gatherings of a direct village person ... "

What can this “direct person” mean, behind the description of seemingly insane joy, where “conclusions are drawn from premises that are exactly the opposite of those that are logically drawn in your own head,” and where, nevertheless, in an incomprehensible way Does this "worldly, communal person" make the only correct wise decisions? It is clear that this is just a special mental state, familiar to everyone from experience. They say: "went into a rage", "suffered", "fell into prostration", "possessed." Generally speaking, there can be many such states - including reasonable, calm ones. And a person constantly switches from one to another. Dostoevsky's famous "suddenly" is a fixation of such a switch, and Bakhtin's "polyphony" is a play of different mental states.

This is on an empirical level. And at the phenomenological level, we can talk about personal states. Or even that there is not one personality in a person, but many. And one of these personalities is a "compressed, concentrated society", as Soloviev defines it. And Semyon Frank puts it like this: "the unity of" we "is internally present in each" I ", there is the inner basis of his own life." And after a couple of pages he adds: "The true 'we' is as individual as 'I' and 'you'." But all this, however, is still too general.

Application:

"Kremlin chimes". Performance of the Moscow Art Theater in 1967.

Nikolay Fedorovich POGODIN
KREMLIN CHIMES
A play in four acts, eleven scenes
Table of contents:
Characters
Action one
Scene one
Scene two
Scene three
Scene four
Scene five
Second action
Scene one
Scene two
Act three
Scene one
Scene two
Act four
Scene one
Scene two
________________________________________________________________
Characters
Lenin
Dzerzhinsky.
Rybakov is a sailor.
Zabelin is an old engineer.
Zabelina is his wife.
Masha is their daughter.
Chudnov is a peasant.
An n a is Chudnov's wife.
R about man is their son.
L and z a is their daughter-in-law.
M a rus,
S tepka - their children.
Kazanok is a village bell ringer.
Older,
B about r o d and y,
On the other hand, workers.
N i s t i s t a r u x a.
S t and r u sh k as r eben k about m.
D a m a s v i z a n e m,
D a m and s p u g a n i,
Sk e p t and k,
About p t and m and s t - guests of the Zabelins.
K u kha rka Zabelin s.
Predecessor
War.
Lenin's secretary.
GLAGOLEV is an expert.
M a sh and nis tk a.
CH and with about in u and to.
A ngl and y with k and y pisatel.
T o r g about in k and k u k l and m i.
R e s n o arme e c.
P about x about w and th.
Spiritual
S p e kul y n t.
T o r g about in k and a l about m.
Female.
T o r g about in k and.
PERSONNEL
FIRST PRIZORN and k.
The second one is
The third is with a prisorn and k.
P about h and e, prodavtsy, ku rsant s.
Action one
Scene one
Iverskie Gates in Moscow. Chapel with inextinguishable lamps. April evening. A fat red-faced woman sells dolls. Here, a man in a bekesh is running up and down - with pekuli n t.
m about with to and h and. They are dressed motley and poorly. They live on a starvation diet.
T o r g about in k and k u k l and m i. The dolls are satin, silk, brocade. The best gift for children. Any doll is seven hundred and fifty thousand. An irreplaceable gift for children!
It is passing by. Walking slowly, eyes downcast.
DUHOVNY (quietly, but distinctly.) Gold, cast, antique crosses I exchange for flour.
P about x about z and th. Don't you change the bells?
Spiritual. Is there a buyer?
P about x about z and th. You will sell the very Iberian Mother of God, Herod!
T o r g about in k and. Lace, Brussels, Chantilly ... Lace, Brussels, Chantilly ...
SPEKULANT (cold and drenched voice). Shrapnel ... shrapnel, decent groats, foreign, best, pleasant, fragrant ... Only on things, only on things ...
I am a woman. Will you take a handkerchief?
Spekuli n t. It depends on which one.
Female. Orenburg, not worn.
Speculi n t. And where is your handkerchief?
Female. Where is your groats?
Spekuli n t. Not far. Do not be afraid. I will not deceive you. I am an honest merchant.
The women leave.
T o r g about in k and l about m. Lard, lard, who needs Poltava lard! I brought bacon from Poltava. Let's trade lard for gold.
Voice:
- Belts, belts!
- Saccharin, academic tablets, completely replace sugar, aromatic sensations. No costs!
T o r g about in k and. Lace, Brussels, Chantilly. Lace, Brussels, Chantilly!
A person appears at an indeterminate age. On it are lacquered
boots-pipes, a checkered winter jacket and an English cap.
PERSONNEL Who is interested in the new anti-religious literature? Dostoevsky's posthumous work: "What does a wife do when her husband is not at home"! One hundred jokes and anecdotes from the sex life of Count Sologub with illustrations!
FIRST PRIZORN and to. Stop! You have an ace from another deck.
SECOND BESTRY. I swear to freedom! ..
The street kids are fighting.
FIRST PRIZORNIK.Put the money back!
The second one is not fought. Don't fight, I'll put it.
FIRST PRIZORNIK. Will you play without cheating?
SECOND PREPARATION. I swear to freedom!
Card game.
T o r g about in k and. Lace, Brussels, Chantilly!
The second one with a sprinkle. I go to any half of the lemon.
The first question is. I hear a voice, I don’t see money. Show the answer.
The second question is. There is an answer.
The third one is with a prisornik. Maltsy, look, an engineer is coming, who sells matches.
Zabelin's voice: "Sulfur matches, safe, Lapshin's factories."
The first question is. We will now take money out of his pocket, take cigarettes, and he will cry for us.
Zabel and n appears. He is clean-shaven. His graying temples and mustache are carefully trimmed. He is wearing a cap and a uniform jacket under an old coat. Zabelin wears starched collars and expensive vintage ties.
Hello engineer.
Zab e l and n. Hello!
First question. How do you live?
Zab e l and n. How are you, bad.
The first one is free of charge. So you live at home, and I am in a cauldron for asphalt.
Zab e l and n. And I will soon move to the cauldron.
The first question is. When you move, then speak. Got a lot?
Zab e l and n. Do not know. I didn't.
FIRST PRIZORNIK. We will calculate now!
Zab e l and n. How do you count?
FIRST PRIZORNIK. I was the first pupil in arithmetic gymnasium. In! .. Look! Trade, engineer, we'll come to you again! We run, boys, to Tverskaya in the dining room, to ask for porridge.
The street kids leave with a song:
"There is a steamer on the Don,
Water rings
We will feed the fish
Volunteers ".
Zab e l and n. Pre-war, sulfur matches, Lapshin's factories.
T o r g about in k and k u k l and m i. The best gift for children. Dolls are satin, silk, brocade ... Dolls, dolls ...
A red armeet stops near the doll vendor.
R e s n o arme e c. How much are these dolls?
T o r g about in k and k u k l and m i. Seven hundred fifty thousand.
R e s n o arme e c. Razor! .. What are you taking money for? For the doll. Is this a thing?
T o r g about in k and k u k l and m i. You don’t need - so don’t be interested.
R e s n o arme e c. Why - not necessary? Necessary. Speak with deeds, how much will you pay for?
T o r g about in k and k u k l and m i. Seven hundred fifty.
R e s n o arme e c. Don't you want any half?
T o r g about in k and k u k l and m i. If you want to joke, then go elsewhere.
R e s n o arme e c. Take half a million ... Well, think for yourself, this is not a horse, but a doll ... a toy!
T o r g about in k and k u k l and m i. If you don't understand anything, then don't speak! Why are you pawing them? (She got angry.) Well, why are you pawing them?
R a s no arme ets (peacefully). OK. Choose yourself which one is bigger.
Zab e l and n. What ... do you buy them by weight?
R e s n o arme e c. Eka ... And you can't figure out why you paid the money ... (Follows the doll dealer.) You, godfather, don't stick this curve to me!
T o r g about in k and k u k l and m i. You stupid. She is not crooked, but with an expression on her face.
R e s n o arme e c. Since you trade without a discount, then supply the goods of the first grade. (To Zabelin) Am I right?
Zab e l and n. Why do you need a doll?
R e s n o arme e c. They will also say - to me. I'm taking the girl, daughter. From the front I'm going on indefinite leave. I'm taking a gift. How much are matches?
Zab e l and n. I trade at regular prices.
R e s n o arme e c. Do they light up?
Zab e l and n. I have never deceived people.
R e s n o arme e c. You never know what ... I bought a loaf of bread yesterday. He took a bite, but he is bitter. He threw the dog, and she refused to eat. If you trade with a guarantee, then for this arshin of money I will take some cherries in reserve. And then in the village there is also hunger on fire. Oh, now there is hunger for everything. (He unwinds the ribbon of money coupons.) But we live richly ... in hundreds, thousands, we bathe like cheese in butter!
Zab e l and n. Have you fought for a long time?
R e s n o arme e c. From imperialist to civilian.
Zab e l and n. So ... I won a little, soldier! A doll and a pack of matches!
R e s n o arme e c. Whatever it is, but a gift. Talk to you and the train leaves. Do you know the time?
Zab e l and n. Do not know. The clock does not strike the Kremlin now.
R e s n o arme e c. What are they? Spoiled?
Zab e l and n. Yes, brother, the main clock in the state has deteriorated. The Kremlin chimes are silent. Bon voyage, soldier. Take the doll home.
R e s n o arme e c. You can't hit me. I'm grated. And for such hints, you can lean against the wall.
Zab e l and n. Do you think it would be better? It won't get better.
R e s n o arme e c. I don’t know - it’s better, I don’t know - no, but it would not hurt to put you against the wall. Well, goodbye. I am busy.
Zab e l and n. Sulfur matches, pre-war, safe, Lapshin's factories! (To the merchant.) The Kremlin chimes are silent ... What do you think about this, madam?
T o r g about in k and k u k l and m i. My alarm clock fell from the dresser and stopped. I don't know who to fix it.
Zab e l and n. Sorry, you said something stupid.
T o r g about in k and k u k l and m i. If you are smart, then do not meddle with stupid ... The best gift for children, the best gift for children!
Zab e l and n. Sulfur matches, pre-war, from Lapshin's factories!
Returns with pekul y n t.
Shrapnel ... shrapnel, the most nutritious cereal! Only on things, only on things!
Zab e l and n. Listen, grain merchant!
Speculi n t. Yes, your Excellency.
Zab e l and n. If the chimes fell silent at Westminster Abbey in London, what would an Englishman say?
Speculi n t. I cannot know, Your Excellency!
Zab e l and n. An Englishman would say England is over.
Spekulyn t. Free business, free business!
Zab e l and n. This, the cereal dealer, is a paroxysm of the heart.
Speculian t. You, your Excellency, it is better to talk about this with your wife at home, but you shouldn't talk to us.
T o r g about in k and k u k l and m i. If you want to go to the Lubyanka, then there you go, but we do not want at all! What are you making out of yourself on the street as a cadet? Why are you allowing my customers to campaign on the Kremlin? If you stood up against the regime, then roll to Wrangel in the Crimea. You are not an honest Soviet speculator! I shave you, but you are silent, you show pride. Jesus was also found without apostles! (Goes.) The best gift for children! (Leaves.)
Zab e l and n. I tell everyone only what I think, and you are afraid.
Spekuli n t. Of course - I'm afraid. For such conversations, your Excellency, they can force, excuse me, to take out outlets. So much for the abbey. (Leaves.)
Dukhovniy (observing this whole conversation from the sidelines). I look at you and think - carry a great fire in your heart!
Zab e l and n. Forgive me, I never entered into relations with priests.
Spiritual. This is from delusion, my friend! Well, they plunged the priests to dust ... and what happened?
Zab e l and n. And it must be very disgusting to talk to you.
Spiritual. You don't have your own shore. You will drown, sir.
Zab e l and n. I repeat, I do not enter into relations with priests and swindlers.
Spiritual. You are a devil ... a devil!
Zab e l and n. Get out of here, you old crook!
Spiritual. I hear from a swindler!
Zab e l and n. I'll give it to you in the neck.
Spiritual. You are possessed by the devil, you have mad habits, I assure you!
While the spirit departs, Zabelina appears. This is a woman of about forty. Looks younger. Once she was very pretty and now she has not faded or sagged. Dressed well
in winter. On his head is a white woolen shawl.
Z ab e l and n a. Anton Ivanovich, would you go home.
Zab e l and n. I live on the street.
Z ab e l and n a. Who makes you live on the street? Who drives you out into the street? No one.
Zab e l and n. Soviet authority. It does not fit into your concepts. We will talk to you at the moment when your concepts expand. In general, I would advise you to take a closer look at your daughter. And I don't need guardianship.
Z ab e l and n a. Well, Masha is not a child with us. She begins an independent life.
Zab e l and n. Yes it's true. If she becomes a street girl tomorrow, I won't be surprised.
Z ab e l and n a. Anton Ivanovich, fear God. You said that about Masha, about our daughter.
Zab e l and n. Did you know that an hour ago your daughter went to the Metropol Hotel with a man?
Z ab e l and n a. The Metropol is not a hotel. The second House of Soviets was set up there.
Zab e l and n. I do not know what this is the House of Soviets. "Metropol" hotel. Your daughter goes to the hotel. I saw it myself.
Z ab e l and n a. You are my husband, divorce me, but don't you dare say such things!
Zab e l and n. If this gentleman is not with us within three days, then I will take my measures ...
Z ab e l and n a. Good, good ... We began to live hard, Anton Ivanovich ... Bitter!
Zab e l and n. Now all of Russia lives hard and bitterly.
PERSONNEL Count Cagliostro, there are half dishes for moonshine, would you like to join the share? Sorry.
Z ab e l and n a. Anton Ivanovich, your hands are frozen. Go home. You haven't eaten anything since morning. Let's go to.
Zab e l and n. I don't eat anything every day since morning. Go where you were going.
Z ab e l and n a. Oh, how hard we began to live, how bitter. (Leaves.)
Zab e l and n. Sulfur matches, pre-war ...
General revival of traders. Singing of the Red Army behind the stage.
T o r g about in to as al about m. Shovayte mene, women! .. At mene pid with a skirt of fat ... All around there is fat. (Runs away.)
They pass with the singing of kur sant s.
Scene two
A room in the Metropol hotel. This room has long lost its hotel look. There are a great many newspapers and books spread out in disarray. On the table there is an alcohol lamp, black bread, a teapot, a glass and packs of cartridges. A carbine, a saber, a revolver in a holster on the wall above the bed. Mash and Zabelina in a coat and a hat stands at the door. Rybakov in the back of the room is leafing through a book. Masha for a long time with a grin
watching him.
M a sh a. Why did you lock the door?
Rybak about in. So that no one would enter here.
M a sh a. Not true...
Rybakov is silent.
Open the door. I'll leave.
Rybak about in. I won't open it.
M a sh a. In general, are you trying to imagine what you are doing?
Rybakov is silent.
That's disgusting! Like a swindler, they locked the door and hid the key. You smile, and you smile disgustingly, I assure you ... I want to leave. You hear?
Rybak about in. I hear.
M a sh a. So what is it?
Rybak about in. I won't open the door.
M a sh a. I will jump out of the window.
Rybak about in. Jump.
M a sh a. You are all in this insignificant act. If a girl you know has come to you, then, according to your concepts, first of all, you need to lock the door.
Rybak about in. This is not an insignificant act.
M a sh a. Disgusting!
Rybak about in. Vice versa!
M a sh a. Disgusting deed.
Rybak about in. I decided to talk to you.
M a sh a. With closed doors?
Rybak about in. What should I do?
M a sh a. And do you dare to say that you love me?
Rybak about in. No, you tell me what should I do? How many times have I been going to speak to you, and you bowed to me with a mockery and left. Now try to bow and leave. Nothing will come of it.
M a sh a. So this is a trap?
Rybak about in. Quite right, a trap. Sit down.
M a sh a. Where does this tone come from? Are you trying to order me?
Rybak about in. Sit down.
M a sh a. I will not sit down.
Rybak about in. Well, I don't care, stay at least until the morning.
M a sh a. That is, how is it - until the morning?
Rybak about in. Until morning, that means until morning.
M a sh a. Rybakov, are you drunk?
Rybak about in. Enough of your tricks, Maria Antonovna. I'm not your toy. And the same as you, man! You are better educated than me, and your upbringing is not equal to mine, but for some reason you behave terribly rude to me. Good. Both you and me! Until I get an answer from you, these doors will not open, and you will not leave here!
M a sh a. OK! Speak ...
