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DEC - DEC MAY 05 [272 L161— O-1096 а A р 1 xy sa ь ww a ки 5 ae к | i Pan) ы cpr i м У т у и pee rai hoe DHE, MODERN LIBRARY OF THE WORLD’S BEST BOOKS hams. ; vA Wf REDEMPTION AND OTHER PLAYS Oscar WILDE Dorian Gray; Poems; Fairy Tales and Poems in Prose STRINDBERG Married; Miss Julie and other plays KIPLING Soldiers Three STEVENSON Treasure Island HeEnrRIK ШвзЕМ A Doll’s House, Etc. ; Hedda Gabler, Etc.; The Wild Duck; Rosmersholm; The League of Youth ANATOLE FRANCE The Red Lily; The Crime of Sylvestre Bonnard Dre MAUPASSANT Une Vie; Mademoiselle Fifi, Etc. DosTOYEVSKY Poor People MAETERLINCK A Miracle of St. Anthony, Etc. SCHOPENHAUER Studies in Pessimism SAMUEL BUTLER The Way of All Flesh GrorceE MEREDITH Diana of the Crossways С. В. ЗнА\ An Unsocial Socialist Gro. Moore Confessions of a Young Man THOMAS Harpy Mayor of Casterbridge Tuos. SELTZER Best Russian Stories NIETZSCHE Beyond Good and Evil; Thus Spake Zarathustra; Genealogy of Morals TURGENEV Fathers and Sons SWINBURNE Poems Wm. Dean HoweELts A Hazard of New Fortunes W. $. GILBERT The Mikado and other Plays GUSTAVE FLAUBERT Madame Bovary JAMES STEPHENS Mary, Mary ANTON CHEKHOV Rothschild’s Fiddle, Ete. ARTHUR SCHNITZLER Anatol and other Plays; Bertha Garlan SuDERMANN Dame Care Lorp Dunsany A Dreamer’s Tales; The Book of Wonder G. K. CHESTERTON The Man Who Was Thursday THE MODERN LIBRARY Н. G. Wetts The War in the Air; Ann Veronica HAECKEL, WEISMANN, Etc. Evolution in Modern Thought Евлмс15 THOMPSON ‘Complete Poems Ropin AUBREY BEARDSLEY Art of Aubrey Beardsley | BAuzac Short Stories EpwWArpD CARPENTER Love’s Coming of Age Геком1р ANDREYEV The Seven that Were Hanged Maxi1M Совку Creatures that Once Were Men Max BEERBOHM Zuleika Dobson Max STIRNER The Ego and His Own GEORGE GISSING Private Papers of Henry Ryecroft VOLTAIRE Candide W. В. УЕАтТЗ Trish Fairy and Folk Tales THEOPHILE GAUTIER Mile. De Maupin Wooprow WILson Addresses and Messages Joun Macy The Spirit of American Literature FRANCOIS VILLON Poems Even Key, Havetocx E;tis, G. Lowes Dickinson, Ete. The Woman Question FRANK Norris Henry JAMES Daisy Miller and an Interna- tional Episode Тео Тот.5тоу The Death of Ivan Ilyitch and Other Stories GABRIELE D’ANNUNZIO The Flame of Life Моревм Воок or ENGLISH VERSE Edited by Richard LeGallienne МорЕвм Book or AMERICAN VERSE Edited by Richard ГеСаШерле May SINCLAIR The Belfry Art of Rodin McTeague Other Titles in Preparation Many volumes contain introductions by well-known modern Authors written specially for The Modern Library | REDEMPTION | AND TWO OTHER PLAYS By LEO TOLSTOY Introduction by ARTHUR HOPKINS BOND AND? LIMERIGIEEY UNC, PUBLISHERS ee oh NEW YORK COPYRIGHT, 1919, By BONI & LIVERIGHT, Inc. Printed in the United States of America CONTENTS PAGE INTRODUCTION BY ARTHUR HOPKINS . ... . vi И yh gut (ee 3 Per Powee Cr) DARENESS ee aE eo.) ae ee ОО ОСТ и Аа eA a softly 2 | Masha (sitting on couch L. with ЕЕруА). Dol? But |what was it I asked you for? 4] | Fedya. What? Oh, money. Voila, mademoiselle. [He takes money from his trousers pocket. MASHA laughs, takes the money, counts it swiftly, and hides tt in her dress. Fedya. Look at this strange creature. When she sings she rushes ше into the sky and all she asks for is money, little presents of money for throwing open the Gates of Par- ,adise. You don’t know yourself, at all, do you? Masha. What’s the use of me wondering about myself? I know when I’m in love, and I know that I sing best yates my love is singing. Fedya. Do you love me? Masha (murmuring). I love you. Fedya. But I am a married man, and you belong to this gypsy troupe. They wouldn’t let you leave it, and Masha (interrupting). The troupe’s one thing, and my heart’s another. I love those I love, and I hate those I hate. Fedya. Oh, you must be happy to be like that. Masha. Ym always happy when handsome gentlemen _come and say nice things to me. (Gypsies stop sing- ing.) [A gypsy entering speaks to FEDYA. Gypsy. Some one asking for you. Fedya. Who? Gypsy. Don’t know. Не’ rich, though. Fur coat. Fedya. Fur coat? O my God, show him in. Afremov. Who the devil wants to see you here? 12 REDEMPTION. Fedya (carelessly). God knows, I don’t. (Begins to hum а song.) [KARENIN comes in, looking around the room. (Exclaiming). На! Victor! You're the last man in the world I expected to break into this enchanting milieu. Take off your coat, and they’ll sing for you. Karenin. Je voudrais vous parler sans temoins. [MASHA rises and joins the group К. Fedya. Oh. . . . What about? Karenin. Je viens de chez vous. Votre femme ma chargé de cette lettre, et puis [ЕЕруА takes the letter, opens it, reads. He frowns, — then smiles affectionately at KARENIN. Fedya. You know what’s in this letter, Victor? [Не is smiling gently all the time. Karenin (looking at Fedya rather severely). Yes, I know. But really, Fedya, you’re in no | Fedya_ (interrupting). Please, please don’t think I’m drunk and don’t realize what I’m saying. Of course I’m drunk, but I see everything very clearly. Now go ahead. What were you told to tell me? Karenin (is standing Г. С. Shrugging his shoulders). Your wife asked me to find you and to tell you she’s wait- | ing for you. She wants you to forget everything and come back. [ Pause. Karenin (stiffly). Elizaveta Protosova sent for me and suggested that I Fedya (as he hesitates). Yes. Karenin (finishing rather lamely). But I ask you not so much for her as for myself Fedya, come home. Fedya (looking up at him, smiling rather whimsically). You’re a much finer person than I am, Victor. Of course that’s not saying much. I’m not very much good, am I? (Laughing gently.) But that’s exactly why I’m not go- ing to do what you want me to. It’s not the only reason, though. The real reason is that I just simply can’t. How could IP Karenin (persuasively). Come along to my rooms, Fedya, and ГИ tell her you'll be back to-morrow. REDEMPTION 13 Г Fedya (wistfully). To-morrows can’t change what we are. She’ll still be she, and I will still be I to-morrow. |(Сое; to the table and drinks.) No, it’s better to have \the tooth out in one pull. Didn’t I say that if I broke my word she was to leave me? Well, I’ve broken it, and that’s enough. | Karenin. Yes. For you, but not for her. | Fedya (down Г. Politely insolent). You know... |163 rather odd, that you, of all men, should take so much | trouble to keep our marriage from going to pieces. и" (revolted). Good God, Fedya! You don’t think [Masua crosses L., goes to FEDYA. FEDYA inter- rupting him with a return of his former friendli- ness. Fedya. Come now, my dear Victor, you shall hear them sing. Masha (whispering to Fedya). What’s his name? We must honor him with a song. Fedya (laughing). О good God, yes! Honor him by all means. His name is Victor Michaelovitch. (Saluting Karenin.) Victor, my lord! son of Michael! [The gypsies sing a song of greeting and laudation. As they begin to sing, MasHa and FEDYA sit on couch L. (When song is finished.) Karenin (in an imploring tone). Fedya! [Exits quietly Г. 0. Fedya (business with Masha). Where’s the fur coat? Gone, eh? All right. May the devil go with it. Fedya. Do you know who that was? Masha, I heard his name. Fedya. Ah, he’s a splendid fellow. He came to take me home to my wife. You see she loves even a fool like me, (caressing her hair) and look what I’m doing. M fasha. You should go back to her and be very sorry. Fedya. Do you think I should? (He kisses her.) Well, I think I shouldn’t. Masha. Of course, you needn’t go back to her if you don’t love her. Love i is all that counts. ; 14 REDEMPTION Fedya_ (smiling).. How do you know that? з Masha (looking at him timidly). I don’t know, but I 0. Fedya. Now, let’s have “Мо More at Evening.” (As the gypsies sing, Masua lies on her back across his lap, looking up into his face, which she draws down to her, and they kiss until the music begins to cease.) That’s wonderful! Divine! If I could only lie this way forever, with my arms around the heart of joy, and sleep .. . and die.... (He closes his eyes; his voice trails away.) [Lights dim and out, then the | CURTAIN SCENE III SOPHIA KARENINA’S boudoir. SOPHIA KARENINA, VICTOR’S mother, 15 reading a book. She is a great lady, over fifty, but tries to look younger. She likes to inter- lard her conversation with French words. A servant enters. Servant (enters R., announcing). Prince Sergius Abreskov. | Sophia Karenina (on sofa over L.). Show him in, please. [She turns and picks up hand mirror from table back of couch, arranging her hair. Prince Sergius (enters R. 1. Entering). J’espere que je ne force pas la consigne. [Crossing to sofa L. He kisses her hand. He is a charming old diplomat of seventy. Sophia Karenina. Ah, you know well que vous étes tou- jours le bien venu. . . . Tell me, you have received my letter? Prince Sergius. I did. Me voila. (Sits L. on sofa L.) Sophia Karenina (working up to distress). Oh, my dear friend, I begin to lose hope. She’s bewitched him, positively bewitched him. I] est ensorcelé. I never knew he could be so obstinate, so heartless, and so indifferent to REDEMPTION 15 me. Не’ changed completely since that woman leit her husband. Prince Sergius. Ном do matters actually stand? Sophia Karenina. Well, he’s made up his mind to marry her at any cost. 4 Prince Sergius. And her husband? Sophia Karenina. Не agrees to.a.divorce. Prince Sergius. Really? р Sophia Karenina. And Victor is willing to put up with _all the sordidness, the ener bes of the divorce court, the | lawyers, evidences of guilt . . . tout са est брома. ит can’t understand his sensitive ‘nature not being repelled by it. Prince Sergius (smiling). Нез in love, and when a man’s really in love—— Sophia Karenina (interrupting). In_ our time love could remain pure, coloring one’s whole life with a Tomantic friendship. Such love I understand and value. aes Prince Sergius (sighing). However 1 genera- tion refuses to live on dreams. (He coughs delicately.) La possession de РАше ne leur за plus. So what is the alternative? But tell me more of Victor. Sophia Karenina. There’s not very much to say. He seems bewitched, hardly my son. Did you know Га called upon her? Victor pressed me so it was impossible to refuse. But Dieu merci, I found her out. So I-merely left my card, and now she has asked me if I could receive her to-day, and I am expecting her (she glances at her watch) any moment now. I am doing all this to please Victor, but conceive my feelings. I know you always can. Really, really, I need your help. , Prince Sergius (bowing). Thank you for the honor you do me. Sophia Karenina. You realize this visit decides Vic- tor’s fate. I must refuse my consent, or But that’s im- possible. Prince Sergius. Have you met her? Sophia Karenina. Гуе never seen her, but I’m afraid fof her. No good woman leaves _her husband, especially when there’s nothing obviously intolerable about ‘him. Why, - 16 REDEMPTION I’ve seen Protosov often with Victor, and found him even quite charming. Prince Sergius (murmurs). So Ive heard. So I’ve heard. Sophia Karenina (continuing). She should bear her cross without complaint. And Victor must cease trying to persuade himself that his happiness lies in defying his ‘principles. What I don’t understand is how Victor, with ‚5$ religious views, can think of marrying a divorced ‘woman. I’ve heard him Say over and over again—once quite lately—that divorce is totally inconsistent with true Christianity. If she’s been able to fascinate him to that point, I am afraid of her—But how stupid of me to talk all the time! Have you spoken to him at all? What does he say? And don’t you thoroughly agree with me? Prince Sergius. Yes, I’ve spoken to Victor. I think he really loves her, has grown accustomed to the idea of lov-. ing her, pour ainsi dire. (Shaking his head.) I don’t be- lieve he could ever now care for another woman. Sophia Karenina (sighing). And Varia Casanzeva would have made him such a charming wife. She’s so de- voted already. Prince Sergius (smiling). Iam afraid I hardly see her in the present . . . tableau. (Earnestly.) Why not sub- mit to Victor’s wish and help him? Sophia Karenina. To marry a divorcée? And after- vA \ wards have him running into his wife’s husband? “How can” ~ you calmly suggest that a mother accept such a situation for her son? Prince Sergius. But, chére amie, why not approve of the inevitable? And you might console yourself by regarding the dangers he’ll avoid by marrying this gentle, lovely woman. After all, suppose he conceived a passion for some one—— [Convey the word “disreputable”. Sophia Karenina. How can a good woman leave her husband? Prince Sergius. Ah, that’s not like you. You’re unkind and you’re harsh. Her husband is the sort of man—well, he’s his own worst enemy. А weakling, a ne ’er-do-well— REDEMPTION 17 he’s spent all his money and hers too. She has a child. Do you think you can condemn her for leaving him? As a matter of fact she didn’t leave him, he left her. Sophia Karenina (faintly). Oh what a mud-pen I’m slipping into! Prince Sergius: (amused). Could your religion aid your Sophia Karenina (smelling her salts). In this instance, religion would require of me the impossible. C’est plus fort que moi. | Prince Sergius. Fedya himself—you know what a charming clever creature he is when he’s in his senses—he advised her to leave him. [Enter Victor who kisses his mother’s hand and greets PRINCE SERGIUS. Karenin. Ah, Prince Sergius! (Shakes hands with Prince—formally.) Maman, I’ve come to tell you that Elizaveta Protosova will be here directly. There’s only one thing I ask you: do you still refuse your consent to my marriage—— Е Sophia Karenina (interrupting). And I most assuredly О. Karenin (continuing. Frowning). In that case all I ask is for you not to speak to her about it. Sophia Karenina. Т don’t suppose we shall even men- tion the subject. I certainly shan’t. Karenin (standing at head of sofa L.). If you don't, she won’t. (Pleadingly.) Mother dear, I just want you to know her. ; Sophia Karenina. One thing I can’t understand. How is it you want to marry Lisa Protosova, a woman with a living husband, and at the same time believe divorce is a crime against Christianity? <—_ Karenin. Oh, Maman, that’s cruel of you. Life is far too complex to be managed by a few-formulas. Why are _ wou so bitter about it all? Sophia Karenina (honestly). I love you. I want you to be happy. Karenin (imploringly to Prince Sergius). Sergius Abreskov! : 18 REDEMPTION Prince Sergius (to Sophia Karenina). Naturally you want him happy. But it’s difficult for our hearts, wearied from the weight of years, to feel the pulse of youth and sympathize, especially is it difficult for you, my friend, who have schooled yourself to view Victor’s happiness in a single way. у Sophia Karenina, Oh, you're all against me. Do as you like. Vous étes majeur. (Sniffing into her pocket handkerchief.) But you'll kill me. Karenin (deeply distressed). Ah, Mother, please. It’s worse than cruel to say things like that. Риисе Sergius (smiling to Victor). Come, come, Vic- tor, you know your mother speaks more severely than she could ever act. Sophia Karenina. I shall tell her exactly what I think and feel, and I hope I can do it without offending: her. Prince Sergius. I am sure of it. [Enter FooTMAN.. Here she is. Катети. Vl go. (Goes to back of sofa.) Footman (announcing). Elizaveta Andreyevna Proto- sova. Катети (warningly). Now, Mother. [He goes out Г. PRINCE SERGIUS 7156$. Sophia Karenina (majestically). Show her in. (To Prince Sergius.) Please remain. Prince Sergius. I thought you might prefer a téte-a- téte? Sophia Karenina. . No, no. I rather dread it. And if I want to be left alone in the room with her, ГИ drop my handkerchief. Са dépendra. Prince Sergius. Ym sure you're going to like her im- mensely. Sophia Karenina. Oh you're all against me. [Enter Lisa К. and crosses to В. С. (Rising) How do you do? I was so sorry not to find you at home and it is most kind of you to come to see me. [45а (R.C.). I never expected the honor of your visit, and I am so grateful that you permit me to come and see you. REDEMPTION 19 Sophia Karenina (C.). You know Prince Sergius — Abreskov? В Prince Sergius (L—Heartily). Yes, I have had the pleasure. (Crossing to her, he shakes hands.) My niece Nellie has spoken often of you to me. [Goes to L. C. Lisa. Yes, we were great friends. (She glances shyly around her.) And still are. (To Soputa.) I never hoped that you would wish to see me. | Sophia Karenina. I knew your husband quite well. He was a great friend of Victor’s and used frequently to visit us in Tambov, (politely) where you were married, I believe. Lisa (looking down). Yes. Sophia Karenina. But when you returned to Moscow we were deprived of the pleasure of his visit. Lisa. Yes, then he stopped going anywhere. Sophia Karenina. Ah, that explains our missing him. [Awkward pause.- Prince Sergius (to Lisa). The last time I’d the pleas- use of seeing you was in those tableaux at the Dennishovs. You were charming in your part. Lisa. How good of you to think so! Yes, I remember perfectly. ; [Another awkward silence. (To борнлА Karentna.) Sophia Karenina, please. for- give me if what I am going to say offends you, but I don’t know how to cover up what’s in my heart. I came here to-day because Victor Karenin said—because he said that— because he—I mean because you wanted to see me. (With a catch in her voice.) It’s rather difficult—but you're so sweet. Prince Sergius (very sympathetic). There, there, my dear child, I assure you there’s nothing in the world to—— (He breaks off when he sees SOPHIA KARENINA pointing impatiently to the floor. She has dropped her handker- chief.) Permit me. (He picks it up, presenting it to her with a smile and a bow; then looks casually at his watch.) Ah, five o’clock already. (To SoputA КАВЕМТМА.) Ma- dame, in your salon pleasure destroys the memory of time. You will excuse me. 20 REDEMPTION [He kisses her hand.. Sophia Karenina - (smiling). Au revoir, mon ami. Prince Sergius (bowing and shaking hands with Lisa). Elizaveta Protosova, au revoir. [He goes out R. Sophia Karenina. Now listen, my child. Please believe how truly sorry for you I am and that you are most sym- pathetique to me. But I love my son alone in this world, and I know his soul as I do my own. He’s very proud— oh I don’t mean of his position and money—but of his high ideals, his purity. It may sound strange to you, but you must believe me when I tell you that at heart he is as pure as a young girl. Lisa. I know. Sophia Karenina. He’s never loved a woman before. You're the first..._I don’t say I’m not a little jealous. I am. But that’s something we mothers have to face. Oh, but your son’s still a baby, you don’t know. I was ready to give him up, though—but I wanted his wife to be as pure as himself. 4 | Lisa (flushing hotly). And I, am I not Sophia Karenina (interrupting her kindly). Forgive me, my dear. I know it’s not your fault and that you’ve been most unhappy. And also I know my son. He will bear anything, and Бе’ bear it without saying a word, but his hurt pride will suffer and bring you infinite re- morse. You must know how strongly he has always felt that the bond of marriage is indissoluble. Lisa. Yes. I’ve thought of all that. Sophia Karenina. Lisa, my dear, you’re a wise woman and you’re a good woman too. If you love him, you must want his happiness more than you want your own. You can’t want to cripple him so that Ве’ be sorry all his life—yes, sorry even though he never says a word. Lisa. I’ve thought about it so much. I’ve thought about it and I’ve talked to him about it. But what can I do when he says he can’t live without me? I said to him only the other day, “Victor, let’s just be friends. Don’t spoil your life. Don’t ruin yourself by trying to help me.” And do you know what he did? He laughed. REDEMPTION 21 Sophia Karenina. Of course he would, at the time. Lisa. If you could persuade him not to шаггу ше, you know ГП agree, don’t you? I just want him to Бе happy. I don’t care about myself. Only please help me. Please don’t hate me. Let’s do all we can for him, because, after all, we both love him. Sophia Karenina. Yes, I know. And I think I love you too. I really do. (She kisses her. Lisa begins to cry.) Oh, it’s all so dreadful. If only he had fallen in love with you before you were married! Lisa (sobbing). He—he says he did—but he had to be loyal to his friend. Sophia Karenina. Alas, it’s all very. heart-breaking. But let us love each other, and God will help us to find what we are seeking. Karenin (entering Г. т). Mother darling. I’ve heard what you just said. I knew you’d love her. And now every- thing must come right. Sophia Karenina (hastily). But nothing’s decided. All I can say is, had things been different, I should о been very glad. (Tenderly.) So very glad. [She kisses Lisa, Karenin (smiling). Please don’t change. That’s all I ask. [Lights down and out. CURTAIN SCENE IV A plainly furnished room, bed, table and stove. FEDYA alone writing. At rise Masua is heard outside calling “FEDYA! FEpya!” Masua enters К. 1, crosses to FEDYA on bed C. and embraces him. | Fedya. Ah, thank Heaven you’ve come. I was wasting away in boredom. Masha. Then why didn’t you come over to us? (Sees wine glass on chair near bed.) So, you’ve been drinking again? And after all your promises! 22 REDEMPTION Fedya (embarrassed). I didn’t come over because I had no money. Masha. Oh, why is it I love you so. Fedya. Masha! Masha (imitating him). Masha! Masha! What’s. that mean? If you loved me, by now you’d have your di- vorce. You say you don’t love your wife. (FEDYA winces.) But you stick to her like grim death. Fedya (interrupting her). You know why I don’t want to. Masha. Nonsense. They’re right when they say you're no good. It’s your mind that you can never make up com- fortably causing you all the worry. Fedya. You know perfectly well that the only joy I’ve got in life is being in love with you. Masha. Oh, it’s always “Му joy,” ‘Your love.” Where’s your love and my joy? Fedya (а litile wearily). Well, Masha, after all, you’ve got all I can give, the best I’ve ever had to give, perhaps, because you’re so strong, so beautiful, that some- times you’ve made me know how to make you glad. So why torture yourself? Masha (kneels and puts her arms around his neck). I won’t if you’re sure you love me. Fedya (coming closer to her). My beautiful young Masha. Masha (tearfully, searching his face). You do love me? Fedya. Of course, of course. Masha. Only me, only me? Fedya (kissing her). Darling, only you. Masha (with a return to brightness). Now read me what you’ve written. Fedya. It may bore you. Masha (reproachfully). Ном could it? Fedya (reads). ‘The snow was flooded in moonlight and the birch trees wavered their stark shadows across it like supplicating arms. Suddenly I heard the soft padded sound of snow falling upon snow, to slowly perceive a figure, the slender figure of a young child attempting to-arouse itself almost at my feet—I A REDEMPTION 23 [Enter Ivan and Nastasta. They are two old gypsies, Masua’s parents. Nastasia (stepping up to МАзнА). So here you are —you cursed little stray sheep. No disrespect to you, sir. (То МАзнА.) You black-hearted, ungrateful little snake. How dare you treat us like this, how dare you, eh? Ivan (to FEDyA). It’s not ‘right, sir, what you’ve done, bringing to her ruin our only child. It’s against God’s law. Nastasia (to MasHA). Come and get out of here with me. You thought you’d skip, didn’t you? And what was I supposed to tell the troupe while you dangled around here with this tramp? What can you get out of him, tell me that? Did you know he hasn’t got a kopek to his name, didn’t you? [During scene with parents, FEDYA sits dumbly on the bed, bewildered. He puts his forehead against Masua’s face and clings to her like a child. Masha (sullenly). I haven’t done anything wrong. I love this gentleman, that’s all. I didn’t leave the troupe either. ГИ go on singing just the same. Ivan. If you talk any more, ГП pull your feat all out for you, you loose little beast, you. (То FeEpya, reproach- fully.) And you, sir, when we were so fond of you—why, often and often we used to sing for you for nothing and this is how you pay us back. Nastasia (rocking herself to and fro). You’ve ruined our daughter, our very own, our only one, our best beloved, our diamond, our precious one, (with sudden fury). You’ve stamped her into the dirt, you have. Where’s your fear of God? Fedya. Nastasia, Nastasia, you’ve made a mistake. ~ Your daughter is like a sister to me. I haven’t harmed her_ at а|. -Т love her, that’s true. But how can I help it? Ivan. Well, why didn’t you love her when you had some money? If you’d paid us ten-thousand rubles, you could have owned her, body and soul.. That’s what гезрес+- able gentlemen do. But you—you throw away every kopek you’ve got and then you steal her like you’d steal a sack of meal. You ought to be ashamed, sir. Masha (rising, puts her arm around his neck). He 24 REDEMPTION didn’t steal me. I went to him myself, and if you take me away now, ГИ come right back. If you take me away a thousand times, ГП come back to him. I love him and — that’s enough. My love will break through anything— through anything. Through anything in the whole damn world. Nastasia (trying to soothe her). Now, Mashenka darling, don’t get cross. You know you haven’t behaved well to your poor old parents. There, there, come along with us now. [With greedy fingers that pretend to caress, NAs- TASIA seizes her savagely and suddenly at the end of this speech and draws her to the door. MASHA cries out ‘“FEDYA! FEpyA!” as she exits К. Ivan (alongside). You open your mouth again and ГИ smash you dumb. (То Fepya.) Good-bye, your wor- ship. [All exit R. т. [FEDYA sits as though stupefied. The gypsies exit noisily. There is a pause. He drinks; then PRINCE SERGIUS appears, very quiet and dignified, at the door. Prince. Excuse me. I’m afraid I’m intruding upon а. rather painful scene. Fedya (getting up). With whom have I the honor (recognizing the Prince). Ah, Prince Sergius, how do you do? [They shake hands. Prince (in a distinguished manner). I repeat that I am afraid to be most inopportune. I would rather not have heard, but since I have, it’s:my duty to say so. When I arrived I knocked several times, but J presume you could not have heard through such uproar. Fedya. Dosit down. (Prince sits chair R.C.) Thanks for telling me you heard. (Sits on bed up C.) It gives mea chance to explain it all. Forgive me for saying your opin- ion of me can’t concern me, but I want to tell you that the way her parents talked to that young girl, that gypsy singer, was absolutely unjust. She’s as pure as your own mother. My relations with her are simply friendly ones. - REDEMPTION a0 Possibly there is a ray of poetry in them, but that could hardly degrade her. However, what can I ‘do for your Prince Sergius. Well, to begin Fedya (interrupting). Excuse me, Prince, but my present social position hardly warrants a visit "from you. [ Smiling. Prince Sergius. I know that, but I ask you to believe that your changed position does not influence me in what I am about to tell you. Fedya (interrogatively). Then? Prince Sergius. To be as brief as possible, Victor Kar- enin, the son of my old friend, Sophia Karenina, and she herself, have asked me to discover from you personally what your present relations are with your wife, and what inten- tions you have regarding them. Fedya. My relations with my wife—I should say my former wife—are several. Prince Sergius. As I thought, and for this reason ac- cepted my somewhat difficult mission. Fedya (quickly). I wish to say first of all that the fault was entirely mine. She is, just as she always was, absolutely stainless, faultless. Prince Sergius. Victor Karenin and especially his mother are anxious to know your exact intentions regarding the future. Fedya. I’ve got no intentions. I’ve given her full free- dom. I know she loves Victor Karenin, 1её her. Personally, I think he is a bore, but he is a good bore. бо they’ll prob- ably be very happy together, at least in the ordinary sense and que le bon Dieu les bénisse. Prince Sergius. Yes, but we—— Fedya (rising, goes L., leans on table). Please don’t think I’m jealous. If I just said Victor was dull, I take it back. Не’з splendid, very decent, in fact the opposite of myself, and he’s loved her since her childhood (slowly) and | maybe she loved him even when we were married. After all, that happens, and the strongest love is perhaps uncon- \scious love. Yes, I think she’s always loved him far, far ‘down beneath what she would admit to herself, and this ‘feeling of mine has been a black shadow across our mar- >. coe 26 REDEMPTION ‘ried life. But—I—I really don’t suppose I ought to be talking to you like this, ought I? Prince Sergius. Please go on. My only object in com- ing was to understand this situation completely, and I begin to see how the shadow—as you charmingly express it— could have been Fedya (looking strangely ahead of him). Yes, no brightness could suck up that shadow. And so I suppose I never was satisfied with what my wife gave me, and I looked for every kind of distraction, sick at heart because I did so. I see it more and more clearly since we’ve been apart. Oh, but I sound as if I were defending myself. God knows I don’t want to do that. No, I was a shocking bad husband. I say was, because now I don’t consider myself her husband at all. She’s perfectly free. There, ^ does that satisfy you? Prince Sergius. Yes, but you know how strictly orthodox © | Victor and his family are. Of course I don’t agree with ` them—perhaps I have broader views—(with a shrug) but I understand how they feel. They consider that any union without a church marriage is—well, to put it mildly, unthinkable. Fedya. Yes, I know he’s very stu—I mean strict. (With a slight smile.) “Conservative” is the word, isn’t it? But what in God’s name (crossing to C.) do they want, a di- vorce? I told them long ago I was perfectly willing. But the business of hiring a street-woman and taking her to a _shady hotel and arranging to be caught by competent wit- nesses—ugh—it’s all so—so loathsome. | [He shudders—pauses; and sits on bed. Prince Sergius. I know. I know. I assure you, I can sympathize with such a repugnance, but how can one avoid it? You see, it’s the only way out. But, my dear boy, you mustn’t think I don’t sympathize with you. It’s a horrible situation for a sensitive man and I quite understand how you must hate it. Fedya. Thank you, Prince Sergius. I always knew you were kind and just. Now tell me what to do. Put yourself in my place. I don’t pretend to be any better than I really am. Iam а blackguard but there are some things that even ~-REDEMPTION 27 I can’t do. (With a smile and helpless gesture.) I can’t tell lies. [A pause. | Prince Sergius. I must confess that you bewilder me. You with your gifts and charm and really au fond—a won- derful sense of what’s right. How could you have per- ‘mitted yourself to plunge into such tawdry distractions? How could you have forgotten so far what you owed to yourself? Tell me, why did you let your life fall into this ruin? Fedya (suppressing emotion). Ive led this sort of life _ for ten years and you’re the first real person to show me sympathy. Of course, I’ve been pitied by the degraded ones but never before by a sensible, kind man like you. Thanks more than it’s possible to say. (He seems to forget his train of thought and suddenly to recall it.) Ah, yes, my ‘Tuin. Well, first, drink, not because it tasted well, but be- cause everything I did disappointed me so, made me so ashamed of myself. I feel ashamed now, while I talk to ‚уси. Whenever I drank, shame was drowned in the first glass, and sadness. Then music, not opera or Beethoven, but gypsy music; the passion of it poured energy into my body, while those dark bewitching eyes looked into the bot- tom of my soul. (He sighs.) And the more alluring it all ‘was, the more shame I felt afterwards. { Pause. Prince Sergius. But what about your career? Fedya. My career? This seems to be it. Once I was a director of a bank, There was something terribly lacking between what T felt and what I could do. (Abruptly.) But enough, enough of myself. It makes me rather nervous to think about myself. [ Rises. Prince Sergius. What answer am I to take back? Fedya (very nervous). Oh, tell them I’m quite at their disposal. (Walking up and down.) They want to marry, and there mustn’t be anything in their way (pause); is that it? (Stops walking very suddenly. Repeats.) There mustn’t be anything in their way—is that it? Prince Sergius (pause. FEpya sits on table L.). Yes. 28 _ REDEMPTION When do you—when do you think—you’ll—you’ll have it ready? The evidence? Fedya (turns and looks at the Prince, suppressing a slight, strained smile). Will a fortnight do? Prince Sergius (rising). Yes, I am sure it will. (Rises and crosses to Fepya.) May I say that you give them your word? Fedya (with some impatience). Yes. Yes. (Prince offers his hand.) Good-bye, Prince Sergius. And again thanks. [Exit PRINCE SERGIUS, R. 1. ЕЕБУА sits down in an attitude of deep thought. — Why not? Why not? And it’s good not to be ashamed—— [Lights dim and out. CURTAIN SCENE V Private room in a cheap restaurant. FEDYA #5 shown in by a shabby waiter. Waiter. This way, sir. No one will disturb you here. Here’s the writing paper. [Starts to exit. Fedya (as waiter starts to exit). Bring me a bottle of champagne. Waiter. Yes, sir. alts К. 0. [ЕЕруА sits at table Г. С., and begins to write. IVAN PETROVICH appearing in the doorway R. C. Ivan. Vl come in, shall I? Fedya (sitting Г. of table Г. С. Very serious). И you want to, but I’m awfully busy, and— (seeing he has al- ready entered) Oh, all right, do come in. Ivan Petrovich (C.). You're going to write an answer to their demand. ГП help you. ГИ tell you what to say. Speak out. Say what you mean. It’s straight from the shoulder. That’s my system. (Picks up box that ЕЕБУА has placed on table—opens it and takes out a revolver.) Hullo! What’s this? Going to shoot yourself. Of course, \ REDEMPTION 29 why not? I understand. They want to humiliate you, and you show them where the courage is—put a bullet through your head and heap coals of fire on theirs. I understand perfectly. (The waiter enters with champagne on tray, pours a glass for ЕЕБУА, then exits. Prtrovicy takes up the glass of wine and starts to drink. ЕЕБУА looks up from his writing.) I understand everything and everybody, be- cause I’m a genius. Fedya. So you are, but ; Ivan Petrovich (filling and lifting his glass). Неге’ to your immortal journey. May it be swift and pleasant. Oh, I see it from your point of view. So why should I stop youre Life and death are the same to genius. I’m dead during life and I live after death. You kill yourself in order to make a few people miss you, but I—but I—am going to kill myself to make the whole world know what it lost, I won’t hesitate or think about it. Ill just take the re- volver—one, two—and all is over—um. But I am prema- ture. My hour is not yet struck. (He puts the revolver down.) But I shall write nothing. The world will have to understand all by itself. (Frpva continues to write.) The world, what is it but a mass of preposterous creatures, who crawl around through life, understanding nothing—nothing at all—do you hear me? (Fepya looks up, rather exas per- ated.) Oh, I’m not talking to you. All this is between me and the cosmos. (Pours himself out another drink.) After all, what does humanity most lack? Appreciation for its geniuses. As it is, we’re persecuted, tortured, racked, through a lifetime of perpetual agony, into the asylum or the grave. But no longer will I be their bauble. Humanity, hypocrite that you are—to hell with you. [ Drinks wine. Fedya (having finished his letter). Oh, go away, please. Ivan Petrovich. Away? (With a gesture.) Away? Me? (With profound resolve.) So be it. (He leans over the table, faces Ееруд.) I shall away. Il not deter you from accomplishing what I also shall commit—all in its proper moment, however. Only I should like to say this—— Fedya. Later. Later. But now, listen, old man, give 30 REDEMPTION this to the head waiter. (Handing him some money.) You understand? Ivan Petrovich. Yes, but for God’s sake wait for me to come back. (Moves away.) Ive something rare to tell you, something you’ll never hear in the next world—at least not till I get there—— Look here, shall I give him all this money? Fedya. No, just what I owe him. [Exit IvAN РЕТВОУТСН, whistling. Frpya sighs with a sense of relief, takes the revolver, cocks it, stands at mirror on wall up R., and puts it close to his temple. Then shivers, and lets his hand drop. I can’t do it. I can’t do it. [Pause. МАЗНА is heard singing. МАЗНА bursts into the room. Masha (breathless). Гуе been everywhere looking for you. To Popov’s, Afremov’s, then I guessed you’d be here. (Crosses to him. Sees revolver, turns, faces him quickly, concealing it with her body, stands very tense and taut, looking at him.) Oh, you fool! You hideous fool! Did you think you’d Fedya_ (still ле unnerved). Awful! It’s been awful! I tried (With a gesture of despair.) I couldn’t [Crosses to table L. C_—leans against it. Masha (puts her hand to her face as if terribly hurt). As if J didn’t exist. (Crosses over to table Г. C., puts down revolver.) As if I weren’t in your life at all. Oh, how godless you are! (Brokenly.) ‘Tell me, tell me, what about all my love for you? Fedya (as if suddenly aware of a great fatigue). _1 wanted to set them free. I eee to—and when the ne) came I couldn't. 1.0 perce Masha. And what about me? What about me? Fedya. I thought you’d be free, too. Surely my tor- turing you can’t make you happy. Masha. Oh, I can look out for myself. Maybe I’d rather be unhappy, miserable, wretched with you every minute than even think of living without you. REDEMPTION 31 Fedya (up R—half to himself). If Га finished just now, you would have cried bitterly perhaps, my Masha, but you would have lived past it. Masha. Oh, damn you, don’t be so sure Ра cry at-all. Can’t you even be sorry for me? [She tries to conceal her tears. _Fedya. Oh God, I only wanted tc make everybody hap- pier. Masha. Yourself happier, you mean. Fedya (smiling). Would I have been happier to be dead now? Masha (sulkily). I suppose you would. (Suddenly in a tender voice, crossing to him.) But, F edya, do you know what you want? Tell me, what do you want? | Fedya (К). I want so many things. Masha (impatiently and clinging to him). But what? What? i Fedya. First of all, I want to set them free. How сай Т lie? How can I crawl through the muck and filth of a divorce? I can’t. (Moves to end of table and stands there facing front.) But I must set them free somehow. They’re} such good people, my wife and Victor. I can’t bear Бау- ing them suffer. hg Masha (К. of table Г. C—scornfully). Where’s the good in her if she left you? Fedya. She didn’t. I left her. Masha. She made you think she’d be happier without you. But go on (Impatientiy.) Blame yourself, what else. Fedya. There’s you, Masna. Young, lovely, awfully dear to me. If I stay alive, ah, where will you be? Masha. Don’t bother about me. You can’t hurt me. Fedya (sighing). But the big reason, the biggest rea- son of all, is myself. I’m just lost. Your father is right, my dear. I’m no good. Masha (crossing to him, at once tenderly and savagely). I won’t unfasten myself from you. ГИ stick to you, no matter where you take me, no matter what you do. You're alive, terribly alive, and I love you. Fedya, drop all this horror. 32 ve REDEMPTION Fedya. How can I? Masha (trying to project the very essence of her vitality into him). Oh, you can, you can. Fedya (slowly). When I look at you, I feel as though I could do anything. Masha (proudly, fondly). My love, my love. You can do anything, get anywhere you want to. (FEDYA moves away impatiently up R. She sees letter.) So you have been writing to them—to tell them you'll kill yourself. You just told them you’d kill yourself, is that it? But you didn’t say anything about a revolver. Oh, Fedya, let me think, there must be some way. Fedya—listen to me. Do you remember the day we all went to the picnic to the White Lakes with Mama and Afremov and the young Cossack officer? And you buried the bottles of wine in the sand to keep them cool while we went in bath- ing? Do you remember how you took my hands and drew me out beyond the waves till the water was quite silent and flashing almost up to our throats, and then suddenly it seemed as if there were nothing under our feet? We tried to get back. We couldn’t and you shouted out, “АЁетоу,” and if he hadn’t been almost beside us and pulled us in— and how cross he was with you for forgetting that you couldn’t swim, and after, how wonderful it was to stretch out safely on the sands in the sunlight. Oh, how nice every one was to us that day and you kept on being so sorry for forgetting you couldn’t swim! And, Fedya, don’t you see? Of course, she must know you can’t swim. Oh, it’s all get- ting as clear as daylight. You will send her this beautiful letter. Your clothes will be found on the river bank—but instead of being in the river you will be far away with me— Fedya, don’t you see, don’t you see? You will be dead to her, but alive for me. (Embraces FEDYA.) [The lights down and out. CURTAIN REDEMPTION 33 SCENE VI The Protosovs’ drawing-room. KARENIN and LISA. Karenin (sitting chair R.). He’s promised me defi- nitely, and I’m sure he’ll keep to it. Lisa (sitting chair К. С.). Vm rather ashamed to con- fess it, Victor, but since I found out about this—this gypsy, I feel completely free of him. Of course, I am not in the least jealous, but knowing this makes me see that I owe him nothing more. Am I clear to you, I wonder? Karenin (coming closer to her). Yes, dear, I think I'll always understand you. | [45а (smiling). Don’t interrupt me, but let me speak as [ think. The thing that tortured me most was I seemed to love both of you at once, and that made me seem so in- decent to myself. Karenin (incredulously amused). You indecent? Lisa (continuing). But since I’ve found out that there’s another woman, that he doesn’t need me any more, I feel free, quite free of him. And now I can say truth- fully, I love you. Because everything is clear in my soul. My only worry is the divorce, and all the waiting to be gone through before we can Ah, that’s torturing. Karenin. Dearest, everything will be settled soon. After all, he’s promised, and I’ve asked my secretary to go to him with the petition and not to leave until he’s signed it. Really, sometimes, if I didn’t know him as I do, Ра think he was trying on purpose to discomfort us. Lisa. No. No. It’s only the same weakness and hon- esty fighting together in him. He doesn’t want to lie. However, I’m sorry you sent him money. Karenin. И I hadn’t, it might.have delayed things. Lisa. I know, but money seems so ugly. Karenin (slightly ruffled). I hardly think it’s neces- sary to be so delicate with Fedya. Lisa. Perhaps, perhaps. (Smiling.) But don’t you think we are becoming very selfish? Karenin. Maybe. But it’s all your fault, dear. After all, this hopelessness and waiting, to think of being happy at last! I suppose happiness does make us selfish. 34 REDEMPTION Lisa. Don’t believe you’re alone in your happiness or selfishness. I am so filled with joy it makes me almost afraid. Misha’s all right, your mother loves me, and above all, you are here, close to me, loving me as I love you. Karenin (bending over her and searching her eyes). Youre sure you’ve no regret? Lisa. From the day I found out about that gypsy wom- an, my mind underwent a change that has set me free. Karenin. You're sure? [Kissing her hands. Lisa (passionately). Darling, I’ve only one desire now, and that is to have you forget the past and love as I do. [Her little boy toddles in R., sees them and Stops. [To the child. Come here, my sweetheart. [He goes to her and she takes him on her knees. Karenin. What strange contradictory instincts and de- sires make up our beings! Lisa. Why? Karenin (slowly). I don’t know. When I came back from abroad, knew I’d lost you, I was unhappy, terribly. Yet, it was enough for me to learn that you at least remem- bered me. Afterward, when we became friends, and you were kind to me, and into our friendship wavered a spark of something more than friendship, ah, I was almost happy! Only one thing tormented me: fear that such a feeling wronged Fedya. Afterwards when Fedya tortured you so, I saw I could help. Then a certain definite hope sprang up in me. And later, when he became impossible and you decided to leave him, and I showed you my heart for the first time, and you didn’t say no, but went away in tears— then I was happy through and through. Then came the possibility of joining our lives. Mamma loved you. You told me you loved me, that Fedya was gone out of your heart, out of your life forever, and there was only, only me . . « Ah, Lisa, for what more could I ask! Yet the past tortured me. Awful fancies would flush up into my happi- ness, turning it all into hatred for your past. Lisa (interrupting reproachfully). Victor! Karenin. Forgive me, Lisa. I only tell you this because REDEMPTION 39 I don’t want to hide a single thought from you. I want you to know how bad I am, and what a weakness I’ve got to fight down. But don’t worry, ГИ get past it. It’s all right, dear. (He bends over, kissing the child on the head.) And I love him, too. Lisa. Dearest, I’m so happy. Everything has happened in my heart to make it as you’d wish. | Karenin. All? Lisa. АП, beloved, or I never could say so. [Enter the Nurse Г. 0. Nurse. Your secretary has come back. [Lisa and KaRENIN exchange glances. Lisa. Show him in here, nurse, and take Misha, will you? Nurse. Come along, my pet. It’s time for your rest. [Exit nurse with the little boy, К. Karenin (gets up, walks to the door). This will be Fedya’s answer. Lisa (kissing Karenin). At last, at last we shall know when. (She kisses him.) [Enter Уо2мЕЗЕМ$КУ Г. 0. Karenin. Well? Secretary. Не’з not there, sir. Karenin. Not there? He’s not signed the petition, then? Secretary. No. But here is a letter addressed to you and Elizaveta Protosova. | [Takes letter from his pocket and gives it to KARENIN, Karenin (interrupting angrily). More excuses, more ex- cuses. It’s perfectly outrageous. How without conscience he is. Really, he has lost every claim to Lisa. But read the letter, dear; see what he says. [KaRENIN opens the letter. Secretary. Shall you need me, sir? Karenin. No. That’s all. Thank you. [Exit ЗЕСВЕТАВУ. Karenin reads the lerter т growing astonishment and concern. Lisa watches his face. ° (Reading.) “Lisa, Victor, I write you both without using terms of endearment, since I can’t feel them, nor can I con- quer a sense of bitterness and reproach, self-reproach prin- 36 REDEMPTION cipally, when I think of you together in your love. I know, in spite of being the husband, I was also the barrier, pre- venting you from coming earlier to one another. C’est moi qui suis l’intrue. I stood in your way, I worried you to death. Yet I can’t help feeling bitterly, coldly, toward you. In one way I love both of you, especially Lisa Lizenska, but in reality I am more than cold toward you. Yes, it’s unjust, isn’t it, but to change is impossible.” | Lisa. What’s all that for? Karenin (standing Г. of table C., continuing). “Ном- ever, to thé point. I am going to fulfill your wishes in per- haps a little different way from what you desire. To lie, to act a degrading comedy, to bribe women of the streets for evidence—the ugliness of it all disgusts me. I am a bad man, but this despicable thing I am utterly unable to do. Му solution is after all the simplest. You must marry to be happy. I am the obstacle, consequently that obstacle — must be removed.” Lisa (R. of table). Victor! Karenin (reading). Must be removed? “Ву the time this letter reaches you, I shall no longer exist. All I ask you is to be happy, and whenever you think of me, think tender thoughts. God bless you both. Good-bye. FEDYA.”’ Lisa. Не’з killed himself! Karenin (going hurriedly up stage L. and calls off). My secretary! Call back my secretary! ~ Lisa. Fedya! Еедуа, darling! Karenin. Lisa! Г Lisa. It’s not true! It’s not true that I’ve stopped lov- ‘ing him! Нез the only man in all the world I love! And ‘now I’ve killed him! I’ve killed him as surely as if Ра murdered him with my own two hands! Karenin. Lisa, for God’s sake! _ Lisa. Stop it! Don’t come near me! Don’t be angry \with me, Victor. You see I, too, cannot lie! CURTAIN ACT II SCENE I A dirty, ill-lighted underground dive; people ате lying around drinking, sleeping, playing cards_and making love. Near the front a small table at which FEDyA sits; he is in rags and has fallen very low. By his side is PerusHKov, а delicate spiritual man, with long yellow hair and beard. Both are rather drunk. Candle light is the only lighting in this Scene. Petushkov (К. С. of table C.). I know. I know. Well, that’s real love. So what happened then? ` Fedya (Г. С. of table C., pensively). You might per- haps expect a girl of our own class, tenderly brought up, to be capable of sacrificing for the man she loved, but this girl was a gypsy, reared in greed, yet she gave me the purest sort of self-sacrificing love. She’d have done anything for nothing. Such contrasts are amazing. ~ Petushkov. I see. In painting we call that value. Only to realize bright red fully when there is green around it. But that’s not the point. What happened? Fedya, Oh, we parted. I felt it wasn’t right to go on taking, taking where I couldn’t give. So one night we were having dinner in a little restaurant, I told her we’d have to say good-bye. My heart was so wrung all the time I could hardly help crying. Petushkov. And she? Fedya. Oh, she was awfully unhappy, but she knew I was right. So we kissed each other a long while, and she went back to her gypsy troupe—— (Slowly.) Maybe she was glad to go—— [A pause. Petushkov. 1 wonder. Fedya. Yes. The single good act of my soul was not ruining that girl. | of | 38 REDEMPTION Petushkov. Was it from pity? Fedya. I sorry for her? Oh, never. Quite the con- trary. I worshipped her unclouded sincerity, the energy of her clear, strong will, and God in Heaven, how she sang. And probably she is singing now, for some one else. Yes, I always looked up at her from beneath, as you do at some radiance in the sky. I loved her really. And now it’s a tender beautiful memory. | Petushkov, I understand. It was ideal, and you left it like that. ’_ Fedya (ruminatingly). And I’ve been attracted often, | you know. Once I was in love with a grande dame, bes- tially in love, dog-like. Well, she gave me a rendezvous, and I didn’t, couldn’t, keep it, because suddenly I thought of her husband, and it made me feel sick. And you know, |125 queer, that now, when I look back, instead of being ‚ аа that I was decent, I am as sorry as if I had sinned. But with Masha it’s so different; I’m filled with joy that _I’ve never soiled the brightness of my feeling for her. (He points his finger at the floor.) I may go much further down. Petushkov (interrupting). I know so well what you mean. But where is she now? Fedya. I don’t know. I don’t want to know. All that belongs to another life, and I couldn’t bear to mix that life and this life. [А Ротлсе OFFIcER enters from up R., kicks a man who is lying on the floor—walks down stage, looks at Frepya and PetusuKov, then exits. Petushkov. Your life’s wonderful. I believe you’re a real idealist. weusiov mime Lice in KS 3 Fedya. No. It’s awfully simple. You know among our class—I mean the class I was born in—there are only three courses: the first, to go into the civil service or join the army and make money to squander over your sensual appe- tites. And all that was appalling to me—perhaps because I couldn’t do it. The second thing is to live to clear out, to destroy what is foul, to make way for the beautiful. But for that you’ve got to be a hero, and I’m not a hero. And the third is to forget it all—overwhelm it with music, REDEMPTION 39 drown it with wine. That’s what J did. And _ look (ре spreads his arms out) where my singing led me to. [He drinks. Petushkov. And what about family life? The sanctity of the home and all that—I would have been awfully happy if Га had a decent wife. As it was, she ruined me. Fedya. Ibeg your pardon. Did you say marriage? Oh, yes, of course. Well, I’ve been married, too. Oh, my wife was quite an ideal woman. I don’t know why I should say was, by the way, because she’s still living. But there’s something—I don’t know; it’s rather difficult to explain—— But you know how pouring champagne into a glass makes it froth up into a million iridescent little bubbles? Well, there was none of that in our married life._There was no fizz in it, no sparkle, no taste, phew! ‘The days were all one color—fat and stale and gray аз the devil. And that’s why I wanted to get away and forget. You can’t forget unless you play. So trying to play I crawled in every sort of muck there is. And you know, it’s a funny thing, but we love people for the good we do them, and we hate them for the harm. That’s why I hated Lisa. That’s why she seemed to love me. Petushkov. Why do you say seemed? Fedya (wistfully). Oh, she couldn’t creep into the center of my being like Masha. But that’s not what I mean. Before the baby was born, and afterwards, when she was nursing him, I used to stay away for days and days, and come back drunk, drunk, and love her less and less each time, because I was wronging her so terribly. (Excitedly.) Yes. That’s it, Г.пеуег realized it before. The reason why I loved Masha was because I did her good, not harm. But I crucified my wife, and her contortions filled me almost with hatred. [Fepva drinks. Petushkov. 1 think I understand. Now in my case [Авттмтеу enters К. U., approaches with a cockade on his cap, dyed mustache, and shabby, but care- fully mended clothes. | Artimiev ‘(stands L. of table). Good appetite, gentle- | it 40 | REDEMPTION men! (Bowing to Fepya.) I see you’ve made the ac- quaintance of our great artist. Fedya (coolly). Yes, I have. Artimiev (to PETusHkKov). Have you finished your por- trait? Petushkov, No, they didn’t give me the commission, after all. | Artimiev (sitting down on end of table). I’m not in your way, am IP | [ЕЕруА and PETUSHKOV don’t answer. Petushkov. This gentleman was telling me about his life. Artimiev. Oh, secrets? Then I won’t disturb you. Par- don me for interrupting. (То himself as he moves away.) Damn swine! | [Не goes to the next table, sits down and in the dim candlelight he can just be seen listening to the conversation. Fedya. I don’t like that man. Petushkov. I think he’s offended. Fedya. Let him be. I can’t stand him. If he’d stayed I shouldn’t have said a word. Now, it’s different with you. You make me feel all comfortable, you know. Well, what was I saying? Petushkov. You were talking about your wife. How did you happen to separate? Fedya. Oh, that? (A pause.) It’s a rather curious story. My wife’s married. Petushkov. Oh, I see! You’re divorced. Fedya. No. (Smiling.) She’s a widow. Petushkov. A widow? What do you mean? Fedya. I mean exactly what I say. She’s a widow. I don't ae ев, Я - Petushkov (puzzled). What? Fedya (smiling drunkenly). I’m dead. You're talk-_ ing to а corpse... [ ARTIMIEV leans towards them and listens intently. pe I seem to be able to say anything to you. And s so long ago, so long ago. And what is it after all to ee but a story? Well, when I got to the climax of tor- REDEMPTION 41 turing my wife, when Га squandered everything I had or could get, and become utterly rotten, then, there appeared a protector. Petushkov. The usual thing, I suppose? Fedya. Don’t think anything filthy about it. He was just her friend, mine too, a very good, decent fellow; in fact the opposite of myself. Неа known my wife since | she was a child, and I suppose he’d loved her since then.” He used to come to our house a lot. First I was very glad he did, then I began to see they were falling in love with each other, and then—an odd thing began to happen to me at night. Do you know when she lay there asleep be- side me (he laughs shrilly) I would hear him, push- ing open the door, crawling into the room, coming to ше. on his hands and knees, grovelling, whining, begging me (he is almost shouting) for her, for her, imagine it! And I, I had to get up and give my place to him. (He covers” his eyes with his hands in a convulsive moment.) Phew! Then I’d come to myself. Petushkov. God! It must have been horrible. Fedya (wearily). Well, later on I left her—and after a while, they asked me for a divorce. I couldn’t bear all the lying there was to be got through. Believe me it was easier to think of killing myself. And so I tried to commit sui- cide, and I tried and I couldn’t. Then a kind friend came along and said, “Now, don’t be foolish!” And she ar- ranged the whole business for me. I sent my wife a fare- well letter—and the next day my clothes and pocketbook were found on the bank of the river. Everybody knew I couldn’t swim... (Pause.) You understand, don’t you? Petushkov. Yes, but what about the body? They didn’t find that? Fedya (smiling drunkenly). Oh yes, they did! You_ just listen! About a week afterwards some horror was | dragged out of the water. My wife was called in to identify | it. It was in pretty bad shape, you know. She took one | glance. “Is that’ your husband?” they asked her. And she | said, “Yes.” Well, that settled it! I was buried, they | were married, and they’re living very happily right here | in this city. I’m living here, too! We're all living here to-,,, | А у 4 4 ИЕР | 42 REDEMPTION gether! Yesterday I walked right by their house. The windows were lit and somebody’s shadow went across the blind. (A pause.) Of course there’re times when I feel like hell about it, but they don’t last. The worst is when there’s no money to buy drinks with. [He drinks. Artimiev (rising and approaching them). Excuse me, but you know I’ve been listening to that story of yours? It’s a very good story, and what’s more a very useful one. You say you don’t like being without money, but really there’s no need of your ever finding yourself in that posi- tion. Fedya (interrupting). Look here, I wasn’t talking to you and I don’t need your advice! Artimiev. But I’m going to give it to you just the same. ‘Now you're a corpse. Well, Suppose you come to life again! Fedya. What? Artimiev. Then your wife and that fellow she’s so hap- py with—they’d be arrested for bigamy. The best they’d get would be ten years in Siberia. Now you see where you can have a steady income, don’t you? Еедуа (furiously). Stop talking and get out of here! Artimiev. ‘The best way is to write them a letter. If you don’t know how ГИ do it for you. Just give me their address and afterwards when the ruble notes commence to drop in, how grateful you’ll be! Fedya. Get out! Get out, I say! I haven’t told you anything! Artimiev. Oh, yes, you have! Here’s my witness! This waiter heard you saying you were a corpse! Fedya (beside himself). You damn __ blackmailing beast—— [ Rising. Artimiev. Oh, I’m a beast,amI? We'll see about that! (FEDYA rises to go, ARTIMIEV seizes him.) Police! Police! (КЕруА struggles frantically to escape.) [The Ротлсе enter and drag him away. CURTAIN REDEMPTION 43 SCENE II In the country. A veranda covered by a gay awning; sun- light; flowers; SopHIA KarEentnaA, Lisa, ker little boy and nurse. Lisa (standing С. т door. To the little boy, smiling), Who do you think is on his way from the station? Misha (excitedly). Who? УрО Lisa. Papa. Misha (rapturously). Papa’. 5 “coming! Papa’s com- ing! [Exits L. through С. door. Lisa (contentedly, to SopHIA KARENINA). How much he loves Victor! As if he were his real father! Sophia Karenina (on sofa L. knitting—back to audi- ence). ‘Tant mieux. Do you think he ever remembers his father? Lisa (sighing). I can’t tell. Of course I’ve never said anything to him. What’s the use of confusing his little ‘head? Yet sometimes I feel as though I ought. What do you think, Mamma? Sophia Karenina. I think it’s a matter of feeling. If you can trust your heart, let it guide you. What extraordinary adjustments death brings about! I confess I used to think ~ уегу unkindly of Fedya, when he seemed~a~barrierto~all- this, (She makes a gesture with her hand.) But now I think of him as that nice boy who was my son’s friend, and a man who was capable of sacrificing himself for those he loved. (She knits.) I hope Victor hasn’t forgotten to bring me some wool. Lisa. Here he comes. (Lisa runs to the edge of the veranda.) ‘There’s some one with him—a lady in a bon- net! Oh, it’s mother! How splendid! I haven’t seen her for an age! [Enter ANNA PAvLovna up С. | Anna Pavlovna (kissing Lisa). My darling. (То SoPpHIA Karenina.) How do you do? Victor met me and insisted on my coming down. [Sits bench L. С. beside Soputa. Sephia Karenina. This is perfectly charming! . 44 REDEMPTION [Enter Victor and MisHa. Anna Pavlovna. I did want to see Lisa and the boy. Sa now, if you don’t turn me out, ГП stay till the evening train. Karenin (Г. C., kissing his wife, his mother and the boy). Congratulate me—everybody—lI’ve a bit of luck. I don’t have to go to town again for two days. Isn’t that wonderful? Lisa (К. C.). Two days! That’s glorious! We'll drive over to the Hermitage to-morrow and show it to mother. Anna Pavlovna (holding the boy). He’s so like his father, isn’t he? I do hope he hasn’t inherited his father’s disposition. Sophia Karenina, After all, Fedya’s heart was in the right place. Таба. Victor thinks if he’d only been brought up more carefully everything would have been different. Anna Pavlovna. Well, I’m not so sure about that, but I do feel sorry for him. I can’t think of him without wanting to cry. Lisa. I know. That’s how Victor and I feel. All the bitterness is gone, There’s nothing left but a very tender шетогу. н Anna Pavlovna (sighing). Ym sure of it. Lisa. Isn’t it funny? It all seemed so hopeless back there, and now see how beautifully everything’s come out! Sophia Karenina. Oh, by the way, Victor, did you get my wool? Karenin. I certainly did. (Brings a bag and takes out parcels.) Неге’з the wool, here’s the eau-de-cologne, here are the letters—one on “Government Service” for you, Lisa (Hands her the letter. Lisa opens letter, then strolls R. reading it, suddenly stops.) Well, Anna Pavlovna, I know you want to make yourself beautiful! I must tidy up, too. It’s almost dinner time. Lisa, you’ve put your mother in the Blue Room, haven’t you? [ Pause. [Lisa is pale. She holds the letter with trembling hands and reads it, KARENIN Seeing her. REDEMPTION 45 What’s the matter, Lisa? What is it? Lisa, Нез alive. Не’з alive. My God! I shall never be free from him. (Victor crosses to Lisa.) What does this mean? What’s going to happen to us? Karenin (taking the letter and reading). I don’t be- lieve it. Sophia Karenina. What is it? (Rising.) What’s the matter? Why don’t you tell us? Karenin, Не’з alive! They’re accusing us of bigamy! It’s a summons for Lisa to go before the Examining Magis- trate. Anna Pavlovna. No—no! It can’t be! АИ Sophia Karenina. Oh, that horrible man! 25277747 17|” Karenin. So it was all a lie! я fF [45а (with a cry of rage). Oh! I hate him so! Vic- tor!—Fedya! My God! I don’t know what I’m say- ing. I don’t know what I’m saying. [Sinks in chair down R. Anna Pavlovna (rising). He’s not really alive? [Lights dim and out. CUR CAIN SCENE III The room of the examining magistrate, who sits at a table talking to MELNIKOV, a smarily dressed, languid, man- about-town. At a side-table a CLERK is sorting papers. Magistrate (sitting К. of table R. C.). Oh, I never said so. It’s her own notion. And now she is reproaching me with it. Melnikov (sitting C. back to audience). She’s not re- proaching you, only her feelings are awiully hurt. Magistrate. Are they? Oh, well, tell her ГП come to supper after the performance. But you’d better wait on. I’ve rather an interesting case. (То the CLERK.) Here, you, show them in. Clerk (sitting С. facing audience). Both? Excellency. Magistrate. No, only Madame Karenina. 46 REDEMPTION [Стевк exits Г. г. Clerk (calling off stage). Madame Protosova, Madame Protosova. Magistrate. Or, to dot my i’s, Madame Protosova. Melnikov (starting to go out). Ah, it’s the Karenin case. Magistrate. Yes, and an ugly one. I’m just beginning the investigation. But I assure you it’s a first-rate scan- dal already. Must you go? Well, see you at supper. Good- bye. [Exit MELNIKov, К. [The CLERK shows in Lisa; she wears a black dress and veil. Magistrate. Please sit down, won’t your (He points to a chair Г. С. LISA sits down.) I am extremely зоггу that it’s necessary to ask you questions. [Lisa appears very much agitated. MAGISTRATE ap-— pears unconcerned and is reading a newspaper as he speaks. But please be calm. You needn’t answer them unless you wish. Only in the interest of every one concerned, I advise you to help me reach the entire truth. Lisa. Ive nothing to conceal. | Magistrate (looking at papers). Let’s see. Your name, station, religion. I’ve got all that. You are accused of contracting a marriage with another, man, knowing your first husband to be alive. Lisa. But I did not know it. Magistrate (continuing). And also you are accused of having persuaded with bribes your first husband to commit fraud, a pretended suicide, in order to rid yourself of © im. Lisa. All that’s not true. Magistrate. Then permit me to ask you these questions: Did you or did you not send him 1200 rubles in July of last year? Lisa. That was his own money obtained from selling his things, which I sent to him during our separation, while I was waiting for my divorce. Magistrate. Just so. Very well. When the police asked REDEMPTION 47 you to identify the corpse, how were you sure it was your husband’s? Lisa. Oh, I was so terribly distressed that I couldn’t bear to look at the body. Besides, I felt so sure it was he, and when they asked me, I just said yes. Magistrate. Very good indeed. I can well understand your distraction, and permit me to observe, Madame, that although servants of the law, we remain human beings, and I beg you to be assured that I sympathize with your situa- tion. You were bound to a spendthrift, a drunkard, a man whose dissipation caused you infinite misery. Lisa (interrupting). Please, I loved him. Magistrate (tolerantly). Of course. Yet naturally you desired to be free, and you took this simple course w:th- out counting the consequence, which is considered a crime, or bigamy. I understand you, and so will both judges and jury. And it’s for this reason, Madam, I urge you to dis- close the entire truth. Lisa. I’ve nothing to disclose. I never have lied. (She. begins to cry.) Do you want me any longer? Magistrate. Yes. I must ask you to remain a few min- utes longer. No more questions, however. (To the CLERK.) Show in Victor Karenin. (То Lisa.) I think you'll find that a comfortable chair. (Sits L. C.) [Enter КАВЕМТМ, stern and solemn. Please sit down. ` Karenin, Thank you. (He remains standing Г. 0.) What do you want from me? Magistrate. I have to take your deposition. Karenin. In what capacity? Magistrate (smiling). In my capacity of investigating magistrate. You are here, you know, because you are charged with a crime. Karenin. Really? What’crime? Magistrate. Bigamy, since you’ve married a woman al- ready married. But ГИ put the questions to you in their proper order. Sure you'll not sit down? Karenin. Quite sure. Magistrate (writing). Your name? Катепт. Victor Karenin, © 48 REDEMPTION Magistrate. Rank? . . Karenin. Chamberlain of the Imperial Court. Magistrate. Your ager Karenin. Thirty-eight. Magistrate. Religion? Karenin. Orthodox, and I’ve never been tried before of any charge. (Pause.) What else? Magistrate. Did you know that Fedor Protosov was alive when you married his wife? Karenin. No, we were both convinced that he was drowned. Magistrate. All right. And why did you send 1200 rubles to him a few days before he simulated death on July 17th? Karenin. That money was given me by my wife. Magistrate (interrupting him). Excuse me, you mean by Madame Protosova. Karenin. By my wife to send to her husband. She con- sidered this money his property, and having broken off all relations with him, felt it unjust to withhold it. What else do you want? Magistrate. I don’t want anything, except to do my official duty, and to aid you in doing yours, through caus- ing you to tell me the whole truth, in order that your inno- cence be proved. You’d certainly better not conceal things which are sure to be found out, since Protosov is in such a weakened condition, physically and mentally, that he is certain to come out with the entire truth as soon as he gets into court, so from your point of view I advise . . . Karenin.. Please don’t advise me, but remain within the limits of your official capacity. Are we at liberty to leave? [Не goes to Lisa who takes his arm. Magistrate. Sorry, but it’s necessary to detain you. (KARENIN looks around in astonishment.) Мо, I’ve no in- tention of arresting you, although it might be a quicker way of reaching the truth. I merely want to take Proto- sov’s deposition in your presence, to confront him with you, that you may facilitate your chances by proving his. statements to be false. Kindly sit down. (То CLERK.) Show in Fedor Protosov. [There is a pause. The CLERK shows in FEDYA in. => REDEMPTION 49 (rags, а total wreck. He enters slowly, dragging his feet. He catches sight of his wife, who is ’ bowed in grief. For a moment he is about to take | her in his arms—he hesitates—then stands before _ the МАСТЗТВАТЕ. Maristhate. I shall ask you to answer some questions. Fedya (rises, confronting the MAGISTRATE). Ask them. Magistrate. Your name? Fedya. You know it. Magistrate. Answer my questions exactly, please. [Rapping on his desk. Fedya (shrugs). Fedor Protosov. Magistrate. Your rank, age, religion? Fedya (silent for a moment). Aren’t you ashamed to ask me these absurd questions? Ask me what you need to know, only that. Magistrate. I shall ask you to take care how you ex- press yourself. Fedya. Well, since you’re not ashamed. My rank, grad- uate of the University of Moscow; age 40; religion ortho- dox. What else? Magistrate. Did Victor Karenin and Elizaveta Andrey- evna know you were alive when you left your clothes on the bank of the river and disappeared? Fedya. Of course not. I really wished to commit sui- cide. But—however, why should I tell you? The fact’s enough. They knew nothing of it. Magistrate. You gave a somewhat different account to the police officer. How do you explain that? Fedya. Which police officer? Oh yes, the one who ar- rested me in that dive. I was drunk, and I lied to him— about what, I don’t remember. But I’m not drunk now and I’m telling you the whole truth. They knew nothing; they thought I was dead, and I was glad of it. Everything would have stayed _ all right. except | for that damned beast. \), Artimiev. бо if any one’s guilty, it’s I. Magistrate. I perceive you wish to be generous. Unfor- tunately the law demands the truth. Come, why did you receive money from them? [FEpva is silent. 50 REDEMPTION Why don’t you answer me? Do you realize that it will be stated in your deposition that the accused refused to answer these questions, and that will harm (йе includes LIsa and Утстов in a gesture) all of you? [ЕЕруА remains silent. Aren’t you ashamed of your stubborn refusal to aid these others and yourself by telling the entire truth? Fedya_ (breaking out passionately). The truth—— Oh, God! what do you know about the truth? Your business is crawling up into a little power, that you may use it by tantalizing, morally and physically, people a thousand times better than you. . . . You sit there in your smug author- ity torturing people. Magistrate. I must ask you—— Fedya (interrupts him). Don’t ask me for ГИ speak as I feel. (Turning to CLERK.) And you write it down. So for once some human words will get into a deposition. | [Raising his voice, which ascends to a climax during this speech. There were three human beings alive: I, he, and she. [He turns to his wife with a gesture indicating his love for her. He pauses, then proceeds. We all bore towards one another a most complex rela- tion. We were all engaged in a spiritual struggle beyond your comprehension: the struggle between anguish and peace; between falsehood and truth. Suddenly this struggle ended in a way that set us free. Everybody was at peace. They loved my memory, and I was happy even in my dewn- fall, because Га done what should have been done, and cleared away my weak life from interfering with their strong good lives. And yet we’re all alive. When suddenly a bas- tard adventurer appears, who demands that I abet his filthy scheme. I drive him off as I would a diseased dog, but he. finds you, the defender of public justice, the appointed guardian of morality, to listen to him. And you, who re- ceive on the 20 of each month a few kopeks’ gratuity for your wretched business, you get into your uniform, and in good spirits proceed to torture—bully people whose threshold you’re not clean enough to pass. Then when you’ve had your fill of showing off your wretched power, a REDEMPTION 51 oh, then you are satisfied, and sit and smile there in your damned complacent dignity. Ana. tc Magistrate (raising his voice. Rising excitedly). Be silent or Г have you turned out. Fedya. God! Who should J be afraid of! I’m dead, dead, and away out of your power. (Suddenly overcome with the horror of the situation.) What can you do to me? How can you punish me—a corpse? [Beating his breast. Magistrate. Be silent! (То Стевк, who is down L.) Take him out! Г[ЕЕЩУА turns, seeing his wife, he falls on his knees before her. . . kisses the hem of her dress, crying i bitterly. [Slowly he rises, pulls himself together with a great effort, then exits L. [The lights dim and out. СОК ПА RW 54.2. Ш SCENE IV A corridor in the lower courts; in the background a door opposite which stands a GuaARD; to the right is another door through which the PRISONERS are conducted to the court. IvAN PETROVICH im rags enters L., goes to this last door, trying to pass through it. Guard (at door R. C.). Where do you think you’re going, shoving in like that? Ivan Petrovich. Why shouldn’t 1? The law says these sessions are public. Guard. You can’t get by and that’s enough. Ivan Petrovich (in pity). Wretched peasant, you have no idea to whom you are speaking. Guard. Be silent! [Enter a YOUNG LAWYER from К. г. Lawyer (to Petrovich). Are you here on business? Ivan Petrovich. No. Рт the public. But this wretched peasant won’t let me pass. Lawyer. There’s no room for the public at this trial. я REDEMPTION Ivan Petrovich. Perhaps, but I am above the general rule. | Lawyer. Well, you wait outside; they’ll adjourn pres- ently. [Не is just going into courtroom through door К. С. when PRINCE SERGIUS enters L. and stops him. Prince Sergius. Ном does the case stand? - Lawyer. The defense has just begun. Petrushin 15, speaking now. Prince Sergius. Are the Karenins bearing up well? Lawyer. Yes, with extraordinary dignity. They look as if they were the judges instead of the accused. That’s felt all the way through, and Petrushin is taking advantage of it. Prince Sergius. What of Protosov? Lawyer. Не’з frightfully unnerved, trembling all over, but that’s natural considering the sort of life he’s led. Yes, — he’s all on edge, and he’s interrupted both judge and jury several times already. Prince Sergius. How do you think it will end? Lawyer. Hard to say. The jury are mixed. At any rate I don’t think they’ll find the Karenins guilty of pre- meditation. Do you want to go in? Prince Sergius. I should very much like to. Lawyer. Excuse me, you’re Prince Sergius Abreskov, aren’t you? (То the Prince.) ‘There’s an empty chair just at the left. |The guard lets PRINCE SERGIUS pass. Ivan Petrovich. Prince! Bah! I am an aristocrat of the soul, and that’s a higher title. Lawyer. Excuse me. [And exits down К. С. into courtroom. [РЕтознкоу, Fepya’s companion in the dive, enters approaching IvAN PETROVICH. Petushkov (К.). Oh, there you are. Well, how’re things going? Ivan Petrovich (L.). The speeches for the defense have begun, but this ignorant rascal won’t let us in. Curse his damned petty soul. Guard (C.) Silence! Where do you think you are? REDEMPTION oN [Further applause is heard; door of the court opens, and there is a rush of lawyers and the general public into the corridor. A Lady. Oh, it’s simply wonderful! When he spoke I felt as if my heart were breaking. An Officer. It’s all far better than a novel. But I don’t see how she could ever have loved him. Such a sinister, horrible figure. [The other door opens over L.; the accused comes out. The Lady (this group is down R.). Hush! There he is. See how wild he looks. Fedya (seeing IvAN PETROvICH). Did you bring it? [Goes to PETROVICH. Petrovich. ‘There. [He hands FEepya something; Frepya hides it in his pocket. Fedya_ (seeing Petusuxov). How foolish! How vul- gar and how boring all this is, isn’t it? [Men and women enter ‘door L. and stand down L. watching. [Enter PETRUSHIN, from К. С., ЕЕруА’$ counsel, а stout man with red cheeks; very animated. Petrushin (rubbing his hands). Well, well, my friend. - It’s going along splendidly. Only remember, don’t go and spoil things for me in your last speech. Fedya (takes him by the arm). Tell me, what'll the worst be? Petrushin. Ive already told you. Exile to Siberia. Fedya. Who'll be exiled to Siberia? Petrushin. You and your wife, naturally. Fedya. And at the best?. Petrushin. Religious pardon and the annulment of the second marriage. Еедуа. You mean—that we should be bound again— to one another ~Petrushin. Yes. Only try to collect yourself. Keep up your courage. After all, there’s no occasion for alarm. Fedya. There couldn’t be any other sentence, you’re me emer 54 REDEMPTION Petrushin. None other. None other. [Exits К. т. ЕЕБУА stands motionless. Guard (crosses and exits Г. т. Calling). Pass оп. Pass on. No loitering in the corridor. | [Victor and Lisa enter from door Г. Start to go off L. when pistol shot stops them. Fedya_ (He turns his back to the audience, and from be- neath his ragged coat shoots himself in the heart. There ts а тиЙед explosion, smoke. He crumples up in a heap on the floor. All the people in the passage rush to him.) (In a very low voice.) This time—it’s well done. DASA ets [People are crowding in from all the doors, judges, etc. Lisa rushes to FEpDyA, KARENIN, IVAN PET- ROVICH and PRINCE SERGIUS follow. Lisa. Fedya! ... Fedya! . . . What have you done? Oh why! ...why!... | Fedya. Forgive me—— No other way—— Not for you—but for myself (an Mo Lisa. You will live. You must Нуе. Л ЧИ 7) ИЕ Fedya. No—no—— Good-bye—— (He seems to smile, then he mutters just under his breath.) Masha. | [In the distance the gypsies are heard singing “No More at Evening.’ They sing until the curtain. You're too late—— [Suddenly he raises his head from Lisa’s knees, and barely utters as if he saw something in front of him. АВ... LLADDINESSE sl tan [His head falls from Lisa’s knees to the ground. She still clings to it, in grief and horror. He dies. [The lights dim and out.] CURTAIN THE POWER OF DARKNESS OR IF A CLAW IS CAUGHT THE BIRD IS LOST CHARACTERS Peter 1смАитсн. A well-to-do peasant, 42 years old, married for the second time, and sickly. Anisya. His wife, 32 years old, fond of dress. AKouLina. Peter's daughter by his first marriage, 16 years old, hard of hearing, mentally undeveloped. Nan (Anna РЕТВОУМА). His daughter by his second mar- riage, 10 years old. МЕТА, Their laborer, 25 years old, fond of dress. Axim. Nikita’s father, 50 years old, a plain-looking, God- fearing peasant. МатвуомА. Hts wife and Nikita’s mother, 50 years old. Marina. An orphan girl, 22 years old. MarTHA. Peter's sister. Миытсн. An old laborer, ex-soldier. Simon. Marina’s husband. Bripecroom. Engaged to Akoulina. IvAn. His father. A NEIGHBOR. First GIRu. SECOND GIRL. PoLicE OFFICER. DRIVER. Best MAN. МАТСН MAKER. VILLAGE ELDER. Visitors, WoMEN, GIRLS, AND PEOPLE come to see the wedding. N.B.—The “oven” mentioned is the usual large, brick, Russian baking-oven. The top of it outside is flat, so that more ‘than one person can lie on it. 56 TM Mt EOI The Act takes place in autumn in a large village. The Scene represents PETER’S roomy hut. PETER 15 sitting on a wooden bench, mending a _ horse-collar. ANisvA and AKOULINA are spinning, and singing a part-song. Peter (looking out of the window). The horses have got loose again. If we don’t look out they’ll be killing the colt. Nikita! Hey, Nikita! Is the fellow deaf? (Listens. То the women.) Shut up, one can’t hear anything. Nikita (from outside). What? Peter. Drive the horses in. Nikita. We'll drive ’em in. All in good time. Peter (shaking his head). Ah, these laborers! If I were well, Га not keep one оп no account. There’s noth- ing but bother with ’em. (Rises and sits down again.) Nikita!.. . . It’s no good shouting. One of you’d better go. Go, Akoul, drive ’em in. Akoulina. What? The horses? Peter. What else? Akoulina. All right. | Exit. Peter. Ah, but he’s a loafer, that lad . . . no good at all. Won’t stir a finger if he can help it. о Anisya. You're so mighty brisk yourself. When you're not sprawling on the top of the oven you’re squatting on the bench. To goad others to work is all you’re fit for. : Peter. If one weren’t to goad you on a bit, one’d have no roof left over one’s head before the year’s out. Oh, what people! Anisya. You go shoving a dozen jobs on to one’s shoul- ders, and then do nothing but scold. It’s easy to lie on the oven and give orders. Peter (sighing). Oh, if ’twere not for this sickness that’s got hold of me, I’d not keep him on another day. St 58 THE POWER OF DARKNESS Akoulina (off the scene). Gee up, gee, woo. [A colt neighs, the stamping of horses’ feet and the creaking of the gate are heard. Peter. Bragging, that’s what he’s good at. Га like to sack him, I would indeed. Anisya (mimicking him). “Like to sack him.” You buckle to yourself, and then talk. Akoulina (enters). It’s all I could do to drive ’em in. That piebald always will . . . Peter. And where’s Nikita? Akoulina. Where’s Nikita? Why, standing out there in the street. Peter. What’s he standing there for? Akoulina. What’s he standing there for? He stands there jabbering. Peter. One can’t get any sense out of her! Who’s he jabbering with? | Akoulina (does not hear). Eh, what? , [Peter waves her off. She sits down to her spinning. Nan (running in to her mother). Nikita’s father and mother have come. They’re going to take him away. It’s true! Anisya. Nonsense! : Nan. Yes. Blest if they’re not! (Laughing.) I was just going by, and Nikita, he says, “Good-bye, Anna Petrovna,” he says, “you must come and dance at my wedding. I’m leaving you,” he says, and laughs. Anisya (to her husband). There now. Much he cares. You see, he wants to leave of himself. “Sack him” indeed! Peter. Well, let him go. Just as if I couldn’t find somebody else. Anisya. And what about the money he’s had in ad- vance? [Nan stands listening at the door for awhile, and then exit. Peter (frowning). The money? Well, he can work it off in summer, anyhow. Anisya. Well, of course you'll be glad if he goes and you’ve not got to feed him. It’s only me as’ll have to THE POWER OF DARKNESS 59 work like a horse all the winter. That lass of yours isn’t over fond of work either. And you'll be lying up on the oven. I know you. Peter. What’s the good of wearing out one’s tongue before one has the hang of the matter? Anisya. The yard’s full of cattle. You’ve not sold the cow, and have kept all the sheep for the winter: feeding and watering ’em alone takes all one’s time, and you want to sack the laborer. But I tell you straight, I’m not going to do a man’s work! ГИ go and lie on the top of the oven | Same as you, and let everything go to pot! You may do | what you like. Peter (to Akoulina). Go and see about the feeding, will you? it’s time. Akoulina. The feeding? All right. [Puts on a coat and takes a rope. Anisya. I’m not going to work for you. You go and work yourself. I’ve had enough of it, so there! Peter. That'll do. What are you raving about? Like a sheep with the staggers! Anisya. You're a crazy cur, you are! One gets neither work nor pleasure from you. Eating your fill, that’s all you do, you palsied cur, you! Peter (spits and puts on coat). Faugh! The Lord have _ mercy! Га better go myself and see what’s up. [ Exit. Anisya (after him). Scurvy long-nosed devil! Akoulina. What are you swearing at dad for? Anisya. Hold your noise, you idiot! Akoulina (going to the door). I know why you're Swearing at him. Уоите an idiot yourself, you bitch. I’m not afraid of you. Anisya. What do you mean? (Jumps up and looks round for something to hit her with.) Mind, or ГП give you one with the poker. Akoulina (opening the door). Bitch! devil! that’s what you are! Devil! bitch! bitch! devil! [Runs off. Anisya (ponders). “Come and dance at my wedding!” What new plan is this? Marry? Mind, Nikita, if that’s 60 THE POWER OF DARKNESS your intention, Г go and . . . No, I can’t live without _ him. I won’t let him go. в | 1 ; Nikita (enters, looks round, and, seeing Anisya alone, approaches quickiy. Inalow tone). Here’sa go; (mina regular fix! That governor of mine wants to take me away, —tells me I’m to come home. Says quite straight I’m to marry and live at home. Anisya. Well, go and marry! What’s that to me? Nikita. Is that it? Why, here am I reckoning how best to consider matters, and just hear her! She tells me to go and marry. Why’s that? (Winking.) Has she for- gotten? Anisya. Yes, go and marry! What do I care? Nikita. What are you spitting for? Just see, she won’t even let me stroke her. . . . What’s the matter? Anisya. This! That you want to play me false... . If you do,—why, I don’t want you either. So now you know! Nikita. That'll do, Anisya. Do you think ГП forget you? Never while I live! ГИ not play you false, that’s flat. I’ve been thinking that supposing they do go and make me marry, I’d still come back to you. If only he don’t make me live at home. } Antsya. Much need ГП have of you, once you’re mar- ried. Nikita. ‘There’s a go now. How is it possible to go against one’s father’s will? Anisya. Yes, I daresay, shove it all on your father. You know it’s your own doing. You’ve long been plotting with that slut of yours, Marina. It’s she has put you up to it. She didn’t come here for nothing t’other day. | Nikita. Marina? What’s she to me? Much [I care about her! . . . Plenty of them buzzing around. Anisya. ‘Then what has made your father come here? It’s you have told him to. You’ve gone and deceived me. [ Cries. ~~Nikita. Anisya, do you believe in a God or not? I ' never so much as dreamt of it. I know nothing at all about ‚ it. I never even dreamt of it—that’s flat. My old dad ’ has got it all out of his own pate. £ bees THE POWER OF DARKNESS 61 Anisya. If you don’t wish it yourself who can force уси? Не can’t drive you like an ass. Nikita. Well, I reckon it’s not possible to go against one’s parent. But it’s not by my wish. Anisya. Don’t you budge, that’s all about it! Nikita, There was a fellow wouldn’t budge, and the vil- lage elder gave him such a hiding. . . . That’s what it might come to! I’ve no great wish for that sort of thing. They say it touches one up. . . . Anisya. Shut up with your nonsense. Nikita, listen to me: if you marry that Marina I don’t know what I won’t do to myself. . . . I shall lay hands on myself! I have sinned, I have gone against the law, but I can’t go back now. If you go away ГП... Nikita. Why should I go? Had I wanted to go—I should have gone long ago. There was Ivan Зетубойсь t’other day—offered me a place as his coachman. . . . Only fancy what a life that would have been! But I did not go. Because, I reckon, I am good enough for any one. Now if you did not love me it would be a different matter, ‚ Anisya. Yes, and that’s what you should remember. My old man will die one of these fine days, I’m thinking; then we could cover our sin, make it all right and lawful, | ~and then you’ll be master here. ii Nikita. Where’s the good of making plans? What do I care? I work as hard as if I were doing it for myself. My master loves me, and his missus loves me. And if the wenches run after me, it’s not my fault, that’s flat. Anisya. And you'll love me? Nikita (embracing her). There, as you have ever been in my heart... Matryéna_ (enters and crosses herself a long time before the icén. Nikita and Anisya step apart). What I saw I didn’t perceive, what I heard, I didn’t hearken to. Play- » ing with the lass, eh? Well,—even a calf will play. Why ’ shouldn’t one have some fun when one’s young? But your “master is out in the yard a-calling you, sonny. Nikita. I only came to get the axe. Matryéna. I know, sonny, I know; them sort of axes are mostly to be found where the women are. 62 ‘THE POWER OF DARKNESS Nikita (stooping to pick up axe). I say, mother, is it true you want ше to marry? Аз Г reckon, that’s quite un- necessary. Besides, I’ve got no wish that way. Matryéna. Eh, honey! why should you marry? Со on as you are. It’s all the old man. Youd better go, sonny; we can talk these matters over without you. Nikita. It’s a queer go! One moment I’m to be mar- ried, the next, not. I can’t make head or tail of it. | Exit. Anisya. What’s it all about, then? Do you really wish him to get married? Mairyéna. ЕВ, why should he marry, my jewel? It’s all nonsense, all my old man’s drivel. “Магу, marry.” But he’s reckoning without his host. You know the saying, “From oats and hay, why should horses этау?” When /you’ve enough to spare, why look elsewhere? And so in this PER ene case. (Winks.) Don’t I see which way the wind blows? — Anisya. Where’s the good of my pretending to you, Mother Matryona? You know all about it. I have sinned. I love your’ son. Matryéna. Dear me, here’s news! D’you think Mother Matryona didn’t know? Eh, lassie-—Mother Matryona’s — been ground, and ground again, ground fine! This much I can tell you, my jewel:: Mother Matryona can see through a brick wall three feet thick. I know it all, my jewel! I know what young wives need sleeping draughts for, so I’ve brought some along. Pow ce i § [Unties a knot in her handeerchie} and brings out paper-packets. As much as is wanted, I see, and what’s not wanted I neither see nor perceive! There! Mother Matryona has also been young. I had to know a thing or two to live with my old fool. I know seventy-and-seven dodges. But I see your old man’s quite seedy, quite seedy! How’s one to live with such as him? Why, if you pricked him with a hay- fork it wouldn’t fetch blood. See if you don’t bury him -before the spring. Then you’ll need some one in the house. Well, what’s wrong with my son? Не?’ do as well as an- other. Then where’s the advantage of my taking him away from a good place? Am I my child’s enemy? THE POWER OF DARKNESS 63 Anisya. Oh, if only he does not go away! Матубпа. Не won’t go away, birdie. Тез all nonsense. You know my old man. His wits are always wool-gather- ing; yet sometimes he takes a thing into his pate, and it’s as if it were wedged in, you can’t knock it out with a ham- mer. Anisya. And what started this business? Matryéna. Well, you see, my jewel, you yourself know what a fellow with women the lad is,—and_he’s handsome too, though I say it as shouldn’t. Well, you know, he was living at the railway, and they had an orphan wench there to cook for them. Well, that same wench took to running after him. Anisya. Marina? Matryéna. Yes, the plague seize her! Whether any- thing happened or not, anyhow something got to my old man’s ears. Maybe he heard from the neighbors, maybe she’s been and blabbed . . . Anisya. Well, she is a bold hussy! Mairyéna. So my old man—the old blockhead—off he goes: “Marry, marry,” he says, “he must marry her and cover the sin,” he says. ‘“We must take the lad home,” he says, “and he shall marry,” he says. Well, I did my best to make him change his mind, but, dear me, no. So, all right, thinks I—I’ll try another dodge. One always has to entice them fools in this way, just pretend to be of their mind, and when it comes to the point one goes and turns © it all one’s own way. You know, a woman has time to think seventy-and-seven thoughts while falling off the oven, so how’s such as he to see through it? “Well, yes,” says I, “it would be a good job,—only we must consider well be- forehand. Why not go and see our son, and talk it over with Peter Igndtitch and hear what he has to say?” So here we are. Anisya. Oh dear, oh dear, how will it all end? Sup- posing his father just orders him to marry her? Mairyéna, Orders, indeed! Chuck his orders to the dogs! Don’t you worry; that affair will never come off. I'll go to your old man myself, and sift and strain this mat- ter clear—there will be none of it left. I have come here RE SME т% 64 THE POWER OF DARKNESS only for the look of the thing. A very likely thing! Here’s my son living in happiness and expecting happiness, and ГЛ go and match him with a slut! No fear, I’m not a fool! Anisya. And she—this Marina—came dangling after him here! Mother, would you believe, when they said he was going to marry, it was as if a knife had gone right through my heart. I thought he cared for her. Matryéna. Oh, my jewel! Why, you don’t think him ‚ such a fool, that he should go and care for a homeless bag- | gage like that? Nikita is a sensible fellow, you see. Не | knows whom to love. So don’t you go and fret. my jewel. _ ‘We'll not take him away, and we won’t marry him. No, «, we'll let him stay on, if you'll only oblige us with a little —` money. Anisya. All I know is, that I could not live if Nikita went away. Matryéna. Naturally, when one’s young it’s no easy matter! You, a wench in full bloom, to be living with the dregs of a man like that husband of yours. Anisya. Mother Matryona, would you believe it? I’m that sick of him, that sick of this long-nosed cur of mine, I can hardly bear to look at him. Matryona. Yes, I see, it’s one of them cases. Just look here. (Looks round and whispers.) I’ve been to see that old man, you know he’s given me simples of two kinds. This, ^^ you see, 15 a sleeping draught. “Just give him one of these ~~ powders,” he says, “and he’ll sleep so sound you might ~ jump оп him!” And this here, “This is that kind of simple,” he says, ‘‘that if you give one some of it to drink it has _ no smell whatever, but its strength is very great. ‘There are seven doses here, a pinch at a time. Give him seven pinches,” he says, “and she won’t have far to look for freedom,” he says. Anisya. O-o-oh! What’s that? Matryéna. “Мо sign whatever,” he says. He’s taken a rouble for it. “Can’t sell it for less,” he says. Because it’s no easy matter to get ’em, you know. I paid him, dearie, out of my own money. If she takes them, thinks I, it’s all pene if she don’t, I can let old Michael’s daughter have them. THE POWER OF DARKNESS 65 Anisya. QO-o-oh! But mayn’t some evil come of them? I’m frightened! Mairyéna. What evil, my jewel? If your old man was hale and hearty, ’twould be a different matter, but he’s neither alive nor dead as it is. He’s not for this world. Such things often happen. Anisya. O-o-oh, my poor head! I’m afeared, Mother Matryona, lest some evil come of them. No. That won’t do. Matryona. Just as you like. I might even return them to him. Anisya. And are they to be used in the same way as the others? Mixed in water? Matryéna. Better in tea, he says. “You can’t notice anything,” he says, “по smell nor nothing.” Нез a cute old fellow, too. Anisya (taking the powder). O-oh, my poor head! Could I have ever thought of such a thing if my life were not a very hell? Matryéna. You'll not forget that rouble? I promised to take it to the old man. Не’з had some trouble, too. Anisya. Of course? | [Goes to her box and hides the powders. Mairyona. And now, my jewel, keep it as close as you can, so that no one should find it out.. Heaven defend that it should happen, but if any one notices it, tell ’em it’s for the black-beetles. (Takes the rouble.) It’s also used for beetles. (Stops short.) [Enter Axim, who crosses himself in front of the icén, and then PETER, who sits down. Peter. Well, then, how’s it to be, Daddy Akim? Akim. Аз it’s best, Peter Ignatitch, as it’s best . . . I mean—as it’s best. ’Cos why? I’m afeared of what d’you call ’ems, some tomfoolery, you know. Га like to, what d’you call it . . . to start, you know, start the lad honest, I mean. But supposing you’d rather, what d’you call it, we might, I mean, what’s rame? Asit’s best .. . Peter. All right. All right. Sit down and let’s talk it over. (Akim sits down.) Well, then, what’s it all about? You want him to marry? ^ = 66 THE POWER OF DARKNESS Matryéna. As to marrying, he might bide a while, Peter Ignatitch. You know our poverty, Peter Ignatitch. What’s he to marry on? We've hardly enough to eat ourselves. How can he marry then? .. . Peter. You must consider what will be best. Matryona. Where’s the hurry for him to get married? ) Marriage is not that sort of thing, it’s not like пре raspber- | ries that drop off if not picked in time. Peter. If he were to get married, ’twould be a good thing in a way. Akim, We'd liketo ... what d’youcallit? ’Cos why, you see. I’ve what d’you call it . . . a job. I mean, I’ve found a paying job in town, you know. Matryéna. And a fine job too—cleaning out cesspools. The other day when he came home, I could do nothing but spew and spew. Faugh! Akim. It’s true, at first it does seem what d’you call it © _. .. knocks one clean over, you know,—the smell, I mean. - But one gets used to it, and then it’s nothing, no worse than ‚ malt grain, and then it’s, what d’you call it, . . . pays, ` pays, I mean. And аз to the smell being, what d’you call it, it’s not for the likes of us to complain. And one changes one’s clothes. So we’d like to take what’s his name . . . Nikita, I mean, home. Let him manage things at home while I, what d’you call it,—earn something in town. Peter. You want to keep your son at home? Yes, that would be well: but how about the money he has had in ad- vance? Phi Ат. That’s it, that’s it! It’s just as you say, Igna- titch, it’s just what d’you call it. ’Cos why? If you go into service, it’s as good as if you had sold yourself, they say. That will be all right. I mean he may stay and serve his time, only he must, what d’you call it, get married. I mean—so: you let him off for a little while, that he may, what d’you call it? Peter. Yes, we could manage that. Matryéna.’ Ah, but it’s not yet settled between ourselves, Peter Ignatitch. ГП speak to you as I would before God, and you may judge between my old man and me. He goes THE POWER OF DARKNESS 67 on harping on that marriage. But just ask—who it is he wants him to marry. If it were a girl of the right sort now: I am not my child’s enemy, but the wench is not honest. Akim. No, that’s wrong! Wrong, I say. ’Cos why? She, that same girl—it’s my son as has offended, offended the girl I mean. Peter. How offended? Akim. That’s how. She’s what d’you call it, with him, with my son, Nikita. With Nikita, what d’you call it, I mean. Matryéna. You wait a bit, my tongue runs smoother— let me tell it. You know, this lad of ours lived at the rail- way before he came to you. There was a girl there as kept dangling after him. A girl of no account, you know; her name’s Marina. She used to cook for the men. So now this same girl accuses our son, Nikita, that he, so to say, deceived her. Peter. Well, there’s nothing good in that. Matryéna. But she’s no honest girl herself; she runs - after the fellows like a common slut. Akim. There you are again, old woman, and it’s not at all what d’you call it, it’s all not what d’you call it, I mean... Matryéna. There now, that’s all the sense one gets from my old owl—“what d’you call it, what d’you call it,” and he doesn’t know himself what he means. Peter Ignatitch, don’t listen to me, but go yourself and ask any one you like about the girl, everybody will say the same. She’s just a homeless good-for-nothing. Peter. You know, Daddy Akim, if that’s how things are, there’s no reason for him to marry Бег. А daughter-' in-law’s not like a shoe, you can’t kick her off. | Akim (excitedly). It’s false, old woman, it’s what d’you call it, false; I mean, about the girl; false) ’Соз why? The lass is a good lass, a very good lass, you’know. I’m sorry, sorry for the lassie, I mean. ; Matryéna. It’s an old saying: “For the wide world old | Miriam grieves, and at home without bread her children she | leaves.”” Не’ sorry for the girl, but not sorry for his own 68 THE POWER OF DARKNESS son! Sling her round your neck and carry her about with you! That’s enough of such empty cackle! Ат, No, it’s not empty. Matryéna. There, don’t interrupt, let me have my say. Akim (interrupts). No, not empty! I mean, you twist ‚ {112$ your own way, about the lass or about yourself. 'Twist them, I mean, to make it better for yourself; but ol what d’you call it, turns them His way. That’s how it is '..Matryéna. Eh! One only wears out one’s tongue with you. Akim. The lass is hard-working and spruce, and keeps everything round herself . . . what d’you call it. And in our poverty, you know, it’s a pair of hands, I mean; and the wedding needn’t cost much. But the chief thing’s the offence, the offence to the lass, and she’s a what d’you » call it, an orphan, you know; that’s what she is, and there’s the offence. Matryéna. Eh! they’ll all tell you a tale of that sort... Anisya. Daddy Akim, you’d better listen to us women; we can tell you a thing or two. Akim. And'God, how about God? Isn’t she a human being, the lass? A what d’you call it,—also a human being I mean, before God. And how do you look at it? Matryona. Eh! .. . started off again? ... Peter. Wait a bit, Daddy Akim. One can’t believe all these girls say, either. The lad’s‘alive, and not far away; send for him, and find out straight from him if it’s true. He won’t wish to lose his soul. Go and call the fellow, (Anisya rises) and tell him his father wants him. [| Exit ANisya,} Mairyona. That’s right, dear friend; you’ve cleared the way clean, as with water. Yes, let the lad speak for himself. Nowadays, you know, they’ll not let you force a son to marry; one must first of all ask the lad. Не’ never consent to marry her and disgrace himself, not for all the world. To my thinking, it’s best he should go on living with you and serving you as his master. And we need not take him home for the summer either; we can hire a help. THE POWER OF DARKNESS 69 If you would only give us ten roubles now, we'll let him“ Stay on. м ` Peter. All in good time. First let us settle one thing before we start another. Akim. You see, Peter Ignatitch, I speak. ’Cos why? you know how it happens. We try to fix things up as seems best for ourselves, you know; and as to God, we what d’you call it, we forget Him. We think it’s best so, turn it our own way, and lo! we’ve got into a fix, you know. We think it will be best, I mean; and lo! it turns out much worse— without God, I mean. Peter. Of course one must not forget God. Akim. It turns out worse! But when it’s the right way —God’s way—it what d’you call it, it gives one joy; seems pleasant, I mean. So I reckon, you see, get him, the lad, I mean, get him to marry her, to keep him from sin, I mean, and let him what d’you call it at home, as it’s lawful, I mean, while I go and get the job in town. The work is of the right sort—it’s payin’, I mean. And in God’s sight it’s what d’you call it—it’s best, I mean. Ain’t she an orphan? Here, for example, a year ago some fellows went and took timber from the steward,—thought they’d do the steward, you know. Yes, they did the steward, but they couldn’t what d’you call it—do God, I mean. Well, and SOE a . [Enter Nrxita and МАМ. Nikita. You called me? [Sits down and takes out his tobacco-pouch. Peter (in a low, reproachful voice). What are you thinking about—have you no manners? Your father is go- ing to speak to you, and you sit down and fool about with tobacco. Come, get up! [Nikita rises, leans carelessly with his elbow on the table, and smiles. : Akim. It*seems there’s a complaint, you know, about you, Nikita—a complaint, I mean, a complaint. Nikita. Who’s been complaining? Akim. Complaining? It’s a maid, an orphan maid, complaining, I mean. It’s her, you know—a complaint against you, from Marina, I mean. 70 THE POWER OF DARKNESS Nikita (laughs). Well, that’s a good one. What’s the complaint? And who’s told you—she herself? Akim. It’s I am asking you, and you must now, what d’you call it, give me an answer. Have you got mixed up with the lass, I mean—mixed up, you know? Nikita. I don’t know what you mean. What’s up? _ Akim. Foolin’, I mean, what d’you call it? foolin’. . Have you been foolin’ with her, I шеап? Nikita. Never mind what’s been! Of course one does have some fun with a cook now and then to while away the time. One plays the concertina and gets her to dance. What of haps ee Peter. Don’t shuffle, Nikita, but answer your father straight out. Akim (solemnly). You can hide it from men but not from God, Nikita. You, what d’you call it—think, I mean, and don’t tell lies. She’s an orphan; so, you see, any one is free to insult her. An orphan, you see. So you should ~ say what’s rightest. Nikita. But what if I have nothing to say? I have told you everything—because there isn’t anything to tell, that’s flat! (Getting excited.) She can go and say anything about me, same as if she was speaking of one as is dead. Why don’t she say anything about Fédka Mikishin?. Be- sides, how’s this, that one mayn’t even have a bit of fun nowadays? And as for her, well, she’s free to say any- thing she likes. Akim. Ah, Nikita, mind! A lie will out. Did any- thing happen? Nikita (aside). Ном he sticks to it; it’s too bad. (To Akim.) I tell you, I know nothing more. There’s been,’ | nothing between из. (Angrily.) Ву God! and may I never leave this spot (crosses himself) if I know anything about it. (Silence. Then still more excitedly.) Why! have you been thinking of getting me to marry her? What do you mean by it?—-it’s a confounded shame. Besides, nowadays you’ve got no such rights as to force a fellow to marry. That’s plain enough. Besides, haven’t I sworn I know noth- ing about it? Matryéna (to her husband). There now, that’s just like THE POWER OF DARKNESS Th) your silly pate, to believe all they tell you. Не’з gone and put the lad to shame all for nothing. The best thing is to let him live as he is living, with his master. His mas- ter will help us in our present need, and give us ten roubles, and when the time comes . . . Peter. Well, Daddy Akim, how’s it to be? Akim (looks at his son, clicking his tongue disapprov- ingly). Mind, Nikita, the tears of one that’s been wronged never, what d’you call it—never fall beside the mark but always on, what’s name—the head of the man as did the wrong. So mind, don’t what d’you call it. Nikita (sits down). What’s there to mind? mind your- self. Nan (aside). I must run and tell mother. ie | Exit. Matryéna (to Peter). .That’s always the way with this old mumbler of mine, Peter Ignatitch. Once he’s got any- thing wedged in his pate there’s no knocking it out. We've gone and troubled you all for nothing. The lad can go on living as he has been. Keep him; he’s your servant. Peter. Well, Daddy Akim, what do you say? Akim. Why, the lad’s his own master, if only he what d’you call it. . . . I only wish that, what d’you call it, I mean. Matryéna. You don’t know yourself what you’re jawing about. The lad himself has no wish to leave. Besides, what do we want with him at home? We can manage without him. — Peter. Only one thing, Daddy Akim—if you are think- ing of taking him back in summer, I don’t want him here for the winter. If he is to stay at all, it must be for the whole year. Mairyéna. And it’s for a year he'll bind himself. If , we want help when the press of work comes, we can hire 1 help, and the lad shall remain with you. Only. give ud ten roubles now. ... м Peter. Well then, is it to be for another year? Akim (sighing). Yes, it seems, it what d’you call it... if it’s so, I mean, it seems that it must be what d’you call it. | awe 12 THE POWER OF DARKNESS Matryona. For а year, counting from St. Dimitry’s day. We know you'll pay him fair wages. But give us ten roubles now. Help us out of our difficulties. (Gets up end bows to Peter.) [Enter Nan and Anisya. The latter sits down at one side. Peter. Well, if that’s settled we might step across to the inn and have a drink. Come, Daddy Akim, what do you say to a glass of vodka? Akim. No, I never drink that sort of thing. Peter. Well, you'll have some tea? Арии. Ah, tea! yes, I do sin that way. Yes, tea’s the thing. Peter. And the women will also have some tea, Come. And you, Nikita, go and drive the sheep in and clear away the straw. | Nikita. АП right. (Exeunt all but Nikita. NIKita lights a cigarette. It grows darker.) Just see how they both- er one. Want a fellow to tell ’em how he larks about with the wenches! It would take long to tell ’em all those stories —‘‘Marry her,” he says. Marry them all! One would have a good lot of wives! And what need have I to marry? Am as good as married now! ‘There’s many a chap as envies me. Yet how strange it felt when I crossed myself before the icon. It was just as if some one shoved me. The whole web fell to pieces at once. They say it’s frightening to Swear what’s not true. That’s all humbug. It’s all talk, that is. It’s simple enough. Akoulina (enters with a rope, which she puts down. She ‘takes off her outdoor things and goes into closet). You might at least have got a light. Nikita. What, to look at you? I can see you well enough without. Akoulina. Oh, bother you! [Nan enters and whispers to NIKITA. Nan. Nikita, there’s a person wants you. There is! Nikita. What person? Nan. Marina from the railway; she’s out there, round the corner. Nikita. Nonsense! THE POWER OF DARKNESS 73 Nan. Blest if she isn’t! Nikita. What does she want? Nan. She wants you to come out. She says, “I only want to say a word to Nikita.” I began asking, but she won’t tell, but only says, “Is it true he’s leaving you?” And I say, “Мо, only his father wanted to take him away and get him to marry, but he won’t, and is going to stay with us another year.” And she says, “For goodness’ sake send him out to me. I must see him,” she says, “I must say a word to him somehow.” She’s been waiting a long time. Why don’t you 20? Nikita. Bother her! What should I go for? Nan. She says, “If he don’t come, ГИ go into the hut to Биг? Blest if she didn’t say she’d come in! Nikita. Not likely. She'll wait a bit and then go away. Nan. “Or is it,” she says, “that they want him to marry Akoulina?” [Re-enter AxouLina, passing near МЕТА to take her distaff. , Akoulina. Marry whom to Akoulina? Nan. Why, Nikita. Akoulina. А likely thing! Who says it? Nikita (looks at her and laughs). It seems people do say it. Would you marry me, Akoulina? Akoulina. Who, you? Perhaps I might have afore, but I won’t now. Nikita. And why not now? Akoulina. ’Соз you wouldn’t love me. Nikita. Why not? Akoulina. ’Cos you'd be forbidden to. [ Laughs.. Nikita. Who'd forbid it? Akoulina. Who? My step-mother. She does nothing but grumble, and is always staring at you. Nikita (laughing). Just hear her! Ain’t she cute? / Akoulina. Who? Me? What’s there to be cute about? Am I blind? She’s been rowing and rowing at dad all day. The fat-muzzled witch! [Goes into closet. Nan (looking out of the window). Look, Nikita, she’s 74 THE POWER OF DARKNESS coming! I’m blest if she isn’t! ГИ go away. [Ехи.] Marina (enters). What are you doing with me? Nikita. Doing? I’m not doing anything. Marina. You mean to desert me. Nikita (gets up angrily). What does this look like, your coming here? Marina. Oh, Nikita! Nikita. Well, you are strange! What have you come for? Marina. Nikita! Nikita. That’s my name. What do you want with Nikita? Well, what next? Go away, I tell you! Marina. I see, you do want to throw me over. Nikita. Well, and what’s there to remember? You yourself don’t know. When you stood out there round the corner and sent Nan for me, and I didn’t come, wasn’t it plain enough that you’re not wanted? It seems pretty simple. So there—go! Marina. Not wanted! So now I’m not wanted! I be- lieved you when you said you would love me. And now that you’ve ruined me, I’m not wanted. Nikita. Where’s the good of talking? This is quite im- proper. You’ve been telling tales to father. Now, do go away, will youp Marina. You know yourself I never loved any one but you. Whether you married me or not, Га not have been angry. I’ve done you no wrong, then why have you left off caring for ше? Why? Nikita. Where’s the use of baying at the moon? You go away. Goodness me! ‘what a duffer! Marina. It’s not that you deceived me when you prom- ised to marry me that hurts, but that you’ve left off lov- ing. No, it’s not that you’ve stopped loving me either, but that you’ve changed me for another, that’s what hurts. I know who it is! Nikita (comes up to her viciously). Eh! what’s the good of talking to the likes of you, that won’t listen to reason? Ве off, or you'll drive me to do something you'll be sorry for. Marina. What, will you strike me, then? Well then, THE POWER OF DARKNESS 73 strike me! What are you turning away for? Ah, Nikita! Nikita. Supposing some one came in. Of course, it’s quite improper. And what’s the good of talking? Marina. So this is the end of it! What has been has flown. You want me to forget it? Well then, Nikita, listen. I kept my maiden honor as the apple of my eye. You have ruined me for nothing, you have deceived me. You have no pity on a fatherless and motherless girl! (Weeping.) You have deserted, you have killed me, but I bear you no malice. God forgive you! If you find a better one you'll forget me, if a worse one you’ll remember me. Yes, you will remember, Nikita! Good-bye, then, if it is to be. Oh, how I loved you! Good-bye for the last time. [Takes his head in her hands and tries to kiss him. ' Nikita (tossing his head back). I’m not going to talk with the likes of you. If you won’t go away I will, and you may stay here by yourself. Marina (screams). You are a brute. (Ju the door- way.) God_will give-you no joy. [ Exit, crying. i Akoulina (comes out of closet). You're a dog, Nikita! Nikita. What’s up? Akoulina. What a cry she gave! [ Cries. Nikita. What’s up with you? Akoulina. What’s up? You’ve hurt her so. That’s the way you'll hurt me also, You’re a dog. [Exit into closet. | Silence. | Nikita. Неге’з a fine muddle. I’m as sweet аз honey on the lasses, but when a fellow’s sinned with ’em it’s a bad look-out! CURTAIN ACT IE The scene represents the village street. To the left the out- side of PETER’s hut, built of logs, with a porch in the middle; to the right of the hut the gates and a corner of the yard buildings. ANisvA is beating hemp in the street near the corner of the yard. Six months have elapsed since the First Act. Anisya (stops and listens). Mumbling something again. He’s probably got off the stove. [ AKOULINA enters, carrying two pails on a yoke. Anisya. He’s calling. You go and see what he wants, kicking up such a row. Akoulina.. Why don’t you go? Anisya. Go, I tell you! (Exit AKOULINA into hut.) Нез bothering me to death. Won’t let out where the money is, and that’s all about it. Не was out in the passage the other day... He must have. been hiding it there. Now, I don’t know myself where it is. Thank goodness he’s afraid of parting with it, so that at least it will stay in the house. If only I could manage to \\. find it. Не hadn’t it on him yesterday. Now I don’t know where it can be. He has quite worn the life out of me. [Enter AKOULINA, tying her kerchief over her head. Anisya. Where are you off to? Akoulina. Where? Why, he’s told me to go for Aunt_ Martha. “Fetch my sister,” he says. “Т am going to die,” he says. “I have a word to say to her.” Anisya (aside). Asking for his sister? Oh, my poor head! Sure he wants to give it her. What shall I do? Oh! (To Axoutina.) Don’t go! Where are you off to? Akoulina. To call Aunt. Anisya. Don’t go I tell you, ГП go myself. You go 76 THE POWER OF DARKNESS 77 and take the clothes to the river to rinse. Else you’ll not have finished by the evening. Akoulina. But he told me to go. Anisya. You go and do as you're bid. I tell you РИ fetch Martha myself. Take the shirts off the fence. Akoulina. The shirts? But maybe you’ll not go. He’s given the order. Anisya. Didn’t I say I’d го? Where’s Nan? Akoulina. Nan? Minding the calves. Anisya. Send her here. I dare say they’ll not run away. [AKouLina collects the clothes, and exit. Antsya. И one doesn’t go he’ll scold. If one goes he'll give the money to his sister. All my trouble will be wasted. I don’t myself know what I’m to do. My poor head’s splitting. [ Continues to work. [Enter Marryona, with a stick and a bundle, in outdoor clothes. Matryéna. May the Lord help you, honey. Anisya (looks round, stops working, and claps her hands with joy). Well, I never expected this! Mother Matryéna, God has sent the right guest at the nght time. Matryéna. Well, how are things? Anisya. Ah, I’m driven well-nigh crazy. It’s awful! Maitryona. Well, still alive, I hear? Anisya. Oh, don’t talk about it. He doesn’t live and doesn’t die! Matryéna. But the money—has he given it to any- body? | Anisya. Нез just sending for his sister Martha—prob- ably about the money. Matryéna. Well, naturally! But hasn’t he given it to any one else? Anisya. То по one. I watch like a hawk. Matryéna. And where is it? Anisya. He doesn’t let out. And I can’t find out in any way. He hides it now here, now there, and I can’t do any- thing because of Akoulina. Idiot though she is, she keeps] watch, and is always about. Oh my poor head! I’m both- ered to death. ИС 78 THE POWER OF DARKNESS Matryéna. Oh, my jewel, if he gives the money to any one but you, you'll never eease regretting it as long as you live! They’ll turn you out of house and home without anything. You’ve been worriting, and worriting all your life with one you don’t love, and will have to go a-begging when you are a widow. Anisya. No need to tell me, mother. My heart’s that weary, and I don’t know what to do. No one to get a bit of advice from. I told Nikita, but he’s frightened of the job. The only thing he did was to tell me yesterday it was hidden under the floor. Matryona. Well, and did you look there? Anisya. I couldn’t. The old man himself was in the room. I notice that sometimes he carries it about on him, and sometimes he hides it. Matryéna. But you, my lass, must remember that if once he gives you the slip there’s no getting it right again! (Whispering.) Well, and did you give him the strong tea? Anisya. Oh! oh! ... [|About to answer, but sees neighbor and stops. [The neighbor (a woman) passes the hut, and listens to a call from within. Neighbor (to Anisya). I say, Anisya! Oh, Anisya! There’s your old man calling, I think. Anisya. ‘That’s the way he always coughs,—yjust as if he were screaming. He’s getting very bad. Neighbor (approaches MatryOna). How do you do, granny? Have you come far? Matryona. Straight from home, dear. Come to see my son. Brought him some shirts—can’t help thinking of these things, you see, when it’s one’s own child. ‹ Neighbor. Yes, that’s always so. (То Anisya.) And I was thinking of beginning to bleach the linen, but it is a bit early, no one has begun yet. Anisya. Where’s the hurry? Matryona. Well, and has he had communion? Anisya. Oh, dear, yes, the priest was here yesterday. Neighbor. I had a look at him yesterday. Dearie me! one wonders his body and soul keep together. And, O Lord, the other day he seemed just at his last gasp, so that THE POWER OF DARKNESS 79 they laid him under the holy 1с0п5.' They started lament- ing and got ready to lay him out. Anisya. He came to, and creeps about again. Mairyona. Well, and is he to have extreme unction? Anisya. The neighbors advise it. If he lives till to- morrow we’ll send for the priest. Neighbor. Oh, Anisya dear, I should think your heart must be heavy. As the saying goes, “Not he is sick that’s | Ш in bed, but he that sits and waits in dread." Anisya. Yes, if it were only over one way or other! Neighbor. Yes, that’s true, dying for a-—year,-it’s no joke. You’re bound hand and foot like that. Matryéna. Ah, but a widow’s lot is also bitter. It’s all right as long as one’s young, but who'll care for you when you’re old? Oh yes, old age is not pleasure. Just look at me. I’ve not walked very far, and yet am so footsore I don’t know how to stand. Where’s my son? Anisya. Ploughing. But you come in and we'll get the samovar ready; the tea’ll set you up again. Matryéna (sitting down). Yes, it’s true, I’m quite done up, my dears. As to extreme unction, that’s abso- lutely necessary. Besides, they say it’s good for the soul. Anisya. Yes, we'll send to-morrow. Mairyéna. Yes, you had better. And we’ve had a wed- ding down in our parts. Neighbor. What, in spring? ? i Matryéna. Ав, now if it were a poor man, then, as the saying is, it’s always unseasonable for a poor man to marry. But it’s Simon Matvéyitch, he’s married that Marina. Anisya. What luck for her! Neighbor. He’s a widower. I suppose there are chil- dren? Matryéna. Four of ’em. What decent girl would have him! Well, so he’s takén her, and she’s glad. You see, the vessel was not sound, so the wine trickled out. 1Tt is customary to place a dying person under the icdn. One or more icons hang in the hut of each Orthodox peasant. 2 Peasant weddings are usually in autumn. They are forbid- den in Lent, and soon after Easter the peasants become too busy to marry till harvest is over.»- - 80 THE POWER OF DARKNESS Neighbor. Oh, my! And what do people say to it? * And he, a rich peasant! Matryéna, ‘They are living well enough so far. Neighbor. . Yes, it’s true enough. Who wants to marry where there are children? ‘There now, there’s our Michael. He’s such a fellow, dear ше... Peasant’s voice. Hullo, Mavra. Where the devil are you? Go and drive the cow in. | Exit NEIGHBOR. Matryona (while the NEIGHBOR 15 within hearing speaks in her ordinary voice). Yes, lass, thank goodness, she’s married. At any rate my old fool won’t go bothering about Nikita. Now (suddenly changing her tone), she’s gone! (Whispers.) I say, did you give him the tea? Anisya. Don’t speak about it. He’d better die of him- self. It’s no use—he doesn’t die, and I have only taken a sin on my woul. O-oh, my head, my head! Oh, why did you give me those powders? Mairyéna. What of the powders? The sleeping pow- ~ \ ders, lass,—why not give them? No evil can come of them. Anisya. I am not talking of the sleeping ones, but the others, the white ones. Matryéna. Well, honey, those powders are medicinal. Anisya (sighs). I know, yet it’s frightening. Though he’s worried me to death. Matryéna. Well, and did you use many? Anisya. I gave two doses. Matryéna. Was anything noticeable? ` Anisya. I had a taste of the tea myself—just a little bitter. And he drank them with the tea and says, “Even tea disgusts me,” and I say, “Everything tastes bitter when one’s sick.” But I felt that scared, mother. Matryéna. Don’t go thinking about it. The more one thinks the worse it is. Anisya. I wish you’d never given them to me and led me into sin. When I think of it something seems to tear my heart. Oh, dear, why did you give them to me? Matryéna. What do you mean, honey? Lord help you! Why are you turning it on to me? Mind, lass, don’t go twisting matters from the sick on to the healthy. If any- THE POWER OF DARKNESS 81 thing were to happen, I stand aside! I know nothing! I’m aware of nothing! ГП kiss the cross on it; I never gave you any kind of powders, never saw any, never heard of any, and never knew there were such powders. You think about yourself, lass. Why, we were talking about you the other day. “Poor thing, what torture she endures. The step-daughter an idiot; the old man rotten, sucking her life- blood. What wouldn’t one be ready to do in such a case!” Anisya. I’m not going to deny it. A life such as mine could make one do worse than that. It could make you . hang yourself or throttle him. Is this a life? Matryéna. That’s just it. There’s no time to stand gaping; the money must be found one way or other, and then he must have his tea. Antsya. O-oh, my head, my head! I can’t think what to do. I am so frightened; he’d better die of himself. I don’t want to have it on my soul. Matryéna (viciously). And why doesn’t he show the money? Does he mean to take it along with him? Is no one to have it? Is that right? God forbid such a sum should be lost all for nothing. Isn’t that a sin? What’s he doing? Is he worth considering? Anisya. I don’t know anything. Нез worried me to death. Matryéna. What is it you don’t know? The business is clear. If you make a slip now, you'll repent it all your life. He’ll give the money to his sister and you'll be leit without. Anisya. O-oh dear! Yes, and he did send for her—I must go. Matryéna. You wait a bit and light the samovar first. We'll give him some tea and search him together—we’ll find it, no fear. Anisya. Oh dear, oh dear; supposing something were to happen. Matryéna. What now? What’s the good of waiting? Do you want the money to slip from your hand when it’s just in sight? You go and do as I say. Anisya. Well, ГИ go and light the samovar, и THE POWER OF DARKNESS Matryona. Go, honey, do the business so as not to re- gret it afterwards. That’s right! [ANisyA turns to go. Matryona calls her back. Matryéna. Just a word. Don’t tell Nikita about the business. Не’ silly. God forbid he should find out about the powders. The Lord only knows what he would do. He’s so tender-hearted. D’you know, he usen’t to be able ' to kill a chicken. Don’t tell him. ’Twould be a fine go, | he wouldn’t understand things. | [Stops horror-struck as PETER appears in the door- way. Peter (holding on to the wall, creeps out into the porch and calls with a faint voice). How’s it one can’t make you hear? Oh, oh, Anisya! Who’s there? | Drops on the bench. Anisya (steps from behind the corner). Why have you. come out? You should have stayed where you were lying. Peter. Наз the girl gone for Martha? It’s very hard. . Oh, if only death would come quicker! Anisya. She had no time. I sent her to the river. Wait a bit, ГП go myself when I’m ready. Peter. Send Nan. Where’s she? Oh, I’m that bad! Oh, death’s at hand! | Anisya. Ive sent for her already. Peter. Oh, dear! Then where is she? Anisya. Where’s she got to, the plague seize her! Peter. Oh, dear! I can’t bear it. АП my inside’s оп fire. It’s as if a gimlet were boring me. Why have you left me as if I were.a dog? . . . no one to give me a drink. rie Oho.) send Nan tome, Anisya. Here she is. Nan, go to father. [NAN runs in. ANisvA goes behind the corner of the house. Peter. Go you. Oh .. . to Aunt Martha, tell her father wants her; say she’s to come, I want her. Nan. All right. Peter. Wait.a bit. Tell her she’s to come quick. Tell her I’m dying. O-ch! Nan. ГП just get my shawl and be off. [Runs off. Е г, ы eo | yr &« UAL ‘THE POWER OF DARKNESS 83 Matryéna (winking). Now, then, mind and look sharp, lass. Go into the hut, hunt about everywhere, like a dog that’s hunting for fleas: look under everything, and ГИ search him. Anisya (to Matryona). I feel a bit bolder, somehow, now you're here. (Goes up to porch. To РетЕв.) Hadn’t I better light the samovar? Негез Mother Matryona come to see her son; you’ll have a cup of tea with her? Peter. Well, then, light it. [ANisva goes into the house. MAtTRYONA comes up to the porch. Peter. How do you do? Matryéna (bowing). How d’you do, my benefactor; how d’you do, my precious . . . still ill, I see. And my old man, he’s that sorry! “Go,” says he, “see how he’s getting on.” Не sends his respects to you. [Bows again. Peter. I’m dying. Matryéna. Ah, yes, Peter Ignatitch, now I look at you | I see, as the saying has it, “Sickness lives where men live.” You've shrivelled, shrivelled, all to nothing, poor dear, now I come to look at you. Seems illness does not add to good looks. Peter. My last hour has come. Matryéna. Oh well, Peter Ignatitch, it’s God’s will you know, you’ve had communion, and you'll have unction, God willing. Your missus is a wise woman, the Lord be thanked; she’ll give you a good burial, and have prayers said for your soul, all most respectable! And my son, he'll look after things meanwhile. Peter. There'll be no one to manage things! She’s not | | steady. Has her head full of folly—why, I know all about Le \ it, I know. And my girl is silly and young. I’ve got the | . homestead together, and there’s no one to attend to things. One can’t help feeling it. -- | [Whimpers. Matryéna. Why, if it’s money, or something, you can leave orders. Peter (to Antsya inside the house). Was Nan gone? Matryéna (aside). There now, he’s remembered! 84 THE POWER OF DARKNESS Anisya (from inside). She went then and there. Come inside; won’t you? ГИ help you in. Peter. Let me sit here a bit for the last time. The air’s so stuffy inside. Oh, how bad I feel! Oh, my heart’s burning. . . . Oh, if death would only come! _ Matryoéna. If God don’t take a soul, the soul can’t go out. Death and life are in God’s will, Peter Ignatitch. You can’t be sure of death either. Maybe you'll recover yet. There was a man in our village just like that, at the | уегу point of death... - Peter. No, I feel I shall die to-day, I feel it. [Leans back and shuts his eyes. Anisya_ (enters). Well, now, are you coming in or not? You do keep one waiting. Peter! eh, Peter! Matryéna_ (steps aside and beckons to ANisYA with her finger). Well? Anisya (comes down the porch steps). Not there. Matryéna. But have you searched everywhere? Under the floor? _ Anisya. No, it’s not there either. In the shed perhaps; he was rummaging there yesterday. Matryéna. Со, search, search for all you’re worth. Go all over everywhere, as if you licked with your tongue! - But I see he’ll die this very day, his nails are turning blue and his face looks earthy. Is the samovar ready? Anisya. Just on the boil. Nikita (comes from the other side, if possible on horse- back, up to the gate, and does not see PETER. To MaTRYONA). How d’you do, mother, is all well at home? Matryona. ‘The Lord be thanked, we’re all alive and have a crust to bite. Nikita. Well, and how’s master? Matryéna. Hush, there he sits. [Points to porch. Nikita. Well, let him sit. What’s it to me? Peter (opens his eyes). Nikita, I say, Nikita, come here! [Nixita approaches. Anisya and MATRYONA whis- per together. Peter. Why have you come back so early? THE POWER OF DARKNESS 85 Nikita. Гуе finished ploughing. Peter, Have you done the strip beyond the bridge? Nikita. It’s too far to go there. Peter. Too far? From here it’s still farther. You'll о have to go on purpose now. You might have made one job of it. [Anisya, without showing herself, stands and lis- tens. Matryéna (approaches). Oh, sonny, why don’t you take more pains for your master? Your master is ill and depends on you; you should serve him as you would your own father, straining every muscle just as I always tell you to. Peter. Well, then—o-oh! . . . Get out the seed pota- toes, and the women will go and sort them. Antsya_ (aside). No fear, I’m not going. He’s again sending every one away; he must have the money on him now, and wants to hide it somewhere. Peter. Else . . . o-oh! when the time comes for plant- ing, they’ll all be rotten. Oh, I can’t stand it! [ Rises. Matryéna (runs up into the porch and holds PETER up). Shall I help you into the hut? Peter. Help me in. (Stops.) Nikita! Nikita (angrily). What now? Peter. Ishan’t see you again. . . ГРИ die to-day. ... Forgive me,’ for Christ’s sake, forgive me if I have ever sinned against you. . . . If I have sinned in word or: deed. . . . There’s been all sorts of things. Forgive me! Nikita. What’s there to forgive? I’m a sinner myself. Matryéna. Ah, sonny, have some feeling. Peter. Forgive me, for Christ’s sake. [Weeps. Nikita (snivels). God will forgive you, Daddy Peter. I have no cause to complain of you. You’ve never done 1A formal request for forgiveness is customary among Rus- sians, but it is often no mere formality. Nikita’s first reply is evasive; his second reply, “God will forgive you,” is the correct ‚ one sanctioned by custom. | 86 THE POWER OF DARKNESS me any wrong. You forgive me; maybe I’ve sinned worse against you. (Weeps.) [PETER goes in whimpering, MATRYONA supporting him. Anisya. Oh, my poor head! It’s not without some reason he’s hit on that. (Approaches Nikita.) Why did you say the money was under the floor? It’s not there. Nikita (does not answer, but cries). I have never had - anything bad from him, nothing but good, and what haye I gone and done! Anisya. Enough now! Where’s the money? Nikita (angrily). How should I know? Go and look for it yourself! Anisya. What’s made you so tender? Nikita. Iam sorry for him,—that sorry. How he cried! Oh, dear! Anisya. Look at him,—seized with pity! He has found some one to pity too! He’s been treating you like a dog, and even just now was giving orders to have you turned out of the house. You’d better show me some pity! Nikita. What are you to be pitied for? Anisya. If he dies, and the money’s been hidden Ву. Nikita. No fear, he'll not hide it... Anisya. Oh, Nikita darling! he’s sent for his sister, and wants to give it to her. It will be a bad lookout for us. How are we going to live, if he gives her the money? They’ll turn me out of the house! You try and manage somehow! You said he went to the shed last night. Nikita. I saw him coming from there, but where he’s shoved it to, who can tell? Anisya. Oh, my poor head! ГИ go and have a look there. [Nikita steps aside.| Matryéna (comes out of the hut and down the steps of the porch to ANisvA and Nikita). Don’t go anywhere. He’s got the money on him. I felt it on a string round his neck. Anisya. Oh my head, my head! THE POWER OF DARKNESS 87 Mairyéna. И you don’t keep wide awake now, then you may whistle for it. If his sister comes—then good- bye to it! Anisya. That’s true. She'll come and he'll give it her. What’s to be done? Oh, my poor head! Matryéna. What is to be done? Why, look here: the samovar is boiling, go and make the tea and pour him out a cup, and then (whispers) put in all that’s left in the paper. When he’s drunk the cup, then just take it. Ней not tell, no fear. Anisya. Oh! I’m afeared! Matryéna. Don’t be talking now, but look clive, and Г] keep his sister off if need be. Mind, don’t make a blun- \ der! Get hold of the money and bring it here, and Nikita will hide it. Anisya. Oh my head, my head! I don’t know how I’m going to... Matryéna. Don’t talk about it I tell you, do as I bid you. Nikita! Nikita. What is it? Matryéna. You stay here—sit down—in case some- thing is wanted. , Nikita (waves his hand). Oh, these women, what won’t they be up to? Muddle one up completely. Bother them! Ill really go and fetch out the potatoes. Matryéna (catches him by the arm). Stay here, I tell you. [NAN enters. Anisya. Well? Nan. She was down in her daughter’s vegetable plot— she’s coming. : Anisya. Coming! What shall we do? | Matryéna. There’s plenty of time if you do as I tell you. | Anisya. I don’t know what to do; I know nothing, my brain’s all in a whirl. Nan! Go, daughter, and see to the calves, they’ll have run away, I’m afraid. . . . Oh dear, I haven’t the courage. Matryéna. Go on! I should think the samovar’s boil- ing over. | 88 ‘THE POWER OF DARKNESS Anisya. Oh my head, my poor head! [£vxit.] Matryona (approaches Nixita). Now then, sonny. (Sits down beside him.) Your affairs must also Le thought about, and not left anyhow. Nikita. What affairs? Matrydéna. Why, this affair—how уоште to live your life. Nikita. How to live my life? Others live, and I shall live! Matryéna. The old man will probably die to-day. Nikita. Well, if he dies, God give him rest! What’s _that to me? Matryéna_ (keeps looking towards the porch while she speaks). Eh, sonny! Those that are alive have to think about living. One needs plenty of sense in these matters, honey. What do you think? I’ve tramped all over the place after your affairs, I’ve got quite footsore bothering about matters. And you must not forget me when the time comes. Nikita. And what’s it you’ve been bothering about? Mairyona. About your affairs, about your future. If you don’t take trouble in good time you'll get nothing. You know Ivan Moséitch? Well, I’ve been to him too. I went there the other day. I had something else to settle, _ you know. Well, so I sat and chatted awhile and then came to the point. ‘Tell me, Ivan Moséitch,” says I, “how’s one to manage an affair of this kind? Supposing,” says I, “а peasant as is a widower married a second wife, and supposing all the children he has is а daughter by the) first wife, and a daughter by the second. Then,” says I, ‘when that peasant dies, could an outsider get hold of the. homestead by marrying the widow? Could he,” says I, “give both the daughters in marriage and remain master of the’ house himself?” “Yes, he could,” says he, “but,” says he, ~. “it would mean a deal of trouble; still the thing could be managed by means of money, but if there’s no money it’s. no good trying.” M4 Nikita (laughs). That goes without saying, only fork out the money. Who does not want money? Matryona, Well then, honey, so I spoke out plainly THE POWER OF DARKNESS 89 about the affair. And he says, “First and foremost, your son will have to get himself on the register of that village —that will cost something. The elders will have to be treated. And they, you see, they’ll sign. Everything,” says he, “must be done sensibly.” Look (unwraps her kerchief and takes out a paper), he’s written out this paper; just read it, you’re a scholar, you know. IN IKITA reads. г Nikita. ‘This paper’s only a decision for the elders to sign. There’s no great wisdom needed for that. Matryona. But you just hear what Ivan Mosévitch bids us do. ‘Above all,” he says, “mind and don’t let the money slip away, dame. If she don’t get hold of the money,” he says, “they’ll not let her do it. Money’s the great thing!” So look out, sonny, things are coming, to a head. Nikita. What’s that to me? The money’s hers—f let her look out. Matryéna. Ah, sonny, how you look at it! How can a woman manage such affairs? Even if she does get the money, is she capable of arranging it allP One knows what a woman is! You’re a man anyhow. You can hide it, and all that. You see, you’ve after all got more sense, in case of anything happening. Nikita. Oh, your woman’s notions are all so inexpe- dient! Matryona. Why inexpedient? You just collar the money, and the woman’s in your hands. And then should she ever turn snappish you’d be able to tighten the reins! Nikita. Bother you all,—I’m going. Anisya (quite pale, runs out of the hut and round the corner to MatrYONA). So it was, it was оп him! Here it is! [Shows that she has something under her apron. Matryéna. Give it to Nikita; he’ll hide и. Nikita, take it and hide it somewhere. Nikita. АП right, give here! Anisya. O-oh, my poor head! No, Га better do it myself. [Goes towards the gate... 90 THE POWER OF DARKNESS Matryéna (seizing her by the arm). Where are you going to? You’ll be missed. There’s the sister coming; give it him; he knows what to do. Eh, you blockhead! Anisya_ (stops irresolutely). Oh, my head, my head! Nikita. Well, give it here. ГП shove it away some- where. Anisya. Where will you shove it to? Nikita (laughing). Why, are you afraid? | Enter AKOULINA, carrying clothes from the wash. Anisya. O-oh, my poor head! (Gives the money.) Mind, Nikita. Nikita. What are you afraid of? Tl hide it so that ГЛ not be able to find it myself. ) [ Exit. Anisya (stands in terror). Oh dear, and supposing ey, Matryéna. Well, is he dead? Anisya. Yes, he seems dead. He did not move when I took it. Matryéna. Go in, there’s Akoulina. Anisya.. Well there, I’ve done the sin and he has the оне, № Matryéna. Wave done and go in! ТЬегез Martha coming! | Anisya. ‘There now, I’ve trusted him. What’s going to happen now? [ Exit. Martha (enters from one side, AKOULINA enters from the other. То AKkoutina). I should have come before, but I was at my daughter’s. Well, how’s the old man? Is he dying? Akoulina (puts down the clothes). Don’t know; I’ve been to the river. Martha (pointing to MatryONA). Who’s that? Matryona. I’m from Zotevo. I’m Nikita’s mother from Zouevo, my dearie. Good afternoon to you. He’s wither- ing, withering away, poor dear—your brother, I mean. He came out himself. “Send for my sister,’’ he said, ‘‘because,”’ said he . . . Dear me, why, I do believe he’s dead! Anisya (runs out screaming. Clings to a post, and begins THE POWER OF DARKNESS 91 wailing). Oh, oh, ah! who-o-0-o-m have you left me to, why-y-y have you dese-e-e-e-rted me—a miserable widow - . . to live my life alone . . . Why have you closed your bright eyes... [Enter Метснвов. Matry6éna and NEIGHBOR catch hold of Anisya under the arms to support her. к AKOULINA and MartTHA go into the hut. A crowd assembles, A voice in the crowd. Send for the old women to lay out the body. Matryéna (rolls up her sleeves). Is there any water in the copper? But I daresay the samovar is still hot. Vl] also go and help a bit. CURTAIN *Loud public wailing of this kind is customary, and considered indispensable, among the peasants. ACT Ш The same hut. Winter. Nine months have passed since Act II, Awnisva, plainly dressed, sits before a loom weaving. NAN is on the oven: Митисй (an old laborer, enters and slowly takes off his outdoor things). Oh Lord, have mercy! Well, hasn’t the master come home yet? Anisya, What? Mitritch, Nikita isn’t back from town, is he? Anisya. No. Mitritch. Must have been on the spree. Oh Lord! Anisya. Have you finished in the stackyard? Mitritch. What d’you think? Got it all as it should be, and covered everything with straw! I don’t like doing things by halves! Oh Lord! holy Nicholas! (Picks at the corns on his hands.) But it’s time he was back. Anisya. What need has he to hurry? He’s got money. Merry-making with that girl, I daresay. ... Mitritch. Why shouldn’t one make merry if one has the money? And why did Akoulina go to town? Anisya. You'd better ask her. How do I know what the devil took her there! Mitritch. What! to town? There’s all sorts of things to be got in town if one’s got the means. Oh Lord! Nan. Mother, I heard myself. “Tl get you a little shawl,” he says, blest if he didn’t; “you shall choose it yourself,” he says. And she got herself up so fine; she put on her velveteen coat and the French shawl. Anisya. Really, а girl’s modesty reaches only to the door. Step over the threshold and it’s forgotten. She is eo, Я У» g и“ a shameless creature. Mitritch. Oh my! What’s the use of being ashamed? While there’s plenty of money make merry. Oh Lord! 92 THE POWER OF DARKNESS 93 It is too soon to have supper, eh? (ANisYA does not an- swer.) ГИ go and get warm meanwhile. (Climbs on the stove.) Oh, Lord! Blessed Virgin Mother! Holy Nicholas! Neighbor (enters). Seems your goodman’s not back yet? f Anisya. No. Neighbor. It’s time he was. Hasn’t he perhaps stopped at our inn? Му sister, Thekla, says there’s heaps of sledges standing there as have come from the town, Anisya. Nan! Nan, I say! Wan. Yesr Anisya. You run to the inn and see! Mayhap, being drunk, he’s gone there. Nan (jumps down from the oven and dresses). All right. nN ПА Neighbor. And he’s taken Akoulina with him? sa Anisya. Else he’d not have had any need of going. It’s because of her he’s unearthed all the business there. “‘Must go to the bank,” he says; “‘it’s time to receive the pay- ments,” he says. But it’s all her fooling. Neighbor (shakes her head). It’s a bad look-out. [ Silence. Nan (at the door). And if he’s there, what am I to say? Anisya. You only see if he’s there. Nan. Allright. Vl be back in a winking. [Long silence. Mitritch (roars). Oh Lord! merciful Nicholas! Neighbor (starting). Oh, how he scared me! Who is it? Anisya. Why, Mitritch, our laborer. Neighbor. Oh dear, oh dear, what a fright he did give me! I had quite forgotten. But tell me, dear, I’ve heard some one’s been wooing Akoulina? Anisya (gets up from the loom and sits down by the table). There was some one from Dédlovo; but it seems the affair’s got wind there too. They made a start, and then stopped; so the thing fell through. Of course, who’d care to? Neighbor. And the Lizoundfs from Zotevo? 