Boris Godunov (Hayes 1918)
BORÍS GODUNÓV
BORÍS GODUNÓV
A DRAMA IN VERSE
By
Alexander Sergyeyevich Pushkin
Rendered into English Verse by
ALFRED HAYES
With Preface by
C. NABOKOFF
(Minister Plenipotentiary in England)

LONDON
KEGAN PAUL, TRENCH, TRUBNER & CO., LTD.,
NEW YORK: E. P. DUTTON & CO,
PRINTED IN GREAT BRITAIN BY THE ANCHOR PRESS LTD. TIPTREE ESSEX.
PREFACE
By C. Nabokoff
The average educated Russian is intensely fond of poetry, literature, and music. Everyone has his favourite poet, writer, or musician, but there is one poet whose immeasurable superiority over all others is universally acknowledged in Russia. That poet is Alexander Pushkin; most Russians believe that Pushkin is the greatest poet that ever lived. We not only admire him, we worship him; he stands apart. There is no other poet as versatile as Pushkin—lyrics, epic, satire, novels, historical drama, ballads, fairy tales in verse, he has left masterpieces in every one of these forms of art, so we believe. And of all he has written, with the one possible exception of his romance in verse, Evgueni Onieguine, the drama Borís Godunóv is thought to be his greatest work.
Pushkin, an exile living on his estate near Pskof, read the History of Russia by our first great historian Karamzin, and was particularly interested in the period of Russian history which preceded the so-called ‘Troubled Times’ the first decade of the seventeenth century. This period offers indeed ample material for historical drama or chronicle. Pushkin’s desire to dramatise the narrative of Karamzin was further stimulated by the study of Shakespeare, whose tragedies he undoubtedly accepted as a model. The influence of Shakespeare on Pushkin’s work was so far-reaching that it deserves a special study which is, however, outside the scope of these remarks.
Boris Godunóv, in inspiration, in its general structure, in the masterful intuition of historical atmosphere, so closely resembles Shakespeare’s great tragedies that one is almost tempted to describe this drama as an adaptation of Shakespeare to Russian history. This resemblance never appeared so striking to me as when I read Mr Hayes’ translation, in itself a work of the loftiest kind. I confess that when I first received Mr Hayes’ manuscript, I was not free from misgivings. There are certain passages in Borís Godunóv, namely, the scene in Pimen’s cell, the dialogue between the Pretender and Marina, known as the ‘Scene by the Fountain,’ and the monologue of Borís, ‘I have attained supreme power,’ which Russians have always considered untranslatable and the music of the Russian language in these scenes impossible to render in any other language. Mr Hayes has achieved the impossible.
I have no doubt that the reader who is not acquainted with the original will appreciate the beauty of Mr Hayes’ inspiration; for myself, I can pay no higher tribute to his achievement than by saying that the translation is worthy of the original.
The scenic production of Borís Godunóv is an extremely difficult task, as no less than twenty-four changes of scenery are required if the drama is to be produced as it is written. A revolving stage alone affords this possibility. Borís is not, therefore, a ‘pièce du répertoire’ in Russia, and an effort of even greater magnitude would be necessary for the production in England. Nevertheless, it is to be hoped that Mr Hayes’ remarkable translation will gain wide popularity in this country. For the last three years much has been done to promote the study of Russian art and literature in Great Britain and to spread the knowledge of the Russian language. Mr Hayes’ translation of Borís Godunóv will undoubtedly be of much value to teachers of Russian in England.
C. NABOKOFF
PREFATORY NOTE
The thanks of the translator are due to Dr Louis Segal for his valuable help in the revision of this work, and to Professor Granville Bantock at whose suggestion it was undertaken.
A. H.
DRAMATIS PERSONÆ[1]
Borís Godunóv, afterwards Tsar.
Prince Shuisky | Russian nobles. | |
Prince Vorotinsky |
Shchelkálov, Russian Minister of State.
Father Pimen, an old monk and chronicler.
The Patriarch. Abbot of the Chudov Monastery.
Missail | wandering friars. | |
Varlaam |
Athanasius Mikailovich Púshkin, friend of Prince Shuisky.
Feódor, young son of Borís Godunóv.
Semyón Nikitich Godunóv, secret agent of Borís Godunóv.
