Days of turbine analysis of the work. turbine days

Reprinted according to the edition indicated.

Bulgakov's handwritten heritage of the 1920s turned out to be extremely scarce: most of his writings of this time have been preserved in printed or typewritten (plays) form. Apparently, the writer himself, being in difficult conditions, did not give of great importance his draft autographs, and E. S. Bulgakova, who reverently treated the writer’s manuscripts and tried to preserve his every line, was not next to him. Therefore, difficulties often arise when restoring the history of writing essays in the 1920s. The play "Days of the Turbins" ("White Guard") is no exception in this sense: draft autographs have not been preserved. But three of its typewritten editions have survived. It was about the three editions of the play that the author himself spoke in a conversation with P. S. Popov, who documented the content of this and other conversations. So, Bulgakov noted that “the play has three editions. The second edition is closest to the first; the third is the most different” (OR RSL, f. 218, No. 1269, item 6, sheets 1, 3). Remember these author's instructions and move on to brief history writing a play.

Bulgakov excellently depicted how the idea of ​​the play arose in Notes of a Dead Man. We will cite only a few lines from this text.

“A blizzard woke me up once. The blizzard was in March and raged, although it was already coming to an end. And again ... I woke up in tears! .. And again the same people, and again a distant city, and the side of the piano, and shots, and another one defeated in the snow.

These people were born in dreams, came out of dreams and firmly settled in my cell. It was clear that they could not be separated from each other. But what to do with them?

At first I simply talked with them, and yet I had to take the book of the novel out of the drawer. Then it began to seem to me in the evenings that something colored was coming out of the white page. Looking closely, squinting, I was convinced that this was a picture. Moreover, this picture is not flat, but three-dimensional. Like a box, and through the lines you can see in it: the light is on and the same figures that are described in the novel are moving in it. Ah, what an exciting game it was... One could play this game all one's life, look at the page... But how would one fix these figures?.. And one night I decided to describe this magic camera... Therefore, I am writing: the first picture... For three nights I was busy playing with the first picture, and by the end of that night I realized that I was composing a play. In the month of April, when the snow disappeared from the yard, the first picture was developed ... At the end of April, Ilchin's letter arrived ... "

Perhaps everything was so in reality, but the surviving documents show that Bulgakov made the first draft of the play on January 19, 1925. This is clear from his own handwritten entry in the album on the history of The Days of the Turbins (IRLI, f. 362, No. 75 , sheet 1). And a letter from B. I. Vershilov (Studio of the Art Theater) dated April 3, 1925, Bulgakov received, apparently, not at the end of April, but earlier.

It so happened that two proposals were made to Bulgakov at once to stage the novel The White Guard: from the Art Theater and the Vakhtangov Theater (see: L. Yanovskaya, Mikhail Bulgakov's creative path. M., 1983. S. 141-142). To the chagrin of the Vakhtangovites, Bulgakov chose the Moscow Art Theater, but he consoled the former by writing Zoya's Apartment for them.

Bulgakov worked on the first edition of the play in June-August 1925, but with interruptions (from June 12 to July 7, the Bulgakovs visited the Voloshins in Koktebel). There are colorful author's sketches about this in the same "Notes of the Dead". For example, such: “I don’t remember how May ended. I erased my memory and June, but I remember July. It's been unusually hot. I sat naked, wrapped in a sheet, and composed a play. The further, the more difficult it became ... The heroes grew ... and they were not going to leave, and events developed, but they could not see the end ... Then the heat dropped ... It started to rain, August came. Then I received a letter from Misha Panin. He asked about the play. I plucked up courage and at night stopped the course of events. There were thirteen scenes in the play.

Lacking the necessary dramaturgical experience and striving to select as much of the most valuable material from the novel as possible, Bulgakov created a very large play, the content of which differed little from the novel. The most difficult moment came - the play had to be thoroughly cut. Let us turn again to the author's text: “... I realized that my play cannot be played in one evening. A night of torment over this issue led me to cross out one painting. This ... did not save the situation ... Something else had to be thrown out of the play, but what is unknown. Everything seemed important to me ... Then I expelled one actor there, why one picture somehow squinted, then completely flew out, and there were eleven paintings. Further ... I could not cut anything ... Having decided that nothing would come of it, I decided to leave the matter to its natural course ... "

On August 15, 1925, the play The White Guard (first edition) was presented to the theater, and in September the first reading took place. However, already in October the situation with the play became more complicated due to the negative feedback received from A. V. Lunacharsky. On October 12, in a letter to V. V. Luzhsky, one of the leading actors and directors of the theatre, he remarks: “I carefully re-read the play The White Guard. personal opinion. I consider Bulgakov a very talented person, but this play of his is exceptionally mediocre, with the exception of the more or less lively scene of the hetman being taken away. Everything else is either military fuss or extraordinarily ordinary, dull, dull pictures of useless philistine. In the end, there is not a single type, not a single amusing position, and the end directly outrages not only with its indeterminacy, but also with its complete inefficiency ... Not a single average theater would accept this play precisely because of its dullness, probably due to complete dramatic weakness or extreme author's inexperience.

This letter requires some explanation, since it played a big role in the future fate of the play. Extremely important is the first phrase of A. V. Lunacharsky that he does not see anything unacceptable in the play from the political point of view. Actually, this is the main thing that the theater required from him - whether the play passes according to political parameters or not. The negative opinion of the people's commissar on this issue immediately closed the way for the play to the stage. And what is important to note, A. V. Lunacharsky did not openly put forward political demands regarding the play, but at the last stage he showed integrity and supported the theater and Stanislavsky in resolving the issue of the play in higher instances.

It was not a formal act of courtesy and his statement that he considers Bulgakov a talented person. Obviously, he was already familiar with many stories and stories of the writer, among which " Fatal eggs”, a story that tested the reader’s attitude towards him. As for the “mediocrity” of the play and other harsh remarks by A. V. Lunacharsky, it must be borne in mind that the People’s Commissar himself wrote quite a few plays that were staged by some theaters, but were not successful (even Demyan Bedny publicly called them mediocre) . Therefore, an element of predilection was undoubtedly present. But after all, the first edition of the play really suffered from many shortcomings, and above all by its lengthiness, which the author was well aware of.

The theater responded to the People's Commissar's remarks immediately. On October 14, an emergency meeting of the repertoire and art board of the Moscow Art Theater took place, which adopted the following resolution: “To recognize that in order to be staged on the Big Stage, the play must be radically altered. On the Small Stage, a play can go on after relatively minor alterations. Establish that if a play is staged on the Small Stage, it must be performed in the current season; the staging on the Big Stage may be postponed until next season. Discuss the stated resolutions with Bulgakov.

Bulgakov reacted sharply, emotionally and concretely to such a "revolutionary" decision of the theater. The next day, October 15, he wrote a letter to V. V. Luzhsky, which contained ultimatum demands on the theater. However, this letter is so “Bulgakovian” that it is expedient, in our opinion, to reproduce it:

“Dear Vasily Vasilyevich.

Yesterday's meeting, at which I had the honor to be, showed me that the situation with my play was complicated. The question arose about staging on the Small Stage, about the next season, and, finally, about the radical breaking of the play, which, in essence, bordered on the creation of a new play.

While willingly agreeing to some corrections in the process of working on the play together with the director, at the same time I do not feel able to write the play anew.

The deep and sharp criticism of the play at yesterday's meeting made me significantly disappointed in my play (I welcome criticism), but did not convince me that the play should be staged on the Small Stage.

And, finally, the question of the season can have only one solution for me: this season, not the next one.

Therefore, I ask you, dear Vasily Vasilyevich, to urgently put it on discussion in the directorate and give me a categorical answer to the question:

Does the 1st Art Theater agree to include the following unconditional clauses in the contract regarding the play:

1. Staging only on the Big Stage.

2. This season (March 1926).

3. Changes, but not a radical break in the core of the play.

In case these conditions are unacceptable for the Theatre, I will allow myself to ask permission to consider a negative answer as a sign that the play "The White Guard" is free" (MXAT Museum, No. 17452).

The reaction of the theater was prompt, because both actors and directors liked the play. On October 16, the repertoire and art board of the Moscow Art Theater made the following decision: “To recognize it as possible to agree to the author’s demand regarding the nature of the revision of the play and for it to go on the Big Stage” (see: Markov P. A. In the Art Theater. The book is covered. M ., 1976. Section "Materials and Documents"). This decision suited both the author and the theatre, because it was a reasonable compromise. In his memoirs, P. A. Markov successfully formulated the problems that arose with the first edition of the play The White Guard: “M. A. Bulgakov, who subsequently built plays with virtuosity, initially blindly followed the novel in the staging of The White Guard, and already in his work with the theater a harmonious and clear theatrical composition of The Days of the Turbins gradually arose ”(Markov L. A. S. 26) . On October 21, the initial distribution of roles took place ...

Bulgakov was well aware that the play must first of all be changed structurally, "shrink". Losses, of course, could not be avoided. In addition, it was required to remove direct attacks against the living leaders of the state from the text (the name of Trotsky was mentioned too often in the play). It took him more than two months to create a new version of the play - the second. Later, dictating fragmentary biographical notes to P. S. Popov, Bulgakov said something valuable about the work on the play The White Guard, in particular, this: “I merged the figure of Nai-Turs and Alexei in the play for greater clarity. Nai-Tours is a distant, abstract image. The ideal of Russian officers. What a Russian officer should have been like in my mind... I saw Skoropadsky once. This did not affect the creation of the image in the play. In Lariosika, the images of three faces merged. The element of "Chekhovism" was in one of the prototypes ... Dreams play an exceptional role for me ... The scene in the gymnasium (in the novel) was written by me in one night ... I visited the gymnasium building in 1918 more than once. streets of Kiev. He experienced something close to what is in the novel...” (OR RSL, f. 218, no. 1269, item 6, fol. 3-5).

The intensity with which Bulgakov worked on the second edition of the play can be judged from his letter to the writer S. Fedorchenko dated November 24, 1925: “... I am buried under a play with a sonorous name. There is only one shadow left of me, which can be shown as a free supplement to the aforementioned play” (Moscow, 1987, no. 8, p. 53).

In January 1926, Bulgakov presented the second edition of the play to the Art Theater. The text was revised and significantly reduced, from a five-act play turned into a four-act one. But, as the author himself noted, the second edition was very close to the first in content. According to many experts, it is this edition that should be recognized as canonical, since it most of all corresponded to the author's intentions. But this issue remains quite controversial for many reasons, which are more appropriate to talk about in special studies.

A real theatrical work began with the play, which many of its participants recalled with admiration. M. Yanshin (Lariosik): “All participants in the performance felt the events and life described by Bulgakov so well with their own skin and nerves, the anxious and stormy time of the civil war was so close and vivid in their memory that the atmosphere of the performance, its rhythm, the well-being of each hero the plays were born as if by themselves, born from life itself” (Skill of the director. M., 1956, p. 170). P. Markov: “When you return with memories to the Days of the Turbins and Bulgakov’s first appearance at the Art Theater, these memories remain among the best not only for me, but for all my comrades: it was the spring of the young Soviet Art Theater. To be honest, The Days of the Turbins became a kind of new The Seagull of the Art Theater... The Days of the Turbins were born from the novel The White Guard. This huge novel was filled with the same explosive power that Bulgakov himself was full of.. He did not just attend rehearsals - he staged a play "(Memoirs of Mikhail Bulgakov. M., 1988. S. 239-240).

The performance was directed by I. Sudakov. Alexei Turbin was rehearsed by Nikolai Khmelev, whose game Stalin was so keen on later, the role of Myshlaevsky was prepared by B. Dobronravov. Young people were involved in rehearsals (M. Yanshin, E. Sokolova, M. Prudkin, I. Kudryavtsev and others), who later became a brilliant successor to the great generation of actors of the past.

But all this was ahead, in the spring of 1926, after intense rehearsals, the performance (the first two acts) was shown to Stanislavsky. Here are the dry but precise lines from the "Rehearsal Diary":

"TO. S., after watching two acts of the play, said that the play was on the right track: he really liked the "Gymnasium" and "Petlyurov's stage". He praised some performers and considers the work done important, successful and necessary ... K. S. inspired everyone to continue working at a fast, vigorous pace along the intended path ”(Moscow. 1987. No. 8. P. 55). And here is how it all seemed to the then head of the Moscow Art Theater Pavel Markov:

“Stanislavsky was one of the most direct spectators. At the show of the Turbins, he openly laughed, wept, closely followed the action, gnawed his hand as usual, threw off his pince-nez, wiping his tears with a handkerchief - in a word, he completely lived the performance ”(Markov P. A. S. 229).

It was a short happy time inside creative life Art Theatre. K. S. Stanislavsky enthusiastically took part in the rehearsals of the play, and some scenes of the play were staged on his advice (for example, the scene in the Turbinsky apartment, when the wounded Nikolka reports the death of Alexei). The great director remembered the time for a long time joint work with Bulgakov and then often characterized him as an excellent director and potential actor. So, on September 4, 1930, he wrote to Bulgakov himself: “Dear and dear Mikhail Afanasyevich! You have no idea how happy I am for you to join our theatre! (This was after the massacre organized by the writer in 1928-1930! - V.L.). I had to work with you only at a few rehearsals of the Turbins, and then I felt in you - a director (or maybe an artist ?!) ”. , prompted: "A director can come out of him. He is not only a writer, but he is also an actor. I judge by the way he showed the actors at the rehearsals of the Turbins." Actually - he staged them, at least gave those sparkles that sparkled and created a success for the performance. And a few years later, Stanislavsky, in a letter to the director V. G. Sakhnovsky, claimed that the entire “internal line” in the play “Days of the Turbins” belongs to Bulgakov (see: Bulgakov M. Diary. Letters. 1914-1940. M., 1997. P. 238; Yanovskaya L. Creative way of Mikhail Bulgakov. M., 1983. P. 167-168).

And it is impossible not to note one more extremely important fact in creative biography a writer about whom, for some reason, nothing has been written anywhere. In March 1926, the Art Theater entered into an agreement with Bulgakov to stage The Heart of a Dog! Thus, the Moscow Art Theater decided to stage two plays by Bulgakov at the same time, the content of which was the sharpest for that time. It can be assumed that it was this fact (an agreement to stage a banned unpublished story!) that attracted the attention of the political investigation and ideological control bodies, and from that moment they began to interfere in the process of creating the play "The White Guard" (the agreement to stage "Heart of a Dog" was canceled by mutual agreement of the author and the theater; that the reason for this was politically motivated - there is no doubt).

On May 7, 1926, the OGPU officers searched the Bulgakovs' apartment and seized the manuscripts of The Heart of a Dog (!) and the writer's diary, which was called Under the Heel. The search was preceded by extensive undercover work, as a result of which Bulgakov was recognized as an extremely dangerous figure from a political point of view.

In this regard, the task was set to prevent the staging of Bulgakov's plays in the theaters of Moscow and, above all, of course, his "White Guard" in the Art Theater (see: the volume "Diaries. Letters" present. Collected Works).

Pressure was exerted both on Bulgakov (search, surveillance, denunciations) and on the theater (demands by political detectives through the Repert Committee to stop rehearsals of The White Guard). Meetings of the repertoire and art board of the Moscow Art Theater resumed again, at which questions about the title of the play, the need for new abbreviations, etc. began to be debated. the following content:

“I have the honor to inform you that I do not agree to the removal of the Petliura scene from my play The White Guard.

Motivation: The Petlyura scene is organically connected with the play.

I also do not agree that when the title is changed, the play should be called "Before the End".

I also do not agree with the transformation of a 4-act play into a 3-act one.

I agree, together with the Theater Council, to discuss a different title for the play The White Guard.

If the Theater does not agree with what is stated in this letter, I ask you to remove the play "The White Guard" as a matter of urgency" (Museum of the Moscow Art Theater, No. 17893).

Obviously, the management of the Art Theater was already aware of the political terror that had begun against Bulgakov (for now!) (the writer’s statement to the OGPU about the return of his manuscripts and diary to him remained unanswered, which was a bad omen) and such a harsh letter was taken rather calmly. V. V. Luzhsky answered the writer in detail and in a friendly tone (an undated letter):

“Dear Mikhail Afanasyevich!

What is it, what kind of fly, excuse me, has bitten you yet ?! Why, how? What happened after yesterday's conversation in front of K.S. and me ... After all, yesterday we said and we decided that no one throws out the "Petliura" scene yet. You yourself gave your consent to the marking of two scenes by Vasilisa, to the alteration and combination of two gymnasiums into one, too, to the parade parade of Petliurovsky (!) with Bolbotun, you did not raise any big objections!(highlighted by us. - V. L.) And suddenly come on! Your title remains “The Turbin Family” (in my opinion, it’s better than the Turbins ...). How will the play become three-act? - four!..

What are you, dear and our Moscow Art Theater Mikhail Afanasyevich? Who turned you on so much?..” (IRLI, f. 369, no. 48).

But soon the whole theater had to “wind up”, and first of all, all those who participated in the production of the play. On June 24, the first closed dress rehearsal took place. The head of the theatrical section of the Repert Committee, V. Blum, and the editor of this section, A. Orlinsky, who were present at it, expressed their dissatisfaction with the play and declared that it could be staged that way "in five years." The next day, at a “conversation” held at the Repertoire Committee with representatives of the Moscow Art Theater, art officials formulated their attitude towards the play as a work that “represents a complete apology for the White Guards, starting from the scene in the gymnasium and up to the scene of Alexei’s death, inclusive,” and she “absolutely unacceptable, and in the interpretation given by the theater, it cannot go. The theater was required to make the scene in the gymnasium in such a way that it would discredit the white movement and that the play should contain more episodes that humiliate the White Guards (introduce servants, porters and officers acting as part of Petliura's army, etc.). Director I. Sudakov promised the Repert Committee to more clearly show the "turn to Bolshevism" that was emerging among the White Guards. Ultimately, the theater was asked to finalize the play (see: Bulgakov M.A. Plays of the 20s. Theatrical Heritage. L., 1989. P. 522).

Characteristically, Bulgakov responded to this clearly organized pressure on the theater from the Repert Committee (in fact, from the OGPU, where the "Bulgakov case" grew by leaps and bounds) with a repeated statement addressed to the chairman of the Council of People's Commissars (June 24) demanding that the diary and manuscripts seized be returned to him. employees of the OGPU (there was no answer).

The play and its author gradually began to attract more and more attention from both its opponents and supporters. On June 26, Bulgakov's friend N. N. Lyamin wrote an emotional letter to the playwright, in which he asked him not to give up anything else, since "the theater had already distorted the play enough", and begged him not to touch the stage in the gymnasium. “Do not agree to sacrifice her for any good of the world. It makes an amazing impression, it makes all the sense. The image of Alyosha cannot be modified in any way, it is blasphemous to touch it ... ”(Creativity of Mikhail Bulgakov. St. Petersburg, 1995. Book 3. P. 208).

Nevertheless, the theater understood perfectly well (and the author, too, with great irritation) that in order to save the play, alterations were necessary. In a letter to the director A. D. Popov (the director of Zoya's Apartment at the Vakhtangov Theatre), Bulgakov touched on the problems of the Moscow Art Theater in passing: “There really is overwork. In May, all sorts of surprises not related to the theater (the search was closely “connected with the theater.” - V.L.), in May, the Guards race at the 1st Moscow Art Theater (viewing by the authorities!), In June, continuous work ( perhaps Bulgakov shifts time somewhat due to forgetfulness. - V. L.) ... In August, everything at once ... "

On August 24, with the arrival of Stanislavsky, rehearsals of the play resumed. A new plan for the play, insertion and alteration was adopted. On August 26, in the "Diary of rehearsals" it was written:, "M. A. Bulgakov wrote a new text for the gymnasium according to the plan approved by Konstantin Sergeevich. The play was called "Days of the Turbins". The scene with Vasilisa was removed, and two scenes in the gymnasium were combined into one. Other significant amendments were also made.

But the opponents of the play increased the pressure on the theater and on the author of the play. The situation became tense and became extremely nervous. After another rehearsal for the Repert Committee (September 17), its management stated that “the play cannot be released in this form. The issue of permission remains open. Even Stanislavsky could not stand it after that and, meeting with the actors of the future performance, said that if the play was banned, he would leave the theater.

On September 19, the dress rehearsal of the performance was canceled, new lines were introduced into the text of the play, and then, to please the Repert Committee and A. V. Lunacharsky, the scene of the torture of a Jew by the Petliurists was filmed ... with this decision for many years), and already on September 22 he was summoned for interrogation at the OGPU (interrogation protocol, see: present meeting, vol. 8). Of course, all these actions were coordinated: the OGPU and the Repertoire Committee insisted on removing the play. Bulgakov was intimidated during interrogation: after all, a dress rehearsal was scheduled for September 23.