Rybak about in. What can I say ... you know everything perfectly well.
M a sh a. You were going to speak. Speak, I'm listening!
Rybak about in. All this is not good, Maria Antonovna!
M a sh a. For the hundredth time I ask you - do not call me Maria Antonovna. I have given you permission to call me Masha long ago.
Rybak about in. Masha! I have nothing to talk about. Everything has been said long ago.
M a sh a. Dear Rybakov, I will not be your wife.
Rybak about in. Why?
M a sh a. I won't, that's all. Take it easy. Goodbye. Open the door.
Rybak about in. This is not an answer. This is not the way to say it.
M a sh a. This is an accurate and definitive answer.
Rybakov (suddenly, with despair). But why is your face not someone else's? When a person is denied, can't there be such kind, such cheerful eyes? Or, in fact, there are girls whose tenderness and beauty do not prove anything? "Beautiful, like a heavenly angel, like a demon, insidious and evil!"
M a sh a. My God! Didn't you know? Well, of course, I am a demon ... I am insidious and evil!
Rybak about in. Why are you having so much fun?
M a sh a. You are a hero of the civil war ... It's funny ... It's a shame ...
Rybak about in. Ah, I understand! The hero of the civil war, in your opinion, is not a man?
M a sh a. I didn't say that.
Phone call.
Rybakov (by phone). Rybakov is listening ... Yes ... From the Council of People's Commissars? Rybakov is listening ... Tell Vladimir Ilyich that the task has been completed ... Yes ... Okay ...
M a sh a. Think what time we live in! You visit Lenin ...
Rybak about in. Speak wrong, Maria ... Speak wrong, Masha! We are not Puritans ...
M a sh a. How do you know about the Puritans?
Rybak about in. For something I read all night long?
M a sh a. What did you read last night?
Rybak about in. "A Hero of Our Time".
M a sh a. But yesterday?
Rybak about in. "Letters from afar".
M a sh a. Would you like me to direct your reading?
Rybak about in. Masha, sit down for a minute!
M a sh a. Open the door.
Rybak about in. I won't open it.
M a sh a. This is not appropriate. You humiliate me.
Rybak about in. Is it decent to laugh at a person?
M a sh a. I am not laughing at you.
Rybak about in. You will sit here for three days and three nights: until you answer me seriously, sincerely, I will not let you go.
M a sh a. I said.
Rybak about in. This is not an answer.
M a sh a. Because you don't like him?
Rybak about in. Not because.
M a sh a. There will be no other.
Rybak about in. You will sit.
M a sh a. Okay, I'll sit.
Rybak about in. Fine.
M a sh a. Please smoke less and open the window.
Rybak about in. Sorry.
M a sh a. Why don't you use weapons? Take the Mauser ... scare me!
Rybak about in. I don't want to scare anyone.
M a sh a. My friend was ordered by her boss to marry him within three days. And if not, then he said that she and her parents, as former bourgeois, would be exiled.
Rybak about in. Such a scoundrel must be shot.
M a sh a. But how are you different from him?
Rybak about in. I am different.
M a sh a. With what?
Rybak about in. I love you.
M a sh a. What?
Rybak about in. I love you. You know.
M a sh a. Don't you dare tell me about your love. I hate to listen to you.
Rybak about in. Disgusting?
M a sh a. Yes.
Rybakov (opened the door and flung it open). This is the real answer ... sincerely and honestly.
Masha (confused). Why be offended?
Rybak about in. At least it's human ... Go away.
Zabelina appears at the door.
Z ab e l and n a. May I come in?
M a sh a. This is mom. How are you here?
Z ab e l and n a. At the entrance to the House of Soviets, I found out where citizen Rybakov lived.
M a sh a. Why did you come? What happened?
Z ab e l and n a. Let me come in ...
Rybak about in. Yes, yes, yes! .. Please! ..
Zabelina (entering, Rybakov). Hello Young man. You see what kind of mother-in-law you will have?
M a sh a. Mom, where did you get this from?
Z ab e l and n a. I know everything. Otherwise, would my visit be possible here? How bad it is with you, young man, how much rubbish! Then - why so many newspapers? Read it and threw it away. You live poorly. I know your name is Alexander. And the middle name?
Rybak about in. Mikhailovich.
Z ab e l and n a. I am Mikhailovna too. Lydia Mikhailovna. I know everything, Alexander Mikhailovich.
Rybak about in. But I don't know anything.
M a sh a. Mom, I beg you, don't say anything!
Z ab e l and n a. I won't say anything. It is high time for you, young man, to come to us.
Rybak about in. I was not invited.
Z ab e l and n a. I do not know that. You yourself should have insisted and introduced yourself long ago in our house. (To Masha) Anton Ivanovich saw you with Alexander Mikhailovich and knows that you have been here.
M a sh a. It can't be ...
Z ab e l and n a. How did I know that you were here?
M a sh a. My God! What did he say?
Z ab e l and n a. We, Mashenka, must hurry home. I'll tell you on the way what he insists on. And you, young man, we invite to be with us on Saturday, at seven o'clock in the evening. (She looked around again.) The room is nice, but how did you start it! You live badly! Goodbye! Masha, let's go.
Rybak about in. Maria Antonovna, what to do?
M a sh a. Do what you want.
Zabelina and Mas leave.
Rybak about in. I never got so tired. This is what it means to love a girl from another class. Oh, when it will be, a classless society!
Scene three
Forest. At the edge of the lake. Hunting hut. The beginning of spring. The night before dawn. There is a lantern at the entrance to the hut. Water in a kettle is heated on a fire nearby. A peasant, the huntsman Chudnov, is busy by the fire. Relying on
old gun, there is a village bell-ringer Kazanok.
Ch u dn about in. Dawn, mother, look fine for us. Lord, I will pray to you. Honestly, I will pray.
Kazanok. Chudnov, there will be fog at dawn. I have non-skimpy omens.
Ch u dn about in. And the sky is clear, the weather is clear ... I don’t understand where this fog comes from. Again, Comrade Lenin and I will not be able to hunt.
Kazan. It won't work. Do you remember that in winter, when Ilyich came to hunt the fox, then because of the blizzard, the hunt also did not come out. We then went skiing to the forest. I will never forget those conversations in the forest.
Ch u dn about in. In my life, I have seen a lot of all kinds of people, to me, brother, famous personalities went hunting, and why Lenin surpasses them all - I don't know.
Kazanok.It is simple ...
Ch u dn about in. "Simple" ... And we have seen simple ones! That, but not that.
Kazan. What time is it now? Should be the fifth?
Ch u dn about in. Fifth. Well, Kazanok, you look, and I'll see where Vladimir Ilyich is. Take a look. (Leaves.)
Kazanok. Not small, I know.
A song is heard, then R ybakov appears.
Who's there?
Rybak about in. Their.
Kazanok. No, not our own.
Rybak about in. I say, ours - that means ours.
K a z and n about. Stop!
Rybak about in. I’m standing.
Kazanok.You are not ours.
Rybak about in. Whose?
Kazan about. Alien.
Rybak about in. Old man, you turn the gun away, maybe it shoots.
Kazanok. Shoots.
Rybak about in. Why are you aiming at my bowler hat?
Kazanok. Who are you?
Rybak about in. Mostly human.
Kazanok. Where did you come from?
Rybak about in. From Moscow.
Kazanok. You're under arrest.
Rybak about in. And then what?
K a z and n about to. Hands up!
Chudnov appears.
Ch u dn about in. This is his ... comrade Rybakov. Hey, how did you go nuts, Kazanok? He's a military sailor, he came with Ilyich ...
Rybak about in. We were busy with the chauffeur near the car ...
Ch u dn about in. And you are under arrest ...
Rybak about in. Moreover, I have a Mauser, and he has a simple Berdan. But a sentry is a sentry, and besides, not one of the shy ones.
Kazan to. His so his own. My business is to find out. Do not be offended.
Rybak about in. And I'm not offended by you.
Kazanok.Do not take offense, but snorted at me.
Rybak about in. How can you not snort if you grab the breasts.
Kazanok. Such a thing. For what you grabbed, for that and hold. I am now a sentry, a government official. Forgive. I went around, and you just look ... (He leaves.)
Rybak about in. Where is Ilyich?
Ch u dn about in. He went to the lake.
Rybak about in. One?
Ch u dn about in. Don't worry, we've put up guards around. Sit down. The tea will ripen now. Only I have carrot tea, what it stinks with - you don't understand. Eh you, time, there is nothing: no tea, no sugar, no kerosene.
Rybak about in. What are you complaining about? Don't I know?
Ch u dn about in. Rybakov, nothing like this happened in Moscow?
Rybak about in. What is it?
Ch u dn about in. Something special ...
Rybak about in. Do not know. In my opinion, nothing special happened. Why are you asking?
Ch u dn about in. So ... (Thinking.) Something comrade Lenin came pensive ... We came here with him - he is silent. I lit the flashlight, he fiddled with the cartridges and threw. I got up, walked around, and then said: "I'm going to the lake, you are not looking for me. I will call you myself" - and left. I understand when he is brooding.
Rybak about in. I don't know ... All the way he told us about the village, about Russia. To tell the truth, I have never heard anything like that.
Ch u dn about in. How long do you live in the world?
Rybak about in. After all, twenty-six years. Don't laugh, father, I fought, from Orel to the Caucasus I went through Russia! Why is Ilyich so pensive? You go there, to the lake, and carefully hint to him - the tea, they say, is ready.
Ch u dn about in. But in my opinion, it is not necessary.
Rybak about in. But in my opinion, it is necessary. He forgot - and will remain without tea. Chills. We arrived early.
Ch u dn about in. On a spoon. Stir the tea so that the carrots will spread in it, and I think I'll go. (Leaves.)
Rybakov (sings a song, then remembers poetry to himself). "A mermaid is sitting on the branches; there on unknown paths ..." What is Ilyich thinking now? Why did I send the huntsman? There was no need to send! Of course not ... (Calls softly.) Chudnov, Chudnov! And if it was not for nothing that he drew us Russia all the way. "And on unknown paths there are traces of unseen animals. The hut is there ..." Tea made from carrots is one thoughtlessness.
Returns Chudnov.
Calling?
Ch u dn about in. If you need to, go call yourself. I didn't dare. I saw him from afar. He is sitting there on something, on a stump, on a stone - I don’t understand, he is leaning his elbows, he is looking at the other side ... drink his tea.
Rybak about in. Good. Let's wait.
Locomotive whistles are heard.
The locomotive is breaking down.
Ch u dn about in. Hungry.
Rybak about in. Serious situation - they are not allowed. Listen to the rustling, whispering on the lake ... Oh, night! .. Chudnov, do you have mermaids here?
Ch u dn about in. Mermaids? Mermaids are sleeping in the huts at this time.
Rybak about in. I ask you about those mermaids who sit on the branches.
Ch u dn about in. There are no such people in our province.
Rybak about in. It's a pity.
Ch u dn about in. The rich they are, the more happy they are.
Rybak about in. I think, Tikhon Ivanovich, how many people we have done for the revolution, but the stars are as they were. An incomprehensible thing is eternity.
Chudnov (from the threshold of the hut). And I think, Lexandra, it's time for you to get married.
Rybak about in. Probably it's time ...
Ch u dn about in. You ask for mermaids, then you look at the sky ... Come after Easter, we will woo you a little mermaid.
Rybak about in. I have mine.
Ch u dn about in. There is, but you walk without rest.
Rybak about in. I got love, Tikhon Ivanovich.
Ch u dn about in. I sympathize. Such a heroic sailor, and got caught, then. Look, I know these Moscow guys! With them so, anyhow - you do not get along!
Rybak about in. I don't feel like chopping a tree.
Ch u dn about in. I will say the same, and there is nothing to be afraid of. In this case, fear, as in war - you will be lost! Let her be afraid of you, and you walk in front of her like a goggle.
Rybak about in. No, comrade Chudnov, I'm serious ... Look ... Ilyich doesn't need to talk about this ...
Ch u dn about in. Are you afraid?
Rybak about in. Well, be afraid ...
Ch u dn about in. Afraid.
Rybak about in. So what are we going to do, our tea is cooling down.
Ch u dn about in. Hush, Rybakov. I can hear his steps. He himself comes here ...
Chudnov is moving forward towards Lenin. Rybakov rises.
Scene four
In the Chudnov's hut. A clean half of the hut with three windows. In the aisle, near the Senets, there is a Russian stove. The shops, the table, the goddess and on the wall between the popular prints and family photographs is a portrait of Lenin, a cheap and bad lithograph. The old woman Chudnova Anna and her daughter-in-law Lisa are cleaning up the hut. Children
Liza, Maria and Stepka, are whispering enthusiastically.
An n a (to Lisa). Lisa, Lisa, take out the boots. Why are your boots on the bench standing and stinking of tar? The hunters are about to come, and we have a mess. (To children.) I'll whisper to you! March to places, to the stove!
Liza carries off his boots, Kazanok enters.
Kazanok. Happy holiday to you, Anna Vlasyevna.
Anna. And you too.
Kazan. I came to pre-empt: Vladimir Ilyich will be here this minute.
Anna. Oh you, priests! Kazanok! Run to the bell tower.
Kazan. Here you go! What for?
Anna. "Why", "why" ... Here is a memory! Do not know.
Enter L and z a.
Lisa! She went and disappeared. Liza, tell me, why does Kazanka need to be on the bell tower?
Lisa. Roman ordered to strike a large bell in case of a meeting.
K a z and n about k. Let's hit! (He went to the door.)
Lisa. Wait ... Oh, he will ring!
Anna. Wait, Kazanok!
Kazan. What do you want?
Anna. One must be quiet and noble on the bell tower. From there you look out onto the alley all the time. We will send Styopka to you. Styopka will wave a pole to you from the alley - then you beat the big bell. Wait! You don't hit often, but rarely, like for matins.
Kazanok. It's not for you to teach me. Kazanok knows how to ring the bell for Comrade Lenin. (Leaves.)
Anna. March to the stove!
Lisa. Why are you hiding children?
Anna. Think for yourself: to expose such a guest and our anchuts? On keys. Take the tablecloth out of the chest, take mine, with a fringe ...
Lisa. Do not be afraid, for Christ's sake, why are you afraid?
Anna. Bring the tablecloth, because the table is bare!
L and za leaves.
(To children.) And you - to the stove!
T e p to a. Grandma, we know ...
Anna. To the stove! And do not look out, do not laugh, do not groan!
T e p to a. Grandma, can you look at him when he won't see us?
Enter L and z a.
Anna. I'll look at your ass with a belt!
Lisa. Lord, I wanted to put clean shirts on them, I looked, they can't even be repaired.
Anna. Lizaveta, why are you chilling? Shouldn't we hang icons? And then let it be, why is this pretense.
Liza started out, but returned.
Lisa. Come on!
Anna. Who and who?
Lisa. Lenin and dad!
Anna. Alone?
Lisa. Alone.
Anna. This means that our villagers did not recognize him. Stand at the door. Look what to submit, take. Cover yourself with a handkerchief, it's not good!
Enter LENIN and CHUDNOV.
Chudnov (to Lenin). This is my old woman, Anna Vlasyevna.
Lenin Hello.
Chudnov (to Lenin). And then the daughter-in-law is Lisa.
Lenin Good morning.
Anna. What did you come with from your hunt?
Lenin With nothing, imagine. We are such famous hunters that for a pound of game we need a pound of gunpowder.
Ch u dn about in. Why blame yourself? Pure misfortune swept over the fog. I have never seen such a foolish fog ... Like a blanket over the lake.
LENIN (undressing, at the door). Whose heel is this? (I noticed the children on the stove.)
Anna. Well ... confused.
Lenin Who's there? Come on, comrade, come here! Excuse me, are there two of you? Come here two!
T e p to a. Grandma, get off?
Anna. Get off ... (to Lenin.) They are grimy, like anchuts.
Lenin Nothing. (To Styopka) What is your name?
T e p to a. Styopka.
Lenin Styopka ... Why not Stepan?
T e p to a. And Stepan and Styopka.
Lenin (to Marus). And you?
T e p to a. And her - Maruska.
LENIN (Styopka). Why are you responsible for her?
T e p to a. She is timid with us.
Lenin (to Marus). Are you afraid of me?
Mary (merrily). Not.
Lenin Are you not afraid, but climbed on the stove?
T e p to a. They hid us from Lenin.
Lenin Well? And here Lenin came.
T e p to a. Where?
Lenin Here it is.
T e p to a. Well, yes ... You are not Lenin.
Lenin Really? Who am I?
M a rus I. You are just a stranger man ... came to visit!
T e p to a. Lenin is just not like that.
Lenin Which one then?
T e p to a. Look at his portrait, then you will see.
LENIN (went to his portrait). This important, puffed-up gentleman does not look like Lenin a bit.
Step (with irony). Maybe you are similar?
Lenin But I look like!
Anna. Styopka!
Lenin No, you do not prevent us from bringing the dispute to the end. (To Styopka) I assert that I am similar.
T e p to a. You are not the least bit alike, but there is a real one, since it was printed by a machine.
