THE PLAYSFrom Leo Tolstoy concerning
the translation of his works by
Louise and Aylmer Maude :—
<c Better translators, both for
knowledge of the two languages
and for penetration into the very
meaning of the matter translated,
could not be invented **LEO TOLSTOY
PLAYS
'Translated by
Louise and Aylmer Maude
COMPLETE EDITION
INCLUDING THE POSTHUMOUS
PLAYS
FOUR TH IMPRESSION
NEW YORK
FUNK & WAGNALLS COMPANY
1919.'29S41!
LIST OF ILLUSTRATIONS
Leo Tolstoy (Photogravure Portrait)	.	Frontispiece
Matryôna gives Anisya the powders Facing page 12
I’m not ashamed of my parent .	„	„	51
Her box is full as it is' .	.	.	„	„	53
You TELL ME NOT TO FEAR MEN?.	„	„	91
Well, dear, and what progression is
our business making ? .	.	„	„	] 74
There, you see ! You are being made
a fool of	.	.	.	„	„	223CONTENTS
Preface	.	,
Plays published during Tohioy s life
The Power of Darkness (1886)	.
The First Distiller (1886) .
Fruits of Culture (1889)
Posthumous Plays
The Live Cqrpse	.
The Cause of it All	•	;
The Light Shines in Darkness „
PAGE
h
S
.	97
.	125
s 229
.	303
.	321
a 2PREFACE
The Power of Darkness, Tolstoy's first and greatest play,
was not written until he was fifty-eight years of age, and
it was not allowed to be performed in Russia till some
years later. Both there and elsewhere abroad it was
highly successful on the stage, as was also the comedy,
Fruits of Culture, which he wrote three years later, to be
performed by his own family and their friends.
The only other play published during his lifetime,
The First Distiller, is a very slight piece of no par-
ticular dramatic importance. It was written in the cause
of temperance.
Besides these, he left three other plays finished, or
nearly finished, when he died.
The Live Corpse (which in English has also been called
The Man who was Dead) is the one best adapted for the
stage. The Cause of it All is, like The First Distiller, a short
and unimportant piece dealing with the effects of drink.
The most interesting, not dramatically but psychologi-
cally, of the three is The Light Shines in Darkness, which
was left in an unfinished state. In it Tolstoy presents
his own case, and deals with the contradiction that existed
and has so often been commented on, between practice
and theory in his own life and teaching.
For the purpose of the play he greatly simplified his
own highly complex personality, and, though many of the
details and characters are drawn from life with extra-
ordinary exactitude, the picture presented is not one which
all the people concerned are disposed to regard as quite
fair to themselves.
bX
Preface
The play presents the terrible clash which resulted
from the calls Tolstoy made on himself and on others to
abandon all customary ways of life and to start afresh in
a new direction. In his own case he was never allowed
to test the effects of a life of extreme poverty and
manual labour, such as he advocated ; nor did those of his
followers who adopted such a life achieve much success
therein. Tolstoy's artistic sincerity is indeed shown by the
fact that, despite his spiritual fervour and his profound con-
viction that he had really found the road to salvation for
mankind, he has not, in this play, minimised the failure
of his efforts to carry convictions to those about him, or
to achieve any other success than that of obtaining an
inward assurance that he was fulfilling the will of God.
This assurance would, no doubt, have been more fully in-
dicated in the last act, had he lived to complete it,
Tolstoy was well aware of the advantages a play
possesses over a novel as a means of propaganda, and but
for the existence of the Censorship he would have written
more for the stage. When asked, in 1892, whether he
would write any more plays, he replied: “ I would
do so with great pleasure, and I even feel a special
need to express myself in that way; but I feel certain
the Censor would not pass my plays. You would not
believe how, from the very commencement of my activity,
that horrible Censor question has tormented me! I
wanted to write what I felt; but at the same time I felt
that what I wrote would not be permitted; and involun-
tarily I abandoned the work. I abandoned, and went on
abandoning, and meanwhile the years passed away.”
There is one other matter of some importance on
which I must here say a word.
No accepted standard of transliteration for Russian
names into English has hitherto existed. Each writer has
been a law unto himself. Now, at last, the LiverpoolPreface
xi
School of Russian Studies has prepared and privately cir-
culated a scheme, which deserves to be, and is likely to be,
generally adopted. It differs in some particulars from the
plan I have followed heretofore; but the advantage to
Anglo-Russian literature of the general adoption of a
uniform and authoritative rule will be so great that I
hasten to put myself in accord with the Liverpool scheme,
without even waiting for it to be publicly promulgated.
The result of so doing however is that in the three
earlier plays now reprinted from stereotype plates the
transliteration does not quite coincide with the plan
adopted in the three freshly translated plays. For this
discrepancy I must ask the readers' kind indulgence.
AYLMER MAUDE.THE POWER OF DARKNESS
OR
IF A CLAW IS CAUGHT THE BIRD IS LOST
A DRAMA IN FIVE ACTS
(1886)CHARACTERS
peter ignXtitch. 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 oldf
hard of hearing, mentally undeveloped.
nan (anna petrovna). His daughter by his second marriage, 10
years old.
nikIta. Their labourer, 25 years old, fond of dress.
akim. Nikita*s father, 60 years old, a plain-looking, God-fearing
peasant.
matry<5na. His wife and Nikita's mother, 50 years old
MARfNA. An orphan girl, 22 years old.
martha. Peter*s sister.
mItritch. An old labourer, ex-soldier.
simon. Marina*s husband.
bridegroom. Engaged to Akoulina.
ivIn. His father.
A NEIGHBOUR.
FIRST girl.
SECOND GIRL.
POLICE OFFICElt*
DRIVER.
BEST-MAN.
MATCHMAKER.
VILLAGE ELDER.
visitors, women, girls, and peoplb come to see the wedding.
N.B.—The ‘ oven’ mentioned is the usual large, brick, Russian
baking-oven. The top of it outside is fiat, so that more thuu
one person can lie on it.THE POWER OF DARKNESS
ACT I
The Act takes place in autumn in a large village. The
Scene represents Peters roomy Hut Peter is sitting on a wooden
bench, mending a horse-collar. Anisya 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’ 11 be killing
the colt. Nikita! Hey, Nikita! Is the fellow deaf?
[Listens. To 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 labourers! If I
were well, I’d not keep one on no account. There’s
nothing but bother with 'em. [ifosei and sits down again]
Nikita! ... It's no good shouting. One of you'd better
go. Go, Akoiil, drive 'em in.
AKouiiNA. 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.
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
34	The Power of Darkness
have no roof left over one's head before the year's out,
Oh what people!
ANfsYA. You go shoving a dozen jobs on to one's
shoulders, 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.
AKouLfNA [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. I'd 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 ?
akouUna. 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 f 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
Petr6vna,” 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!The Power of Darkness	5
peter. Well, let him go. Just as if I couldn’t find
somebody else.
anisya. And what about the money he's had in
advance ?
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
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 labourer. But I tell you straight, I'm not
going to do a man’s work! I'll 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! I'd better go myself and see what’s up. [Exit].
ANisYA [after hini\ Scurvy long-nosed devil!
akoulina. What are you swearing at dad for ?é	The	Power	of	Darkness
anísya. Hold your noise, you idiot!
AKouLÍNA [going to the door] I know why you’re swear-
ing at him. You’re 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 witK\ Mind, or I’ll 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
your intention, I’ll go and . . . No, I can’t live without
him. I won’t let him go.
Nikita [enters, looks round, and seeing Anisya alone
approaches quickly. In a low tone\ Here’s a go; I’m in a
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
forgotten ?
anisya. Yes, go and marry ! What do I care ?
nikita. What are you spitting for? Just see, she wont
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 I’ll forget
you ? Never while I live ! I’ll not play you false, that’s
fiat. 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.
anisya. Much need I'll have of you, once you’re married.
nikita. There’s a go now. How is it possible to go
against one's father’s will ?The	Power of	Darkness	7
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.
anisya. If you don't wish it yourself who can force you t
He 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
village 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 I’ll . . .
nikIta. Why should I go? Had I wanted to go—I
should have gone long ago.	There was Ivan Sem-
yonitch t'other day—offered me a place as his coach-
man. . . . 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;?	The	Power	of	Darkness
then we could cover our sin, make it all right and lawful,
and then you'll be master here.
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.
ANÍ8YA. And you'll love me ?
nikita [embracing her] There, as you have ever been
in my heart . . .
matryóna [enters, and crosses herself a long time before the
icón. Nikita and Anisya step apart] What I saw I didn't
perceive, what I heard I didn’t hearken to. Playing 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, sonnie.
nikíta. I only came to get the axe.
matryóna. I know, sonnie, I know; them sort of axes
are mostly to be found where the women are.
nikita [stooping to pick up axe\ I say, mother, is it true
you want me to marry? As I reckon, that’s quite un-
necessary. Besides, I've got no wish that way.
matryóna. Eh, honey! why should you marry ? Go on
as you are. It's all the old man. You'd better go, sonnie,
we can talk these matters over without you.
nikíta. It's a queer go! One moment I’m to be married,
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 ?
matryóna. Eh, why should he marry, my jewel ? It's
all nonsense, all my old man's drivel. “ Marry, marry/'
But he's reckoning without his host. You know the
saying, “ From oats and hay, why should horses stray ?"
When you've enough and to spare, why look elsewhere ?