The general rehearsal went well. In the "Diary of rehearsals" it was written: "Full general with the public ... Representatives are watching USSR, press, representatives of the Glavrepertkom, Konstantin Sergeevich, the Supreme Council and the Director's Office.

At today's performance, it is decided whether the play is going on or not.

The performance goes on with the latest blotches and without the "Jew" scene.

After this dress rehearsal, Lunacharsky declared that in this form the performance could be allowed to be shown to the audience.

But the ordeal with the play not only did not end there, but entered a decisive phase. On September 24, the play was allowed at the collegium of the People's Commissariat for Education. A day later, the GPU banned the play (here it is, the real Cabal!). Then A.V. Lunacharsky turned to A.I. Rykov with the following telegram:

“Dear Alexei Ivanovich.

At a meeting of the collegium of the People's Commissariat of Education with the participation of the Repertoire Committee, including the GPU, it was decided to allow Bulgakov's play to only one Art Theater and only for this season. At the insistence of the Glavrepertkom, the collegium allowed him to produce some banknotes. On Saturday evening the GPU informed the People's Commissariat of Education that it was banning the play. It is necessary to consider this issue in the highest instance or confirm the decision of the board of the People's Commissariat for Education, which has already become known. The cancellation of the decision of the board of the People's Commissariat for Education of the GPU is extremely undesirable and even scandalous.

On September 30, this issue was decided at a meeting of the Politburo of the Central Committee of the All-Union Communist Party of Bolsheviks. The following decision was made: "Do not cancel the decision of the collegium of the People's Commissariat of Education on Bulgakov's play." (Literary newspaper. 1999. July 14-20).

This was the first decision of the Politburo on Bulgakov's play, but by no means the last.

The then well-known German correspondent Paul Schaeffer wrote in the Riga newspaper Segodnya (November 18, 1926): “While members of the party majority (meaning Stalin, Voroshilov, Rykov. - V. L.) , the opposition acted as a resolute opponent of it.

Below we publish this particular version of the play (third edition), which passed through so many trials, but was played by the brilliant troupe of the Art Theater from 1920 to 1941.

)

Mikhail Bulgakov Days of the Turbins A play in four acts

Characters

Turbine A leksey V a s i l ' y e vich - colonel-artilleryman, 30 years old.

Turbin Nikolay - his brother, 18 years old.

T a l berg Elena V a s i l e vna – their sister, 24 years old.

Tal'berg Vladimir R obertovich - Colonel of the General Staff, her husband, 38 years old.

Myshlaevsky Viktor Viktorovich – staff captain, artilleryman, 38 years old.

Shervinsky Leonid Yuryevych - lieutenant, personal adjutant of the hetman.

Studzinskiy Aleksandr Bronislavovich – captain, 29 years old.

L a r i o s i k - Zhytomyr cousin, 21 years old.

Hetman in all of Ukraine.

B o l b o t n - commander of the 1st Petlyura Cavalry Division.

Galanba - Petliurist centurion, former uhlan captain.

Hurricane.

K and rp a t y.

F o n Sh r a t t is a German general.

F o n D u s t is a German major.

Doctor of the German Army.

D e s e r t i r-s e c h e v i k.

Man

C a m e r l a k e y.

M a k s i m - gymnasium pedel, 60 years old.

Gaidamak - telephone operator.

F irst officer.

Second officer.

T r e t i y o f ic e r.

F irst Junker.

The second junker.

T r e t i y y n k e r.

Y n kera i g a i d a m a k i.

The first, second and third acts take place in the winter of 1918, the fourth act in early 1919.

The place of action is the city of Kyiv.

Act one

Picture one

Turbin's apartment. Evening. Fire in the fireplace. At the opening of the curtain, the clock strikes nine times and the minuet of Boccherini gently plays.

Alexei bent over the papers.

N i k o l k a (plays the guitar and sings).

Worse rumors every hour: Petliura is coming at us! We loaded machine guns, We fired at Petliura, Machine gunners-chiki-chiki... Dear chiki-chiki... You rescued us, well done.

Alexei. God knows what you're eating! Cook's songs. Sing something decent.

N and to about l to and. Why cooks? I composed this myself, Alyosha. (Sings.)

Alexei. It's just about your voice. N and to about l to and. Alyosha, you are in vain, by God! I have a voice, though not the same as Shervinsky's, but still quite decent. Dramatic, most likely - a baritone. Lenochka, and Lenochka! How do you think I have a voice?

ELENA (from her room). Who? At your place? I don't have any.

N and to about l to and. She was upset, that's why she answers. And by the way, Alyosha, my singing teacher told me: "You," he says, "Nikolai Vasilievich, in essence, could sing in the opera, if it weren't for the revolution."

Alexei. Your singing teacher is a fool.

N and to about l to and. I knew it. Complete breakdown of nerves in the turbine house. The singing teacher is a fool. I don’t have a voice, but yesterday I still had it, and in general pessimism. I tend to be more optimistic by nature. (Pulls the strings.) Although you know, Alyosha, I myself am beginning to worry. It's already nine o'clock, and he said that he would come in the morning. Has something happened to him?

Alexei. You speak softer. Understood?

N and to about l to and. Here is the commission, the creator, to be a married brother sister.

ELENA (from her room). What time is it in the dining room?

N and to about l to and. Er... nine. Our clock is ahead, Lenochka.

ELENA (from her room). Please don't compose.

N and to about l to and. Look, he's worried. (Sings.) Foggy... Oh, how foggy everything is!...

Alexei. Please don't break my soul. Sing merry.

N and to l to and (sings).

Hello summer folks! Hello gardeners! We started filming a long time ago ... Hey, my song! .. Beloved! Ton caps, Shaped boots, The cadets of the guards are coming ...

The electricity suddenly goes out. Outside the windows with the song is a military unit.

Alexei. The devil knows what it is! It fades every minute. Lenochka, give me candles, please.

ELENA (from her room). Yes Yes!..

Alexei. Some part is gone.

Elena, leaving with a candle, listens. A distant gunshot.

N and to about l to and. How close. The impression is that they are shooting near Svyatoshyn. I wonder what's going on there? Alyosha, maybe you will send me to find out what's the matter at the headquarters? I would go.

Alexei. Of course, you are still missing. Please sit still.

N and to about l to and. Listen, Mr. Colonel... I, in fact, because, you know, inaction... somewhat insulting... People are fighting there... At least our division was more likely to be ready.

Alexei. When I need your advice in preparing the division, I will tell you myself. Understood?

N and to about l to and. Understood. I'm sorry, Colonel.

Electricity flashes.

Elena. Alyosha, where is my husband?

Alexei. Come, Lenochka.

Elena. But how is it? He said that he would come in the morning, but now it is nine o'clock, and he is still missing. Has something already happened to him?

Alexei. Lenochka, well, of course, this cannot be. You know that the line to the west is guarded by the Germans.

Elena. But why is it still not there?

Alexei. Well, obviously, they stand at every station.

N and to about l to and. Revolutionary riding, Lenochka. You drive for an hour, you stop for two.

Well, here he is, I told you! (Running to open the door.) Who's there?

NIKOLKA (letting Myshlaevsky into the hall). Is that you, Vitenka?

M yshlaevsk and y. Well, I, of course, to be crushed! Nicol, take the rifle, please. Here, the devil's mother!

Elena. Victor, where are you from?

M yshlaevsk and y. From under the Red Inn. Hang carefully, Nicol. A bottle of vodka in my pocket. Don't break it. Allow me, Lena, to spend the night, I won’t get home, I’m completely frozen.

Elena. Oh, my God, of course! Go quickly to the fire.

They go to the fireplace.

M yshlaevsk and y. Oh oh oh...

Alexei. Why couldn't they give you felt boots, or what?

M yshlaevsk and y. Felt boots! They are such bastards! (Rushes towards the fire.)

Elena. Here's what: the bath is heating up there now, you undress him as soon as possible, and I'll prepare his underwear. (Exits.)

M yshlaevsk and y. Baby, take it off, take it off, take it off...

N and to about l to and. Now. (Takes off Myshlaevsky's boots.)

M yshlaevsk and y. Easier, brother, oh, easier! I would like to drink vodka, vodka.

Alexei. Now ladies.

N and to about l to and. Alyosha, my toes are frozen.

M yshlaevsk and y. Fingers gone to hell, gone, that's clear.

Alexei. Well, what are you! They will depart. Nikolka, rub his feet with vodka.

M yshlaevsk and y. So I let my legs rub with vodka. (Drinking.) Three hands. It hurts!.. It hurts!.. It's easier.

N and to about l to and. Oh oh oh! How cold is the captain!

ELENA (appears with dressing gown and shoes). Now to his bath. On the!

M yshlaevsk and y. God bless you, Lenochka. Give me some more vodka. (Drinking.)

Elena leaves.

N and to about l to and. What, got warm, captain?

M yshlaevsk and y. It became easier. (Lit up.)

N and to about l to and. Can you tell me what's going on under the Tavern?

M yshlaevsk and y. Snowstorm under the Tavern. That's what's there. And I would have this blizzard, frost, German bastards and Petliura! ..

Alexei. Why, I don’t understand, they drove you under the Tavern?

M yshlaevsk and y. And the peasants are there under the Tavern. These are the cutest peasants of the compositions of Count Leo Tolstoy!

N and to about l to and. Yes, how is it? And in the newspapers they write that the peasants are on the side of the hetman ...

M yshlaevsk and y. What are you, junker, poking me newspapers? I would hang all this newspaper rubbish on one bitch! This morning I personally ran into one grandfather during reconnaissance and I ask: “Where are your lads?” The village is definitely dead. And he blindly did not see that I had epaulettes under my hood, and answered: “Usi were beaten to Petlyura ...”

N and to about l to and. Oh-oh-oh-oh...

M yshlaevsk and y. That's right, "oh-oh-oh-oh" ... I took this Tolstoy horseradish by the shirt-front and I say: "Usi got as far as Petlyura? So I'll shoot you now, old one ... You will learn from me how they run to Petliura. You are running away from me to the kingdom of heaven.

Alexei. How did you get into the city?

M yshlaevsk and y. Changed today, thank you, Lord! The infantry squad arrived. I made a scandal at the headquarters at the post. It was terrible! They are sitting there, drinking cognac in the car. I say, you, I say, sit with the hetman in the palace, and the artillery officers were kicked out in boots in the cold to exchange fire with the peasants! They didn't know how to get rid of me. We, they say, are sending you, captain, in your specialty to any artillery unit. Go to the city... Alyosha, take me to your place.

Alexei. With pleasure. I wanted to call you myself. I'll give you the first battery.

M yshlaevsk and y. Benefactor...

N and to about l to and. Hurrah! .. We will all be together. Studzinsky as a senior officer ... Charming! ..

M yshlaevsk and y. Where are you standing?

N and to about l to and. The Alexander Gymnasium was occupied. Tomorrow or the day after tomorrow you can perform.

M yshlaevsk and y. Are you waiting for Petliura to fuck you in the back of the head?

N and to about l to and. Well, it's who else!

ELENA (appears with a sheet). Well, Victor, go, go. Go take a shower. On the sheet.

M yshlaevsk and y. Lena clear, let me hug and kiss you for your troubles. What do you think, Lenochka, should I drink vodka now or later, at dinner right away?

Elena. I think later, at dinner, right away. Victor! Have you seen my husband? The husband is gone.

M yshlaevsk and y. What are you, Lenochka, there. He will arrive now. (Exits.)

A continuous call starts.

N and to about l to and. Well, here he is! (Running to the front.)

Alexei. Lord, what is that call?

N and k about l to and opens the door. Appears in the hall LARIOSCIK with a suitcase and a bundle.

L a r i o s i k. So I arrived. I did something with your call.

N and to about l to and. You pressed the button. (Runs out the door, up the stairs.)

L a r i o s i c. Oh, my God! Forgive me, for God's sake! (Entering the room.) Here I am. Hello, dear Elena Vasilievna, I immediately recognized you by the cards. Mom asks you to convey her warmest regards.

The call is terminated. Nikolka enters.

As well as Alexei Vasilyevich.

Alexei. My regards.

L a r i o s i k. Hello, Nikolai Vasilyevich, I have heard so much about you. (To everyone.) Are you surprised, I see? Let me give you a letter, it will explain everything to you. Mom told me to let you read the letter without even undressing.

Elena. What illegible handwriting!

L a r i o s i k. Yes, terrible! Let me read it myself. Mom has such a handwriting that she sometimes writes, and then she herself does not understand what she wrote. I have the same handwriting. It's hereditary for us. (Reads.) “Dear, dear Lenochka! I am sending you my boy directly in a kindred way; shelter and warm him as you know how to do it. After all, you have such a huge apartment ... ”Mom loves and respects you very much, as well as Alexei Vasilyevich. (to Nikolka) And you too. (Reads.) “The little boy enters Kiev University. With his abilities ... "- oh, this mother! .. - "... it is impossible to sit in Zhytomyr, waste time. I will translate the content for you carefully. I would not like the little boy, accustomed to the family, to live with strangers. But I'm in a hurry, now there's an ambulance train going, he'll tell you everything...' H'm... that's all.

Alexei. May I ask to whom I have the honor of speaking?

L a r i o s i k. How with whom? You do not know me?

Alexei. Unfortunately, I don't have the pleasure.

L a r i o s i k. My God! And you, Elena Vasilievna?

N and to about l to and. And I don't know either.

L a r i o s i k. My God, this is downright witchcraft! After all, your mother sent you a telegram, which should explain everything to you. Mom sent you a telegram in sixty-three words.

N and to about l to and. Sixty-three words!.. Oh-oh-oh!..

Elena. We did not receive any telegram.

L a r i o s i k. Did you receive it? My God! Please forgive me. I thought that they were waiting for me, and directly, without undressing ... Sorry ... I seem to have crushed something ... I'm a terrible loser!

Alexei. Yes you, please, tell me, what is your last name?

Larion Larionovich Surzhansky.

Elena. Is that Lariosik?! Our cousin from Zhytomyr?

L a r i o s i k. Well, yes.

Elena. And you... came to us?

L a r i o s i k. Yes. But, you see, I thought that you were waiting for me ... Forgive me, please, I inherited you ... I thought that you were waiting for me, and if so, then I will go to some hotel ...

Elena. What are the hotels now? Wait, you first of all undress.

Alexei. Yes, no one is chasing you, take off your coat, please.

N and to about l to and. Right here, please. Coats can be hung in the front.

L a r i o s i k. I am sincerely grateful to you. How good is your apartment!

ELENA (in a whisper). Alyosha, what are we going to do with him? He is pretty. Let's put it in the library, the room is empty anyway.

Alexei. Sure, go tell him.

Elena. Here's what, Larion Larionovich, first of all, take a bath... There's already one there—Captain Myshlaevsky... Or, you know, after the train...

L a r i o s i k. Yes, yes, terrible! .. Terrible! .. After all, it took me eleven days from Zhytomyr to Kyiv ...

N and to about l to and. Eleven days!.. Oh-oh-oh!..

L a r i o s i k. Horror, horror! .. This is such a nightmare!

Elena. Oh please!

LARIOSINK: Sincerely to you ... Oh, excuse me, Elena Vasilyevna, I can’t go to the bath.

Alexei. Why can't you go to the bath?

L a r i o s i k. Excuse me, please. Some villains stole a suitcase with linen from me on the ambulance train. The suitcase with books and manuscripts was left, but the linen was all gone.

Elena. Well, this is a fixable problem.

N and to about l to and. I will give, I will give!

L a r i o s i k (intimately, to Nikolka). The shirt, however, I have here, it seems, is one. I wrapped the collected works of Chekhov in it. But would you be so kind as to give me pants?

N and to about l to and. With pleasure. They will be great for you, but we will stab them with safety pins.

L a r i o s i k. I am sincerely grateful to you.

Elena. Larion Larionovich, we will put you in the library. Nikolka, go!

N and to about l to and. Please follow me.

Exit Lariosik and Nikolka.

Alexei. Here's the type! I would cut it off first. Well, Lenochka, turn on the light, I'll go to my room, I still have a lot of things to do, but they interfere with me here. (Exits.)

Elena. Who's there?

G o l o s T a l berg. Me, me Open, please.

Elena. God bless! Where were you? I worried so much!

TALBERG (entering). Don't kiss me, I'm from the cold, you might catch a cold.

Elena. Where were you?

Talberg: They were detained at the German headquarters. Things to do.

Elena. Well, go, go quickly, get warm. Now let's drink tea.

TALBERG: No need for tea, Lena, wait a minute. Excuse me, whose french is this?

Elena. Myshlaevsky. He had just arrived from the positions, completely frozen.

TALBERG: You can still clean up.

Elena. I am now. (Hangs jacket outside the door.) You know, more news. Now my cousin from Zhytomyr, the famous Lariosik, unexpectedly arrived, Alexei left him in our library.

Talberg: I ​​knew it! One lord Myshlaevsky is not enough. Some more Zhytomyr cousins ​​appear. Not a house, but an inn. I absolutely do not understand Alexei.

Elena. Volodya, you're just tired and in a bad mood. Why don't you like Myshlaevsky? He is very good man.

Talberg. Remarkably good! Tractor regular.

Elena. Volodya!

Talberg: However, now is not up to Myshlaevsky. Lena, close the door... Lena, a terrible thing has happened.

Elena. What's happened?

Talberg: The Germans leave the hetman to his fate.

Elena. Volodya, what are you talking about?! How did you know?

TALBERG: Just now, under strict secrecy, at the German headquarters. No one knows, not even the Hetman himself.

Elena. What will happen now?

TALBERG: What will happen now... H'm... Half past ten. So, sir... What will happen now?... Lena!

Elena. What are you saying?

Tal'berg: I ​​say: "Lena"!

Elena. So what about Lena?

Talberg: Lena, I have to run now.

Elena. Run? Where?

Talberg. To Germany, to Berlin. Hm... My dear, can you imagine what will happen to me if the Russian army does not recapture Petliura and he enters Kiev?

Elena. You can be hidden.

TALBERG My dear, how can you hide me! I am not a needle. There is not a person in the city who does not know me. Hide the Assistant Secretary of War. I can't, like Senor Myshlaevsky, sit without a jacket in someone else's apartment. They will find me in the best way.

Elena. Wait! I don't understand... So we both have to run?

Talberg: That's just the point, no. Now a terrible picture has emerged. The city is surrounded on all sides, and the only way to get out is in the German headquarters train. They don't take women. I was given one place thanks to my connections.

Elena. In other words, do you want to leave alone?

Talberg: My dear, I don't "want", otherwise I can't! Understand - a disaster! The train leaves in an hour and a half. Decide, and as soon as possible.

Elena. In an hour and a half? As soon as possible? Then I decide to leave.

Tal'berg You're smart. I've always said it. What else did I want to say? Yes, you are smart! However, I already said that.

Elena. How long are we apart?

Talberg: I ​​think for two months. I'll just wait out all this mess in Berlin, and when the hetman returns...

Elena. What if he doesn't come back at all?

Talberg: This cannot be. Even if the Germans leave Ukraine, the Entente will occupy it and restore the hetman. Europe needs Hetman Ukraine as a cordon from the Moscow Bolsheviks. You see, I calculated everything.

Elena. Yes, I see it, but only this: how can it be, because the hetman is still here, they are forming their troops, and you suddenly run away in front of everyone. Will it be smart?

Talberg Dear, this is naive. I'm telling you a secret - I'm running because I know that you will never tell this to anyone. Colonels of the General Staff do not run. They go on a business trip. In my pocket I have a business trip to Berlin from the Hetman's Ministry. What's stupid?

Elena. Very foolish. And what will happen to them all?

Talberg: Let me thank you for comparing me with everyone else. I am not "everything".

Elena. You warn your brothers.

Talberg: Of course, of course. In part, I'm even glad that I'm going alone for such a long time. After all, you will take care of our rooms.

Elena. Vladimir Robertovich, my brothers are here! Do you really think they will drive us out? You have no right...

Talberg: Oh no, no, no... Of course not... But you know the proverb: "Qui va a la chasse, perd sa place." Now one last request. Here... um... without me, of course, there will be this... Shervinsky...

Elena. He happens to be with you too.

Talberg: Unfortunately. You see, my dear, I don't like him.

Elena. What, may I ask?

Talberg: His courtship of you is becoming too intrusive, and I would like to ... Hm ...

Elena. What would you like?

Talberg: I ​​can't tell you what. You are a smart and well-bred woman. You know perfectly well how to behave in order not to cast a shadow on the name Thalberg.

Elena. Okay... I won't cast a shadow over the name Thalberg.

Talberg Why do you answer me so dryly? I'm not telling you that you can change me. I know very well that this cannot be.

Elena. Why do you think, Vladimir Robertovich, that this cannot be?