Lenin No, I'm real, but he's not.
T e p to a. No he.
Lenin No, me.
T e p to a. Let's argue.
Lenin Let's.
T e p to a. For what?
Lenin What do you want.
T e p to a. For a piece of sugar.
Lenin Good. (He took off his cap.) Now tell me, who is the real one?
Styopka looks at Lenin, then at his portrait, retreats to the adults.
Maroussia was surprised.
And now? (He put on his cap.)
M a rus I. And now it doesn't look like it again.
LENIN (taking off his cap). And again?
T e p to a. The real Lenin! Where can I get him sugar? (Suddenly, with great determination.) Grandma, run to the bell tower? (Runs away.)
Lenin Why go to the bell tower?
Anna. So he drills.
Lenin A nimble boy.
Ch u dn about in. Balovnaya, trouble.
Lenin I, too, at his time was smart, and it seems, was a spoiled one. Boys are a mysterious people, but we still don't know how to deal with them. Little skill. And we need to be able to do a lot now. We must not be able to ... (Saw a light.) A light, a real old light?
Ch u dn about in. Do you really know, Vladimir Ilyich, how they burn a splinter?
Lenin I know, I know ... But do you really have to light this contraption?
Anna. Bursting. It's more fun with her than in the dark.
Lenin Yes, of course, more fun.
ROMAN enters. In the hands of a bag, half filled with some
easy things. Roman did not expect to find Lenin's house at that moment.
Ch u dn about in. And this is my son Roman. Chairman of the Council and more ... Generally.
Lenin Hello Chairman! What's in your bag?
Novel. Props.
Lenin I wonder what the props are. Can I see?
ROMAN (stammering). Can.
Lenin The cylinder ... (He took it, turned it over, flicked his fingers on the cylinder.) Atlas ... A wonderful thing. So you have your own theater?
Novel. Proletkult.
Lenin And what is it - Proletkult?
Novel. I don't know very well myself. This is, how to say, proletarian culture.
Lenin Where did you get the cylinder from?
Novel. They bought it in Moscow on Sukharevaya.
Lenin Who will play in it?
Novel. I AM.
Lenin Whom will you represent?
Novel. Banker.
Lenin Banker? Is it difficult to imagine a banker?
Novel. No.
Lenin I wouldn't do anything.
CHUDNOV (hotly). Pure misfortune, Vladimir Ilyich.
Lenin Why - the trouble?
Ch u dn about in. A man-man came from the army - and suddenly began to imagine! Children grow up, and father is an artist!
Lenin And it's wonderful that an artist. For example, I don't know how to represent a banker, but he can. You and I, Comrade Chudnov, are old-fashioned people.
Ch u dn about in. Unless ... old-fashioned.
Kazanok runs in.
Kazanok.In the name of father and son and holy spirit ...
Lenin What about?
Kazanok. Oh, what have I carried ... It's me, Panteley Kazanok, the local bell ringer and public firefighter. Remember, in winter, in a blizzard, I went skiing to the forest with you?
Lenin Of course ... of course I remember!
Kazan. Remembers ... He came to show himself! I am alive ... (To others.) I will be in my place, do not hesitate! (To Lenin.) We are glad ... all the people! I will now call not according to the charter, but with all my heart ... That's the whole Kazanok, what's on it, then in it - all out. Goodbye, sorry, I'm in a hurry to get to my place. (Runs away.)
Lenin Why did he run away?
Anna. Simple he ... ingenuous ...
Novel. Excuse me, Vladimir Ilyich ... allow me, Comrade Lenin, to ask you to speak at our meeting. And also ask you to have some tea at Proletkult.
Anna. No, Vladimir Ilyich, don't go to Proletkult to drink tea. They don't even have a decent samovar there.
Lenin And what? Maybe you shouldn't go to Proletkult? We'll get some tea here too, eh? Let me stay here. And it would be good for us to do without a rally.
Rybak runs in.
Rybak about in. Shot! He shot three birds ... (Shows the ducks.) I waited for the breeze from the field and was not deceived ... under the wind all the waters opened. (To Chudnov) So much for the fog.
LENIN (contritely). Tikhon Ivanovich ...
Ch u dn about in. I realize, Vladimir Ilyich ...
Lenin Ducks ... Real wild ducks. We were philosophizing about the causes of fogs, bad weather and other elements, and he shot ...
Anna. What are you, huntsman! Disgraced.
Ch u dn about in. Don't speak, mother! And you, Vladimir Ilyich, as far as I can understand, were not engaged in hunting at all these days.
LENIN (surprised). Really?
Ch u dn about in. So it seemed to me.
Lenin Really it seemed? Or maybe it’s true. Today I was a very bad hunter, comrade Chudnov, but on the other hand ... (He did not finish speaking, to Rybakov.) But you are great! But a sailor is not a hunter.
Rybak about in. So what, have I upset everyone?
Lenin Of course, upset. What kind of hunter wouldn't be upset? Veterka waited from the field and darned the old hunters. Appreciate, Tikhon Ivanovich, wonderful ducks! Hide them so that the cat does not drag them away.
A bell ringing is heard.
Nabat? Nabat ...
Anna. Kazanok couldn't stand it.
Ch u dn about in. Oh, the goblin, that's the goblin!
ROMAN (at the window). Well, now nothing can be done. The whole village rose.
Lenin If so, then we will go too. Ah, the bell ringer, the bell ringer rang about me. That is why, of course, he is a bell ringer. Comrade Chudnov ... (He stopped at the door.)
Ch u dn about in. Huh?
Lenin But is it not restless to live with the Bolsheviks?
Ch u dn about in. Restless, Vladimir Ilyich.
Lenin Who knows what they will invent tomorrow.
Ch u dn about in. You are right, Vladimir Ilyich.
Lenin We must, Comrade Chudnov, worry and disturb, otherwise we will be lost and eaten. Let's go, comrades, into the street, otherwise he will blow the whole bell tower with delight.
Nabat.
Scene five
Kremlin embankment and boulevard. Night. A rare weak light from lanterns. R ybakov sits on a bench under a tree. First he whistles, then
starts to sing.
Rybakov (sings diligently).
Spring will not come for me
And the nightingale in the gardens will flood,
And the poor heart will beat
Not for me ... Not for me ...
(Thinks, gets up.) If I find Mars without a pipe, then yes ... If I don't, then no ... (Looks at the sky for a long time and sings.)
A new page appears.
I am. Cavalier, wretched, sick old woman treat him to a cigarette.
Rybak about in. Please.
I am. Thank you, young gentleman. (Leaves.)
Lenin appears. Recognizes Rybakov.
Rybak about in. Vladimir Ilyich?
Lenin Sasha Rybakov, what are you doing here?
Rybakov (woke up). Why are you alone, unguarded?
Lenin And I ran away from them.
Rybak about in. How do you run away from them?
Lenin I won't tell you that. The secret of an old conspirator. You see, I had a very long meeting, and now I hid to take a little walk. I forgot the clock on the table. My appearance here is, so to speak, legitimate. And yours? Why are you alone at midnight ... Do you count the stars?
Rybak about in. I think ... I will not deny.
Lenin Fell in love, comrade Rybakov?
Rybak about in. Fell in love.
Lenin Let's go for a walk together, comrade Rybakov.
They walk slowly.
Our time is cruel, terrible, now it seems that there is no time for love, but do not be afraid ... Love your health, since this has happened. Only I want to give you one piece of advice. You don't try to love in a new way. Love in the old way, comrade Rybakov. I heard about this new relationship. So far, apart from disgrace and licentiousness, nothing has been obtained.
Rybak about in. I saw the ugliness myself.
LENIN (suddenly stopped, took Rybakov by the elbow, quietly, intimately asked). Isn't it good to love? Feeling amazing?
Rybak about in. Yes, Vladimir Ilyich, amazing.
Lenin and Rybak leave. Three tram workers appear with
trolley: side-by-side, on the other hand.
Older. Shine! Let's see what we're doing here. Everything is all right ... Let's move on.
On a friend. Have you seen? Lenin.
B about r o d and y. We saw without you. I found out and keep quiet. You have to be careful.
Lenin and Rybak are coming back.
Lenin Comrades, tell us what time is it?
S t and r sh and d (to a helper). Shine. (He took out his watch and chain.) It's a quarter past three.
Lenin Thank you.
Older. Before, it happened, the Kremlin beat. And now they are silent.
Lenin This is very bad. The clock should never be silent in the Kremlin. Sasha, find a watchmaker. Only here you need a master who understands the old mechanics.
Rybak about in. We'll find it, Vladimir Ilyich!
Lenin Difficult to find. Many watchmakers undertook to start the chimes and gave up.
Rybak about in. It cannot be that such a master is not found.
B about r o d and y. Stay with the working class, Comrade Lenin. Chat with us.
Older. Only he is a joker with us.
Lenin Do you care about jokes?
B about r o d and y. Why grieve? We have smashed capitalism.
Lenin Broken capitalism will not feed you.
B about r o d and y. Now let's start building socialism.
Lenin Do you know how to build it?
B about r o d and y. Light is not without kind people. Someone will tell.
Lenin There are many kind people. You don't believe everyone.
B about r o d and y. We are parsing. Whom you believe, so do we.
Lenin Was Lenin never mistaken in people? Wrong too.
B about r o d and y. But in Lenin we were not mistaken.
Lenin It is much easier to destroy capitalism than to build socialism!
B about r o d and y. Really, Vladimir Ilyich?
Lenin We are the first to start, there is no one to learn from. Moreover, we are still poor people.
B about r o d and y. What's true is true. They made me impoverished.
Lenin Have to build ... no one will help.
B about r o d and y. Why can't Soviet power? Anything can. The biblical inhabitants wanted to build a tower up to heaven in the city of Babylon, and nothing came of it. Why? They write, mixing languages. And I'm telling you, because then there was no Soviet power.
Lenin It's good.
B about r o d and y. No kidding, Vladimir Ilyich, the Soviet government can do whatever it wants.
Lenin Why do you believe so much in the might of Soviet power?
B about r o d and y. Let me outline a parable for you. Are you in no hurry?
Lenin I'm not in a hurry. Have a seat.
B about r o d and y. There are three people in front of you. Moscow trams, night workers. Proletariat. Neither saints nor sinners ... people. Under what other government will these people work all night for an unfortunate hunk of bread? (He took out the bread.) Not at all. And now - we will fall, lie down, rise and again solder ... Therefore, I believe in the might of Soviet power.
Older. We talked - and you need to know the honor. It's time. Let's go further, otherwise there is no time.
B about r o d and y. Sorry for the long talk. As I can.
Older. Good night, Comrade Lenin.
Lenin Goodnight.
Workers leave.
Do you love a Russian person, comrade Rybakov?
Rybak about in. I love, of course.
Lenin Live with mine, then love! If Tolstoy had not invented Tolstoyism, then no one would have introduced a Russian person to us better than him. But the old man did not understand the workers. I don't want to go home. You are in love ... why don't I want to? Do not know? Well, I'll tell you a secret ... sometimes I dream ... I walk alone and draw unseen things in front of me. We will not build a tower up to heaven, but with our people you can dare, you can dream ... (Aside.) Someone is coming ...
Rybak about in. Who goes?
Returns n and sh and i st a r u x a.
I am. I'm going.
Lenin And who are you, excuse me?
I am. Beggar. Serve the sad old woman for food, sir.
Lenin Sasha, do you have anything?
Rybak about in. I have nothing.
Lenin And I also have nothing. (Beggar.) Sorry.
I am. And wear a good coat ... you yourself are worse than beggars.
Rybak about in. Well, grandma, go to sleep!
I am. I do not sleep at night ... I work at night ... I beg for tea and at train stations.
Lenin Do you call it work?
I am. My job is no worse than any other. Now all the devil are walking around hungry like dogs. You are a man, apparently, of mental labor, but did you bite a lot today?
Lenin How is it - biting?
I am. Ate.
Rybak about in. Let's go further, Vladimir Ilyich ...
LENIN (to Rybakov). Wait a minute! (A beggar.) And what were you doing before the revolution?
I am. She was also a beggar.
Lenin Why are you angry? You haven't lost anything
I am. No, my dear, our impoverished class has lost the most.
Lenin Why did your class lose?
I am. Before the revolution, I lived as a godfather to the king. At that time I was a holy fool. I had three and a half thousand gold in the bank.
Lenin Where did you get them from?
I am. I had my regular clients. After all, I did not go down below the merchant houses of the first guild! And now what is my profit? Who is serving us now? Lenin put the whole of Russia down the pipe, and he himself, they say, lives from hand to mouth in the Kremlin. He himself does not live and does not give to others. Keep looming, and I'll go about my business. (Leaves.)
Lenin What do you say, young man?
Rybak about in. A cheeky old woman, and nothing else.
Lenin The point is not in the old woman, comrade Rybakov, but she is right about something. If we now sit on an aeronautical vehicle and rise above our land, then under us will be a black space without lights, like a huge desert. How ruined Russia is! The village went back to the early nineteenth century, to a splinter. At the factories of the Urals, in Zlatoust, for example, people are forced to manually set mechanisms in motion. Donbass is flooded by the White Guards. (Long pause.) Can you dream, Comrade Rybakov?
Rybakov (indistinct at first). Me? .. Dreaming?
Lenin We must dream ... We must. But does a Bolshevik, a Marxist have the right to dream? A? In my opinion, he has this wonderful right, and he must dream if he understands the dream as the growth of new tasks for his party, his people ... And yet, Sasha Rybakov, you should not be afraid of the discord between dream and reality, if you seriously believe in your dream, carefully peer into life and work tirelessly, scary, hellishly working on the realization of your dream. Back in the nineties, we in our party dreamed about the future of Russia and made plans for electrification ... We have to cut rations, carry out severe economy in everything, live poorly, sparingly, hard, but we will carry out the electrification of Russia. It is impossible otherwise. They will sleep, crush, there will be a hundred-year slavery, a foreign yoke, a shameful life, oppression. How do you think Sasha Rybakov will electrify us now?
Rybak about in. Vladimir Ilyich, you see a thousand miles ahead, but what can I say?
Lenin You can dream with our people, you can dare!
A curtain.
Second action
Scene one
Boulevard at the monument to Gogol. On the bench sits a s t a r u sh k a, next to
baby carriage.
S t a r u sh k a. So my boy fell asleep. Sleep, sleep, darling, sleep, my angel! (Calmed down, dozed off.)
Rybak runs in. Looks around and wilted.
Rybak about in. Gone! So much for Gogol! (He took out his watch.) Gogol remains Gogol, and I was late by a whole fifteen minutes. With her character, it is a disaster. (Quickly, to the old lady.) Comrade nanny!
Page (offended). Young man, why do you think I am a nanny?
Rybak about in. Sorry, I don't care.
Page You don't care, but I don't.
Rybak about in. Well, I see - a cradle, baby ... I wanted to ask you ...
S t a r u sh k a. Don't make any noise, you see, he's sleeping.
Rybak about in. Sorry, I won't. I wanted to ask you: before my arrival, was there a young lady walking here?
S t a r u sh k a. Go, go, I don't hear anything you mutter there.
Rybakov (takes the old woman by the hand). I beg you to give me an answer.
Page Where are you pulling me? I will raise a cry.
Rybakov (carries the old woman away from the carriage). Screaming is useless. I'm a detective. I ask you: have you seen a young lady here at the monument?
Page A young lady? Yes, yes ... A girl sat next to me and admired my grandson.
Rybak about in. For Christ's sake, what is she? She must be very nice, just beautiful ... Were there black gloves?
S t a r u sh k a. There were, I swear to you! Black.
Rybak about in. How long has she gone?
S t a r u sh k a. Now, this minute.
Rybak about in. Which way?
Page In that direction.
Rybak about in. If I find her, I will remember you all my life. Thanks to! (Runs away.)
S t a rushka (tries to wake up). Detective! And in a mad state. This is how, due to our weakness, with fright, and destroy someone else's soul. What a terrible person! He swooped down like a kite. (She caught her breath, mentally made a prayer, crossed herself, sat in her place. She looks in the direction where Rybakov fled.) He overtook ... leads here ... Away from sin ... Save, Lord, and have mercy! (He leaves with a stroller.)
Masha and Rybakov appear. They walk separately.
Rybak about in. I am guilty, but at least pay attention to me, I am falling off my feet. I scared one old woman to death.
M a sh a. Enough, Rybakov, I know all your manners. This Cyclops style can get boring. (Sits down.)
Rybak about in. Cyclops ... Let me be Cyclops. Who are you?