And so in this case. [Winks] Don't I see which way the
wind blows ?
anisya. Where's the good of my pretending to you,The Power of Darkness	9
Mother Matryona ? You know all about it. I have
sinned. I love your son.
matry6na. Dear me, here's news ! D’you think Mother
Matry6na didn't know ? Eh, lassie,—Mother Matry6na's
been ground, and ground again, ground fine ! This much
I can tell you, my jewel: Mother Matry6na 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. [Unties a knot in her
handkerchief and brings out paper-packets] As much as is
wanted, I see, and what's not wanted I neither see nor
perceive ! There ! Mother Matry6na 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 ? He'll do as well as
another. Then where's the advantage of my taking him
away from a good place ? Am I my child's enemy ?
anIsya. Oh, if only he does not go away.
matry6na. He won't go away, birdie. It's all non-
sense. You know my old man. His wits are always
wool-gathering; 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 hammer.
anisya. And what started this business ?
matry6na. 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?
matry6na. Yes, the plague seize her! Whether any*io	The	Power	of	Darkness
thing happened or not, anyhow something got to my old
man s ears. Maybe he heard from the neighbours, maybe
she's been and blabbed . . .
anisya. Well, she is a bold hussy !
matry6na. 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/1 says I, "it would be a good job,—only we
must consider well beforehand. Why not go and see our
son, and talk it over with Peter Ignatitch 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 ?
matry6na. 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
matter clear—there will be none of it left. I have come
here only for the look of the thing. A very likely thing!
Here’s my son living in happiness r.nd expecting happi-
ness, and I’ll 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.
matry6na. 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. HeThe Power of Darkness	n
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.
matry6na. 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 Matry6na, 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.
matry6na. 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, is a sleeping draught. “ Just give him one
of these powders/' he says, u and he'll sleep so sound you
might jump on 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 ?
matry6na. “ No sign whatever/' he says. He's taken
a rouble for it. “Can't sell it for less," he says. Be-
cause 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 right; if she don't, I can let old
Michael's daughter have them.
anisya. O-o-oh! But mayn't some evil come of them ?
I'm frightened !
matry6na. 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.12	The	Power	of	Darkness
anisya. O-o-oh, my poor head! Pm afeared, Mother
Matry6na, lest some evil come of them. No. That
won't do.
matry6na. 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 ?
matry6na. Better in tea, he says. “You can’t notice
anything/' he says, “ no smell nor nothing.” He’s 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 ?
matry6na. You’ll not forget that rouble ? I promised
to take it to the old man. He’s had some trouble, too.
ANisYA. Of course ? [Goes to her box and hides the
powders].
matry6na. 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 Akim, who crosses himself in front of the icdnf and
then Peter, who sits down.
peter. Well then, how's it to be, Daddy Akim ?
akim. As 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. I'd 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 name ? As
it’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 ?
matry6na. As to marrying, he might bide a while,THE POWER OF DARKNESS. Act I.
Matryona gives Anisya the powders.The Power of Darkness	13
Peter Igndtitch. You know our poverty, Peter Igndtitch.
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.
matry6na. Where's the hurry for him to get married ?
Marriage is not that sort of thing, it’s not like ripe rasp-
berries 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 like to . . . what d'you call it ? '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.
matry6na. 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 as 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 some-
thing 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
advance ?
akim. That's it, that's it! It's just as you say, Igndtitch,
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.14	The	Power	of Darkness
matry6na. Ah, but it’s not yet settled between our-
selves, Peter Igndtitch. I’ll speak to you as I would
before God, and you may judge between my old man and
me. He goes 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.
aki'm. 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 ?
AitfM. 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.
matry6na. You wait a bit, my tongue runs smoother—
let me tell it. You know, this lad of ours lived at the
railway 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.
matry6na. But she’s no honest girl herself; she runs
after the fellows like a common slut.
AKfM. 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 . . .
matry6na. 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 her. A daughter-
in-law's not like a shoe, you can’t kick her off.The Power of Darkness	15
akím [excitedly] It's false, old woman, it's what d’you
call it, false ; I mean, about the girl; false ! "Cos why ?
The lass is a good lass, a very good lass, you know. I'm
sorry, sorry for the lassie, I mean.
matryóna. It’s an old saying: “ For the wide world
old Miriam grieves, and at home without bread her
children she leaves.*’ He's sorry for the girl, but not
sorry for his own son ! Sling her round your neck and
carry her about with you ! That's enough of such empty
cackle!
akím. No, it's not empty.
matryóna. There, don’t interrupt, let me have my say.
akím [interrupts] No, not empty! I mean, you twist
things your own way, about the lass or about yourself
Twist them, I mean, to make it better for yourself; but
God, what d’you call it, turns them His way. That's how
it is.
matryóna. Eh ! One only wears out one's tongue with
you.
akím. 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.
matryóna. Eh! they'll all tell you a tale of that sort. ..
anísya. Daddy Akim, you'd better listen to us women;
we can tell you a thing or two.
akím. 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 ?
matryóna. 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.16	The	Power	of	Darkness
He won't wish to lose his soul. Go and call the fellow,
[Anisya rises] and tell him his father wants him. [Exit
Anisya],
matry6na. 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. He’ll
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. If you would only give us ten roubles now,
we'll let him stay on.
peter. All in good time. First let us settle one thing
before we start another,
akIm. You see, Peter Igndtitch, 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 so . . .The Power of Darkness	17
Enter Nikita and Nan.
nikIta. You called me?	down	and takes out his
tobacco-pouch].
peter [in a low, reproachful voice] What are you think-
ing about—have you no manners ? Your father is going
to speak to you, and you sit down and fool about with
tobacco. Come, get up !
Nikita rises, leans carelessly with Ms 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, com-
plaining, I mean. It’s her, you know—a complaint against
you, from Marina, I mean.
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? foolin5.
Have you been foolin' with her, I mean ?
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 that ?
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, 1
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,
B*8	The	Power	of	Darkness
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 Fedka 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 anything
happen ?
niki'ta [aside] How he sticks to it; it's too bad. [To
Akim] I tell you, I know nothing more. There's been
nothing between us. [Angrily] By 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 nothing about it ?
matry6na [£o her husband] There now, that’s just like
your silly pate, to believe all they tell you. He's 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
master 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 disapprovingly]
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. [Exit].
matry6na [to Peter] That’s always the way with this
old mumbler of mine, Peter Ignatitch. Once he's got
anything wedged in his pate there's no knocking it out.The Power of Darkness	19
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 ?
akìm. 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.
matryóna. 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.
matryóna. And it's for a year he'll bind himself. If
we want help when the press of work comes, we can hire
help, and the lad shall remain with you. Only give us
ten roubles now. . . .
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.
matryóna. For a 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 and bows to Peter],
Enter Nan and Anisya. The latter sits down ai 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 vódka ?
akìm. No, I never drink that sort of thing.
peter. Well, you'll have some tea ?
akìm. Ah, tea ! yes, I do sin that way. Yes, tea's the
thing.
peter* And the women will also have some tea. Come.zo	The	Power	of	Darkness
And you, Nikita, go and drive the sheep in and cleat
away the straw.
nikita. All right. [Exeunt all but Nikita. Nikita lights
a cigarette. It grows darker] Just see how they bother
one. Want a fellow to tell 'em how he larks about
with the wenches! It would take long to tell 'em all
those stories—u 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.
akouli'na [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.
niki'ta. What, to look at you? I can see you well
enough without.
AKouLfNA. 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!
nan. Blest if she isn't!
nikita. What does she want ?
nan. She wants you to come out. She says, u 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, “ No, 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, “ IThe Power of Darkness	21
must say a word to him somehow/' She's been waiting a
long time. Why don’t you go ?
NiKiTA. Bother her! What should I go for ?
nan. She says, “ If he don’t come, I'll go into the hut
to him.” Blest if she didn’t say she’d come in!
NiKfTA. Not likely. She’ll wait a bit and then go
away.
nan. “ Or is it/' she says, ff that they want him to marry
Akoulina ? ”
Re-enter Akoulina, passing near NiHta to take her distaff.
AkoulIna. Marry whom to Akoulina ?
nan. Why, Nikita.
akoul*na. A likely thing! Who says it ?
nikIta [looks at her and laughs] It seems people do say it.
Would you marry me, Akoulina ?
akouiJna. Who, you ? Perhaps I might have afore,
but I won’t now.
nikIta. And why not now ?
akoulina. 'Cos you wouldn't love me.
niki'ta. Why not ?
AKouLfNA. '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 com-
ing ! I’m blest if she isn’t! I’ll go away. [Exit],
marina [entersJ 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, youi
coming here ?
marina. Oh, Nikita!22	The	Power	of	Darkness
NiKfTA. Well, you are strange ! What have you come for?
marIna. Nikita!
NiKfTA. 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
believed 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
improper. You've been telling tales to father. Now, do
go away, will you ?
MARiNA. You know yourself I never loved any one but
you. Whether you married me or not, Pd not have been
angry. I've done you no wrong, then why have you
left off caring for me ? Why ?
NiKfTA. 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 pro-
mised to marry me that hurts, but that you've left off loving.
No, it's not that youVe stopped loving me either, but
that you've changed me for another, that’s what hurts.
I know who it is !
NiKfTA [comes up to her viciously] Eh! what's the good
of talking to the likes of you, that won’t listen to reason ?
Be off, or you'll drive me to do something you'll be
sorry for.
marIna. What, will you strike me, then ? Well then,
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?The Power of Darkness	23
marina. So this is the end of it! What has been has
flown. You want me to forget it? W7ell then, Nikita,
listen. I kept my maiden honour 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 11 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].
NiidTA [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. [In the doorway]
God will give you no joy. [Exit, crying].
AKOUiiNA [comes out of closet] You're a dog, Nikita!
nikita. What's up ?