Gabriel Púshkin, nephew of A. M. Púshkin.
Prince Kúrbsky | disgraced Russian nobles. | |
Khrushchov |
Karéla, a Cossack.
Prince Vishnevetsky. Mníshek, Governor of Sambór.
Basmánov, a Russian officer.
Marzheret | officers of the Pretender. | |
Rozen |
Dimítry, the Pretender, formerly Gregory Otrépiev.
Mosalsky, a Boyár.
Ksenia, daughter of Borís Godunóv. Nurse of Ksenia.
Marina, daughter of Mníshek.
Rouzya, tire-woman of Ksenia. Hostess of tavern.
Boyárs, The People, Inspectors, Officers, Attendants, Guests, a Boy in attendance on Prince Shuisky, a Catholic Priest, a Polish Noble, a Poet, an Idiot, a Beggar, Gentlemen, Peasants, Guards, Russian, Polish, and German Soldiers, a Russian Prisoner of War, Boys, an old Woman, Ladies, Serving-women.
- ↑ The list of Dramatis Personæ, which does not appear in the original has been added for the convenience of the reader—A.H.
Scenes (not listed in original)
- Scene 1—Palace of the Kremlin.
- Scene 2—The Red Square.
- Scene 3—The Virgin’s Field. The New Nunnery.
- Scene 4—The Palace of the Kremlin.
- Scene 5—Night. Cell in the Monastery of Chudov.
- Scene 6—Fence of the Monastery.
- Scene 7—Palace of the Patriarch.
- Scene 8—Palace of the Tsar.
- Scene 9—Tavern on the Lithuanian Frontier.
- Scene 10—Moscow. Shuisky’s House.
- Scene 11—Palace of the Tsar.
- Scene 12—Crácow. House of Vishnevétsky.
- Scene 13—Castle of the Governor Mníshek in Sambór.
- Scene 14—A Suite of Lighted Rooms.
- Scene 15—Night, The Garden. The Fountain.
- Scene 16—The Lithuanian Frontier.
- Scene 17—The Council of the Tsar.
- Scene 18—A Plain Near Novgorod Seversk.
- Scene 19—Open Space in Front of the Cathedral in Moscow.
- Scene 20—Syevsk.
- Scene 21—A Forest.
- Scene 22—Moscow. Palace of the Tsar.
- Scene 23—A Tent.
- Scene 24—Public Square in Moscow.
- Scene 25—The Kremlin. House of Borís.
BORÍS GODUNÓV
(1825)
PALACE OF THE KREMLIN
(February 20th, A.D. 1598)
PRINCE SHUISKY and VOROTÍNSKY
THE RED SQUARE
THE PEOPLE
THE VIRGIN’S FIELD
THE NEW NUNNERY. The People.
THE PALACE OF THE KREMLIN
BORÍS, PATRIARCH, Boyárs
NIGHT
Cell in the Monastery of Chudov (A.D. 1603)
FATHER PIMEN, GREGORY (sleeping)
FENCE OF THE MONASTERY[1]
GREGORY and a Wicked Monk
- ↑ This scene was omitted by Pushkin from the published version of the play.
PALACE OF THE PATRIARCH
PATRIARCH, ABBOT of the Chudov Monastery
Patriarch. And he has run away, Father Abbot?
Abbot. He has run away, holy sovereign, now three days ago.
Patriarch. Accursèd rascal! What is his origin?
Abbot. Of the family of the Otrépievs, of the lower nobility of Galicia; in his youth he took the tonsure, no one knows where, lived at Suzdal, in the Ephimievsky monastery, departed from there, wandered to various convents, finally arrived at my Chudov fraternity; but I, seeing that he was still young and inexperienced, entrusted him at the outset to Father Pimen, an old man, kind and humble. And he was very learned, read our chronicle, composed canons for the holy brethren; but, to be sure, instruction was not given to him from the Lord God———
Patriarch. Ah, those learned fellows! What a thing to say, “I shall be tsar in Moscow.” Ah, he is a vessel of the devil! However, it is no use even to report to the tsar about this; why disquiet our father sovereign? It will be enough to give information about his flight to the Secretary Smirnov or the Secretary Ephimiev. What a heresy: “I shall be tsar in Moscow!” . . . Catch, catch the fawning villain, and send him to Solovetsky to perpetual penance. But this—is it not heresy, Father Abbot?