Talberg Elena, Elena, Elena! I do not recognize you. Here are the fruits of communication with Myshlaevsky! Married lady - change! .. A quarter to ten! I am going to be late!

Elena. I'll take you now...

TALBERG: Dear, nothing, nothing, just a suitcase with a little linen in it. Only, for God's sake, rather, I'll give you one minute.

Elena. You still say goodbye to your brothers.

Talberg: It goes without saying, just look, I'm going on a business trip.

Elena. Alyosha! Alyosha! (Runs away.)

ALEXEY (entering). Yes, yes... Ah, hello, Volodya.

Tal'berg: Hello, Alyosha.

Alexei. What's the fuss?

Talberg: You see, I have important news to tell you. Tonight the hetman's situation has become very serious.

Alexei. How?

Talberg. Seriously and quite.

Alexei. What's the matter?

Talberg: It is very possible that the Germans will not provide assistance and that Petlyura will have to be beaten off on their own.

Alexei. What are you saying?!

TALBERG: Very likely.

Alexei. The case is yellowish ... Thank you for saying.

Talberg: Now the second. Since I'm on a business trip right now...

Alexei. Where, if not a secret?

Talberg. To Berlin.

Alexei. Where? To Berlin?

Talberg Yes. No matter how I floundered, I could not get out. Such a disgrace!

Alexei. How long, dare I ask?

Tal'berg For two months.

Alexei. Ah, that's how.

Talberg: So, let me wish you all the best. Take care of Elena. (Holds out his hand.)

Alexei hides his hand behind his back.

What does it mean?

Alexei. This means that I don't like your business trip.

Talberg Colonel Turbin!

Alexei. I'm listening, Colonel Thalberg.

TALBERG: You will answer me for this, sir, my wife's brother!

Alexei. And when will you order, Herr Thalberg?

TALBERG: When... Five minutes to ten... When I return.

Alexei. Well, God knows what will happen when you get back!

Talberg: You... you... I have wanted to talk to you for a long time.

Alexei. Don't worry your wife, Mr. Thalberg!

ELENNA (entering). What were you talking about?

Alexei. Nothing, nothing, Lenochka!

Talberg: Nothing, nothing, dear! Well, goodbye, Alyosha!

Alexei. Goodbye, Volodya!

Elena. Nikolka! Nikolka!

N and to l to and (entering). Here I am. Oh, have you arrived?

Elena. Volodya is leaving on a business trip. Say goodbye to him.

Talberg. Goodbye, Nikol.

N and to about l to and. Bon Voyage, Colonel.

Talberg: Elena, here's some money for you. I will send it from Berlin immediately. I have the honor to bow. (Walks swiftly into the hall.) Don't see me off, dear, you'll catch a cold. (Exits.)

Elena follows him.

N and to about l to and. Alyosha, how did he leave like that? Where?

Alexei. To Berlin.

N and to about l to and. To Berlin ... At such a moment ... (Looking out the window.) Bargaining with a cab driver. (Philosophically.) Alyosha, you know, I noticed that he looks like a rat.

ALEXEI (mechanically). Quite right, Nicole. And our house is on the ship. Well, go to the guests. Go, go.

Nikolka leaves.

The division hits the sky like a pretty penny. "Very seriously." "Seriously and very." Rat! (Exits.)

ELENA (returns from the hall. Looks out the window). Gone...

Picture two

The table is set for dinner.

ELENA (at the piano, takes the same chord). Left. How did you leave...

SHERVINSKII (suddenly appears on the threshold). Who left?

Elena. My God! How you frightened me, Shervinsky! How did you get in without a call?

S h e r v i n s k i y. Yes, your door is open - everything is wide open. I wish you good health, Elena Vasilievna. (Pulls out a huge bouquet from paper.)

Elena. How many times have I asked you, Leonid Yurievich, not to do this. I hate that you are wasting money.

S h e r v i n s k i y. Money exists to be spent, as Karl Marx said. May I take off my cloak?

Elena. What if I said I didn't?

S h e r v i n s k i y. I would sit all night in a cloak at your feet.

Elena. Oh, Shervinsky, an army compliment.

S h e r v i n s k i y. Sorry, that's a guards compliment. (He takes off his cloak in the hall, remains in the most magnificent Circassian coat.) I am so glad that I saw you! I haven't seen you for such a long time!

Elena. If my memory serves me right, you were with us yesterday.

S h e r v i n s k i y. Ah, Elena Vasilievna, what is “yesterday” in our time! So who left?

Elena. Vladimir Robertovich.

S h e r v i n s k i y. Excuse me, he was supposed to return today!

Elena. Yes, he returned and ... left again.

S h e r v i n s k i y. Where?

Elena. What wonderful roses!

S h e r v i n s k i y. Where?

Elena. To Berlin.

S h e r v i n s k i y. In... Berlin? And for how long, may I ask?

Elena. For two months.

S h e r v i n s k i y. For two months! What are you!.. Sad, sad, sad... I'm so upset, I'm so upset!!

Elena. Shervinsky, kiss your hand for the fifth time.

S h e r v i n s k i y. I can say that I am depressed ... My God, yes, everything is here! Hooray! Hooray!

H o l o s N and k o l k i. Shervinsky! Demon!

Elena. What are you so excited about?

S h e r v i n s k i y. I rejoice... Ah, Elena Vasilievna, you won't understand!...

Elena. You are not a man of the world, Shervinsky.

S h e r v i n s k i y. Am I not a secular person? Let me, why? No, I'm a socialite... It's just, you know, I'm upset... So, therefore, he left, and you stayed.

SHERVINSKII (at the piano). Ma-ma... mia... mi... He is far away, he is yes... he is far away, he does not recognize... Yes... In an incomparable voice. I was driving to you in a cab, it seemed that my voice had also sat down, but when I come here - it turns out, in my voice.

Elena. Notes captured?

S h e r v i n s k i y. Well, how, how ... You are pure goddess!

Elena. The only good thing about you is your voice, and your direct appointment is an opera career.

S h e r v i n s k i y. There is some material. You know, Elena Vasilievna, once in Zhmerinka I sang the epithalamus, there is “fa” above, as you know, and I took “la” and kept nine measures.

Elena. How many?

S h e r v i n s k i y. He held seven cycles. You really don't believe. By God! Countess Gendrikova was there... She fell in love with me after that la.

Elena. And what happened next?

S h e r v i n s k i y. Poisoned. Potassium cyanide.

Elena. Ah, Shervinsky! It's your disease, honestly. Gentlemen, Shervinsky! Come to the table!

Enter ALEKSEY, STUDZINSKII, and MYSHLAEVSKIY.

Alexei. Hello, Leonid Yurievich. Welcome.

S h e r v i n s k i y. Victor! Alive! Well, thank God! Why are you in a turban?

M yshlaevskii (in a turban from a towel). Hello adjutant.

Shervinsky (Studzinsky). My respects, captain.

Enter L a r i o s i k i N i c o l c a.

M yshlaevsk and y. Let me introduce you. The senior officer of our division is Captain Studzinsky, and this is Monsieur Surzhansky. Bathed with him.

N and to about l to and. Our cousin is from Zhytomyr.

S t u d z i n s k i y. Very nice.

L a r i o s i k. It is sincerely glad to meet you.

S h e r v i n s k i y. Her imperial majesty of the Life Guards of the Lancers Regiment and the Hetman's personal adjutant Lieutenant Shervinsky.

Larion Surzhansky. Sincerely glad to meet you.

M yshlaevsk and y. Yes, you do not come to such despair. Former lifeguard, former guard, former regiment...

Elena. Gentlemen, come to the table.

Alexei. Yes, yes, please, otherwise it’s twelve o’clock, I have to get up early tomorrow.

S h e r v i n s k i y. Wow, what a splendor! On what occasion is the feast, may I ask?

N and to about l to and. The last dinner of the division. Tomorrow we start, Mr. Lieutenant ...

S h e r v i n s k i y. Yeah...

S t u d z i n s k i y. Where do you order, Colonel?

S h e r v i n s k i y. Where do you order?

Alexei. Anywhere, anywhere. I ask you to! Lenochka, be the hostess.

They sit down.

S h e r v i n s k i y. So, then, he left, and you stayed?

Elena. Shervinsky, shut up.

M yshlaevsk and y. Lenochka, will you drink some vodka?

Elena. No no no!..

M yshlaevsk and y. Well then, white wine.

S t u d z i n s k i y. Will you allow me, Colonel?

Alexei. Mercy, you please yourself.

M yshlaevsk and y. Your glass.

L a r i o s i k. Actually, I don’t drink vodka.

M yshlaevsk and y. Sorry, I don't drink either. But one drink. How will you eat herring without vodka? I absolutely do not understand.

L a r i o s i k. I am sincerely grateful to you.

M yshlaevsk and y. For a long, long time I did not drink vodka.

S h e r v i n s k i y. Lord! Elena Vasilievna's health! Hooray!

Studzinskii, Lariosik, Myshlevskii. Hooray!

Elena. Quiet! What are you, gentlemen! Wake up the whole lane. And so they say that we have a drinking bout every day.

M yshlaevsk and y. Uh, good! Refreshing vodka. Is not it?

L a r i o s i k. Yes, very much!

M yshlaevsk and y. I beg you, one more glass. Mister Colonel...

Alexei. Don't drive especially, Victor, to perform tomorrow.

N and to about l to and. And let's perform!

Elena. What about the hetman, tell me?

S t u d z i n s k i y. Yes, what about the hetman?

S h e r v i n s k i y. Everything is going well. What a dinner at the palace yesterday!.. For two hundred people. Grouse... Hetman in national costume.

Elena. Yes, they say that the Germans leave us to the mercy of fate?

S h e r v i n s k i y. Don't believe any rumors, Elena Vasilievna.

L a r i o s i k. Thank you, dear Viktor Viktorovich. Actually, I don't drink vodka.

M yshlaevsk and y (drinking). Be ashamed, Larion!

S h e r v i n s k i y, N i k o l k a. Be ashamed!

L a r i o s i k. Thank you most humbly.

Alexei. You, Nikol, do not lean on vodka.

N and to about l to and. Listen, Colonel! I am white wine.

LARIOSSIK: How cleverly you are knocking her over, Viktor Viktorovich.

M yshlaevsk and y. Acquired by exercise.

Alexei. Thank you captain. And the salad?

S t u d z i n s k i y. Thank you very much.

M yshlaevsk and y. Lena is golden! Drink white wine. My joy! Red Lena, I know why you are so upset. Drop it! All goes to good.

S h e r v i n s k i y. All goes to good.

M yshlaevsk and y. No, no, to the bottom, Lenochka, to the bottom!

N and k about l to and (takes a guitar, sings). Whom to drink the cup, who is healthy to be ... drink the cup ...

In with e (sing). Light to Elena Vasilievna!

Lenochka, drink up!

Drink... drink...

Elena is drinking.

They applaud.

M yshlaevsk and y. You look wonderful today. By God. And this hood suits you, I swear on my honor. Gentlemen, look what a hood, completely green!

Elena. This dress, Vitenka, is not green, but gray.

M yshlaevsk and y. Well, so much the worse. Doesn't matter. Gentlemen, pay attention, she is not a beautiful woman, you say?

S t u d z i n s k i y. Elena Vasilievna is very beautiful. To your health!

M yshlaevsk and y. Lena clear, let me hug and kiss you.

S h e r v i n s k i y. Well, well, Victor, Victor!

M yshlaevsk and y. Leonid, go away. Get away from someone else's husband's wife!

S h e r v i n s k i y. Allow me...

M yshlaevsk and y. I can, I'm a childhood friend.

S h e r v i n s k i y. You are a pig, not a childhood friend ...

N and to l to and (getting up). Gentlemen, the health of the division commander!

Studzinsky, Shervinsky and Myshlaevsky get up.

LARIOSC. Hurray!.. Excuse me, gentlemen, I'm not a military man.

M yshlaevsk and y. Nothing, nothing, Larion! Right!

L a r i o s i k. Dear Elena Vasilievna! I can't express how good you make me...

Elena. Very nice.

L a r i o s i k. Dear Alexei Vasilievich ... I cannot express how good it feels to be with you! ..

Alexei. Very nice.

L a r i o s i k. Gentlemen, cream curtains ... behind them you rest your soul ... you forget about all the horrors of the civil war. But our wounded souls are so thirsty for peace ...

M yshlaevsk and y. May I ask you, do you compose poetry?

L a r i o s i k. Me? Yes... I'm writing.

M yshlaevsk and y. So. I'm sorry I interrupted you. Go on.

L a r i o s i k. Please ... Cream curtains ... They separate us from the whole world ... However, I am not a military man ... Eh! .. Pour me another glass.

M yshlaevsk and y. Bravo, Larion! Look, sly, but he said he doesn’t drink. You are a nice guy, Larion, but you make speeches like a highly respected boot.

L a r i o s i k. No, don’t tell me, Viktor Viktorovich, I spoke more than once ... in the company of my late father’s colleagues ... in Zhitomir ... Well, there are tax inspectors ... They me too ... oh, how they scolded!

M yshlaevsk and y. Tax inspectors are famous beasts.

S h e r v i n s k i y. Drink, Lena, drink, dear!

Elena. Do you want to drink me? Wow, how disgusting!

N i k o l k a (at the piano, sings).

Tell me, sorcerer, favorite of the gods, What will come true in my life? And soon, to the delight of the neighbors-enemies of Mogilnaya, will I be covered with earth?

L a r i o s i k (sings).

So loud, music, play victory.

In with e (sing).

We have won and the enemy is on the run. So for...

L a r i o s i k. The king ...

Alexei. What are you, what are you!

In with e (sing a phrase without words).

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . We will shout a loud “Hurrah! Hooray! Hooray!".

N and to l to and (sings).

From the dark forest towards him...

Everyone sings.

L a r i o s i k. Eh! What fun you have, Elena Vasilievna, dear! Lights!.. Hurrah!

S h e r v i n s k i y. Lord! The health of his lordship the hetman of all Ukraine. Hooray!

S t u d z i n s k i y. Guilty. Tomorrow I will go to fight, but I will not drink this toast and I do not advise other officers.

S h e r v i n s k i y. Mister Captain!

L a r i o s i k. A completely unexpected incident.

M yshlaevsk and y (drunk). Because of him, the devil, I froze my legs. (Drinking.)

S t u d z i n s k i y. Colonel, do you approve of the toast?

Alexei. No, I don't approve!

S h e r v i n s k i y. Colonel, let me tell you!

S t u d z i n s k i y. No, let me tell you!

L a r i o s i k. No, let me tell you! The health of Elena Vasilievna, as well as her highly respected husband, who has left for Berlin!

M yshlaevsk and y. In! You guessed it, Larion! Better is hard.

N and to l to and (sings).

Tell me the whole truth, don't be afraid of me...

LARIOSINK: Excuse me, Elena Vasilievna, I am not a military man.

Elena. Nothing, nothing, Larion. You are a kind person, a good one. Come to me here.

L a r i o s i c. Elena Vasilievna! Oh, my God, red wine! ..

N and to about l to and. Salt, sprinkle salt ... nothing.

S t u d z i n s k i y. This is your hetman!..

Alexei. One minute, gentlemen!.. What, really? We gave him a laugh, didn't we? If your hetman, instead of breaking this damn comedy with Ukrainization, would begin the formation of officer corps, because Petliura would not smell of spirit in Little Russia. But this is not enough: we would have swatted the Bolsheviks in Moscow like flies. And the very moment! They say they eat cats there. He would, scoundrel, save Russia!

S h e r v i n s k i y. The Germans would not allow the formation of an army, they are afraid of it.

Alexei. Not true, sir. The Germans needed to be explained that we were not dangerous to them. Certainly! We have lost the war! We now have something else, more terrible than the war, than the Germans, than anything else in the world: we have Bolsheviks. The Germans had to say: “What do you want? Need bread, sugar? Nate, take it, eat it, choke on it, but just help us so that our peasants do not fall ill with the Moscow disease. And now it's too late, now our officers have turned into cafe regulars. Cafe Army! Go get him. So he will go to war with you. He, the scoundrel, has the currency in his pocket. He sits in a coffee shop on Khreshchatyk, and with him all this guards staff mob. Wow, splendid! They gave Colonel Turbin a division: fly, hurry, form, go, Petlyura is coming! .. Excellent, sir! But yesterday I looked at them, and, I give you my word of honor, for the first time my heart trembled.

M yshlaevsk and y. Alyosha, you are my commander! You have an artillery heart! I drink health!

Alexei. It trembled, because for a hundred junkers there are one hundred and twenty students, and they hold a rifle like a shovel. And yesterday on the parade ground... It is snowing, the fog is far away... You know, I imagined a coffin...

Elena. Alyosha, why do you say such gloomy things? Do not dare!

N and to about l to and. Do not be upset, Mr. Commander, we will not extradite.

Alexei. Here, gentlemen, I am sitting now among you, and all I have is one haunting thought. Oh! If only we could have foreseen all this earlier! Do you know what this Petlyura of yours is? This is a myth, this is a black fog. He doesn't exist at all. You look out the window, see what's there. There's a snowstorm, some shadows... In Russia, gentlemen, there are two forces: the Bolsheviks and us. We'll meet Again. I see more terrible times. I see... Well, okay! We will not hold Petliura. But he won't be here for long. But the Bolsheviks will come for him. That's why I'm going! On the rampage, but I'll go! Because when we meet with them, things will be more fun. Either we will bury them, or rather they will bury us. I drink to the meeting, gentlemen!

L a r i o s i k (at the piano, sings).

Thirst for a meeting, Oaths, speeches - Everything in the world Tryn-grass ...

N and to about l to and. Hello, Larion! (Sings.)

Thirst for a meeting, Oaths, speeches...

Everyone is singing wildly. Lariosik suddenly began to sob.

Elena. Lariosik, what's wrong with you?

N and to about l to and. Larion!

M yshlaevsk and y. What are you, Larion, who offended you?

L a r i o s i k (drunk). I was afraid.

M yshlaevsk and y. Whom? Bolsheviks? Well, we'll show them now! (Takes a Mauser.)

Elena. Victor, what are you doing?!

M yshlaevsk and y. Commissars will shoot. Which one of you is the commissioner?

S h e r v i n s k i y. The Mauser is loaded, gentlemen!!

S t u d z i n s k i y. Captain, sit down this minute!

Elena. Lord, take it from him!

Takes out the Mauser. Lariosik leaves.

Alexei. What are you, crazy? Sit down this minute! It's my fault, gentlemen.

M yshlaevsk and y. So, I got into the company of the Bolsheviks. Very nice. Hello comrades! Let's drink to the health of the commissars. They are cute!

Elena. Victor, don't drink anymore!

M yshlaevsk and y. Shut up, commissioner!

S h e r v i n s k i y. God, how drunk!

Alexei. Lord, this is my fault. Don't listen to what I said. It's just that my nerves are frayed.

S t u d z i n s k i y. Oh no, Colonel. Trust that we understand and that we share everything you have said. We will always defend the Russian Empire!

N and to about l to and. Long live Russia!

S h e r v i n s k i y. Let me speak! You did not understand me! Hetman will do just as you suggest. That's when we manage to fight off Petlyura and the allies help us defeat the Bolsheviks, that's when the hetman will put Ukraine at the feet of His Imperial Majesty, Emperor Nicholas Alexandrovich ...

M yshlaevsk and y. Which Alexandrovich? And he says I got drunk.

N and to about l to and. Emperor killed...

S h e r v i n s k i y. Lord! News of the death of His Imperial Majesty...

M yshlaevsk and y. Somewhat exaggerated.

S t u d z i n s k i y. Victor, you are an officer!

Elena. Let him speak, gentlemen!

S h e r v i n s k i y. ... invented by the Bolsheviks. Do you know what happened in the palace of Emperor Wilhelm when he saw the hetman's retinue? Emperor Wilhelm said: “And he will talk to you about the future ...” - the curtain parted, and our sovereign came out.

Enter L a r i o s i k.

He said: “Gentlemen, officers, go to Ukraine and form your units. When the time comes, I will personally lead you to the heart of Russia, to Moscow!” And wept.

S t u d z i n s k i y. He is killed! Elena. Shervinsky! This is true?

S h e r v i n s k i y. Elena Vasilievna!

Alexei. Lieutenant, this is a legend! I've heard this story before.

N and to about l to and. Doesn't matter. May the emperor be dead, long live the emperor! Hurrah!.. Anthem! Shervinsky! Hymn! (Sings.) God save the king! ..

Shervinsky, Studzinsky, Myshlevsky. God save the king!

L a r i o s i k (sings). Strong, domineering...

Nikolka, Studzinskiy, Shervinskiy. Reign for glory...

Elena, Aleksey. Lord, what are you! Don't need this!