94 THE POWER OF DARKNESS Anisya. They made some steps too, but it didn’t come off either. They won’t even see us. Neighbor. Yet it’s time she was married. Anisya. Time and more than time! ‚АБ, my dear, ’m that impatient to get her out of the house; but the matter — does not come off. He does not wish it, nor she either. He’s not yet had enough of his beauty, you see. Neighbor. Eh, eh, eh, what doings! Only think of it Why, he’s her step-father! Anisya. Ah, friend, they’ve taken me in completely. They’ve done me so fine it’s beyond saying. I, fool that I was, noticed nothing, suspected nothing, and so I mar- ried him. I guessed nothing, but they already understood one another. Neighbor. Oh dear, what goings on! Anisya. So it went on from bad to worse, and I see they begin hiding from me. Ah, friend, I was that sick—that sick of my life! It’s not as if I didn’t love him. Neighbor. That goes without saying. Anisya. Ah, how hard it is to bear such treatment from him! Oh, how it hurts! Neighbor. Yes, and I’ve heard say he’s becoming too free with his fists? _ а Anisya. And that too! There was a time when he was gentle when he’d had a drop. He used to hit out before, but of me he was always fond! But now when he’s in a temper he goes for me and is ready to trample me under his feet. The other day he got both my hands entangled in my hair so that I could hardly get away. And the girl’s worse than a serpent; it’s a wonder the earth bears such furies. Neighbor. Ah, ah, my dear, now I look at you, you are a sufferer! To suffer like that is no joke. To have given shelter to a beggar, and he to lead you such a dance! Why don’t you pull in the reins? Anisya. Ah, but, my dear, if it weren’t for my heart! Him as is gone was stern enough, still I could twist him about any way I liked; but with this one I can do nothing, As soon as I see him all my anger goes. I haven’t a grain of courage before him; I go about like a drowned hen. THE POWER OF DARKNESS 95 Neighbor. Ah, neighbor, you must be under a spell. I’ve heard that Matry6na goes in for that sort of thing. It must Бе her. Anisya. Yes, dear; I think so myself sometimes. Gra- cious me, how hurt I feel at times! Га like to tear him to pieces. But when I set eyes on him, my heart won’t go against him. Neighbor. It’s plain you’re bewitched. It don’t take long to blight a body. There now, when I look at you, what you have dwindled to! | Anisya. Growing a regular spindle-shanks. And just look at that fool Akoulina. Wasn’t the #11 а regular untidy slattern, and just look at her now! Where has it all come from? Yes, he has fitted her out. She’s grown so smart, so puffed up, just like a bubble that’s ready to burst. And, though she’s a fool, she’s got it into her head. “I’m the mistress,” she says; “the house is mine; it’s me father wanted him to marry.” And she’s that vicious! Lord help us, when she gets into a rage she’s ready to tear the thatch off the house. Neighbor. Oh dear, what a life yours is, now I come to look at you. And yet there’s people envying you: ‘“They’re rich,” they say; but it seems that gold don’t keep tears from falling. Anisya. Much reason for envy indeed! And the riches, too, will soon be made ducks and drakes of. Dear me, how he squanders money! Neighbor. But how’s it, dear, you’ve been so simple to give up the money? It’s yours. Anisya. Ah, if you knew all! The thing is that I’ve made one little mistake. Neighbor. Well, if I were you, ГА go straight and have the law of him. The money’s yours; how dare he squan- der it? There’s no such rights. Anisya. They don’t pay heed to that nowadays. Neighbor. Ah, my dear, now I come to look at you, you've got that weak. Anisya. Yes, quite weak, dear, quite weak. He’s got me into a regular fix. I don’t myself know anything. Oh, my poor head! а 96 THE POWER OF DARKNESS Neighbor (listening). There’s some one coming, I think. [The door opens and Axim enters. Akim (crosses himself, knocks the snow off his feet, and takes off his coat). Peace be to this house! How do you do? Are you well, daughter? Anisya. How d’you do, father? Do you come straight from home? | Akim. Ive been a-thinking Г] go and see what’s name, go to see my son, I mean,—my son. I didn’t start early— had my dinner, I mean; I went, and it’s so what d’you call it—so snowy, hard walking, and so there I’m what d’you call it—late, I mean. And my son—is he at home? At home? My son, I mean. Anisya. No; he’s gone to the town. Akim (sits down on a bench). Гуе some business with . him, d’you see, some business, I mean. I told him t’other day, told him I was in need—told him, I mean, that our horse was done for, our horse, you see. So we must what d’ye call it, get a horse, I mean, some kind of a horse, I mean. So there, I’ve come, you see. Anisya. Nikita told me. When he comes back you'll have a talk. (Goes to the oven.) Have some supper now, . ‘and he’ll soon come. Mitritch, eh, Mitritch, come have your supper. Mitritch. Oh Lord! merciful Nicholas! Anisya. Come to supper. Neighbor. I shall go now. Good-night. | Exit. Mitritch (gets down from the oven). I never noticed how I fell asleep. Oh, Lord! gracious Nicholas! How d’you do, Daddy Akim? Akim. Ah, Mitritch! What are you, what d’ye call it, вай. Mitritch. Why, I’m working for your son, Nikita. Akim. Dear me! What Tye са]... working for my son, I mean. Dear me! Mane. I was living with a tradesman in town, but drank all I had there. Now I’ve come back to the village. THE POWER OF DARKNESS 97 I’ve no home, so I’ve gone into service. (Gapes.) Oh Lord! Akim. But how’s that, what d’you call it, or what’s name, Nikita, what does he 40? Has he some business, I mean besides, that he should hire a laborer, a laborer, I mean, hire a laborer? Anisya. What business should he have? He used to manage, but now he’s other things on his mind, so he’s hired a laborer. Mitritch. Why shouldn’t he, seeing he has money? Akim. Now that’s what d’you call it, that’s wrong, I mean, quite wrong, I mean. That’s spoiling oneself. Anisya. Oh, he has got spoilt, that spoilt, it’s just awful. Akim. There now, what d’you call it, one thinks how to make things better, and it gets worse I mean. Riches, spoil_a_man, spoil,.I mean. Mitritch. Fatness makes even a dog go mad; how’s one * not to get spoilt by fat living? Myself now; how I went _ on with fat living. I drank for three weeks without being sober. I drank my last breeches. When I had nothing left, I gave it up. Now I’ve determined not to. Bother it! Ат. And where’s what d’you call, your old wom- ап? Mitritch. Му old woman has found her right place, old. fellow. She’s hanging about the gin-shops in town. She’s a swell too; one eye knocked out, and the other black, an her muzzle twisted to one side. And she’s never sober; drat her! Akim. Oh, oh, oh, how’s that? Mitritch. ‘And where’s a soldier’ 5 wife to 50? She has found her right place. [ Silence. Ат (to AnisyA). And Nikita,—has he what d’you call it, taken anything up to town? I mean, anything to sell? Anisya_ (laying the table and serving up). No, he’s taken nothing. He’s gone to get money from the bank, Akim (sitting down to supper). Why? D’you wish to put it to another use, the money I mean? ‘ A № 98 THE POWER OF DARKNESS Anisya. No, we don’t touch it. Only some twenty or thirty roubles as have come due; they must be taken. Akim. Must be taken. Why take it, the money I mean? You’ll take some to-day I mean, and some to-morrow; and so you'll what d’you call it, take it all, I mean. Anisya. We get this besides. The money is all safe. Akim. АП safe? How’s that, safe? You take it, and it what d’you call it, it’s all safe. How’s that? You put a heap of meal into a bin, or a barn, I mean, and go on taking meal, will it remain there, what d’you call it, all safe, I mean? That’s, what d’you call it, it’s cheating. You’d better find out, or else they’ll cheat you. Safe indeed! I mean you what d’ye call . . . you take it and it remains all safe there? Anisya. I know nothing about it. Ivan Moséitch ad- | vised us at the time. “Риё the money in the bank,” he said, ‘Ве money will be safe, and you’ll get interest,” he said. Mitritch (having finished his supper). That’s so. I’ve lived with a tradesman. They all do like that. Put the _ money in the bank, then lie down on the oven and it will keep coming in. ; Akim. That’s queer talk. How’s that—what Фуе call, coming in, how’s that coming in, and they, who do they get it from I mean, the money I mean? Anisya. They take the money out of the bank, Mitritch. Get along! ’Tain’t a thing a woman can understand! You look here, I’ll make it all clear to you. Mind and remember. You see, suppose you’ve got some money, and I, for instance, have spring coming on, my land’s idle, I’ve got no seeds, or I have to pay taxes. So, you see, I go to you. “Akim,” I say, “give us a ten-rouble note, and when I’ve harvested in autumn ГП return it, and till two acres for you besides, for having obliged me!” And you, seeing I’ve something to fall back on—a horse say, or a cow—you say, “No, give two or three roubles for the obligation,” and there’s an end of it. I’m stuck in the mud, and can’t do without. So I say, “All right!” and take a tenner. In the autumn, when I’ve made my turnover, I THE POWER OF DARKNESS 99 bring it back, and, you squeeze the extra three roubles out of ше. / Mo Gey Pe Cee | Акт. Yes, but that’s what peasants do when they what d'ye call it, when they forget God. It’s not honest, I mean, it’s no good, I mean. Mitritch. You wait. You'll see it comes just to the same thing. Now don’t forget how you’ve skinned me. And Anisya, say, has got some money lying idle. She does not know what to do with it, besides, she’s a woman, and does not know how to.use it. She comes to you. “Couldn’t you make some profit with my money too?” she says. “Why not?” say you, and you wait. Before the summer I come again and say, “Give me another tenner, and ГИ be obliged.” Then you find out if my hide isn’t all gone, and if I can be skinned again you give me Anisya’s money. But supposing I’m clean shorn,—have nothing to eat,—then you see I can’t be fleeced any more, and you say, “Go your way, friend,” and you look out for another, and lend him your own and Anisya’s money and skin him. That’s what the bank is. So it goes round and round. It’s a cute thing, old fellow! | Ат (excitedly). Gracious me, whatever is that like? It’s what d’ye call it, it’s filthy! The peasants—what d’ye call it, the peasants do so I mean, and know it’s, what d’ye call it, a sin! It’s what d’you call, not right, not right, I mean. It’s filthy! How can people as have learnt... what d’ye сай и... Mitritch. That, old fellow, is just what they’re fond off And remember, them that are stupid, or the women folk, as can’t put their money into use thémselves, they take it to the bank, and they there, deuce take ’em, clutch hold of it, and with this money they fleece the people. It’s a cute thing! ' Akim_ (sighing). Oh dear, I see, what d’ye call it, with- out money it’s-bad, and with money it’s worse! How’s that? God told us to work, but you, what d’you call. . . I mean you put money into the bank and go to sleep, and the money will what d’ye call it, will feed you while you sleep. It’s filthy, that’s what I-call it; it’s not right. Mitritch. Not right? Eh, old fellow, who cares about 100 THE POWER OF DARKNESS that nowadays? And how clean they pluck you, tool! That’s the fact of the matter. Akim (sighs). Ah, yes, seems the time’s what d’ye call it, the time’s growing ripe. There, I’ve had a look at the closets in town. What they’ve come to! It’s all polished and polished I mean, it’s fine, it’s what d’ye call it, it’s like inside an inn. And what’s it all for? What’s the good of it? Oh, they’ve forgotten God. Forgotten, I mean. We’ve forgotten, forgotten God, God, I mean! Thank you, my dear, I’ve had enough. I’m quite satisfied. [ Rises. Митытсн climbs on to the oven. Anisya (eats, and collects the dishes). И his father would only take him to task! But I’m ashamed to tell him. Akim. What d’you say? Anisya. Oh! it’s nothing, [Enter Nan. Akim. Неге?з a good girl, always busy! You’re culd, Т should think? Nan. Yes, I am, terribly. How d’you do, grandfather? Anisya. Well? Is he there? Nan. No. But Andriyan is there. He’s been to town, and he says he saw them at an inn in town. He says Dad’s as drunk as drunk can be! Anisya. Do you want anything to eat? Here you are. Nan (goes to the oven). Well, it zs cold. My hands are quite numb. [Axim takes off his leg-bands and bast-shoes. An- IsvA washes up. Anisya. Father! Akim. Well, what is it? Anisya. And is Marina living well? Akim. Yes, she’s living all right. The little woman is what d’ye call it, clever and steady; she’s living, and what d’ye call it, doing her best. She’s all right; the little woman’s of the right sort I mean; painstaking and what d’ye call it, submissive; the little woman’s all right I mean, all rizht, you know. Anisya. And is there no talk in your village that a relat tive of Marina’s husband thinks of marrying our Akoulina? Have you heard nothing of it? © THE POWER OF DARKNESS 101 Akim. Ah; that’s Mirénof. Yes, the women did chat- - ter something. But I didn’t pay heed, you know. It don’t interest me I mean, I don’t know anything. Yes, the old women did say something, but Pve a bad memory, bad memory, I mean. But the Mirénofs are what d’ye call it, they’re all right, I mean they’re all right. Anisya. Wm that impatient to get her settled. Akim. And why? Nan (listens). They’ve come! Anisya. Well, don’t you go bothering them. [Goes on washing the spoons without turning her head. Nikita, (enters). Anisya! Wife! who has come? [Anisva looks up and turns away т silence. Nikita (severely). Who has come? Have you for- gotten? Anisya. Now don’t humbug. Come in! Nikita (still more. severely). Who’s come? Anisya (goes up and takes him by the arm). Well, then, husband has come. Now then, come in! Nikita (holds back). Ah, that’s it! Husband! And what’s husband called? Speak properly. | Anisya. Oh bother you! Nikita! Nikita. Where have you learnt manners? The full name. Anisya. Nikita Akimitch! Now then! Nikita (still in the doorway). Ah, that’s it! But now—the surname? Anisya (laughs and pulls him by the arm). Tchilikin. Dear me, what airs! Nikita. Ah, that’s it. (Holds on to the door-post.) No, now say with which foot Tchilikin steps into this house! Anisya. That’s enough! You're letting the cold in! Nikita. Say with which foot he steps? You've got to say it,—that’s flat. , Antsya (aside). Не’! go on worrying. (To Nikita.) Well then, with the left. Come in! Nikita. Ah, that’s it. Anisya. You look who’s in the hut! 102 THE POWER OF DARKNESS Nikita. Ah, my parent! Well, what of that? I’m not ashamed of my parent. I can pay my respects to my раг- ent. How d’you do, father? (Bows and puts out his hand.) My respects to you. Akim (does not answer). Drink, I mean drink, what it does! It’s filthy! Nikita. Drink, what’s that? I’ve been drinking? I’m to blame, that’s flat! Ive had a glass with a friend, drank his health. Anisya. Go and lie down, I say. Nikita. Wife, say where am I standing? Anisya. Now then, it’s all right, lie down! Nikita. No, ГИ first drink a замоуаг with my parent. Go and light the samovar. Akoulina, I say, come here! [Enter AKOULiNA, smartly dressed and carrying Шей purchases. Akoulina. Why have you thrown everything about? Where’s the yarn? Nikita. The yarn? The yarn’s there. Hullo, Mitritch, where are you? Asleep? Asleep? Со and put the horse up. Akim (not seeing Axoutina but looking at his son). Dear me, what is he doing? The old man’s what d’ye call it, » quite done up, I mean,—been thrashing,—and look at him, what d’ye call it, putting on airs! Put up the horse! Faugh, what filth! Mitritch (climbs down from the oven, and puts on felt boots). Oh, merciful Lord! Is the horse in the yard? Done it to death, I dare say. Just see how he’s been swill- ing, the deuce take him. Up to his very throat. Oh Lord, Holy Nicholas! [Puts on sheepskin and exit. Nikita (sits down). You must forgive me, father. It’s true I’ve had a drop; well, what of that? Even a hen will drink. Ain’t it true? So you must forgive me. Never mind Mitritch, he doesn’t mind, he’ll put it up. Anisya. Shall I really light the samovar? Nikita. Light it! My parent has come. I wish to talk to him, and shall drink tea with him» (To АкотлАмА.) Have you brought all the parcels? THE POWER OF DARKNESS 103 Akoulina. The parcels? I’ve brought mine, the rest’s in the sledge. Hi, take this, this isn’t mine! ` [Throws a parcel on the table and puts the others into her box. Nan watches her while she puts them away. Axim does not look at his son, but puts his leg-bands and bast-shoes on the oven. Атзуа (going out with the samovdr). Her box is full as it is, and still he’s bought more! Nikita (pretending to be sober). You must not be cross with me, father. You think I’m drunk? I am all there, that’s flat! As they say, “Drink, but keep your wits about you.” I can talk with you at once, father. I can attend to any business. You told me about the money; your horse is worn-out——I remember! That can all be managed. That’s all in our hands. If it was an enormous sum that’s wanted, then we might wait; but as it is I can do every- thing. That’s the case. | Akim (goes on fidgeting with the leg-bands). Eh, lad, “Tt’s ill sledging when the thaw has set in.” Nikita. What do you mean by that? “And it’s ill talk- ing with one who is drunk?” But don’t you worry, let’s have some tea. And I can do anything; that’s flat! I can put everything to rights. Akim (shakes his head). Eh, eh, eh! Nikita The money, here it is. (Puts his hand in his pocket, pulls out pocket-book, handles the notes in it and takes out а ten-rouble note.) Take this to get a horse; I~ can’t forget my parent. I shan’t forsake him, that’s flat. Because he’s my parent! Here you are, take it! Really now, I don’t grudge it. (Comes up and pushes the note to- wards Axim, who won’t take it. NIKITA catches hold of his father’s hand.) ‘ake it, I tell you. I don’t grudge it. Akim. Т can’t what d’you call it, I mean, can’t take it! And can’t what d’ye call it, talk to you, because you're not yourself, Т mean. Nikita. ГИ not let you go! Take it! [Puts the money тю Ак’ hand. Anisya (enters, and stops). You'd better take it, he'll give you no peace! © Soh 104 THE POWER OF DARKNESS Akim (takes it, and shakes his head). Oh! that liquor. Not like a man, I mean! Nikita. That’s better! If you repay it you’ll repay it, if not ГП make no bother. That’s what I am! (Sees Axoutina.) Akoulina, show your presents. Akoulina. What? Nikita. Show your presents. Akoulina. ‘The presents, what’s the use of showing ’em?. I’ve put ’em away. Nikita. Get them, I tell you. Nan will like to see ’em. Undo the shawl. Give it here. Akim. Oh, oh! It’s sickening! [Climbs on the oven. Akoulina (gets out the parcels and puts them on the table). Well, there you are,—what’s the good of looking at Batts Nan. Oh how lovely! It’s as good as Stepanida’s. Akoulina. Stepanida’s? What’s Stepanida’s compared to this? (Brightening up and undoing the parcels.) Just look here,—see the quality! It’s a French one. Nan. The print is fine! Mary has a dress like it, only lighter on a blue ground. ‘This is pretty. Nikita. Ah, that’s it! [ANIsyva passes angrily into the closet, returns with a tablecloth and the chimney of the samovdr, and goes up to the table. Anisya. Drat you, littering the table! Nikita. You look here! Anisya. What am I to look at? Have I never seen anything? Put it away! [Sweeps the shawl on to the floor with her arm. Akoulina. What are you pitching things down for? You pitch your own things about! [Picks up the shawl. Nikita. Anisya! Look here! Anisya. Why am I to look? Nikita. You think I have forgotten you? Look here! (Shows her a parcel and sits down on it.) It’s a present for you. Only you must earn it! Wife, where am I sit- ting? THE POWER OF DARKNESS 105 Anisya. Enough of your humbug. I’m not afraid of you. Whose money are you spreeing on and buying your | fat wench presents with? Mine! Akoulina. Yours indeed? No fear! You wished to steal it, but it did not come off! Get out of the way! [Pushes her while trying to pass. _ Anisya. What are you shoving for? ГИ teach you to shove! Akoulina. Shove me? You try! [Presses against ANISYA., Nikita. Now then, now then, you women. Have done now! [Steps between them. Akoulina. Comes shoving herself in! You: ought to keep quiet and remember your doings! You think no one knows! Anisya. Knows what? Out with it, out with it! What do they know? Akoulina. I know something about you! Anisya. You're a slut who goes with another’s husband! Akoulina. And you did yours to death! Anisya (throwing herself on AKOULINA). You're rav- ing! Nikita (holding her back). Anisya, you seem to have forgotten! | Anisya. Want to frighten me! I’m not afraid of you! Nikita (turns Anisya round and pushes her out). Be off! Antsya. Where am I to go? ГИ not go out of my own house! oi Nikita. Be off, I tell you, and don’t dare to come in here! Anisya. `Т won’t go! (Nikita pushes her, ANisYA cries and screams and clings to the door.) What! am I to be turned out of my own house by the scruff of the neck? What are you doing, you scoundrel? Do you think there’s no law for you? You wait a bit! Nikita. Now then! Anisya. ГИ go to the Elder! To the policeman! Nikita. Off, I tell you! [Pushes her out. 106 THE POWER OF DARKNESS Anisya (behind the door). ТГП hang myself! Nikita. No fear! Nan, Oh, oh, oh! Mother, dear, darling! | Cries. | Nikita. Me frightened of her! A likely thing! What are you crying for? She'll come back, no fear. Go and see to the samovar. [Exit Nan. у Akoulina (collects and folds her presents). ‘The mean wretch, how she’s messed it up. But wait a bit, ГП cut up her jacket for her! Sure I will! Nikita. Гуе turned her out; what more do you want?. Akoulina. She’s dirtied my new shawl. If that bitch hadn’t gone away, I’d have torn her eyes out! Nikita. ‘That’s enough. Why should you be angry? _ Nowif I loved her... \«/ Akoulina. Loved her? She’s worth loving, with her fat “mug! If you'd have given her up, then nothing would have happened. ‘You should have sent her to the devil. And the house was mine all the same, and the money was mine! Says she is the mistress, but what sort of mistress is she to her husband? She’s a murderess, that’s what she is! She’ll serve you the same way! Nikita. Oh dear, how’s one to stop a woman’s jaw? You don’t yourself know what you’re jabbering about! Akoulina. Yes, I do. ГП not live with her! ГИ turn her out of the house! She can’t live here with me. The mistress indeed! She’s not the mistress,—that jailbird! | Nikita. ‘That’s enough! What have you to do with her? Don’t mind her. You look at me! I am the master! I do as I like. I’ve ceased to love her, and now I love you. I love who I like! The power is mine, she’s under me. That’s where I keep her. (Points to his feet.) A pity we’ve no concertina. [ Sings. “We have loaves on the stoves, We have porridge on the shelf. So we'll live and be gay, Making merry every day, THE POWER OF DARKNESS LOR.) And when death comes, Then we'll die! We have loaves on the stoves, We have porridge on the shelf .. .” [Enter Mirritcu. He takes off his outdoor things and climbs on the oven. Mitritch. Seems the women have been fighting again! Tearing each other’s hair. Oh Lord, gracious Nicholas! Akim (sitting on the edge of the oven, takes his leg- bands and shoes and begins putting them on). Get in, get into the corner. | Mitritch. Seems they can’t settle matters between them. Oh Lord! Nikita. Get out the liquor, we’ll have some with our tea. Nan (to Axoutina). Sister, the samovar is just boil- ing over. , Nikita. And where’s your mother? Nan. She’s standing and crying out there in the passage. Nikita. Oh, that’s it! Call her, and tell her to bring the samovar. And you, Akoulina, get the tea things. Akoulina. The tea things? АП right. | Brings the things. Nikita (unpacks spirits, rusks, and salt herrings), That’s for myself. This is yarn for the wife. The paraffin is out there in the passage, and here’s the money. Wait a bit (takes a counting-frame); ГИ add it up. (Adds.) Wheat-flour, 80 kopéykas, oil . . . Father, то roubles. . . . Father, come let’s have some tea! [Silence. Axim sits on the oven and winds the _ bands round his legs. Enter ANisyA with samo- vdr. Anisya. Where shall I put it? Nikita. Were on the table. Well! have you been to the Elder? Ah, that’s it! Have your say and then eat your words. Now then, that’s enough. Don’t be cross; sit down and drink this. (Fills a wine-glass for her.) And here’s your present. [Gives her the parcel he had been sitting оп. AN- isva takes it silently and shakes her head. «+ 108 © THE POWER OF DARKNESS Akim (gets down and puts on his sheepskin, then comes up to the table and puts down the money). Here, take your money back! Put it away. Nikita (does not see the money). Why have you put on your things? Akim. I’m going, going, I mean; forgive me, for the Lord’s sake. [Takes up his cap and belt. Nikita. My gracious! Where are you going to at this time of night? Akim. I can’t, I mean what d’ye call ’em, in your house, what d’ye cali ’em, can’t stay I mean, stay, can’t stay, forgive me. Nikita. But are you going without having any tea? Akim (fastens his belt). Going because, I mean, it’s” not right in your house, I mean, what d’you call it, not right, Nikita, in the house, what d’ye call it, not right! I mean, you are living a bad life, Nikita, bad,—I’ll go. Nikita. Eh, now! Have done talking! Sit down and drink your tea! Anisya. Why, father, you’ll shame us before the neigh- bors. What has offended you? Akim. Nothing what d’ye call it, nothing has offended ) me, nothing at all! I mean only, I see, what d’you call it, I mean, I see my son, to ruin, I mean, to ruin, I mean my son’s on the road to ruin, I mean. Nikita. What ruin? Just prove it! Akim. Ruin, ruin; you’re in the midst of it! What did I tell you that time? Nikita. You said all sorts of things! Akim. I told you, what d’ye call it, I told you about the orphan lass. That you had wronged an orphan—Marina, I mean, wronged her! Nikita. Eh! he’s at it again. Let bygones be bygones . . All that’s past! | Akim (excited). Past! No, lad, it’s not past. Sin, I mean, fastens on to sin—drags sin after it, and you’ve stuck fast, Nikita, -fast-in~sin! ~~ Stuck “fast in sin! I ‚ зее you’re fast in sin. Stuck fast, sunk in sin, I ‚ mean! | THE POWER OF DARKNESS 109 Nikita. Sit down and drink your tea, and have done with it! | Akim. Ican’t, I mean can’t what Фуе call it, can’t drink tea. Because of your filth, I mean; I feel what d’ye call it, I feel sick, very sick! I can’t what d’ye call itil came drink tea with you. Nikita. Eh! There he goes rambling! Come to the table. Akim. You're in your riches same as in a net—you're in a net, I mean. Ah, Nikita, it’s the soul that God needs! : Nikita. Now really, what right have you to reprove me in my own house? Why do you keep on at me? Am 1 a child that you can pull by the hair? Nowadays those things have been dropped! ' Akim. That’s true. I have heard that nowadays, what d’ye call it, that nowadays children pull their fathers’ beards, I mean! But that’s ruin, that’s ruin, I mean! Nikita (angrily). We are living without help from you, and it’s you who came to us with your wants! Akim. The money? There’s your money! I'll go beg- ging, begging I mean, before ГИ take it, I mean. Nikita. That’s enough! Why be angry and upset the whole company! [Holds him by the arm. Akim (shrieks). Let go! ГИ not stay. ГА rather sleep under some fence than in the midst of your filth! Faugh! God forgive me! | Exit. Nikita. Неге?з а go! Akim (reopens the door). Come to your senses, Nikita! It’s the soul that God wants! [ Ext. Akoulina (takes cups). Well, shall I pour out the tea? [Takes a cup. All are silent. Mitritch (roars). Oh Lord be merciful to me a sinner! ~ [All start. Nikita (lies down on the bench). Oh, it’s dull, it’s dull! (То Axoutina.) - Where’s the concertina? Akoulina. The concertina? Нез bethought himself of 110 THE POWER OF DARKNESS it. Why, you took it to be mended. I’ve poured out your tea. Drink it! Nikita. I don’t want it! Put out the light. . . Oh, how dull I feel, how dull! [Sobs. | CURTAIN АСУ Autumn. Evening. The moon is shining. The stage rep- resents the interior of courtyard. The scenery at the back shows, in the middle, the back porch of the hut. To the right the winter half of the hut and the gate; to the left the swmmer half and the cellar. To the right of the stage is a shed. The sound of tipsy voices and shouts are heard from the hut. ЗеЕсомр NEIGH- BOR WoMAN comes out of the hut and beckons to First NEIGHBOR WOMAN. Second Neighbor. How’s it Akoulina has not shown herself? First Neighbor. Why hasn’t she shown herself? She’d have been glad to; but she’s too ill, you know. The suitor’g relatives have come, and want to see the girl; and she, my dear, she’s lying in the cold hut and can * come out, poor thing! Second Neighbor. But how’s that? First Neighbor. They say she’s been bewitched by an evil еуе! She’s got pains in the stomach! Second Neighbor. You don’t say so? First Neighbor. What else could it be? [Whispers. Second Neighbor. Dear me! There’s а go! But his relatives will surely find it out? First Neighbor. They find it out! They’re all drunk! Besides, they are chiefly after her dowry. Just think what they give with the girl! Two furs, my dear, six dresses, a French shawl, and I don’t know how many pieces of linen, and money as well ,—two hundred roubles, it’s said! Second N eighbor. That’s all very well, but even money у 1 Where not otherwise mentioned in the stage directions, it is always the winter half of the hut that is referred to as “the hut.” The summer half is not heated, and not used in winter under ordinary circumstances. ТТТ RRL , | 112 THE POWER ОЕ DARKNESS can’t give much pleasure in the face of such a disgrace. First Neighbor. Hush! ... There’s his father, I think, [They cease talking and go into the hut. [Тйе Surror’s FaTHER comes out of the hut hic- coughing. The Father. Ob, I’m all in a sweat. It’s awfully hot! Will just cool myself a bit. (Stands puffing.) ‘The Lord only knows what—something is not right. I can’t feel happy.—Well, it’s the old woman’s affair. [Enter Matryona from hut. Matryona. And I was just thinking, where’s the father? Where’s. the father? And here you are, dear friend. . . . Well, dear friend, the Lord be thanked! Everything is as honorable as can be! When one’s arranging a match > one should not boast. And I have never learnt to boast. But as you’ve come about the right business, so with the Lord’s help, you’ll be grateful to me all your life! She’s a wonderful girl! There’s no other like her in all the district! The Father. That’s true enough, but how about the money? Matryéna. Don’t you trouble about the money! АП she had from her father goes with her. And it’s more than one gets easily, as things are nowadays. Three times fifty roubles! | The Father. We don’t complain, but it’s for our own child. Naturally we want to get the best we can. _Mairyéna. Tl tell you straight, friend: if it hadn’t been for me, you’d never have found anything like her! They’ve had an. offer from the Karmilins, but I stood out against it. And as for the money, ГИ tell you truly: when her father, God be merciful to his soul, was dying, he gave or- ders that the widow should take Nikita into the homestead —of course I know all about it from my son,—and the money was to go to Akoulina. Why, another one might have thought of his own interests, but Nikita gives every- thing clean! It’s no.trifle. Fancy what a sum it is! / The Father. People are saying that more money was ‘left her? The lad’s sharp too! : THE POWER OF DARKNESS 113 Mairyéna. Oh, dear soul alive! A slice in another’s | hand always looks big; all she had will be handed over. I tell you, throw doubts to the wind and make all sure! \ What a girl she is! as fresh as a daisy! The Father. That’s so. But my old woman and I were only wondering about the girl; why has she not come out? We've been thinking, suppose she’s sickly? Matryéna. Ah, ah. . . . Who? She? Sickly? Why, there’s none to compare with her in the district. The girl’s as sound as a bell; you can’t pinch her. But you saw her the other day! And as for work, she’s wonderful! She’s a bit deaf, that’s true, but there are spots on the sun, you know. And her not coming out, you see, it’s from an evil eye! A spell’s been cast on her! And I know the bitch who’s done the business! They know of the betrothal and they bewitched her. But I know a counter-spell. The girl will get up to-morrow. Don’t you worry about the girl! ® The Father. Well, of course, the thing’s settled. Matryéna. Yes, of course! Don’t you turn back. And don’t forget me, I’ve had a lot of trouble. Don’t for- Seis. ) [А woman’s voice from the hut.: Voice. If we are to go, let’s go. Come along, Ivan! The Father. Ym coming. [Exeunt. Guests crowd together in the passage and brepare to go away. Nan (runs out of the hut and calls to ANisya). Mother! Anisya (from inside.) What d’you want? Nan. Mother, come here, or they’ll hear. [Anisya enters and they go together to the shed. Anisya. Well? What is it? Where’s Akoulina? Nan. She’s gone into the barn. It’s awful what’s she’s doing there! I’m blest! “I can’t bear it,” she says. “РИ scream,” she says, “ГИ scream out loud.” Blest if she didn’t. Anisya. She'll have to wait. We'll see our visitors off first. м Nan. Oh, mother! She’s so bad! And she’s angry too. > 114 THE POWER OF DARKNESS © “What’s the good of their drinking my health?” she says. “Т shan’t marry,” she says. “I shall die,” she says. Mother, supposing she does die! It’s awful. I’m so fright- ened! Anisya. No fear, she'll not die. But don’t you go near her. Come along. | [Exit ANisya and NAN. Mitritch (comes in at the gate and begins collecting the scattered hay). Oh, Lord! Merciful Nicholas! What a lot of liquor they’ve been and swilled, and the smell they’ve made! It smells even out here! But no, I don’t want any, drat it! See how they’ve scattered the hay about. They don’t eat it, but only trample it under foot. А truss gone before you know it. Oh, that smell, it seems to be just under my nose! Dratit! (Yawns.) It’s time to go to. sleep! But I don’t care to go into the hut. It seems to float just round my nose! It has a strong scent, the damned stuff! (The guests are heard driving off.) They’re off at last. Oh Lord! Merciful Nicholas! There they go, binding themselves and gulling one another. And it’s all gammon} [Enter МтЕТА. | Nikita. Mitritch, you get off to sleep and ГИ put this straight. Mitritch. All right, you throw it to the sheep. Well, have you seen ’em all off? Nikita. Yes, they’re off! But things are not right! I don’t know what to do! Митисй. It’s a fine mess. But there’s the Foundlings’ * for that sort of thing. Whoever likes may drop one there; they’ll take ’em all. Give ’em as many as you like, they ask no questions, and even pay—if the mother goes in as a wet-nurse. It’s easy enough nowadays. Nikita. But mind, Mitritch, don’t go blabbing. Mitritch. It’s no concern of mine. Cover the tracks as you think best. Dear me, how you smell of liquor! ГИ go in. Oh, Lord! [ Exit, yawning. + *The Foundlings’ Hospital in Moscow, where 80 to 90 per cent of the children die. THE POWER OF DARKNESS 115 [Nikita is long silent. Sits down on a sledge. Nikita. Here’s a go! | Enter ANisya. Anisya. Where are you? Nikita. Here. Anisya. What are you doing there? There’s no time to be lost! We must take it out directly! Nikita. What are we to do? Anisya. ГИ tell you what you are to do. And you'll have to do it! Nikita, Уоша better take it to the Founclings’—if anything. Anisya. Then you’d better take it there yourself if you like! You’ve a hankering for smut, but you’re weak when it comes to settling up, I see! Nikita. What’s to be done? } Anisya. Со down into the cellar, I tell you, and dig a ole! Nikita. Couldn’t you manage, somehow, some other way? Anisya (imitating him). “Some other way?” Seems we can’t “some other way!” You should have thought about it a year ago. Do what you're told to! Nikita. Oh, dear, what a go! [Enter NAN. Nan. Mother! Grandmother’s calling! I think sister’s — got a baby! I’m blest if it didn’t scream! Anisya. What are you babbling about? Plague take you! It’s kittens whining there. Go into the hut and sleep, or ГИ give it you! | Nan. Mammy dear, truly, I swear... Anisya (raising her arm as if to strike). ГИ give it you! You be off and don’t let me catch sight of you! (Nan runs into hut. To Nikita.) Do аз you're told, or else mind! | | Exit. ‘Nikita (alone. After a long silence). Here’s a go! Oh, these women! What a fix! Says you should have thought of it a year ago. When’s one to think beforehand? When’s one to think? Why, last year this Anisya dangled after 116 THE POWER OF DARKNESS me. What wasI todo? AmIamonk? The master died; and I covered my sin as was proper, so I was not to blame there. Aren’t there lots of such cases? And then those powders. Did I put her up to that? Why, had I known what the bitch was up to, I’d have killed her! I’m sure I should have killed her! She’s made me her partner in these horrors—that jade! And she became loathsome to me from that day! She became loathsome, loathsome to me as soon as mother told me about it. I can’t bear the sight of her! Well, then, how could I live with her? And then it begun. ... That wench began hanging round. Well, what was I todo! If I had not done it, some one else would. And this is what comes of it! Still I’m not to blame in this either. Oh, what a go! (Sits thinking.) They are bold, these women! What a plan to think of! But I won’t have a hand in it! [Enter MATRYONA with a lantern and spade, pant- ing. Matryéna. Why are you sitting there like a hen оп a perch? What did your wife tell you to do? You just get things ready! Nikita. What do you mean to do? Matryéna. We know what to do. You do your share! Nikita. You'll be getting me into a mess! Matryéna. What? You're not thinking of backing out, are your Now it’s come to this, and you back out! Nikita. ‘Think what a thing it would be! It’s a living soul. Matryéna. А living soul indeed! Why, it’s more dead than alive. And what’s one to do with it? Go and take it to the Foundlings’-—it will die just the same, and the rumor will get about, and people will talk, and the girl be left on our hands. Nikita. And supposing it’s found out? Matryéna. Not manage to do it in one’s own house? We'll manage it so that no one will have an inkling. Only do as I tell you. We women can’t do it without a man. There, take the spade, and get it done there,—Ill hold the light. Nikita. What am I to get done? THE POWER OF DARKNESS 117 Matryéna (in a low voice). Dig a hole; then we'll bring it out and get it out of the way in a trice! There, she’s calling again. Now then, get in, and ГИ go. Nikita. Is it dead then? Matryéna. Of course it is. Only you must be quick, or else people will notice! They'll see or they'll hear! The rascals must needs know everything. And the policeman went by this evening. Well then, you see (52065 him the spade), you get down into the cellar and dig a hole right in the corner; the earth is soft there, and you'll smooth it over. Mother earth will not blab to any one; she'll keep it close. Go then; go, dear. Nikita. You'll get me into a mess, bother you! ГИ go away! You do it alone аз best you can! Anisya (through the doorway). Well? Has he dug it? Matryéna. Why have you come away? What have you done with it? Anisya. Ive covered it with rags. No one can hear if, ‘Well, has he dug it? | Matryéna. Не doesn’t want to! Anisya (springs out enraged). Doesn’t want to! How will he like feeding vermin in prison! ГИ go straight away and tell everything to the police! It’s all the same if one must perish. ГИ go straight and tell! Nikita (taken aback). What will you tell? ‚ Anisya. What? Everything! Who took the money? . You! “(Nrxira is silent.) And who gave the poison? I did! But you knew! You knew! You knew! We were in agreement! `Матубиа. That’s enough now. Nikita dear, why are you obstinate? What’s to be done now? One must take some trouble. Go, honey. Anisya. See the fine gentleman! He doesn’t like it! You’ve put upon me long enough! You've trampled me under foot! Now it’s my turn! Go, I tell you, or else РИ do what I said. ... There, take the spade; there, now o! Nikita. Drat you! Can’t you leave a fellow alone! (Takes the spade, but shrinks.) ПТ don’t choose to, ГИ not go! 118 THE POWER OF DARKNESS Anisya. Not go? (Begins to shout.) Neighbors! Heh! heh! Matryéna (closes her mouth). What are you about? You're mad! Не’ ро. . . . Go, sonny, go, my own. Anisya. ГП cry murder! Nikita. Now stop! Oh, what people! ‘You’d better be quick. . . . As well be hung for a sheep as a lamb! [Goes towards the cellar. Matryéna. Yes, that’s just it, honey. If you know how to amuse yourself, you must know how to hide the conse- quences. Anisya (still excited). He’s trampled on ше... he and his slut! But it’s enough! I’m not going to be the only one! Let him also be a murderer! Then he'll know how it feels! Matryona, There, there! How she flares up! Don’t you be cross, lass, but do things quietly little by little, as it’s best. You go to the girl, and he'll do the work. [Follows Nixira to the cellar with a lantern. He descends into the cellar. Anisya. And ГП make him strangle his dirty brat! (Still excited.) Гуе worried myself to death all alone, with | Peter’s bones weighing on my mind! Let him feel it too! ТГ] not spare myself; I’ve said ГП not spare myself! Nikita (from the cellar). Show a light! Matryéna (holds up the lantern to him. To Awnisya). He’s digging. Go and bring it. Anisya. You stay with him, or he’ll go away, the wretch! And Ill go and bring it. Matryéna. Mind, don’t forget to baptize it, or I will if you like. Have you a cross? Anisya. ГП find one. I know how to do it. [ Exit. See at end of Act, Variation, which may be used instead of the following. Matryona. How the woman bristled up! But one must allow she’s been put upon. Well, but with the Lord’s help, when we’ve covered this business, there’ll be an end of it. We'll shove the girl off without any trouble. My $ THE POWER OF DARKNESS 119 son will live in comfort. The house, thank God, is as full as an egg. They'll not forget me either. Where would they have been without Matryéna? They’d not have known how to contrive things. (Peering into the cellar.) Is it ready, sonny? Nikita (puts out his head). What are you about there? Bring it quick! What are you dawdling for? If it is to be done, let it be done. Matryéna (goes towards door of the hut and meets Anisya. Anisya comes out with a baby wrapped in rags). Well, have you baptized it? Anisya. Why, of course. It was all I could do to take it away—she wouldn’t give it up! [Comes forward and hands it to МтЕТА. Nikita (does not take it). You bring it yourself! Anisya. Take it, I tell you! [Throws the baby to him. Nikita (catches it). It’s alive! Gracious me, it’s mov- ing! It’s alive! What amIto... Anisya (snatches the baby from him and throws it into the cellar). Be quick and smother it, and then it won’t be alive! (Pushes Nikita down.) It’s your doing, and you must finish it. Matryéna (sits on the doorstep of the hut). Не’ ten- der-hearted. It’s hard on him, poor dear. Well, what of that? Isn’t it also his sin? [Anisya stands by the cellar. Matryéna (sits looking at her and discourses). Oh, oh, _ oh! How frightened he was: well, but what of that? If it is hard, it’s the only thing to be done. Where was one to put it? And just think, how often it happens that people pray to God to have children! But no, God gives them none; or they are all still-born. Look at our priest’s wife now. . . . And here, where it’s not wanted, here it lives. (Looks towards the cellar.) 1 suppose he’s fin- ished. (To Anisya.) Well? Anisya (looking into the cellar). He’s put a board on it and is sitting on it. It must be finished! Matryéna. Oh, oh! One would be glad not to sin, but what’s one to do? 120 THE POWER OF DARKNESS [Re- enter Nixita from cellar, trembling all over. Nikita. It’s still alive! I can’t! Тез alive! Anisya. If it’s alive, where are you off to? [Tries to stop him. Nikita (rushes at her). Go away! ГИ kill you! (Catches hold of her arms; she escapes, he runs after her with the spade. Matryona runs towards him and stops him. ANisyA runs into the porch. MatRYONA tries to wrench the spade from him. To his mother.) ГИ kill you! Г kill you! Go away! (Matryona runs to ANISYA Ш the porch. Nikita stops.) ГП kill you! Tl kill you all! Matryéna. ‘That’s because he’s so frightened! Never mind, it will pass! Nikita. What have they made me do? What have they made me do? Ном it whimpered. . . . How it crunched under me! What have they done with me? ... And it’s — ‚ теаПу alive, still alive! (Listens in silence.) It’s whimper- Ш There, it’s whimpering. | [Runs to the cellar. Матудиа (to ANisyA). He’s going; it seems he means to bury it. Nikita, you’d better take the lantern! Nikita (does not heed her, but listens by the сей. door). I can hear nothing! I suppose it was fancy! (Moves away, then stops.) How the little bones crunched under me. Krr... kr... What have they made me do? (Listens again.) Again whimpering! It’s really whimper- ing! What can it be? Mother! Mother, I say! [Goes up to her. Matryona. What is it, sonny? Nikita. Mother, my own mother, I can’t do any more! Can’t do any more! My own mother, have some pity on me! Matryéna. Oh dear, how frightened you are, my dar- ling! Come, come, drink a drop to give you courage! Nikita. Mother, mother! It seems my time has come! What have you done with me? Ном the little bones crunched, and how it whimpered! My own mother! What have you done with me? [Steps aside and sits down on the sledge. Matryéna. Come, my own, have a drink! It certainly THE POWER OF DARKNESS 121 does seem uncanny at night-time. But wait a bit. When the day breaks, you know, and one day and another passes, you'll forget even to think of it. Wait a bit; when the girl’s married ме’ even forget to think of it. But you go and ’ have a drink; have a drink! Г go and put things straight | in the cellar myself. Nikita (rouses himself). Is there any drink left? Per- haps I can drink it off! [ Exit. [ANisyaA, who has stood all the time by the door, silently makes way for him. Matryéna. Go, go, honey, and ГИ set to work! I'll go down myself and dig! Where has he thrown the spade to? (Finds the spade, and goes down into the cellar.) Anisya, come here! Hold the light, will you? Anisya. And what of him? Matryéna. Не’з so frightened! You’ve been too hard with him. Leave him alone, Ве’ come to his senses. God help him! ГП set to work myself. Put the lantern down here. I can see. [ MatrYONA disappears into the cellar. Anisya (looking towards the door by which NrxttA entered the hut). Well, have you had enough spree? You’ve been puffing yourself up, but now you’ll know how it feels! You’ll lose some of your bluster! Nikita (rushes out of the hut towards the cellar). Mother! Mother, I say! bie. Matryéna (puts out her head). What is it, sonny? Nikita (listening). Don’t bury it, it’s alive? Don’t you hear? Alive! There—it’s whimpering! There... quite plain! Matryéna. How can it whimper? Why, you’ve flat- tened it into a pancake! The whole head is smashed to bits! Nikita. What is it then? (Stops his ears.) It’s still whimpering! I am lost! Lost! What have they done with me? . . . Where shall I go? [Sits down on the-step.| CURTAIN 122 THE POWER OF DARKNESS | VARIATION Instead of the end of Act IV. (from the words, ‘“‘ANisYA, ГЛ find one. I know how to doit. [£vxit]”) the fol- lowing variation may be read, and 35 the one usually acted. | SCENE II The interior of the hut as in Act Г. Nan lies on the bench, and is covered with a coat. Mit- RITCH 7s sitting on the oven smoking. Mitritch. Dear me! How they’ve made the place smell! Drat ’em! They’ve been spilling the fine stuff. Even tobacco don’t get rid of the smell! It keeps tickling one’s nose so. Oh Lord! But it’s bedtime, I guess. 2 [Approaches the lamp to put it out. Nan (jumps up, and remains sitting up). Daddy dear,’ don’t put it out! Mitritch. Not put it out? Why? Nan. Didn’t you hear them making a row in the yard? (Listens.) D’you hear, there in the barn again now? Mitritch. What’s that to you? I guess no one’s asked you to mind! Lie down and sleep! And ГП turn down the light. [Turns down lamp. Nan. Daddy darling! Don’t put it right out; leave a little bit if only as big as a mouse’s eye, else it’s so frightening! Mitritch (laughs). All right, all right. (Sits down by her.) What’s there to be afraid of? Nan. How can one help being frightened, daddy! Sis- ter did go on so! She was beating her head against the box! (Whispers.) You know, I know .. . a little baby is going to be born. . . . It’s already born, I think. ... Mitritch. Eh, what a little busybody it is! May the frogs kick her! Must needs-knoweverything. Lie down and sleep! (NAN lies down.) That’s right! (Tucks her up.) That’s right! There now, if ‘you know too much you'll grow old too soon. _ 1Мап calls Mitritch “daddy” merely as a term of endearment. | THE POWER ОЕ DARKNESS 123 Mitritch. Well, of course! What a little silly you are, now I come to look at you! Must needs know everything. (Tucks her up again, then stands up to go.) There now, lie still and sleep! : [Goes up to the oven.. Nan. It gave just one cry, and now there’s nothing to be heard. Mitritch. Oh Lord! Gracious Nicholas! What is it you can’t hear? Nan. The baby. Mitritch. There is none, that’s why you can’t hear it. Nan. But I heard it! Blest if I didn’t hear it! Such a thin voice! Mitritch. Heard indeed! Much you heard! Well, if you know,—why then it was just such a little girl as you that the bogey popped into his bag and made off with. | | Nan. What bogey? | Mitritch. Why, just his very self! (Climbs up on to the oven.) The oven is beautifully warm to-night. Quite a treat! Oh Lord! Gracious Nicholas! Nan. Daddy! are you going to sleep? Mitritch. What else? Do you think I’m going to sing songs? | [ Silence. Nan. Daddy! Daddy, I say! They are digging! they’re digging—don’t you hear?