M a sh a. I don’t know who I am in your mind. I thought about it a lot. From the day when they found out about you in our house, I lost my balance in life, lost strength. It doesn't matter whether you understand it or not, but I must tell you that my hope is giving way to despair, I was waiting for your help, I didn’t close my eyes that night, but you don’t care! A date with a young lady is a great thing! And the young lady, it seems, has become limp: she herself calls for a date. During these fifteen minutes I hated this monument. It was me who made fun of him.
Rybak about in. Masha, you won't let me say a word.
M a sh a. I tell you, but you do not understand anything.
Rybak about in. If I am an oak, then there is nothing to interpret with me.
M a sh a. How could you not come on a day like this ?!
Rybak about in. How could I not come when I came!
M a sh a. Understand that this is not an easy date. There, at our home, father, and you must appear to him, introduce yourself, talk to him. You don't know what this means. He is a terrible person, he can kick you out - and then the end.
Rybak about in. And I will not leave.
M a sh a. That is, as?
Rybak about in. I'm not leaving, that's all.
M a sh a. Here's your time! With you, all the horrors really fall apart. Everything is easy and joyful for you. Nothing pulls you back. I haven't told you everything about my father. He sells matches in spite of everyone! Engineer Zabelin walks around Moscow and sells matches!
Rybak about in. Freak!
M a sh a. And he is dear to me, he is my father, I love him. And if you knew him as I do, you would love him too.
Rybak about in. What's the matter? Let's love him together and bring him to the Christian faith.
M a sh a. The grief lies in the fact that it is terribly difficult to influence him. What am I saying - to influence ?! He can make fun of you evil, insulting, and in general I do not know what will happen. I thought that if you didn't come, then fate ...
Rybak about in. I'm on my feet for the third day. I was looking for a watchmaker.
M a sh a. So. Found the reason! Better to come up with something else. You had one concern - to fix your watch!
Rybak about in. Quite right, alone.
M a sh a. Thanks to.
Rybak about in. Will you, Masha, be angry with me. I was torn here through wild obstacles. I get on the tram - stop. Why? No current. I jump on the truck - they are going to Kotly. I sit down on a cab, I pass the block whistle. What? A driver without a license plate. Not registered in Tramot.
M a sh a. What are you talking about? "Tramot", "cab" ...
Rybak about in. Tramot is a transport department, a cab is transport. Understand, Masha, that I have been instructed to find a watchmaker to use the Kremlin chimes ...
M a sh a. Rybakov, you are an eccentric. Do you really imagine that all people should know about this. I don't know anything!
Rybak about in. You don't know anything, but you were offended. Why be offended here?
M a sh a. Well, well, have you found the master?
Rybak about in. Found. But if you knew what it cost me. To whom you don’t tell which watches require repair, everyone is frightened ... One ancient watchmaker of unheard-of antiquity in a cap sat down on the floor, covered his head with his hands and said: “Shoot, but I will not go!” From Maryina Roscha to Presnya, I probed old Moscow and finally found such a watchmaker that I myself am perplexed. He will be in the Kremlin today, but I'm afraid, I'm worried ...
M a sh a. Why?
Rybak about in. I hid from him which watch needed repair. He thinks, this is here, and this is in ... and there is a tower, one hundred weights ... chains ... If you only knew, Masha, under what impression I am walking! By chance, at night, when Moscow was asleep, I met Ilyich. I cannot comprehend where this person's thoughts come from. I walk somehow amazing to myself, as if I flew somewhere far ahead, where no one had ever been. And I'm embarrassed. It's not me at all, but Lenin. Now I know, for all my life, that there are people who are not far away, nothing is afraid, nothing is surprising.
M a sh a. Sasha! Honey ... it's very easy with you. Why, I don’t know, but my whole drama finally blurred. What do you remember, today is Saturday? We are waiting for you. Will you come?
Rybak about in. Necessarily.
M a sh a. And if your father attacks you, will you be found?
Rybak about in. I’ll find it!
M a sh a. I pounced on, you were not immediately found.
Rybak about in. With you ... with you I am tame.
M a sh a. Is not it?
Rybak about in. I love you. I write letters to you at night, and in the morning I tear them apart!
M a sh a. And you do not tear them. You would send them to the address.
Rybak about in. Words are not enough. I think about love, I feel that I truly love you ... You see, truly, without a single extraneous thought ... But I cannot express it all in real words! Words are not enough ...
M a sh a. So you expressed it. I believe - and that's enough. Today, for some reason, I especially believe you. But it's time to go home.
Rybak about in. Masha, may I show you off?
M a sh a. I would be glad, but I am afraid that our father will meet us.
Rybak about in. What kind of father is this? Is it really such an impregnable stronghold?
M a sh a. Wait, you will see for yourself. Well, come what may! I don’t want to think. Take my arm.
Rybak about in. Mercy.
Masha (laughs). Rybakov, don't. Be as you are, without merci.
Rybak about in. Good. With pleasure. I will always be the way I am. No merci.
Scene two
In the Zabelins' house. Anton Ivanovich's office, where no one has been working for a long time. Evening. Zabelina and her guests are sitting in the office: dame and her husband - about p t and m and s t, d and m a and s p y g a n n a i
and her husband - sk e p t and k.
Zabelina (continuing the conversation). Anton Ivanovich becomes more and more impossible. The other day I saw him swearing with some monk, and yesterday, ashamed to say, he had a fight with one familiar gentleman.
Skeptik. Fought in the house or in public?
Z ab e l and n a. At the Maly Theater at seven in the evening.
Skep t and k. And who will win?
Z ab e l and n a. Anton Ivanovich won, of course. But if you think about the reason for the fight. This gentleman was subordinate to Anton Ivanovich, and now, walking into the theater, he allowed himself an indecent trick. He patted Anton Ivanovich on the shoulder and made a patronizing tone towards him.
D a m and s p u g a n i. Isn't this gentleman a Bolshevik?
Z ab e l and n a. Not a Bolshevik, but in a modern mood.
D a m and s p u g a n i. Anton Ivanovich risks being imprisoned in the Cheka.
Skeptik. And who has not been sitting now? Everyone was sitting!
D a m and s p u g a n i. But you weren’t sitting?
Skeptik. I haven’t sat, so I will.
D a m and s p u g a n i. Shut up, for God's sake! At least here stop scaring me.
Z ab e l and n a. And, looking at Anton Ivanovich, I am holding a bundle of linen. I am beginning to believe that he will be imprisoned.
About p t and m and s. Anton Ivanovich expresses his moods emotionally, but for emotion they do not plant.
D a m and s p u g a n i. But he beat the Bolshevik-minded gentleman. This is terror!
About p t and m and with t. In any mode, they hit in the face, if necessary.
Skept. Anton will be jailed anyway. You will see.
D a m and s p u g a n i. This person can bring to tears ...
Skeptik. Half of Moscow says: Zabelin went to sell matches! Do you think the Bolsheviks are idiots, they don't understand anything?
Ladies and gentlemen. And our Volodka became a futurist. Now he reads some awful "Cloud in Pants" all day long.
Z ab e l and n a. What about? Cloud and ... pants? Can there really be such verses?
Dame. They call it a poem. Volodka assures everyone that this is the greatest work. I cannot tell you how indecent it is! There, the author proposes impossible things to a woman in the first person.
About p t and m and with t. But Pushkin does not offer? He also offered.
Dame. Pushkin proposed in the framework of secular decency, and Mayakovsky - tactless.
About p t and m and with t. All of them are smeared with one world. Let Volodka be a futurist. Still, bread!
Z ab e l and n a. Do the Bolsheviks really give rations for poetry?
I didn’t believe it myself, but it’s true.
Skept. They'll jail Anton anyway, you'll see.
Z ab e l and n a. Dmitry Dmitrievich, even as a relative, croaking is not good and indecent.
D a m and s p u g a n i. He brings me to tears. Morally, he is worse than an inquisitor. He promises everyone to be jailed and executed.
Masha enters.
Zabelina (Masha). Did you still work?
M a sh a. She worked.
Z ab e l and n a. Go eat soon.
M a sh a. I do not want.
Z ab e l and n a. You look bad. We need to refresh ourselves.
M a sh a. Do not. After that I will refresh myself. (Greets the guests.)
About p t and m and s t. Where do you work, Masha?
M a sh a. In Pomgol.
About p t and m and s. And what is this - Pomgol?
M a sh a. We are helping the hungry.
About p and m and s. Are things really so sad with us, as they say about it?
M a sh a. Very sad. Hunger is developing like a worldwide flood!
Skeptik. Not worldwide, but all-Russian. Abroad, they feed the cattle with white rolls, while in our country hunger cuts the population by half. Prove that I am exaggerating.
Zabel enters.
Z ab e l and n a. Forgive me, Anton Ivanovich, that we are accommodated in your office. It's warmer here.
Zab e l and n. I see. (Greets.) There was a study, but now a crypt. Well, sir, what did you talk about?
About p t and m and s. What are they talking about now? Hunger, mortality, arrests ... Native themes.
Zab e l and n. The savages seized a civilized ship, killed all the white people, threw the crew overboard, devoured all the supplies ... Well, sir, then what? The ship must be able to manage, but they do not know how. They promised socialism, but no one knows where to start it. (To a skeptic.) Do you know, Dmitry Dmitrievich?
Skeptik. I don’t know and don’t want to know!
Zab e l and n. In my youth I flew to the moon ... theoretically, of course, in dreams. But the daughter for the Bolsheviks is ready for fire and water. All her sympathies are not on our side. We are counter-revolution to her, bourbons ...
He enters rapidly.
K u kha r k a. The sailor came ... Zabelin asks.
D a m and s p u g a n i. Sailor? Why a sailor?
Skeptik. Do you know why the sailors are coming?
Z ab e l and n a. Oh, don't be alarmed, please! This is probably not a sailor.
K u kha r k a. I'm not blind ... sailor as is ... angry ...
Skeptik. I have no documents with me. Shouldn't my wife and I go out the back door?
D a m and s p u g a n i. I'm afraid to leave. The sailors may catch us and suspect us of flight.
Z ab e l and n a. Do not be alarmed, please ... He is not a sailor, in our sense. (To Masha) What are you doing? Come meet!
Masha leaves. Silent bewilderment.
About p t and m and c. Anton Ivanovich, what is this, my dear?
Zab e l and n. In all likelihood, it was a fan of our daughter who came. Hero of "Aurora".
Skeptik. But why do you allow the heroes of "Aurora" to become admirers of your daughter?
Zab e l and n. And why did you, my dear cousin, want to get out of my house this very minute?
Skep t and to. Get away?
Zab e l and n. Yes, get away. Until recently, you would not have allowed such a stupid idea that you have to get away from the Zabelins' house. We need to cry, but you are being ironic!
Enter M and R ybakov.
M a sh a. Gentlemen ... (Paused.)
Zab e l and n. Why did you shut up? Are you scared that in front of your guest you called us masters? Wait, I'll teach you how to speak. You say "comrades" ... and your guest will not be shocked.
Masha (to Rybakov). I told you ... dad always teases me. (To others) Here is my friend, Alexander Mikhailovich Rybakov ... He fought ... he saw a lot of interesting things ...
SKEPTIK (greeting Rybakov). Immensely happy!
Lady (considering Rybakov). I don't understand, are you a sailor or a civilian?
Rybak about in. He was a sailor, but fought on the mainland. Now demobilized
D a m and s p u g a n i. Why are you wearing a sailor suit? We thought that we were being searched, and it was you who came to visit.
Rybak about in. Why a search? I will never think that a search is coming to me.
Skeptik. This is understandable. You have conquered the mainland.
Rybak about in. Complete conquest is still a long way off.
Zab e l and n. And when will the complete conquest come?
Rybak about in. Obviously, under socialism.
Zab e l and n. What year?
Rybak about in. Sorry, I can't tell you that.
Zab e l and n. Can't reveal your secret?
Rybak about in. I just do not know.
Zab e l and n. Yeah.
Z ab e l and n a. Sit down, Alexander Mikhailovich ... Here's an ashtray, would you like to see our family album? Take a look!
D a m and s p u g a n i. Why are you giving a family album? There are boring people ... (to Rybakov) Look here: these are views of Italy ... Rome, the Colosseum, Vesuvius ...
Zab e l and n. Have you ever been to the Italic seas, sir?
Rybak about in. No, except for the Baltic, I saw nothing.
Zab e l and n. Would you like to be a member of the Communist Party, sir?
Rybak about in. I am. And what?
Zab e l and n. It is interesting to know what a communist might think when he finds himself among us?
Rybak about in. What is there to think about? There is nothing to think about.
Zab e l and n. Of course. What do you think? We are bourgeois and scoundrels for you. And these bourgeois have worked like convicts all their lives. Capitalism for our labor gave us prosperity and comfort, the remnants of which you see in my office. And communism can offer me a pood of dog porridge. Good! .. I am ready to receive food for the yard dogs, but they also refuse me! .. The new society does not need me, because I know how to build power plants, and now they are being closed, my dear! I am unemployed. We have no time for electricity now. Bovine steam has replaced electrical energy. And I, like Prometheus, distribute fire to people. From morning till night I stand at Iverskaya Street and sell matches.
Skeptik. And you, like Prometheus, will be imprisoned for this.
Zabelin (to Rybakov). What do you say, sir?
Rybak about in. I also don’t understand why you haven’t been jailed yet.
Skeptik (enthusiastically). Have you heard? Listen.
Zab e l and n. Go to the phone and report back.
Rybak about in. They don't need my directions. But that's not the point. You are annoyed against us ... but in vain! I would have worked in your place for a long time. Between us, you are not Prometheus, but just a saboteur!
Zab e l and n. What is it like? The person who visits my house for the first time is surprised that they didn’t put me in prison, calls me the devil knows how and doesn’t blow his mustache. He is pleased with himself. What kind of people are entering our homes?
About p t and m and with t. Our Volodka talks in exactly the same way. Every day he calls me a half-cut bourgeois. I tolerate.
Zab e l and n. Volodka is your son. And who is this? (To Rybakov.) Do you have the slightest idea of ​​courtesy?
Rybak about in. Amazing business! You did not speak very politely about the Soviet system, but I did not spare my life for it. I didn’t scream, I didn’t lose my temper. I just said that you are a saboteur.
Zab e l and n. I told you the truth, sir!
Rybak about in. Nonsense, not the truth! I told you the truth, not you.
Zab e l and n. Wait a minute! That I am unemployed is not true?
Rybak about in. Not true!
Zab e l and n. That I was thrown out by you like an old shoe - is that not true?
Rybak about in. Not true!
Zab e l and n. Then here's what ... then, sir, get out of here! I didn’t know you, and I don’t want to know you.
Rybak about in. And I will not leave.
Zab e l and n. Oh, here's the thing ... I forgot that you can requisition my apartment!
Rybak about in. I did not come to requisition ...
Zab e l and n. Stay! I'll leave!
Rybak about in. And I won't let you in. I find it funny that you are mad. In my opinion, you are a wild man!
Zab e l and n. Savage?
Rybak about in. Savage.
Zab e l and n. And you came to enlighten me?
Rybak about in. What did you think? Of course!
Zabelin (laughs). Trouble ... Gentlemen, he won me over with his naive arrogance! No, what a goose! .. He wants to educate. I listen to you, fellow missionary! Educate!
Included in u kha r k a.
K u kha r k a. The chairman of the house committee came.
Zab e l and n. One?
K u kha r k a. No, not alone.
Zab e l and n. Not alone?
K u kha r k a. Some military man is with him ... angry!
The chairman of the house committee often knocked on the open door. His voice:
"Can't you come in?"
Zab e l and n. You can, you can ...
Included in front of him is the house
the form of those times.
Predecessor Citizen Zabelin, they've come personally for you!
Zab e l and n. I've been waiting for a long time.
War. If it's not difficult, hurry up!
Zab e l and n. Ready for a long time.
War. Please.
Zab e l and n. Not more than one minute ... (Makes a general bow.) Wife called you inappropriately ... Excuse me ... (To wife.) Farewell!
Zabelina (gives her husband a bundle). May God rise ...