M yshlaevskii (crying). Alyosha, is it the people! After all, they are bandits. Trade union regicides. Peter the Third... Well, what did he do to them? What? Shouting: "War is not necessary!" Great... He stopped the war. And who? The tsar's own gentleman in the face with a bottle! Pavel Petrovich's prince with a cigarette case in the ear... And this one... I forgot how he was... with sideburns, handsome, give me, he thinks, I'll do something nice for the peasants, I'll free them, striped devils. So its a bombshell for that? They must be flogged, the scoundrels, Alyosha! Oh, I feel bad, brothers...

Elena. He's bad!

N and to about l to and. The captain is sick!

Alexei. To the bath.

Studzinsky, Nikolka and Alexei lift Myshlaevsky and carry him out.

Elena. I'll go see what's up with him.

SHERVINSKII (having barred the door). Don't, Lena!

Elena. Gentlemen, gentlemen, it must be like this... Chaos... Smoked... Lariosik, Lariosik!..

S h e r v i n s k i y. What are you, what are you, don't wake him up!

Elena. I got drunk because of you. God, my legs don't move.

S h e r v i n s k i y. Here, here... Will you let me... next to you?

Elena. Sit down... Shervinsky, what will happen to us? How will all this end? Huh?.. I had a bad dream. In general, the circle in recent years is getting worse and worse.

S h e r v i n s k i y. Elena Vasilievna! Everything will be fine, but you do not believe in dreams ...

Elena. No, no, my dream is prophetic. As if we all went on a ship to America and are sitting in the hold. And here comes the storm. The wind howls. Cold cold. Waves. And we are in the hold. The water rises to the very feet ... We climb onto some bunk beds. And suddenly rats. So disgusting, so huge. So scared that I woke up.

S h e r v i n s k i y. Do you know what, Elena Vasilievna? He will not return.

Elena. Who?

S h e r v i n s k i y. Your husband.

Elena. Leonid Yurievich, this is impudence. What's your business? Will return, will not return.

S h e r v i n s k i y. It's a big deal for me. I love you.

Elena. I heard. And you all compose.

S h e r v i n s k i y. By God, I love you.

Elena. Well, love yourself.

S h e r v i n s k i y. I don't want to, I'm tired.

Elena. Wait, wait. Why did you mention my husband when I mentioned the rats?

S h e r v i n s k i y. Because he looks like a rat.

Elena. What a pig you are, Leonid! First, it doesn't look like it at all.

S h e r v i n s k i y. Like two drops. Pince-nez, pointed nose...

Elena. Very very beautiful! Talking nasty things about an absent person, and even his wife!

S h e r v i n s k i y. What kind of wife are you!

Elena. So how?

S h e r v i n s k i y. You look at yourself in the mirror. You are beautiful, smart, as they say, intellectually developed. Generally a woman to yat. Accompany beautifully on the piano. And he is next to you - a hanger, a careerist, a staff moment.

Elena. For the eyes! Great! (Clamps his mouth.)

S h e r v i n s k i y. Yes, I'll tell him this to his face. Long wanted. I'll tell you and challenge you to a duel. You are unhappy with him.

Elena. With whom will I be happy?

S h e r v i n s k i y. With me.

Elena. You are no good.

S h e r v i n s k i y. Wow! .. Why am I not good enough?

Elena. What is good about you?

S h e r v i n s k i y. Yes, you take a look.

Elena. Well, adjutant trinkets, cute as a cherub. And a voice. And nothing more.

S h e r v i n s k i y. So I knew! What a misfortune! Everyone repeats the same thing: Shervinsky is an adjutant, Shervinsky is a singer, this, that, that ... But no one notices that Shervinsky has a soul. And Shervinsky lives like a stray dog, and Shervinsky has no one to bow his head to.

ELENA (pushing his head away). Here is the vile ladies' man! I know your adventures. You all say the same thing. And this one of yours, long. Ugh, painted lips...

S h e r v i n s k i y. She is not long. This is a mezzo-soprano. Elena Vasilievna, by God, I never said anything like that to her and I won’t say it. Not good of you, Lena, how bad of you, Lena.

Elena. I'm not Lena!

S h e r v i n s k i y. Well, it's not good of you, Elena Vasilievna. You don't really have any feelings for me.

Elena. Unfortunately, I really like you.

S h e r v i n s k i y. Aha! I like it. And you don't love your husband.

Elena. No, I love.

S h e r v i n s k i y. Lena, don't lie. A woman who loves her husband does not have such eyes. I saw women's eyes. Everything is visible in them.

Elena. Well, yes, you are experienced, of course.

S h e r v i n s k i y. How did he leave?!

Elena. And you would.

S h e r v i n s k i y. I? Never! It's shameful. Admit you don't love him!

Elena. Well, well: I do not like and do not respect. I don't respect. Satisfied? But nothing follows from this. Remove your hands.

S h e r v i n s k i y. Why did you kiss me then?

Elena. You are lying! I have never kissed you. Liar with aiguillettes!

S h e r v i n s k i y. Am I lying?.. And at the piano? I sang: "God almighty" ... and we were alone. And I'll even tell you when - the eighth of November. We were alone and you kissed me on the lips.

S h e r v i n s k i y. Nothing?

Elena. This is torment. Honestly! The dishes are dirty. These are drunk. The husband has gone away. All around the world...

S h e r v i n s k i y. We'll take the light. (Extinguishes the overhead light.) So good? Listen, Lena, I love you very much. I won't let you out anyway. You will be my wife.

Elena. Stuck like a snake... like a snake.

S h e r v i n s k i y. What kind of snake am I?

Elena. Seizes every opportunity and seduces. You won't achieve anything. Nothing. Whatever it is, I will not ruin my life because of you. Maybe you'll be even worse.

S h e r v i n s k i y. Lena, how good you are!

Elena. Get away! I'm drunk. It was you who made me drunk on purpose. You are a known villain. Our whole life is falling apart. Everything disappears, falls.

S h e r v i n s k i y. Elena, don't be afraid, I won't leave you at such a moment. I will be near you, Lena.

Elena. Release me. I'm afraid to cast a shadow on the name Thalberg.

S h e r v i n s k i y. Lena, leave him completely and marry me... Lena!

They kiss.

Will you get divorced?

Elena. Ah, go to hell!

They kiss.

L a r i o s i k (suddenly). Don't kiss, it makes me sick.

Elena. Let me go! My God! (Runs away.)

L a r i o s i k. Oh! ..

S h e r v i n s k i y. Young man, you didn't see anything!

L a r i o s i k (cloudy). No, I did.

S h e r v i n s k i y. So how?

L a r i o s i k. If you have a king, go with the king, but don’t touch the ladies! .. Don’t touch! .. Oh! ..

S h e r v i n s k i y. I didn't play with you.

L a r i o s i k. No, you were playing.

S h e r v i n s k i y. God, how cut!

L a r i o s i k. Let's see what mother will tell you when I die. I said that I'm not a military man, I can't have that much vodka. (Falls on Shervinsky's chest.)

S h e r v i n s k i y. How drunk!

The clock strikes three, the minuet is played.

Action two

Picture one

Hetman's office in the palace. A huge desk with telephones on it. Separate field phone. There is a huge framed map on the wall. Night. The office is brightly lit.

The door opens and the footman lets Shervinsky in.

S h e r v i n s k i y. Hello Fedor.

Lak e y. I wish you good health, sir lieutenant.

S h e r v i n s k i y. How! Nobody here? And which of the adjutants is on duty at the apparatus?

Lak e y. His Excellency Prince Novozhiltsev.

S h e r v i n s k i y. Where is he?

Lak e y. I can not know. Left half an hour ago.

S h e r v i n s k i y. How come? And the devices stood for half an hour without an attendant?

Lak e y. Yes, no one called. I was at the door all the time.

S h e r v i n s k i y. Little did he not call! What if he called? At such a moment! The devil knows what it is!

Lak e y. I would take a phone call. They so ordered that until you come, I would write down.

S h e r v i n s k i y. You? Record military telephonograms?!.. Why does he have a softening of the brain? Ah, I got it, I got it! He is ill?

Lak e y. Not at all. They left the palace altogether.

S h e r v i n s k i y. That is, how is it - at all from the palace? You are joking, dear Fedor. Did you leave the palace without handing over your duty? So he is in crazy house departed?

Lak e y. I can not know. They just took their toothbrush, towel and soap from the adjutant's room. I also gave them a newspaper.

S h e r v i n s k i y. What newspaper?

Lak e y. I'm reporting, mister lieutenant: they wrapped soap in yesterday's issue.

S h e r v i n s k i y. Excuse me, here is his checker!

Lak e y. Yes, they left in civilian clothes.

S h e r v i n s k i y. Either I'm crazy, or you. Did he leave me a note, at least? Did you order to deliver anything?

Lak e y. They were ordered to bow.

S h e r v i n s k i y. You are free, Fedor.

Lak e y. I'm listening. May I report, Mr. Adjutant?

S h e r v i n s k i y. Nute-sir?

Lak e y. They deigned to receive bad news.

S h e r v i n s k i y. Where? From home?

Lak e y. Not at all. By field phone. And now they are in a hurry. At the same time, the face has changed a lot.

S h e r v i n s k i y. I hope, Fyodor, that the coloring of the faces of his lordship's adjutants does not concern you. You are talking too much.

Lak e y. I beg your pardon, lieutenant. (Exits.)

SHERVINSKII (speaking on the phone at the hetman's desk). 12-23... Mercy... Is this the apartment of Prince Novozhiltsev?.. Ask Sergei Nikolaevich... What? In a palace? He is not in the palace. I myself speak from the palace... Wait a minute, Seryozha, it's your voice!... Sere... Excuse me...

The phone rings off.

What rudeness! I heard very well that it was him. (Pause.) Shervinsky, Shervinsky... (He calls on the field phone, the phone beeps.) Headquarters of the Svyatoshinsky detachment... Ask the chief of staff... How is he not there? Assistant... Headquarters of the Svyatoshinsky Detachment?.. What the hell!

The chamber enters.

(Writes a note.) Fyodor, give this note to the orderly at once. In order to urgently go to my apartment on Lvovskaya Street, there they will give him a bundle according to this note. To bring him here right now. Here are two karbovanets for his cab. Here is a note to the commandant's office for a pass.

Lak e y. I'm listening. (Exits.)

SHERVINSKII (touches the tanks, thoughtfully). What the hell, honestly!

The phone on the table rings.

I'm listening... Yes. His Lordship's personal adjutant Lieutenant Shervinsky... I wish you good health, Your Excellency... How are you? (Pause.) Chatterbox?! .. How, with the whole staff? .. Listen! (Hangs up the phone.)

The phone rings off. Pause.

I'm dead, gentlemen! (Whistle.)

Behind the scenes, a deaf command: “Attention!” - then the many-voiced cry of the guard: "We wish you good health, your grace!"

LAKEY (opens both halves of the door). His Lordship!

Getman enters. He is in the richest Circassian coat, crimson trousers and boots without heels of the Caucasian type and without spurs. Shiny general's epaulettes. Short trimmed, graying mustache, clean-shaven head, about forty-five years old.

G e tman Hello lieutenant.

S h e r v i n s k i y. Hello, Your Grace.

G e tman Have you arrived?

S h e r v i n s k i y. I dare to ask - who?

G e tman How is it - who? I scheduled a quarter to twelve meeting at my place. There should be the commander of the Russian army, the head of the garrison and representatives of the German command. Where are they?

S h e r v i n s k i y. I can not know. Nobody arrived.

G e tman They are always late. Summary to me for the last hour. Alive!

S h e r v i n s k i y. I venture to report to Your Grace: I have just taken over. Cornet Prince Novozhiltsev, who was on duty in front of me ...

G e tman I have long wanted to point out to you and other adjutants that you should speak Ukrainian. It's a disgrace, after all! Not a single officer of mine speaks the language of the country, and this makes the most negative impression on the Ukrainian units. I walk gently.

S h e r v i n s k i y. I hear, Your Grace. Adjutant on duty cornet ... prince ... (Aside.) The devil knows how "prince" in Ukrainian! .. Damn! (Aloud.) Interim Novozhiltsev... I think... I think... I think...

G e tman Speak Russian!

S h e r v i n s k i y. I'm listening, your grace. Cornet Prince Novozhiltsev, who was on duty in front of me, apparently suddenly fell ill and left for home even before my arrival ...

G e tman What are you talking about? Off duty? How are you? In your right mind? That is, how is it - departed from duty? So he quit his job? What's going on here, after all? (Rings on the phone.) Commandant's office?.. Give a dress at once... You have to hear by the voice who is speaking. An order for an apartment to my adjutant cornet Novozhiltsev, arrest him and deliver him to the commandant's office. This minute.

S h e r v i n s k i y (to the side). It serves him right! He will know how to talk on the phone in other people's voices. Ham!

Hetman (by telephone). Now! (to Shervinsky) But did he leave a note?

S h e r v i n s k i y. Yes sir. But there is nothing on the tape.

G e tman What is he? Crazy? Crazy? Yes, I will shoot him now, right here, at the palace parapet. I'll show you all! Connect with the commander's headquarters now. Ask me immediately! The same goes for the chief garrison and all regimental commanders. Alive!

S h e r v i n s k i y. I dare to report, Your Grace, news of the utmost importance.

G e tman What other news is there?

S h e r v i n s k i y. Five minutes ago I received a phone call from the commander's headquarters and was informed that the commander of the volunteer army under your lordship suddenly fell ill and left with the entire staff on a German train to Germany.

G e tman Are you sane? Your eyes are sore... Do you realize what you have reported? What happened? Disaster, right? Did they run? Why are you silent? Well!..

S h e r v i n s k i y. That's right, Your Grace, a disaster. At ten o'clock in the evening, Petliura's units broke through the city front, and Bolbotun's cavalry went into the breach...

G e tman Bolbotun?.. Where?..

S h e r v i n s k i y. Behind Slobodka, ten versts.

G e tman Wait... wait... so... what is it? I noticed this a long time ago. That's what. Now connect with the headquarters of the German command and ask its representatives to come to me this very minute. Live, baby, live!

S h e r v i n s k i y. I'm listening. (On the phone.) Third. Seien Sie bitte so liebenswurdig, Herr Major fon Dust an den Apparat zu bitten.

Knock on the door.

G e tman Sign in, yes.

Lak e y. Representatives of the German command, General von Schratt and Major von Dust, ask to receive them.

G e tman Ask here now. (to Shervinsky) Set aside.

The footman lets in Fon Shratta and Fon Dust. Both are in grey. Schratt is long-faced and gray-haired. Dust - with a purple face.

Both are in monocles.

Shr and t. Wir haben die Ehre, Euer Durchlaucht zu begrussen.

G e tman Sehrerfreut, Sie zu sehen, meine Herren. Bitte nehmen Sie Platz.

The Germans are seated.

Ich habe eben die Nachricht von der schwierigen Lage unserer Armee erhalten.

Shratt. Das ist uns schon langere Zeit bekannt.

Hetman (Shervinsky). Please record the minutes of the meeting.

S h e r v i n s k i y. May I speak Russian, Your Grace?

G e tman General, may I ask you to speak Russian?

S r a t t (with a sharp accent). Oh yeah! With great pleasure.

G e tman It has now become known to me that the Petliura cavalry has broken through the city front.

Shervinsky writes.

In addition, I have some absolutely incredible news from the headquarters of the Russian command. The headquarters of the Russian command shamefully fled. Das ist ja unerhort! (Pause.) I am addressing the German government through you... with the following statement: Ukraine is in mortal danger. Gangs of Petliura threaten to occupy the capital. In the event of such an outcome, anarchy will occur in the capital. Therefore, I ask the German command to immediately send troops to repel the gangs that have poured in here and restore order in Ukraine, which is so friendly to Germany.

Shratt. Unfortunately, the German command cannot do this.

G e tman How? Notify, General, why?

Shratt. Physisch unmoglich! It is physically impossible to eat. Erstens, firstly, according to our information, Petliura has two hundred thousand troops, superbly armed. Meanwhile, the German command takes the divisions and takes them to Germany.

S h e r v i n s k i y (to the side). Scoundrels!

Shratt: Thus, there are no sufficient forces at the disposal of our weapons. Zweitens, secondly, the whole of Ukraine is on the side of Petliura.

G e tman Lieutenant, underline this phrase in the protocol.

S h e r v i n s k i y. I'm listening, sir.

Shr a t t. Has no antifungal. Underline. Thus, it is impossible to stop Petliura.

G e tman So, the German command suddenly leaves me, the army and the government to the mercy of fate?

Shratt. Niet, we are sent to take Mary to save Your Grace.

G e tman What measures does the command propose?

Shratt. Instant evacuation of your lordship. Now the wagon and nach Germany.

G e tman I'm sorry, I don't understand anything. How so?.. Guilty. Maybe it was the German command that evacuated Prince Belorukov?

Shr a t. Exactly so.

G e tman Without my consent? (Worried) I don't agree. I protest to the German government against such actions. I still have the opportunity to gather an army in the city and defend Kyiv with my own means. But the responsibility for the destruction of the capital will fall on the German command. And I think the governments of England and France...

Shratt. Government of England! French Government!! The German government feels strong enough in itself to prevent the destruction of the capital.

G e tman Is this a threat, general?

Shratt. Warning, Your Grace. Your Lordship has no armed forces at his disposal. The situation is catastrophic...

D U S T (quietly to Schratt). Mein General, wir haben gar keine Zeit. Wir Mussen...

Shratt. Ja-ja ... Your Grace, let me say one last thing: we have just intercepted information that Petliura's cavalry is eight miles from Kyiv. And tomorrow morning she will come in...

G e tman I'll be the last to know!

Shratt: Your Grace, do you know what will happen to you if you are taken prisoner? There is a judgment on your Lordship. He is very sad.

G e tman What's the verdict?

Shratt: I beg your lordship's apologies. (Pause.) Look around. (Pause.) Your Grace, I would ask for an answer instantly. I have only ten small minutes at my disposal, after which I undress myself from the responsibility for your lordship's life.

Big pause.

G e tman I'm going!

Shr a t. Oh, are you coming? (Dostu.) Be kind, act secretly and without any noise.

D with t. Oh, no noise! (Fires a revolver at the ceiling twice.)

Shervinsky is confused.

GETMAN (taking up the revolver). What does it mean?

Shratt. Oh, be calm, Your Grace. (Hides in the curtain of the right door.)

Behind the scenes, there is a rumble, shouts: "Sentry, in a gun!" Stomp.

D u s t (opening the middle door). Ruhig! Calmly! General von Schratt caught a revolver with his trousers, mistakenly hit his head.

Hetman is very healthy. Your Grace, kindly stick your head out... Guards...

GETMAN (in the middle door). Everything is calm, stop worrying.

D at with t (at the door). Please, let the doctor with the instrument through.

The anxiety subsides. Included in the doctor of the German army with a box and a medical bag. Dust locks the middle door with a key.

SHRATT (coming out from behind the curtain). Your Grace, please change into your German uniform as if you were me and I was the wounded man. We will secretly take you out of the city so that no one knows, so as not to cause indignation of the guard.

G e tman Do as you wish.

Field phone call.

Lieutenant, to the apparatus!

S h e r v i n s k i y. His Lordship's office... How?.. What?.. (To the Hetman.) Your Grace, two regiments of the Serdyuks have crossed over to Petlyura's side... Enemy cavalry has appeared in the exposed area. Your Grace, what can I say?

G e tman What to convey? Tell them to delay the cavalry for at least half an hour! I must leave! I'll give them armored vehicles!

Shervinsky (by telephone). Are you listening?.. Stay for at least half an hour! His Lordship will give you armored vehicles!

D U S t (taking out a German uniform from a drawer). Your Mightiness! Anywhere?

G e tman In the bedroom.

Hetman and Dust leave to the right.

SHERVINSKII (near the proscenium). Run, right? Will Elena go or not? (Resolutely, to Shratt.) Your Excellency, I humbly ask you to take me with the hetman, I am his personal adjutant. Besides, with me... my fiancee...

Shratt. With regret, lieutenant, not only your fiancee, but also you can not take. If you want to go, go to our staff train station. I warn you - there are no places, there already is a personal adjutant.

S h e r v i n s k i y. Who?

Shratt. How is it ... Prince Novozhiltsev.

S h e r v i n s k i y. New residents! But when did he do it?

Shratt. When there is a catastrophe, everyone becomes very agile. He was at our headquarters now.

S h e r v i n s k i y. And he will serve under the hetman there, in Berlin?

Shr a t t. Oh niet! Hetman will be alone. No retinue. We will only take to the borders of those who wish to save their neck from your man, and there everyone will do as they wish.

S h e r v i n s k i y. Oh, thank you very much. I can save my neck here too...

Shratt. That's right, lieutenant. You should never leave your homeland. Heimat ist Heimat.

