RAKITIN
You know what, Alexei Nikolaich? Not many young men have as much common sense as you have.
BELYAEV
Thank you for the compliment. (Pause) I picked the place across the pond for the fireworks, because I know how to make Roman candles that burn on water . . .
RAKITIN
That must be very beautiful . . . Excuse me, Alexei Nikolaich, but may I ask . . . do you know French?
BELYAEV
No. I translated Paul de Kock’s The Milkmaid of Montfermeil—maybe you’ve heard of it—for fifty roubles, but I don’t know a word of French.14 Imagine: I translated quatre-vingt-dix as “four-twenty-ten” . . . I needed the money. Too bad. I’d like to know French. It’s this damned laziness of mine. I wish I could read George Sand in French. Then there’s pronouncing it . . . how am I supposed to deal with that? Ahn, ohn, ehn, iohn . . . Disaster!
RAKITIN
Well, that can be helped . . .
BELYAEV
May I ask what time it is?
RAKITIN
(Looks at watch) Half-past one.
BELYAEV
Why is Lizaveta Bogdanovna making Kolya practice so long . . . He must be dying to run around by now.
RAKITIN
(Gently) But it’s necessary to study, Alexei Nikolaich . . .
BELYAEV
(With a sigh) You don’t need to tell me that, Mikhail Alexandrych—it’s not the first time I hear it . . . Of course, not everybody is a loafer like me.
RAKITIN
Well, come now . . .
BELYAEV
That I know . . .
RAKITIN
And I, on the contrary, know, and know for certain, that precisely what you consider your shortcoming—this ease of yours, this freedom—is precisely what people like about you.
BELYAEV
Who, for instance?
RAKITIN
Say, Natalya Petrovna.
BELYAEV
Natalya Petrovna? It’s with her that I don’t feel free, as you put it.
RAKITIN
Ah! Really?
BELYAEV
Yes, and finally, for God’s sake, Mikhail Alexandrych, isn’t upbringing the main thing in a man? It’s easy for you to say . . . I really don’t understand you . . . (He suddenly stops) What was that? A corncrake? (Wants to leave)
RAKITIN
Maybe . . . but where are you going?
BELYAEV
To get my gun . . .
He heads off left, runs into Natalya Petrovna.
NATALYA
(Seeing him, suddenly smiles) Where are you off to, Alexei Nikolaich?
BELYAEV
I’m . . .
RAKITIN
To get his gun . . . He heard a corncrake in the garden . . .
NATALYA
No, please, don’t go shooting in the garden . . . Let the poor bird live . . . Besides, you may frighten grandmother.
BELYAEV
Very well, ma’am.
NATALYA
(Laughing) Alexei Nikolaich, shame on you! “Very well, ma’am”—what is this phrase? How can you . . . talk like that? Wait. Mikhail Alexandrych and I are going to help with your education . . . Yes, yes . . . We’ve already talked about you more than once . . . There’s a conspiracy against you, I’m warning you. Will you let me help with your education?