AKOULfNA. 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. [Eocit into
cbset].
Silence.
nikita. Here’s a fine muddle. I'm as sweet as honey
on the lasses, but when a fellow’s sinned with ’em it’s a
bad look-out!
Curtain.ACT II
The scene represents the village street. To the left the
oviside of Peter s hut, built of logs, with a porch in the
middle; to the right of the hut the gates and a comer
of the yard buildings. Anisya is beating hemp in the street
near the comer of the yard. Six months have elapsed since
the First Act
ANisYA [¿¿ops 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\ He’s
bothering me to death. Won't let out where the money
is, and that’s all about it. He 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. He 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 ?
AKouiiNA. Where ? Why, he’s told me to go for Aunt
Martha. “ Fetch my sister,” he says. “ I am going t«
die," he says. " I have a word to say to her.”
an!sya [aside] Asking for his sister ? Oh my poor head I
**4The Power of Darkness	25
Sure he wants to give it her. What shall I do ? Oh !
[To Akoulina] Don't go ! Where are you off to ?
aKoulina. To call Aunt.
anìsya. Don't go I tell you, I'll go myself. You go
and take the clothes to the river to rinse. Else you'll not
have finished by the evening.
akoulìna. But he told me to go.
anìsya. You go and do as you're bid. I tell you I'll
fetch Martha myself. Take the shirts off the fence.
akoulìna. The shirts ? But maybe you'll not go. He's
given the order.
anìsya. Didn't I say I'd go ? Where's Nan ?
akoulìna. Nan ? Minding the calves.
anìsya. Send her here. I dare say they'll not run away.
[Akoulina collects the clothes, and exit],
anìsya. If 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 Matryóna, with a stick and a bund,le, in outdoor
clothes.
matryóna. May the Lord help you, honey.
anìsya [looks round, stops working, and claps her hands with
joy] Well, I never expected this ! Mother Matryóna, God
has sent the right guest at the right time.
matryóna. Well, how are things ?
anisya. Ah, I'm driven well-nigh crazy. It's awful !
matryóna. Well, still alive, I hear ?
anìsya. Oh, don't talk about it. He doesn't live and
doesn't die !
matryóna. But the money—has he given it to anybody ?
anisya. He's just sending for his sister Martha—pro-
bably about the money.
matryóna. Well, naturally ! But hasn't he given it to
any one else ?
anìsya. To no one. I watch like a hawk.26	The	Power	of	Darkness
matry6na. And where is it ?
ANfsYA. 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 anything because of Akoulina. Idiot though she is,
she keeps watch, and is always about. Oh my poor head!
I'm bothered to death.
matry6na. Oh, my jewel, if he gives the money to any
one but you, you'll never cease 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.
ANfsYA. 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.
matry6na. Well, and did you look there ?
ANfsYA. 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.
matry6na. 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 neighbour
and stops].
The neighbour (a woman) passes the hut, and listens to a
call from within,
neighbour [to Anisya] I say, Anisya!	Eh, Anisya!
There's your old man calling, I think.
ANfsYA. That's the way he always coughs,—just as if he
were screaming. He's getting very bad.
neighbour [approaches Matryona] How do you do,
granny ? Have you come far P
matry6na. Straight from home, dear. Come to see myThe Power of Darkness	27
son. Brought him some shirts—can’t help thinking of
these things, you see, when it’s one’s own child.
neighbour. Yes, that’s always so. [To 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 ?
matryóna. Well, and has he had communion ?
anisya. Oh dear yes, the priest was here yesterday.
neighbour. 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 they laid him under the holy icóns.1 They started
lamenting and got ready to lay him out.
anisya. He came to, and creeps about again.
matryóna. Well, and is he to have extreme unction ?
anisya. The neighbours advise it. If he lives till to-
morrow we’ll send for the priest.
neighbour. Oh, Anisya dear, I should think your heart
musf be heavy. As the saying goes, “Not he is sick that’s
ill in bed, but he that sits and waits in dread.”
anísya. Yes, if it were only over one way or other!
neighbour. Yes, that’s true, dying for a year, it's no
joke. You’re bound hand and foot like that.
matryóna. 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 ?
anísya. Ploughing. But you come in and we’11 get the
samovár ready; the tea’ll set you up again.
matryóna [sitting dorvn\ Yes, it’s true, I’m quite done up,
my dears. As to extreme unction, that's absolutely neces-
sary. Besides, they say it’s good for the soul.
anisya. Yes, we’ll send to-morrow.
* It is customary to place a dying person under the icón. One or
more icóns hang in the hut of each Orthodox peasant28 The Power of Darkness
matey6na. Yes, you had better. And we've had a
wedding down in our parts.
neighbour. What, in spring?1
matry6na. Ah, 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 Matv6yitch, he’s married that Marina.
ANfsYA. What luck for her!
neighbour. He's a widower, I suppose there are children ?
matry6na. Four of’em. Vhat decent girl would have
him ! Well, so he’s taken her, and she’s glad. You see,
the vessel was not sound, so the wine trickled out
neighbour. Oh my! And what do people say to it?
And he, a rich peasant!
matry6na. They are living well enough so far.
neighbour. 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 me . . .
peasant’s voice. Hullo, Mavra. Where the devil are
you ? Go and drive the cow in.
Exit Neighbour.
matry6na [while the Neighbour is 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 ?
ANfsYA. Don’t speak about it. He’d better die of
himself. It's no use—he doesn't die, and I have only
taken a sin on my soul. O-oli, my head, my head! Oh,
why did you give me those powders ?
matry6n a. What of the powders ? The sleeping powders,
lass,—why not give them ? No evil can come of them.
ANfsYA. I am not talking of the sleeping ones, but the
others, the white ones.
1 Peasant weddings are usually in autumn. They are forbidden
in Lent, and soon after Easter the peasants become too busy to
marry till harvest is over.The Power of Darkness	29
matey<3na. Well, honey, those powders are medicinal.
ani'sya [¿¿g&r] I know, yet it's frightening. Though
he's worried me to death.
matry6na. Well, and did you use many ?
anisya. I gave two doses.
matry6na. 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.
matry6na. 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 ?
matry6na. 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
anything were to happen, I stand aside! I know nothing i
I’m aware of nothing! I'll 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
eould make one do worse than that. It could make you
hang yourself or throttle him. Is this a life ?
matry6na. 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.
ANisYA. 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.jo The Power of Darkness
matry6na [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. He’s worried me to
death.
matry6na. 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
left without.
anIsya. O-oh dear ! Yes, and he did send for her—
I must go.
matry6na. 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.
matry6na. 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.
ANfsYA. Well, I’ll go and light the samovar.
matry<Sna. Go, honey, do the business so as not to
regret it afterwards. That’s right! [Anisya turns to go,
Matrydna calls her back],
matry^na. Just a word. Don’t tell Nikita about the
business. He’s 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 doorway],
peter [holding on to the wall, creeps otU 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].The Power of Darkness	31
anIsya [j/epj from behind the corner] Why have you
come out ? You should have stayed where you were lying.
peter. Has 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, I'll go myself when	I'm ready.
peter. Send Nan. Where's	she ? Oh,	I'm	that bad!
Oh, death's at hand 1
anisya. I've sent for her already.
peter. Oh dear! Then where is she ?
ANfsYA. Where’s she got to, the plague seize her!
peter. Oh, dear! I can't bear it. All my inside's on
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.
. . . Oh . . . send Nan to me.
ANisYA. Here she is. Nan, go to father.
Nan runs in. Anisya 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. TeL
her I'm dying. O-oh !
nan. I'll just get my shawl and be off. [Runs off].
matry6na [iwinking] 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 I'll
search him.
anisya [to Matry&na] I feel a bit bolder, somehow,
now you're here. [Goes up to porch To Peter] Hadn't
I better light the samovar ? Here's Mother Matry6na
come to see her son; you'll have a cup of tea with her ?
peter. Well then, light it. [Anisya goes into the house.
Matry&na comes up to the porch],
peter. How do you do ?
matry6na \bowing] How d'you do, my benefactor;
how d'you do, my precious . . . still ill, I see. And my32	•	The	Power	of	Darkness
old man, he's that sorry ! u Go," says he, “ see how he's
getting on." He sends his respects to you. [Bowsagam\.
peter. I'm dying.
matry6na. 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.
matry6na. 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,
hell 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 it, I know. And my girl is silly and young. IVe
got the homestead together, and there's no one to attend
to things. One can't help feeling it. [ Whimpers].
matry6na. Why, if it's money, or something, you can
leave orders.
peter [to Anisya inside the house] Has Nan gone ?
matry6na [aside] There now, he's remembered!
ANfsYA [from inside\ She went then and there. Come
inside, won’t you ? I'll 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.
matry^na. 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 very point of death . . .
peter. No, I feel I shall die to-day, I feel it. [Leans
back and shuts his qyes].The Power of Darkness	33
anisya [enters] Well now, are you coming in or not?
You do keep one waiting. Peter ! eh, Peter!
matry6na [steps aside and beckons to Anisya with her finger]
Well?
anisya [comes down the porch steps] Not there.
matry6na. But have you searched everywhere ? Under
the floor ?
anisya. No, it's not there either. In the shed perhaps;
he was rummaging there yesterday.
matry6na. Go, 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 horseback,
up to the gate, and does not see Peter, To Matrydna] How
d'you do, mother, is all well at home ?
matry6na. The Lord be thanked, we're all alive and
have a crust to bite.
nikita. Well, and how's master ?
matry6na. Hush, there he sits. [Points to porch],
niki'ta. Well, let him sit. What's it to me ?
peter [opens Ms eyes] Nikita, I say, Nikita, come here!