The Hetman and Dustman enter. The Hetman is disguised as a German general. Confused, smoking.

G e tman Lieutenant, burn all papers here.

Dr. Herr Doctor, seien Sie so liebenswurdig... Your Grace, sit down.

The hetman is seated. The doctor bandages his head tightly.

Dr. Fertig.

Shratt (Dustu). car!

D with t. Sogleich.

Shratt. Your Grace, lie down.

G e tman But after all, it is necessary to announce this to the people ... A manifesto? ..

Shr a t. Manifesto! .. Perhaps ...

GETMANN (deafly). Lieutenant, write... God did not give me strength... and I...

D with t. Manifesto ... There is no time for a manifesto ... From the train by telegram ...

G e tman Set aside!

Dws. Your Grace, lie down.

The hetman is placed on a stretcher. Schratt hides. The middle door is opened and a footman appears. Dust, the doctor and the footman carry the hetman out the left door. Shervinsky helps to the door, returns. Shratt enters.

SHRATT. It's all right. (Looks at her bracelet watch.) One o'clock in the morning. (Puts on cap and cloak.) Goodbye, lieutenant. I advise you not to stay here. You can safely disperse. Take off your shoulder straps. (Listens.) Do you hear?

S h e r v i n s k i y. Rapid fire.

SHRATT. Exactly. Pun! "Fluent"! Do you have a side pass?

S h e r v i n s k i y. Yes sir.

Shratt. Auf Wiedersehen. Hurry up. (Exits.)

Shervinsky (suppressed). Pure German work. (Suddenly comes to life.) Well, sir, there is no time. No, no ... no ... (At the table.) Oh, cigarette case! Gold! Hetman forgot. Leave it here? Impossible, lackeys will resist. Wow! A pound must weigh. historical value. (Hides the cigarette case in his pocket.) Nute, sir... (At the table.) We won't fire any papers, except for the adjutant's list. (Burns papers.) Am I a pig or am I not a pig? No, I'm not a pig. (On the phone.) 14-53 ... Yes ... Division? .. Commander on the phone! Urgent!.. Wake up! (Pause.) Colonel Turbin? Shervinsky is speaking. Listen, Aleksei Vasilyevich, carefully: the hetman gave a drape... Drapanul!.. I'm being serious... No, there's time before dawn... Tell Elena Vasilievna not to leave the house tomorrow... I'll come hide in the morning. Farewell. (Hangs up.) And my conscience is clear and calm... Fyodor!

The chamber enters - varnish.

Did the messenger bring a package?

Lak e y. Yes sir.

S h e r v i n s k i y. Hurry, give it here!

The footman leaves, then returns with a bundle.

L a k e y (confused). May I ask what is the matter with their lordship?

S h e r v i n s k i y. What is this question? Hetman deigns to rest. And keep quiet. You are a good person, Fedor. There is something in your face... sort of... attractive... proletarian...

Lak e y. Yes, sir.

S h e r v i n s k i y. Fyodor, bring me my towel, razor and soap from the adjutant's room.

Lak e y. I'm listening. Would you like a newspaper?

S h e r v i n s k i y. Quite right. And a newspaper.

The footman goes out the left door. Shervinsky at this time puts on a civilian coat and hat, takes off his spurs. Novozhiltseva ties her checker and checker into a knot. The footman appears.

Does this hat suit me?

Lak e y. How about. Will you take a razor in your pocket?

S h e r v i n s k i y. A razor in your pocket... Well, sir... Dear Fyodor, let me leave fifty karbovanets as a keepsake.

Lak e y. Thank you very much.

S h e r v i n s k i y. Let me shake your honest working hand. Don't be surprised, I'm a democrat by nature, Fedor! I have never been to the palace, I have never served as an adjutant.

Lak e y. It's clear.

S h e r v i n s k i y. I don't know you. Actually, I'm an opera artist...

Lak e y. Did he give a go?

S h e r v i n s k i y. Flushed out.

Lak e y. Ah, rogue!

S h e r v i n s k i y. Bandit indescribable!

Lak e y. And all of us, therefore, to the mercy of fate?

S h e r v i n s k i y. You see. You are still half hearted, but what about me?

Phone ring.

I'm listening... Ah! Captain!.. Yes! Throw everything to hell and run... So I know what I'm saying... Shervinsky... Good luck. Goodbye! .. Dear Fyodor, no matter how pleasant it is for me to talk with you, but you yourself see that I have no time ... Fyodor, while I am in power, I give you this office. What are you watching? Freak! You will figure out what kind of blanket will come out of this curtain. (Disappears.)

Pause. Phone ring.

Lak e y. Listen ... How can I help you? .. You know what? Throw everything to hell and run... Fyodor says... Fyodor!...

Picture two

Empty, gloomy room. Inscription: "Headquarters of the 1st Kinny Division." The standard is blue and yellow. Kerosene lantern at the entrance. Evening. Outside the windows, the occasional sound of horses' hooves. The harmonica quietly plays familiar tunes.

Telephonist (by phone). Tse I, Franko, once again included in the chain ... In the chain, I say! .. Do you hear? .. Tse headquarters of the kin division.

The phone is beeping. Noise offstage. Hurricane and Kirpaty bring in a Sich deserter. His face is bloodied.

B o l b o t u n. What is it?

Hurricane. The deserter has been caught, Colonel.

B o l b o t u n. Which regiment?

Silence.

Which regiment, I ask you?

Silence.

T e l e f o n i s t. I'm from the headquarters, Franko, joining the chain! Tse headquarters of the kin division! .. Are you listening? .. Ugh, damn it! ..

B o l b o t u n. What are you, God, your mother's soul! A? What are you ... At that time, like every honest Cossack wiishov to defend the Ukrainian Republic, the appearance of the White Guards and the Jewish communist, at that time, like every grain grower joined the ranks of the Ukrainian army, are you in the bushes? Do you know what the hetman's officers, and then the commissars, are doing to our grain growers? They bury the living near the ground! Chuv? So I'll dig your own grave! Himself! Centurion Galanbu!

Where did you take it?

K and rp a t y. Behind the stacks, you son of a bitch, running, hovavsya! ..

B o l b o t u n. Oh, infection, infection!

Galanba enters, cold, black, with a black bayonet.

Interrogate, pan centurion, a deserter ... Franko, the disposition! Don't mess with the device!

T e l e f o n i s t. Now, Pan Colonel, now! What are you doing with him? "Don't pick..."

GALANBA (with a cold face). Which regiment?

Silence.

Which regiment?

DESERTIR (weeping). I am not a deserter. Have mercy, pan centurion! I made my way to the infirmary. My feet are frozen.

Telephonist (by phone). Where is the disposition? .. I walk gently. The commander of the kinny division is prohae the disposition ... Do you hear? .. What are you going to do with this apparatus!

G alan b a. Are your feet frozen? And why didn’t you take a look at the headquarters of your regiment? A? Which regiment? (Swings.)

You can hear the horses walking along the log bridge.

D e s e r t i r. Second Sich.

G alan b a. We know you, Sich. All the guards. Traitors. Bolsheviks. Take off your boots, take off. And if you do not freeze your legs, but make a mistake, then I will immediately shoot you. Boys! Flashlight!

Telephonist (by phone). Send us an orderly for approval ... To Slobodka! .. So! .. So! .. I hear! .. Gritsko! High orderly will seize the disposition for our headquarters. Dobre? .. Pan Colonel, the disposition will be at once ...

B o l b o t u n. Good...

GALANBA (pulling out Mauser). And here's a condition for you: healthy legs - you will be with me in the next world. Get behind me so I don't hit anyone.

The deserter sits on the floor, takes off his shoes. Silence.

B o l b o t u n. Tse is correct. Shchob another example.

The deserter is illuminated with a lantern.

Kirpaty (with a sigh). Frozen ... Telling the truth.

G alan b a. The note had to be taken. Note, scum! And not run away from the regiment ...

D e s e r t i r. There is no one to take a note from. We don't have a likar in our regiment. There is no one. (Crying.)

G alan b a. Take him into custody! And under arrest to the infirmary! As soon as the likar bandages his leg, return him here to the headquarters and give him fifteen ramrods, knowing the wines, how to run from his regiment without documents.

U r a g a n (bringing out). Go, go!

GALANBA (through the window). Boys, what's up? What?

Boys! Intelligence service! By horses! By horses! Get in! Get in! Kirpaty! Well, run after them! Take the tilki alive! Alive!

B o l b o t u n. Franko, keep in touch!

T e l e f o n i s t.

Stomp behind the stage. Uragan appears, introduces a man with a basket.

Man Honey, I'm fine. What are you!.. I am a craftsman...

G alan b a. What were you detained for?

Man Forgive me, comrade soldier ...

G alan b a. What? Comrade? Who is your friend here?

Man Sorry, sir.

G alan b a. I am not your master. Gentlemen, everyone is with the hetman in the city now. And we will exhaust your guts to your masters. Boy, give it to you closer. Cut this gentleman in the neck. Now bachish, yaki gentlemen here? See?

Man I see.

G alan b a. Light it up guys! Meny sche is given, scho blames the communist.

Man What do you! What are you, have mercy! I am, you see, a shoemaker.

B o l b o t u n. Something you duzhe garno razmovlyaesh on the Moscow movie.

Man Kalutsky we, your health. Kaluga province. Yes, and life is not happy that they stopped here, in Ukraine, to you. I am a shoemaker.

G alan b a. Document!

Man Passport? This minute. My passport is clean.

G alan b a. What's the basket? Where did you go?

Man Boots in the basket, your... blah... wa... boots... s... We work for the shop. We ourselves live in Slobodka, but we carry boots to the city.

G alan b a. Why at night?

Man Just right, in the morning in the city.

B o l b o t u n. Boots ... Wow ... tse garno!

The hurricane opens the basket.

Man I'm sorry, dear citizen, they are not ours, from the master's goods.

B o l b o t u n. From the master! Tse is the best. The master's product is a good product. Boys, take a pair of master's goods.

Disassemble boots.

Man Citizen Minister of War! I'm going to die without these boots. Directly formally lie down in a coffin! Here for two thousand rubles ... This is the master's ...

B o l b o t u n. We will give you a receipt.

Man Excuse me, why do I need a receipt? (He rushes to Bolbotun, he gives him a blow in the ear. He rushes to Galanba.) Mister cavalryman! For two thousand rubles. The main thing is that if I were a bourgeois or, say, a Bolshevik ...

Galanba gives him in the ear.

(Sits down on the ground, bewildered.) What is this being done? And yet, take it! This means - to supply the army? .. Only let me have a couple for the company. (Starts to take off his boots.)

T e l e f o n i s t. Wonder, Pan Colonel, what does Vin rob?

B o l b o t u n. Are you laughing, bitch? Get away from the basket. How long will you be spinning under your feet? For a long time? Well, my patience has run out. Boys, step aside. (Picks up the revolver.)

Man What do you! What do you! What do you!..

B o l b o t u n. Get out of here!

The man with the basket rushes to the door.

We humbly thank you, Pan Colonel!

Telephonist (by phone). I hear!.. I hear!.. Glory! Glory! Pan Colonel! Pan Colonel! Walkers from two Hetman Serdyuk regiments came to the headquarters. Batko negotiated with them about coming over to our side.

B o l b o t u n. Glory! If these regiments will be with us, then Kyiv is ours.

Telephonist (by phone). Gritsko! And we have new boots!.. So... so... I hear, I hear... Glory! Thank you, Pan Colonel, please send a shvidche to the apparatus.

B o l b o t u n (on the phone). Colonel Bolbotun, commander of the first kin division... I hear you... So... So... I'm leaving at once. (To Galanba.) Pan centurion, order the shvidche, all four regiments on the horse! They took the approaches to the city! Glory! Glory!

U ragan, Kirpaty. Offensive?

GALANBA (through the window). Get in! Get in! By horses!

Outside the window, the rumble: "Hurrah!" Galanba runs away.

B o l b o t u n. Take off the device! Horse to me!

The telephone operator removes the device. Bustle.

Hurricane. Commander's horse!

H o l o s a. First chicken, trot march!

Another chicken, trot march! ..

Outside the window, clatter, whistle. Everyone runs off the stage. Then the harmonica rumbles, flying by...

Act Three

Picture one

The lobby of the Alexander Gymnasium. Guns in goats. Boxes, machine guns. Giant staircase. Portrait of Alexander I at the top. Dawn in glass. Behind the scenes, a roar: a division with music passes through the corridors of the gymnasium.

NIKOLKA (behind the scenes he sings to the absurd motive of a soldier's song).

The night breathed the delight of voluptuousness, Full of obscure thoughts and trembling.

Yunkera (singing deafeningly).

I was waiting for you with an insane thirst for happiness, I was waiting for you and thrilled at the window.

N and to l to and (sings).

I cleaned our corner with flowers ...

Student (on the landing of the stairs). Division, stop!

The offstage division comes to a halt with a bang.

Set aside! Captain!

M yshlaevsk and y. First Battery! On the spot! Step march!

The division marches behind the scenes.

S t u d z i n s k i y. Leg! Leg!

M yshlaevsk and y. Ah! Ah! Ah! First battery, stop!

F irst officer. Second battery, stop!

Division stops.

M yshlaevsk and y. Battery, you can smoke! At ease!

Behind the scenes, there is hum and talk.

First officer (to Myshlaevsky). I, mister captain, lack five in a platoon. Apparently, the move was given. Students!

Second officer. Actually, it's bullshit. You won't understand anything.

F irst officer. Why isn't the commander coming? We were scheduled to leave at six, and now it's a quarter to seven.

M yshlaevsk and y. Hush, lieutenant, they called to the palace by phone. Will come now. (To the junkers.) Are you cold?

F irst Junker. That's right, Mr. Captain, it's cool.

M yshlaevsk and y. Why are you standing still? Blue like a dead man. Get warm, warm up. After the command "at ease" you are not a monument. Everyone is their own oven. Cheer up! Hey, second platoon, break desks in classes, heat stoves! Alive!

Yunkera (shouting). Brothers, go to class!

Break desks, heat stoves!

Noise, bustle.

MAKSIM (appears from the closet, horrified). Your Excellency, why are you doing this? To heat stoves with desks?! What a disgrace this is! I was ordered by the director...

F irst officer. The fourteenth event...

M yshlaevsk and y. And with what, old man, to heat the stoves?

M a k s i m. Firewood, father, firewood.

M yshlaevsk and y. Where is your wood?

M a k s i m. We have no firewood.

M yshlaevsk and y. Well, get out of here, old man, sausage to hell! Hey, second platoon, what the hell?..

M a k s and m. Lord my God, saints-pleasers! What is it doing! Tatars, pure Tatars. There were many troops... (Leaves. Shouts offstage.) Gentlemen of the military, what are you doing!

Yunkera (they break desks, saw them, heat the stove. Sing).

A storm covers the sky with mist, Whirlwinds of snow twisting, Then, like a beast, she will howl, Then she will cry like a child ...

M a k s m. Eh, who kindles the stoves like that?

Y n k e r a (sing).

Oh, you, my Sasha-kanashki! ..

(Sadly.)

Have mercy on us, God, for the last time...

Sudden close break. Pause. Bustle.

F irst officer. Projectile.

M yshlaevsk and y. The break is close.

F irst Junker. This is for us, Mr. Captain, perhaps.

M yshlaevsk and y. Nonsense! Petliura spat.

The song freezes.

F irst officer. I think, Mr. Captain, that I will have to see Petliura today. I wonder what he is like?

SECOND OFFICER (gloomy). You know, don't rush.

M yshlaevsk and y. Our business is small. Let's see - we'll see. (To the junkers.) Junkers, what are you... Why are you sour? Have fun!

Y n k e r a (sing).

And when they lead us up the white stairs to the blue land...

SECOND JUNKER (flies up to Studzinsky). Division Commander!

S t u d z i n s k i y. Become! Division, calm down! Alignment to the middle! Lord officers! Lord officers!

M yshlaevsk and y. The first battery, at attention!

ALEKSEY enters.

ALEKSEY (Studzinsky). List! How many are missing?

S t u d z i n s k i y (quietly). Twenty-two people.

ALEXEI (tearing the list). Our outpost on Demievka?

S t u d z i n s k i y. Yes sir!

Alexei. Return!

S t u d z i n s k i y (to the second cadet). Bring back the outpost!

The second junker. I'm listening. (Runs away.)

Alexei. I order gentlemen officers and the division to listen carefully to what I announce to them. Listen, remember. Remember, execute.

During the night, in our position, in the position of the entire Russian army, I would say, in the state position of Ukraine, sharp and sudden changes took place ... Therefore, I announce to you that I am disbanding our division.

Dead silence.

The fight against Petliura is over. I order everyone, including officers, to immediately take off their epaulettes, all insignia and immediately run and hide at home.

I finished. Fulfill orders!

S t u d z i n s k i y. Mister Colonel! Alexey Vasilyevich!

F irst officer. Mister Colonel! Alexey Vasilyevich!

Second officer. What does it mean?

Alexei. Be silent! Don't argue! Fulfill orders! Alive!

T r e t i y o f ic e r. What does that mean, Colonel? Arrest him!

Y n k e r a. To arrest?!.

We don't understand anything!

How - to arrest?! .. What are you, mad?! ..

Petlyura broke in!..

That's the thing! I knew it!..

F irst officer. What does that mean, Colonel?

T r e t i y o f ic e r. Hey, first platoon, follow me!

Confused junkers with rifles run in.

N and to about l to and. What are you gentlemen, what are you doing?

Second officer. Arrest him! He passed on to Petlyura!

T r e t i y o f ic e r. Colonel, you are under arrest!

MYSHLAEVSKY (holding the third officer). Wait, lieutenant!

T r e t i y o f ic e r. Let me go, mister captain, hands off! Juncker, take him!

M yshlaevsk and y. Junkers, back!

S t u d z i n s k i y. Alexei Vasilievich, look what is being done.

N and to about l to and. Back!

S t u d z i n s k i y. Back, they tell you! Do not listen to junior officers!

F irst officer. Lord, what is this?

Second officer. Lord!

turmoil. Revolvers in the hands of the officers.

T r e t i y o f ic e r. Do not listen to senior officers!

F irst Junker. There's a riot in the division!

F irst officer. What are you doing?

S t u d z i n s k i y. Be silent! Attention!

T r e t i y o f ic e r. Take him!

Alexei. Be silent! I will keep talking!

Y n k e r a. Nothing to talk about!

We don't want to listen!

We don't want to listen!

Be equal to the commander of the second battery!

N and to about l to and. Let him speak.

T r e t i y o f ic e r. Hush, junker, calm down! Let him speak, we won't let him out of here!

M yshlaevsk and y. Get your junkers back this second!

F irst officer. Attention! On the spot!

Y n k e r a. Attention! Attention! Attention!

Alexei. Yes ... I would be very good if I went into battle with the lineup that the Lord God sent me in your person. But, gentlemen, what is excusable for a young volunteer is unforgivable (for the third officer) to you, Mr. Lieutenant! I thought that each of you would understand that a misfortune had happened, that your commander did not dare to say shameful things. But you are clueless. Who do you wish to protect? Answer me.

Silence.

Answer when the commander asks! Whom?

T r e t i y o f ic e r. Hetman promised to protect.

Alexei. Hetman? Great! Today, at three o'clock in the morning, the hetman, leaving the army to the mercy of fate, fled, disguised as a German officer, in a German train to Germany. So while the lieutenant is going to defend the hetman, he is long gone. He is safely on his way to Berlin.

Y n k e r a. To Berlin?

What is he talking about?!

We don't want to listen!

F irst Junker. Gentlemen, why are you listening to him?

S t u d z i n s k i y. Be silent!

Hum. Dawn in the windows.

Alexei. But this is not enough. Simultaneously with this channel, another channel ran in the same direction - His Excellency, the commander of the army, Prince Belorukov. So, my friends, there is not only no one to protect, but even no one to command us, for the prince's headquarters set in motion with him.

Y n k e r a. It can not be!

It can't be!

It's a lie!

Alexei. Who said it's a lie? Who said it's a lie? I was at the headquarters now. I have checked all the information. I am responsible for my every word!.. So, gentlemen! Here we are, there are two hundred of us. And then there is Petliura. What am I saying - not there, but here! My friends, his cavalry is on the outskirts of the city! He has a 200,000-strong army, and we have in place we, two or three infantry squads and three batteries. It's clear? Then one of you took out a revolver at my address. He scared me crazy. Boy!

T r e t i y o f ic e r. Mister Colonel...

Alexei. Be silent! So, sir. If all of you now, under these conditions, would issue a decision to defend ... what? whom? .. in a word, go into battle - I won’t lead you, because I don’t participate in the booth, especially since you will pay for this booth with your blood and it’s completely pointless all of you!