- Blest if they’re not, they’re digging! | Митисй. What are you dreaming about? Digging! Digging in the night! Who’s digging? The cow’s rub- bing herself, that’s all. Digging indeed! Go to sleep I tell you, else ГИ just put out the light! Nan. Daddy darling, don’t put it out! I wont... truly, truly, I won’t. It’s so frightful! Mitritch. Frightful? Don’t be afraid and then it won’t : be frightful. Look at her, she’s afraid, and then says it’s _ frightful. How can it help being frightful if you are afraid? : Nan, And you are going to lie on the ‘oven? : : : Eh, what a stupid little ош. [Silence. The cricket chirps. 124 THE POWER OF DARKNESS Nan (whispers). Daddy! I say, daddy! Are you asleep? Mitritch. Now then, what d’you want? Nan. What’s the bogey like? Mitritch. Why, like this! When he finds such a one as you, who won’t sleep, he comes with a sack and pops the girl into it, then in he gets himself, head and all, lifts her dress, and gives her a fine whipping! Nan. What with? Mitritch. Не takes a birch-broom with him. Nan. But he can’t see there—inside the sack! Mitritch. Не? see, no fear! Nan. But ГП bite him. Mitritch. No, friend, him you can’t bite! Nan. Daddy, there’s some one coming! Who is ИР Oh gracious goodness! Who can it be? Mitritch. Well, if some one’s coming, let them, come! What’s the matter with your I suppose it’s your mother! | Enter ANISYA. Anisya (NAN pretends to be asleep). Mitritch! Mitritch. What? Anisya. What’s the lamp burning for? We are going to sleep in the summer-hut. Mitritch. Why, you see I’ve only just got straight. ГИ put the light out all right. Anisya (rummages in her box and grumbles). When a thing’s wanted one never can find it! Mitritch. Why, what is it you are looking for? ‘Anisya. I’m looking for a cross. Suppose it were to die unbaptized! It would be a sin, you know! _Mitritch. Of course it would! Everything in due order. ... Have vou found it? Anisya. Yes, I’ve found it. | | Exit. Mitritch. 'That’s right, else I’d have lent her mine. Oh Lord! Nan (jumps up trembling). Oh, oh, daddy! Don’t go to sleep; for goodness’ sake, don’t! It’s so frightful! Mitritch. What’s frightful? THE POWER OF DARKNESS 125 Nan. It will die—the little baby will! At Aunt Irene’s the old woman also baptized the baby, and it died! Mitritch. If it dies, they’ll bury it! Nan, But maybe it wouldn’t have died, only old Granny Matryona’s there! Didn’t I hear what granny was saying? I heard her! Blest if I didn’t! Mitritch. What did you hear? Go to sleep, I tell you. Cover yourself up, head and all, and let’s have an end of it! Nan, If it lived, Га nurse it! Mitritch (roars). Oh Lord! Nan. Where will they put it? Mitritch. In the right place! It’s no business of yours! Go to sleep I tell you, else mother will come; she’ll give it you! [ Silence. Nan. Daddy! Eh, daddy! That girl, you know, you were telling about—they didn’t kill her? Митисй. That girl? Oh yes. That girl turned out all right! Nan. How was it? You were saying you found her? Mitritch. Well, we just found her! Nan. But where did you find her? Do tell! Mitritch. Why, in their own house; that’s where! We came to a village, the soldiers began hunting about in the house, when suddenly there’s that same little girl lying on the floor, flat on her stomach. We were going to give her a knock on the head, but all at once I felt that sorry, that I took her up in my arms; but no, she wouldn’t let me! Made herself so heavy, quite a hundredweight, and caught hold where she could with her hands, so that one couldn’t get them off! Well, so I began stroking her head. It was so bristly,—just like a hedgehog! So I stroked and stroked, and she quieted down at last. I soaked a bit of rusk and gave it her. She understood that, and began nibbling. What were we to do with her? We took her; took her, and began feeding and feeding her, and she got so used to us that we took her with us on the march, and so she went about with us. Ah, she was a fine girl! Nan. Yes, and not baptized? 126 THE POWER OF DARKNESS Mitritch. Who can tell! They used to say, not alto- gether. ’Соз why, those people weren’t our own. Nan. Germans? Mitritch. What an idea! Germans! Not Germans, but Asiatics. They are just the same as Jews, but still not Jews. Polish, yet Asiatics. Curls . . . or, Curdlys is their name. . . . I’ve forgotten what it is! * We called the girl Sashka. She was a fine girl, Sashka was! There now, I’ve forgotten everything I used to know! But that girl— the deuce take her—seems to be before my eyes now! Out of all my time of service, I remember how they flogged me, and I remember_that. girl...That’s all I remember! She’d hang round one’s neck, and one ’ud carry her so. That was a girl,—if you wanted a better you’d not find one! We gave her away afterwards. The captain’s wife. took her to bring up as her daughter. So—she was all right! How sorry the soldiers were to let her go! Nan, There now, daddy, and I remember when father was dying,—you were not living with us then. Well, he called Nikita and says, “Forgive me, Nikita!” he says, and begins to cry. (Sighs.) That also felt very sad! Mitritch. Yes; there now, soitis... | Nan. Daddy! Daddy, I say! There they are again, making a noise in the cellar! Oh gracious heavens! Oh dear! Oh dear! Oh, daddy! They’ll do something to it! They’ll make away with it, and it’s so little! Oh, oh! [Covers up her head and cries. Mitritch (listening). Really they’re up to some vil- ° lainy, blow them to shivers! Oh, these women are vile creatures! One can’t say much for men either;.but.women! . . They are like wild beasts, and stick at nothing! Nan (rising). Daddy; I say, daddy! Mitritch. Well, what now? Nan. ‘The other day a traveller stayed the night; he — said that when an infant died its soul goes up straight to heaven. Is that true? Mitritch. Who can tell? I suppose so. Well? Nan. Oh, it would be best if I died too. [Whimpers. * Probably Kurds. THE POWER OF DARKNESS 127 Mitritch. Then you’d be off the list! Nan. Up to ten one’s an infant, and maybe one’s soul would go to God. Else one’s sure to go to the bad! Mitritch. And how to the bad? How should the likes of you not go to the bad? Who teaches you? What do you зее? What do you hear? Only vileness! I, though I’ve not been taught much, still know a thing or two. I’m not quite like a peasant woman. A peasant woman, what is she? Just mud! There are many millions of the likes of you in Russia, and all as blind as moles—knowing noth- ing! All sorts of spells: how to stop the cattle-plague with a plough, and how to cure children by putting them under the perches in the hen-house! That’s what they know! Nan. Yes, mother also did that! Митись. Yes,—there it is—just so! So many millions of girls and women, and all like beasts in a forest! As she grows up, so she dies! Never sees anything; never hears ~ anything. А peasant,—he may learn something at the pub, or maybe in prison, or in the army,—as I did. But a woman? Let alone about God, she doesn’t even know rightly what Friday it 13! Friday! Friday! But ask her what’s Friday? She don’t know! They’re like blind pup- pies, creeping about and poking their noses into the dung- heap. . . . All they know are their silly songs. Ho, ho, ho, ho! But what they mean by ho-ho, they don’t know themselves! Nan. But I, daddy, I do know half the Lord’s Prayer! Mitritch. A lot you know! But what can one expect _ of you? Who teaches you? Only a tipsy peasant—with the strap perhaps! That’s all the teaching you get! Т don’t know who'll have to answer for you. For a recruit, the drill-sergeant or the corporal has to answer; but for _ the likes of you there’s no one responsible! Just as the _ cattle that have no herdsman are the most mischievous, so _ with you women—you are the stupidest class! The most | | foolish class is yours! Nan, Then what’s one to do? Mitritch. That’s what one has to do. . . . You just ` cover up your head and sleep! Oh Lord! [ Silence. The cricket chirps. 128 THE POWER OF DARKNESS Nan (jumps up). Daddy! Some one’s screaming aw- fully! Blest if some one isn’t screaming! Daddy darling, it’s coming here! Mitritch. Cover up your head, I tell you! [Enter Nixita, followed by MatRYONA.: Nikita. What have they done with me? What have they done with me? Matryona. Have a drop, honey; have a drop of drink! What’s the matter? [Fetches the spirits and sets the bottle before him. Nikita. Give it here! Perhaps the drink will help me! Matryéna. Mind! They’re not asleep! Here you are, have a drop! Nikita. What does it all mean? Why did you plan it? You might have taken it somewhere! | Matryéna (whispers). Sit still а bit and drink a little more, or have a smoke. It will ease your thoughts! Nikita. My own mother! My turn seems to have come! How it began to whimper, and how the little bones crunched . . . krr. . . I’m not a man now! Matryéna. Eh, now, what’s the use of talking so silly! Of course it does seem fearsome at night, but wait till the daylight comes, and a day or two passes, and you'll forget to think of it! [Goes up to Nikita and puts her hand on his shoulder. Nikita. Go away from me! What have you done with me? Matryéna. Come, come, sonny! Now, really, what’s the matter with you? [Takes his hand. Nikita. Go away from me! ГИ kill you! It’s all one to ше now! ГИ kill you! Matryéna. Oh, oh, how frightened he’s got! You should go and have a sleep now! Nikita. I have nowhere to go; I’m lost! Matryona_ (shaking her head). Oh, oh, Га better go and tidy things up. Не’ sit and rest a bit, and it will pass! | Exit. THE POWER OF DARKNESS 129 [Nrkita sits with his face in his hands. Mirritcu and NAN seem stunned. Nikita. It’s whining! It’s whining! It is really— there, there, quite plain! She'll bury it, really she will! (Runs to the door.) Mother, don’t bury it, it’s alive... . | Enter МАТВУОМА. Matryéna (whispers). Мом then, what is it? Heaven help you! Why won’t you get to rest? How can it be alive? АП its bones are crushed! Nikita. Give me more drink. [Drinks.] Matryéna. Now go, sonny. Уош fall asleep now all right. Nikita (stands listening). Still alive... there... it’s whining! Don’t you hear? . . . There! Matryéna (whispers). No! I tell you! Nikita. Mother! My own mother! I’ve ruined my life! What have you done with me? Where am I to go? [Runs out of the hut; Matryona follows him. Nan. Daddy dear, darling, they’ve smothered it! Mitritch (angrily). Go to sleep, I tell you! Oh dear, may the frogs kick you! ГП give it to you with the broom! Go to sleep, I tell you! Nan. Daddy, my treasure! Something is catching hold д of my shoulders, something is Е hold with its рамз№ Daddy dear... really, really ...1I must go! Daddy, ° darling! let me get up on the oven with you! Let me, for Heaven’s sake! Catching hold . . . catching hold! Oh! [Runs to the stove. Mitritch. See how they’ve frightened the girl. : What vile creatures they are! May the frogs kick them! Well then, climb up. Nan (climbs on oven). But don’t you go away! Mitritch. Where should I go to? Climb up, climb up! ОВ Lord! Gracious Nicholas! Holy Mother! . . . How they have frightened the girl. (Covers her up.) There’sa little fool—really a little fool! How they’ve frightened her;, гоу, they are vile creatures!..The deuce take ’em! ye CURTAIN ACT V SCENE I in front of scene a stack-stand, to the left a thrashing ground, to the right a barn. The barn doors are open. Straw is strewn about in the doorway. The hut with yard and out-buildings is seen in the background, whence proceed sounds of singing and of a tambourine. Two Giris are walking past the barn towards the hut. ; First Girl. ‘There, you see we’ve managed to pass with- out so much as getting our boots dirty! But to come by the street is terribly muddy! (Stop and wipe their boots on the straw. First Girt looks at the straw and sees some- thing.) What’s that? Second Girl (looks where the straw lies and sees some ohe). It’s Mitritch, their laborer. Just look how drunk | he is! First Girl. Why, I thought he didn’t drink. Second Girl, It seems he didn’t, until it was going around. First Girl. Just see! He must have come to fetch some straw. Look! he’s got a rope in his hand, and he’s fallen asleep. Second Girl (listening). They’re still singing the praises. So I s’pose the bride and bridegroom have not yet been blessed! They say Akoulina didn’t even lament!? First Girl. Mammie says she is marrying against her will. Her stepfather threatened her, or else she’d not ,have done it for the world! Why, you know what they’ve been saying about her? * This refers to the songs customary at the wedding of Russian peasants, praising the bride and bridegroom. 7It is etiquette for a bride to bewail the approaching loss of her maidenhood. 130 THE POWER OF DARKNESS 131 Marina (catching up the Grrts). How d’you you do, lassies? Girls. How d’you do? Marina. Going to the wedding, my dears? First Girl. It’s nearly oven! We’ve come just to have a look. Marina. Would you call my old man for me? Simon, from Zotievo; but surely you know him? First Girl. To be sure we do; he’s a relative of the bridegroom’s, I think? Marina. Of course; he’s my old man’s nephew, the bridegroom is. Second Girl. Why don’t you go yourself? Fancy not going to a wedding! Marina. I have no mind for it, and no time either. It’s time for us to be going home. We didn’t mean to come to the wedding. We were taking oats to town. We only stopped to feed the horse, and they made my old man go in. First Girl. Where did you put up then? At Fyddor- itch’s? Marina. Yes. Well then, ГИ stay here and you go and call him, my dear—my old man. Call him, my pet, and say “Your missis, Marina, says you must go now!” His mates are harnessing. First Girl. Well, all right—if you won’t go in yourself. [The Ствгз go away towards the house along a foot- path. Sounds of songs and tambourine. Marina (alone, stands thinking). 1 might go in, but I don’t like to, because I have not met him since that day he threw me over. It’s more than a year now. But Га have liked to have a peep and see how he lives with his Anisya. /People say they don’t get on. She’s a coarse woman, and / with a character of her own. I should think he’s remem- ’ bered me more than once. He’s been caught by the idea of a comfortable life and has changed me for it. But, God help him, I don’t cherish ill-will! Then it hurt! Oh dear, it was pain! But now it’s worn away and been forgotten. But Га like to have seen him. (Looks towards hut and sees Nikita.) Look there! Why, he is coming here! Have the girls told him? How’s it he has left his guests? ГИ 132 THE POWER OF DARKNESS # i go away! (NuiKita approaches, hanging his head down, swinging his arms, and muttering.) And how sullen he looks! Nikita (sees and recognises Marina). Marina, dearest friend, little Marina, what do you want? Marina. I have come for my old man. Nikita. Why didn’t you come to the wedding? You might have had a look round, and a laugh at my expense! Marina. What have I to laugh at? Ive come for my husband. ‘ Nikita. Ah, Marina dear! [Tries to embrace her. Marina (steps angrily aside). You'd better drop that sort of thing, Nikita! What has been is past! Ive come for my husband. Is he in your house? Nikita. So I must not remember the past? You won’t let me? Marina. It’s no use recalling the past! What used to be is over now! Nikita. And can never come back, you mean? Marina. And will never come back! But why have you gone away? You, the master,—and to go away from the feast! Nikita (sits down on the straw). Why have I gone away? Eh; if you knew, if you had any idea . . . Гм dull, Marina, so dull that I wish my eyes would not see! I rose from the table and left them, to get away from the people. If I could only avoid seeing any one! Marina (coming nearer to him). Wow’s that? ’ Nikita. This is how it is: when I eat, it’s there! When T drink, it’s there! When I sleep, it’s there! I’m so sick of it—so sick! But it’s chiefly because I’m all alone that I’m so sick, Marina. I have no one to share my trouble. Marina. You can’t live your life without trouble, Nik- ita. However, I’ve wept over mine and wept it away. Nikita. The former, the old trouble! Ah, dear friend, you’ve wept yours away, and I’ve got mine ‘up to there! [Puts his hand to his throat. Marina. But why? Nikita. Why, I’m sick of my whole life! I am sick of THE POWER OF DARKNESS 133 myself! Ah, Marina, why did you not know how to keep me? You've ruined me, and yourself too! Is this life? Marina (stands by the barn crying, but restrains her- sel}). I do not complain of my life, Nikita! God grant every one a life like mine. I do not complain. I confessed to my old man at the time, and he forgave me. And he does not reproach me. I’m not discontented with my life. The old man is quiet, and is fond of me, and I keep his children clothed and washed! He is really kind to me. Why should I complain? It seems God willed it so. And , what’s the matter with your life? You arerich... Nikita. My life! . . . It’s only that I don’t wish to disturb the wedding feast, or I’d take this rope here (takes hold of the rope on the straw) and throw it across that rafter there. Then I’d make a noose and stretch it out, and I’d climb on to that rafter and jump down with my head in the noose! That’s what my life is! Marina. That’s enough! Lord help you! Nikita. You think I’m joking? You think I’m drunk? Ги not drunk! To-day even drink takes no hold on me! I’m devoured by misery! -Мазегу 15 eating me up com- pletely, so that I care for nothing! Oh little Marina, it’s only with you I ever lived! Do you remember how we used to while away the nights together at the railway? Marina. Don’t you rub the sores, Nikita! I’m bound legally now, and you too. My sin has been forgiven, don’t ан. Nikita. What shall I do with my heart? Where am I to turn to? Marina. What’s there to be done? You've got a wife. Don’t go looking at others, but keep to your own! You loved Anisya, then go on loving her! Nikita. Oh, that Anisya, she’s gall and wormwood to me, but she’s round my feet like rank weeds! Marina. Whatever she is, still she’s your wife. But what’s the use of talking; you’d better go to your visi- tors, and send my husband to me. Nikita. Oh dear, if you knew the whole business. . . but there’s no good talking! 134 THE POWER OF DARKNESS [Enter Martna’s husband, red and tipsy, and NAN. Marina’s Husband. Marina! Missis! My old woman! are you here? Nikita. There’s your husband calling you. Со! Marina. And you? Nikita. I? Ill lie down here for a bit! [Lies down on the straw. Husband. Where is she then? Nan. ‘There she is, near the barn. Husband. What are you standing there for? Come to the feast! The hosts want you to come and do them hon. or! The wedding party is just going to start, and then we can go too. | Marina (going towards her husband). I didn’t want to go in. Husband. Come on, I tell you! You'll drink a glass to our nephew Peter’s health, the rascal! Else the hosts might take offense! There’s plenty of time for our busi- ness. [Marina’s husband puts his arm around her, and | goes reeling out with her. Nikita (rises and sits down on the straw). Ah, now that I’ve seen her, life seems more sickening than ever! It was only with her that I ever really lived! I’ve ruined my life for nothing! I’ve done for myself! (Lies down.) Where can I go? If mother earth would but open and swal- ~low me! Nan (sees Nikita, and runs towards him). Daddy, 1 say, daddy! They’re looking for you! Her godfather and all of them have already blessed her. Truly they have, they’re getting cross! Nikita (aside). Where can I go to? - Nan. What? What are you saying? Nikita. I’m not saying anything! Don’t bother! Nan. Daddy! Come, I say! (Nuxira is silent, NAN pulls him by the hand.) Dad, go and bless them! My. word, they’re angry, they’re grumbling! Nikita (drags away his hand). Leave me alone! Nan. Now then! THE POWER OF DARKNESS 135 Nikita (threatens her with the rope). Go,Isay! ГИ give it you! Yan. Then РИ send mother! | Runs away. Nikita (rises). How can I go? How can I take the holy icon in my hands? How am I to look her in the face! (Lies down again.) Oh, if there were a hole in the ground, Га jump in! № one should see me, and I should see по one! (Rises again.) No, 1 shan’t go. . . . May they all go to the devil, I shan’t go! (Takes the rope and makes a-noose, and_tries it on his neck.) That’s the way! [Enter MaTRYONA. Nixita sees his mother, takes the rope off his neck, and again lies down in the straw. Matryéna (comes in hurriedly). Nikita! Nikita, I say! He don’t even answer! Nikita, what’s the matter? Have you had a drop too much? Come, Nikita dear; come, honey! The people are tired of waiting. Nikita. Oh dear, what have you done with me? I’m a lost man! Matryéna. But what is the matter then? Come, my own; come, give them your blessing, аз is proper an honorable, and then it’ll all be over! Why, the people are waiting! Nikita. How can I give blessings? Matryéna. Why, in the usual way! Don’t you know? Niktia. I know, I know! But who is it I am to bless? What have I done to her? Matryéna. What have you done? Eh, now he’s going to remember it! Why, who knows anything about it? Not a soul! And the girl is going of her own accord. Nikita. Yes, but how? Matryéna. Because she’s afraid, of course. But still — she’s going. Besides, what’s to be done now? She should have thought sooner! Now she can’t refuse. And his kins- folks can’t take offense either. They saw the girl twice, and get money with her too! It’s all safe and sound! Nikita. Yes, but what’s in the cellar? Matryéna (laughs). In the cellar? Why, cabbages, mushrooms, potatoes, I suppose! Why remember the past? 136 THE POWER OF DARKNESS Nikita. Id be only too glad to forget it; but I car’t! When I let my mind go, it’s just as if I heard. . . . Oh, what have you done with me? Matryéna. Now, what are you humbugging for? Nikita (turns face downward). Mother! Don’t iors ment me! I’ve got it up to there! [Puts his hand to his throat. Mairyéna. Still it has to be done! As it is, people are talking. ‘The master’s gone away and won’t come; he can’t make up his mind to give his blessing.” They’ll be putting two and two together. As soon as they see you're: frightened they’ll begin guessing. “The thief none suspect who walks bold and erect!’”’ But you'll be getting out oi the frying-pan into the fire! Above all, lad, don’t show it; don’t lose courage, else they’ll find out all the more! Nikita. Oh dear! You have snared me into a trap! Matryéna. That'll do, I tell you; come along! Come in and give your blessing, as is right and honorable;—and there’s an end of the matter! Nikita (lies face down). I can’t! Matryoéna (aside). What has come over him? He seemed all right, and suddenly this comes over him! It seems he’s bewitched! Get up, Nikita! See! There’s An- isya coming; she’s left her guests! [ANisva enters, dressed up, red and tipsy. Anisya. Oh, how nice it is, mother! So nice, so respect- able! And how the people are pleased. . . . But where is hep Mairyona. Here, honey, he’s here; he’s laid down on the straw and there he lies! He won’t come! Nikita (looking at his wife). Just see, she’s tipsy too! When I look at her my heart seems to turn! How can one live with her? (Turns on his face.) ГИ kill her some day! ТП be worse then! Anisya. Only look, how he’s got all among the straw! Is it the drink? (Laughs.) Id not mind lying down there with you, but I’ve no time! Come, ГИ lead you! It is so nice in the house! It’s a treat to look on! A con- certina! And the women singing so well! All tipsy! Everything so respectable, so nice! THE POWER OF DARKNESS 137 Nikita. What’s nice? Anisya. The wedding—such a jolly wedding! They all say it’s quite an uncommon fine wedding. All so respect- able, so nice! Come along! We’il go together! I have had a drop, but I can give you a hand yet! | Takes his hand. Nikita (pulls it back with disgust). Go alone! ГИ come! Anisya. What.are you humbugging for? We've got rid of all the bother, we’ve got rid of her as came between us; now we have nothing to do but to live and be merry! And all so respectable, and quite legal! I’m so pleased! I have no words for it! It’s just as if I were going to marry you over again! And oh, the people, they are pleased! They’re all thanking us! And the guests are all of the best: Ivan Moséitch is there, and the Police Offi- cer; they’ve also been singing songs of praise! Nikita. Then you should have stayed with them! What have you come for? , Anisya. True enough, I must go back! Else what does it look like! The hosts both go and leave the visitors! And the guests are all of the best! Nikita (gets up and brushes the straw off himself). Go, and ГИ come at once! и Matryéna. Just see! He listens to the young bird, bu” wouldn’t listen to the old one! Не would not hear me, — but he follows his wife at once! (Matryona and ANISYA turn to go.) Well, are you coming? Nikita. ГИ come directly! You go and ГИ follow! ГИ come and give my blessing! (The women stop.) Go on! ГП follow! Now then, go! (Exit women. Sits down and takes his boots of.) Yes, Гт going! A likely thing! No, you’d better 1соК at the rafter for me! ГП fix the noose and jump with it from the rafter, then you can look for me! And the rope is here just handy. (Ponders.) Id have got over it, over any sorrow—I’d have got over that. But this now—here it is, deep in my heart, and I can’t get over it! (Looks towards the yard.) Surely she’s not coming back? (Imitates Anisya.) “So nice, so nice. Га lie down here with you.” Oh, the baggage! Well, then, here I am! oe ne > 138 THE POWER OF DARKNESS Come and cuddle when they’ve taken me down from the rafter! There’s only one way! [Takes the rope and pulls it. [MirritcH, who is tipsy, sits up and won't let go of the rope. Mitritch. Shan’t give it up! Shan’t give it to no one! [ll bring it myself! I said Ра bring the straw—and so I will! Nikita, is that you? (Laughs.) Oh, the devil! Have you come to get the straw? Nikita. Give me the rope! Mitritch. No, you wait a bit! The peasants sent me! [ll bring it . . . (Rises to his feet and begins getting the straw together, but reels for a time, then falls.) It has beaten me. It’s stronger... Nikita. Give me the rope! Митисй. Didn’t I say I won’t! Oh, Nikita, you’re as “stupid as a hog! (Laughs.) I love you, but you’re a fool! You see that I’m drunk . . . devil take you! You think I need you? ... You just look at me; Гм a Non... fool, can’t say it—Non-commissioned Officer of Her Majes- ty’s very First Regiment of Grenadier Guards! I’ve served Tsar and country, loyal and true! But who am I? You think I’m a warrior? No, I’m not a warrior; I’m the very icast of men, a poor lost orphan! I swore not to drink, nd now I had a smoke, and . . . Well then, do you think „т afraid of you? No fear; I’m afraid of no man! I’ve taken to drink, and ГИ drink! Now ГП go it for a fort- night; ГП go it hard! ГП drink my last shirt; ГРИ drink my cap; ГЛ pawn my passport; and I’m afraid of no one! They flogged me in the army to stop me drinking! They switched and switched! “Well,” they say, “will you leave off?” “No,” says I! Why should I be afraid of them? Here I am! Such as I am, God made me! I swore off drinking, and didn’t drink. Now I’ve took to drink, and ГЛ drink! And I fear no man! ’Cos I don’t lie; but just as... Why should one mind them—such muck as they are! “Here you are,” I say; that’s me. A priest told me, the devil’s the biggest bragger! “Аз soon,” says he, “аз you begin to brag, you get frightened; and as soon as you fear men, then the hoofed one just collars you and pushes you THE POWER OF DARKNESS 139 where he likes!” But as I don’t fear men, I’m easy! I can spit in the devil’s beard, and at the sow his mother! He can’t do me no harm! There, put that in your pipe! Nikita (crossing himself). True enough! What was I about? [Throws down the rope. Mitritch. What? Nikita (rises). You tell me not to fear men? Mitritch. Why fear such muck as they are? You look at ’em in the bath-house! All made of one paste! One has a bigger belly, another a smaller; that’s all the differ- ence there 13! Fancy-being afraid of ’em! Deuce take ет! Matryéna (from the yard). Well, are you coming? Nikita. Ah! Better so! I’m coming! [Goes towards yard.| , SCENE II Interior of hut, full of people, some sitting round tables and others standing. In the front corner AKouLina and the BripeEGRooM. On one of the tables an Icén and a loaf of rye-bread. Among the visitors are Marina, her husband, and a РотлсЕ OFFICER, also а HIRED DRIVER, the MATCHMAKER, and the Best Man. The women are singing. ANisya carries round the drink. The sing- ing stops. The Driver. If we are to go, let’s go! The church ain’t so near. , The Best Man. All right; you wait a bit till the step- father has given his blessing. But where is he? Antsya. He is coming—coming at once, dear friends! Have another glass, all of you; don’t refuse! The Matchmaker. Why is he so long? We’ve been waiting such a time! Antsya. Нез coming; coming directly, coming in no time! He’ll be here before one could plait a girl’s hair who’s had her hair cropped! Drink, friends! (Offers the drink.) Coming at once! Sing again, my pets, meanwhile! 140 THE POWER OF DARKNESS The Driver: They’ve sung all their songs, waiting here! [The women sing. Nikita and Axim enter during the singing. Nikita (holds his father’s arm and pushes him in before him). Go, father; I can’t do without you! Ат. I don’t like—I mean what d’ye call it... Nikita (to the women). Enough! Be quiet! (Looks round the hut.) Marina, are you there? The Matchmaker. Go, take the icdn, and give them your blessing! Nikita. Wait a while! (Looks round.) Akoulina, are you there? | Matchmaker. What are you calling everybody for? Where should she be? How queer he seems! Anisya. Gracious goodness! Why, he’s barefoot! Nikita. Father, you are here! Look at me! Christian Commune, you are all here, and I am here! Таш... [Falls on his knees. Anisya. Nikita, darling, what’s the matter with you? Oh, my head, my head! Matchmaker. Here’s a go! Matryona. I did say he was taking too much of that French wine! Come to your senses; what are you about? [They try to lift him; he takes no heed of them, but — looks in front of him. ' Nikita. Christian Commune! I have sinned, and I wish to confess! Matryéna (shakes him by the shoulder). Are you mad? Dear friends, he’s gone crazy! He must be taken away! Nikita (shakes her off). Leave me alone! And you, father, hear me! And first, Marina, look here! (Bows a to the ground to her and rises.) I have sinned towards you! <. Т promised to marry you, I tempted you, and forsook you! Forgive me, in Christ’s name! [Again bows to the ground before her. Anisya. And what are you drivelling about? It’s not becoming! No one wants to know! Get up! It’s like your impudence! Matryéna. Oh, oh, he’s bewitched! And however did THE POWER OF DARKNESS 141 it happen? It’s a spell! Get up! what nonsense are you jabbering? [Pulls him. Nikita (shakes his head). Don’t touch me! Forgive me my sin towards you, Marina! Forgive me, for Christ’s sake! [Marina covers her face with her hands in silence. Anisya. Get up, I tell you! Don’t be so impudent! What are you thinking about—to recall it? Enough hum- bug! It’s shameful! Oh my poor head! He’s quite crazy! Nikita (pushes his wife away and turns to AKOULINA). Akoulina, now ГИ speak to you! Listen, Christian Com- mune! I’m a fiend, Akoulina! I have sinned against you! Your father died no natural death! He was poisoned! Anisya (screams): ~Oh-my» head! Уаз he about? Matryéna. The man’s beside himself! Lead him away! [The folk come up and try to seize him. Akim (motions them back with his arms). Wait! You lads, what d’ye call it, wait, I mean! Nikita. Akoulina, I poisoned him! Forgive me, in Christ’s name! Akoulina (jumps up). Нез telling lies! I know who did it! Matchmaker. What are you about? You sit still! Akim. Oh Lord, what sins, what sins! Police Officer. Seize him, and send for the Elder! We must draw up an indictment and have witnesses to it! Get up and come here! Akim (to Ротлсе Orricer). Now you—with the bright buttons—I mean, you wait! Let him, what d’ye call it, speak out, I mean! Police Officer. Mind, old man, and don’t interfere! I have to draw up an indictment! Akim. Eh, what a fellow you are; wait, I say! Don’t talk, I mean, about, what d’ye call it, ’ditements’ Here God’s work is being done. . . . A man is confessing, I mean! And you, what d’ye callit . . . ’ditements! Police Officer. The Elder! Akim. Let God’s work be done, I mean, and then you. I mean you, do your business! 142 THE POWER OF DARKNESS Nikita. And, Akoulina, my sin is great towards you; 1 seduced you; forgive me in Christ’s name! [Bows to the ground before her. Akoulina (leaves the table). Let me go! I shan’t be married! Не told me to, but I shan’t now! Police Officer. Repeat what you have said. Nikita. Wait, sir, let me finish! Ат (with rapture). Speak, my son! Tell every- Pe ail feel better! Confess to God, don’t fear men! | God—God! It is He! Nikita. I poisoned the father, dog that I am, and I ruined the daughter! She was in my power, and I ruined her, and her baby! | Akoulina. True, that’s true! 3 Nikita. Т smothered the baby in the cellar with a board! I sat on it and smothered it—and its bones crunched! (Weeps.) And I buried it! I did it, all alone! Akoulina. Не raves! I told him to! Nikita. Don’t shield me! I fear no one now! Forgive | me, Christian Commune! | Bows to the ground. [ Silence. Police Officer. Bind him! The marriage is evidently off! [Men come up with their belts. Nikita. Wait, there’s plenty of time! (Bows to the ground before his father.) Father, dear father, forgive me too,—fiend that I am! You told me from the first, when I took to bad ways, you said then, “If a claw 1$ caught, the bird is lost!” I would not listen-to-your words, dog that I was, and it has turned out as you said! Forgive me, for Christ’s sake! Akim (rapturously). God will forgive you, my own son! (Embraces him.) You have had no mercy on your- self; He will show mercy on you! .God—God! It is He! [Enter ELDER. Elder, ‘There are witnesses enough here. Police Officer. We will have the examination at once. [Nixita is bound. THE POWER OF DARKNESS 143 Akoulina (goes and stands by his side). I shall tell the truth! Ask me! Nikita (bound). No need to ask! I did it all myself. The design was mine, and the deed was mine. Take me where you like. I will say no more! CURTAIN к Hee tt i FRUITS OF CULTURE CHARACTERS Leonip Еуброштсн ZvEZDINTSEF. A retired Lieutenant of the ~ Horse Guards. Owner of more than 60,000 acres of land in various provinces. A fresh-looking, bland, agreeable gentleman of 60. Believes in Spiritualism, and likes to astonish people with his wonderful stories. ANNA PAVLovNA ZvEZDINTSEVA. Wife of Leonid. Stout; pre- tends to be young; quite taken up with the conventionalities of life; despises her husband, and blindly believes in her doctor. Very irritable. Betsy. Their daughter. A young woman of 20, fast, tries to be mannish, wears а pince-nez, flirts and giggles. Speaks very quickly and distinctly. Vasity LronipITCcH ZVEZDINTSEF. Their son, aged 25; has | Studied law, but has no definite occupation. Member of the Cycling Club, Jockey Club, and of the Society for Promoting the Breeding of Hounds. Enjoys perfect health, and has imper- turbable self-assurance. Speaks loud and abruptly. Is either perfectly serious—almost morose, or is noisily gay and laughs loud. Is nicknamed Vovo. ALEXEY VLAD{MIROVITCH KroucosvETLoF. A professor and scientist of about 50, with quiet and pleasantly self-possessed manners, and quiet, deliberate, harmonious speech. Likes to talk. | Is mildly cisdainful of those who do not agree with him. Smokes much. Is lean and active. Tue Doctor. About 40. Healthy, fat, red-faced, loud-voiced, and rough; with a self-satished smile constantly on his lips. MAryaA Konstantinovna. A girl of 20, from the Conserva- toire, teacher of music. Wears a fringe, and is super-fashion- ably dressed. Obsequious, and gets easily confused. PetristcHeF. About 28; has taken his degree in philology, and 15 looking out for a postition. Member of the same clubs as Vasily Leoniditch, and also of the Society for the Organisation of Calico Balls* Is bald-headed, quick in movement and speech, and very polite. Tue Baroness. A pompous lady of about 50, slow in her movements, speaks with monotonous intonation. THE Princess. A society woman, a visitor. Her DaucHTer. An affected young society woman, a visitor. THe Countess. Ми ancient dame, with false hair and teeth. Moves with great difficulty. GrossMAN. A dark, nervous, lively man of Jewish type. Speaks very loud. Tue Fat Lapy: MArya VASiLyevNA ТогвобнтмА. A very dis- * Economical balls at which the ladies are bound to appear in dresses made of cotton materials. 146 THE POWER OF DARKNESS 147 tinguished, rich, and kindly woman, acquainted with all the notable people of the last and present generations. Very stout. Speaks hurriedly, trying to be heard above every one else. Smokes. Baron Kiincen (nicknamed Коко). 4 graduate of Peters- burg University. Gentleman of the Bedchamber, Attaché to an Embassy. Is perfectly correct in his deportment, and therefore enjoys peace of mind and 15 quietly gay. Two Зпемт Lapies. Sercky IvAnitcH SAHATOF. About 50, an ex-Assistant Mints- ter of State. An elegant gentleman, of wide European culture, engaged in nothing and interested in everything. His carriage is dignified and at times even Severe. THEODORE IvANITCH. Personal attendant on Zvezdintsef, aged about 60. A man of some education and fond of informaiton. Uses his pince-nez and pocket-handkerchief too much, unfolding the latter very slowly. Takes an interest in politics. Is kindly and sensible. Grecory. A footman, about 28, handsome, profligate, envious, and insolent. Jacos. Butler, about 40, а bustling, kindly man, to whom the interests of his family in the village are all-tmportant. Stmon. The butler’s assistant, about 20, a healthy, fresh, peasant lad, fair, beardless as yet; calm and smiling. Tue CoACHMAN. A man of about 35, a dandy. Has mous- taches but no beard. Rude and decided. А DiscHarceD Man-Coox. About 45, dishevelled, unshaved, bloated, yellow and trembling. Dressed in a ragged, light sum- mer-overcoat and dirty trousers. Speaks hoarsely, ejecting the words abruptly. Tue SEervANTS’ Cook. A talkative, dissatisficd woman of 30. THE DoorKeEEPer. A retired soldier. TAnya (TatyANA MArxovna). Lady’s-maid, то, energetic, strong, merry, with quickly-changing moods. At moments, when strongly excited, she shrieks with joy. First Peasant. About 60. Has served as village Elder. Imagines that he knows how to treat gentlefolk, and likes to hear himself talk. SEconp PEASANT. About 45, head of a family. A man of few words. Rough and truthful. The father of Simon. Тнтво PEASANT. About 70. Wears shoes of plaited bast. Is nervous, restless, hurried, and tries to cover his confusion by much talking. First Footman (in attendance on the Countess). An old man, with old-fashioned manners, and proud of his place. Srconp FootMAN. Of enormous size, strong, and rude. A Porter FROM A FASHIONABLE DresSMAKER’S ЭНОР. A fresh- faced nian in dark-blue long-coat. Speaks firmly, emphatically, and clearly. The action takes place in Moscow, in Zvezdintsef’s house. / Py 2! у ‘ahaa? м fot hy ь а о RS Е де me Oe а Я te 4 * $ № =.“ ты ACT I The entrance hall of a wealthy house in Moscow. There_are three doors: the front door, the door of LEonip Ехо- DORITCH’S study, and the door of VAsity LEONIDITCH’S room. A staircase leads up to the other rooms; behind it is another door leading to the servants’ quarters. SCENE I ’ Gregory (looks at himself in the glass and arranges his hair, etc.). I am sorry about those moustaches of mine! ““Moustaches are not becoming to a footman,” she says! And why? Why, so that any one might see you're a foot- man,—else my looks might put her darling son to shame. He’s a likely one! There’s not much fear of his coming anywhere near me, moustaches or no moustaches! (Smil- ing into the glass.) And what a lot of ’em swarm round fme. And yet I don’t care for any of them as much as for \that Tanya. And she only a lady’s-maid! Ah well, she’s nicer than any young lady. (Smiles.) She’s a duck! (Listening.) Ah, here she comes. (Smiles.) Yes, that’s her, clattering with her little heels. Oh! [Enter TANYA, carrying a cloak and boots. Gregory. My respects to you, Tatyana Markovna. Тапуа. What are you always looking in the glass for? Do you think yourself so good-looking? Gregory. Well, and are my looks not agreeable? Tanya. So, so; neither agreeable nor disagreeable, but just betwixt and between! Why are all those cloaks hang- ing there? Gregory. Тат just going to put them away, your lady- ship! (Takes down a fur cloak and, wrapping it round her, embraces her.) Т say, Tanya, ГИ tell you some- а a: 149 150 «FRUITS OF CULTURE Tdnya. Oh, get away, do! What do you mean by it? (Pulls herself angrily away.) Leave me alone, I tell you! Gregory (looks cautiously around). Then give me a kiss! Tdnya. Now, really, what are you bothering for? и give you such a kiss! | Raises her hand to strike. Vasily Leoniditch (off the scene, rings and then shouts). Gregory! Tdnya. There now, go! Vasily Leoniditch is calling you. Gregory. Ней wait! He’s only just opened his eyes! I say, why don’t you love me? Tdnya. What sort of loving have you imagined now? I don’t love anybody. Gregory. That’s a fib. You love Simon! You have found a nice one to love—a common, dirty-pawed peasant, a butler’s assistant! Tdnya. Never mind; such as he is, you are jealous of him! Vasily Leoniditch (off the scene). Gregory! Gregory. All in good time. . . . Jealous indeed! Of | what? Why, you have only just begun to get licked into shape, and who are you tying yourself up with? Now, wouldn’t it be altogether a different matter if you loved mee rey Ege Daya say Тапуа (angrily and severely). Yow ll get nothing from me, I tell you! Vasily Leoniditch (off the scene). Gregory! Gregory. You're mighty particular, ат” you? Vasily Leoniditch (off the scene, shouts persistently, monotonously, and with all his might). Gregory! Greg- ory! Gregory! [TANYA and Grecory laugh. Gregory. You should have seen the girls that have been Sweet on me. [Вей rings. Tdnya. Well then, со to them, and leave me alone! Gregory. You are a silly, now I think of it. Гы not Simon! FRUITS OF CULTURE 151 Tdnya. Simon means marriage, and not tomfoolery! [Enter Porter, carrying a large cardboard box.. Porter. Good morning! Gregory. Good morning! Where are you from? Porter. From Bourdey’s. Ive brought a dress, and here’s a note for the lady. sats (taking the note). Sit down, and ГП take it in. Exit. [Vasity LronipitcH looks out of the door in shirt- sleeves and slippers. Vasily Leoniditch. Gregory! Gregory. Yes, sir. - Vasily Leoniditch. Gregory! Don’t you hear me call? Gregory. I’ve only just come, sir. Vasily Leoniditch. Ной water, and a cup of tea. Gregory. Yes, sir; Simon will bring them directly. Vasily Leoniditch. And who is this? Ah, from Bour- dier? Porter. Yes, sir. [Exeunt Vasity Геомплтсн and Grecory. Bell rings. TANYA runs in at the sound of the bell and opens the front door. Tdnya (to Ровтев). Please wait a little. Porter. I am waiting. [SAHATOF enters at front door. Tanya. I beg your pardon, but the footman has just gone away. This way, sir.. Allow me, please. [Takes his fur cloak. Sahdtof (adjusting his clothes). Is Leonid Fyédoritch at home? Is he up? [Вей rings.. Тапуа. Ob yes, sir. He’s been up a long time. [Doctor enters and looks around for the footman. Sees SAHATOF and addresses him in an offhand manner. у Doctor. Ah, my respects to you! Sahdtof (looks fixedly at him). The Doctor, I believe? Doctor. And I thought you were abroad! Dropped in to see Leonid Fyédoritch? | 152 FRUITS OF CULTURE Sahdtof. Yes. And you? Is any one ill? Doctor (laughing). Not exactly ill but, you know... / It’s awful with these ladies! Sits up at cards till three every morning, and pulls her waist into the shape of a ‚ wine-glass. And the lady is flabby and fat, and carries the . weight of а good many years оп her back. Sahdtof. Is this the way you state your diagnosis to Anna Pavlovna? I should hardly think it quite pleases her! Doctor (laughing). Well, it’s the truth. They do all these tricks—and then come derangements of the digestive organs, pressure on the liver, nerves, and all sorts of things, and one has to come and patch them up. It’s just awful! (Laughs.) And you? You are also a spiritualist, it seems? Sahdtof. I? No, I am not also a spiritualist. Good morning! [Is about to go, but is stopped by the Doctor. Doctor. No! But I can’t myself, you know, positively deny the possibility of it, when a man like Krougosvétlof-is connected with it all. How can one? Is he not a pro- ‚ fessor.—a European celebrity? There must be something | in it. I should like to see for myself, but I never have the | , time. I have other things to do. Sahdtof. Yes, yes! Good morning. [ Exit, bowing slightly. Doctor (to TANvA). Is Anna Pavlovna up? Tanya. She’s in her bedroom, but please come up. [Doctor goes upstairs. [ THEODORE IVANITCH enters with a newspaper in his hand. | Theodore Гоаписй (to Ровтев). What is it you want? Porter. Wm from Bourdey’s. I brought a dress and a note, and was told to wait. Theodore Ivdnitch. Ah, from Bourdey’s! (To TANyA.) Who came in just now? Tdnya. It was Sergéy Ivanitch Sahatof and the Doctor. They stood talking here a bit. It was all about spirit- alism. Theodore Ivanitch (correcting her). Spiritualism. Tdnya. Yes, that’s just what I said—spiritalism. Have you heard how well it went off last time, Theodore Ivan- FRUITS OF CULTURE 153 itch? (Laughs). There was knocks, and things flew about! Theodore Ivdnitch. And how do you know? Tanya. Miss Elizabeth told me. \ [Асов runs in with a tumbler of tea on a tray. Jacob (to the Porter). Good morning! Porter (disconsolately). Good morning! [ТАсов knocks at Vasity LronipitcH’s door. [GREGORY enters. Gregory. Give it here. Jacob. You didn’t bring back all yesterday’s tumblers, nor the tray Vasily Leoniditch had. And it’s me that have to answer for them! Gregory. The tray is full of cigars. Jacob. Well, put them somewhere else. It’s me who’s answerable for it. Gregory. ГП bring it back! ГИ bring it back! Jacob. Yes, so you say, but it is not where it ought to be. The other day, just as the tea had to be served, it was not to be found. Gregory. Ill bring it back, I tell you. What a fuss! Jacob. It’s easy for you to talk. Here am I serving tea for the third time, and now there’s the lunch to get ready. One does nothing but rush about the livelong day. Is there any one in the house who has more to do than me? Yet they are never satisfied with me. | Gregory. Dear me! Who could wish for any one more satisfactory? You’re such a fine fellow! Tanya. Nobody is good enough for you! You alone. . Gregory (to TAnya). No one asked your opinion! [ Exit. Jacob. Ah, well, I don’t mind. Tatyana Markovna, did the mistress say anything about yesterday? Tdnya. About the lamp, you mean? Jacob. And how it managed to drop out of my hands, | the Lord only knows! Just as I began rubbing it, ара was going to take hold of it in another place. out it slips and goes all to pieces. It’s just my luck! It’s easy for 154 FRUITS OF CULTURE that Gregory Mihaylitch to talk—a single man like him! But when one has a family, one has to consider things: they have to be fed. I don’t mind work. . . . So she didn’t say anything? The Lord be thanked! . . . Oh, Theodore Ivanitch, have you one spoon or two? Theodore Ivdnitch. One. Only one! [Reads newspaper. [Exit ТАсов. [Вей rings. Enter Grecory (carrying а tray) and the DOORKEEPER. Doorkeeper (to GreEcory). Tell the master some peasants have come from the village. Gregory ( pointing to THEODORE IvANITCH). Tell the _major-domo here, it’s his business. I have no time. [ Exit. Tdnya. Where are these peasants from? Doorkeeper. From Koursk, I think. Tdnya. (shrieks with delight). It’s them. . . . It’s Simon’s father come about the land! Ill go and meet them! [Runs off. Doorkeeper. Well, then, what shall I say to them? Shall they come in here? it hey say they’ve come about the land — —the master knows, they say. Theodore Ivdnitch. Yes, they want to purchase some | land. All right! But he has a visitor now, so you had better tell them to wait. Doorkeeper. Where shall they wait? / Theodore Ivdnitch. Let them wait outside. ГП send for them when the time comes. [Exit DooRKEEPER. [Enter TAnya, followed by three PEASANTS. Tdnya. То the right. In here! In here! Theodore Ivdnitch. I did not want them brought in here! Gregory. Forward minx! Tdnya. Oh, Theodore Ivanitch, it won’t matter, they'll stand in this corner. Theodore Ivdnitch. ‘They'll dirty the floor. Tanya. They’ve scraped their shoes, and ГИ wipe the FRUITS OF CULTURE 155 floor up afterwards. (To PEASANTS.) Here, stand just here. [PEASANTS come forward, carrying presents tied in cotton handkerchiefs: cake, eggs and embroid- ered towels. They look around for an icén be- fore which to cross themselves; not finding one, they cross themselves, looking at the staircase. Gregory (to THEODORE IvANITCH). There now, Theo- dore Ivanitch, they say Pironnet’s boots are an elegant shape. But those there are ever so much better. [Pointing to the third РЕАЗАМТ’5 bast shoes. Theodore Ivdnitch. Why will you always be ridiculing people? [Exit Grecory. ` Theodore Ivdnitch (rises and goes up to the PEASANTS). So you are from Koursk? And have come to arrange about buying some land? First Peasant. Just so. We might say, it is for the completion of the purchase of the land we have come. How could we announce ourselves to the master? | Theodore Ivénitch. Yes, yes, I know. You wait a bit and ГП go and inform him. [ Exit. [The Peasants look around; they are embarrassed where to put their presents. First Peasant. There now, couldn’t we have what d’you call it? Something to present these here things on? To do it in a genteel way, like,—a little dish or something. Тапуа. All right, directly; put them down here for the present. [Puts bundles on settle. First Peasant. There now,—that respectable gentleman that was here just now,—what might be his station? Tanya. He’s the master’s valet. First Peasant. I see. So he’s also in service. And you, now, are you a servant too? Тапуа. I am lady’s-maid. Do you know, I also come from Démen! I know you, and you, but I don’t know him. [Pointing to third PEASANT. 