[Nikita approaches. Anisya and Matryona whisper together].
peter. Why have you come back so early ?
nikIta. I've 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
have to go on purpose now. You might have made one
job of it. [Anisya, without showing herself, stands and listens],
matry6na [approaches] Oh, sonnie, 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,
c34	The	Power of Darkness
peter. Well then—o-oh! . . . Get out the seed pota-
toes, and the women will go and sort them.
anisya [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! [iftje«].
matry6na [runs up into the porch and Iwlds Peter up]
Shall I help you into the hut ?
peter. Help me in. [fitops] Nikita!
nikita [angrily] What now ?
peter. I shan’t see you again . . . I'll die to-day. . . ,
Forgive me,1 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.
matry6na. Ah, sonnie, 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
me any wrong. You forgive me; maybe I’ve sinned
worse against you. [ Weeps].
Peter goes in whimpering, Matrydna supporting Mm.
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 have
I gone and done !
anisya. Enough now ! Where’s the money ?
nikIta [angrily] How should I know ? Go and look
for it yourself!
1 A formal request for forgiveness is customary among Russians,
but it is often no mere formality. Nikita’s first reply is evasive;
his second reply, 4‘God will forgive you,” is the correct one sanc-
tioned by custom.The Power of Darkness	35
anìsya. What’s made you so tender ?
Nikita. I am sorry for him,—that sorry. How he cried!
Oh dear !
anìsya. Look at him,—seized with pity ! He has found
someone 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 !
nikìta. What are you to be pitied for ?
anisya. If he dies, and the money's been hidden
away . . .
nikìta. 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.
nikìta. I saw him coming from there, but where he’s
shoved it to, who can tell ?
anisya. Oh, my poor head! I’ll go and have a look
there. [Nikita steps aside].
matryóna [comes out of the hut and down the steps of the
porch to Anisya 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 !
matryóna. If you don’t keep wide awake now, then
you may whistle for it. If his sister comes—then good-
bye to it!
anìsya. That's true. She’ll come and he’ll give it her.
What’s to be done ? Oh my poor head !
matryóna. What is to be done ? Why, look here ;
the samovàr 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.
He’ll not tell, no fear.
anisya. Oh ! I’m afeared !36 The Power of Darkness
matryóna. Don't be talking now, but look alive, and
I'll keep his sister off if need be. Mind, don’t make a
blunder ! Get hold of the money and bring it here, and
Nikfta will hide it.
Anisya. Oh my head, my head ! I don’t know how I’m
going to . . .
matryóna. Don’t talk about it I tell you, do as I bid
you. Nikita !
Nikita. What is it ?
matryóna. 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 !
I ll really go and fetch out the potatoes.
matryóna [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.
anìsya. Coming ! What shall we do ?
matryóna. There’s plenty of time if you do as I tell
you.
anìsya. 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.
matryóna. Go on ! I should think the samovar’s boil-
ing over.
anìsya. Oh my head, my poor head ! [Exit],
matryóna [approaches Nikita] Now then, sonnie. [¿SV/i
domn beside him] Your affairs must also be thought about,
and not left anyhow.
nikìta. What affairs ?
matryóna. Why, this affair—how you’re to live your
life.The Power of Darkness	37
niki'ta. How to live my life ? Others live, and I shall
live !
matry6na. The old man will probably die to-day.
nikita. Well, if he dies, God give him rest! What’s
that to me ?
matry6na \keeps looking towards the porch while she
speaks] Eh, sonnie ! 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.
niki'ta. And what's it you’ve been bothering about ?
matry6na. About your affairs, about your future. If you
don’t take trouble in good time you’ll get nothing. You
know Ivan Moseitch ? 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 Moseitch,” says I,
“ how’s one to manage an affair of this kind ? Sup-
posing,” says I, “ a peasant as is a widower married a
second wife, and supposing all the children he has is a
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.”
nikita [laughs] That goes without saying, only fork out
the money. Who does not want money ?
matry6na. Well then, honey, so I spoke out plainly
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 be38	The	Power	of Darkness
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. [Nikita reads],
nikita. This papers only a decision for the elders to
sign. There’s no great wisdom needed for that.
matry6na. But you just hear what Ivan Moseitch 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, sonnie, things are coming to
a head.
nikita. What's that to me ? The money's hers—so let
her look out.
matry6na. Ah, sonnie, 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 all ? 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 inexpedient!
matry6na. 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 comer
to Matryona] So it was, it was on him! Here it is *
[Shows that she has something under her apron],
matry6na. Give it to Nikita, he'll hide it. Nikita, take
it and hide it somewhere.
nikIta. All right, give here !
ani'sya. O-oh, my poor head! No, I'd better do it
myself. [Goes towards the gate],
matry6na [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!The Power of Darkness	39
anìsya [stops irresolutely] Oh, my head, my head !
nikìta. Well, give it here. I'll shove it away somewhere
anisya. Where will you shove it to ?
nikìta [laughing] Why, are you afraid ?
Enter Akoulina, carrying clothes from the wash
anisya. O-oh, my poor head ! [Gives the money] Mind,
Nikita.
nikìta. What are you afraid of? I'll hide it so that
I'll not be able to find it myself. [Exit].
anìsya [stands in terror] Oh dear, and supposing he . . .
matryóna. Well, is he dead ?
anisya. Yes, he seems dead. He did not move when I
took it.
matryóna. Go in, there's Akoulina.
anìsya. Well there, I've done the sin and he has the
money. . . .
matryóna. Have done and go in ! There's Martha coming !
anìsya. There now, I've trusted him. What's going
to happen now ? [Exit],
martha [enters from one side, Akoulina enters from the
other. To Akoulina] I should have come before, but I was
at my daughter's. Well, how's the old man ? Is he
dying ?
akoulìna [puts down the clothes] Don’t know, I've been
to the river.
martha [pointing to Matryóna] Who's that ?
matryóna. I'm from Zoùevo. I'm Nikita's mother from
Zoiievo, my dearie. Good afternoon to you. He's
withering, 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 !
anìsya [runs out screaming. Clings to a post, and begins
wailing]1 Oh, oh, ah ! who-o-o-m have you left me
1 Loud public wailing of this kind is customary, and considered
indispensable, among the peasants.40	The	Power of Darkness
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 Neighbour. Matryona and Neighbour catch hold of
Anisya under the arms to support her. Akoulina and Martha
go into the hut. A crowd assembles.
a voice in the crowd. Send for the old women to lay
out the body.
matry6na [rolls up her sleeves] Is there any water in
the copper ? But I daresay the samovAr is still hot
I'll also go and help a bit.
Curiam,ACT III
The same hut Winter. Nine months have passed since
Act II, Anisya, plainly dressed, sits before a loom weaving.
Nan is on the oven.
mítritch \an old labourer, enters, and slowly takes off his
outdoor things] Oh Lord, have mercy! Well, hasn’t the
master come home yet ?
anisya. What ?
mítritch. Nikita isn’t back from town, is he ?
ANÍSYA. No.
mítritch. Must have been on the spree. Oh Lord!
anisya. Have you finished in the stackyard ?
mítritch. 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.
anísya. What need has he to hurry ? He’s got money.
Merry-making with that girl, I daresay . . .
mítritch. Why shouldn’t one make merry if one has
the money ? And why did Akoulina go to town ?
anísya. You’d better ask her. How do I know what
the devil took her there!
mítritch. 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. “TO 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,
4*+2
The Power of Darkness
anIsya. Really, a girl’s modesty reaches only to the
door. Step over the threshold and it's forgotten. She
is a shameless creature.
mitritch. Oh my! What’s the use of being ashamed ?
While there’s plenty of money make merry. Oh Lord!
It is too soon to have supper, eh ? [Anisya does not answer]
I’ll go and get warm meanwhile. [Climbs on the stove]
Oh Lord! Blessed Virgin Mother! holy Nicholas !
neighbour [enters] Seems your goodman’s not back yet?
anisya. No.
neighbour. It’s time he was. Hasn’t he perhaps
stopped at our inn ? My sister, Thekla, says there’s heaps
of sledges standing there as have come from the town.
anisya. Nan I Nan, I say !
nan. Yes?
anIsya. You run to the inn and see 1 Mayhap, being
drunk, he’s gone there.
nan [jumps down from the oven and dresses] All right.
neighbour. And he’s taken Akoulina with him ?
anisya. Else he’d not have had any need of going. It’s
because of her he’s unearthed all the business there.
€t Must go to the bank,1’ he says; “ it’s time to receive
the payments,” he says. But it’s all her fooling.
neighbour [shakes her head] It’s a bad look-out.
it the door] And if he’s there, what am I to say ?
anisya. You only see if he’s there.
nan. All right. I’ll be back in a winking. [Long
mitritch [roars] Oh Lord! merciful Nicholas!
neighbour [starting] Oh, how he scared me? Who
is it ?
anisya. Why, Mitritch, our labourer.
neighbour. Oh dear, oh dear, what a fright he did
give me! I had quite forgotten. But tell me, dear,
I’ve heard someone’s been wooing Akoulina ?The Power of Darkness 43
ANisYA [gets up from, the loom and sits down by the table]
There was some one from Dedlovo; 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 ?
neighbour. And the Lizoun6fs from Zoiievo ?
ANisYA. They made some steps too, but it didn't come
off either. They won't even see us.
neighbour. Yet it's time she was married.
ANfsYA, Time and more than time ! Ah, my dear, I'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.
neighbour. 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.
neighbour. 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.
neighbour. That goes without saying.
anisya. Ah, how hard it is to bear such treatment from
him ! Oh, how it hurts !
neighbour. Yes, and I've heard say he's becoming too
free with his fists ?