N and to about l to and. Staff bastard! Hum and roar.

Y n k e r a. What should we do now?

Lie down in the coffin!

Go to hell!.. What are you, at a rally?

Stay still!

They were driven into a trap.

Third Junker (runs in crying). They shouted: forward, forward, and now back. If I find a hetman, I'll kill him!

F irst officer. Take this woman to hell! Junkers, listen: if what the colonel says is true, look up to me! Let's get trains - and to the Don, to Denikin!

Y n k e r a. On Don! To Denikin!

Easy business... what are you talking about!

On the Don - impossible! ..

S t u d z i n s k i y. Alexei Vasilyevich, it’s true, we need to drop everything and take the division to the Don.

Alexei. Captain Studzinsky! Do not dare! I'm in command of a division! I will order, and you - to execute! To Don? Listen, you! There, on the Don, you will meet the same thing, if only you make your way to the Don. You will meet the same generals and the same staff mob.

N and to about l to and. The same staff bastard!

Alexei. Absolutely correct. They will force you to fight your own people. And when he splits your heads open, they will run away abroad... I know that in Rostov it is the same as in Kyiv. There are divisions without shells, there are cadets without boots, and officers are sitting in coffee shops. Listen to me my friends! I, a combat officer, was instructed to push you into a fight. What would it be! But not for what. I publicly declare that I will not lead you and will not let you in! I tell you: the white movement in Ukraine is over. He will end in Rostov-on-Don, everywhere! The people are not with us. He is against us. So it's over! Coffin! Lid! And here I am, a career officer Alexei Turbin, who endured the war with the Germans, as witnessed by captains Studzinsky and Myshlaevsky, I accept everything on my conscience and responsibility, I accept everything, I warn you and, loving you, I send you home. I finished.

Tear off shoulder straps, throw rifles and immediately go home!

Junkers tear off shoulder straps, throw rifles.

M yshlaevsk and y (shouts). Quiet! Colonel, may I set fire to the gymnasium building?

Alexei. I do not allow.

Cannon strike. Glass shattered.

M yshlaevsk and y. Machine gun!

S t u d z i n s k i y. Junkers, go home!

M yshlaevsk and y. Junkers, hang up, go home!

Pipe behind the stage. The junkers and officers scatter. Nikolka hits the box with the switches with his rifle and runs away. The light goes out. Aleksey rips papers by the stove and burns them. Long pause. M a c i m enters.

Alexei. Who are you?

M a k s i m. I am the watchman here.

Alexei. Get out of here, they'll kill you here.

MAKSIM: Your Excellency, where am I going to go? I have nothing to depart from state property. In two classes, the desks were broken, they made such a loss that I can’t even express it. And the world ... There were a lot of troops, but this - sorry ...

Alexei. Old man, get away from me.

M a k s i m. Now at least cut me with a saber, but I will not leave. What was said to me by the director...

Alexei. Well, what did the director say to you?

M a k s i m. Maxim, you will be left alone ... Maxim, look ... And what about you ...

Alexei. Do you understand Russian, old man? They will kill you. Go somewhere in the basement, hide there, so that your spirit is not there.

M a k s and m. Who will answer? Maxim is responsible for everything. There were all sorts of people for the tsar and against the tsar, frenzied soldiers, but to break desks ...

Alexei. Where did the lists go? (He breaks the closet with his foot.)

MAKSIM: Your Excellency, he has the key. Gymnasium closet, and you - a leg. (Goes away, crosses himself.)

Cannon strike.

Queen of Heaven... Mistress... Lord Jesus...

Alexei. So it! Give! Give! Concert! Music! Well, you'll get me someday, sir hetman! Reptile!

Myshlaevskiy appears upstairs. A light glow seeps through the windows.

MAKSIM: Your Excellency, at least you order him. What is it? Kicked open the closet!

M yshlaevsk and y. Old man, don't get in the way. Go away.

M a k s i m. Tatars, directly Tatars ... (Disappears.)

M yshlaevsk and y (from a distance). Alyosha! I lit the storehouse! Will Petlyura have shish instead of overcoats!

Alexei. For God's sake, don't linger. Run home.

M yshlaevsk and y. The matter is small. Now I'll pump two more bombs into the hay - and go. What are you sitting on?

Alexei. Until the outpost comes running, I can't.

M yshlaevsk and y. Alyosha, is it necessary? A?

Alexei. Well, what are you talking about, captain!

M yshlaevsk and y. I'll stay with you then.

Alexei. What do I need you for, Victor? I order: to Elena now! Guard her! I'm following you. What are you all mad about? Will you listen or not?

M yshlaevsk and y. Okay, Alyosha. Run to Lenka!

Alexei. Nikolka, look if he's gone. Throw him in the neck, for God's sake.

M yshlaevsk and y. OK! Alyosha, don't take risks!

Alexei. Learn a scientist!

Myshlaevsky disappears.

Seriously. "Seriously and very"... And when they lead us up the white stairs to the blue region... The outpost would not fall asleep...

N and k about l to a (appears upstairs, sneaks). Alyosha!

Alexei. Are you trying to joke with me, or what?! Home this minute, take off your shoulder straps! Out!

N and to about l to and. I won't go without you, Colonel.

Alexei. What?! (Pulls out revolver.)

N and to about l to and. Shoot, shoot your brother!

Alexei. Blockhead.

N and to about l to and. Scold, scold your brother. I know what you're sitting on! I know you are a commander, you expect death from shame, that's what! Well, then I'll watch over you. Lenka will kill me.

Alexei. Hey somebody! Take Junker Turbin! Captain Myshlaevsky!

N and to about l to and. Everyone's already gone!

Alexei. Well, wait, bastard, I'll talk to you at home!

Noise and clatter. The junkers who were in the outpost run in.

Y n k e r a (running through). Petliura's cavalry is next! ..

Alexei. Juncker! Listen to the command! Basement passage to Podil! I will cover you. Tear off your shoulder straps on the way!

Behind the scenes, a dashing whistle is approaching, the harmonica sounds muffled: “And it makes noise and hums ...”

Run, run! I'll cover you! (Rushes to the window upstairs.) Run, I beg you. Pity Lenka!

A close burst of a projectile. Glasses shattered. Alex falls.

N and to about l to and. Mister Colonel! Alyoshka! Alyosha, what have you done?!

Alexei. Non-commissioned officer Turbin, throw heroism to hell! (Pauses.)

N and to about l to and. Colonel... this cannot be! Alyosha, get up!

Stomp and hum. The haidamaks run in.

Hurricane. Whoa! Bach! Bach! Get it, lads! Tremay!

Kirpaty shoots Nikolka.

GALANBA (running in). Live! Live to take it, lads!

Nikolka crawls up the stairs, grinning.

K and rp a t y. Look, wolf cub! Oh you son of a bitch!

Hurricane. You will not leave! You will not leave!

Haidamaks appear.

N and to about l to and. Hangmen, don't give up! Don't give up, bandits! (Throws himself off the railing and disappears.)

K and rp a t y. Oh circus! (Shoots.) There is no one else.

G alan b a. Why did you guys release it? Ah, the hat!

Harmonica: “And it makes noise and buzzes ...” Behind the scenes, a cry: “Glory, glory!” Pipes behind the stage. Bolbotun, followed by haidamaks with standards.

Banners float up the stairs. Deafening march.

Picture two

Turbin's apartment. Dawn. There is no electricity. A candle burns on a card table.

L a r i o s i k. Elena Vasilievna, dear! Position me however you like! Do you want me to get dressed and go look for them?

Elena. Ah, no, no! What are you, Lariosik! You will be killed in the street. Will wait. My God, it's still glowing. What a terrible dawn! What's going on there? I just want to know one thing: where are they?

L a r i o s i k. My God, how terrible the civil war is!

Elena. You know what: I'm a woman, they won't touch me. I'll go and see what's going on outside.

L a r i o s i k. Elena Vasilievna, I will not let you in! Yes, I ... I simply won’t let you in! .. What will Alexei Vasilyevich tell me! He ordered not to let you out on any account, and I gave him my word.

Elena. I am close...

L a r i o s i c. Elena Vasilievna!

Elena. At least find out what's going on...

L a r i o s i k. I will go myself ...

Elena. Leave it... We'll wait...

L a r i o s i k. Your husband did very well that he left. This is a very wise move. He will now survive this terrible mess in Berlin and return.

Elena. My spouse? My husband? Don't mention my husband's name again in the house. Do you hear?

L a r i o s i k. All right, Elena Vasilievna ... I will always find something to say in time ... Maybe you want tea? I would put a samovar...

Elena. No, don't...

LARIOSSIK: Wait, wait, don't open it, you have to ask who's there. Who's there?

S h e r v i n s k i y. It's me! I... Shervinsky...

Elena. God bless! (Opens.) What does that mean? Catastrophe?

S h e r v i n s k i y. Petliura took the city.

L a r i o s i k. Did you take it? God, what a horror!

Elena. Where are they? In battle?

S h e r v i n s k i y. Don't worry, Elena Vasilievna! I warned Aleksei Vasilyevich a few hours ago. Everything is going perfectly well.

Elena. How is everything going well? And the hetman? Troops?

S h e r v i n s k i y. Hetman fled tonight.

Elena. Did you run? Abandoned the army?

S h e r v i n s k i y. Exactly. And Prince Belorukov. (Takes off coat.)

Elena. Scoundrels!

S h e r v i n s k i y. Indescribable scoundrels!

L a r i o s i k. Why is the light not on?

S h e r v i n s k i y. They shelled the station.

L a r i o s i k. Ai-ai-ai...

S h e r v i n s k i y. Elena Vasilievna, can I hide with you? Now the officers will be searched.

Elena. Well, of course!

S h e r v i n s k i y. Elena Vasilievna, if you only knew how happy I am that you are alive and well.

Knock on the door.

Larion, ask who's there...

Lariosik opens the door. M yshlaevskii and Studzinskii enter.

Elena. Glory to you Lord! And where are Alyosha and Nikolai?

M yshlaevsk and y. Calm down, Lena. Now they will come. Don't be afraid, the streets are still free. The outpost holds them both. Oh, is this one here? Well, then you know everything...

Elena. Thank you all. Well, the Germans! Well, the Germans!

S t u d z i n s k i y. Nothing ... nothing ... someday we will all remember ... Nothing!

M yshlaevsk and y. Hello Larion!

LARIOSC. Here, Vityenka, what terrible incidents!

M yshlaevsk and y. Yes, incidents of the first class.

Elena. Who do you look like! Go get warm, I'll put the samovar on for you.

SHERVINSKII (from the fireplace). Help you, Lena?

Elena. No need. I myself. (Runs away.)

M yshlaevsk and y. Zdorovenki bula, Pan's personal adjutant. Why are you without aiguillettes? .. "Go, gentlemen, officers, to Ukraine and form your units ..." And he shed a tear. For your mother's legs!

S h e r v i n s k i y. What does this buffoonish tone mean?

M yshlaevsk and y. The booth turned out, that's why the tone is farcical. Well, you promised the Sovereign Emperor and drank for the health of your lordship. By the way, where is this lordship now, at present?

S h e r v i n s k i y. Why would you?

M yshlaevsk and y. But why: if I came across this very ladyship now, I would take her by the legs and slam my head on the pavement until I felt complete satisfaction. And your staff horde in the lavatory should be drowned!

S h e r v i n s k i y. Mr. Myshlaevsky, please do not forget!

M yshlaevsk and y. Scoundrels!

S h e r v i n s k i y. What-oh?

L a r i o s i k. Why quarrel?

S t u d z i n s k i y. This very minute, as a senior, I ask you to stop this conversation! Absolutely ridiculous and leads nowhere! What are you, in fact, stuck to the man? Lieutenant, calm down.

S h e r v i n s k i y. Captain Myshlaevsky's behavior has been unbearable lately... And most importantly, rudeness! Am I to blame for the crash? On the contrary, I warned you all. If it wasn't for me, it's still a question whether he would be sitting here alive or not!

S t u d z i n s k i y. Quite right, lieutenant. And we are very grateful to you.

ELENNA (enters). What's happened? What's the matter?

S t u d z i n s k i y. Elena Vasilievna, don't worry, everything will be all right. I vouch for you. Go to yourself.

Elena leaves.

Victor, I'm sorry, you have no right.

M yshlaevsk and y. Well, okay, come on, Leonid! I got excited. It's such a shame!

S h e r v i n s k i y. Pretty strange.

S t u d z i n s k i y. Come on, not before. (Sits down by the fire.)

M yshlaevsk and y. Where is Alyosha and Nikolka, really?

S t u d z i n s k i y. I myself am worried ... I wait five minutes, and after that I will go forward ...

M yshlaevsk and y. Well, it means that he gave a move in front of you?

S h e r v i n s k i y. With me: I was until the last minute.

M yshlaevsk and y. Wonderful spectacle! I would give dearly to be present at this! Why didn't you kill him like a dog?

S h e r v i n s k i y. You should go and kill him yourself!

M yshlaevsk and y. Would kill, be calm. Well, did he say anything to you as parting?

S h e r v i n s k i y. Well, he said! Hugs, thanked for the faithful service ...

M yshlaevsk and y. And shed a tear?

S h e r v i n s k i y. Yes, I teared up...

L a r i o s i k. Did you shed a tear? Tell me please!..

M yshlaevsk and y. Maybe he gave you something as a parting gift? For example, a golden monogrammed cigarette case.

S h e r v i n s k i y. Yes, he gave me a cigarette case.

M yshlaevsk and y. Look, the devil!.. Excuse me, Leonid, I'm afraid you'll get angry again. You are, in fact, a good person, but you have oddities ...

S h e r v i n s k i y. What do you mean by this?

M yshlaevsk and y. Yes, how can I put it ... You should be a writer ... You have a rich fantasy ... Shed a tear ... Well, if I said: show me the cigarette case!

Shervinsky silently shows the cigarette case.

Killed! Indeed a monogram!

S h e r v i n s k i y. What should I say, Captain Myshlaevsky?

M yshlaevsk and y. This minute. In front of you, gentlemen, I beg his pardon.

L a r i o s i k. I have never seen such beauty in my life! A whole pound probably weighs.

S h e r v i n s k i y. Eighty-four spools.

Knock on the window.

Lord!..

M yshlaevsk and y. I don't like tricks... Why not through the door?...

S h e r v i n s k i y. Gentlemen... revolvers... it's better to throw them away. (Hides the cigarette case behind the fireplace.)

Studzinsky and Myshlaevsky go up to the window and, carefully moving the curtain aside, look out.

S t u d z i n s k i y. Oh, I can't forgive myself!

M yshlaevsk and y. What a devilry!

L a r i o s i c. Oh, my God! (He rushes to inform Elena.) Elena...

M yshlaevsk and y. Where the hell are you?.. Have you lost your mind!.. How can you!

Everyone runs out. Pause. Bring in Nikolka.

Lenka, Lenka must be taken away somewhere... My God! Alyosha, where is it?.. Killing me is not enough!.. Put it down, put it down... right on the floor...

S t u d z i n s k i y. It would be better on the sofa. Look for the wound, look for the wound!

S h e r v i n s k i y. Head is broken!

S t u d z i n s k i y. Blood in the boot... Take off your boots...

S h e r v i n s k i y. Let's move it... over there... It can't be on the floor, really...

S t u d z i n s k i y. Lariosik! Lively carry a pillow and a blanket. Lay on the sofa.

They carry Nikolka to the sofa.

Cut your boots!.. Cut your boots!.. Aleksei Vasilyevich has bandages in his office.

Shervinsky runs away.

Grab the alcohol! Lord my God, how did he turn up? What is it?.. Where is Alexei Vasilievich?..

Shervinsky comes running with iodine and bandages. Studzinsky is bandaging Nikolka's head.

L a r i o s i k. Is he dying?

N and to l to and (coming to himself). ABOUT!

M yshlaevsk and y. Go crazy!.. Say only one word: where is Alyoshka?

S t u d z i n s k i y. Where is Alexei Vasilyevich?

N and to about l to and. Lord...

M yshlaevsk and y. What?

Yelena enters swiftly.

Lenochka, don't worry. He fell and hit his head. There is nothing terrible.

Elena. Yes, he was hurt! What are you saying?

N and to about l to and. No, Lenochka, no...

Elena. Where is Alexei? Where is Alexey? (Persistently.) You were with him. Answer one word: where is Alexei?

M yshlaevsk and y. What to do now?

S t u d z i n s k i y (Myshlaevsky). It can't be! Can not!..

Elena. Why are you silent?

N and to about l to and. Lenochka... Now...

Elena. Do not lie! Just don't lie! Myshlaevsky makes a sign to Nikolka - "be quiet."

S t u d z i n s k i y. Elena Vasilievna...

S h e r v i n s k i y. Lena, what are you...

Elena. Well, everything is clear! They killed Alexei!

M yshlaevsk and y. What are you, what are you, Lena! What did you take from?

Elena. You look at his face. Look. What a face to me! I knew, I felt, even when he left, I knew that it would end like this!

Stu dz i n s k i y (Nikolka). Say what's wrong with him?!

Elena. Larion! Alyosha was killed...

S h e r v i n s k i y. Give me some water...

Elena. Larion! Alyosha was killed! Yesterday you sat at the table with him - remember? And they killed him...

L a r i o s i k. Elena Vasilievna, dear ...

Elena. And you?! senior officers! senior officers! Everyone came home, but the commander was killed? ..

M yshlaevsk and y. Lena, have pity on us, what are you saying?! We all followed his orders. All!

S t u d z i n s k i y. No, she's absolutely right! I'm all to blame. You couldn't leave him! I am a senior officer, and I will correct my mistake! (Picks up a revolver.)

M yshlaevsk and y. Where? No, stop! No, stop!

S t u d z i n s k i y. Hands off!

M yshlaevsk and y. Well, will I be left alone? You are not to blame for anything! Not with anything! I saw him last, warned him and fulfilled everything. Lena!

S t u d z i n s k i y. Captain Myshlaevsky, let me out this minute!

M yshlaevsk and y. Give me the revolver! Shervinsky!

S h e r v i n s k i y. You have no right! Do you want to make it even worse? You have no right! (Holds Studzinsky.)

M yshlaevsk and y. Lena, order him! All because of your words. Take his revolver!

Elena. I said out of grief. I got confused in my head. Give me the revolver!

S t u d z i n s k i y (hysterically). No one dares to blame me! Nobody! Nobody! I carried out all the orders of Colonel Turbin!

Elena. Nobody!.. Nobody!.. I went crazy.

M yshlaevsk and y. Nikolka, speak... Lena, be courageous. We'll find him... We'll find him... Be honest...

N and to about l to and. Commander killed...

Elena faints.

act four

After two months. Epiphany Christmas Eve 1919. The apartment is lit up: Elena and Lariosik are cleaning the Christmas tree.

L a r i o s i k (on the ladder). I believe that this star... (Listens mysteriously.)

Elena. What do you?

LARIOSINK: No, it seemed to me... Elena Vasilievna, I assure you, this is the end. They will take the city.

Elena. Don't rush, Lariosik, nothing is known yet.

L a r i o s i k. A sure sign - there is no shooting. I frankly confess to you, Elena Vasilievna, over the past two months I have been terribly tired of shooting. I do not like...

Elena. I share your taste.

L a r i o s i k. I believe that this star will be very appropriate here.

Elena. Get down, Lariosik, otherwise I'm afraid that you will break your head.

LARIOSINK: Well, what are you, Elena Vasilievna! .. Christmas tree to yat, as Vitenka says. I would like to see a person who would say that the tree is ugly! Ah, Elena Vasilievna, if you only knew! The Christmas tree reminds me of the irretrievable days of my childhood in Zhitomir... The lights... The green Christmas tree... (Pause.) However, I feel better here, much better than when I was a child. I wouldn’t have gone anywhere from here ... So I would have sat all my life under the tree at your feet and would not have gone anywhere ...

Elena. You would be bored. You are a terrible poet, Larion.

L a r i o s i k. No, what a poet I am! Where the hell is there ... Oh, excuse me, Elena Vasilievna!

Elena. Read, read something new. Well read. I really like your poems. You are very capable.

L a r i o s i k. Are you sincere?

Elena. Absolutely sincere.

LARIOSC. All right... I'll read it... I'll read it... Dedicated... Well, in a word, dedicated... No, I won't read poetry to you.

Elena. Why?

L a r i o s i k. No, why? ..

Elena. And to whom is it dedicated?

L a r i o s i k. To one woman.

Elena. Secret?

L a r i o s i k. Secret. To you.

Elena. Thank you dear.

LARIOSC. What a thank you to me!.. You can't make an overcoat out of thanks... Oh, excuse me, Elena Vasilievna, I got infected from Myshlaevsky. You know, such expressions come out...