Zab e l and n. Thanks to. Well, I went ...
War. The car is parked in the yard.
Zab e l and n. Understand.
Z ab e l and n a. Anton, you can't do that!
PREDATELDATELDOMKOMA, WAR and ZABELIN
leave.
Anton! I won't let him in! .. Take us too! Lead me! (Suddenly shouts.) And the order? Bring back the chairman! Chairman!
The presenter returns:
Did they give you a warrant?
Predecessor Do not doubt. Everything is clean and correct ... The mosquito will not undermine the nose! (Leaves.)
Z ab e l and n a. Well, Mashenka, we are orphaned ...
Masha (to Rybakov). Did you know that your father will be arrested?
Rybak about in. I didn't know anything. I have the impression that this is not an arrest.
A curtain.
Act three
Scene one
Lenin's office in the Kremlin. Lenin, Dzerzhinsky. Lenin some
time works at the table, then calls. The secretary is included.
LENIN (to the secretary). Ask engineer Zabelin to see me. And look for our expert engineer Glagolev ... he is here nearby, in the Council of People's Commissars.
The secretary leaves, Zabelin enters.
Engineer Zabelin?
Zab e l and n. Yes.
Lenin Anton Ivanovich!
Zab e l and n. Yes.
Lenin Hello. Please sit down! Sit down!
Zabelin sits down. Silence.
So what, sabotage or work?
Zab e l and n. I didn’t expect anyone to be interested in my personal problems.
Lenin Imagine being interested. So we wanted to consult with you on one extremely big issue.
Zab e l and n. I don’t know, how can my advice matter?
Lenin Who do you want to question: us or yourself?
Zab e l and n. For some time now they stopped asking me for advice.
Lenin This means that people were interested in other interests. What do you think?
Zab e l and n. Yes. This is true. People had other interests.
Lenin And now your advice is needed. What surprises you?
Zab e l and n. I am somewhat, so to speak ... puzzled.
Dzerzhinsky. A knot is bothering you. Put it somewhere.
Lenin Today is Saturday, bath time. You are probably going to go to the bathhouse?
Zab e l and n. Yes, of course ... I was going to go to the bathhouse.
Lenin You will still have time. We won't keep you long.
Engineer GLAGOLEV enters.
CHAPTER Hello.
Lenin (to Glagolev). Georgy Ivanovich, do you personally not know engineer Zabelin?
CHAPTER Until now, we have not met.
LENIN (to Zabelin). Meet Georgy Glagolev - our expert.
Zab e l and n. Yes. Until now, we have not met with him.
CHAPTER Engineer Zabelin in the know?
Lenin No, not at all. In my opinion, engineer Zabelin has no idea why we disturbed him. Well, let's not waste time. This is your area, dear comrade, please report.
CHAPTER It is difficult to report in this case, because people like engineer Zabelin do not need agitation on the part of Russia's energy development ... (to Zabelin.) Isn't that so?
Zab e l and n. Well, sir!
CHAPTER But, however, you should know that we, the Bolshevik revolutionaries, have always been worried about the radical technical reorganization of the entire economy of Russia.
Zab e l and n. But you ... sorry to interrupt you ... you are an engineer ... and an old engineer, aren't you?
LENIN (grinning slyly). What? .. Are you saying that an old engineer cannot be a revolutionary? You see - it can. (To Glagolev.) Please continue.
CHAPTER As an engineer and as a revolutionary at the same time, I am ready with all my energy to implement the idea of ​​electrifying Russia.
Lenin And not in the distant future, but now ... This is how the Central Committee of our party puts the question.
Zab e l and n. Well, sir ... And what then?
Lenin And let me turn this question to you.
Zab e l and n. To me? Why me?
Lenin But because you, as a specialist in the matter, can help us. But business experts, alas, have different attitudes. Please continue.
CHAPTER There is an old version that Russia has no future for the development of electrification for its natural resources. Not further, as yesterday, as now with you, we talked with one of the greatest scientists ... I will not name his name. And what does he claim ?! "The relief of the country is flat ... The flow of rivers is slow ... In winter, the rivers freeze ..." We do not have Niagara Falls, as in America. This means that we cannot build a single decent hydroelectric power station.
Zab e l and n. Only an ignoramus could say that.
Lenin No, I'm sorry, he's a respected scientist ... A shareholder of an electrical company.
Zab e l and n. Or a crook.
Dzerzhinsky. This is a different matter.
Lenin Why - a swindler? You will prove it.
Zab e l and n. Can I ask for a map of Russia?
Lenin Oh sure.
Glagolev lays out a map on the table.
Zab e l and n. I undertake to show you a dozen places where we can now, in natural conditions, build power plants on white coal ... Here and there ... but here is not it?
Lenin What is it?
Zab e l and n. Dnieper rapids.
Lenin Where can you build here?
Zab e l and n. I believe that it is somewhere in the lower reaches, but not by the sea, of course.
Lenin And it would be nice here, by the sea, to erect a huge electric castle ... Know ours!
Zab e l and n. Take these peat areas ... Angara in the east ... Elbrus in the Caucasus ... And if you build a dam on the Volga?
Lenin Where on the Volga? It is very interesting. I'm a Volgar.
Zab e l and n. Yes, at the Zhiguli ... I speak from memory, but according to my old calculations, the energy of the Volga will replace half of the Donbass coal.
Lenin Can you write us a general note on this topic?
Zab e l and n. I find it difficult. I have not dealt with such issues for a long time.
Lenin What did you do?
Zab e l and n. Nothing.
Dzerzhinsky. You are not telling the truth. Engineer Zabelin sells matches.
Lenin How - with matches?
Dzerzhinsky. An engineer stands on the street and trades with his hands.
Lenin Do you sell wholesale or retail? By the box? .. Listen, this is a misfortune! This is shame and disgrace, my friend! In our time, trade in matches ... You have to shoot for such things ... As you wish!
Zab e l and n. Prepared for a long time.
Lenin What are you preparing for? To accept a martyr's crown? .. Who makes you trade in matches?
Zab e l and n. I have nowhere to lay my hands.
Lenin How is it - nowhere to put your hands? What are you telling me?
Zab e l and n. Nobody called me.
Lenin Why should we call you? Did you sit before us and wait for you to be called? However, if you are not inspired by the idea of ​​electrifying Russia, then you can sell matches. You can.
Zab e l and n. I don't know ... Am I capable of ...
Lenin stepped away angrily and did not answer.
Dzerzhinsky. Have lagged behind life, right?
Zab e l and n. I'm not going to be a Bolshevik.
Dzerzhinsky. And we are not inviting you to the party.
Zab e l and n. It is supposed to build socialism in Russia, but I don’t believe in socialism.
Lenin And I believe. Which of us is right? You think you are and I think I am. Who will judge us? Well, let's ask Dzerzhinsky. He will most likely say that I am right and you are not. Is that enough for you?
Zab e l and n. I understand. My words are childish to you.
Lenin Are you a Menshevik Social Dean? Eser? Have you read Marx's Capital, studied the Communist Manifesto?
Zab e l and n. Yes, of course, I'm not good at understanding.
Lenin How can you believe or not believe in socialism if you are not well versed in it?
CHAPTER Do you know Comrade Krzhizhanovsky?
Zab e l and n. Yes I know.
CHAPTER And have you heard of his work on our electrification plans?
Zab e l and n. I heard ... I got it ...
Lenin He told me that you have vast experience as an electrician, that you know how to solve brilliant projects, and you sell matches. What a wild thing!
Zab e l and n. I'm giving it up. I won't.
Dzerzhinsky. Thank God!
Lenin What did you say, Felix?
Dzerzhinsky. I said thank God.
Zab e l and n. Apparently, I am invited to get down to business?
Dzerzhinsky. And the sooner you get down to business, the better.
Zab e l and n. But you don't know me well.
Lenin We know a little.
Zab e l and n. No one from the Communist Party can recommend me.
Lenin Imagine maybe.
Zab e l and n. I do not know who?
Dzerzhinsky. I AM.
Zab e l and n. How do you know me?
Dzerzhinsky. On duty.
Zab e l and n. Oh yeah ... I forgot.
Dzerzhinsky. And who doesn't know engineer Zabelin? And since I recommend you to the government, let me offer you some advice. Now you are confused ...
Zab e l and n. Completely knocked down.
Dzerzhinsky. Excited. All this is understandable. You need to collect your thoughts. Go home, think about what happened, and then give an answer.
Lenin Can you answer tomorrow?
Zab e l and n. Yes.
Lenin Goodbye.
Zabelin bows and walks to the door.
Dzerzhinsky. The knot was forgotten.
Zab e l and n. Damn, not a knot!
Lenin Bath, bath ... still have time.
Zab e l and n. No, I didn't go to the bathhouse. Everyone decided that they would take me to the Cheka ... and so my wife slipped the damn bundle.
Lenin Oh, that's how! This is a different matter. Wait a minute! (Calls the secretary.) Our time is harsh. Now you have grief and tears at home.
The secretary is included.
(To the secretary.) Send Engineer Zabelin home in the car ... Send it immediately.
They leave.
Hundreds, and thousands, and millions are still sitting idle with us. What a saboteur he is. I just went wild with idleness and went crazy. Do you think, Georgy Ivanovich, will engineer Zabelin go to work for us?
CHAPTER I think it will, Vladimir Ilyich.
Lenin It will do, but it will be difficult for him to get used to it, very difficult.
CHAPTER Don't you need me anymore, Vladimir Ilyich?
Lenin No, Georgy Ivanovich, thank you.
The head leaves. The secretary is included.
I'm listening to you.
Secretary. The watchmaker came ... Rybakov sent him at your instructions.
Lenin Enter it here.
Secretary. This very minute. (Leaves.)
Lenin The chimes do not let me sleep ... They are silent! We must definitely let them in!
Included h and with about in u and k.
Hello comrade! Will you be a watchmaker?
CH and with about in shch and k. Handicraftsman-loner.
Lenin Excuse me, I don't understand why - a loner?
Frequently, such craftsmen, whom I have the honor to be, are called "a lone handicraftsman without a motor."
Lenin How is it - a loner without a motor?
Dzerzhinsky. Obviously, the watchmaker was offended? Tell me who offended you?
I am not taking this opportunity to personally complain to Comrade Lenin. I never complain. I was invited to work.
DZERZHINSKY (intimate, merrily, nodding to the watchmaker). And you complain, complain frankly.
Lenin And now I’ll ask for some hot tea. (At the door.) Please tell us to have some tea. (To the watchmaker.) Is it hard to live? Hunger, devastation, chaos? Are you tired? Are you starving?
Frequently asked questions. Like everyone else.
LENIN (pointing to Dzerzhinsky). And our comrade says that you have been offended. Is he wrong?
Frequently. I could not expect such questions. I was happy that they remembered me. After all, once, in the old days, I was repairing a clock to Count Lev Nikolaevich Tolstoy.
Lenin Wow ... this is no joke!
Dzerzhinsky. Tolstoy would not go to a bad master.
Lenin And what was Tolstoy?
Frequently in boots ... A very interesting person. Are his portraits worth anything?
Lenin What did he talk to you about?
CH as with about in u and k. Now I hardly remember what he was talking about. He liked to ask questions. He knew a lot about watches.
Dzerzhinsky. And of course he paid well?
Frequently, no. I gave him, as Count Tolstoy, a big discount.
Lenin And did he notice it?
Frequently, I didn’t notice.
Lenin What are you offended by? We, too, suffer from this weakness to ask questions.
I don’t know how to tell you. Of course, I understand that "the connection of times has fallen apart," as Prince Hamlet says.
Lenin "To be or not to be?"
Frequently asked questions. Exactly! A thousand times - exactly. They don't let me work!
Dzerzhinsky. We have cooperative workshops ... But there is probably a poorly organized business.
I was ordered to work there, I went and took up work that no one could do. I came across an amazing example of an English clock. This is the real Norton. They are at least three hundred years old. They were made by a master with his own hands ... even before the invention of railways. I worked for a month and did. For this they arranged a general meeting for me and told me that I eat bread for free. And in response I had the imprudence to bring them Aesop's fable.
Lenin Aesop? What did you tell them from Aesop?
I told them about that fox who reproached the lioness for the fact that the unfortunate lioness gives birth to one cub. And the lioness answered her: "But I give birth to a lion." Aesop says - it's not about quantity, but quality.
Lenin And what did they say to you about that?
Frequently. The chairman of the meeting said that Aesop was a counter-revolutionary and an agent of the Entente, and I was Aesop's agent. And I was kicked out of there.
Lenin, bending over the table, begins to laugh. Dzerzhinsky laughs,
the watchmaker himself laughs.
Lenin And you say that you have not been offended. Of course they did. Forgive them for not knowing Aesop's fables. In addition, they are now not up to unique watches. All this, as Tolstoy said, is formed. And I have an order for you.
CH and with about in u and to. This minute. I'm ready. (He picks up and opens his bag, hastily puts on a magnifying glass.)
Lenin You see, your tools won't work here.
Frequently asked questions. My tools?
Lenin You will need different sized keys ...
Dzerzhinsky. There, in my opinion, in the mechanism of poods, hundreds of poods.
I am a watchmaker.
Lenin So you have to repair the Kremlin chimes.
The Kremlin clock on the Spasskaya Tower ?!
Lenin Yes, my friend, the Kremlin clock on the Spasskaya tower. Will you take it?
Often people made them, people broke them, people must make them walk.
Lenin But when people did them, there was no song "Internationale". Now we need to teach the chimes to play the Internationale. Teach?
Frequently asked questions. Let's try to force.
Lenin Get to work tomorrow.
CH and with about in u and to. And now I can not go there? I don't want to wait any longer.
Dzerzhinsky. And if you are disturbed, if there are difficulties, call this number.
Frequently asked questions.
Dzerzhinsky. Dzerzhinsky.
Frequently asked questions. Will he help me himself?
Lenin Yes, we will ask him about it. And agree on the conditions with our commandant.
Frequently asked questions. What are the conditions? I am the first watchmaker in the world who will teach the Kremlin chimes to play "Internationale"!
Lenin But the ration will not hurt you?
Of course, it won't hurt me to eat. Thank you for this order, for your trust. Excuse me, I'm upset. I will go to the tower. (Leaves.)
Lenin They also moved the case. I believe that the chimes will play. Still, do you think, Felix Edmundovich, will Zabelin come to work with us?
Dzerzhinsky. I think it will.
Lenin I would rather raise such bears, hundreds of them hid. Rather, it is necessary, more agile.
Dzerzhinsky leaves. Lenin bent over his work for writing
table.
Scene two
In Zabelin's office that evening. The same, except for Zabelin,
Masha and Rybakov.
Skeptik. And I tell you that we were obliged to check the warrant for the right of arrest.
Z ab e l and n a. Check, do not check - the result is the same.
D a m and s p u g a n i. I will never, even on my deathbed, forget this nightmare evening. If I had dreamed all this, I would have jumped up and began to scream. And then in reality they came, did not say a word and took away.
Skeptik. Now she will suffer from insomnia for a whole month. Even patented American pills won't help. Go home. Shakes you.
Z ab e l and n a. Wait, Masha will be back now.
Included in u kha r k a.
K u kha r k a. Lydia Mikhailovna, the house has been cordoned off. From those windows I looked - soldiers. Of these, soldiers again.
About p t and m and s. Soldiers ...
D a m and s p u g a n i. Put out the light.
About p t and m and s t (looks out the window). These are ordinary soldiers.
Skeptik. Do you think extraordinary soldiers will be sent for you?
About p t and m and s. They stand and wait for something.
D a m and s p u g a n i. I beg you to put out the light!
Skeptik. But in the dark it will make you even more terrible!
I’m not afraid of anything, in my opinion, it’s also better to put out the light and light the oil smokehouse. Lydia Mikhailovna, do you have a lotto?
Z ab e l and n a. Lotto? For what?
We'll give you a job. In case they come and check, and we play the loto!
About p and m and s. Just do not lose heart. Lotto is so loto. Carry the loto.
D a m and s p u g a n i. But put out the light!
Zabelina (to the cook). Praskovya, bring a jar with a wick. (Turns out the light.) I'll get the loto now. (Leaves.)
Darkness. Silence.
Dame. I think I should gamble.
D a m and s p u g a n i. As much as possible for money ... as much as possible, because this is excitement!
Damn it. Well, for the nuts!
Skep t and k. Where do we get the nuts?
Zabelina will have it.
Zabelina enters. In the hands of a smokehouse and a loto.