ANfsYA. And that too ! There was a time when he was
gentle when he'd had a drop. He used to hit out before,
but oi 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 hands entangled in
my hair so that I could hardly get away. And the girl's44	The Power of Darkness
worse than a serpent; it’s a wonder the earth bears such
furies.
neighbour. 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 ?
ani'sya. Ah, but my dear, if it weren’t for my heart1
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.
neighbour. Ah, neighbour, you must be under a spell.
Fve heard that Matryona goes in for that sort of thing.
It must be her.
ANisYA. Yes, dear; I think so myself sometimes.
Gracious me, how hurt I feel at times! Fd like to
tear him to pieces. But when I set eyes on him, my
heart won’t go against him.
neighbour. 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 girl a 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.
neighbour. 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,The Power of Darkness	45
too, will soon be made ducks and drakes of. Dear me,
how he squanders money !
neighbour. 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.
neighbour. Well, if I were you, I'd go straight and
have the law of him. The money's yours; how dare he
squander it ? There’s no such rights.
anisya. They don't pay heed to that nowadays.
neighbour. 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 !
neighbour [ilistening] There's someone coming, I think.
[The door opens and Akim 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. I've been a-thinking, I’ll 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 dorm on a bench] I've 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'll46	The	Power of Darkness
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.
neighbour. 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, I
mean? ...
mitritch. Why, I’m working for your son, Nikita.
akim. Dear me! What d’ve call . . . working for my
son, I mean. Dear me !
mitritch. I was living with a tradesman in town, but
drank all I had there. Now I’ve come back to the
village. Fve 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 do ? Has he some business,
I mean besides, that he should hire a labourer, a labourer
I mean, hire a labourer ?
ani'sya. What business should he have? He used to
manage, but now he’s other things on his mind, so he’s
hired a labourer.
mitritch. Why shouldn’t he, seeing he has money ?
akIm. Now that’s what d’you call it, that’s wrong, 1
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 beingThe Power of Darkness 47
sober. I drank my last breeches. When I had nothing
left, I gave it up. Now I've determined not to. Bother
it!
akim. And where's what d’you call, your old woman ?
mitritch. My 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, and 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’s wife to go ? She has
found her right place. [Silence\.
akim [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 ?
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. All 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, 1 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 Moseitch ad-
vised us at the time, “ Put the money in the bank/’ he48	The	Power of Darkness
said, “ the 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 d'ye 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 I’ll
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 bring it back, and you
squeeze the extra three roubles out of me.
akim. 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 meThe Power of Darkness	49
another tenner, and I'll 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!
akim [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 call it . . .
mitritch. That, old fellow, is just what they're fond of!
And remember, them that are stupid, or the women folk,
as can't put their money into use themselves, 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'ye 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
that nowadays ? And how clean they pluck you, too!
That's the fact of the matter.
akim [sigAi] 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 !
D50	The Power of Darkness
Thank you, my dear, I’ve had enough. Pm quite satis*
fied. [Rises. Mitritck climbs on to the oven],
anisya [eats, and collects the dishes] If his father would
only take him to task ! But I’m ashamed to tell him.
akIm. What d’you say ?
ANfsYA. Oh ! it’s nothing.
Enter Nan.
akim. Here’s a good girl, always busy ! You’re cold, I
should think ?
nan. Yes, I am, terribly. How d’you do, grand-
father ?
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 is cold. My hands are
quite numb. [Akim takes off his leg-bands and bast-shoes.
Anisya 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 right, you know.
ANisYA. And is there no talk in your village that a
relative of Marina’s husband thinks of marrying our
Akoulina ? Have you heard nothing of it ?
akim. Ah ; that’s Mironof. 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 I’ve a bad
memory, bad memory, I mean. But the Mironofs areTHE POWER OF DARKNESS. Act III.
Ani'sya. Come in !
Nikita. Ah, that’s it.
Anisya. You look who’s in the hut !
Nikita. Ah, my parent! Well, what of that? I’m not ashamed of my parent.The Power of Darkness	51
what d’ye call it, they’re all right, I mean they’re all
right.
anisya. I’m that impatient to get her settled.
AKiM. And why ?
nan [listens] TheyVe 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 ? [Anisya
looks up and turns away in 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 !
niki'ta. Say with which foot he steps ? You’ve got to
say it,—that’s flat.
anisya [aside] He’ll 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!
nikita. Ah, my parent! Well, what of that ? Im not52	The Power of Darkness
ashamed of my parent. I can pay my respects to ray
parent. How d’you do, father ? [Bows and puts out his
hand] My respects to you.
akìm [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 ! I've 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, I'll first drink a samovar with my parent.
Go and light the samovar. Akoulina, I say, come here !
Enter Akoulina, smartly dressed and carrying their pur-
chases.
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 ? Go and put the
horse up.
akìm [not seeing Akoulina 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 1
mìtritch [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
swilling, the deuce take him. Up to his very throat. Oh
Lord, holy Nicholas ! [Puts on sheepskin, and exit].
nikita [site dormì] 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.
anìsya. Shall I really light the samovar ?
nikita. Light it ! My parent has come. I wish to talkTHE POWER OF DARKNESS. Act III.
Nikita. Have you brought all the parcels?
Akoulina. The parcels? I’ve brought mine, the rest’s in the sledge.
An/sya. Her box is full as it is, and still he’s bought more !The Power of Darkness	53
to him, and shall drink tea with him. [To Akoulina]
Have you brought all the parcels ?
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. Akim does not look
at his sons but puts his leg-bands and bast-shoes on the oven.
anisya [going out with the samovar] 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, “ It's
ill sledging when the thaw has set in."
nikita. What d'you mean by that ? “ And it's ill talking
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 Ms
pocket, pulls out pocket-book, handles the notes in it and
takes out a ten-rouble note] Take this to get a horse ; I can't
forget my parent. I shan't forsake him, that's flat. Be-
cause he's my parent! Here you are, take it! Really now,
I don't grudge it. [Comes up and pushes the note towards
Akim who wont take it Nikita catches hold of hisfathers
hand] Take it, I tell you. I don't grudge it.
AKiM. I 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, I mean.54	The	Power	of Darkness
NiKfTA. I'll not let you go ! Take it! [Puts ike money
into Akims hand].
anisya [enters, and stops] You’d better take it, he’ll give
you no peace !
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 I’ll make no bother. That’s what I am !
Akoulina] Akoulina, show your presents.
AKOULINA. What?
NiKfTA. 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 'em ?
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 !
Anisya passes angrily into the closet, returns with a table-
cloth and the chimney of the samovar, and goes up to the
table.
ANisYA. Drat you, Uttering 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 iThe Power of Darkness	55
ANfsYA. Why am I to look ?
niki'ta. You think I have forgotten you ? Look here!
[iSfamv her a parcel and sits down on it] It’s a present
for you. Only you must earn it! Wife, where am I
sitting ?
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 ? I'll 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 ?
AKOULfNA. I know something about you !
ANisYA. You're a slut who goes with another's husband !
AKOULfNA. And you did yours to death!
anisya [throwing herself on Akoulina] You’re raving !
NiKiTA [holding her back] Anisya, you seem to have for-
gotten !
ANisYA. Want to frighten me ! I'm not afraid of you !
nikita [turns Anisya round and pushes her out] Be off!
ANisYA. Where am I to go ? I'll not go out of my own
house !
nikita. Be off, I tell you, and don’t dare to come in
here !
ani'sya. I 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 ? What56	The	Power of Darkness
are you doing, you scoundrel ? Do you think there's no
law for you ? You wait a bit !
nikita. Now then !
ani'sya. I’ll go to the Elder ! To the policeman !
nikita. Off, I tell you !	[Pushes her out\.
anisya [behind the door] I'll 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\
akoulina [collects and folds her presents] The mean
wretch, how she's messed it up. But wait a bit, I’ll cut
up her jacket for her ! Sure I will !
nikita. I've 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?
Now if I loved her . . .
akoulina. Loved her ? She's worth loving, with her fat
mug 1 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 mis-
tress 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. I'll not live with her! I'll turn
her out of the house ! She can't live here with me.
The mistress indeed ! She's not the mistress,—that jail-
bird !
nikìta. 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.The Power of Darkness	57
she's under me. That’s where I keep her. [Points to his
feet] A pity we've no concertina. [Smgs].
“We have loaves on the stoves,
We have porridge on the shell
So well live and be gay,
Making merry every day,
And when death comes,
Then we’ll die I
We have loaves on the stoves,
We have porridge on the shelf ...”
Enter Mitritch. 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.
mìtritch. Seems they can't settle matters between
them. Oh Lord !
nikita. Get out the liquor, we'll have some with our
tea.
nan [to Akoulina] Sister, the samovar is just boiling
over.
nikita. And where's your mother ?
nan. She's standing and crying out there in the passage.
nikìta. Oh, that's it ! Call her, and tell her to bring
the samovar. And you, Akoulina, get the tea things.
akoulina. The tea things? All right. [Brings the things].
nikìta [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] I’ll add it up. [Adds] Wheat-flour,
80 kopéykas, oil . . . Father, 10 roubles. . . . Father,
come let's have some tea !
Silence. Akim sits on the oven and winds the bands round
his legs. Enter Anisya with samovar.5?	The	Power	of Darkness
ani'sya. Where shall I put it ?
nikita. Here 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 sit-
ting on, Anisya takes it silently and shakes her head].
akIm [gets down and puts on his sheepskin, then comes up to
the table and puts dorm 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].
niki'ta. 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 call ’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-
bours. What has offended you ?
aki'm. 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 !The Power of Darkness	59
AKfM. 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 see
you're fast in sin. Stuck fast, sunk in sin, I mean!
