But though I probably belong to the more literal rather than the freer school of translators, my aim has been that this version can plausibly be spoken as well as read. It is worth saying that the diaereses marked by three full stops in the text are those in the original Russian text to mark a break or pause, which have been retained.

I have almost always left non-Russian words and phrases in the text and translated them in the notes. The originals of Chekhov’s many references to and quotations from literature and songs have mostly been tracked down by scholars (even Chekhov could not always give his sources) but I have given a note only for the better known; the details of a forgotten song are not going to be illuminating.

A note on the vexed question of Russian names: all Russian Orthodox (and non-Orthodox) had and have a single first (Christian) name followed by a patronymic deriving from the father’s first name. Thus in Ivanov Sasha Lebedeva is formally Aleksandra Pavlovna Lebedeva. But Aleksandra can generate a shoal of recognized, often affectionate diminutives: in this play alone, Sasha, Shura, Shurka, Shurochka, Sashenka. Diminutives can be scornful or patronizing too. Patronymics are often abbreviated, so that Sergeyevich, for example, becames Sergeich. There are the French versions of names, too. I have tended to leave names in the forms Chekhov used. The various alternatives for each character are listed in the appropriate list of characters.

Then there are the ‘tears’ in stage directions. In a letter of 23 October 1903 to Vladimir Nemirovich-Danchenko, co-founder of the Moscow Art Theatre, Chekhov expresses his concern about Anya in The Cherry Orchard being played in a tearful way, making the point that he often uses the phrase ‘skvoz’ slyozy’ (literally ‘through tears’ and so ‘in tears’) in stage directions to indicate mood rather than actual tears. This must go beyond The Cherry Orchard. I have translated the phrase throughout as ‘with tears in his/her eyes’ — leaving it to the reader to determine the precise intention.

A brief Glossary covers currency and units of measurement common to the plays.

For transliteration I have strictly applied the so-called ‘British system’ now in widespread general use throughout the English-speaking world.

Last — though first — I thank Richard Gilman for some stimulating discussion, and Antony Wood for the knowledge, sensitivity and vigilance exercised in preparing the text for publication.

Peter Carson

GLOSSARY

Desyatina: A unit of land measurement equivalent to 2.7 acres (1.09 hectares).

Pud: A measure of weight, approximately 36 lb (16.33 kg).

Rouble (rubl’): Then as now the central Russian unit of currency, divided into 100 kopecks (kopeyka). The rouble was stable throughout the period Chekhov was writing, and was worth £ 0.16 or US$ 0.76.

Verst (versta): The standard pre-revolutionary measure of distance, c. 0.67 miles (1.07 km).

Zolotnik: A measure of weight, c. 2.40 drams (4.26 gm).

Ivanov

A Drama in Four Acts

CHARACTERS

NIKOLAY ALEKSEYEVICH IVANOV [also KOLYA, NICOLAS, NIKOLASHA], a permanent member of the Office for Peasant Affairs

ANNA PETROVNA [also ANYA, ANYUTA, SARA], his wife, née Sara Abramson1

COUNT MATVEY SEMYONOVICH SHABELSKY [also MATYUSHA], his maternal uncle

PAVEL KIRILLYCH LEBEDEV [also PASHA, PASHENKA], chairman of the District Council2

ZINAIDA SAVISHNA [also ZYUZYUSHKA], his wife

SASHA [also ALEKSANDRA PAVLOVNA, SANICHKA, SASHENKA, SHURA, SHURKA, SHUROCHKA], the Lebedevs’ daughter, aged twenty

YEVGENY KONSTANTINOVICH LVOV, a young district doctor

MARFA YEGOROVNA BABAKINA [also MARFUSHA, MARFUTKA], a young widow, a landowner and the daughter of a rich merchant3

DMITRY NIKITICH KOSYKH, an excise officer

MIKHAIL MIKHAYLOVICH BORKIN [also MISHA], a distant relative of Ivanov and manager of his estate

AVDOTYA NAZAROVNA, an old woman of indeterminate profession

YEGORUSHKA, a hanger-on4of the Lebedevs

FIRST GUEST

SECOND GUEST

THIRD GUEST

FOURTH GUEST

PYOTR, a manservant of Ivanov’s

GAVRILA [also GAVRYUSHA], a manservant of the Lebedevs Guests of both sexes, servants

The action takes place in one of the Districts5of central Russia.

Act One

The garden of Ivanov’s country estate. Left, the house façade and terrace. One window is open. In front of the terrace a broad semicircular lawn, from which avenues lead into the garden straight ahead and right. On the right-hand side are garden benches and small tables. On one of the tables a lamp is burning. Evening is coming on. As the curtain rises a piano-cello duet is being practised indoors.

I

[IVANOV and BORKIN.]

[IVANOV is sitting at a table, reading a book. BORKIN appears at the end of the garden wearing big boots and carrying a shotgun; he is rather drunk; seeing Ivanov he goes up to him on tiptoe and as he comes level with him takes aim at his face.]

IVANOV [seeing Borkin, starts and jumps up]: Misha, God knows what ... you frightened me ... As it is I’m in a state and your silly jokes ... [Sits down.] He gives me a fright and that makes him happy ...

BORKIN [laughing loudly]: There, there ... I’m sorry, I’m sorry. [Sits down next to him.] I won’t any more, I won’t ... [Takes off his cap.] It’s hot. Would you believe it, dear boy, I’ve done seventeen versts in something like three hours ... I’m worn out ...