Elena. I see. I think you are in love with Myshlaevsky.

L a r i o s i k. No. I'm in love with you.

Elena. Don't fall in love with me, Larion, don't.

L a r i o s i k. You know what? Marry me.

Elena. You are a touching person. Only this is impossible.

L a r i o s i k. He will not return! .. But how will you be alone? Alone, without support, without participation. Well, it's true, I'm a rather scab support ... weak, but I will love you very much. All life. You are my ideal. He won't come. Now, especially when the Bolsheviks are advancing ... He will not return!

Elena. He will not return. But that's not the point. Even if he came back, my life with him would still be over.

L a r i o s i k. They cut him off ... I could not look at you when he left. My heart was bleeding. After all, it was scary to look at you, by God ...

Elena. Was I that bad?

L a r i o s i k. Horror! Nightmare! Thin, very thin ... The face is yellow, pre-yellow ...

Elena. What are you thinking, Larion!

L a r i o s i k. Oh ... really, what the hell ... But now you are better, much better ... You are now ruddy, rosy ...

Elena. You, Lariosik, are an inimitable person. Come to me, I will kiss you on the forehead.

L a r i o s i k. On the forehead? Well, on the forehead - so on the forehead!

Elena kisses him on the forehead.

Of course, how can you love me!

Elena. It's even possible. Only I have a novel.

L a r i o s i k. What? Novel! Who? You? Are you having an affair? Can't be!

Elena. Am I not fit?

L a r i o s i k. You are a saint! You... And who is he? I know him?

Elena. And very well. L a r i o s i k. I know very well? .. Wait ... Who is it? Stop, stop, stop!.. Young man... you haven't seen anything... Get off the king, but don't touch the ladies... And I thought it was a dream. Damn lucky!

Elena. Lariosik! It is not modest!

L a r i o s i k. I'm leaving ... I'm leaving ....

Elena. Where where?

L a r i o s i k. I will go to the Armenian for vodka and drink myself unconscious ...

Elena. So I let you... Larion, I'll be your friend.

L a r i o s i k. I read it, I read it in novels ... As “I will be a friend” - that means it’s over, the end! End! (Puts on coat.)

Elena. Lariosik! Come back sooner! The guests are coming soon!

Lariosik, having opened the door, collides in the hall with Shervinsky, who comes in. He is in a vile hat and tattered coat, in blue glasses.

S h e r v i n s k i y. Hello Elena Vasilievna! Hello Larion!

L a r i o s i k. A ... hello ... hello. (Disappears.)

Elena. My God! Who do you look like!

S h e r v i n s k i y. Well, thank you, Elena Vasilievna. I already tried! Today I am driving in a cab, and already some proletarians are already darting and darting along the sidewalks. And one says in such an affectionate voice: “Look, Ukrainian master! Wait, he says, see you tomorrow. Tomorrow we will remove you from the cabs! I have an experienced eye. I, as I looked at him, immediately realized that I had to go home and change clothes. I congratulate you - Petliura cover!

Elena. What are you saying?!

S h e r v i n s k i y. Tonight will be red. So, Soviet power and the like!

Elena. What are you happy about? You might think that you yourself are a Bolshevik!

S h e r v i n s k i y. I am sympathetic! And I rented a coat from the janitor. This is a non-partisan coat.

Elena. This minute, if you please, remove this muck!

S h e r v i n s k i y. I'm listening! (He takes off his coat, hat, galoshes, glasses, remains in a magnificent tailcoat suit.) Here, congratulations, just from the debut. Sang and accepted.

Elena. Congratulations.

S h e r v i n s k i y. Lena, is there anyone at home? How is Nikolka?

Elena. Asleep...

S h e r v i n s k i y. Lena, Lena...

Elena. Let me in... Wait, why did you shave off your sideburns?

S h e r v i n s k i y. Makeup is more convenient.

Elena. It’s more convenient for you to make up like a Bolshevik. Oh, cunning, cowardly creature! Don't be afraid, no one will touch you.

S h e r v i n s k i y. Well, let them try to touch a person who has two full octaves in his voice and two more notes at the top! .. Lenochka! Can you explain?

Elena. Explain yourself.

S h e r v i n s k i y. Lena! It's all over... Nikolka is recovering... Petliura is being kicked out... I made my debut... Now it's starting new life. It is impossible for us to languish any longer. He won't come. They cut him off, Lena! I'm not bad, by God! .. I'm not bad. You look at yourself. You are alone. You wither...

Elena. Will you mend?

S h e r v i n s k i y. And from what should I, Lenochka, correct myself?

Elena. Leonid, I will become your wife if you change. And above all, stop lying!

S h e r v i n s k i y. Am I such a liar, Lenochka?

Elena. You are not a liar, but God knows you, some kind of empty, like a nut... What is it?! I saw the Sovereign Emperor in a curtain. And shed a tear... And there was nothing like that. This long one is a mezzo-soprano, but it turns out that she is just a saleswoman in a Semadeni coffee shop...

S h e r v i n s k i y. Lenochka, she served for a very short time, while she was without an engagement.

Elena. She seems to have an engagement!

S h e r v i n s k i y. Lena! I swear on the memory of my late mother, and also on my father - we had nothing. I'm an orphan.

Elena. I don't care. I'm not interested in your dirty secrets. Another thing is important: that you stop boasting and lying. The only time he told the truth was when he was talking about a cigarette case, and then no one believed him, the proof had to be presented. Fu!.. Shame... Shame...

S h e r v i n s k i y. About the cigarette case, I just lied to everything. Hetman did not give it to me, did not hug and did not shed a tear. He just forgot it on the table, and I hid it.

Elena. Pulled off the table?

S h e r v i n s k i y. Hid. This is a historical value.

Elena. My God, this was still missing! Give it here! (Takes away the cigarette case and hides it.)

S h e r v i n s k i y. Lenochka, the cigarettes there are mine.

Elena. Blessed is your God that you thought to tell me this. What if I found out myself?

S h e r v i n s k i y. How would you know?

Elena. Savage!

S h e r v i n s k i y. Not at all. Baby, I've changed terribly. I don't recognize myself, to be honest! The catastrophe had an effect on me, or Alyosha's death... I am different now. And don't worry financially, Lenusha, I'm - wow ... Today I sang at the debut, and the director says to me: “You, he says, Leonid Yuryevich, show amazing hopes. You should, he says, have to go to Moscow, to the Bolshoi Theater ... ”He came up to me, hugged me and ...

Elena. And what?

S h e r v i n s k i y. And nothing ... I went along the corridor ...

Elena. Incorrigible!

S h e r v i n s k i y. Lena!

Elena. What are we going to do with Thalberg?

S h e r v i n s k i y. Divorce. Divorce. Do you know his address? A telegram to him and a letter that it's all over! It's over!

Elena. OK then! I'm bored and lonely. It's dreary. Fine! I agree!

S h e r v i n s k i y. You won, Galilean! Lena! (Sings.) And you will be the queen of mi-i-i-ra ... “Salt” is pure! (Pointing to Thalberg's portrait.) I demand that he be thrown out! I can't see him!

Elena. Wow, what a tone!

SHERVINSKII (affectionately). I, Lenochka, cannot see him. (He breaks the portrait out of the frame and throws it into the fireplace.) Rat! And my conscience is clear and calm!

Elena. A frill suits you very well ... You are beautiful, what can I say! ..

S h e r v i n s k i y. We won't get lost...

Elena. Oh, I'm not afraid for you!.. You won't be lost!

S h e r v i n s k i y. Lena, let's go to you... I'll sing, you'll accompany... After all, we haven't seen each other for two months. All in public and in public.

Elena. Yes, they will come now.

S h e r v i n s k i y. And then we'll be back.

They leave and close the door. A piano is heard. Shervinsky sings the epithalamus from Nero in a magnificent voice.

NIKOLKA (enters, in a black cap, on crutches. Pale and weak. In a student jacket). Ah! .. Rehearsing! (Seeing the frame of the portrait.) Ah!.. Kicked out. I understand ... I guessed for a long time. (Lies down on the sofa.)

L a r i o s i k (appears in the hall). Nikolasha! Got up? One? Wait, I'll bring you a pillow. (Brings a pillow to Nikolka.)

N and to about l to and. Don't worry, Larion, you don't need to. Thank you. It can be seen, Larion, I will remain so crippled.

L a r i o s i c. Well, what are you, what are you, Nikolasha, shame on you!

N and to about l to and. Listen, Larion, why aren't they there yet?

L a r i o s i k. Not yet, but they will be soon. You know, I'm walking down the street right now - carts, carts, and on them these, with tails. It can be seen that the Bolsheviks beat them up nicely.

N and to about l to and. So they need it!

L a r i o s i k. But nevertheless I got some vodka! For the only time in my life I was lucky! I thought I would never get it. That's the kind of person I am! The weather was great when I went out. The sky is clear, the stars are shining, the cannons are not firing... Everything is going well in nature. But as soon as I show myself on the street, it will definitely snow. And indeed, he went out - and sleet sculpts in his face. But I got a bottle!.. Let Myshlaevsky know what I'm capable of. He fell twice, fucked the back of his head, but he held the bottle in his hands.

G o l o s S h e r v i n c o g o "You bless love..."

N and to about l to and. Look, see?.. Amazing news! Elena separates from her husband. She will marry Shervinsky.

L a r i o s i k (drops the bottle). Already?

N and to about l to and. Eh, Lariosik, uh!.. What are you, Larion, what are you?.. Ah... I understand! Did you crash too?

L a r i o s i k. Nikol, when it comes to Elena Vasilievna, such words as crashed are inappropriate. Understood? She is golden!

N and to about l to and. She is red, Larion, red. Downright misfortune. That's why everyone likes that the redhead. As anyone sees, now the bouquets are starting to be carried. So all the time in our apartment there were bouquets, like brooms. But Thalberg was angry. Well, you pick up the pieces, otherwise Myshlaevsky will appear right now, he will kill you.

L a r i o s i k. Don't tell him. (Picks up the pieces.)

The call, Lariosik lets in Myshlaevsky and Studzinskogo. Both are in civilian clothes.

M yshlaevsk and y. The Reds defeated Petlyura! Petliura's troops are leaving the city!

S t u d z i n s k i y. Yes Yes! The Reds are already in Slobodka. They'll be here in half an hour.

M yshlaevsk and y. Tomorrow, so here it will turn out soviet republic... Excuse me, it smells like vodka! Who drank vodka ahead of time? Confess. Why is this being done in this God-saved house?!.. You wash floors with vodka?!.. I know whose job it is! What are you all hitting?! What are you all hitting! This is in the full sense of the word golden hands! Whatever he touches - bam, fragments! Well, if you already have such an itch - hit the sets!

Behind the stage all the time the piano.

L a r i o s i k. What right have you to make remarks to me! I do not wish!

M yshlaevsk and y. What is everyone yelling at me for? Soon they will start beating! However, today I am kind for some reason. Mir, Larion, I'm not angry with you.

N and to about l to and. Why is there no shooting?

M yshlaevsk and y. Quietly, politely go. And without any fight!

L a r i o s i k. And most importantly, the most amazing thing is that everyone rejoices, even the undercut bourgeois. Before that, everyone was tired of Petliura!

N and to about l to and. I wonder what the Bolsheviks look like?

M yshlaevsk and y. You will see, you will see.

L a r i o s i k. Captain, what do you think?

S t u d z i n s k i y. I don't know, I don't understand now. It is best for us to get up and leave after Petliura. How we White Guards will get along with the Bolsheviks, I have no idea!

M yshlaevsk and y. Where for Petlyura?

S t u d z i n s k i y. Attach to some convoy and go to Galicia.

M yshlaevsk and y. And then where?

S t u d z i n s k i y. And there on the Don, to Denikin, and fight the Bolsheviks.

M yshlaevsk and y. Again, then, to the generals under command? This is a very smart plan. It is a pity that Alyoshka is lying in the ground, otherwise he could tell a lot of interesting things about the generals. But it's a pity, the commander calmed down.

S t u d z i n s k i y. Do not torment my soul, do not remember.

M yshlaevsk and y. No, excuse me, he's gone, excuse me, I'll talk... Back to the army, fight again? Especially when I saw Alyoshka in the anatomical theater.

Nikolka cried.

L a r i o s i k. Nikolasha, Nikolasha, what are you, wait a minute!

M yshlaevsk and y. Enough! I have been fighting since 1914. For what? For the fatherland? And this is the fatherland, when they threw me to shame?! .. And I again go to these lordships ?! Oh no. Did you see? (Shows shish.) Shish!

S t u d z i n s k i y. Please explain yourself in words.

M yshlaevsk and y. I'll explain now, be trustworthy. What am I, an idiot, really? No, I, Viktor Myshlaevsky, declare that I have nothing more to do with these scoundrel generals. I finished!

L a r i o s i k. Viktor Myshlaevsky became a Bolshevik.

M yshlaevsk and y. Yes, if you like, I am for the Bolsheviks!

S t u d z i n s k i y. Victor, what are you talking about?

M yshlaevsk and y. I am for the Bolsheviks, but only against the Communists.

S t u d z i n s k i y. That's funny. You need to understand what you are talking about.

Lariosik: Let me tell you that they are one and the same: Bolshevism and communism.

M yshlaevskii (mimicking). "Bolshevism and Communism". Well, then for the communists ...

S t u d z i n s k i y. Listen, captain, you mentioned the word "fatherland." What kind of fatherland, when the Bolsheviks? Russia is finished. You remember, the commander said, and the commander was right: here they are, the Bolsheviks! ..

M yshlaevsk and y. Bolsheviks?.. Excellent! I am glad!

S t u d z i n s k i y. Yes, they will mobilize you.

M yshlaevsk and y. And I will go and serve. Yes!

S t u d z i n s k i y. Why?!

M yshlaevsk and y. And here's why! Because! Because at Petliura, you said how much? Two hundred thousand! These two hundred thousand heels have been smeared with lard and are blowing at the very word "Bolsheviks". Did you see? Purely! Because behind the Bolsheviks there are a cloud of peasants ... And what can I oppose to them all? Leggings with piping? And they can't see this edge... Now they take up machine guns. Wouldn't you like to... In front are the Red Guards, like a wall, in the back are speculators and all sorts of riffraff with the hetman, and I'm in the middle? Submissive servant! No, I'm tired of portraying manure in the hole. Let them mobilize! At least I will know that I will serve in the Russian army. The people are not with us. The people are against us. Alyosha was right!

S t u d z i n s k i y. But what the hell is the Russian army when they finished off Russia?! Yes, they will shoot us anyway!

M yshlaevsk and y. And they will do great! They will take it to the Cheka, tax it and withdraw it to the expense. And they are calmer, and we ...

S t u d z i n s k i y. I will fight them!

M yshlaevsk and y. Please put on your overcoat! Go ahead! Blow!.. Shpar to the Bolsheviks, shout to them: I won't let you in! Nikolka has already been thrown down the stairs once! Did you take your head off? And you will be completely torn off. And rightly so - do not climb. Now things are not ours!

L a r i o s i k. I am against the horrors of civil war. In fact, why shed blood?

M yshlaevsk and y. Have you been to the war?

L a r i o s i k. Vitenka, I have a white ticket. Weak lungs. And besides, I'm the only son of my mother.

M yshlaevsk and y. That's right, comrade white ticket.

S t u d z i n s k i y. We had Russia - a great power! ..

M yshlaevsk and y. And it will be!.. It will be!

S t u d z i n s k i y. Yes, it will be, it will be - wait!

M yshlaevsk and y. The old will not be, the new will be. New! And here's what you tell me. When you are smashed to pieces on the Don - and that they will sack you, I predict to you - and when your Denikin gives a tear abroad - and I also predict this to you - then where?

S t u d z i n s k i y. Also abroad.

M yshlaevsk and y. You are needed there like a third wheel for a cannon! Wherever you go, they will spit in your mug from Singapore to Paris. I will not go, I will be here in Russia. And be with her what will be!.. Well, it's over, that's enough, I'm closing the meeting.

S t u d z i n s k i y. I see that I am alone.

SHERVINSKII (runs in). Wait, wait, don't close the meetings. I have an extraordinary application. Elena Vasilievna Talberg divorces her husband, former Colonel of the General Staff Talberg, and leaves ... (Bows, pointing to himself.)

Elena enters.

L a r i o s i k. Ah! ..

M yshlaevsk and y. Come on, Larion, where are we with the cloth snout in the Kalash row. Lena clear, let me hug and kiss you.

S t u d z i n s k i y. Congratulations, Elena Vasilievna.

MYSHLAEVSKY (follows Lariosik, who has run into the hall). Larion, congratulations - uncomfortable! Then you come back here.

L a r i o s i k (Elena). I congratulate you and wish you happiness. (to Shervinsky) Congratulations... congratulations.

M yshlaevsk and y. But well done, well done! After all, what a woman! He speaks English, plays the piano, but at the same time he can put on a samovar. I myself would marry you, Lena, with pleasure.

Elena. I wouldn't marry you, Vitenka.

M yshlaevsk and y. Well, it is not necessary. I love you so much. And I myself am mostly a bachelor and a military man. I like it to be cozy at home, without women and children, like in the barracks ... Larion, pour it! We must congratulate!

S h e r v i n s k i y. Wait, gentlemen! Don't drink this wine! I'll bring it to you now. You know what kind of wine it is! Wow! .. (He looked at Elena, faded.) Well, the average wine. Ordinary "Abrau-Durso".

M yshlaevsk and y. Lena, your work! Get married, Shervinsky, you're perfectly healthy! Well, congratulations and I wish you...

The door to the hall opens, and Thalberg enters in a civilian overcoat, with a suitcase.

S t u d z i n s k i y. Lord! Vladimir Robertovich... Vladimir Robertovich...

Talberg. My respect.

Dead pause.

M yshlaevsk and y. This number!

Talberg Hello, Lena! Are you surprised?

A little strange! It would seem that I could be more surprised to find such a cheerful company in my half at such a difficult time. Hello Lena. What does it mean?

S h e r v i n s k i y. And here's what...

Elena. Wait a minute... Gentlemen, everyone, come out for a minute, leave us alone with Vladimir Robertovich.

S h e r v i n s k i y. Lena, I don't want to!

M yshlaevsk and y. Wait, wait... We'll settle everything. Keep calm... Should we roll out, Lenochka?

Elena. Yes.

M yshlaevsk and y. I know you are smart. In which case, call me. Personally. Well, gentlemen, let's smoke, let's go to Larion. Larion, take your pillow and let's go.

Everyone leaves, and for some reason Lariosik is on tiptoe.

Elena. I ask you to.

Talberg: What does all this mean? Please explain.

What jokes? Where is Alexey?

Elena. Alexei was killed.

Talberg: It can't be!.. When?

Elena. Two months ago, two days after you left.

TALBERG: Oh, my God, it's terrible! But I did warn you. Do you remember?

Elena. Yes I remember. And Nikolka is a cripple.

Talberg: Of course, all this is terrible... But I'm not to blame for this whole story... And you must admit that this is by no means the reason for organizing such a, I would say, stupid demonstration.

Elena. Tell me how did you get back? After all, today the Bolsheviks will already be ...

Talberg: I ​​am well aware of the matter. The Hetmanate turned out to be a stupid operetta. The Germans deceived us. But in Berlin I managed to get a business trip to the Don, to General Krasnov. Kyiv must be abandoned immediately ... there is no time ... I'm behind you.

Elena. You see, I am divorcing you and marrying Shervinsky.

TALBERG (after a long pause). Fine! Very good! To take advantage of my absence to arrange a vulgar novel...

Elena. Victor!..

Enter M yshlaevsk and y.

M yshlaevsk and y. Lena, are you authorizing me to explain myself?

Elena. Yes! (Exits.)

M yshlaevsk and y. Understood. (Goes up to Thalberg.) Well? Out! .. (Strikes him.)

Thalberg is confused. Goes to the front, leaves.

M yshlaevsk and y. Lena! Personally!

Elena enters.

Left. Gives a divorce. We talked very nicely.

Elena. Thank you Victor! (Kisses him and runs away.)

M yshlaevsk and y. Larion!

L a r i o s i k (enters). Already left?

M yshlaevsk and y. Gone!

L a r i o s i c. You are a genius, Vitenka!

M yshlaevsk and y. "I am a genius - Igor Severyanin." Put out the lights, light the tree and play some kind of march.

Lariosik puts out the light in the room, illuminates the Christmas tree with electric bulbs, runs out into the next room. March.

Lord, please!

Enter Shervinsky, Studzinsky, Nikolka and Yelena.

S t u d z i n s k i y. Very beautiful! And how comfortable it was!

M yshlaevsk and y. Larion's work. Well, now let me congratulate you for real. Larion, that's enough!

LARIOSC enters with a guitar, hands it to Nikolka.