NiKiTA. Sit down and drink your tea, and have done
with it!
aki'm. I can't, I mean can't what d'ye 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
it, I can't 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 I
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 [iangrily] 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 I'll take it, I mean.
nikIta. That’s enough! Why be angry and upset the
whole company !	[Holds him by the an»].
akim [shrieks] Let go ! I'll not stay. I'd rather sleep
under some fence than in the midst of your filth ! Faugh !
God forgive me ! [Exit],6o	The	Power	of	Darkness
nikita. Here's a go !
akim [reopens the door] Come to your senses, Nikita!
It’s the soul that God wants !	[Exit].
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!
[To Akoulina] Where’s the concertina?
AKouLiNA. The concertina ? He's bethought himself of
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! [¿Sofo].
Curtain.ACT IV
Autumn. Evening. The moon is shining. The stage re-
presents the interior of courtyard. The scenery at the bach
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 summer
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.1
Second Neighbour Woman comes out of the hut and beckons to
First Neighbour Woman.
second neighbour. How’s it Akoulina has not shown
herself?
first neighbour. Why hasn’t she shown herself? She’d
have been glad to; but she’s too ill, you know. The
suitor’s relatives have come, and want to see the girl; and
she, my dear, she’s lying in the cold hut and can’t come
out, poor thing !
second neighbour. But how’s that ?
first neighbour. They say she’s been bewitched by an
evil eye ! She’s got pains in the stomach!
second neighbour. You don’t say so?
first neighbour. What else could it be ?	[	Whispers].
second neighbour. Dear me ! There’s a go ! But his
relatives will surely find it out ?
first neighbour. They find it out! They’re all drunk !
Besides, they are chiefly after her dowry. Just think what
1 Where not otherwise mentioned in the stage directions, it is
always the winter half of the hut that is referred to as 4‘ the hut.”
The summer half is not heated, and not used in winter nnder ordi-
nary circumstances.
6x02 The Power of Darkness
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 neighbour. That's all very well, but even money
can't give much pleasure in the face of such a dis-
grace.
first neighbour. Hush ! . . . There's his father, I think.
They cease talking, and go into the hut
The Suitors Father comes out of the hut hiccoughing.
the father. Oh, 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 Matrydna from hut
matry6na. 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 honourable 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 ?
matry6na. Don't you trouble about the money ! All
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.
matry6na. I'll 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, I'll tell you truly:The Power of Darkness	63
when her father, God be merciful to his soul, was dying,
he gave orders 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 everything 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 !
matry6na. 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 1
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?
matry6na. Oh, 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.
matry6na. Yes, of course ! Don't you turn back. And
don't forget me, I've had a lot of trouble. Don't for-
get . . .
A womans voice from the hut.
voice. If we are to go, let's go. Come along, Ivan !
the father. I'm coming. [Exeunt. Guests crowd together
in the passage and prepare to go away],
nan [runs out of the hut and calls to Anisya] Mother I6\	The Power of Darkness
ANfsYA [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.
“ I'll scream/' she says, “ I'll scream out loud." Blest
if she didn't.
anisya. Shell have to wait. We’ll see our visitors off
first.
nan. Oh mother! She's so bad! And she’s angry
too. “ What's the good of their drinking my health ? "
she says. “I shan't marry/' she says. “I shall die/'
she says. Mother, supposing she does die! It's awful.
I'm so frightened !
anIsya. No fear, she'll not die. But don't you go near
her. Come along. [Exit Antsy a 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. A truss
gone before you know it. Oh, that smell, it seems to be
just under my nose ! Drat it! [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 NiHta.
nikita. Mitritch, you get off to sleep and I'll put this
straight.
mi'tritch. All right, you throw it to the sheep. Well,
have you seen 'em all off?The Power of Darkness	65
NmiTA. Yes, they're off! But things are not right! I
don t know what to do !
mitritch. It's a fine mess. But there’s the Foundlings’1
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! I’ll
go in. Oh Lord ! [Exit, yawning].
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. I’ll tell you what you are to do. And you’ll
have to do it!
nikita. You'd better take it to the Foundlings’—if any-
thing.
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 !
NndTA. What’s to be done ?
anisya. Go down into the cellar, I tell you, and dig a
hole!
NiKfTA. 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 I
nikita. Oh dear, what a go!
1 The Foundlings* Hospital in Moscow, where 80 to 90 per cent,
of the children die,66	The	Power	of	Darkness
Enter Nan.
nan. Mother I Grandmother’s calling ! I think sister's
got a baby ! Fm 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 I'll give it you !
nan. Mammy dear, truly, I swear . . .
anisya [raising her arm as if to strike] I'll give it you !
You be off and don't let me catch sight of you ! \Nan
runs into hut To Nikita] Do as 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 me. What was I to do ? Am I a monk ? 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 to
do ! If I had not done it, someone else would. And
this is what comes of it ! Still I'm not to blame in this
either. Oh, what a go !	thinking] They are bold,
these women ! What a plan to think of ! But I won't
have a hand in it !
Enter Matryóna with a lantern and spade, panting.
matryóna. Why are you sitting there like a hen on
a perch ? What did your wife tell you to do ? You just
get things ready !The Power of Darkness	67
nikita. What do you mean to do ?
matryona. We know what to do* You do your share !
nikita. You'll be getting me into a mess !
matry6na. What ? You’re not thinking of backing out,
are you ? Now it's come to this, and you back out!
niki'ta. Think what a thing it would be ! It’s a living
soul.
matry6na. A 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
rumour will get about, and people will talk, and the girl be
left on our hands.
nikita. And supposing it’s found out ?
matry6na. 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,—I'll hold
the light.
nikita. What am I to get done ?
matry6na [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 I'll go.
nikita. Is it dead then ?
matry6na. 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 [gives 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 ! I'll go
away ! You do it alone as best you can !
anisya [through the doorway] Well ? Has he dug it ?
matry6na. Why have you come away? What have
you done with it ?68 The Power of Darkness
ani'sya. I’ve covered it with rags. No one can hear it.
Well, has he dug it ?
matryóna. He doesn’t want to !
ANÍSYA [springs out enraged] Doesn't want to! How
will he like feeding vermin in prison! I'll go straight
away and tell everything to the police ! It's all the same
if one must perish. I'll go straight and tell !
nikita [taken aback] What will you tell ?
anísya. What ? Everything ! Who took the money ?
You I [Nikita is silent] And who gave the poison ? I did !
But you knew! You knew ! You knew ! We were in
agreement!
matryóna. That's enough now. Nikita dear, why are
you obstinate ? What's to be done now ? One must take
some trouble. Go, honey.
anísya. 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 I'll
do what I said. . . . There, take the spade ; there, now go !
nikíta. Drat you! Can't you leave a fellow alone! [Takes
the spade, but shrinks] If I don't choose to, I'll not go !
anísya. Not go ? [Begins to shout] Neighbours! Heh !
heh!
matryóna [closes her mouth] What are you about ? You're
mad ! He'll go. . . . Go, sonnie; go, my own.
anísya. I'll cry murder!
nikíta. Now stop ! Oh what people ! You'd better be
quick. ... As well be hung for a sheep as a lamb ! [Goes
towards the cellar].
matryóna. Yes, that's just it, honey. If you know how
to amuse yourself, you must know how to hide the conse-
quences.
anísya [still excited] He's trampled on me ... 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 IThe Power of Darkness	69
matry6na. 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 Nikita to the cellar with a lantern. He descends
into the cellar].
ANisYA. And I’ll make him strangle his dirty brat! [Still
excited] I’ve worried myself to death all alone, with Peter’s
bones weighing on my mind ! Let him feel it too ! I'll
not spare myself; I've said I'll not spare myself!
NiKfTA [from the cellar] Show a light!
matry6na [holds up the lantern to him. To Anisya] He's
digging. Go and bring it.
anisya. You stay with him, or he’ll go away, the wretch !
And I'll go and bring it.
matry6na. Mind, don’t forget to baptize it, or I will
if you like. Have you a cross ?
ANisYA. I'll find one. I know how to do it. [Exit],
See at end oj Act, Variation, which may be used, instead
of the following,
matry6na. 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 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 Matryona ? They’d not
have known how to contrive things. [Peering into the
cellar] Is it ready, sonnie ?
NiKfTA [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.
matry6na [goes towards door of the hut and meets Anisya.
Anisya comes out with a baby wrapped in rags] Well, have
you baptized it ?70	The	Power of Darkness
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 Nikita'].
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 moving!
It's alive ! What am I to . . .
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.
matry6na [¿wfe on the doorstep of the hut] He's tender-
hearted. It's hard on him, poor dear. Well, what of
that ? Isn't it also his sin ?
Anisya stands by the cellar.
matry6na [«st’fo 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 to-
wards the cellar] I suppose he's finished. [To Anisya] Well?
anisya [looking into the cellar] He's put a board on it
and is sitting on it. It must be finished !
matry6na. Oh, oh ! One would be glad not to sin,
but what’s one to do ?
Re-enter Nikita from cellar, trembling all over,
niki'ta. It's still alive ! I can't! It's alive!
anisya. If it’s alive, where are you off to? [Tries to
stop him].
nikIta [rushes at her] Go away ! I’ll kill you ! [Catches
hold of her arms ; she escapes, he runs after her with the spade.
Matry6na runs towards him and stops him. Anisya runs into
the porch. Matrydna tries to wrench the spade from him.