156 FRUITS OF CULTURE Third Peasant. Them two you know, but me you don’t know? Tdnya. You are Efim Antonitch., First Peasant. ‘That’s just it! Tdnya. And you are Simon’s father, Zachary Tri- fanitch. Second Peasant. Right! Third Peasant. And let me tell you,,I’m Mitry Vlasitch Tchilikin. Now do you know? Tdnya. Now I shall know you too! Second Peasant. And who may you be? Т4пуа._Т am_Aksinya’s, the soldier’s.-wife’s,orphan. First and Third Peasants (with surprise). Never! Second Peasant. ‘The proverb says true: “Buy a penny pig, put it in the rye, And you'll have a wonderful fat porker by-and-by.” First Peasant. That’s just it! She’s got the resem- blance of a duchess! Third Peasant. That be so truly. Oh Lord! Vasily Leoniditch (off the scene, rings, and then shouts). Gregory! Gregory! First Peasant. Now who’s that, for example, disturbing himself in such a way, if I may say so? Tdnya. That’s the young master. Third Peasant. Oh Lord! Didn’t I say we’d better wait outside until the time comes? | Silence. Second Peasant. Is it you, Simon wants to marry? Tdnya. Why, has he been writing? | Hides her face in her apron. Second Peasant. It’s evident he’s written! But it’s a bad business he’s imagined here. I see the lad’s got spoilt! Тапуа (quickly). No, he’s not at all spoilt! Shall I send him to you? Second Peasant. Why send him? All in good time. Where’s the hurry? Vasily Leoniditch (desperately, behind scene). Greg- ory! Where the devil are your... FRUITS OF CULTURE 157. [Enters from his room in shirt-sleeves, ad justing his pince-nez. Vasily Leoniditch. Is every one dead? Тапуа. Нез not here, sir. . . . ГИ зепа him to you at once. [Moves towards the back door. _ Vasily Leoniditch. I could hear you talking, you know. How have these scarecrows sprung up here? Eh? What? Tdnya. They’re peasants from the Koursk village, sir. [Peasants bow. Vasily Leoniditch, And who is this? Oh yes, from Bourdier. [Vasity Гвомйлтсн pays no attention to the PEas- ANTS’ bow. TANYA meets GREGORY at the door- way and remains on the scene. Vasily Leoniditch (to Grecory). I told you the other boots. . . . I can’t wear these! Gregory. Well, the others are also there. Vasily Leoniditch. But where is there? Gregory. Just in the same place! Vasily Leoniditch. They’re not! Gregory. Well, come and see. | Exeunt Свесову and Vasity LEONIDITCH. Third Peasant. Say, now, might we not in the meantime just go and wait, say, in some lodging-house or somewhere? Тапуа. No, no, wait a little. ГИ go and bring you some plates to put the presents on. [ Exit. | Enter SanAtor and Lronip Руоровттсн, followed by THEODORE IVANITCH. [The Peasants take up the presents, and pose themselves, Leonid Fyédoritch (to Peasants). Presently, pres- ently! Wait a bit! (Points to Porter.) Who is this? Porter. From Bourdey’s. Leonid Fyédoritch. ..Ah;-from-—Bourdier.., 4 Sahdtof (smiling). Well, I don’t deny it: still you understand that, never having seen it, we, the uninitiated, | have some difficulty in believing. | Я Leonid Fyédoritch. You say you find it difficult to be- 158 FRUITS OF CULTURE lieve! We do not ask for faith; all we demand of you is to investigate! How can I help believing in this ring? Yet this ring came from there! Sahdtof. From there? What do you mean? From where? Leonid Fyédoritch. From the other world. Yes! Sahdtof (smiling). That’s very interesting—very т- teresting! Leonid Fyddoritch. Well, supposing we admit that I’m a man carried away by an idea, as you think, and that I am deluding myself. Well, but what of Alexéy Vladimir- itch Krougosvétlof—he is not just an ordinary man, but a distinguished professor, and yet he admits it to be a fact. And not he alone. What of Crookes? What of Wallace? Sahdtof. But I don’t deny anything. I only say it is very interesting. It would be interesting to know how Krougosvétlof explains it! Leonid Fyédoritch. Не has a theory of his own. Could you come to-nightr—he is sure to be here. First we shall have Grossman—you know, the famous thought-reader? ~~ Sahdtof. Yes, I have heard of him but have never hap- pened to meet him. Leonid Fyddoritch. Then you must come! We shall first have Grossman, then Kaptchitch, and our mediumistic séance. ... (То THEODORE IvANITCH.) Has the man ге- turned from Kaptchitch? : Theodore Ivdnitch. Not yet, sir. Sahatof. Then how am I to know? | Leonid Рубдотисй. Never mind, come in any case! If Kaptchitch can’t come we shall find our own medium. Marya Ignatievna is a medium—not such a good one as Kaptchitch, but still... [TANYA enters with plates for the presents, and stands listening. Sahdtof (smiling). Oh, yes, yes. But here is one puz- zling point:—how is it that the mediums are always of the, so-called, educated class, such as Kaptchitch and Marya -_Ignatievna?--If there were such a special force, would it not be met with also among the common people—the peas- — ants? | | FRUITS OF CULTURE 159 Leonid Fyédoritch. Oh yes, and it is! That is very common. Even here in our own house we have a peasant. whom we discovered to be a medium. A few days ago we called him in—a sofa had to be moved, during a séance —and we forgot all about him. In all probability he fell asleep. And, fancy, after our séance was over and Kapt- chitch had come to again, we suddenly noticed mediumistic phenomena in another part of the room, near the peasant:, the table gave a jerk and moved! Тапуа (aside). That was when I was getting out from under it! Leonid Fyédoritch. It is quite evident he also is a ше- dium. Especially as he is very like Home in appearance. You remember _Home—a-fair-haired naif sort of fellow? Sahdtof (shrugging his shoulders). Dear me, this is very interesting, you know. I think you should try him. Leonid Fyédoritch. So we will! And he is not alone; there are thousands of mediums, only we do not know them. Why, only a short time ago a bedridden old woman moved a brick wall! Sahdtof. Moved abrick . . . a brick wall? Leonid Fyédoritch. Yes, yes. She was lying in bed, and did not even know she was a medium. She just leant her arm against the wall, and the wall moved! Sahdtof. And did not cave in? Leonid Fyédoritch. And did not cave in. Sahdtof. Very strange! Well, then, I’ll come this even- ing. Leonid Fyédoritch. Pray, do. We shall have a séance in any case. ; _ [SawAtor puts on his outdoor things; Lronip Еуб- DORITCH 5665 him to the door. | Porter (to TANYA). Do tell your mistress! Am I to spend the night here? Tdnya. Wait a little; she’s going to drive out with the young lady, so she’ll soon be coming downstairs. [ Exit. | Leonid Fyddoritch (comes up to the PEASANTS, who bow and offer him their presents). That’s not necessary! First Peasant. (smiling). Oh, but this-here is our first 160 FRUITS OF CULTURE aay, it is! It’s also the Commune’s orders that we should о it! Second Peasant. ‘That’s always been the proper way. Third Peasant. Say no more about it! ’Cause as we are much satisfied. . . . As our parents, let’s say, served, let’s say, your parents, so we would like the same with all our hearts . . . and not just anyhow! [| Bows. Leonid Fyédoritch. But what is it about? What do you want? First Peasant. It’s to your honor we’ve come... [Enter PETRISTCHEF briskly, in fur-lined overcoat. Petristchef. Is Vasily Leoniditch awake yet? [Seeing LEoNip FyoporitcH, bows, moving only his head. » Leonid Fyédoritch. You have come to see my son? о Petristchef. I? Yes, just to see Vovo for a moment. Leonid Fyédoritch. Step in, step in. [PETRIisTCHEF takes off his overcoat and walks in briskly. Exit. | Leonid Fyédoritch (to РЕАЗАМТЗ). Well, what is it you want? | Second Peasant. Please accept our presents! First Peasant (smiling). That’s to say, the peasants’ offerings. | Third Peasant. Say по more about it; what’s the good? We wish you the same as if you were our own father! Say no more about it! | Leonid Fyddoritch. АП right. Here, Theodore, take these. | Theodore Ivdnitch (to Peasants). Give them here. [Takes the presents. Leonid Fyddoritch. Well, what is the business? First Peasant. Weve come to your honor. . Leonid Fyédoritch. I see you have; but what do you © want? — First Peasant. It’s about making a move towards com- pleting the sale of the land. It comes to this... ‹ Leonid Fyédoritch. Do you mean to buy the land? First Peasant. That’s just it. It comes to this... I |. FRUITS OF CULTURE 161 mean the buying of the property of the land. The Com- mune has given us, let’s say, the power of atturning, to enter, let’s say, as is lawful, through the Government bank, with a stamp for the lawful amount. | __ Leonid Fyédoritch. You mean that you want to buy the land .through-the land-bank. First Peasant. That’s just it. Just as you offered it to -us_tlast-year. It comes to this, then, the whole sum in full for the buying of the property of the land is 32,864 roubles. Leonid Fyédoritch. That’s all right, but how about pay- ing up? First Peasant. Аз to the payment, the Commune offers just as it was said last year—to pay in ’stalments, and your receipt of the ready money by lawful regulations, 4000 roubles in full.? Second Peasant. Take 4000 now, and wait for the rest of the money. Third Peasant (unwrapping a parcel of money). And about this be quite easy. We should pawn our own selves rather than do such a thing just anyhow say, but in this way, let’s say, as it ought to be done. Leonid Fyddoritch. But did I not write and tell you that I should not agree to it unless you brought the whole sum? First Peasant. That’s just it. It would be more agree- able, but it is not in our possibilities, I mean. Leonid Fyédoritch. Well then, the thing can’t be done! First Peasant. The Commune, for example, relied its hopes on that, that you made the offer last year to sell it in easy ’stalments . . . Leonid Fyddoritch. That was last year. I would have agreed to it then, but now I can’t. Second Peasant. But how’s that? Weve been depend- ing on your promise—we’ve got the papers ready and have collected the money! Third Peasant. Be merciful, master! We're short of land; we'll say nothing about cattle, but even a hen, let’s * The present value of the rouble is rather over fifty cents. 162 FRUITS OF CULTURE say, we’ve no room to keep. (Bows.) Don’t wrong us, master! : [ Bows. Leonid Fyédoritch. Of course it’s quite true, that I agreed last year to let you have the land for payment by ‘instalments, but now circumstances are such that it would be inconvenient. Second Peasant. Without this land we cannot live! First Peasant. That’s just it. Without land our lives” ‘must grow weaker and come to a decline. ‚® Third Peasant (bowing). Master, we have so little land, let’s not talk about the cattle, but even a chicken, let’s say, we’ve no room for. Master, be merciful, accept the money, master! Leonid Fyédoritch (examining the document). I quite understand, and should like to help you. Wait a little; I will give you an answer in half-an-hour. . . . Theodore, say I am engaged and am not to be disturbed. Theodore Ivdnitch. Yes, sir. [Exit LEONID Еубровтсн. [The Peasants look dejected. Second Peasant. Here’s a go! ‘Give me the whole sum,” he says. And where are we to get it from? First Peasant. Tf he had not given us hopes, for exam- ple. As it is we felt quite insured it would be as was said last year. Third Peasant. Oh, Lord! and I had begun unwrapping the money. (Begins wrapping up the bundle of bank-notes again.) What are we to do now? Theodore Ivdnitch. What is your business, then? First Peasant. Our business, respected sir, depends in this. Last year he made us the offer of our buying the land in ’stalments. The Commune entered upon these terms and gave us the powers of atturning, and now d’you see he makes the offering that we should pay the whole in full! And as it turns out, the business is no ways convenient for us. Theodore Ivdnitch. What is the whole sum? First Peasant. The whole sum in readiness is 4000 rou- bles, you see. | | FRUITS OF CULTURE 163 Theodore Ivdnitch. Well, what of that? Make an effort and collect more. First Peasant. Such as it is, it was collected with much effort. We have, so to say, in this sense, not got ammuni- tion enough. Second Peasant. You can’t get blood out of a stone. Third Peasant. We’d be glad with all our hearts, but we have swept even this together, as you might say, with a broom. [Vasity Геомплтсн and PEtristcHEr appear in the doorway both smoking cigarettes. Vasily Leoniditch. Т have told you already ГИ do my best, so, of course, I will do all that is possible! Eh, what? ‘ Petristchef. You must just understand that if you do not get it, the devil only knows what a mess we shall be in! Vasily Leoniditch. But I’ve already said ГИ do my best, and so 1 will. Eh, what? Petristchef. Nothing. I only say, get some at any cost; I will wait. [Exit into Vasity Lronipitcn’s room, closing door. Vasily Leoniditch (waving his arm). It’s a deuce of a go! [The Preasants bow. Vasily Leoniditch (looking at Ровтев, to THEODORE IvANitcH). Why don’t you attend to this fellow from Bourdier? Не hasn’t come to take lodgings with us, has he? Just look, he is asleep! Eh, what? Theodore Ivdnitch. ‘The note he brought has been sent in, and he has been told to wait until Anna Pavlovna comes down. Vasily Leoniditch (looks at PEASANTS and notices the money). And what is 15? Money? For whom? Is it for us? (То Тнеорове IvANitcH.) Who are they? Theodore Ivdnitch. They are peasants from Koursk. ° They are buying land. Vasily Leoniditch. Наз it been sold them? Theodore Ivdnitch. No, they have not yet come to any agreement. ‘They are too stingy? 164 FRUITS OF CULTURE Vasily Leoniditch. Eh? Well, we must try and per- suade them. (To the Peasants.) Here, I say, are you buying land? Eh? | First Peasant. That’s just it. We have made an offer- ing as how we should like to acquire the possession of the land. Vasily Leoniditch. Then you should not be so stingy, you know. Just let me tell you how necessary land is to peasants! Eh, what? It’s very necessary, isn’t it? First Peasant. That’s just it. The land appears аз the ~ very first and foremost necessity to a peasant. That’s — just it. Vasily Leoniditch. Then why be so stingy? Just you »think what land is! Why, one can sow wheat on it Ш. rows! I tell you, you could get eighty bushels of wheat, at a rouble and a half a bushel—that would be 120 roubles. Eh, what? Or else mint! I tell you, you could collar 400 roubles off an acre by sowing mint! First Peasant. That’s just it. All sorts of producks one could put into action if one had the right understanding. Vasily Leoniditch. Mint! Decidedly mint! I have. learnt about it, you know. It’s all printed in books. I can show them you. Eh, what? First Peasant. That’s just it, all concerns are clearer to you through your books. That’s learnedness, of course. Vasily Leoniditch. Then pay up and don’t be stingy! (To THEODORE IvANITCH.) Where’s papa? Theodore Ivdnitch. Не gave orders not to be disturbed — just now. Vasily Leoniditch. Oh, I suppose he’s consulting a spirit whether to sell the land or not? Eh, what? Theodore Ivdnitch. 1 can’t say. All I know is that he went away undecided about it. Vasily Leoniditch. What d’you think, Theodore Ivan- itch, is he flush of cash? Eh, what? Theodore Ivdnitch. 1 don’t know. I hardly think so. But what does it matter to you? You drew a good sum not more than a week ago. Vasily Leoniditch. But didn’t I pay for those dogs? And now, you know, there’s cur new Society, and Petrist- FRUITS OF CULTURE 165 chef has been chosen, and I had borrowed money from | _-Petristchef and must pay the subscription both for him and for myself. Eh, what? Theodore Ivdnitch. And what is this new Society? A Cycling Club? Vasily Leoniditch. No. Just let me tell you. It is quite a new Society. It is a very serious Society, yousknow. And who do you think is President? Eh, what? Theodore Ivdnitch. What’s the object of this new Soci- ety? | Rag Vasily Leoniditch. It is a “Society to Promote the Breeding of Pure-Bred Russian Hounds.” Eh, what? And ГЛ tell you, they’re having the first meeting and a lunch, to-day. And I’ve no money. ГИ go to him and have а try! [Exit through study door. First Peasant (to TuroporE IvAnitcH). And who might he be, respected sir? Theodore Ivdnitch (smiles). The young master. Third Peasant. The heir, so to say. Oh, Lord! (Puis away the money.) I’d better hide it meanwhile. First Peasant. And we were told he was in military ser- vice, in the cav’rely, for example. Theodore Ivdnitch. No, as an only son he is exempt from military service. ~~Third Peasant:—Left for to keep his parents, so to say! That’s right! Second Peasant (shaking his head). Нез the right sort. He’ll feed them finely! Third Peasant. Oh, Lord! [Enter Vasity Ткомилтсн, followed by Loni FYODORITCH. Vasily Leontditch. That’s always the way. It’s really surprising! First I’m asked why I have no occupation, and now when I have found a field and am occupied, when a Society with serious and noble aims has been founded, I can’t even have зоо roubles to go on with! ... Leonid Fyédoritch. I tell you I can’t do it, and I can’t! I haven’t got it. Vasily Leoniditch. Why, you have just sold some land. 166 FRUITS OF CULTURE Leonid Fyédoritch. In the first place I have not sold it! And above all, do leave me in peace! Weren’t -you told I was engaged? | Exit, slamming door. Theodore Ivdnitch. Т told you this was not the right moment. Vasily Leoniditch. Well, I say! Неге’з a position to be in! ГП go and see mamma—that’s my only hope. Не’ going crazy over his spiritualism and forgets everything ’ else. [Goes upstairs. [THEODORE IvANITCH takes newspaper and is just going to sit down, when Betsy and MArya Kon- STANTINOVNA, followed by GREGORY, come down — the statrs. Betsy. Is the carriage ready? Gregory. Just coming to the door. Betsy (to МАвуА KonsTANTiNovNA). Come along, come along, I know it is he. Матуа Konstantinovna. Which he? Betsy. You know very well whom I mean—Petristchef, . of course. rf | Матуа Konstantinovna. But where is he? Betsy. Sitting in Vovo’s room. You'll see! Marya Konstantinovna. And suppose it is not he? [The PEASANTS and PorTER bow. Betsy (to Porter). You brought a dress from Bour- dier’s? Porter. Yes, Miss. May I go? Betsy. Well, I don’t know. Ask my mother. Porter. I don’t know whose it is, Miss; I was ordered to bring it here and receive the money. Betsy. Well, then, wait. Marya Konstantinovna. Is it still that costume for the charade? | Betsy. Yes, a charming costume. But mamma won’t take it or pay for it. Marya Konstantinovna. But why not? Betsy. You’d better ask mamma. She doesn’t grudge Vovo 500 roubles for his dogs, but 100 is too much for a FRUITS OF CULTURE 167 dress. I can’t act dressed like a scarecrow. (Pointing to PEasANts.) And who are these? Gregory. Peasants who have come to buy some land or other. Betsy. And I thought they were the beaters. Are you not beaters? First Peasant. No, no, lady. We have come to see Leonid Fyddoritch about the signing into our possession of the title-deeds to some land. : Betsy. Then how is it? Vovo was expecting some beat- ers who were to come to-day. Are you sure you are not the beaters? (The PEASANTS are silent.) How stupid they are! (Goes to Vasity Lronipircy’s door.) Vovor [| Laughs. . Mérya Konstantinovna, But we met him just now up- Stairs! Betsy. Why need you remember that? Vovo, are you there? [ PETRISTCHEF enters. Petristchef.. Vovo is not here, but I am prepared to fulfil on his behalf anything that may be required. How do you do? Ном do you do, Marya Konstantinovna? [Shakes hands long and violently with Betsy, and then with MARYA KONSTANTINOVNA. Second Peasant. See, it’s as if he were pumping water! Betsy. You can’t replace him,—still you’re better than nobody. (Laughs.) What are these affairs of yours with Vovo? Petristchef. What affairs? Our affairs are fie-nancial, that is, our business is fie! It’s also nancial, and besides it is financial. Betsy. What does nancial mean? Petristchef. What a question! It means nothing, that’s just the point. Betsy. No, no, you have missed fire. [ Laughs. Petristchef. One can’t always hit the mark, you know. It’s something like a lottery.. Blanks and blanks again, and at last you win! [Тнеорове IvANitcH goes into the study. 168 FRUITS OF CULTURE Betsy. Well, this was blank then; but tell me, were you at the Mergasofs’ last night? Petristchef. Not exactly at the Mére Gasof’s, but rather at the Pére Gasof’s, or better still, at the Fils Gasof’s. Betsy. You can’t do without puns. It’s an illness. And were the Gypsies there? ? | Laughs. Petristchef (sings). “On their aprons silken threads, little birds with golden heads!” . . Betsy. Happy mortals! And we were yawning at Fofo’s. Petristchef (continues to sing). “Апа she promised and she swore, She would ope’ her... her... Ве...” how does it go on, Marya Konstantinovna? Marya Konstantinovna. “Closet door.” Petristchef. How? What? How, Marya Konstanti- novna? Betsy. Cessez, vous devenez impossible! * _Petristchef. Jai cessé, раз bébé, раз dédé.. .* Betsy. I see the only way to rid ourselves of your wit is to make you sing! Let us go into Vovo’s room, his ’ guitar is there. Come, Marya Konstantinovna, come! [Exeunt Brtsy, MAryA KoNSTANTINOVNA, and PETRISTCHEF. First Peasant. Who be they? Gregory. One is our young lady, the other is a girl who teaches her music. First Peasant. Administrates learning, so to say. And ain’t she smart? A reg’lar picture! Second Peasant. Why don’t they marry her? She is old enough, I should say. Gregory. Do you think it’s the same as among you peasants,—marry at fifteen? First Peasant. And that man, for example, is he also in the musitional line? | Gregory (mimicking him). ‘“Musitional,” indeed! You don’t understand anything! * The Gypsy choirs are very popular in Moscow. * Betsy. Cease! You are becoming quite unbearable! * Petristchef. Т have С said (ceased), В said, and D said. FRUITS OF CULTURE 169 First Peasant. That’s just so. And stupidity, one might say, is our ignorance. Third Peasant. Oh, Lord! [Gypsy songs and guitar accompaniment are heard from Vasity LEONIDITCH’s room. [Enter Stmon, followed by TANYA, who watches the meeting between father and son. Gregory (10 Stwon). What do you want? Simon. I have been to Mr. Kaptchitch. Gregory. Well, and what’s the answer? Simon. Не sent word he couldn’t possibly come to- night. Gregory. All right, ГП let them know. [ Exit. Simon (to his father). Wow d’you do, father! My respects to Daddy Efim and Daddy Mitry! How are all at home? Second Peasant. Very well, Sinion. First Peasant. How d’you do, lad? Third Peasant. How d’you do, sonny? Simon (smiles). Well, come along, father, and have some tea. Second Peasant. Wait till we’ve finished our business. Don’t you see we are not ready yet? Simon. Well, Г wait for you by the porch. [Wishes to go away. Tanya (running after him). I say, why didn’t you tell him anything? Simon. How could I before all those people? Give me time, ГИ tell him over our tea. [ Exit. [THEODORE IVANITCH enters and sits down by the window. : First Peasant. Respected sir, how’s our business pro- ceeding? Theodore Ivdnitch. Wait a bit, he’ll be out presently, he’s just finishing. Tdnya (to THEODORE IvANITCcH). And how do you know, Theodore Ivanitch, he is finishing? 170 FRUITS OF CULTURE Theodore Ivdnitch. I know that when he has finished questioning, he reads the question and answer aloud. Tanya. Can one really talk with Е by means of a saucer? Theodore Ivdnitch. It seems so. Tdnya. But supposing they tell him to sign, will he sign? Theodore Ivdnitch. Of course he will. Tdnya. But they do not speak with words? Theodore Ivdénitch. Oh, yes. By means of the alpha- bet. He notices at which letter the saucer stops. ‚ Тапуа. Yes, but at a si-ance?... _ [Enter Lronip Еубровитсн. Leonid Fyédoritch. Well, friends, I can’t do it! I © should be very glad to, but it is quite impossible. If it were for ready money it would be a different matter. First Peasant. That’s just so. What more could any © one desire? But the people are so inpennycuous—it is quite impossible! Leonid Fyédoritch. Well, I can’t do it, I really can’t. Here is your document; I can’t sign it. Third Peasant. Show some pity, master; be merciful! Second Peasant. How can you act so? It is doing us a wrong. Leonid Fydéddoritch. . Nothing wrong about it, friends. I offered it you in summer, but then you did not agree; and now I can’t agree to it. Third Peasant. Master, be merciful! How are we to — _get along? We have so little land. We'll say nothing about the cattle; a hen, let’s say, there’s no room to let a й hen run about. OP [Leonip Еубровттсн goes up to the door and stops. Enter, descending the staircase, ANNA PAVLOVNA and Ростов, followed by VASiLy LEONIDITCH, who is in a merry and playful mood and is put- ting some bank-notes into his purse. Anna Pdvlovna (tightly laced, and wearing a bonnet). Then I am to take it? Doctor. If the symptoms recur you must certainly take it, but above all, you must behave better. How can you OW FRUITS OF CULTURE 171 expect thick syrup to pass through a thin little hair tube, especially. when we squeeze the tube? It’s impossible; and so it is with the biliary duct. It’s simple enough. Anna Pdvlovna,. АП right, all right! Doctor. Yes. “All right, all right,” and you go on in the same old way. It won’t do, madam—it won’t do. Well, good-bye! Anna Pédvlovna. No, not good-bye, only au revoir! For I still expect you to-night. I shall not be able to make up my mind without you. Doctor. АП right, if I have time I'll pop in. | Exit. sf Anna Pavlovna (noticing the PEASANTS). What’s this? What? What people are these? [PEASANTS bow. Theodore Ivdnitch. These are peasants from Koursk, come to see Leonid Fyddoritch about the sale of some land. Anna Pdvlovna. I see they are peasants, but who let them in? Theodore Ivdnitch. Leonid Fyédoritch gave the order. He has just been speaking to them about the sale of the land. я ‘Anna Pdvlovna. What sale? There is по need to sell any. But above all, how can one let in people from the street into the house? One can’t let people in from the street! One can’t let people into the house who have spent: the night heaven knows where! .. . (Getting more and more excited.) I daresay every fold of their clothes is full of microbes—of scarlet-fever microbes, of smallpox. microbes, of diphtheria microbes! Why, they are from Koursk Government, where there is an epidemic of diph- {Вена ... Doctor! Doctor! Call the doctor back! | [Leonip Еуоровтгсн goes into his room and shuts the door. GREGORY goes to recall the Doctor. Vasily Leoniditch (smokes at the PEasants). Never mind, mamma; if you like ГИ fumigate them so that all the microbes will go to pot! Eh, what?. [ANNA PAvLovNA remains severely silent, awatting the Doctor’s return. vate FRUITS OF CULTURE Vasily Leoniditch (to Peasants). And do you fatten pigs? There’s a first-rate business! First Peasant. That’s just so. We do go in for the pig-fattening line now and then. Vasily Leoniditch, This kind? ... [Grunts like a pig. Anna Pdvlovna. Vovo, Vovo, leave off! Vasily Leoniditch. Isn’t it like? Eh, what? First Peasant. ‘That’s just so. It’s very resemblant. Anna Pavlovna. Vovo, leave off, I tell you! Second Peasant. What’s it all about? ‘Third Peasant. Т said, we’d better go to some lodging ~ meanwhile! | Enter Doctor and GREGORY. Doctor. What’s the matter? What’s happened? Anna Pédvlovna. Why, you're always saying I must not get excited. Now, how is it possible to keep calm? I do not see my own sister for two months, and am careful about any doubtful visitor—and here are people from Koursk, straight from Koursk, where there is an epidemic of diphtheria, right in my house! Doctor. These good fellows you mean, I suppose? Anna Pdviovna. Of course. Straight from a diphtheric place! ° Doctor. Well, of course, if they come from an infected place it is rash; but still there is no reason to excite your- self so much about it. Anna Pédviovna. But don’t you yourself advise careful- ness? Doctor. Of course, of course. Still, why excite your- self? Anna Pdvlovna. How can I help it? Now we shall have to have the house completely disinfected. Doctor. Oh, по! Why completely? That would cost 300 roubles or more. ГИ arrange it cheaply and well for you. Take, to a large bottle of water... _ Anna Pédvlovna. Boiled? Doctor. It’s all the same. Boiled would be better. To one bottle of water take a tablespoon of salicylic acid, and have everything they have come in contact with washed FRUITS OF CULTURE 173 with the solution. As to the fellows themselves, they must be off, of course. That’s all. Then you're quite safe. And it would do no harm to sprinkle some of the same solution through a spray—two or three tum- blers—you’ll see how well it will act. No danger what- ever. Anna Pévlovna. Tanya! Where is Tanya? [Enter TANYA. Ténya. Did you call, M’m? Anna Pdvlovna. You know that big bottle in my dress- ing-room? Тапуа. Out of which we sprinkled the laundress yester- day? Anna Pévlovna. Well, of course! What other bottle could I mean? Well, then, take that bottle and first wash with soap the place where they have been standing, and then with... Tdnya. Yes, M’m; I know how. Anna Pédvlovna. And then take the spray ... How- ever, I had better do that myself when I get back. Doctor. Well, then, do so, and don’t be afraid! Well, au revoir till this evening. [ Exit. Anna Pévlovna. And they must be off! Not a trace of them must remain! Get out, get out! Go—what are ‚ you looking at? First Peasant. 'That’s just so. It’s because of our stu- pidity, as we were instructed... Gregory (pushes the PEASANTS out). There, there; be off! Second Peasant. Let me have my handkerchief back! [The handkerchief in which the presents were wrapped. Third Peasant. Oh, Lord, oh, Lord! didn’t I say—some lodging-house meanwhile! | [Grecory pushes him out. Exeunt PEASANTS. Porter (who has repeatedly tried to say something). ‚ УП there be any answer?> Anna Pévlovna. Ah, from Bourdier? (£xcitedly.) None! None! You can take it back. I told her I never 174 FRUITS OF CULTURE ordered such a costume, and I will not allow my daughter to wear it! Porter. I know nothing about it. I was sent... Anna Pavlovna. Go, go, take it back! I will call my- self about it! Vasily Leoniditch (solemnly). Sir Messenger from Bourdier, depart! | Porter. I might have been told that long ago. I have sat here nearly five hours! Vasily Leoniditch. Ambassador from Bourdier, be: gone! Anna Pdévlovna. Cease, please! | Exit PORTER. Anna Pdvlovna. Betsy! Where is she? I always have | to wait for her. Vasily Leoniditch (shouting at the top of his voice), Betsy! Petristchef! Come quick, quick, quick! Eh? What? [Enter PETRISTCHEF, BETSY, and MARYA KONSTAN- TINOVNA. Anna Pdvlovna. You always keep one waiting! Betsy. On the contrary, I was waiting for you! [PETRISTCHEF bows with his head only, then kisses ANNA PAvtovna’s hand. Anna Pdvlovna. How d’you do! (То Betsy.) You al- ways have an answer ready! Betsy. If you are upset, mamma, I had better not go. Anna Pdvlovna. Are we going or not? Betsy. Well, let us go; it can’t be helped. Anna Pdvlovna. Did you see the man from Bourdier? Betsy. Yes, and I was very glad. I ordered the cos- tume, and am going to wear it when it is paid for. Anna Pdvlovna. I am not going to pay for a costume that is indecent! Betsy. Why has it become indecent? First it was de- cent, and now you have a fit of prudery. Anna Pdvlovna. Not prudery at all! If the bodice were completely altered, then it would do. Betsy. Mamma, that is quite impossible. Anna Pdvlovna. Well, get dressed. FRUITS OF CULTURE 175 [They sit down. GREGORY puts on their over-shoes for them. Vasily Leoniditch. Marya Konstantinovna, do you notice a vacuum in the hall? Marya Konstantinovna. What is it? [Laughs in anticipation. Vasily Leoniditch. Bourdier’s man has gone! Eh, what? Good, eh? : [Laughs loudly. Anna Pdévlovna. Well, let us go. (Goes out of the door, but returns at once.) ‘Tanya! Tdnya. Yes, M’m? Anna Pévlovna. Don’t let Frisk catch cold while Т am away. If she wants.to be let out, put on her little yellow cloak. She is not quite well to-day. Tdnya. Yes, M’m. [Exeunt ANNA PAvLovna, ВЕТЗУ, and GREGORY. Petristchef. Well, have you got it? Vasily Leoniditch. Not without trouble, I can tell you! First Т rushed at the gov’nor; he began to bellow and turned me out. Off to the mater—I got it out of her. It’s here! (Slaps his breast pocket.) И once I make up my /mind, there’s no getting away from me. I have a deadly grip! Eh, what? And d’you know, my wolf-hounds are: coming to-day. [PETRIsTCHEF and VASILY LronipitcH put on their outdoor things and go out. TANya follows. Theodore Ivdnitch (alone). Yes, nothing but unpleas- antness. How is it they can’t live in peace? But опе. must say the new. generation are not—the thing. And \ as to the women’s dominion! ... Why, Leonid Fyddoritch ann just now was going to put in a word, but seeing what a frenzy she was in—slammed the door behind him. He is a wonderfully kind-hearted man. Yes, wonderfully kind. What’s this? Here’s Tanya bringing them back again! Тапуа. Come in, come in, grand-dads, never mind! [Enter ТАМУА and the PEASANTS. Theodore Ivdnitch. Why have you brought them back? Т4пуа. Well, Theodore Ivanitch, we must do something 176 FRUITS OF CULTURE about their business. I shall have to wash the place any- how. Theodore Ivdénitch. But the business will not come off, I see that already. First Peasaut. How could we best put our affair into action, respected sir? Your reverence might take a little trouble over it, and we should give you full thankings. from the Commune for your trouble. Third Peasant. Do try, honey! We can’t live! We have so little land. ‘Talk of cattlke—why, we have no room to keep a hen! [They bow. Theodore Ivdnitch. Т am sorry for you, friends, but I can’t think of any way to help you. I understand your case very well, but he has refused. So what can one do? Besides, the lady is also against it. Well, give me your рарегз— ГИ try and see what I can do, but I hardly hope to succeed. | Exit. [TANYA and the three PEASANTS Sigh. Tanya. But tell me, grand-dads, what is it that is wanted? First Peasant. Why, only that he should put his sig- nature to our document. Tdnya. ‘That the master should sign? Is that all? First Peasant. Yes, only lay his signature on the deed and take the money, and there would be an end of the matter. Third Peasant. Не only has to write and sign, as the peasants, let’s say, desire, so, let’s say, I also desire. That’s the whole affair—if he’d only take it and sign it, it’s all done. Tdnya (considering). Не need only sign the paper and it’s done? First Peasant. That’s just so. The whole matter is in dependence on that, and nothing else. Let him sign, and we ask no more. Tdnya. Just wait and see what Theodore Ivanitch will say. If he cannot persuade the master, ГИ try something. First Peasant. Get round him, will you? FRUITS OF CULTURE 177 Tanya. I'll try. Third Peasant. Ay, the lass is going to bestir herself. Only get the thing settled, and the Commune will bind itself to keep you all your life. See there, now! First Peasant. If the affair can be put into action, truly we might put her in a gold frame. Second Peasant. That goes without saying! Tdnya. I can’t promise for certain, but as the saying is: “An attempt-is-no-sin, if you try...” First Peasant. ‘You may win.” ‘That’s just so. [Enter THEODORE IVANITCH. Theodore Ivaénitch. No, friends, it’s по go! He has not done it, and he won’t do it. Here, take your document. You may go. First Peasant (gives TANYA the paper). ‘Then it’s on you we pin all our reliance, for example. Tdnya. Yes, yes! You go into the street, and ГП run out to you in a minute and have a word with you. | Exeunt PEASANTS. | Tdnya. Theodore Ivanitch, dear Theodore Ivanitch, ask the master to come out and speak to me for a moment. I have something to say to him. Theodore Ivdnitch. What next? Tdnya. I must, Theodore Ivanitch. Ask him, do; there’s nothing wrong about it, on my sacred word. Theodore Ivdnitch. But what do you want with him? Tdnya. That’s a little secret. I will tell you later on, only ask him. Theodore Ivdnitch (smiling). I can’t think what you are up to! All right, ГП go and ask him. | Exit. Tdnya. ГИ do it! Didn’t he say himself that there is that power in Simon? And I know how to manage. No one found me out that time, and now ГИ teach Simon what to do.--If—it doesn’t succeed it’s no great matter. After all it’s not a sin. [Enter LEoNip Еубровттсн, followed by Тнео- DORE IVANITCH. Leonid Fyédoritch (smiling). Is this the petitioner? Well, what is your business? 178 FRUITS OF CULTURE Tdnya. It’s a little secret, Leonid Fyddoritch; let me tell it you alone. Leonid Fydédoritch. What is it? Theodore, leave us for a minute. [Exit THEODORE IVANITCH. Tdnya. As I have grown up and lived in your house, Leonid Fyddoritch, and as I am very grateful to you for everything, I shall open my heart to you as to a father. Simon, who is living in your house, wants to marry-me.- Leonid Fyédoritch. So that’s it! Т4пуа. I open my heart to you as to a father! I have no one to advise me, being an orphan. Leonid Fyddoritch. Well, and why not? He seems a nice lad. | Tdnya. Yes, that’s true. He would be all right; there is only one thing I have my doubts about. It’s something about him that I have noticed and can’t make out... perhaps it is something bad. Leonid Fyddoritch. What is it? Does he drink? Tdnya. God forbid! But since I know that there is such a thing as spiritalism .. . | Leonid Fyédoritch. Ah, you know that? Tdnya. Of course! I understand it very well. Some, of course, through ignorance, don’t understand it. ‘Leonid Fydédoritch. Well, what then? Т4пуа. I am very much afraid for Simon. It does happen to him. Leonid Fyédoritch. What happens to him? ^ Tanya. ‘Something of a kind like spiritalism. You ask ‚ any of the servants. As soon as he gets drowsy at the table, the table begins to tremble, and creak like that: tuke, ...tuke! All the servants have heard it. Leonid Fyddoritch. Why, it’s the very thing I was saying to Sergéy Ivanitch this morning! Yes? ... Tdnya. Or else . . . when was it? ... Oh, yes, last | Wednesday. We sat down to dinner, and the spoon just jumps into his hand of itself! Leonid Fyédoritch. Ah, that is interesting! Jumps into his hand? When he was drowsing? Tdnya. That I didn’t notice. I think he was, though. FRUITS OF CULTURE 179 Leonid Fyddoritch.. Yes? .. Tdnya. And that’s what Ги afraid of, and what I wanted to ask you about. May not some harm come of it? To live one’s life together, and him having such a thing in him! Leonid Fyédoritch (smiling). No, you need not be afraid, there is nothing bad in that. It only proves him to be a medium—simply a medium. I knew him to be a medium before this. Tdnya. So that’s what it is! And I was afraid! Leonid Fyédoritch. No, there’s nothing to be afraid of. (Aside.) That’s capital! Kaptchitch can’t come, so we will test him to-night... . (То TANnvya.) No, my dear, don’t be afraid, he will be а good husband and .. . that is only a kind of special power, and every one has it, only in some it is weaker and in others stronger. Tdnya. Thank you, sir. Now I shan’t think any more about it; but I was so frightened. . . . What a thing it is, our want of education! Leonid Рубаотисй. No, no, don’t be frightened... Theodore! [Enter THEODORE IVANITCH. 3 Leonid Fyédoritch. I am going out now. Get every- thing ready for to-night’s séance. _ Theodore Ivdnitch. But Mr. Kaptchitch is not coming. Leonid Fyédoritch. That does not matter. (Puts on overcoat.) We shall have a trial séance with our own medium. | Exit. THEODORE IVANITCH goes out with him.| Tdnya (alone). Не believes it! He believes it! ’ (Shrieks and jumps with joy.) He really believes it! Isn’t it wonderful! (Shrieks.) Now Г do it, if only Simon has pluck for it! [THEODORE IvANITCH returns. Theodore Ivdnitch. Well, have you told him your secret? Tdnya. I'll tell you, too, only later on. . . . But I have a favor to ask of you, too, Theodore Ivanitch. Theodore Ivénitch. Yes? What is it? Tdnya (shyly). You have been a second father to me, and I will open my heart before you as before God. 180 FRUITS OF CULTURE Theodore Ivdnitch. Don’t beat about the bush, but come straight to the point. Tdnya. ‘The point 13... well, the point is, that Simon wants to marry me. Theodore Ivanitch. Isthatit? I thought I noticed... Tdnya. Well, why should I hide it? I am an orphan, and you know yourself how matters are in these town establishments. Every one comes bothering; there’s that Gregory Mihaylitch, for instance, he gives me no peace. And also that other one... you know. They think I have no soul, and am only here for their amusement. Theodore Ivdnitch. Good girl, that’s right! Well, what then? Tdnya. Well, Simon wrote to his father; and he, his . father, sees me to-day, and says: “Не’5 spoilt”—he means his son. Theodore Ivanitch (bows), take the place of a father to me, speak to the old man,—to Simon’s father! I could take them into the kitchen, and you might come in and speak to the old man! Theodore Ivadnitch (smiling). ThenI am to turn match- maker—am I? Well, I can do that. | Тёпуа. Theodore Ivanitch, dearest, be a father to me, and Г] pray for you all my life long. Theodore Ivénitch. All right, all right, ГП come later on. Haven’t I promised? [Takes up newspaper. Tdnya. You are a second father to me! Theodore Гоаписй. АП right, all right. Tanya. Then ГП rely on you. | Exit. Theodore Ivdnitch (alone, shaking his head). A good affectionate girl. To think that so many like her perish! Get but once into trouble and she’ll go from hand to hand until she sinks into the mire, and can never be found again! There was that dear little Nataly. She, too, was a good girl, reared and cared for by a mother. (Takes up paper.) Well, let’s see what tricks Ferdinand is up to in Bulgaria. CURTAIN ACT II Evening of the same day. The scene represents the interior of the servants’ kitchen. The PEASANTS have taken off their outer garments and sit drinking tea at the table, and perspiring. THEODORE IvANITCH #5 smok- ing a cigar at the other side of the stage. The dis- charged Coox is lying on the brick oven, and 15 unseen during the early part of the scene. Theodore Ivénitch. My advice is, don’t hinder him! If it’s his wish and hers, in Heaven’s name, let him do it. She is а good, honest girl. Never mind her being a bit dressy; she can’t help that, living in town: she is a good girl all the same. Second Peasant. Well, of course, if it is his wish, let him! He’ll have to live with her, not me. But she’s certainly uncommon spruce. How’s one to take her into one’s hut? Why, she’ll not let her mother-in-law so much as pat her on the head. i Theodore Ivdnitch. ‘That does not depend on the spruce- ness, but on character. If her nature is good, she’s sure to be docile and respectful. Second Peasant. Ah, well, we'll have her if the lad’s bent on having her. After all, it’s a bad job to live with one as one don’t care for. ГИ consult my missus, and then may Heaven bless them! Theodore Ivdnitch. Then let’s shake hands on it! ee Peasant. Well, it seems it will have to come off. First Peasant. Eh, Zachary! fortune’s a-smiling on you! You’ve come to accomplish a piece of business, and just see what a duchess of a daughter-in-law you’ve obtained. All that’s left to be done is to have a drink on it, and then it will be all in order. 