By Chekhov, Anton Pavlovich; Nelson, Richard; Pevear, Richard; Volokhonsky, Larissa
" "Pevear and Volokhonsky are immediately scrupulous translators and brilliant stylists of English."-The New Yorker. There have consistently been models of Chekhov's masterwork: the single with which we're all common, as revised and staged by means of Konstantin Stanislavsky on the Moscow artwork Theatre in 1904, and the single Chekhov had initially wrote. Now, for the 1st time in any language, either complete models are available a unmarried quantity. by means of reconstructing the unique pre-rehearsal script that Chekhov submitted, the translators shed new and marvelous mild on one of many critical works of the fashionable theater."-- Read more...
summary: " "Pevear and Volokhonsky are immediately scrupulous translators and brilliant stylists of English."-The New Yorker. There have consistently been types of Chekhov's masterwork: the single with which we're all primary, as revised and staged by means of Konstantin Stanislavsky on the Moscow artwork Theatre in 1904, and the single Chekhov had initially wrote. Now, for the 1st time in any language, either complete types are available a unmarried quantity. by way of reconstructing the unique pre-rehearsal script that Chekhov submitted, the translators shed new and dazzling mild on one of many vital works of the trendy theater."
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Extra resources for The cherry orchard : a comedy in four acts
It’s time. (To Gaev) Bye-bye. (Exchanges kisses with Pishchik) Bye-bye. (Gives his hand to Varya, then to Firs and Yasha) I don’t feel like leaving. (To Lyubov Andreevna) Think it over about the summer houses, and if you decide to do it, let me know. I’ll get you a loan of fifty thousand. Think seriously. VARYA (Angrily) Will you finally leave?! 58 LOPAKHIN I’m leaving, I’m leaving . . (Exits) GAEV A boor. Pardon, however . . Varya’s going to marry him, he’s Varya’s little suitor. VARYA You talk too much, uncle dear.
Eh? We could celebrate its jubilee. It’s an inanimate object, but still, all the same, it’s a bookcase. PISHCHIK (Surprised) A hundred years . . Imagine that . . GAEV Yes . . That’s something . . (Pats the bookcase) Dear, much-esteemed bookcase! I hail your existence, which for more than a hundred years now has been intent upon the bright ideals of justice and the good. Your silent summons to fruitful work has never slackened in those hundred years, maintaining courage in the generations of our family, (He becomes tearful) faith in a better future, and fostering in us the ideals of the good and of social consciousness.
It was God’s will. TROFIMOV (Gently, through tears) There, there . . LYUBOV ANDREEVNA (Weeps softly) My little boy died, he drowned . . Why? Why, my friend? (More softly) Anya’s asleep in there, and I talk so loudly . . make noise . . Well, so, Petya? How is it you’ve lost your looks? How is it you’ve aged so much? TROFIMOV A peasant woman on the train once called me a mangy mister. LYUBOV ANDREEVNA 63 You were still a boy then, a sweet young student, and now—thin hair, glasses. Can it be you’re still a student?