Deconstruct cards. Who will call out the numbers? Lydia Mikhailovna, do you have any nuts?
Z ab e l and n a. Oh, honey, I have no time for nuts!
D a m and s p u g a n i. Give me a bag. I will announce.
Z ab e l and n a. Masha should come now. I think she will know something.
D a m and s p u g a n i. Twenty two ... six ... ninety one.
Included in u kha r k a.
K u kha r k a. Now they are standing opposite. They must be angry ... They are looking at our windows.
Z ab e l and n a. Praskovya, look from the windows of the dining room ... If they come, tell them that we have guests.
All in all. Don't!
Z ab e l and n a. No, you better not say anything.
D a m and s p u g a n i. Forty four ... twenty six.
About p t and m and s t. And I have an apartment.
D a m and s p u g a n i. Thirteen ... sixty-one ... eighty-one ...
K u kha r k a. Don't go away. (Goes to the window.) No ... They are here on the corner.
Skeptik. With guns?
K u kha r k a. With guns.
The skeptic blew out the smokehouse.
D a m and s p u g a n i. Twelve, thirteen, fifteen ... Someone is coming ... I can't take it anymore! Someone is walking here! Turn on the light!
The light comes on. Zabelin stands in the doorway.
Z ab e l and n a. Anton!
In the village of Anton Ivanovich ?!
Z ab e l and n a. You?!
Zab e l and n. I AM.
Z ab e l and n a. Anton ... But why are you standing? Please sit down, my dear Anton Ivanovich! Masha! Where is she? Ah, I forgot everything! .. Why are you standing, Anton? Let me kiss you! My dear Anton Ivanovich ... (Hugs. Cries.)
Zab e l and n. Do not Cry.
Z ab e l and n a. Sorry. I thought you were dead ... And my hands dropped completely. What a cloud has passed over us, Lord! This is ... What happened? Error?
Zabelin (with its own meaning). I have to answer this question tomorrow.
Zabelina (looks at him). You have a strange face. You are strangely agitated, Anton Ivanovich. Where have you been?
Zab e l and n. I do not remember.
Z ab e l and n a. And excited and again your manner: "I do not remember." You don’t remember anything, you didn’t see anything.
Zab e l and n. I saw the soil sinking from under my feet. (To a skeptic.) Who has been draining my soul out of me for a whole year? Well? Planted? They know Zabelin! They thought they would shoot, but did not, because Anton Zabelin was alone. What are you looking at? Don't I look like myself? What does it mean to be like yourself?
Z ab e l and n a. Anton, your allegories are not clear to anyone.
Zab e l and n. Don't be afraid, he understands me perfectly.
Z ab e l and n a. Tell me where have you been?
Skep t and k. Where were you taken?
About p t and m and s. You were away for exactly three hours.
Zab e l and n. Not three hours, but three years.
Z ab e l and n a. Again ... allegories, riddles!
Zab e l and n. I was made a field marshal and ordered to conquer India.
Masha runs in.
M a sh a. Dad! (She clung to him.)
Zab e l and n. Don't cry either ... But how is the heart beating ... Are you sorry for the absurd father? Do you love?
M a sh a. I love ... I ran headlong. They couldn't tell me anywhere ... I stood at the front door and I'm afraid to step over the threshold ... I thought ... My folder!
Skeptik. But where have you been?
Zab e l and n. In the Kremlin.
Skep t and k. Is that all?
Zab e l and n. And that's all.
Z ab e l and n a. Tell me the details.
Zab e l and n. There were no details.
I understand. I understand Anton Ivanovich. He appeared in the house so romantically that I can see everything alone. Anton Ivanovich ... you are mysterious ... you are romantically inclined ... I bow before you, Anton Ivanovich. Don't ask him.
Zab e l and n. Lydia Mikhailovna, I haven't eaten anything since morning. Look, we have guests, but the table is not set. From our stocks, you can make an old Moscow table. Get our student wine, which we bought at fifty dollars a bottle.
Z ab e l and n a. I'll do everything. Please follow me.
Skeptik. But why did he attack me, as if I were to blame for this incident?
About p and m and s. If the matter ends with a glass of student wine, then how can you be indignant, my dear friend?
Everyone, except Zabelin and Masha, leaves.
Zab e l and n. Masha, sit down ... I won't let you go anywhere. (Taking a book in his hands.) Anton Zabelin. "Electrical Engineering". Masha, you were still quite small when I wrote this work. Sometimes, you come here and say: "Dad, are you writing? Well, I'll sit here ..." Sit here, and then climb up on my bunks, and we rush around the office. And now you are big, clever, and my father is shy in front of you. What kind of dress are you wearing? Dressed up for your fan?
M a sh a. I go to work in this dress every day. And I never seduced fans with outfits. You said nonsense.
Zab e l and n. Silly old man! By the way, where is Romeo?
M a sh a. Which Romeo?
Zab e l and n. Modern, Soviet. Where is the sailor?
M a sh a. Why do you need?
Zab e l and n. I would have to talk to him now.
M a sh a. Dad, if you knew what happened ... what I did. You see, when you were arrested, I thought it was him, and I told him about it. It's all over now.
Zab e l and n. You are a fool, you didn’t marry Captain Aleisky ... Now you would live in Paris.
M a sh a. I was told that Captain Aleisky plays the balalaika in Paris.
Zab e l and n. It is better to play a balalaika in Paris than to trade with Iverskaya matches in Moscow.
M a sh a. Why didn't you go to Paris? Your name was.
Zab e l and n. Because I'm Russian.
M a sh a. And who am I?
Zab e l and n. You women are chameleons. Elena the Beautiful lived quite comfortably with the Trojans, Salammbo fell in love with the barbarian, and you fell in love with the sailor. And I can't live without a turnip! There, in Paris, they feed frogs ... (Suddenly.) Is life really gone? My daughter, Mashenka, look at me - has your life gone?
M a sh a. My dear, tell me, what are you thinking? Can not be so. Why did life go by?
Zab e l and n. Everything I said here is useless. Do you understand? I, you see, they had in the Kremlin ... Why are you silent? Do you know what happened this minute? I considered myself a learned person, a builder, a creator. All my life I worked hard, lost my mind, put forward problems, and all this goes to hell!
M a sh a. Dad, tell me what happened?
Zab e l and n. They killed your Zabelin, struck down ... I did not immediately, but only on the way, understood the full scope of their ideas.
M a sh a. Tell me calmly, I don't know anything, I can't understand you.
Zab e l and n. Take your time, Masha. Until tomorrow, you and I will think it over to complete clarity. I have to give an answer tomorrow ...
Masha (deep joy). Are you offered to work?
Zabelin (in a whisper). They order, and they seriously order. Now I won't trade matches. I gave the floor.
M a sh a. Thank God!
Zab e l and n. And you - thank God! Me, Masha, with you, only with you, I must secretly find out: am I fit, according to the present times, or out of accounts?
M a sh a. Are you ... are you asking? Of course you are! I give you my word of honor ... Would they have called you to the Kremlin?
Zab e l and n. Again, not that. They know Zabelin, you are the father.
M a sh a. You yourself remember, on what basis did we almost come to a complete break with you?
Zab e l and n. Again, you don’t understand my question. Put a sailor next to me and think: will I get along with him? I'm asking seriously. I have no time for jokes now. A sailor and me on the same wheel are possible? A? Can you imagine such a combination?
Masha (suddenly). Can. I have no words. I don't know what I would give to make you believe me.
Zab e l and n. Mashka, and Russia ... samovar, I'll hit the steam ... they want a side of Russia? What is it!
M a sh a. So what are you thinking about? .. What are you looking around? What do you feel sorry for? .. Go ... Trade matches. (Mimics.) "Sulfur, pre-war ... safe ..."
Zab e l and n. Don't you dare scoff at me!
M a sh a. Tell me, my dear, what are you thinking?
Zab e l and n. Hs ... I'll tell you.
M a sh a. Listen, dad.
Zab e l and n. I just saw a genius in the Kremlin.
A curtain.
Act four
Scene one
A huge, in the whole stage, ancient hall. In the corner by the door there is a broom and a pile of rubbish, Somewhere near the wall is a market table, a black chair and a simple stool. There is a telephone on the table. She walks around the room, whistles. He moved the stool to the window, sat for a second under the window. He jumped up, took a broom and removed a web from the corner. Threw the broomstick. Again he began to walk around the room and whistle. Masha enters. She's here for the first time. She looks around in surprise.
Zab e l and n. Watchman. Watchman, cursed soul! Dear citizen watchman! .. He was, and the trace is gone. I'll take it and call ... who? At least Dzerzhinsky himself ... in the Cheka. Fine ... And what am I going to tell him? That the watchman doesn't recognize me? Stupid! Or that I'm hungry for the simplest working calculations with a slide rule? Also stupid ... No, even I could not imagine such a situation. (Noticing Masha.) Ah! Have you come? Admire, applaud me. I was appointed head of an all-Russian institution, they gave me a mansion, and the watchman ran away, he didn’t want to sweep out the trash, because no one was paying him, and he went off to sell junk.
M a sh a. Where does such a strange chair come from?
Zab e l and n. Now I removed it from the attic. Purely gothic style. Old stuff. There is a carriage with a coat of arms in the barn. In this house, I myself feel like an exhibit. Here rats run, fat and impudent, like the speculators at Iverskaya. They despise me.
M a sh a. Don't be angry.
Zab e l and n. I am not an angel or a simpleton who accepts being as the greatest favor. Go home, you won't say anything new.
M a sh a. Okay, I'll leave, and what are you going to do?
Zab e l and n. And what can be done in these conditions? Play King Lear, a scene of madness. Amazing scene.
M a sh a. I really don't like you.
Zab e l and n. But I adore you.
M a sh a. How angry you are!
Zab e l and n. How kind you are.
M a sh a. I know you, in such a state you are able to quit, leave, write a terrible statement. Difficulties must be overcome.
Zab e l and n. What an aphorism! Never heard of it.
Masha (suddenly in the tone of his father). I'm ashamed of you.
Zab e l and n. How?
M a sh a. Bitter, ashamed, disgusting! You gave your word ...
Zab e l and n. Well, yes ... I gave my word ...
M a sh a. And wait, wait, I also know what to say. You were glad that you agreed, you came to life before our eyes, your energy returned to you.
Zab e l and n. You talk to me about what happened yesterday, and I talk about what is happening today ...
Masha is trying to say something.
Don't you dare interrupt me! Do you not understand that I am bursting with anger because I cannot immediately, as Lenin suggested to me, immediately literally start work. Yes, I gave my word and I'm ready to keep it ... I want to, you know? My dream is to fulfill. But I can do it through people, that is, in live communication with living beings, but they are not around me ... Ay! Do you hear? Echo ... and nothing else.
Rybak appears in the doorway, holding a typewriter in his hands.
Zab e l and n. Look, this is it! Of course, it's him! .. Excuse me, you agreed? Why are you silent? Have you agreed? So answer. Say hello, sir. What is the joy of seeing you again?
Rybak about in. I have been sent here to work for you.
Zab e l and n. Have you been sent here to work? Please, sit down, here's my chair, give orders.
Rybak about in. In vain, honestly, you have such irony. I was sent to help you.
Zab e l and n. What kind of item did you bring? Typewriter?
Rybak about in. On the way, I took it in one place ... that is, I borrowed it ...
Zab e l and n. Maybe he took it away?
Rybak about in. Not without it...
Zab e l and n. Put it somewhere.
Rybak about in. We’ll think of something now. This is for now. You yourself understand.
Zab e l and n. Not an old car ... Remington. Excuse me, but who will work on it?
Rybak about in. I borrowed it with the typist. Will come now.
Zab e l and n. Masha, look. It is already beginning to look like some kind of office ... (Thinking.) No, it doesn't look like anything.
M a sh a. I think it's time to leave.
Rybak about in. It's trash! (To Zabelin) Let me take out the trash. Ugly.
Zab e l and n. Holy naivete! Who are you thinking to outsmart?
Rybak about in. Why outwit? You can't run the premises.
Zabelin (strictly). Young man, why are you making faces in front of me that you do not see each other, and hide from me like thieves?
M a sh a. Not true. I told you. You know ... I'm not hiding. I didn’t think, and I don’t want anything at all. Farewell.
Rybak about in. Can you tell me about this?
Zab e l and n. As much as you like.
Rybak about in. You can't cut a tree uncomfortably. I am not offended that Maria Antonovna said that under the guise of love for her I was tracking you down. What was there to track down?
Zab e l and n. Yes ... Well, sir?
Rybak about in. I am not talking about that. There is a big difference between us in education and upbringing. So I decided. Well, I'll take on this little operation, otherwise it's not good. (Goes to the door.)
M a sh a. Rybakov ...
Rybakov turns around.
You are right ... There is a whole chasm between us. You are very clever in your judgment. Undeservedly offended you and I do not want to ask for forgiveness. But you have always been surprisingly noble to me. Now I will ask you for the last time - get out of here, get away altogether. I should never hear of you. (She rushed away.)
Zab e l and n. And he stands ... Run after him, ask for forgiveness ...
Rybak about in. That is, I will really run.
Zab e l and n. What the hell is "that is"! Go ahead ...
Rybakov runs away.
What can you do? .. Life ... You are sharp, mother-life, with pepper, with wormwood, but you have to accept. Poor Masha, she loves. Who's there?
Zabelina enters. In the hands of the pail.
Bless you.
Z ab e l and n a. I brought you breakfast.
Zab e l and n. Insanely happy. Thanks to.
Z ab e l and n a. Sit down and eat! Take a napkin and eat like you did at work.
Zab e l and n. I do not want.
Z ab e l and n a. I'm tired of your pirouettes. Sit down and eat.
Zab e l and n. Lida, don't make a noise ... I sit down.
Z ab e l and n a. Shut up and eat.
Zab e l and n. Eat.
Z ab e l and n a. Better chew.
Zab e l and n. Chewing ... Have you met anyone on the street?
Z ab e l and n a. There are many people on the street.
Zab e l and n. Of course...
Z ab e l and n a. Anton Ivanovich, work, for God's sake, and don't fight anyone.
Zab e l and n. I won't.
Z ab e l and n a. Come to your senses. Take it easy. And imagine that all this ... the setting ... of the case ... will look different.
Zab e l and n. Imagine, imagine.
Z ab e l and n a. If you knew how you want you to go headlong into your business again.
Zab e l and n. Enough babysitting me! I'm not a nursing baby! She wants to! And I'm a bag of sawdust ?! A blank without a soul? Thank you for the treat. I'm full.
Masha enters.
Why are you again?
M a sh a. Follow Mom ... to accompany her.
Zab e l and n. For mom ...
Enters R y b a k o v.
Here is the whole holy family! But instead of Christ - a sailor!
Rybakov (offended, angry, flushed). After all, I have no time for jokes. And I came here to work. Please, this is my assignment, read it. I have been given a strict instruction not to waste time. Let's discuss what and how.
Zab e l and n. Let's discuss. Are you a power engineer, an electrician, or at least an electrician?
Rybak about in. I can fix electrical plugs.
Zab e l and n. To work on the electrification of Russia, this is too little.
Rybak about in. I'll find myself a job.
Zab e l and n. However, this is even more decorative - one fool was whistling in an empty hall, now there will be two.
Rybak about in. I won't whistle, and most importantly, I won't let you. First of all, what are you facing here?
Zab e l and n. With nothing.
Rybakov (embarrassed). So ... so what?
Zab e l and n. Well, nothing else! Got it? This is how the Bible begins.
Zabelina (with signs she pulled Masha aside). Masha, we can't leave ... Let's go from room to room ...
Zabelina and Masha imperceptibly leave.
Rybakov (looks around thoughtfully). As far as I can understand, you, me, and this whole environment make up our organization. There is a telephone. Did they give you the means of transportation?
Zab e l and n. Dali. There is a carriage in the barn. No horses.
Rybak about in. The carriage will not do without horses. There is no need to be surprised at anything ... Once I took the city, went to the city council and confiscated the cash register. And in the box office of the city there were two copper kopecks. I started Soviet power with two kopecks.
Zab e l and n. Curious ... how did you get started?
Rybak about in. I summoned the petty, middle and large bourgeoisie to the theater and put a machine gun and an alarm clock on the stage ... And three hours later, when the alarm went off, they put three million on the table.