Congratulations, Lena clear, once and for all. Forget everything. And in general - your health! (Drinking.)

N and kolka (touches the strings of the guitar, sings).

Tell me, sorcerer, favorite of the gods, What will come true in my life? And soon, to the delight of the neighbors-enemies of Mogilnaya, will I be covered with earth? So louder, music, play victory, We won, and the enemy is running, running, running!

M yshlaevsk and y (sings). So for the Council of People's Commissars...

Everyone, except Studzinsky, picks up:

“We will burst out loud“ Hurrah! Hooray! Hooray!".

S t u d z i n s k i y. Well, the devil knows what!.. Shame on you!

N and to l to and (sings).

From the dark forest, an inspired wizard walks towards him...

L a r i o s i k. Wonderful! .. Lights ... Christmas tree ...

M yshlaevsk and y. Larion! Give us a speech!

N and to about l to and. That's right, talk!

L a r i o s i k. I, gentlemen, really do not know how! And besides, I'm very shy.

M yshlaevsk and y. Larion speaks!

L a r i o s i k. Well, if society pleases, I will say. I'm just sorry, I didn't prepare. Lord! We met at the most difficult and terrible time, and we all went through a lot, a lot ... including myself. I survived the drama of life ... And my fragile ship was battered by the waves of the civil war for a long time ...

M yshlaevsk and y. How good about the ship ...

L a r i o s i c. Yes, a ship ... Until it was washed up in this harbor with cream curtains, with people that I liked so much ... However, I found drama with them too ... Well, not it is worth talking about sorrows. Time has turned. Here Petlyura disappeared... Everyone is alive... yes... we are all together again... And even more than that: here is Elena Vasilievna, she also experienced a lot, a lot and deserves happiness, because she is a wonderful woman. And I want to tell her in the words of the writer: "We will rest, we will rest ..."

Distant cannon strikes.

M yshlaevsk and y. So, sir! .. Have a rest! .. Five ... six ... Nine! ..

Elena. Is there a fight again?

S h e r v i n s k i y. No. It's fireworks!

M yshlaevsk and y. Quite right: the six-inch battery salutes.

Behind the scene from afar, getting closer, the orchestra plays the "Internationale".

Lord, do you hear? It's the red ones coming!

Everyone goes to the window.

N and to about l to and. Gentlemen, tonight is a great prologue to a new historical play.

S t u d z i n s k i y. To whom - a prologue, and to whom - an epilogue.

Notes

1

"Whoever goes hunting loses his place" (French). Here and in what follows, the translation is made by the author.

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2

Please, call Major von Doust to the telephone. Yes... Yes... (German)

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3

We have the honor to greet Your Grace (German).

(back)

4

I am very glad to see you, gentlemen. Please sit down ... I have just received news of the plight of our army (German).

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5

We have known about this for a long time.

(back)

6

This is unheard of! (German)

(back)

7

Your Excellency, we don't have time. We must... (German)

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8

Quiet! (German)

(back)

9

Homeland is homeland (German).

(back)

10

Mr. Doctor, be so kind... (German)

(back)

11

Done (German).

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12

This minute (German).

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13

Goodbye (German)

(back).

Characters

Act one

Picture one

Picture two

Action two

Picture one

Picture two

Act Three

Picture one

Picture two

Action four. . . . . . . . . . . . . .

Bulgakov as a playwright

Today we take a closer look at creative activity Mikhail Afanasyevich Bulgakov- one of the most famous writers and playwrights of the last century. He was born on May 3, 1891 in Kyiv. During his life, there were big changes in the device Russian society which was reflected in many of Bulgakov's works. It is no coincidence that he is considered the heir best traditions Russian classical literature, prose and dramaturgy. He gained world fame thanks to such works as "The Master and Margarita", "Heart of a Dog" and "Fatal Eggs".

Three works by Bulgakov

A special place in the writer's work is occupied by a cycle of three works: a novel "White Guard" and plays "Run" And "Days of the Turbins" based on real events. Bulgakov borrowed the idea from the memories of the emigration of his second wife, Lyubov Evgenievna Belozerskaya. Part of the novel "White Guard" was first published in the magazine "Russia" in 1925.

At the beginning of the work, the events taking place in the Turbin family are described, but gradually, through the history of one family, the life of the whole people and country is revealed, and the novel acquires a philosophical meaning. There is a story about the events of the civil war of 1918 in Kyiv, occupied by the German army. As a result of signing Brest Peace it does not fall under the control of the Bolsheviks and becomes a refuge for many Russian intellectuals and military men who flee from Bolshevik Russia.

Aleksey and Nikolka Turbins, like other residents of the City, volunteer to join the defenders, and Elena, their sister, guards the house, which becomes a refuge for former officers of the Russian army. Note that it is important for Bulgakov not only to describe the revolution that took place in history, but also to convey the subjective perception of the civil war as a kind of catastrophe in which there are no winners.

The image of a social cataclysm helps to reveal the characters - someone is running, someone prefers death in battle. Some commanders, realizing the futility of resistance, send their fighters home, others actively organize resistance and perish along with their subordinates. And yet - in times of great historical turning points, people do not stop loving, believing, worrying about loved ones. But the decisions they have to make on a daily basis have a different weight.

Artwork characters:

Alexey Vasilyevich Turbin - doctor, 28 years old.
Elena Turbina-Talberg - Alexei's sister, 24 years old.
Nikolka - non-commissioned officer of the First Infantry Squad, brother of Alexei and Elena, 17 years old.
Victor Viktorovich Myshlaevsky - lieutenant, friend of the Turbin family, Alexei's friend at the Alexander Gymnasium.
Leonid Yuryevich Shervinsky - a former Life Guards Lancers Regiment, lieutenant, adjutant at the headquarters of General Belorukov, friend of the Turbin family, Alexei's comrade at the Alexander Gymnasium, a longtime admirer of Elena.
Fedor Nikolaevich Stepanov (Karas) - second lieutenant artilleryman, friend of the Turbin family, Alexei's comrade at the Alexander Gymnasium.
Nai-Tours - Colonel, commander of the unit where Nikolka serves.

Character prototypes and historical background

An important aspect is the autobiographical nature of the novel. Although the manuscripts have not been preserved, the Bulgakov scholars traced the fate of many characters and proved the almost documentary accuracy of the events described by the author. The prototypes of the main characters in the novel were a relative of the writer himself, and the decorations were the Kyiv streets and his own house, in which he spent his youth.

In the center of the composition is the Turbin family. It is quite widely known that its main prototypes are members of Bulgakov's own family, however, for the purpose of artistic typification, Bulgakov deliberately reduced their number. In the main character, Alexei Turbina, one can recognize the author himself during the years when he was engaged in medical practice, and the prototype of Elena Talberg-Turbina, Alexei's sister, can be called Bulgakov's sister, Elena. It is also noteworthy that the maiden name of Bulgakov's grandmother is Turbina.

Another of the main characters is Lieutenant Myshlaevsky, a friend of the Turbin family. He is an officer devotedly defending his fatherland. That is why the lieutenant is enrolled in the mortar division, where he turns out to be the most trained and tough officer. According to Bulgakov scholar Ya. Yu. Tinchenko, the prototype of Myshlaevsky was a friend of the Bulgakov family, Pyotr Aleksandrovich Brzhezitsky. He was an artillery officer and participated in the same events that Myshlaevsky told about in the novel. The other friends of the Turbins remain faithful to their officer's honor in the novel: Stepanov-Karas and Shervinsky, as well as Colonel Nai-Tours.

The prototype of Lieutenant Shervinsky was another friend of Bulgakov - Yuri Leonidovich Gladyrevsky, an amateur singer who served (albeit not as an adjutant) in the troops of Hetman Skoropadsky, he later emigrated. The prototype of Karas is believed to have been a friend of the Syngaevskys.

The three works are connected by the novel "White Guard", which served as the basis for the play "Days of the Turbins" and several subsequent productions.

"White Guard", "Running" and "Days of the Turbins" on stage

After part of the novel was published in the Rossiya magazine, the Moscow Art Theater invited Bulgakov to write a play based on The White Guard. This is how the "Days of the Turbins" were born. In it, the main character Turbin incorporates the features of three characters from the novel "The White Guard" - Alexei Turbin himself, Colonel Malyshev and Colonel Nai-Tours. The young man in the novel is a doctor, in the play he is a colonel, although these professions are completely different. In addition, one of the heroes, Myshlaevsky, does not hide the fact that he is a professional military man, since he does not want to be in the camp of the defeated. The relatively easy victory of the Reds over the Petliurites makes a strong impression on him: “These two hundred thousand heels have been smeared with lard and are blowing at the very word “Bolsheviks”.” At the same time, Myshlaevsky does not even think about the fact that he will have to fight with his yesterday's friends and comrades in arms - for example, with Captain Studzinsky.

One of the obstacles to accurately conveying the events of the novel is censorship.

As for the play "Running", its plot was based on the story of the escape of the guards from Russia during the Civil War. It all starts in the north of Crimea, and ends in Constantinople. Bulgakov describes eight dreams. This technique is used by him to convey something unreal, something that is hard to believe. Heroes of different classes run from themselves and circumstances. But this is a Run not only from the war, but also to love, which is so lacking in the harsh years of the war...

Screen adaptations

Of course, one could look at this amazing story not only on the stage, but, ultimately, in the cinema. The screen version of the play "Running" was released in 1970 in the USSR. The script was based on the works "Running", "White Guard" and "Black Sea". The film consists of two series, the directors are A. Alov and V. Naumov.

Back in 1968, a film based on the play "Running" was shot in Yugoslavia, directed by Z. Shotra, and in 1971 in France, directed by F. Shulia.

The novel "The White Guard" served as the basis for the creation of the television series of the same name, which was released in 2011. Starring: K. Khabensky (A. Turbin), M. Porechenkov (V. Myshlaevsky), E. Dyatlov (L. Shervinsky) and others.

Another three-part television feature film, Days of the Turbins, was made in the USSR in 1976. A number of location shootings of the film were made in Kyiv (Andreevsky Spusk, Vladimirskaya Gorka, Mariinsky Palace, Sofia Square).

Bulgakov's works on stage

The stage history of Bulgakov's plays was not easy. In 1930, his works were no longer printed, the plays were removed from the theater repertoires. The plays "Running", "Zoyka's Apartment", "Crimson Island" were banned from staging, and the play "Days of the Turbins" was withdrawn from the show.

In the same year, Bulgakov wrote to his brother Nikolai in Paris about the unfavorable literary and theatrical situation and the difficult financial situation. Then he sends a letter to the government of the USSR with a request to determine his fate - either to give the right to emigrate, or to provide the opportunity to work at the Moscow Art Theater. Bulgakov is called by Joseph Stalin himself, who recommends the playwright to apply with a request to enroll him in the Moscow Art Theater. However, in his speeches, Stalin agreed: "Days of the Turbins" - "An anti-Soviet thing, and Bulgakov is not ours".

In January 1932, Stalin again allowed the production of The Days of the Turbins, and before the war it was no longer banned. True, this permission did not apply to any theater, except for the Moscow Art Theater.

The performance was played before the beginning of the Great Patriotic War. During the bombing of Minsk in June 1941, when the Moscow Art Theater was on tour in Belarus, the scenery burned down.

In 1968, the director, People's Artist of the RSFSR Leonid Viktorovich Varpakhovsky, staged The Days of the Turbins again.

In 1991, The White Guard, directed by the People's Artist of the USSR Tatyana Vasilievna Doronina, returned to the stage once again. The performance was a great success with the audience. The genuine acting successes of V. V. Klementyev, T. G. Shalkovskaya, M. V. Kabanov, S. E. Gabrielyan, N. V. Penkov and V. L. Rovinsky revealed to the audience of the 1990s the drama of the revolutionary years, the tragedy of ruin and losses. The merciless cruelty of the revolutionary upheaval, general destruction and collapse broke into life.

The "White Guard" embodies nobility, honor, dignity, patriotism and awareness of one's own tragic end.

The post was inspired by the reading of Mikhail Afanasyevich Bulgakov's play Days of the Turbins. This play was included in school curriculum, or was recommended as extracurricular reading, but I didn’t read it at school, although I heard about it. Hands have reached here only now.

Summary of the play "Days of the Turbins" by Mikhail Afanasyevich Bulgakov
The play takes place in Ukraine in 1918. Ukraine is in the hands german troops and Hetman Skoropadsky. The White movement in Ukraine is an ally of the Germans and the Hetman. In connection with the withdrawal of Germany from the war, the position of the hetman becomes precarious, as Petlyura's well-armed and numerous troops are approaching Kiev. Shortly before the capture of Kyiv by Petliura, leaving everything behind, the hetman fled to Germany. Together with him runs Vladimir Robertovich Talberg, husband of Elena Vasilievna Talberg. The brothers of Elena Vasilievna, Colonel Alexei Turbin and Nikolai, together with their colleagues and friends Captain Myshlaevsky, Lieutenant Shervinsky, Captain Studzinsky, are fragments of the white movement in Ukraine, and after the hetman's flight, they are practically the only, albeit very small, force opposing the Bolsheviks.

The unit, commanded by Colonel Alexei Trubin, is advancing and preparing for defense against Petlyura's troops. Shortly before the enemy arrives, Aleksey Trubin gives the command to take off his shoulder straps and hide, because he does not understand whom he should now protect. He himself dies, covering the retreat of his comrades, his brother Nikolai is seriously injured, but survives.

Two months later, the Bolsheviks drive Petlyura's troops out of Kyiv, and the life of the main characters again takes a sharp turn: Elena Vasilievna decides to divorce her husband who has fled and marry Shervinsky, who has become a singer. Myshlaevsky and Studzinsky think what to do next and whose side to take. One thing is clear to everyone: life will never be the same again.

Meaning
"Days of the Turbins" by Mikhail Bulgakov shows the collapse of the old life for several not the worst representatives of the old tsarist regime, now the White Guards. Not wanting to have anything to do with the Bolsheviks, they become allies of the Germans and the Hetman, but even there they quickly discover that they have nothing to defend, and that their lives will never be the same again.

Conclusion
I do not recommend reading the play "Days of the Turbins" by M.A. Bulgakov, because:
- the topic of the Civil War is not close to me, because almost a hundred years have passed (of course, if the topic is close to you, then read it to your health);
- I am not a fan of plays;
- I don’t particularly like the work of M.A. Bulgakov (especially "The Master and Margarita").

Turbine A leksey V a s i l ' y e vich - colonel-artilleryman, 30 years old.

Turbin Nikolay - his brother, 18 years old.

T a l berg Elena V a s i l e vna – their sister, 24 years old.

Tal'berg Vladimir R obertovich - Colonel of the General Staff, her husband, 38 years old.

Myshlaevsky Viktor Viktorovich – staff captain, artilleryman, 38 years old.

Shervinsky Leonid Yuryevych - lieutenant, personal adjutant of the hetman.

Studzinskiy Aleksandr Bronislavovich – captain, 29 years old.

L a r i o s i k - Zhytomyr cousin, 21 years old.

Hetman in all of Ukraine.

B o l b o t n - commander of the 1st Petlyura Cavalry Division.

Galanba - Petliurist centurion, former uhlan captain.

Hurricane.

K and rp a t y.

F o n Sh r a t t is a German general.

F o n D u s t is a German major.

Doctor of the German Army.

D e s e r t i r-s e c h e v i k.

Man

C a m e r l a k e y.

M a k s i m - gymnasium pedel, 60 years old.

Gaidamak - telephone operator.

F irst officer.

Second officer.

T r e t i y o f ic e r.

F irst Junker.

The second junker.

T r e t i y y n k e r.

Y n kera i g a i d a m a k i.

The first, second and third acts take place in the winter of 1918, the fourth act in early 1919.

The place of action is the city of Kyiv.

Act one

Picture one

Turbin's apartment. Evening. Fire in the fireplace. At the opening of the curtain, the clock strikes nine times and the minuet of Boccherini gently plays.

Alexei bent over the papers.

N and to about l to and (plays guitar and sings).

Worse rumors every hour:

Petliura is coming at us!

We loaded the guns

We fired at Petliura,

Machine gunners-chiki-chiki...

Doves-chiki...

You rescued us, well done.

Alexei. God knows what you're eating! Cook's songs. Sing something decent.

N and to about l to and. Why cooks? I composed this myself, Alyosha. (Sings.)

Do you want to sing, do not sing,

Hair will stand on end...

Alexei. It's just about your voice. N and to about l to and. Alyosha, you are in vain, by God! I have a voice, though not the same as Shervinsky's, but still quite decent. Dramatic, most likely - a baritone. Lenochka, and Lenochka! How do you think I have a voice?

Elena (from his room). Who? At your place? I don't have any.

N and to about l to and. She was upset, that's why she answers. And by the way, Alyosha, my singing teacher told me: "You," he says, "Nikolai Vasilievich, in essence, could sing in the opera, if it weren't for the revolution."

Alexei. Your singing teacher is a fool.

N and to about l to and. I knew it. Complete breakdown of nerves in the turbine house. The singing teacher is a fool. I don’t have a voice, but yesterday I still had it, and in general pessimism. I tend to be more optimistic by nature. (Pulls the strings.) Although you know, Alyosha, I'm starting to worry myself. It's already nine o'clock, and he said that he would come in the morning. Has something happened to him?

Alexei. You speak softer. Understood?

N and to about l to and. Here is the commission, the creator, to be a married brother sister.

Elena (from his room). What time is it in the dining room?

N and to about l to and. Er... nine. Our clock is ahead, Lenochka.

Elena (from his room). Please don't compose.

N and to about l to and. Look, he's worried. (Sings.) Foggy ... Oh, how foggy everything is! ..

Alexei. Please don't break my soul. Sing merry.

N and to about l to and (sings).

Hello summer folks!

Hello gardeners!

Filming has already begun...

Hey, my song!.. Beloved!..

Bul-boo-boo, bottle

Treasury wine!!.

Peakless caps,

shaped boots,

Then the cadets of the guards are coming ...

The electricity suddenly goes out. Outside the windows with the song is a military unit.

Alexei. The devil knows what it is! It fades every minute. Lenochka, give me candles, please.

Elena (from his room). Yes Yes!..

Alexei. Some part is gone.

Elena, leaving with a candle, listens. A distant gunshot.

N and to about l to and. How close. The impression is that they are shooting near Svyatoshyn. I wonder what's going on there? Alyosha, maybe you will send me to find out what's the matter at the headquarters? I would go.

Alexei. Of course, you are still missing. Please sit still.

N and to about l to and. Listen, Mr. Colonel... I, in fact, because, you know, inaction... somewhat insulting... People are fighting there... At least our division was more likely to be ready.

Alexei. When I need your advice in preparing the division, I will tell you myself. Understood?

N and to about l to and. Understood. I'm sorry, Colonel.

Electricity flashes.

Elena. Alyosha, where is my husband?

Alexei. Come, Lenochka.

Elena. But how is it? He said that he would come in the morning, but now it is nine o'clock, and he is still missing. Has something already happened to him?

Alexei. Lenochka, well, of course, this cannot be. You know that the line to the west is guarded by the Germans.

Elena. But why is it still not there?

Alexei. Well, obviously, they stand at every station.

N and to about l to and. Revolutionary riding, Lenochka. You drive for an hour, you stop for two.

Well, here he is, I told you! (Runs to open the door.) Who's there?

N and to about l to and (let Myshlaevsky into the hall). Is that you, Vitenka?

M yshlaevsk and y. Well, I, of course, to be crushed! Nicol, take the rifle, please. Here, the devil's mother!

Elena. Victor, where are you from?

M yshlaevsk and y. From under the Red Inn. Hang carefully, Nicol. A bottle of vodka in my pocket. Don't break it. Allow me, Lena, to spend the night, I won’t get home, I’m completely frozen.

Elena. Oh, my God, of course! Go quickly to the fire.

They go to the fireplace.

M yshlaevsk and y. Oh oh oh...

Alexei. Why couldn't they give you felt boots, or what?

M yshlaevsk and y. Felt boots! They are such bastards! (Rushes towards the fire.)

Elena. Here's what: the bath is heating up there now, you undress him as soon as possible, and I'll prepare his underwear. (Exits.)

M yshlaevsk and y. Baby, take it off, take it off, take it off...

N and to about l to and. Now. (Takes off Myshlaevsky's boots.)

M yshlaevsk and y. Easier, brother, oh, easier! I would like to drink vodka, vodka.

Alexei. Now ladies.

N and to about l to and. Alyosha, my toes are frozen.

M yshlaevsk and y. Fingers gone to hell, gone, that's clear.

Alexei. Well, what are you! They will depart. Nikolka, rub his feet with vodka.

M yshlaevsk and y. So I let my legs rub with vodka. (Drinking.) Three hand. It hurts!.. It hurts!.. It's easier.