Abbot. Heresy, holy Patriarch; downright heresy.
PALACE OF THE TSAR
Two Attendants
TAVERN ON THE LITHUANIAN FRONTIER
MISSAIL and VARLAAM, wandering friars; GREGORY in secular attire; HOSTESS
Hostess. With what shall I regale you, my reverend honoured guests?
Varlaam. With what God sends, little hostess. Have you no wine?
Hostess. As if I had not, my fathers! I will bring it at once. (Exit.)
Missail. Why so glum, comrade? Here is that very Lithuanian frontier which you so wished to reach.
Gregory. Until I shall be in Lithuania, till then I shall not be content.
Varlaam. What is it that makes you so fond of Lithuania? Here are we, Father Missail and I, a sinner, when we fled from the monastery, then we cared for nothing. Was it Lithuania, was it Russia, was it fiddle, was it dulcimer? All the same for us, if only there was wine. That’s the main thing!
Missail. Well said, Father Varlaam.
Hostess. (Enters.)
There you are, my fathers. Drink to your health.
Missail. Thanks, my good friend. God bless thee. (The monks drink. Varlaam trolls a ditty: “Thou passest by, my dear,” etc.) (To Gregory) Why don’t you join in the song? Not even join in the song?
Gregory. I don’t wish to.
Missail. Everyone to his liking———
Varlaam. But a tipsy man’s in Heaven.[1] Father Missail! we will drink a glass to our hostess. (Sings: “Where the brave lad in durance,” etc.) Still, Father Missail, when I am drinking, then I don’t like sober men; tipsiness is one thing—but pride quite another. If you want to live as we do, you are welcome. No?—then take yourself off, away with you; a mountebank is no companion for a priest.
Gregory. Drink, and keep your thoughts to yourself,[2] Father Varlaam! You see, I too sometimes know how to make puns.
Varlaam. But why should I keep my thoughts to myself?
Missail. Let him alone, Father Varlaam.
Varlaam. But what sort of a fasting man is he? Of his own accord he attached himself as a companion to us; no one knows who he is, no one knows whence he comes—and yet he gives himself grand airs; perhaps he has a close acquaintance with the pillory. (Drinks and sings: “A young monk took the tonsure,” etc.)
Gregory. (To Hostess.) Whither leads this road?
Hostess. To Lithuania, my dear, to the Luyóv mountains.
Gregory. And is it far to the Luyóv mountains?
Hostess. Not far; you might get there by evening, but for the tsar’s frontier barriers, and the captains of the guard.
Gregory. What say you? Barriers! What means this?
Hostess. Someone has escaped from Moscow, and orders have been given to detain and search everyone.
Gregory. (Aside.) Here’s a pretty mess!
Varlaam. Hallo, comrade! You’ve been making up to mine hostess. To be sure you don’t want vodka, but you want a young woman. All right, brother, all right! Everyone has his own ways, and Father Missail and I have only one thing which we care for—we drink to the bottom, we drink; turn it upside down, and knock at the bottom.
Missail. Well said, Father Varlaam.
Gregory. (To Hostess.) Whom do they want? Who escaped from Moscow?
Hostess. God knows; a thief perhaps, a robber. But here even good folk are worried now. And what will come of it? Nothing. They will not catch the old devil; as if there were no other road into Lithuania than the highway! Just turn to the left from here, then by the pine-wood or by the footpath as far as the chapel on the Chekansky brook, and then straight across the marsh to Khlopin, and thence to Zakhariev, and then any child will guide you to the Luyóv mountains. The only good of these inspectors is to worry passers-by and rob us poor folk. (A noise is heard.) What’s that? Ah, there they are, curse them! They are going their rounds.
Gregory. Hostess! is there another room in the cottage?
Hostess. No, my dear; I should be glad myself to hide. But they are only pretending to go their rounds; but give them wine and bread, and Heaven knows what—May perdition take them, the accursed ones! May———
(Enter Officers.)
Officers. Good health to you, mine hostess!
Hostess. You are kindly welcome, dear guests.