To his mother] I'll kill you ! I’ll kill you! Go away!The Power of Darkness	71
[Matry&na runs to Anisya in the porch. Nikita stops] Til
kill you ! I'll kill you all !
matry6na. That's because he’s so frightened! Nevei
mind, it will pass !
nikita. What have they made me do ? What have
they made me do ? How it whimpered. . . . How it
crunched under me! What have they done with me?
. . . And it's really alive, still alive! [Listens in silence]
It's whimpering . . . There, it’s whimpering. [Runs to the
cellar].
matry6na [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 cellar door]
I can hear nothing ! I suppose it was fancy! [Moves away,
then ¿/ojew] How the little bones crunched under me.
Krr. . . kr . . . What have they made me do ? [Listens
again] Again whimpering! It's really whimpering! What
can it be ? Mother! Mother, I say ! [Goes up to her].
matry6na. What is it, sonnie ?
nikita. Mother, my own mother, I can't do any more!
Can't do any more ! My own mother, have some pity on
me!
matry6na. 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 ? How the little bones
crunched, and how it whimpered ! My own mother! What
have you done with me ? [Steps aside and sits down an the
sledge].
matry6na. Come, my own, have a drink ! It certainly
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 we'll even forget to think of it. But
you go and have a drink ; have a drink! I'll go and put
things straight in the cellar myself.72	The	Power	of	Darkness
nikita [rouses himself j Is there any drink left ? Per-
haps I can drink it off! [Exit].
Anisya, who has stood all the time by the door, silently makes
way for him.
matry6na. Go, go, honey, and I’ll 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 ?
matry6na. He's so frightened! You’ve been too hard
with him. Leave him alone, he’ll come to his senses.
God help him ! I’ll set to work myself. Put the lantern
down here. I can see.
Matryona disappears into the cellar,
anisya [looking towards the door by which Nikita 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 !
matry6na [puts out her head] What is it, sonnie ?
nikita [listening] Don't bury it, it's alive ! Don’t you
hear ? Alive ! There—it's whimpering! There . . . quite
plain!
matry6na. 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.VARIATION
Instead of the end of Act IV. (from the words,
tc anisya. I'll find one. I know how to do it. [Exit] ") the
following variation may be read, and is the one usually acted.
Scene 2.
The interior of the hut as in Act I,
Nan lies on the bench} and is covered with a coat. Mitritch
is 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 tick-
ling one's nose so. Oh Lord ! But it's bedtime, I guess.
[Approaches the lamp to put it out],
nan [jumps up, and remains sitting up] Daddy dear,1
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 I'll 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?
1 Nan calls Mitritch “ daddy” merely as a term of endearment.
7374	The	Power	of	Darkness
nan. How can one help being frightened, daddy!
Sister 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 know everything. 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.
nan. And you are going to lie on the oven ?
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.
m/tritch. 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!The Power of Darkness	75
MfTRiTCH. 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 I'll just put out the light!
nan. Daddy darling, don’t put it out! I won't . . .
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 ? Eh, what a stupid little girl!
Silence. The cricket chirps.
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 I
nan. What with ?
mitritch. He takes a birch-broom with him.
nan. But he can’t see there—inside the sack !
mitritch. He’ll see, no fear!
nan. But I’ll bite him.
mitritch. No, friend, him you can't bite !
nan. Daddy, there's some one coming ! Who is it ? Oh
gracious goodness ! Who can it be ?
mitritch. Well, if some one's coming, let them come!
What’s the matter with you ? I suppose it’s your mother !
Enter Anisya.
ani'sya. Nan ! [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. I'll
put the light out all right.y6	The	Power of Darkness
anisya [rummages in her box and grumbles] When a thing’s
wanted one never can find it!
mítritch. 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 !
mítritch. Of course it would! Everything in due
order. . . . Have you found it ?
anísya. Yes, I've found it. [Exit].
mítritch. 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!
mítritch. What's frightful ?
nan. It will die—the little baby will! At Aunt Irene's
the old woman also baptized the baby, and it died !
mítritch. If it dies, they'll bury it!
nan. But maybe it wouldn't have died, only old Granny
Matryóna’s there ! Didn't I hear what granny was saying ?
I heard her ! Blest if I didn’t!
mítritch. What did you hear? Go to sleep, 1 tell
you. Cover yourself up, head and all, and let's have an
end of it!
nan. If it lived, I’d nurse it!
mítritch [roars] Oh Lord !
nan. Where will they put it ?
mítritch. 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 ?
mítritch. That girl ? Oh yes. That girl turned out all
right!
nan. How was it? You were saying you found her?
mítritch. Well, we just found her !
nan. But where did you find her ? Do tell!
mítritch. Why, in their own house ; that’s where ! WeThe Power of Darkness	77
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?
mitritch. Who can tell! They used to say, not alto-
gether. ’Cos 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!1 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 after-
wards. The captain’s wife took her to bring up as her
daughter. So—she was all right! How sorry the sol-
diers were to let her go!
1	Probably Kurds,78	The	Power	of	Darkness
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.	That also felt very sad !
MiTRiTCH. Yes; there now, so it is . . .
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 villainy,
blow them to shivers! Oh, these women are vile crea-
tures ! 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],
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 see ? 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
nothing! All sorts of spells: how to stop the cattle-
plague with a plough, and how to cure children by put-
ting them under the perches in the hen-house! That's
what they know!
nan. Yes, mother also did that!The Power of Darkness	79
MiTRiTCH. 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. A 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 is ! Friday ! Friday ! But ask her
what’s Friday ? She don’t know! They’re like blind
puppies, 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! I
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 ! J ust as the
cattle that have no herdsman are the most mischievous, so
with you women—you are the stupidest class 1 The most
foolish class is yours I
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.
nan [ jumps up] Daddy! Some one’s screaming awfully !
Blest if some one isn't screaming I Daddy darling, it’s
coming here !
mitritch. Cover up your head, I tell you !
Enter Nikita, followed by Matryona.
nikita. What have they done with me? What have
they done with me ?
matry6na. Have a drop, honey ; have a drop of drink!
What’s the matter ? [Fetches the spirits and sets the bottle
before him].8o	The	Power	of	Darkness
nikIta. Give it here ! Perhaps the drink will help me!
matry6na. 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 !
matry6na [whispers] Sit still a 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 . . . Pm not a man now!
matry6na. 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 ?
matry6na. Come, come, sonnie! Now really, what’s
the matter with you ?	[Takes his hand],
nikita. Go away from me ! I'll kill you ! It’s all one
to me now ! I’ll kill you !
matry6na. Oh, oh, how frightened he’s got! You
should go and have a sleep now !
nikita. I have nowhere to go; I'm lost!
matry6na [shaking her head] Oh, oh, I’d better go and
tidy things up. He’ll sit and rest a bit, and it will pass!
[.Exit].
Nikita sits with his face in his hands. Mitritch 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 Matryona.
matry6na [whispers] Now then, what is it? Heaven
help you ! Why won't you get to rest ? How can it be
alive ? All its bones are crushed !The Power of Darkness
81
nikita. Give me more drink ! [Drinks],
matry6na. Now go, sonnie. You’ll fall asleep now all
right.
nikita [stands listening] Still alive . . . there . . . it's
whining ! Don't you hear ? . . . There !
matry6na [whispers] No ! I tell you !
niki'ta. 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; Matrydna 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! I'll give it to you with the broom !
Go to sleep, I tell you !
nan. Daddy, my treasure ! Something is catching hold
of my shoulders, something is catching hold with its paws!
Daddy dear . . , really, really ... I 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 ! Oh Lord ! Gracious Nicholas ! Holy Mother ! . . .
How they have frighted the girl. [Cowers her up] There's
a little fool—really a little fool! How they've frighted
her; really, they are vile creatures! The deuce take
’em!
Curtain,
pACT V
Scene 1
In front oj scene a stack-stand} to the left a thrashing ground,
to the right a barn. The bam 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 Girls are walking past the
bam 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 Girl looks at the straw and sees something]
What's that ?
second girl [looks where the straw lies and sees some one]
It’s Mitritch, their labourer. 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 [ilistening] They’re still singing the praises.1
So I s’pose the bride and bridegroom have not yet been
blessed! They say Akoulina didn’t even lament!2
first girl. Mammie says she is marrying against her
1	This refers to the songs customary at the wedding of Kussian
peasants, praising the bride and bridegroom.
2	It is etiquette for a bride to bewail the approaching loss of her
maidenhood.
83The Power of Darkness	83
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 ?
marina [catching up the Girls] How d’you do, lassies ?
girls. How d’you do ?
marina. Going to the wedding, my dears ?
first girl. It’s nearly over! We’ve come just to have
a look.
marina. Would you call my old man for me ? Simon,
from Zoiievo; 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 Fyodor-
itch's ?
marina. Yes. Well then, I'll 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 Girls go away towards the house along a footpath.
Sounds of songs and tambourine.
marina [alone, stands thinking] I 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 I'd
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 think84 The Power of Darkness
he’s remembered 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 I'd 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 ? I'll go away! [Nikita approaches,
hanging his head down, swinging his arms, and muttering]
And how sullen he looks !
nikíta [sees and recognises Marina] Marina, dearest
friend, little Marina, what do you want ?
marina. I have come for my old man.
nikíta. Why didn't you come to the wedding ? You
might have had a look round, and a laugh at my expense !
marína. What have I to laugh at ? I've come for my
husband.
nikíta. Ah, Marina dear! [Tries to embrace her\
marína [steps angrily aside] You'd better drop that sort
of thing, Nikita ! What has been, is past! I've come for
my husband. Is he in your house ?
nikíta. So I must not remember the past ? You won't
let me ?
marína. It's no use recalling the past! What used to
be is over now !
nikíta. And can never come back, you mean ?
marína. And will never come back! But why have
you gone away ? You, the master,—and to go away from
the feast!
nikíta down on the straw] Why have I gone away ?