Zab e l and n. Well, are you going to call here as well all the bourgeoisie that remains in Moscow?
Rybak about in. No ... Will you tell me what you urgently need now?
Zab e l and n. I desperately need engineers, technicians, draftsmen, theorists, scientists ...
Rybak about in. Well, let's get them involved.
Zab e l and n. Well, will you go around Moscow with a machine gun and an alarm clock?
Rybak about in. No, in this case you can't do anything with a machine gun. I will give a message to all newspapers that Anton Ivanovich Zabelin has started work.
Zab e l and n. A very simple thought.
Rybak about in. I will now call journalists here.
Zab e l and n. Do they exist? Yes, yes, of course ... I just forgot what journalists are like. But we have nowhere to receive them, to plant them.
Rybak about in. Nothing, stand up. So, I will call the journalists, and you sit down to prepare your report. You and I ... that is, you ... you personally ... no later than three days later, we must submit the promised report to Comrade Lenin.
Zab e l and n. How - in three days?
Rybak about in. Like this ... usually.
Zab e l and n. How do you know this?
Rybak about in. I know very well.
Zab e l and n. No, are you really serious, my dear?
Rybak about in. Very seriously.
Zab e l and n. Why were you silent, sir?
Rybakov (calls the phone number). You pounced on me and stunned me.
Zab e l and n. You will be dumbfounded!
Rybakov (by phone). Twenty-two - twenty-three ... The Izvestia editorial board? .. This is the scientific secretary of the special commission speaking to you. We are launching a huge work on the preparation of electrification ... And you did not know ?! You do not work well, yes ... yes ... Send us an employee. Sivtsev Vrazhek, seventeen.
Zabelin (takes out a notebook). Here is the telephone number of engineer Vostretsov. I had a paradox with this gentleman ... in other words, I had a fight with him at the Maly Theater. I need to get a copy of my report at the Academy of Sciences from him. Call him.
Rybak about in. Fourteen - forty-five.
Zab e l and n. Has your wife gone? Who asked to leave? .. Lidia Mikhailovna! Bring them back ...
Rybak about in. Fourteen - forty-five? .. Engineer Vostretsov is at home?
Zabel and Masha run in.
Z ab e l and n a. Sorry ... we forgot the soup.
Zab e l and n. Pots ... what pots! Go home this minute and send me my London pigskin suitcase; my best works are hidden there. Marya, you yourself find the breeder and take him. Again they wait. Isn't it clear?
Zabelina (goes up to her husband, quietly). And that briefcase ... you know what I'm talking about ... is not needed?
Zab e l and n. He is here with me.
Z ab e l and n a. After all, I understand ... I understand everything ... The whole life is at a glance. Come on, Masha. (Leaves.)
Masha (at the door). Folder, how I love you! And I love you, Rybakov ... (Kisses Rybakov, leaves.)
Zab e l and n. Have you found Vostretsov? Excuse me, you're excited ...
Rybak about in. Of course, I'm excited ... But I'll get this Vostretsov from the bottom of the sea.
Enter the machine.
Here, Anton Ivanovich, is the typist I told you about.
Zabelin (to the typist). You are assigned to work with us ... I am sincerely glad. Zabelin. And do not be surprised if we immediately begin to work urgently. Take a seat. (Walks, thinks aloud.) Idea ... idea ... No, we'll start like that. The electrification of Russia is the greatest idea of ​​our time for a long time ... (To the typist.) May I?
M a sh and nis tk a. All is ready.
Zab e l and n. I usually dictate and walk with it. So, please, let's get started. "To the Chairman of the Council of People's Commissars ..."
Scene two
Lenin's office in the Kremlin. In the office there are an angli s k and y pisatel and a secretary. They sit friend
against a friend.
A n g l and cha n and n. May I see the illustrations in this magazine?
Secretary. Please.
Lenin enters.
Lenin Did I keep you waiting? (Stretches out his hand.) Ulyanov-Lenin. Welcome!
The English writer bows ritually. Lenin invites him
sit down. They sat down. The secretary leaves.
Listen to you.
A n g l and cha n and n. I certainly do not believe the stories that you are a Freemason.
Lenin Are there still freemasons in London? My God, what a game!
Angl and chanin (without losing dignity). But it seems to me that you know little about Russian life. It is very difficult to get in to you. There are so many sentries here. How can you have a connection with your people?
Lenin Communication with the people does not depend on the sentries.
A n g l and cha n and n. I am going to write an extensive book against Marx.
LENIN (smiled). It is interesting.
A n g l and cha n and n. He bothered me.
Lenin Who?
A n g l and cha n and n. I said who. I said Marx.
Lenin Well, go ahead!
A n g l and cha n and n. What is it - go ahead?
Lenin Do ... work!
A n g l and cha n and n. I don't understand how you, Mr. Lenin, can divide the world into rich and poor. This is primitive, rude. There are honest people among the rich, as well as among the poor. These honest people from rich and poor should unite and build reasonable socialism. I can see in your eyes that you do not believe in this idea.
Lenin I don't believe in a penny.
A n g l and cha n and n. I’m ready to argue.
Lenin I value your time too much to argue about such things.
A n g l and cha n and n. Oh ... It's fanaticism - to believe only in one idea of ​​Bolshevik socialism!
Lenin Your government has spent a lot of money trying to use cannons to prove the failure of our ideas.
A n g l and cha n and n. I was one of those who protested.
Lenin Yes, yes, I know you are one of those honest ones, and it didn't help!
A n g l and cha n and n. Did not help.
Lenin Why didn't it help?
A n g l and cha n and n. Because they have power.
Lenin They have banks, they have guns ... And you have honesty. What is your honesty compared to the worst gun? Only you are going to start your reasonable socialism, and they will put one of the worst cannon, and bam at your dear socialists! Look, this is a completely possible thing ... then what do you do? Shoot back? But this is Bolshevism. Run? But what about socialism?
A n g l and cha n and n. Mr. Lenin, this is the usual red propaganda.
Lenin But I'm the real red!
A n g l and cha n and n. Mr. Lenin, I'm surprised ...
At this moment, the sound of chimes is heard - two or three notes from
"Internationale".
LENIN (listening). How?
A n g l and cha n and n. You find humor in yourself, and yet any impartial observer from the West can easily notice that you are on the verge of death.
LENIN (seriously). Please tell us what you noticed with us?
A n g l and cha n and n. I noticed that people in Russia are very poorly shaved.
Lenin Yes, they are not very shaved.
A n g l and cha n and n. Besides, they are all terribly ragged ... Maybe this topic is unpleasant for you?
Lenin Please continue. I am very interested in what you saw here!
A n g l and cha n and n. All people walk around with some kind of parcels. At first I could not understand what was the matter. And then they told me ... This is their food, ration ... They from their institutions bring home boiled porridge in the newspapers. You don't have anyone walking the streets. Everyone is running somewhere. Maxim Gorky has only one suit.
Lenin Really? Did he tell you?
A n g l and cha n and n. His relatives told me.
LENIN (as if to himself, thoughtfully). It's hard for everyone. Gorky is also difficult. (Suddenly, squinting.) How many suits do you have?
A n g l and cha n and n. I don't remember ... like any decent person ... ten ... twelve ...
Lenin You have twelve, and Gorky has one ... You see, what a difference! But please continue!
A n g l and cha n and n. When I caught a cold, there was no medicine in the pharmacy.
LENIN (bitterly). This is awful ... I know it's awful!
A n g l and cha n and n. I ate bread that was not good for food, but I heard that somewhere in the Volga River region the Russians were eating each other. Is it true?
Lenin Truth.
Angl and chanin (pathetically). Human forces are unable to stop this catastrophe! In Russia, soon there will be no one left, except for the village peasants. The railways will rust as your cities cease to exist. I see Russia in the darkness, in the terrible darkness of its end ... catastrophe, death ...
LENIN (simply, thoughtfully). Probably, we make a terrible impression ... "In the haze" ... Probably, there is also haze. No, no, I don’t argue, probably it all seems so.
A n g l and cha n and n. I heard that you are proposing a plan for the electrification of Russia.
LENIN (suddenly, surprised). How - have you heard?
A n g l and cha n and n. I had a conversation with a gentleman who ...
Lenin I know who you had a conversation with. What does this gentleman say?
A n g l and cha n and n. He is a witty man, he jokes, he says - not "electrification", but "electrification".
Lenin Yes, he's a witty master.
A n g l and cha n and n. You are a dreamer, Mr. Lenin. Before you is a huge, flat, freezing country, more Asian than European, a country emitting a death cry ... and you dream of giving it electricity. You are a strange dreamer, Mr. Lenin!
Lenin Come to us in ten years.
A n g l and cha n and n. But will you be in ten years?
LENIN (merrily). We will. Don't believe me? Come and see what we will be. I'm a dreamer. It seems to me that in general we are forever.
A n g l and cha n and n. If you believe so, then you have secrets that we do not know.
Lenin On the contrary, we are very frank ... too frank!
A n g l and cha n and n. If so, tell me, why do you believe and dream?
Lenin So you will get angry. You will say that this is the usual red propaganda. I believe in the working class, you don’t. I believe in the Russian people, it terrifies you. You believe in the honesty of capitalists, but I do not. You came up with a neat, sweet, Christmas socialism, and I stand for the dictatorship of the proletariat. "Dictatorship" is a cruel, heavy, bloody, painful word. Such words are not thrown down the drain, but otherwise one cannot dream of electrification, socialism, communism ... History will show which of us is right.
A n g l and cha n and n. Your faith can overwhelm ... or drive you crazy! It is impossible to understand! Before you is an abyss of misfortunes, horrors, and you are talking about electrification over the abyss ... I refuse to understand!
The chimes beat again - again two or three notes of the Internationale.
Lenin Come to us in ten years ...
A n g l and cha n and n. No, you are hiding something. You know something that we do not know in the West, but don't say it!
Lenin I give you my word of honor that we all speak openly to the end.
A n g l and cha n and n. You are tired. I noticed that when you entered ... Goodbye, Mr. Lenin! Thank you for the conversation. Maybe you are right and I am wrong. Future will tell. Goodbye!
Lenin Goodbye! And all the same, you will come to us in ten years.
A ngl and y with k and y pisatel leaves.
LENIN (thoughtful and suddenly laughed). What a tradesman !! A?! What a hopeless philistine!
The secretary is included.
Engineer Zabelin is waiting?
Secretary. Yes, Vladimir Ilyich.
Lenin Ask.
The secretary leaves. Zabel enters.
Zab e l and n. Hello, Vladimir Ilyich.
Lenin Hello, Anton Ivanovich. How is your health, mood?
Zab e l and n. Thanks to. My mood is ... progressing.
Lenin It's wonderful if it progresses ... But, by the way, have you ever met the bourgeoisie in your life?
Zab e l and n. Bourgeois? .. Which ones?
Lenin Ordinary, real, the very ones that the writer Maxim Gorky portrays so vividly ...
Zab e l and n. Perhaps ... yes ... met.
Lenin You see ... We are all sure that the bourgeois is a fossil creature. Lives in Kolomna, behind muslin curtains and wears a silver chain on his vest. This is the greatest delusion. The bourgeoisie is a world category. I just saw an exemplary bourgeois in the person of the world famous writer. And he is like two drops of water similar to our Russian bourgeoisie, of whom there are a great many in all strata of our society.
Zab e l and n. Yes, they are present in all layers, but I would not like to be among them. And I don’t wear chains.
Lenin Don't wear?
Zab e l and n. And I would be killed ... if I were like them.
Lenin Oh no, no ... We each have our faults, but you are not that. Sit down. Where is your report? .. I read it with a pencil in my hands. The hardest work. Did you work for a long time?
Zab e l and n. The term was short. But I do not know how to work slowly, if I have already taken to work.
Lenin It affects.
Zab e l and n. How does it affect? ​​.. Excuse me ... negatively?
Lenin Why is it necessarily negative?
Zab e l and n. You see, Vladimir Ilyich, for me this is like an exam ... in old age.
Lenin If it’s an exam, then we will assume that you passed it with an A. Excellent work ... magnificent, and passionately stated.
Zab e l and n. I am happy, I am grateful ... This is my vocation, which I, therefore, have regained. And in general, every energy scientist, if only he loves Russia, must admit that since the time of Peter the Great no one has possessed such bold, such magnificent ideas. And yet, can I ask you one very important question?
Lenin Ask, ask ... You are a beginner and in this sense a young worker.
Zab e l and n. My colleagues and I, who honestly go to work with us, do not doubt the victorious future of electrification ... but we still have a "but".
Lenin Which one? .. Very curious.
Zab e l and n. To be brief - isn't it early?
Lenin Is it too early to start electrification? I understood you.
Zab e l and n. Frankly, this question torments me terribly.
Lenin And it torments me terribly. But I am insanely tormented by the fact that our case is creeping extremely slowly. This is a huge, fundamental issue of our development. Today we are behind the civilized world, it is not enough to say, for three hundred years. And all of us, young and old, are in the grip of this monstrous backwardness. As soon as some bold thought arises, this is where the fermentation of minds begins. Is not it too early? No, my friend, it's not early. If we came to power in 1955, we would immediately start electrification. Imagine where Soviet Russia would be now?
Zab e l and n. Of course I understand. I'm starting to get into politics.
Lenin What is politics? This is a concentrated expression of economics. And our economy is such that it will take enormous efforts, the sacrifices of entire generations, to make an unheard-of revolution in all areas of life. And by the way, Anton Ivanovich does not offend you, what did they give you as sailor Rybakov's assistants? Famous engineer, professor, and here you are - a sailor commissar?
Zab e l and n. Imagine, Vladimir Ilyich - not at all. A smart fellow ... I liked him the first time.
Lenin I am glad.
Zab e l and n. I understand your question, but, of course, some Marxist theorist would be more suitable for me.
Lenin Why do you need a theorist? .. Why? ..
Zab e l and n. You talk so cheerfully that I can take your questions as a joke.
Lenin I am not kidding. Why do you need a theorist?
Zab e l and n. I, as they say now, a bourgeois specialist. In all likelihood, I need to be educated, eh?
Lenin But we did not invite you to take courses in Marxism. We need you to work, and work hard, and this will be the best Marxism both for you and for us. Sasha Rybakov is an unimportant theorist, but a brilliant performer. And I sent him to you so that he would carry out the dictatorship of the proletariat in your presence. For without the dictatorship of the proletariat, we will not achieve any electrification, and all your work will be in vain. Take your report, read the notes, and get ready for the meeting of the Labor and Defense Council. Goodbye, comrade Zabelin.
Zab e l and n. Goodbye, Vladimir Ilyich.
Included are the secretary, Dzerzhinsky, Rybakov and
h and with about in u and k.
Lenin Wait a minute ... Wait a minute! .. This is very important ... very joyful ...
Secretary. Comrade Lenin, you ordered to invite the watchmaker at the moment when the Kremlin chimes ...
CH and with about in u and to. Shh ... I beg you.
Dzerzhinsky. Sorry, Vladimir Ilyich, for this swift invasion, but ... an exciting thing ... a clock ...
CH and with about in shch and to (Dzerzhinsky). Please ... there is one second left.
Lenin Has the clock started? .. Sasha ...
Rybak about in. It's like ... Now ... now ...
The clock begins striking.
Zab e l and n. What is it? The clock on the Kremlin? .. Well, yes, they are.
Dzerzhinsky. And you probably scolded us ... that the Bolsheviks had the clock on the Kremlin silent?
Zab e l and n. It was.
Dzerzhinsky. Did they scold you?
Zab e l and n. In every way.
Lenin Do you hear ... huh? Playing ... This is a great thing. When everything that we now only dream of comes true, because of which we argue, we suffer, they will count down a new time, and that time will witness new plans for electrification, new dreams, new daring.
A curtain.