An Officer. (To another.) Ha, there’s drinking going on here; we shall get something here. (To the Monks.) Who are you?
Varlaam. We—are two old clerics, humble monks; we are going from village to village, and collecting Christian alms for the monastery.
Officer. (To Gregory.) And thou?
Missail. Our comrade.
Gregory. A layman from the suburb; I have conducted the old men as far as the frontier; from here I am going to my own home.
Missail. So you have changed your mind?
Gregory. (Sotto voce.) Be silent.
Officer. Hostess, bring some more wine, and we will drink here a little and talk a little with these old men.
2nd Officer. (Sotto voce.) Yon lad, it appears, is poor; there’s nothing to be got out of him; on the other hand the old men———
1st Officer. Be silent; we shall come to them presently.—Well, my fathers, how are you getting on?
Varlaam. Badly, my sons, badly! The Christians have now turned stingy; they love their money; they hide their money. They give little to God. The people of the world have become great sinners. They have all devoted themselves to commerce, to earthly cares; they think of worldly wealth, not of the salvation of the soul. You walk and walk; you beg and beg; sometimes in three days begging will not bring you three half-pence. What a sin! A week goes by; another week; you look into your bag, and there is so little in it that you are ashamed to show yourself at the monastery. What are you to do? From very sorrow you drink away what is left; a real calamity! Ah, it is bad! It seems our last days have come———
Hostess. (Weeps.) God pardon and save you!
(During the course of Varlaam’s speech the 1st Officer watches Missail significantly.)
1st Officer. Alexis! have you the tsar’s edict with you?
2nd Officer. I have it.
1st Officer. Give it here.
Missail. Why do you look at me so fixedly?
1st Officer. This is why; from Moscow there has fled a certain wicked heretic—Grishka Otrepiev. Have you heard this?
Missail. I have not heard it.
Officer. Not heard it? Very good. And the tsar has ordered to arrest and hang the fugitive heretic. Do you know this?
Missail. I do not know it.
Officer. (To Varlaam.) Do you know how to read?
Varlaam. In my youth I knew how, but I have forgotten.
Officer. (To Missail.) And thou?
Missail. God has not made me wise.
Officer. So then here’s the tsar’s edict.
Missail. What do I want it for?
Officer. It seems to me that this fugitive heretic, thief, swindler, is—thou.
Missail. I? Good gracious! What are you talking about?
Officer. Stay! Hold the doors. Then we shall soon get at the truth.
Hostess. O the cursèd tormentors! Not to leave even the old man in peace!
Officer. Which of you here is a scholar?
Gregory. (Comes forward.) I am a scholar!
Officer. Oh, indeed! And from whom did you learn?
Gregory. From our sacristan.
Officer (Gives him the edict.) Read it aloud.
Gregory. (Reads.) “An unworthy monk of the Monastery of Chudov, Gregory, of the family of Otrepiev, has fallen into heresy, taught by the devil, and has dared to vex the holy brotherhood by all kinds of iniquities and acts of lawlessness. And, according to information, it has been shown that he, the accursed Grishka, has fled to the Lithuanian frontier.”
Officer. (To Missail.) How can it be anyone but you?
Gregory. “And the tsar has commanded to arrest him———”
Officer. And to hang!
Gregory. It does not say here “to hang.”
Officer. Thou liest. What is meant is not always put into writing. Read: to arrest and to hang.
Gregory. “And to hang. And the age of the thief Grishka” (looking at Varlaam) “about fifty, and his height medium; he has a bald head, grey beard, fat belly.”
(All glance at Varlaam.)
1st Officer. My lads! Here is Grishka! Hold him! bind him! I never thought to catch him so quickly.
Varlaam. (Snatching the paper.) Hands off, my lads! What sort of a Grishka am I? What! fifty years old, grey beard, fat belly! No, brother. You’re too young to play off tricks on me. I have not read for a long time and I make it out badly, but I shall manage to make it out, as it’s a hanging matter. (Spells it out.) “And his age twenty.” Why, brother, where does it say fifty?—Do you see—twenty?
2nd Officer. Yes, I remember, twenty; even so it was told us.
1st Officer. (To Gregory.) Then, evidently, you like a joke, brother.
(During the reading Gregory stands with downcast head, and his hand in his breast.)