181 182 FRUITS OF CULTURE Theodore Ivdnitch. That’s not at all necessary. [An awkward silence. Theodore Ivdénitch. I know something of your way of life, too, you know. I am even thinking of purchasing a bit of land, building a cottage, and working on the land myself somewhere; maybe in your neighborhood. Second Peasant. А very good thing, too. First Peasant. That’s just it. When one has got the money one can get all kinds of pleasure in the country. Third Peasant. Say no more about it! Country life, let’s say, is freer in every way, not like the town! Theodore Ivdnitch. There now, would you let me join your Commune if I settled among you? Second Peasant. Why not? If you stand drink for Фе. Elders, they’ll accept you soon enough! First Peasant. And if you open a public-house, for example, or an inn, why, you’d have such a life you’d never need to die! You might live like а king, and по. mistake. Theodore Ivdnitch. Well, we'll see. I should certainly like to have a few quiet years in my old age. Though my > life here is good enough, and I should be sorry to leave. | Leonid Fyddoritch is an exceedingly kind-hearted man. First Peasant. That’s just it. But how about our busi- © ness? Is it possible that he is going to leave it without any termination? Theodore Ivdnitch. Неа do it willingly. Second Peasant. It seems he’s afraid of his wife. Theodore Ivdnitch. It’s not that he’s afraid, but they — don’t hit things off together. Third Peasant. But you should try, father! How are we to live else? We’ve so little land . Theodore Ivdnitch. We'll see what comes of Ténya’s attempt. She’s taken the business into. her hands now! Third Peasant (takes a sip of tea). Father, be merciful. We've so little land. A hen, let’s say, we’ve no room for a hen, let alone the cattle. Theodore Гоаписй. If the business depended on me. . (То 5Есомр PEASANT.) Well, friend, so we’ve done our bit of match-making! It’s agreed then about Tanya? — FRUITS OF CULTURE “ESS Second Peasant. I’ve given my word, and ГИ not go back on it without a good reason. If only our business succeeds! | Enter SERVANTS’ Cook, who looks up at the oven, makes a sign, and then begins to speak animatedly to THEODORE IvANITCH. Servants’ Cook. Just now Simon was called upstairs from _ the front kitchen! The master and that other bald-headed ' one who calls up spirits with him, ordered him to sit down and take the place of Kaptchitch! Theodore Ivdnitch. You don’t say so! Servants’ Cook. Yes, Jacob told Tanya. Theodore Ivdnitch. Extraordinary! [ Enter COACHMAN. Theodore Ivdnitch. What do you want? Coachman (to THEODORE IvANITcCH). You may just tell them I never agreed to live with a lot of dogs! Let any one who likes do it, but I will never agree to live among dogs! Theodore Ivdnitch. What dogs? _{ Coachman. Three dogs have been sent into our room ‘by Vasily Leoniditch! They’ve messed it all over. They’re 'whining, and if one comes near them they bite—the devils! They’d tear you to pieces if you didn’t mind. I’ve a good mind to take a club and smash their legs for them! Theodore Годписй. But when did they come? Coachman. Why, to-day, from the Dog Show; the devil knows what kind they are, but they’re an expensive sort. Are we or the dogs to live in the coachmen’s quarters? You just go and ask! Theodore Ivdnitch. Yes, that will never do. ГП go and ask about it. Coachman. They’d better be brought here to Loukérya. Servants’ Cook (angrily). People have to eat here, and you’d like to lock dogs in here! Asitis... | Coachman. And I’ve got the liveries, and the sledge- covers and the harness there, and they expect things kept clean! Perhaps the porter’s lodge might do. Theodore Ivdnitch. «I must ask Vasily Leoniditch. Coachman (angrily). Неа better hang the brutes ~ 184 FRUITS OF CULTURE round his neck and lug them about with him! But no fear: he’d rather ride on horseback himself. It’s he as spoilt Beauty without rhyme or reason. That was a horse! .. . Oh, dear! what a life! [ Exit, slamming door. | Theodore Ivdnitch. That’s not right! Certainly not right! (То PEasAnts.) Well, then, it’s time we were say- ing good-bye, friends. Peasants. Good-bye! | Exit THEODORE IVANITCH. [As soon as he is gone a sound of groaning is heard from the top of the oven. Second Peasant. He’s sleek, that one; looks like a gen- eral. Servants’ Cook. Rather! Why he has a room all to himself; he gets his washing, his tea and sugar, and food from the master’s table. Discharged Cook (on the oven). Why shouldn’t the old beggar live well? Не’; lined his pockets all right! Second Peasant. Who’s that up there, on the oven? Servants’ Cook. Oh, it’s only a man. [ Silence. ‚ First Peasant. Well, and you, too, as I noticed a while since when you were supping, have capital food to eat. | Servants’ Cook. We can’t complain. She’s not mean about the food. We have wheat bread every Sunday, and fish when a holiday happens to be a fast-day, too, and those who like may eat meat. Second Peasant. And does any one tuck into flesh on © fast-days? Servants’ Cook. Oh, they nearly all do! Only the old coachman—not the one who was here just now but the old one—and Simon, and I and the housekeeper, fast— all the others eat meat. Second Peasant. And the master himself? Servants’ Cook. Catch him! Why, I bet he’s forgotten there is such a thing as fasting! Third Peasant. Oh, Lord! First Peasant. ‘That’s the gentlefolks’ way: they have got it all out of their books. ’Cos of their intelex! | FRUITS OF CULTURE 185 Third Peasant. Shouldn’t wonder if they feed on wheat bread every day! Servants’ Cook. Wheat bread, indeed! Much they think of wheat bread! You should see what food they eat. No end of different things! к First Peasant. In course gentlefolks’ food is of an airial ind. Servants’ Cook, Аша, of course, but all the same they’re good at stuffing themselves, they are! First Peasant. Have healthy appekites, so to say. Servants’ Cook. ’Cos they always rinse it down! АП with sweet wines, and spirits, and fizzy liquors. They have a different one to suit every kind of food. They eat and rinse it down, and eat and rinse it down, they do. First Peasant. Апа зо the food’s floated down in pro- portion, so to say. Servants’ Cook. Ah, yes, they are good at stuffing! It’s awful! You see, it’s not just sitting down, eating, then saying grace and going away—they’re always at it! Second Peasant. Like pigs with their feet in the trough! [Peasants laugh. Servants’ Cook. As soon as, by God’s grace, they have opened their eyes, the samovar is brought in—tea, coffee, chocolate. Hardly is the second samovar emptied, a third has to be set. Then lunch, then dinner, then again coffee. They’ve hardly left off, then comes tea, and all sorts of tit-bits and sweetmeats—there’s never an end to it! They even lie in bed and eat! ol Third Peasant. ‘There now; that’s good. [ Laughs. First and Second Peasants. What are you about? Third Peasant. If I could only live a single day like that! Second Peasant. But when do they do their work? Servants’ Cook. Work indeed! What is their work? Cards and piano—that’s all their work. The young lady used to sit down to the piano as soon as she opened her eyes, and off she’d go! And that other one who lives here, the teacher, stands and waits. “When will the piano be | 186 FRUITS OF CULTURE ‚ ее?” When one has finished, off rattles the other, and sometimes they’d put two pianos near one another and four of ’em would bust out at once. Bust out in such a man- ner, you could hear ’em down here! Third Peasant. Oh, Lord! Servants’ Cook. Well, and that’s all the work they dol Piano or cards! As soon as they have met together— cards, wine, smoking, and so on, all night long. And as soon as they are up: eating again! [| Enter Этмом. Simon. Hope youre enjoying your tea! First Peasant. Come and join us. Simon (comes up to the table). Thank you kindly. | First PEASANT pours out a cup of tea for him. Second Peasant. Where have you been? Simon. Upstairs. Second Peasant. Well, and what was being done there? Simon. Why, I couldn’t make it out at all! I don’t know how to explain it. Second Peasant. But what was it? Simon. I can’t explain it. They have been trying some kind of strength in me. I can’t make it out. Tanya says, “Do it, and we'll get the land for our peasants; Бе’ sell it them.” Second Peasant. But how is she going to manage it? Simon. I can’t make it out, and she won’t say. She says, “По as I tell you,” and that’s all. Second Peasant. But what is it you have to do? Simon. Nothing just now. [hey made me sit down, put out the lights and told me to sleep. And Tanya had hidden herself there. They didn’t see her, but I did. Second Peasant. Why? What for? Simon. ‘The Lord only knows—I can’t make it out. First Peasant. Naturally, it is for the distraction of time. Second Peasant. Well, it’s clear you and I can make nothing of it. You had better tell me whether you have taken all your wages yet. Simon. No, I’ve not drawn any. I have twenty-eight roubles to the good, I think. FRUITS OF CULTURE 187 Second Peasant. ‘That’s all right! Well, if God grants that we get the land, ГП take you home, Simon. Simon. With all my heart! Second Peasant. You’ve got. spoilt, I should say. You'll not want to plough? Simon. Plough? Only give me the chance! Plough or mow,—l’m game. Those are things one doesn’t forget. First Peasant, But it don’t seem very desirous after town life, for example? Eh! Simon. It’s good enough for me. One can live in the country, too. First Peasant. And Daddy Mitry here is already on the look-out for your place; he’s hankering after a life of luckshury! Simon. Eh, Daddy Mitry, you’d soon get sick of it. It seems easy enough when one looks at it, but there’s a lot of running about that takes it out of one. Servants’ Cook. You should see one of their balls, Daddy Mitry, then you would be surprised! Third Peasant. Why, do they eat all the time? Servants’ Cook. My eye! You should have seen what we had here awhile ago. Theodore Ivanitch took me up- stairs and I peeped in. The ladies—awful! Dressed up! Dressed up, bless my heart, and all bare down to here, and their arms bare. Third Peasant. Oh, Lord! - Second Peasant. Faugh! How beastly! First Peasant. I take it the climate allows of that sort of thing! Servants’ Cook. Well, daddy, so I peeped in. Dear me, what it was like! All of ’em in their natural skins! Would you believe it: old women—our mistress, only think, she’s a grandmother, and even she’d gone and bared her shoulders. Third Peasant. Oh, Lord! Servants’ Cook. And what next? The music strikes up, and each man of ’em went up to his own, catches hold of her, and off they go twirling round and round! Second Peasant. ‘The old women, too? Servants’ Cook. Yes, the old ones, too. 188 FRUITS OF CULTURE Simon. No, the old ones sit still. Servants’ Cook. Get along,—lI’ve seen it myself! Simon. No, they don’t. Discharged Cook (in а hoarse voice, looking down from the oven). ‘That’s the Polka-Mazurka. You fools don’t understand what dancing is. The way they dance... Servants’ Cook. Shut up, you dancer! And keep quiet —there’s some one coming. [Enter Grecory; old Coox hides hurriedly.. Gregory (to SERVANTS’ Cook). Bring some sour cab- bage. Servants’ Cook. Iam only just up from the cellar, and — now I must go down again! Who is it for? Gregory. For the young ladies. Be quick, and send it up with Simon. I can’t wait! Servants’ Cook. ‘There now, they tuck into sweetmeats till they are full up, and then they crave for sour cab- bage! First Peasant. That’s to make a clearance. Servants’ Cook. Of course, and as soon as there is room inside, they begin again! [Takes basin, and exit. Gregory (at PEASANTS). Look at them, how they’ve es- tablished themselves down here! Mind, if the mistress finds it out she’ll give it you hot, like she did this morning! [| Exit, laughing. 3 First Peasant. ‘That’s just it, she did raise a storm that — time—awful! ; Second Peasant. That time it looked as if the master was going to step in, but seeing that the missus was about to blow the very roof off the house, he slams the door. Have your own way, thinks he. Third Peasant (waving his arm). It’s the same every- where. My old woman, let’s say, she kicks up such a rumpus sometimes—it’s just awful! Then I just get out of the hut. Let her go to Jericho! She'll give you one with the poker if you don’t mind. Oh, Lord! [ТАсов enters hurriedly with a prescription. Jacob. Here, Simon, you run to the chemist’s and get these powders for the mistress! Simon. But master told me not to go out. FRUITS OF CULTURE 189 Jacob. You've plenty of time; your business won’t Бест. till after their tea. Hope you are enjoying your tea! First Peasant. Thanks, come and join us. [Exit Этмом. Jacob. I haven’t time., However, ГИ just have one cup for company’s sake. First Peasant. And we’ve just been having a сопуегза- tion as to how your mistress carried on so haughty this morning. Jacob. Oh, she’s a reg’lar fury! So hot-tempered, that she gets quite beside herself. Sometimes she even bursts out crying. First Peasant. Now, there’s a thing I wanted to ask you about. What, for example, be these mikerots she was illuding to erewhile? ‘They’ve infested the house with mikerots, with mikerots,” she says. What is one to make of these same mikerots? Jacob. Mikerogues, you mean! Well, it seems there is such a kind of bugs; all illnesses come from them, they say. So she says there are some of ’em on you. ” After you were gone, they washed and washed and sprinkled the place where you had stood. There’s a kind of physic as kills these same bugs, they say. Second Peasant. Then where have we got these bugs , on us? Vacob (drinking his tea). Why, they say they’re so small that one can’t see ’em even through a glass. Second Peasant. Then how does she know I’ve got ’em on ше? Perhaps there’s more of that muck on her than on me! Jacob. There now, you go and ask her! Second Peasant. I believe it’s humbug. Jacob. Of course it’s bosh. The doctors must invent something, or else what are they paid for? There’s one comes to us every day. Comes,—talks a bit,—and pockets ten roubles! Second Peasant. Nonsense! Jacob. Why, there’s one as takes a hundred! First Peasant. A hundred? Humbug! Jacob. A hundred. Humbug, you say? Why, if he 190 FRUITS OF CULTURE has to go out of town, he’ll not do it for less than a thou- sand! “Give a thousand,” he says, “ог else you may kick the bucket for what I care!” | Third Peasant. Oh, Lord! Second Peasant. Then does he know some charm? Jacob. Isuppose he must. I served at a General’s out- side Moscow once: a cross, terrible proud old fellow he was—just awful. Well, this General’s daughter fell Ш. They send for that doctor at once. “А thousand roubles, then ГП come.” Well, the: agreed, and he came. Then they did something or other he didn’t like, and he bawled out at the General and says, ‘Is this the way you show your respect for me? Then ГИ not attend her!” And, oh, my! The old General forgot all his pride, and starts wheed- ling him in every way not to chuck up the job! First Peasant. And he got the thousand? Jacob. Of course! Second Peasant. 'That’s easy got money. What wouldn’t a peasant do with such a sum! Third Peasant. And I think it’s all bosh. That time my foot was festering I had it doctored ever so long. I spent nigh on five roubles on it,—then I gave up doctor- ing, and it got all right! [DiscHARGED Cook on the oven coughs. Jacob. АБ, the old crony is here again! First Peasant. Who might that man be? Jacob. He used to be our master’s cook. He comes to see Loukérya. ° First Peasant. Kitchen-master, as one might say. Then, does he live here? ‚ Jacob. No, they won’t allow that. He’s here one day, there another. If he’s got a copper he goes to a doss- house; but when he has drunk all, he comes here. `` Second Peasant. How did he come to this? Jacob. Simply grew weak. And what a man he used to be—like a gentleman! Went about with a gold watch; got forty roubles a month wages. And now look at him! He’d have starved to death long ago if it hadn’t been for Loukeérya. [Enter SERVANTS’ Cook with the sour cabbage. FRUITS OF CULTURE 191 Jacob (to Servants’ Cook). I see you’ve got Paul Petrovitch here again? Servants’ Cook. And where’s he to go to? Is he to go and freeze? Third Peasant. What liquor does. . . . Liquor, let’s Bey hl ts | [Clicks his tongue sympathetically. Second Peasant. Of course. A firm man’s firm as J. rock; a-weak man’s..weaker than water. Discharged Cook (gets off the oven with trembling hands and legs). Loukérya, I say, give us a drop! Servants’ Cook. What are you up to? ГИ give you such а drop! ... Discharged Cook. ave you no conscience? I’m dying! Brothers, a copper .. . Servants’ Cook. Get back on the oven, I tell you! Discharged Cook. Half a glass only, cook, for Heaven’s sake! I say, do you understand? I ask you in the name of Heaven, now! Servants’ Cook. Come along, here’s some tea for you. Discharged Cook. Tea; what is tea? Weak, sloppy stuff. А little védka—just one little drop . . . Loukérya! Third Peasant. Poor old soul, what agony it is! Second Peasant. You'd better give him some. Servants’ Cook (gets out a bottle and fills a wine-glass). Here you are; you'll get no more. Discharged Cook (clutches hold of it and drinks, trem- bling all over). Loukérya, Cook! I am drinking, and you must understand ... Servants’ Cook. Now, then, stop your chatter! Get on to the oven, and let not a breath of you be heard! [The old Coox meekly begins to climb up, mutter- ing something to himself. Second Peasant. What it is, when a man gives way to his weakness! First Peasant. That’s just it—human weakness. Third Peasant. That goes without saying. [The DiscHarcED Cook settles down, muttering all the time. [ Silence. 192 FRUITS OF CULTURE | Second Peasant. I want to ask you something: аб. girl of Aksinya’s as comes from our village and is living here. How is she? What is she like? How is she liv- ing—I mean, does she live honest? Jacob. She’s a nice girl; one can say nothing but good of her. Servants’ Cook. ГИ tell you straight, daddy; I know this here establishment out and out, and if you mean to have Tanya for your son’s wife—be quick about it, before she comes to grief, or else she’ll not escape! Jacob. Yes, that’s true. A while ago we had a girl here, Nataly. She was a good girl too. And she was lost without rhyme or reason. No better than that chap! [Pointing to the old Cook. Servants’ Cook. There’s enough to dam a mill-pool, with the likes of us, as perish! ’Соз why, every one is tempted by the easy life and the good food. And see there,—as soon as one has tasted the good food she goes and slips. And once she’s slipped, they don’t want her, but get a fresh one in her place. So it was with dear little Nataly; ‘she also slipped, and they turned her out. She had a child and fell ill, and died in the hospital last spring. And what a girl she used to be! Third Peasant. Oh, Lord! People are weak; they ought to be-pitied. Discharged Cook. ‘Those devils pity? No fear! (He hangs his legs down from the oven.) I have stood roasting myself by the kitchen range for thirty years, and now that I am not wanted, I may go and die like a dog. . . . Pity зе . .. First Peasant. That’sjustit. It’s the old circumstances. Second Peasant. While they drank and they fed, you were “curly head.” When they'd finished the prog, ’twas “Get out, mangy dog!” Third Peasant. Oh Lord! Discharged Cook. Much you know. What is “Sautey a la Bongmont’”? What is “Bavassary”? Oh, the things I could make! Think of it! The Emperor tasted my work, | FRUITS OF CULTURE 193 and now the devils want me no longer. But I am not going to stand it! Servants’ Cook. Now, then, stop that noise, mind... . Get up right into the corner, so that no one can see you, or else Theodore Ivanitch or some one may come in, and both you and me’ll be turned out! [ Silence. Jacob. And do you know my part of the country? I’m from Voznesénsky. Second Peasant. Not know it? Why, it’s no more’n ten miles from our village; not that across the ford! Do you cultivate any land there? Jacob. My brother does, and I send my wages. Though I live here, I am dying for a sight of home. First Peasant. That’s just it. Second Peasant. Then Anisim is your brother? Jacob. Own brother. He lives at the farther end of the village. Second Peasant. Of course, I know; his is the third house. [Enter TANYA, running. Тапуа. Jacob, what are you doing, amusing yourself here? She is calling you! Jacob. I’m coming; but what’s up? Тапуа. Frisk is barking; it’s hungry. And she’s scold- Ing you. “How cruel he is,” she says. “Нез no feel- ing,” she says. “It’s long past Frisk’s dinner-time, and he has not brought her food!” [ Laughs. | Jacob (rises to go). Oh, she’s cross? What’s going to happen now, I wonder? Servants’ Cook. Here, take the cabbage with you. Jacob. All right, give it here. [Takes basin, and exit. | First Peasant. Who is going to dine now? Тапуа. Why, the dog! It’s her dog. (Sits down and takes up the tea-pot.) Is there any more tea? I’ve brought some. ; [Puts fresh tea into the tea-pot. First Peasant. Dinner for a dog? 194 FRUITS ОЕ CULTURE Tdnya. Yes, of course! They prepare a special си её for her; it must not be too fat. And I do the washing— the dog’ s washing, I mean. Third Peasant. Oh Lord! Tdnya. It’s like that gentleman who had a funeral for his_dog.. Second Peasant. What’s that? Tdnya. Why, some one told me he had a dog—I mean the gentleman had a dog. And it died. It was winter, and he went in his sledge to bury that dog. Well, he buried it, ' and on the way home he sits and cries—the gentleman does. Well, there was such a bitter frost that the coachman’s nose keeps running, and he has to keep wiping it. Let me fill your cup! (Fills it.) So he keeps wiping his nose, and the gentleman sees it, and says, ‘““‘What are you crying about?” And the coachman, he says, “Why, sir, how can I help it; is there another dog like him?” | Laughs. ; Second Peasant. And I daresay he thinks to himself, “If your own self was to kick the bucket Га not cry.” й [ Laughs. Discharged Cook (fromup on the oven). That is true; that’s right! Tdnya. Well, the gentleman, he gets home and goes straight to his lady: “What a good-hearted man our coach- man is; he was crying all the way home about poor Dash. Have him called. . . . Here, drink this glass of vodka,” he says, “ап here’s a rouble as a reward for you.” That’s just like her saying Jacob has no feelings for her dog! [The Peasants laugh. First Peasant. ‘That’s the style! Second Peasant. That was a go! Third Peasant. Aye, lassie, but you’ve set us a-laughing! Tdnya (pouring out more tea). Have some more! “Yes, it only seems that our life is pleasant; but sometimes | it is very disgusting,—clearing up all their messes! Faugh! It’s better in the country. (PEASANTS turn their cups upside- ‘down, as a polite sign that they have had enough. TANYA pours out more tea.) Have some more, Efim Antonitch. ru fill your cup, Mitry Vlasitch. f FRUITS OF CULTURE 195 Third Peasant. All right, fill it, fill it. First Peasant. Well, dear, and what progression is our business making? Tdnya. It’s getting on... First Peasant. Simontold us... Tdnya (quickly). Did he? Second Peasant. But he could not make us under- stand. Tdnya. I can’t tell you now, but I’m doing my best—all I can! And I’ve got your paper here! (Shows the paper hidden under the bib of her apron.) If only one thing suc- ceeds. . . . (Shrieks.) Oh, how nice it would be! Second Peasant. Don’t lose that paper, mind. It has cost money. --Тёиуа. Never fear. You only want him to sign it? Is that all? Third Peasant. Why, what else? Let’s say he’s signed it,.and it’s done! (Turns his cup upside-down.) Ive had enough. | Tdnya (aside). He'll sign it; you'll see he will... Have some more. [Pours out tea. First Peasant. If only you get this business about the sale of the land settled, the Commune would pay your marriage expenses. | | Refuses the tea. Тапуа (pouring out tea). Do have another cup. Third Peasant. You get it done, and we'll arrange your marriage, and I myself, let’s say, will dance at the wedding. Though I’ve never danced in all my born days, ГИ dance then! Тапуа (laughing). АП right, ГИ be in hopes of it. | Silence. Second Peasant (examines TANYA). ‘That’s all very well, but you’re not fit for peasant work. _, Tédnya. Who? I? Why, don’t you think me strong enough? You should see me lacing up my _ mistress. There’s many a peasant couldn’t tug as hard. Second Peasant. Where do you tug her to? Тапуа. Well, there’s a thing made with bone, like— ‘ 196 - FRUITS OF CULTURE И, like a stiff jacket, only up to here! Well, and I pull the strings just as when you saddle a horse—when you . what d’ye call it? You know, when you spit on your hands! : 7 Second Peasant. Tighten the girths, you mean. Tdnya. Yes, yes, that’s it. And you know I musin’t shove against her with my knee. | Laughs. Second Peasant. Why do you pull her in? Тапуа. For a reason! Second Peasant. Why, is she doing penance? Tdnya. №, it’s for beauty’s sake! First Peasant. 'That’s to say, you pull in her paunch for appearance’ sake. ) Тапуа. Sometimes I lace her up so that her eyes are ready to start from her head, and she says, ‘““Tighter,” Ш. my hands tingle. And you say I’m not strong! _ [Prasants laugh and shake their heads. Tdnya. But here, I’ve been jabbering. [Runs away, laughing. Third Peasant. Ah, the lassie has made us laugh! First Peasant. She’s a tidy one! | Second Peasant. She’s not bad. | Enter SAHATOF and VASiLy LEONIDITCH. SAHATOF holds a teaspoon in his hand. Vasily Leoniditch. Not exactly a dinner, but a déjeuner dinatoire. And first-rate it was, I tell you. Ham of suck- ing-pig, delicious! Roulier feeds one splendidly! Ive | only just returned. (Sees РЕАзАМтТ$.) Ah, the peasants | are here again! : Sahdtof. Yes, yes, that’s all very well, but we came here | to hide this article. Where shall we hide it? | Vasily Leoniditch. Excuse ше а moment. (То SERv- © ANTS’ Cook.) Where are the dogs? Servants’ Cook. In the coachman’s quarters. You can’t keep dogs in the servants’ kitchen! | Vasily Leoniditch. Ah, in the coachman’s quarters? АП right. | Sahdtof. I am waiting. Vasily Leoniditch, Excuse me, please. Eh, what? Hide FRUITS OF CULTURE i 197 it? ГИ tell you what. Let’s put it into one of the peasants’ pockets. That one. I say, where’s your pocket? Eh, what? Third Peasant. What for Фуе want my pocket? You're а good ’un! My pocket! ‘There’s money in my pocket! Vasily Leoniditch. Where’s your bag, then? Third Peasant. What for? Servants’ Cook. What d’you mean? That’s the young master! Vasily Leoniditch (laughs. To SauAtor). D’you know why he’s so frightened? Shall I tell your? Нез gota heap of money. Eh, what? Sahdtof. Yes, yes, 1 see. Well, you talk to them а bit, and ГИ put it into that bag without being observed, so that they should not notice and could not point it out to him. Talk to them. Vasily Leoniditch. All right! (To PEAsANts.) ‘Well then, old fellows, how about the land? Are you buying it? Eh, what? First Peasant. We have made an offering, so to say, with our whole heart. But there,—the business don’t come into action nohow. Vasily Геотайсй. You should not be so stingy! Land is an important matter! I told you about planting mint. Or else tobacco would also do. First Peasant. That’s just it. Every kind of producks. Third Peasant. And you help us, master. Ask your father. Or else how are we to live? There’s so little land. A fowl, let’s say, there’s not enough room for a fowl to run about. Sahdtof (having put the spoon into a bag belonging to the Tuirp PEASANT). C’est fait. Ready. Come along. [ Exit. . Vasily Leoniditch. So don’t be stingy! Eh? Well, good-bye. [Ехи. Third Peasant. Didn’t I say, come to some lodging- house? Well, supposing we’d had to give three-pence each, then at least we’d have been in peace. As to here, the Lord be merciful! “Give us the money,” he says. What’s that for? 198 FRUITS OF CULTURE Second Peasant. Не’ drunk, I daresay. [PEASANTS turn Шей cups upside-down, rise, and cross themselves. First Peasant. And d’you mind what a saying he threw out? Sowing mint! One must know how to understand them, that one must! Second Peasant. Sow mint indeed! Не’а better bend his own back at that work, and then it’s not mint he'll hanker after, no fear! Well, many thanks! ... And now, good woman, would you tell us where we could lie down to sleep? Servants’ Cook. One of you can lie on the oven, and the others on these benches. Third Peasant. Christ save you! [Prays, crossing himself. First Peasant. If only by God’s help we get our busi- ness settled! (Lies down.) Then to-morrow, after dinner, we'd be off by the train, and on Tuesday we’d be home again. Second Peasant. Are you going to put out the light? _ Servants’ Cook. Put it out? Oh, no! They'll keep running down here, first for one thing then another... . You lie down, РЛ lower it. Second Peasant. How is one to live, having so little land? Why, this year, I have had to buy corn since Christmas. And the oat-straw is all used up. Id like to get hold of ten acres, and then I could take Simon back. : Third Peasant. Уочте a man with a family. You'd get the land cultivated without trouble. If only the business comes off. Second Peasant. We must pray to the Holy Virgin, maybe she'll help us out. (Silence, broken by sighs. Then footsteps and voices are heard outside. The door opens. Enter GROSSMAN hurriedly, with his eyes bandaged, holding SAHATOF’s hand, and followed by the Proressor and the Doctor, the Fat Lavy and Lronip FyoporitcH, ВЕТЗУ and PETRISTCHEF, Удзих LEONipITCH and MArya Kon- STANTINOVNA, ANNA PAvLovNna and the BARONESS, THEO- DORE IvANITCH and TANYA.) FRUITS OF CULTURE 199 [PEASANTS jump up. GROSSMAN comes forward step- ping quickly, then stops. Fat Lady. You need not trouble yourselves; I have undertaken the task of observing, and am strictly fulfilling my duty! Mr. Sahatof, are you not leading him? Sahdtof. Of course not! Fat Lady. You must not lead him, but neither must you resist! (То Leonip Еубровтсн.) I know these experi- ments. I have tried them myself. Sometimes I used to feel a certain effluence, and as soon as I felt it... Leonid Fyédoritch. May I beg of you to keep perfect silence? Fat Lady. Oh, I understand so well! I have experi- enced it myself. As soon as my attention was diverted I could no longer... Leonid Fyédoritch. Sh...! [GrossMaN goes about, searches near the First and SEcoND РЕАЗАМТЗ, then approaches the ‘THIRD, and stumbles over a bench. Baroness. Mais dites-moi, on le paye? * Anna Pavlovna. Je ne saurais vous dire. Baroness. Mais c’est un monsteur? Anna Pédvlovna. Oh, oui! Baroness. Ca tient du miraculeux. N’est се pas? Com- ment est-ce qu'il trouve? | Anna Pévlovna. Je ne saurais vous dire. Mon mari vous Pexpliquera. (Noticing PEASANTS, turns round, and sees the SERVANTS’ Cook.) Pardon . .. what is this? [BaRonEss goes up to the group. Anna Pévlovna (to Servants’ Cook). Who let the peasants in? Servants’ Cook. Jacob brought them in. Anna Pédvlovna. Who gave Jacob the order? 1 Baroness. But tell me, please, is he paid for this? Anna Pévlovna. I really do not know. Baroness. But he is a gentleman? Anna Pévlovna. Oh, yes! Baroness. It is almost miraculous. Isn’t it? How does he manage to find things? Anna Pévlovna. I really can’t tell you. My husband will explain it to you... . Excuse me.... 2 200 FRUITS OF CULTURE Servants’ Cook. I can’t say. Theodore Ivanitch has seen them. Anna Pdvlovna. Leonid! [LEonIp Еуоровттсн does not hear, being absorbed in the search, and says, Sh.. Anna Pévlovna. Theodore Ivanitch! ‘What is the mean- ing of this? Did you not see me disinfecting the whole hall, and now the whole kitchen is infected, all the rye bread, the milk ... Theodore Ivdnitch. I thought there would not be any danger if they came here. The men have come on busi- ness. They have far to go, and are from our village. Anna Pdvilovna. ‘That’s the worst of it! They are from the Koursk village, where people are dying of diphtheria . like flies! But the chief thing is, I ordered them out of the house! ... Did I, or did I not? (Approaches the others that have gathered round the PEASANTS.) Be care- ful! Don’t touch them—they are all infected with diph- theria! [No one heeds her, and she steps aside in a digni- fied manner and stands quietly waiting. Petristchef (sniffs loudly). Т don’t know if it is diph- theria, but there is some kind of infection in the air. Don’t you notice it? Betsy. Stop your nonsense!’ Vovo, which bag is it in? Vasily Leoniditch. ‘That one, that one. He is getting near, very near! Petristchef. Is it spirits divine, or spirits of wine? Betsy. Now your cigarette comes in handy for once. Smoke closer, closer to me. [PETRistCHEF leans over her and smokes at her. Vasily Leoniditch. Не’з getting near, I tell you. Eh, what? GROSSMAN (searches excitedly round the Tutrp PEAs- ANT). It is here; I feel it is! Fat Lady. Do you feel an effluence? 7 [GRossMAN ИЯ and finds the spoon in the bag. All, Bravo! [ General к eal os каеНИНЯ | | FRUITS OF CULTURE 201 Vasily Leoniditch. Ah! So that’s where our spoon was. (To Peasants.) Then that’s the sort you are! Third Peasant. What sort? I didn’t take your spoon! What are you making out? I didn’t take it, and my soul knows nothing about it. I didn’t take it—there! Let him do what he likes. I knew he came here for no good. “Where’s your bag?” says he. I didn’t take it, the Lord is my witness! (Crosses himself.) I didn’t take it! [The young people group round the PEASANT, laughing. Leonid Fyéddoritch (angrily to his son). Always play- ing the fool! (То the Turrp Peasant.) Never mind, friend! We know you did not take it; it was only an experiment. Grossman (removes bandage from his eyes, and pretends to be coming to). Can I have a little water? [All fuss round him. Vasily Leoniditch. Let’s go straight from here into the coachman’s room. I’ve got a bitch there—épdatante!* Eh, what? Betsy. What a horrid word! Couldn’t you say dog? Vasily Leoniditch. No. I can’t say—Betsy is a man, épatante. I should have to say young woman; it’s a parallel case. Eh, what? Marya Konstantinovna, isn’t it true? Good, eh? [Laughs loudly. Mérya Konstantinovna. Well, let us go. [Exeunt MArva Konstantinovna, Betsy, PETRIST- CHEF, and Vasity LEONIDITCH. 1 Fat Lady (to GrossMAN). Well? how are you? Have you rested? (GRossMAN does not answer. То SAHATOF.) And you, Mr. Sahatof, did you feel the effluence? Sahdtof. I felt nothing. Yes, it was very fine—very fine. Quite a success! Baroness—Admirable! Ca ne le fait pas souffrir? * Leonid Fyédoritch. Pas le moins du monde. Professor (to GrossMAN). May I trouble you? 2Stunning ! 2 Baroness. Capital! Does it not cause him any pain? Leonid Fyddoritch. Not the slightest. ed | | 202 FRUITS OF CULTURE (Hands him a thermometer.) At the beginning of the ex- periment it was 37 decimal 2 degrees.1 (To Doctor.) That’s right, I think? Would you mind feeling his pulse? Some loss is inevitable. Doctor (to GrossMAN). Now then, sir, let’s have your hand; we'll see, we’ll see. [Takes out his watch and feeis GROSSMAN’S pulse. Fat Lady (to GrossMAN). One moment! The condi- tion you were in could not be called sleep? Grossman (wearily). It was hypnosis. Sahdtof. In that case, are we to understand that you hypnotised yourself? Grossman. And why not? An hypnotic state may ensue not only in consequence of association—the sound of the tom-tom, for instance, in Charcot’s method—but by merely entering an hypnogenetic zone. Sahdtof. Granting that, it would still be desirable to define what hypnotism is, more exactly? Professor. Hypnotism is a phenomenon resulting from the transmutation of one energy into another. Grossman. Charcot does not so define it. Sahdtof. A moment, just a moment! That is your definition, but Liébault told me himself ... Doctor (lets go of GrossMan’s pulse). Ah, that’s all right; well, now, the temperature? Fat Lady (interrupting). No, allow me! I agree with the Professor. And here’s the very best proof. After my illness, when I lay insensible, a desire to speak came over me. In general I am of a silent disposition, but then I was overcome by this desire to speak, and I spoke and spoke, and I was told that I spoke in such a way that every one was astonished! (То SAHATOF.) But I think I in- terrupted you? Sahdtof (with dignity). Not at all. Pray continue. Doctor. Pulse 82, and the temperature has risen three- tenths of a degree. Professor. There you are! That’sa proof! That’s just as it should be. (Takes out pocket-book and writes.) 82, *He uses a Centigrade thermometer. FRUITS OF CULTURE 203 yes? And 37 and 5. When the hypnotic state is induced, it invariably produces a heightened action of the heart. Doctor. Тсап, as а medical man, bear witness that your prognosis was justified by the event. Professor (to SAHATOF). You were saying? ... Sahdtof. I wished to say that Liébault told me him- self that the hypnotic is only one particular psychical state, increasing susceptibility to suggestion. Professor. ‘That is so, but still the law of equivalents is the chief thing. Grossman. Moreover, Liébault is far from being an authority, while Charcot has studied the subject from all sides, and has proved that hypnotism produced by a blow, a trauma . $ Sahdtof. Yes, but I don’t reject Charcot’s labor. = | I know him also, I am only repeating what Liébault So | told ше... = Grossman (excitedly). There are 3000 patients in ‚5 | the Salpétriére, and I have gone through the whole == | course. = Professor. Excuse me, gentlemen, but that is not = (the point. Fat Lady (interrupting). One moment, I will explain it to you in two words. When my husband was ill, all the doctors gave him up... ) Leonid Fyddoritch. However, we had better go upstairs again. Baroness, this way! | Exeunt GROSSMAN, SAHATOF, PROFESSOR, Постов, the Fat Lapy, and Baroness, talking loudly and interrupting each other. Anna Pévlovna_ (catching hold of Lronitp Еубровттсн?’$ arm). How often have I asked you not to interfere in household matters! You think of nothing but your non- sense, and the whole house is on my shoulders. You will infect us all! Leonid Fyddoritch. What? How? I don’t understand what you mean. ‘ Anna Pdvlovna. How? Why, people ill of diphtheria sleep in the kitchen, which is in constant communication with the whole house. 4 | “204 FRUITS OF CULTURE Leonid Fyddoritch. Yes, butI... Anna Pavlovna. What, I? Leonid Fydédoritch. I know nothing about it. Anna Pdvlovna. It’s your duty to know, if you are the head of the family. Such things must not be done. Leonid Fyédoritch. But I never thought...I thought... Anna Pavlovna. It is sickening to listen to you! [Leonip Еубровттсн remains silent. Anna Pavlovna (to THEODORE IvANITCH). Turn them out at once!’ They are to leave my kitchen immediately! It is terrible! No one listens to me; they do it out of spite. . . . I turn them out from there, and they bring them in here! And with my illness . . . (Gets more and more excited, and at last begins to cry.) Doctor! Doctor! Peter Petrévitch! . . . Нез gone too! ... [| Exit, sobbing, followed by LEONip FyoporITCH. о [АП stand silent for a long time. Third Peasant. Botheration take them all! If one don’t mind, the police will be after one here. And I have never been to law in all my born days. Let’s go to some lodg- . ing-house, lads! Theodore Ivdnitch (to TANYA). What are we to do? Tdnya. Never mind, Theodore Ivanitch, let them sleep with the coachman. Theodore Ivdnitch. How can we do that? The coach- man was complaining as it is, that his place is full of dogs. Ténya. Well, then, the porter’s lodge. Theodore Ivdnitch. And supposing it’s found out? Tdnya. It won’t be found out! Don’t trouble abcut that, Theodore Ivanitch. How can one turn them out now, at night? They’ll not find anywhere to go to. Theodore Ivdnitch. Well, do as you please. Only they must go away from here. | Exit. [РЕАЗАМТЗ take their bags. Discharged Cook. Oh those damned fiends! It’s all their fat! Fiends! Servants’ Cook. You be quiet there. Thank goodness they didn’t see you! FRUITS OF CULTURE 205 ’ Ténya. Well then, daddy, come along to the porter’s lodge. — Виз Peasant. Well, but how about our business? How, for example, about the applience of his hand to the signa- ture? May we be in hopes? ’ Тапуа. We'll see in an hour’s time. Second Peasant. You'll do the trick? Tanya (laughs). Yes, God willing! CURTAIN AC TiAl Evening of the same day. The small drawing-room in LEONiD Fy6porITcH’s house, where the séances are always held. Геомто Еуоровттсн and the PROFESSOR. Leonid Fyédoritch. Well then, shall we risk a звапсе_ with our new medium? Professor. Yes, certainly. He is a powerful medium, there is no doubt about it. And it is especially desirable that the séance should take place to-day with the same people. Grossman will certainly respond to the influence of the mediumistic energy, and then the connection and identity of the different phenomena will be still more evi- dent. You will see then that, if the medium is as strong as he was just now, Grossman will vibrate. Leonid Fyéddoritch. ‘Then I will send for Simon and ask those who wish to attend to come in. | Professor. Yes, all right! I will just jot down a few notes. [Takes out his note-book and writes. | Enter SAHATOF. | Sahdtof. They have just settled down to whist in Anna Pavlovna’s drawing-room, and as I am not wanted there— and as I am interested in your séance—I have put in an appearance here. But will there be a séance? Leonid Fyéddoritch. Yes, certainly! Sahdtof. In spite of the absence of Mr. ae mediumistic powers? Leonid Fyédoritch. Vous avez la main heureuse.* Fancy, that very peasant whom I mentioned to you this morning turns out to be an undoubted medium. Sahdtof. Dear me! Yes, that is peculiarly interest- ing! Leonid Fyddoritch. Yes, we tried a few preliminary experiments with him just after dinner. *Leonid Fyddoritch. You bring good luck. 206 FRUITS OF CULTURE ~ 207 Sahdtof. So you’ve had time already to experiment, and to convince yourself... Leonid Fyédoritch. Yes, perfectly! And he turns out to be an exceptionally powerful medium. Sahdtof (incredulously). Dear me! Leonid Fyédoritch. It turns out that it has long been noticed in the servants’ hall. When he sits down to table, the spoon springs into his hand of its own accord! (To the Prorrssor.) Had you heard about it? Professor. No, I had not heard that detail. Sandtof (to the Proressor). But still, you admit the possibility of such phenomena? Professor. What phenomena? Sahdtof. Well, spiritualistic, mediumistic, and super- natural phenomena in general. Professor. The question is, what do we consider super- natural? When, not a living man but a piece of stone attracted a nail to itself, how did the phenomena strike the first observers? As something natural? Or supernatural? Sahdtof. Well, of course; but phenomena such as the magnet attracting iron always repeat themselves. Professor. It is just the same in this case. The phe- nomenon repeats itself and we experiment with it. And not only that, but we apply to the phenomena we are investigating the laws common to other phenomena. These phenomena seem supernatural only because their causes are attributed to the medium himself. But that is where the mistake lies. The phenomena are not caused by Фе. medium, but by psychic energy acting through a medium, and that is a very different thing. The whole matter lies in the law of equivalents. ы Sahdtof. Yes, certainly, but... [Enter ТАмуА, who hides behind the hangings. Leonid Fyédoritch. Only remember that we cannot reckon on any results with certainty, with this medium any more than with Home or Kaptchitch. We may not succeed, but on the other hand we may even have perfect materialisation. Sahdtof. Materialisation even? What do you mean by materialisation ? 208 FRUITS OF CULTURE Leonid Fyéddoritch. Why, I mean that some one who is dead—say, your father or your grandfather—may appear, take you by the hand, or give you something; or else some one may suddenly rise into the air, as happened to Alexéy Vladimiritch last time. Professor. Of course, of course. But the chief thing is the explanation of the О and the application to them of general laws. | Enter the Fat Lapy. Fat Lady. Anna Pavlovna has allowed me to join you. Leonid Fyédoritch. Very pleased. Fat Lady. Oh, how tired Grossman seems! Не could scarcely hold his cup. Did you notice (to the PROFESSOR) how pale he turned at the moment he approached the hiding-place? I noticed it at once, and was the first to mention it to Anna Pavlovna. Professor. Undoubtedly,—loss of vital energy. Fat Lady. Yes, it’s just as I say, one should not abuse that sort of thing. You know, a hypnotist once suggested to a friend of mine, Véra Konshin (oh, you know her, of © course )—well, he suggested that she should leave off smok- ing,—and her back began to ache! Professor (trying to have his say). The temperature and the pulse clearly indicate .. . Fat Lady. One moment! Allow me! Well, I said to her: it’s better to smoke than to suffer so with one’s nerves. Of course, smoking is injurious; I should like to give it up myself, but, do what I will, I can’t! Once I managed not to smoke for a fortnight, but could hold out no longer. Professor (again trying to speak). Clearly proves... Fat Lady. Yes, no! Adlow me, just one word! You say, “loss of strength.” And I was also going to say that, when I travelled with post-horses . .. the roads used to be dreadful in those days—you don’t remember—but I have noticed that all our nervousness comes from railways! I, for instance, can’t sleep while travelling; I cannot fall asleep to save my life! Professor (makes another attempt, which the Fat Lapy baffles). The loss of strength... Sahdtof (smiling). Yes; oh yes! FRUITS OF CULTURE 209 [Leonip Еубровтсн rings. Fat Lady. I am awake one night, and another, and a third, and still I can’t sleep! | Enter GREGORY. Leonid Fyédoritch. Please tell Theodore to get every- thing ready for the séance, and send Simon here—Simon, the butler’s assistant,—do you hear? Gregory. Yes, Sir. | Exit. Professor (to SAHAToF). The observation of the tem- perature and the pulse have shown loss of vital energy. The same will. happen in consequence of the mediumistic phenomena. The law of the conservation of energy... Fat Lady. Oh yes, yes; I was just going to say that I am very glad that a simple peasant turns out to be a medium. ‘That’s very good. I always did say that the Slavophils ... ` Leonid Fyédoritch. Let’s go into the drawing-room in the meantime. Fat Lady. Allow me, just one word! The Slavophils are right; but I always told my husband that one ought never to exaggerate anything! “The golden mean,” you know. What is the use of maintaining that the common people are all perfect, when I have myself seen... Leonid Еубаотисй. Won’t you come into the drawing- room? Fat Lady. A boy—that high—who drank! I gave him a scolding at once. And he was grateful to me afterwerds. They are children, and, as I always say, children need both love and severity! у [Exeunt all, all talking-together. [TANYA enters from behind the hangings. Tdnya. Oh, if it would only succeed! [Begins fastening some threads. [Enter Betsy hurriedly. Betsy. Isn’t papa here? (Looks inquiringly at TANYA.) What are you doing here? © — : Tdnya. Oh, Miss Elizabeth, I have only just come; I only wished . . . only came in... [ Embarrassed. и анны 210 FRUITS OF CULTURE Betsy. But they are going to have a séance here directly. (Notices TANYA drawing in the threads, looks at her, and suddenly bursts out laughing.) Tanya! Why, it’s you who do it all? Now don’t deny it. And last time it was you too? Yes, it was, it was! Tdnya. Miss Elizabeth, dearest! | Betsy (delighted). Oh, that is а joke! Well, I never. But why do you do it? Tdnya. Oh miss, dear miss, don’t betray me! Betsy. Not for the world! I’m awfully glad. Only tell me how you manage it? Tdnya. Well, I just hide, and then, when it’s all dark, I come out and do it. That’s how. Betsy (pointing to threads). And what is this for? You needn’t tell me. I see; you draw... Tdnya. Miss Elizabeth, darling! I will confess it, but only to you. I used to do it just for fun, but now I mean business. Е Betsy. What? How? What business? Tdnya. Well, you see, those peasants that came this | morning, you saw them. They want to buy some land, and your father won’t sell it; well, and Theodore Ivanitch, he says it’s the spirits as forbid him. So I have had a thought as... Betsy. Oh, I see! Well, you are a clever girl! Do it, do it. . . . But how will you manage it? Tdnya. Well, I thought, when they put out the lights, Г] at once begin knocking and shying things about, touch- ing their heads with the threads, and at last ГП take the paper about the land and throw it on the table. I’ve got it here. Betsy. Well, and then? Tanya. Why, don’t you see? They will be astonished. The peasants had the paper, and now it’s here. I will teach Betsy. Why, of course! Simon is the medium to- day! $ sm Tdnya. Well, ГП teach him... (Laughs so that she can’t continue.) Tl tell him to squeeze with his hands any one he can get hold of! Of course, not your father—he’d | FRUITS ОЕ CULTURE 211 never dare do that—but any one else; he’ll squeeze till it’s signed. | Betsy (laughing). But that’s not the way it is done. ‘Mediums never do anything themselves. Tdnya. Oh, never mind. It’s all one; I daresay it'll ‘turn out all right. [Enter THEODORE IVANITCH. [Exit Betsy, making signs to TANYA. Theodore Ivdnitch. Why are you here? Tdénya. It’s you I want, Theodore Ivanitch, dear... Théodore Ivdénitch. Well, what is it? _ Тёпуа. About that affair of mine as I spoke of. Theodore Ivdnitch (laughs). Гуе made the match; yes, I’ve made the match. The matter is settled; we have shaken hands on it, only not had a drink on it. Ténya (with а shriek). Never! So it’s all right? Theodore Ivdnitch. Don’t I tell you so? He says, “I shall consult the missus, and then, God willing . . .” Ténya. Is that what he said? (Shrieks.) Dear Theo- dore Ivanitch, ГИ pray for you all the days of my life! Theodore Ivdnitch. All right! All right! Now is not the time. I’ve been ordered to arrange the room for the séance. _ Тёпуа. Let me help you. How’s it to be arranged? Theodore Ivdnitch. How? Why, the table in the mid- dle of the room—chairs—the guitar—the accordion. The lamp is not wanted, only candles. Ténya (helps ТнеоровЕ IvAntrcu to place the things). Is that right? The guitar here, and here the inkstand. | (Places ti.) So? Theodore Ivdnitch. Can it be true that they'll make Simon sit here? _ Tdnya. 