Characters

Lenin
Dzerzhinsky.
Rybakov is a sailor.
Zabelin is an old engineer.
Zabelina is his wife.
Masha is their daughter.
Chudnov is a peasant.
An n a is Chudnov's wife.
R about man is their son.
L and z a is their daughter-in-law.
M a rus,
S tepka - their children.
Kazanok is a village bell ringer.
Older,
B about r o d and y,
On the other hand, workers.
I am. s t a r u x a.
S t a r u sh k a. with. R ebenk about m.
D a m a. with. in I z and n e m,
D a m a. and with p u g and n and I,
Sk e p t and k,
About p t and m and s t - guests of the Zabelins.
K u kha r k a. Zabel and n s.
PRESIDENT. d o m k o m a.
War.
Secretary. at. Lenina.
GLAGOLEV is an expert.
M a sh and nis tk a.
CH and with about in u and to.
English. Writer.
T o r g about in k and. k u k l and m i.
R e s n o arme e c.
P about x about z and th.
D u h o v n about e.
S p e kul y n t.
T o r g about in k and. with a l about m.
Female.
T o r g about in k and.
Man in boots.
The first one is free.
The second is with prisoren and k.
The third one is
P about h and e, prodavtsy, ku rsant s.

Plot

Despite the fact that the play shows many horrifying realities of that time - hunger (by the way, even the content of the rations of civil servants is reported - boiled porridge), devastation, people thrown overboard, it is shown even how the Chekists take people without any arrest warrant, the play left a surprisingly bright general impression of the optimistic, life-affirming, paternal image of the leader - V.I. Lenin, F. Dzerzhinsky's all-awareness, balanced decisions made by him, naive purity and commitment to the creation of the sailor Rybakov, the fact that life is getting better, the engineer Zabelin finds a job that is very necessary for the country and him, young people - Masha and the sailor Rybakov - each other, even the Kremlin the chimes start to go!

Even after reworking in the 1950s, the play had clearly ideologized scenes: Zabelin swears with the priest, judging by his speeches, the words priests and crooks synonyms for him.

History

The play was written in 1939 (1st edition), 2nd edition was prepared in 1941, 3rd - 1955 and 4th - 1956 (without Stalin).

For the first time staged by the Leningrad Bolshoi Drama Theater in 1940, director and performer of the role of Lenin - Efim Altus.

On January 22, 1942, the play was shown by the Moscow Art Theater in evacuation in Saratov (production director V.I. Nemirovich-Danchenko, directors Leonidov, M.O.Knebel, artist Dmitriev; Main characters and performers: Lenin - A.N. B.N.Livanov, Zabelin - N.P. Khmelev, Masha - S. Pilyavskaya, Chudnov - Cheban). The production was awarded the Stalin Prize in 1942.

Then the play was staged in many theaters in the country (by 1942 it was in the repertoire of 300 theaters).

Some performances of roles in the performance have become classic: Watchmaker - Petker at the Moscow Art Theater.

In 1959, the performer of the role of Lenin in the production of the 3rd edition at the Moscow Art Theater (1956) B.A. Smirnov was awarded the Lenin Prize.

The Lenin Prize in 1959 for the trilogy "Man with a Gun", "Kremlin Chimes", "Third Pathetic" was awarded to the author N. Pogodin

Editions

The first publication "Kremlin chimes" M.-L., 1941.

Pogodin N., Collection of dramatic works, vol. 2, M., 1960.

Screen adaptations

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• Clock on the Spasskaya Tower

See what "Kremlin chimes (play)" is in other dictionaries:

Kremlin chimes- a term that can have several meanings: Kremlin chimes (play) play by Nikolai Pogodin Kremlin chimes (film) Kremlin clock ... Wikipedia