Varlaam. (Continues.) “And in stature he is small, chest broad, one arm shorter than the other, blue eyes, red hair, a wart on his cheek, another on his forehead.” Then is it not you, my friend?
(Gregory suddenly draws a dagger; all give way before him; he dashes through the window.)
Officers. Hold him! Hold him!
(All run out in disorder.)
MOSCOW. SHUISKY’S HOUSE
SHUISKY. A number of Guests. Supper
(Exeunt Guests: he conducts them to the door.)
Púshkin. Hardly could they tear themselves away; indeed, Prince Vassíly Ivanovitch, I began to think that we should not succeed in getting any private talk.
Shuisky. (To the Servants.) You there, why do you stand gaping? Always eavesdropping on gentlemen! Clear the table, and then be off.
(Exeunt Servants.)
What is it, Athanasius Mikailovitch?
PALACE OF THE TSAR
The TSARÉVICH is drawing a map. The TSARÉVNA. The NURSE of the Tsarévna
Ksenia. (Kisses a portrait.) My dear bridegroom, comely son of a king, not to me wast thou given, not to thy affianced bride, but to a dark sepulchre in a strange land; never shall I take comfort, ever shall I weep for thee.
Nurse. Eh, tsarévna! a maiden weeps as the dew falls; the sun will rise, will dry the dew. Thou wilt have another bridegroom—and handsome and affable. My charming child, thou wilt learn to love him, thou wilt forget Iván the king’s son.
Ksenia. Nay, nurse, I will be true to him even in death.
(Borís enters.)
CRÁCOW. HOUSE OF VISHNEVÉTSKY
The PRETENDER and a CATHOLIC PRIEST
CASTLE OF THE GOVERNOR MNÍSHEK IN SAMBÓR
Dressing-Room of Marina
MARINA, ROUZYA (dressing her), Serving-Women
A SUITE OF LIGHTED ROOMS. Music
VISHNEVÉTSKY, MNÍSHEK
NIGHT
THE GARDEN. THE FOUNTAIN
THE LITHUANIAN FRONTIER
(October 16th, 1604)
PRINCE KÚRBSKY and PRETENDER, both on horseback. Troops approach the Frontier
THE COUNCIL OF THE TSAR
The TSAR, the PATRIARCH and Boyárs
A PLAIN NEAR NOVGOROD SEVERSK
(December 21st, 1604)
A BATTLE
Soldiers. (Run in disorder.) Woe, woe! The Tsarévich! The Poles! There they are! There they are!
(Captains enter: Márzheret and Walther Rozen.)
Márzheret. Whither, whither? Allons! Go back!
One of the Fugitives. You go back, if you like, cursèd infidel.
Márzheret. Quoi, quoi?
Another. Kva! kva! You like, you frog from over the sea, to croak at the Russian tsarévich; but we—we are orthodox.
Márzheret. Qu’est-ce a dire “orthodox”? Sacrés gueux, maudite canaille! Mordieu, mein Herr, j’enrage; on dirait que ca n’a pas de bras pour frapper, ca n’a que des jambes pour fuir.
Rozen. Es ist Schande.
Márzheret. Ventre-saint gris! Je ne bouge plus d’un pas; puisque le vin est tiré, il faut le boire. Qu’en dites-vous, mein Herr?
Rozen. Sie haben Recht.
Márzheret. Tudieu, il y fait chaud! Ce diable de “Pretender,” comme ils l’appellent, est un bougre, qui a du poil au col?—Qu’en pensez-vous, mein Herr?
Rozen. Ja.
Márzheret. Hé! voyez donc, voyez donc! L’action s’engage sur les derrières de l’ennemi. Ce doit être le brave Basmánov, qui aurait fait une sortie.
Rozen. Ich glaube das.
(Enter Germans.)
Márzheret. Ha, ha! voici nos allemands. Messieurs! Mein Herr, dites-leur done de se raillier et, sacrebleu, chargeons!
Rozen. Sehr gut. Halt! (The Germans halt.) Marsch!
The Germans. (They march.) Hilf Gott!
(Fight. The Russians flee again.)
Poles. Victory! Victory! Glory to the tsar Dimítry!