1 suppose so; they’ve done it once. _ Theodore Ivgnitch. Wonderful! (Puts on his pince- ` пез.) But is he clean? Tdnya. How should I know? Theodore Ivdénitch. Then, ГИ tell you what... Tdnya. Yes, Theodore Ivanitch? Theodore Ivdnitch. Go and take a nail-brush and some 212 FRUITS OF CULTURE Pears’ soap; you may take mine . . . and go and cut his claws and scrub his hands as clean as possible. Tdnya. Не сап do it himself. Theodore Ivdnitch. Well then, tell him to. And tell him to put on a clean shirt as well. Tdnya. All right, Theodore Ivanitch. [ Exit. Theodore Ivdnitch (sits down т ап easy-chair). They’re educated and learned—Alexéy Vladimiritch now, he’s a professor—and yet sometimes one can’t help doubting very much. The people’s rude superstitions are being abolished: hobgoblins, sorcerers, witches. ... But if one considers it, is not this equally superstitious? How is it possible that the souls of the dead should come and talk, and play the guitar? No! Some one is fooling them, or they are fooling themselves. And as to this business with Simon—it’s simply incomprehensible. (Looks at an album.) Here’s their spiritualistic album. How is it possible to photograph a spirit? But here is the likeness of a Turk and Leonid Fyddoritch sitting by. ... Extraordinary human weakness! [Enter LEONiIp Еуобровттсн. Leonid Fycdoritch. Is it all ready? | Theodore Ivdnitch (rising letsurely). Quite ready. (Smiles.) Only I don’t know about your new medium. I hope he won’t disgrace you, Leonid Fyédoritch. Leonid Fyédoritch. No, I and Alexéy Vladimiritch have tested him. He is a wonderfully powerful medium! Theodore Ivdnitch. Well, I don’t know. But is he: clean enough? I don’t suppose you have thought of order- ing him to wash his hands? It might be rather incon- venient. | Leonid Fyédoritch. His hands? Oh yes! They’re not clean, you think? Theodore Ivdnitch. What can you expect? He’s a peasant, and there will be ladies present, and Marya Vasilevna. Leonid Fyédoritch. И will be all right. Theodore Ivdnitch. And then I have something to re- : FRUITS OF CULTURE 215 port to you. Timothy, the coachman, complains that he can’t keep things clean because of the dogs. Leonid Fyddoritch (arranging the things on the table absentmindedly). What 4905$? Theodore Ivdnitch. The three hounds that came for Vasily Leoniditch to-day. _ Leonid Fyddoritch (vexed). Tell Anna Pavlovna! She can do as she likes about it. I have no time. Theodore Ivdnitch. But you know her weakness... . Leonid Fyédoritch. Tis just as she likes, let her do as she pleases. As for him,—one never gets anything but unpleasantness from him. Besides, I am busy. : [Enter Simon, smiling; he has a sleeveless peasant’s coat on. Simon. I was ordered to come. Leonid Fyédoritch. Yes, it’s all right. Let me see your hands. That will do, that will do very well! Well, then, my good fellow, you must do just as you did before,—sit down, and give way to your mood. But don’t think at Кац, Simon. Why should I think? The more one thinks, the worse it is. Leonid Fyddoritch. Just so, just so, exactly! The less conscious one is, the greater is the power. Don’t think, but give in to your mood. If you wish to sleep, sleep; if you wish to walk, walk. Do you understand? Simon. How could one help understanding? It’s simple enough. Leonid Fyéddoritch. But above all, don’t be frightened. Because you might be surprised yourself. You must under- stand that just as we live here, 50 a whole world of invisible spirits live here also. Theodore Ivdnitch (improving on what LEonip Еуб- DORITCH has said). Invisible feelings, do you understand? Simon (laughs). How can one help understanding! It’s very plain as you put it. Leonid Еубаотисй. You may rise up in the air, or some- thing of the kind, but don’t be frightened. Simon. Why should I be frightened? That won’t mat- ter at all. an... ee eee 214 FRUITS OF CULTURE Leonid Еубаотисй. Well then, ГП go and call them all. . . . Is everything ready? Theodore Ivdénitch. Т think so. Leonid Fyédoritch. But the slates? | Theodore Ivdnitch. They are downstairs. Ill bring them. [ Exit. Leonid Fyédoritch. АП right then. So don’t be afraid, but be at your ease. Simon. Had I not better take off my coat? One would be more easy like. | Leonid Fyédoritch. Your coat? Oh no. Don’t take that off. [ Exit. Simon. She tells me to do the same again, and she will again shy things about. How isn’t she afraid? | Enter TANYA in her stockings and in a dress of the color of the wall-paper. Simon laughs. Tdnya. Shsh! ... They'll hear! There, stick these matches on your fingers as before. (Sticks them on.) — Well, do you remember everything? Simon (bending his fingers in, one by one). First of all, wet the matches and wave my hands about, that’s one. — Then make my teeth chatter, like this . . . that’s two. But I’ve forgotten the third thing. | Tdnya. And it’s the third as is the chief thing. Don’t forget as soon as the paper falls on the table—I shall ring the little bell—then you do like this. . . . Spread your arms out far and catch hold of some one, whoever it is as sits nearest, and catch hold of him. And then squeeze! (Laughs.) Whether it’s a gentleman or a lady, it’s all one; you just squeeze ет, and don’t let ’em go,—as if it were in your sleep, and chatter with your teeth, or else howl like this. (Howls sotto-voce.) And when I begin to — play on the guitar, then stretch yourself as if you were waking up, you know. ... Will you remember every- thing? Simon. Yes, ГП remember, but it is too funny. | Тапуа. But mind you don’t laugh. Still, it won’t mat- — ter much if you do laugh; they’d think it was in your sleep. | FRUITS OF CULTURE 215 Only take care you don’t really fall asleep when they put out the lights. Simon. No fear, Г pinch my ears. Tdnya. Well, then, Sim, darling, only mind do as I tell you, and don’t get frightened. Ней sign the paper, see if he don’t! They’re coming! [Gets under the sofa. | Enter GRossMAN and the Proressor, ГЕО. Fy0- DORITCH and the Fat Lapy, the Ростов, ЗАНАТОЕ and ANNA PAVLOvNA. SIMON stands near the door. Leonid Fyddoritch. Please come in, all you doubters! Though we have a new and accidentally ‘discovered medium, I expect very important phenomena to-night. Sahdtof. That’s very, very interesting. Fat Lady (pointing to SmMon). Mais il est trés bien! * Anna Pdvlovna. Yes, аз а butler’s assistant, but hardly . Sahdtof. " Wives never have any faith in their husbands’ work. You don’t believe in anything of this kind? Anna Pévlovna. Of course not. Kaptchitch, it is true, has something exceptional about him, but Heaven knows what all this is about! Fat Lady. No, Anna Pavlovna, permit me, you can’t decide it in such a way. Before т was married, I once had a remarkable dream. Dreams, you know, are often such that you don’t know where they begin and where they end; it was just such a dream that I . [Enter Vasity LEONIDITCH and PerristcHer. Fat Lady. And much was revealed to me by that dream. Nowadays the young people (points to PETRISTCHEF and Vasity LeonipircH) deny everything. Vasily Leoniditch. But look here, you know—now I, for instance, never deny anything! Eh, what? [BETSY and MARYA KoNSTANTINOVNA enter, and begin talking to PETRISTCHEF. Fat Lady. And how can one deny the supernatural? They say it is unreasonable. But what if one’s reason is stupid; what then? There now, on Garden Street, you 1Fat Lady. But he looks quite nice. ~~ быт. OP 2 |. an 216 FRUITS OF CULTURE know . . . why, well, it appeared every evening! My hus- band’s brother—what do you call him? Not beau-frére— what’s the other name for itPp—I never can remember the names of these different relationships—well, he went there three nights running, and still he saw nothing; so I said тыщ: Leonid Еубаотисй. Well, who is going to stay here? Fat Lady. I! I! Sahdtof. I. Anna Pdvlovna (to Doctor). Do you mean to say you are going to stay? Doctor. Yes; I must see, if only once, what it is that Alexéy Vladimiritch has discovered in it. How can we deny anything without proof? a Anna Péviovna. Then I am to take it to-night for cer- tain? Doctor. Take what? ...Oh, the powder. Yes, it would perhaps be better. Yes, yes, take it... . However, I shall come upstairs again. Anna Pdvlovna. Yes, please do. (Loud.) When it is over, mesdames et messieurs, I shall expect you to come to me upstairs to rest from your emotions, and then we will finish our rubber. Fat Lady. Oh, certainly. Sahdtof. Yes, thanks! [Exit ANNA PAVLOVNA. Betsy (to PEeTRISTCHEF). You must stay, I tell you. I promise you something extraordinary. Will you bet? Матуа Konstantinovna. But you don’t believe in it? Betsy. ‘To-day I do. Marya Konstantinovna (to PrETRistcHEF). And do you believe? Petristchef. “Т can’t believe, I cannot trust a heart for falsehood framed.” Still, if Elizabeth Leonidovna com- mands... Vasily Leoniditch. Let us stay, Marya Konstantinovna. Eh, what? I shall invent something épdtant. Marya Konstantinovna. No, you mustn’t make me laugh. You know I can’t restrain myself. | Vasily Leoniditch (loud). Тгеташ! FRUITS OF CULTURE 217 Leonid Fyddoritch (severely). But I beg those who remain not to joke about it. It is a serious matter. з Petristchef. Го you hear? Well then, let’s stay. Vovo, sit here, and don’t be too shy. Betsy. Yes, it’s all very well for you to laugh; but just wait till you see what will happen. Vasily Leoniditch. Oh, but supposing it’s true? Won't it be a 20! Eh, what? Petristchef (trembles). Oh, I’m afraid, I’m afraid! Marya Konstantinovna, I’m afraid! My tootsies tremble. Betsy (laughing). Not so loud. . [АЙ sit down. Leonid Fyédoritch. Take your seats, take your seats. | Simon, sit down! Simon. Yes, sir. [Sits down on the edge of the chair. Leonid Fyédoritch. Sit properly. Professor. Sit straight in the middle of the chair, and quite at your ease. [Arranges SIMON on his chair, [Betsy, МАвуА KonstAanTiNovNna and Vasity LEonipitcH laugh. Leonid Fydédoritch ‘(raising his voice). I beg those who ire going to remain here not to behave frivolously, but to ‘egard this matter seriously, or bad results might follow. Do you hear, Vovo! If you can’t be quiet, go away! Vasily Leoniditch. Quiet, quiet! [Hides behind Fat Тру. Leonid Fyédoritch. Alexéy Vladimiritch, will you mes- nerise him? Professor. No; why should I do it when Anton Borisitch s here? He has had far more practice and has more ower in that department than I. . . . Апр Borisitch! Grossman. Ladies and gentlemen, I am not, strictly peaking, a spiritualist. I have only studied hypnotism.) t is true I have studied hypnotism in all its known mani- \ estations; but what is called spiritualism, is entirely un- nown to me. When a subject is thrown into a trance, I | nay expect the hypnotic phenomena known to me: lethargy, | bulia, anesthesia, analgesia, catalepsy, and every kind of ce - SE aan - == ieee 218 FRUITS OF CULTURE a susceptibility to suggestion. Here it is not these but other phenomena we expect to observe. Therefore it would be well to know of what kind are the phenomena we expect to — witness, and what is their scientific significance. в. Sahdtof. I thoroughly agree with Mr. Grossman. Such an explanation would be very interesting. ; Leonid Fyédoritch. I think Alexéy Vladimiritch will not” refuse to give us a short explanation. | Professor. Why not? Тсап give an explanation if it 13. desired. (To the Ростов.) Will you kindly note his tem- perature and pulse? My explanation must, of necessity, be cursory and brief. Leonid Fyédoritch. Yes, please; briefly, quite briefly. Doctor. All right. (Takes out thermometer.) Now then, my lad . ; [Places the thermometer. Simon. Yes, sir! Professor (rising and addressing the Fat Lapy—then re- seating himself). Ladies and gentlemen! The phenome- non we are investigating to-night is regarded, on the one hand, as something new; and, on the other, as something transcending the limits of natural conditions. Neither view is correct. This phenomenon is not new but is as old as the world; and it is not supernatural but is subject to the eternal laws that govern all that exists. This phenomenon has been usually defined as “intercourse with the spirit world.” That definition is inexact. Under such a defini- tion the spirit world is contrasted with the material world. But this is erroneous; there is no such contrast! Both worlds are so closely connected that it is impossible to draw a line of demarcation, separating the one from the other. We say matter is composed of molecules ... Petristchef. Prosy matter! [Whispering and laughter. Professor (pauses, then continues). Molecules are com- posed of atoms, but the atoms, having no extension, are Ш. reality nothing but the points of application of forces. Strictly speaking, not of forces but of energy, that same energy which is as much a unity and just as indestructible as matter. But matter, though one, has many different FRUITS OF CULTURE 219 aspects, and the same is true of energy. Till recently only four forms of energy, convertible into one another, have been known to us: energies known as the dynamic, the thermal, the electric, and the chemic. But these four aspects of energy are far from exhausting all the varieties of its manifestation. The forms in which energy may mani- fest itself are very diverse, and it is one of these new and as yet but little known phases of energy, that we are in- vestigating to-night. I refer to mediumistic energy. [Renewed whispering and laughter among the young people. Professor (stops and casts a severe look round). Medi- umistic energy has been known to mankind for ages: prophecy, presentiments, visions and so on, are nothing but manifestations of mediumistic energy. The manifestations produced by it have, I say, been known to mankind for ages. But the energy itself has not been recognised as such till quite recently—not till that medium, the vibrations of which cause the manifestations of mediumistic energy, was recognised. In the same way that the phenomena of light were inexplicable until the existence of an imponder- able substance—an ether—was recognised, so mediumistic phenomena seemed mysterious until the now fully estab- lished fact was recognised, that between the particles of ether there exists another still more rarefied imponderable substance not subject to the law of the three dimensions . и [Renewed laughter, whispers, and giggling. Professor (again looks round severely). And just as mathematical calculations have irrefutably proved the exist- ence of imponderable ether which gives rise to the phe- nomena of light and electricity, so the successive investiga- tions of the ingenious Hermann, of Schmidt, and of Joseph Schmatzhofen, have confirmed beyond a doubt the existence of a substance which fills the universe and may be called spiritual ether. 7 АТ Lapy. Ah, now I understand. I am so grate- Msi - Leonid Еубаотисй. Yes, but Alexéy Vladimiritch, could you not . . . condense it a little? Professor (not heeding the remark). And so, as I have 220 FRUITS OF CULTURE just had the honor of mentioning to you, a succession of strictly scientific experiments have made plain to us the laws of mediumistic phenomena. These experiments have proved that, when certain individuals are plunged into a hypnotic state (a state differing from ordinary sleep only by the fact that man’s physiological activity is not lowered by the hypnotic influence but, on the contrary, is always heightened—as we have recently witnessed), when, I say, any individual is plunged into such a state, this always pro- duces certain perturbations in the spiritual ether—pertur- bations quite similar to those produced by plunging a solid body into liquid matter. ‘These perturbations are what we call mediumistic phenomena....-. | Laughter and whispers. 4 Sahdtof. That is quite comprehensible and correct; but if, as you are kind enough to inform us, the plunging of the medium into a trance produces perturbations of the spiritual ether, allow me to ask why (as is usually supposed © to be the case in spiritualistic séances) these perturbations result in an activity on the part of the souls of dead people? — Professor. It is because the molecules of this spiritual - ether are nothing but the souls of the living, the dead, and the unborn, and any vibration of the spiritual ether must inevitably cause a certain vibration of its atoms. These atoms are nothing but human souls, which enter into communication with one another by means of these movements. Fat Lady (to SAHATOF). What is it that puzzles youe It is so simple. . . . Thank you so, so much! | Leonid Fydédoritch. I think everything has now been explained, and that we may commence. Doctor. The fellow is in a perfectly normal condition: | temperature 37 decimal 2, pulse 74. Professor (takes out his pocket-book and notes this down). What I have just had the honor of explaining will be confirmed by the fact, which we shall presently have ап. opportunity of observing, that after the medium has been thrown into a trance his temperature and pulse will inev- itably rise, just as occurs in cases of hypnotism. Leonid F yddoritch. Yes, yes. But excuse mea moment, q т FRUITS OF CULTURE 221 | I should like to reply to Sergéy Ivanitch’s question: How do we know we are in communication with the souls of the dead? We know it because the spirit that appears, plainly tells us—as simply as I am speaking to you—who he is, and why he has come, and whether all is well with. him! At our last séance a Spaniard, Don Castillos, came) to us, and he told us everything. He told us who he was, and when he died, and that he was suffering for having taken part in the Inquisition. He even told us what was happening to him at the very time that he was speaking to us, namely, that at the very time he was talking to us he had to be born again on earth, and, therefore, could not continue his conversation with us. . . . But you'll see for yourselves... Fat Lady (interrupting). Oh, how interesting! Per- haps the Spaniard was born in one of our houses and is a baby now! Leonid Fyédoritch. Quite possibly. Professor. I think it is time we began. | Leonid Fyédoritch. I was only going to say... Professor. It is getting late. Leonid Fyddoritch. Very well. Then we will com- mence. Anton Borisitch, be so good as to hypnotize the medium. Grossman. What method would you like me to use? There are several methods. There is Braid’s system, there is the Egyptian symbol, and there is Charcot’s system. Leonid Fyddoritch (to the РвогЕззов). I think it is quite immaterial. Professor. Quite. Grossman. Then I will make use of my own method, which I showed in Odessa. Leonid Fyddoritch. И you please! [GRossMAN waves his arms above Stwon. SIMON closes his eyes and stretches himself. Grossman (looking closely at him). He is falling asleep! He is asleep! A remarkably rapid occurrence of hypnosis. The subject has evidently already reached a state of anzs- thesia. Не 15 remarkablé—an-unusually impressionable subject, and might be subjected to interesting experiments! A eg cy 222 FRUITS OF CULTURE . (Sits down, rises, sits down again.) Now one might run a needle into his arm. If you like... Professor (to LEoNip Еуоровттсн). Do you notice how the medium’s trance acts on Grossman? He is beginning to vibrate. Leonid Еудаотйсй. Yes, yes . . . can the lights be ex- tinguished now? Sahdtof. But why is darkness necessary? Professor. Darkness? Because it is a condition of the manifestation of mediumistic energy, just as a given tem- perature is a condition necessary for certain manifestations of chemical or dynamic energy. Leonid Fyddoritch. But not always. Manifestations have been observed by me, and by many others, both by candlelight and daylight. Professor (interrupting). May the lights be put out? Leonid Fyédoritch. Yes, certainly. (Puts out candles.) Ladies and gentlemen! attention, if you please. — [TANYA gets from under the sofa and takes hold of a thread tied to a chandelier. Petristchef. I like that Spaniard! Just in the midst of a conversation—off he goes head downwards ... as the French say: piquer une téte.* Betsy. You just wait a bit, and see what will happen! Petristchef. I have only one fear, and that is that Vovo- may be moved by the spirit to grunt like a pig! Vasily Leoniditch. Would you like me to? I will... Leonid Fyddoritch. Gentlemen! Silence, if you please! [Silence. Simon licks the matches on his fingers and rubs his knuckles with them. Leonid Fyéddoritch. A light! Do you see the light? Sahdtof. A light? Yes, yes, I see; but allow me... Fat Lady. Where? Where? Oh, dear, I did not see it! Ah Шеге 15 Obl. .”) Professor (whispers to Lronip Еубровттсн, and points” to GROSSMAN, who is moving). Do you notice how he vibrates? It is the dual influence. [The light appears again. *To take a header. 4 ы й 8 | 4 _ 1 j FRUITS OF CULTURE к Leonid Fyddoritch (to the Proressor). It must be he —you know! Sahdtof. Who? | Leonid Fyddoritch. A Greek, Nicholas. It is his light. Don’t you think so, Alexéy Vladimiritch? . | Sahdtof. Who is this Greek, Nicholas? Professor. A certain Greek, who was a monk at Con-' Stantinople under Constantine and who has been visiting us lately. | Fat Lady. Where 15 he? Where is he? I don’t see п: Leonid Fyédoritch. Не is not yet visible... Alexéy Vladimiritch, he is particularly well disposed towards you. You question him. Professor (in-a peculiar voice). Nicholas! Is that you? [TANYA raps twice on the wall. Leonid Fyédoritch (joyfully). It is he! It is hel Fat Lady. Oh, dear! Oh! I shall go away! Sahdtof. Why do you suppose it is he? Leonid Fyéddoritch. Why, the two knocks. It is an affirmative answer; else all would have been silence. [Silence. Suppressed giggling in the young people’s corner. TANYA throws a lampshade, pencil and penwiper upon the table. Leonid Fyédoritch (whispers). Do you notice, gentle- men, here is a lamp-shade, and something else—a pencil! . . . Alexéy Vladimiritch, it is a pencil! Professor. All right, all right! I am watching both him and Grossman! | [GROSSMAN rises and feels the things that have fallen on the table. Sahdtof. Excuse ше, excuse me! I should like to see whether it is not the medium who is doing it all himself? Leonid Fyédoritch, Do you think so? Well, sit by him. and hold his hands. But you may be sure he is asleep. Sahdtof (approaches. TANvYA lets a thread touch his head. He is frightened, and stoops): Ye...ye... yes! Strange, very strange! [Takes hold of Stmon’s elbow. Simon howls. Professor (to Leonip FyéporitcH). Do you notice the 224 FRUITS OF CULTURE effect of Grossman’s presence? It is a new phenomenon— I must note it... [Runs out to note it down, and returns again. Leonid Fydédoritch. Yes. ... But we cannot leave Nicholas without an answer. We must begin... Grossman (rises, approaches SIMON and raises and low- _ers his arm). It would be interesting to produce contrac- tion! The subject is in profound hypnosis. Professor (to LEONiD Еубровттсн). Do you see? Do you зее?. Grossman. If you like... Doctor. Now then, my dear sir, leave the manage- ment to Alexéy Vladimiritch; the affair is turning out serious. Professor. Leave hie alone, he (referring to GROSSMAN) is talking in his sleep! | Fat Lady. How glad I now am that I resolved to be present! It is frightening, but all the same I am glad, for I always said to my husband ... Leonid Fyédoritch. Silence, if you please. | [TANya draws a thread over the Fat Lapy’s head. Fat Lady. Ае! Leonid Fyédoritch. What? What is it? Fat Lady. Не took hold of my hair! Leonid Fyédoritch (whispers). Never mind, don’t be afraid, give him your hand. His hand will be cold, but I like it. Fat Lady (hides her hands). Not for the world! Sahdtof. Yes, it is strange, very strange! Leonid Fyddoritch. Не is here and is seeking for inter- — course. Who wishes to put a question to him? Sahdtof. I should like to put a question, if I may. Professor. Please do. Sahdtof. Do I believe or not? [TANya knocks twice. Professor. The answer is affirmative. Sahdtof. Allow me to ask again. Have I a ten rouble note in my pocket? [ТАмуд knocks several times and passes a thread — over SAHATOF’S head. | FRUITS OF CULTURE ona) Sahdtof. Ah! [Seizes the thread and breaks it. Professor. I should ask those present not to ask in- definite or trivial questions. It is unpleasant to him! Sahdtof. No, but allow me! Here I have a thread in my hand! Leonid Fyédoritch. A thread? Hold it fast; that hap- pens often, and not only threads but sometimes even silk cords—very ancient’ ones! } Sahdtof. No—but where did this thread come from? [TANYA throws a cushion at him. Sahdtof. Wait a bit; wait! Something soft has hit me on the head. Light a candle—there is something . . . Professor. We beg of you not to interrupt the manifes- tations, Fat Lady. For goodness’ sake, don’t interrupt! I should also like to ask something. May I? Leonid Fyédoritch. Yes, if you like. Fat Lady. I should like to ask about my digestion. May I? I want to know what to take: aconite or bella- donna? [Silence, whispers among the young people; sud- denly Vasity Гкомплтсн begins to cry like a baby: “ou-a, ou-a!” (Laughter.) Holding their mouths and noses, the girls and PETRISTCHEF run away bursting with laughter. Fat Lady. Ah, that must be the monk who’s been born again! Leonid Fyddoritch (beside himself with anger, whis- pers). One gets nothing but tomfoolery from you! If you don’t know how to behave decently, go away! [Exit Vasity LeonipitcH. Darkness and silence. , Fat Lady. Oh, what a pity! Now one can’t ask any more! He is born! Leonid Fyédoritch. Not at all. It is only Vovo’s non- sense. But #е is here. Ask him. Professor. That often happens. These jokes and ridi- cule are quite usual occurrences. I expect йе is still here. But we may ask. Leonid Fyddoritch, will you? Leonid Fyédoritch. No, you, if you please. This has upset me. So unpleasant! Such want of tact! ... ——— — 226 FRUITS OF CULTURE Professor. Very well... . Nicholas, are you here?- | [TANYA raps twice and rings. SIMON roars, spreads ; his arms out, seizes SAHATOF and the PROFESSOR —squeezing them. Professor. What an unexpected phenomenon! The | | medium himself reacted upon! This never happened before! — ' Leonid Fyédoritch, will you watch? It is difficult for ше _ to do so. He squeezes me so! Mind you observe Gross- — man! This needs the very greatest attention! [TANYA throws the PEASANTS’ paper on the table. Leonid Fyédoritch. Something has fallen upon the table. Professor. See what it is! Leonid Fydédortich. Paper! А folded paper! [TANYA throws a travelling inkstand on the table. Leonid Fyédoritch. An inkstand! [TANYA throws a pen. Leonid Еудаотисй. А pen! [SIMON roars and squeezes. Professor (crushed). Wait a bit, wait: a totally new — manifestation! ‘The action proceeding not from the medi- | umistic energy produced, but from the medium himself! — However, open the inkstand, and put the pen on the table, _ and he will write! [TANnya goes behind LEONip Еуоровттсн and strikes — him on the head with the guitar. Leonid Fyéddoritch. Не has struck me on the head! | (Examining table.) The pen is not writing yet and the paper remains folded. Professor. See what the paper is, and quickly; evn dently the dual influence—his and Grossman’s—has pro- | duced a perturbation! | Leonid Fyddoritch ( goes out and returns at once). Ex- traordinary! This paper is an agreement with some peas- — ants that I refused to sign this morning and returned to — the peasants. Probably йе wants me to sign it? j Professor. Of course! Of course! But ask him. $ Leonid Fyddoritch. Nicholas, do you УВ... [ТАмул knocks twice. 7$ Professor. Do youhear? It is quite evident! [Lronip Еуоровттсн takes the paper and pen and t FRUITS OF CULTURE 227 goes out. TANYA knocks, plays on the guitar and the accordion, and then creeps under the sofa. Lronip FyoporitcH returns. Элмом stretches himself and coughs. Leonid Fyéddoritch. Не is waking up. We can light the candles. Professor (hurriedly). Doctor, Doctor, please, his pulse and temperature! You will see that a rise of both will be apparent. Leonid Fyédoritch (lights the candles). Well, what do -you gentlemen who were sceptical think of it now? Doctor (goes up to SIMON and places thermometer). Now then my lad. Well, have you had a nap? There, put that in there, and give me your hand. [Looks at his watch. Sahdtof (shrugging his shoulders). I must admit that all that has occurred cannot have been done by the medium. But the thread? . ..I should like the thread explained. Leonid Fyddoritch. A thread! A thread! We have been witnessing manifestations more important than a thread. | Sahdtof. I don’t know. At all events, je réserve mon opinion, Fat Lady (to SAHATOF). Oh, no, how can you say: “je réserve mon opinion”? And the infant with the little wings?, Didn’t you see? At first I thought it was only an illu- sion, but afterwards it became clearer and clearer, like a пе. Sahdtof. I can only speak of what I have seen. I did not see that—nothing of the kind. Fat Lady. You don’t mean to say so? Why, it was quite plainly visible! And to the left there was a monk clothed in black bending over it... Sahdtof (moves away. Aside). What exaggeration! Fat Lady (addressing the Doctor). You must have seen it! It rose up from your side. , [остов goes on counting the pulse without heeding her. Fat Lady ‘(to Grossman). And that light, the light around it, especially around its little face! And the ex- | | -Exeunt, all talking at once. 228 FRUITS OF CULTURE — pression so mild and tender, something so heavenly! [Smiles tenderly herself. ‘Grossman. I saw phosphorescent light, and objects changed their places, but I saw nothing more than that. Fat Lady. Don’t tell me! You don’t mean it! It is simply that you scientists of Charcot’s school do not be- lieve in a life beyond the grave! As for me, no one could now make me disbelieve in a future life—no one in the world! [GROSSMAN moves away from her. Fat Lady. No, no, whatever you may say, this is one of the happiest moments of my life! When I heard Sarasate play, and now. . . . Yes! (No one listens to her. She . goes up to SIMON.) Now tell me, my friend, what did you. feel? Was it very trying? Simon (laughs). . Yes, ma’m, just so. Fat Lady. Still not unendurable? Simon. Just so,ma’m. (То Leonip Еубровтсн.) Am I to go? Leonid Fyédoritch. Yes, you may go. Doctor (to the Prorrssor). The pulse is the same, but the. temperature.is-lower. Professor. Lower! (Considers awhile, then suddenly divines the conclusion.) It had to be so—it had to descend! The dual influence crossing had to produce some kind of reflex action. Yes, that’s it! Leonid Fyédoritch. Гт only sorry we had no com- plete materialisation. But still. . . . Come, gentle- men, let us go to the drawing-room? Fat Lady. What specially struck me was when he flapped his wings, and one saw how he rose! Grossman (to SAHATOF). If we had kept to hyp- notism, we might have produced a thorough state of epilepsy. The success might have been com- plete! Sahdtof. It is very interesting, but not entirely convincing. That is all I can say. [Enter THEODORE IVANITCH. Leonid Fyddoritch (with paper in his hand). АВ, FRUITS OF CULTURE 229 Theodore, what a remarkable séance we have Вад! It turns cut that the peasants must have the land on their own terms. Theodore Ivdnitch. Dear me! Leonid Еубаотисй. Yes, indeed. (Showing paper.) Fancy, this paper that I returned to them, suddenly ap- peared on the table! I have signed it. Theodore Ivdnitch. How did it get there? Leonid Fyédoritch. Well, it did get there! [Ехй. Turopore IvAnircu follows him out. Ténya (gets from under the sofa and laughs). Oh, dear, oh dear! Well, I did get a fright when he got hold of the thread! (Shrieks.) Well, anyhow, it’s all right—he has signed it! | Enter GREGORY. Gregory. So it was you that was fooling them? Tdnya, What business is it of yours? Gregory. And do you think the missis will be pleased with you for it? No, you bet; you’re caught now! ГИ tell them what tricks you’re up to, if you don’t let me have my way! Tdnya. And you'll not get your way, and you'll not do me any harm! CURTAIN ACT IV The same scene as in Act I. The next day. Two liveried — footmen, THEODORE IvANITCH and GREGORY. | First Footman (with grey whiskers). Yours is the third house to-day. Thank goodness that all the at-homes are in this direction. Yours used to be on Thursdays. Theodore Ivdnitch. Yes, we changed to Saturday so as to be on the same day as the Golovkins and Grade von Grabes.. . Second Footman. ‘The Stcherbakofs do the thing well. | There’s refreshments for the footmen every time they’ve a ball. [The two PRINCESSES, mother and daughter, come down the stairs accompanied by Betsy. The old Princess looks in her note-book and at her watch, and sits down on the setile. GREGORY puts on her overshoes. Young Princess. Now, do come. Because, if you refuse, and Dodo refuses, the whole thing will be spoilt. Betsy. I don’t know. I must certainly go to the Shou- bins. And then there is the rehearsal. Young Princess. You'll have plenty of time. Do, please. Ne nous fais pas faux bond... Fédya and Koko will come. Betsy. J’en ai par-dessus la Ее de votre Koko. ? Young Princess. I thought I should see him here. Or- dinairement il est d’une exactitude... * Betsy. He is sure to come. Young Princess. When I see you together, it always seems to me that he has either just proposed or is just going to propose. *Do not disappoint us. * Betsy. I have more than enough of your Koko. 3 Уоиид Princess. ... He is usually so very punctual... 230 FRUITS OF CULTURE 231 Betsy. Yes, I don’t suppose it can be avoided. I shall have to go through with it. And it is so unpleasant! Young Princess. Poor Koko! He is head over ears in love. Betsy. Cessez, les gens! * [Younc Princess sits down, talking in whispers. Grecory puts on her overshoes. Young Princess. Well then, good-bye till this evening. Betsy. Ill try to come. Old Princess. ‘Then tell your papa that I don’t believe in anything of the kind, but will come to see his new medium. Only he must let me know when. Good after- noon, ma toute belle. [Kisses Betsy, and exit, followed by her daughter. BETSY goes upstairs. Gregory. Т don’t like putting on an old woman’s over- shoes for her; she can’t stoop, can’t see her shoe for her stomach, and keeps poking her foot in the wrong place. It’s different with a young one; it’s pleasant to take her foot in one’s hand. : Second Footman. Hear him! Making distinctions! First Footman. It’s not for us footmen to make such distinctions. Gregory. Why shouldn’t one make distinctions; are we not men? It’s they think we don’t understand! Just now they were deep in their talk, then they look at me, and at once it’s “lay zhon!” . Second Footman. And what’s that? Gregory. Oh, that means, “Don’t talk, they under- stand!” It’s the same at table. But I understand! You say, there’s a difference? I say there is none. First Footman. There is a great difference for those who understand. Gregory. There is none at all. To-day I am a footman, and to-morrow I may be living no worse than they are. Has it never happened that they’ve married footmen? ГИ go and have a smoke. | Exit. Second Footman. That’s a bold young man you've got. 1 Betsy. Cease; mind the servants! 232 FRUITS OF CULTURE Theodore Ivénitch. A worthless fellow, not fit for se ice. He used to be an office boy and has got spoilt. advised them not to take him, but the mistress liked hi He looks well on the carriage when they drive out. First Footman. I should like to send him to our Count’ he’d put him in his place! Oh, he don’t like those scatter-_ brains. “If you’re a footman, be a footman and fulfil your _ calling.” Such pride is not befitting. [PETRISTCHEF comes running downstairs, and takes out a cigarette. \ Petristchef (deep in thought). Let’s see, my second is ~ the same as my first. Echo, a-co, co-coa. (Enter Коко KLINGEN, wearing his pince-nez.)._Ko-ko,-co-coa. Cocoa tin, where do you spring from? Bie do Koko Klingen. From the Stcherbakofs. You are al- ways playing the fool .. . Petristchef. No, listen to my charade. My first is the same аз my second, my third may be cracked, my whole is like your pate. Koko Klingen. I give it up. I’ve no time. Petristchef. Where else are you going? Koko Klingen. Where? Of course to the Ivins, to practice for the concert. Then to the Shotbins, and then to the rehearsal. You’ll be there too, won’t you? Petristchef. Most certainly. At the re-her-Sall and also at the re-her-Sarah. Why, at first I was a savage, and now I am both a savage and a general. Koko Klingen. Ном did yesterday’s séance go off? Petristchef. Screamingly funny! There was a peasant, and above all, it was all in the dark. Vovo cried like an infant, the Professor defined, and Marya Vasilevna refined. Such a lark! You ought to have been there. Koko Klingen. Im afraid, mon cher. You have a way of getting off with a jest, but I always feel that if I say a word they’ll construe it into a proposal. Ht са ne m/’ar- range pas du tout, du tout. Mais du tout, du tout! * Petristchef. Instead of a proposal, make a proposition, and receive a sentence! Well, I shall go in to Vovo’s. Н you'll call for me, we can go to the re-her-Sarah together. * And that won’t suit me at all, at all! Not at all, at all! FRUITS OF CULTURE 233 Koko Klingen. 1 can’t think how you can be friends with such а fool. Не is so stupid—a regular blockhead! Petristchef. And I am fond of him. I love Vovo, but . . . “with a love so strange, ne’er towards him the path untrod shall be”... [Exit into Vovo’s room. [Betsy comes down with а Lavy. Коко bows sig- nificantly to BETSY. Betsy (shaking Koxo’s hand without turning towards him. To Lapy). You are acquainted? Lady. No. Betsy. Baron Klingen. . . . Why were you not here last night? Koko Klingen. I could not come, I was engaged. Betsy. What a pity, it was so interesting! (Laughs.) You should have seen what manifestations we had! Well, how is our charade getting on? Koko Klingen. Oh, the verses for mon second are ready. Nick composed the verses, and I the music. Betsy. What are they? What are they? Do tell me! Koko Klingen. Wait a minute; how does it go? . . Oh, the knight sings: “Oh, naught so beautiful as nature: The Nautilus sails by Oh, naughty lass, oh, naughty lass! Oh, nought, oh, nought! Oh, fie!” Lady. I see, my second is “nought,” and what is my first? Koko Klingen. My first is Aero, the name of a girl savage. Betsy. Aero, you see, is a savage who wished to devour the object of her love. (Laughs.) She goes about lament- ing, and sings— “My appetite,” Koko Klingen (interrupts)— “How can I fight,” .. Betsy (chimes in)— “Some опе to chew I long. I seeking go... Koko Klingen— “But even 50...” 234 FRUITS OF CULTURE Betsy— “No one to chew can find.” Koko Klingen— “A raft sails by,” Betsy— “ТЕ cometh nigh; Two generals upon it...’ Koko Klingen— “Two generals are we: By fate’s hard decree, To this island we flee.” And then, the refrain— “By fate’s hard decree, To this island we flee.” Lady. Charmani! Beisy. But just think how silly! Koko Klingen. Yes, that’s the charm of it! Lady. And who is to be Aero? Betsy. I am. And I have had a costume made, but mamma says it’s “not decent.”” And it is not a bit less ? decent than a ball dress. (То ТнеорокЕ IvANitcH.) Is — Bourdier’s man here? Theodore Ivdnitch. Yes, he is waiting in the kitchen. Lady. Well, and how will you represent Aeronaut? — Betsy. Oh, you'll see. I don’t want to spoil the pleasure ‚ for you. Аи revoir. Lady. Good-bye! [They bow. Exit Lavy. Betsy (to Коко Kiincen). Come up to mamma. [Betsy and Коко go upstairs. Jacos enters from servants’ quarters, carrying a tray with teacups, cakes, etc., and goes panting across the stage. Jacob (to the Еоотмем). How d’you do? How d’you | do? [Еоотмем bow. Jacob (to TuHropore IvAniTcH).—Couldn’t. you tell Gregory to help a bit! I’m ready to drop. ... [Exit up the stairs. fei Footman. That is a hard-working chap you’ve got ere. FRUITS OF CULTURE 235 Theodore Ivénitch. Yes, a good fellow. But there now —he doesn’t satisfy the mistress, she says his appearance is ungainly. And now they’ve gone and told tales about him for letting some peasants into the kitchen yesterday. It is a bad look-out: they may dismiss him. And he is a good fellow. Second Footman. ‘What peasants were they? | Theodore Ivénitch. Peasants that had come from our Koursk village to buy some land. It was night, and they were our fellow-countrymen, one of them the father of ° the butler’s assistant. Well, so they were asked into the kitchen. It so happened that there was thought-reading going on. Something was hidden in the kitchen, and all the gentlefolk came down, and the mistress saw the peas- ants. There was such a row! ‘How is this,” she says; “these people may be infected, and they are let into the kitchen!” . . . She is terribly afraid of this infection. | [| Enter GREGORY. Theodore Ivdnitch. Gregory, you go and help Jacob. ГИ stay here. He can’t manage alone. Gregory. Не’з awkward, that’s why he can’t manage. | Exit. First Footman. And what is this new mania they have got? This infecticn! ... So yours also is afraid of it? Theodore Ivdnitch. She fears it worse than fire! Our chief business, nowadays, is fumigating, washing, and sprinkling. First Footman. Тзее. That’s why there is such a stuffy smell here. (With animation.) 1 don't know what we're coming to with these infection notions. It’s just de- testable! They seem to have forgotten the Lord. There’s ; our master’s sister, Princess Mosoléva, her daughter was _dying, and, will you believe it, neither father nor mother would come near her!~~So-she-died without their having taken leave of her. And the daughter cried, and called them to say good-bye—but they didn’t go! The doctor had discovered some infection or other! And yet their own maid and a trained nurse were with her, and nothing happened to them; they’re still alive! 236 FRUITS OF CULTURE [Enter Vasity Гкомплтсн and PEtTRISTCHEF from Vasity LEONIDITCH’S room, smoking cigarettes. Petristchef. Come along then, only I must take Koko — — Cocoanut, with me. Vasily Leontditch. Your Koko is a regular dolt; I can + | bear him. А hare-brained fellow, a regular gad- about! — Without any kind of occupation, eternally loafing around!) Eh, what? Petristchef. Well, anyhow, wait a bit, I must say good- bye. Vasily Leoniditch. All right. And I will go and look at my dogs in the coachman’s room. I’ve got a dog there that’s so savage, the coachman said, he nearly ate him. _ Petristchef. Who ate whom? Did the coachman really — eat the dog? Vasily Leoniditch. You are always at it! [Puts on outdoor things and goes out. ae, ( thoughtfully ). Ma-kin-tosh, Co-co- tin. . . . Let’s see. [Goes upstairs. " [JACOB runs across the stage. Theodore Ivdnitch. What’s the matter? Jacob. There is no more thin bread and butter. I said... [Evxit.] Second Footman. And then our master’s little son fell ill, and they sent him at once to an hotel with his nurse, and there he died without his mother. First Footman. They don’t seem to fear sin! J think you cannot escape from God anywhere. Theodore Ivdnitch. 'That’s what I think. [ТАсов runs upstairs with bread and butter. First Footman. One should consider too, that if we are to be afraid of everybody like that, we’d better shut our- selves up within four walls, as in a prison, and stick there! . [Enter TANYA; she bows to the FooTMEN. Tdnya. Good afternoon. [Еоотмем bow. Tanya. Theodore Ivanitch, I have a word to say to you. Theodore Ivdnitch. Well, what? Lohan The peasants have come again, Theodore Ivan- Ва FRUITS OF CULTURE 237 Theodore Ivdnitch. Well? I gave the paper to Simon. Tanya. I have given them the paper. They were that grateful! I can’t say how! Now they only ask you to take the money. Theodore Ivdnitch. But where are they? Ténya. Here, by the porch. Theodore Ivdnitch. All right, ГП tell the master. Tdnya. I have another request to you, dear Theodore Ivanitch. Theodore Ivdnitch. What now? Tdnya. Why, don’t you see, Theodore Ivanitch, I can’t remain here any longer. Ask them to let me go. [Enter JAcoB, running. Theodore Ivénitch (to Jacos). What d’you want? Jacob. Another samovar, and oranges. Theodore Ivénitch. Ask the housekeeper. | Exit JACOB. Theodore Ivdnitch (to TANYA). How is that? Tdnya. Why, don’t you see, my position is such. . . Jacob (runs in). There are not enough oranges. Theodore Ivénitch. Serve up aS many as you’ve got. (Exit Jacos.) Now’s not the time! Just see what a bustle we are in. : Tdnya. But you know yourself, Theodore Ivanitch, there is no end to this bustle; one might wait for ever—you know yourself—and my affair is for lifes. ев Theos dore Ivanitch, you have done me a good turn, be a father to me now, choose the right moment and tell her, or else she'll get angry and won’t let me have my passport. * Theodore Ivdnitch. Where’s the hurry? Ténya. Why, Theodore Ivanitch, it’s all settled now. . . . And I could go to my godmother’s and get ready, and then after Easter we'd get married.” Do tell her, dear Theodore Ivanitch! Theodore Ivdnitch. Go away—this is not the place. 1Employers have charge of the servants’ passports, and in this way have a hold on them in case of misconduct. 3 Сее footnote, р. 79. It is customary for peasants to marry just after Easter, but when spring has come and the field work begun, no marriages take place among them till autumn. 238 _ FRUITS OF CULTURE [An elderly GENTLEMAN comes downstairs, puts on overcoat, and goes out, followed by the SECOND FooTMAN. н [Exit TANya. Enter ]Асов. в. Jacob. Just fancy, Theodore Ivanitch, it’s too bad! She © wants to discharge me now! She says, “You break every- thing, and forget Frisk, and you let the peasants into the kitchen against my orders!” And you know very well that I knew nothing about it. Tatyana told me, “Take them into the kitchen”; how could I tell whose order it” was? Theodore Ivdnitch. Did the mistress speak to you? Jacob. She’s just spoken. Do speak up for me, Theo- — dore Ivanitch! You see, my people in the country are only © just getting on their feet, and suppose I lose my place, when shall I get another? Theodore Ivanitch, do, please! [ANNA PAvVLOVNA comes down with the old Coun- TESS, whom she is seeing off. The Countess has false teeth and hair. The First Footman helps the CouNTEsS into her outdoor things. р Anna Pdvlovna. Oh, most certainly, of course! Тапуз0_ deeply touched. | Countess. If,it were not for my illness, I should come oftener to see you. Anna Pdvlovna. You should really consult Peter Petrdv-— itch. He is rough, but nobody can soothe one as he does. _ He is so clear, so simple. | Countess. Oh no, I shall keep to the one I am used to. © Anna Pdvlovna. Pray, take care of yourself. Countess. Merci, mille fois merci.* [СкЕсову, dishevelled and excited, jumps out from the servants’ quarters. SIMON appears behind ито in the doorway. Simon. You’d better leave her alone! | Gregory. You rascal! ГИ teach you how to fight, you” scamp, you! Anna Pdvlovna. What do you mean? Do you think you are in a public-house? * Countess. Thank you (for your hospitality), a thousand thanks. FRUITS OF CULTURE 239 Gregory. This coarse peasant makes life impossible for me. 3 Anna Pévlovna (provoked). You've lost your senses. Don’t you see? (То Countess.) Merci, mille fois merci. A mardi! * [Exeunt Countess and First FooTMAN. Anna Pévlovna (to GREGORY). What is the meaning of this? Gregory. Though I do occupy the position of a footman, still I won’t allow every peasant to hit me; I have my pride too. Anna Pédvlovna. Why, what has happened? Gregory. Why, this Simon of yours has got so brave, sitting with the gentlemen, that he wants to fight! Anna Pévlouna. Why? What for? Gregory. Heaven only knows! Anna Pévlovna (to Stmon). What is the meaning of it? Simon. Why does he bother her? Anna Pévlovna. What has happened? Simon (smiles). Well, you see, he is always catching hold of Tanya, the lady’s-maid, and she won’t have it. Well, so I just moved him aside a bit, just so, with my hand. Gregory. A nice little bit! He’s almost caved my ribs in, and has torn my dress-coat, and he says, “The same power as came over me yesterday comes on me again,” and he begins to squeeze me. Anna Pévlouna (to Stwon). How dare you fight in my house? Theodore Ivdnitch. May Т explain it to you, ma’am? I must tell you Simon is not indifferent to Tanya, and is engaged to her. And Gregory—one must admit the truth— does not behave properly, nor honestly, to her. Well, so I suppose Simon got angry with him. Gregory. Not at all! It is all his spite, because I have discovered their trickery. | Anna Pévlovna. What trickery? 1 Anna Pévlovna. Thank you (for coming to see us), a thou- sand thanks. Till next Tuesday | 240 FRUITS OF CULTURE Gregory. Why, at the séance. АП those things, last night,—it was not Simon but Tanya who did them! I saw her getting out from under the sofa with my own eyes. Anna Pédvlovna. What is that? From under the sofa? Gregory. I give you my word of honor. And it was she who threw the paper on the table. If it had not been for her the paper would not have been signed, nor the land sold to the peasants. Anna Pdvlovna. And you saw it yourself? Gregory. With my own eyes. Shall I call her? She'll not deny it. Anna Pavlovna. Yes, call her. [ Exit GREGORY. [Noise behind the scenes. The voice of the Door- KEEPER, “No, no, you cannot.” DOORKEEPER #5 seen at the front door, the three PEASANTS rush in past him, the SECOND PEASANT first; the Тнтвр one stumbles, falls on his nose, and catches hold of ti. Doorkeeper. You must not go in! Second Peasant. Where’s the harm? We are not doing anything wrong. We only wish to pay the money! First Peasant. ‘That’s just it; as by laying on the signa- | ture the affair is come to a conclusion, we only wish to make payment with thanks. | Anna Pdvlovna. Wait a bit with your thanks. It was all done by fraud! It is not settled yet. Not sold yet. . . Leonid. . . . Call Leonid Fyddoritch. | Exit DooRKEEPER. [LEonip FydporitcH enters, but, seeing his wife and the PEASANTS, wishes to retreat. Anna Pavlovna. No, no, come here, please! I told you the land must not be sold on credit, and everybody told you so, but you let yourself be deceived like the veriest blockhead. Leonid Fyédoritch. Ном? I don’t understand who is deceiving? Anna Pdvlovna. You ought to be ashamed of yourself! You have grey hair, and you let yourself be deceived and a > ea