Dimítry. (On horseback.) Cease fighting. We have conquered. Enough! Spare Russian blood. Cease fighting.
OPEN SPACE IN FRONT OF THE CATHEDRAL IN MOSCOW
THE PEOPLE
One of the People. Will the tsar soon come out of the cathedral?
Another. The mass is ended; now the Te Deum is going on.
The First. What! have they already cursed him?
The Second. I stood in the porch and heard how the deacon cried out:—Grishka Otrepiev is anathema!
The First. Let him curse to his heart’s content; the tsarévich has nothing to do with the Otrepiev.
The Second. But they are now singing mass for the repose of the soul of the tsarévich.
The First. What? A mass for the dead sung for a living man? They’ll suffer for it, the godless wretches!
A Third. Hist! A sound. Is it not the tsar?
A Fourth. No, it is the idiot.
(An idiot enters, in an iron cap, hang round with chains, surrounded by boys.)
The Boys. Nick, Nick, iron nightcap! T-r-r-r-r———
Old Woman. Let him be, you young devils. Innocent one, pray thou for me a sinner.
Idiot. Give, give, give a penny.
Old Woman. There is a penny for thee; remember me in thy prayers.
Idiot. (Seats himself on the ground and sings:)
(The boys surround him again.)
One of Them. How do you do, Nick? Why don’t you take off your cap?
(Raps him on the iron cap.)
How it rings!
Idiot. But I have got a penny.
Boys. That’s not true; now, show it.
(They snatch the penny and run away.)
Idiot. (Weeps.) They have taken my penny, they are hurting Nick.
The People. The tsar, the tsar is coming!
(The Tsar comes out from the Cathedral; a boyár in front of him scatters alms among the poor. Boyárs.)
Idiot. Borís, Borís! The boys are hurting Nick.
Tsar. Give him alms! What is he crying for?
Idiot. The boys are hurting me . . . Give orders to slay them, as thou slewest the little tsarévich.
Boyárs. Go away, fool! Seize the fool!
Tsar. Leave him alone. Pray thou for me, Nick.
(Exit.)
Idiot. (To himself) No, no! It is impossible to pray for tsar Herod; the Mother of God forbids it.
SYEVSK
The PRETENDER, surrounded by his supporters
A FOREST
PRETENDER and PÚSHKIN
(In the background lies a dying horse)
MOSCOW. PALACE OF THE TSAR
BORÍS. BASMÁNOV
A TENT
BASMÁNOV leads in PÚSHKIN
PUBLIC SQUARE IN MOSCOW
PÚSHKIN enters, surrounded by the people
THE KREMLIN. HOUSE OF BORÍS
A GUARD on the Staircase. FEÓDOR at a Window
Beggar. Give alms, for Christ’s sake!
Guard. Go away; it is forbidden to speak to the prisoners.
Feódor. Go, old man, I am poorer than thou; thou art at liberty.
(Ksenia, veiled, also comes to the window.)
One of the People. Brother and sister—poor children, like birds in a cage.
Second Person. Are you going to pity them ? Accursed family!
First Person. The father was a villain, but the children are innocent.
Second Person. The apple does not fall far from the apple-tree.
Ksenia. Dear brother! dear brother! I think the boyárs are coming to us.
Feódor. That is Golitsin, Mosalsky. I do not know the others.
Ksenia. Ah! dear brother, my heart sinks.
(Golitsin, Mosalsky, Molchanov, and Sherefedinov; behind them three archers.)
The People. Make way, make way; the boyárs come.
(They enter the house.)
One of the People. What have they come for?
Second. Most like to make Feódor Godunóv take the oath.
Third. Very like. Hark! what a noise in the house! What an uproar! They are fighting!
The People. Do you hear? A scream! That was a woman’s voice. We will go up. We will go up!—The doors are fastened—the cries cease—the noise continues.
(The doors are thrown open. Mosalsky appears on the staircase.)
Mosalsky. People! Maria Godunóv and her son Feódor have poisoned themselves. We have seen their dead bodies.
(The People are silent with horror.)
Why are ye silent? Cry, Long live the tsar Dimítry Ivánovich!
(The People are speechless.)
THE END
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This work is in the public domain in the United States because it was published before January 1, 1930. The longest-living author of this work died in 1936, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 88 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
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