Eh, if you knew, if you had any idea . . . I'm 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 !
marína [coming nearer to him] How's that ?
nikíta. This is how it is: when I eat, it's there ! WhenThe Power of Darkness	85
I 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 Im
so sick, little Marina. I have no one to share my trouble.
marina. You can’t live your life without trouble, Nikita.
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
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 bam crying, but restrains herself ] 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 are rich . . .
NiKiTA. My life ! . . . It’s only that I don’t wish to dis-
turb the wedding feast, or I’d take this rope here [takes
hold of the rope on the strawJ 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 drunkt
I'm not drunk ! To-day even drink takes no hold on me 1
I’m devoured by misery ! Misery is 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 1 I'm bound86	The	Power	of	Darkness
legally now, and you too. My sin has been forgiven, don't
disturb . . .
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
visitors, and send my husband to me.
nikita. Oh dear, if you knew the whole business . . .
but there's no good talking !
Enter Marina 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. Go !
marina. And you ?
nikita. I ? I'll 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
honour! 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 offence ! There’s plenty of time for our
business. [Marinas 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 wasThe Power of Darkness	87
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 swallow
me!
nan [sees Nikita, and runs towards him] Daddy, I 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 ?
NiKfTA. I'm not saying anything ! Don’t bother !
nan. Daddy ! Come, I say ! [Nikita 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!
nikita [threatens her with the rope] Go, I say ! I’ll give
it you!
nan. Then I'll send mother !	[Runs away].
nikita [wei] 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, I'd jump in! No one should see me, and I should
see no one!	again] No, I 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 Matry&na. Nikita sees his mother, takes the rope
off his neck, and again lies down in the straw.
matry6na [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.
NiKfTA. Oh dear, what have you done with me ? I'm a
lost man !
matry6na. But what is the matter then? Come, my
own; come, give them your blessing, as is proper and88 The Power of Darkness
honourable, and then it'll all be over! Why, the people
are waiting!
nikita. How can I give blessings ?
matry6na. Why, in the usual way ! Don’t you know ?
nikita. I know, I know! But who is it I am to bless ?
What have I done to her ?
matry6na. 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 ?
matry6na. 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
kinsfolk can't take offence 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 ?
matry6na [laughs] In the cellar ? Why, cabbages, mush-
rooms, potatoes, I suppose ! Why remember the past ?
nikita. I'd be only too glad to forget it; but I can't!
When I let my mind go, it's just as if	I heard. .	. .	Oh,
what have you done with me ?
matry6na. Now, what are you humbugging for ?
niki'ta [turnsface downward] Mother! Don't torment me!
I've got it up to there ! [Puts his hand to his throat].
matry6na. 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 of
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 !
matry6na. That'll do, I tell you; come along! Come inThe Power of Darkness	89
and give your blessing, as is right and honourable;—and
there’s an end of the matter !
Nikita [lies face down] I can’t!
matry6na [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 Anisya
coming; she’s left her guests!
Anisya enters, dressed up, red and tipsy.
ani'sya. Oh, how nice it is, mother! So nice, so respect-
able ! And how the people are pleased. . . . But where
is he ?
matry6na. 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] I’ll kill her some
day ! It’ll be worse then !
anisya. Only look, how he’s got all among the straw !
Is it the drink ? [Laughs] I’d not mind lying down there
with you, but I’ve no time ! Come, I’ll 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 1
Everything so respectable, so nice !
nikita. What’s nice ?
ani'sya. 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’ll go together ! I have
had a drop, but I can give you a hand yet! [Takes his
hand].
nikita [pulls it bcwk with disgust] Go alone ! I’ll 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 are90 The Power of Darkness
pleased ! They’re all thanking us! And the guests are
all of the best: Ivan Moseitch is there, and the Police
Officer; they’ve also been singing songs of praise !
NiKfTA. 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
HI come at once !
matry6na. Just see! He listens to the young bird, but
wouldn’t listen to the old one! He would not hear me,
but he follows his wife at once! [Matrydna and Anisya
turn to go] Well, are you coming?
nikita. I’ll come directly ! You go and I’ll follow ! I’ll
come and give my blessing! [ The women stop] Go on ! I'll
follow ! Now then, go! [Exit women. Sits down and takes
his boots off] Yes, I’m going ! A likely thing! No, you’d
better look at the rafter for me ! I'll fix the noose and
jump with it troin the rafter, then you can look for me!
And the rope is here just handy. [Ponders] I’d 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. I'd lie down here with
you.” Oh, the baggage ! Well then, here I am ! Come
and cuddle when they've taken me down from the rafter !
There's only one way ' [Takes the rope and pulls it],
Mitritch, who is tipsy, sits up and wont let go of the rope.
mitritch. Shan’t give it up! Shan't give it to no
one ! I'll bring it myself! I said I’d bring the straw—
and so I will! Nikita, is that you? [Laughs] Oh, the
devil I Have you come to get the straw ?
nikita. Give me the rope !
mitritch. No, you wait a bit! The peasants sent me J
1*11 bring it . . . [Rises to his feet and begins getting the strawTHE POWER OF DARKNESS. Act V.
Nikita. True enough ! What was I about?
Mitrich. What?
Nikita. You tell me not to fear men.
Mitrich. Why fear such muck as they are? You look at ’em in the bath-house !The Power of Darkness	91
together, but reels for a time, then falls] It has beaten me.
It’s stronger . . .
nikita. Give me the rope !
MiTRiTCH. 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; I'm a Non . . . fool,
can't say it—Non-commissioned Officer of Her Majesty'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 least of men, a poor lost orphan! I swore not to
drink, and now I had a smoke, and . . . Well then, do you
think I'm afraid of you ? No fear; I'm afraid of no man!
I've taken to drink, and I'll drink! Now I'll go it for a
fortnight; I'll go it hard ! I'll drink my last shirt; 111
drink my cap; 111 pawn my passport; and I'm afraid of
no one ! They flogged me in the army to stop me drink-
ing! They switched and switched! ie 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 111 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!	“ As
soon," says he, “as you begin to brag, you get fright-
ened ; and as soon as you fear men, then the hoofed one
just collars you and pushes you 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 himse1f\ True enough ! What was I
about ?	[Throws down the rope\.
mitritch. What?
nikita \rises~\ You tell me not to fear men?92 The Power of Darkness
mítritch. 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 is ! Fancy being afraid of ’em ! Deuce take
’em!
matryóna [from the yard] Well, are you coming?
nikíta. Ah! Better so! I’m coming! [Goes towards
yard\.
Scene %
Interior of hut, full of people, some sitting round tables and
others standing. In the front corner Akoulina and the Bride-
groom. On one of the tables an Icón and a loaf of rye-bread.
Among the visitors are Marina, her husband, and a Police
Officer, also a Hired Driver, the Matchmaker, and the Best
Man. The women are singing. Anisya carries round the drink.
The singing stopst
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 ?
anisya. He is coming—coming at once, dear friends 1
Have another glass all of you ; don’t refuse !
the matchmaker. Why is he so long? We've been
waiting such a time !
anísya. He's coming; coming directly, coming in no
time! Hell 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 !
the driver. They’ve sung all their songs, waiting here !
The women sing. Nikita and Akim enter during the singing.
nikíta [holds his fathers arm and pushes him in before hiivi\
Go, father; I can't do without you !
akím. I don't like—I mean what d'ye call it . . .The Power of Darkness	93
nikita [ito the women] Enough ! Be quiet! [Looks round
the hut] Marina, are you there ?
the matchmaker. Go, take the icon, 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!
niki'ta. Father, you are here ! Look at me ! Christian
Commune, you are all here, and I am here! I am . . .
[Falls on his knees],
ANfsYA. Nikita darling, what’s the matter with you.
Oh my head, my head!
matchmaker. Here's a go!
matry6na. 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!
matry6na [shakes him by the shoulder] Are you mad?
Dear friends, he's gone crazy I He must be taken away «
nikita [shakes her off] Leave me alone! And you,
father, hear me ! And first, Marina, look here ! [Bows
to the ground to her and rises] I have sinned towards you !
I 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 !
matry6na. Oh, oh, he's bewitched ! And however did
it happen ? It’s a spell! Get up! what nonsense are
you jabbering ? [Pulls him].
nikita [shakes his head] Don't touch me! Forgive me94 The Power of Darkness
my sin towards you, Marina! Forgive me, for Christ’s
sake !
Marina covers her face with her hands in silence.
ANÍSYA. Get up, I tell you ! Don’t be so impudent!
What are you thinking about—to recall it? Enough
humbug! It’s shameful ! Oh my poor head! He's
quite crazy!
nikita [pushes his wife away and turns to Akoulina\
Akoulina, now I’ll speak to you! Listen, Christian Com-
mune ! Im a fiend, Akoulina! I have sinned against
you! Your father died no natural death! He was
poisoned!
anísya [screams] Oh my head ! What’s he about ?
matryóna. The man’s beside himself! Lead him away !
The folk come up and try to seise him.
akím [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!
akoulína [jumps up] He’s telling lies! I know who
did it!
matchmaker. What are you about ? You sit still!
akím. 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 !
akím [to Police Officer] Now you—with the bright but-
tons—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!
akím. 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 call it . . . 'ditements !
police officer. The Elder!The Power of Darkness	95
akim. Let God's work be done, I mean, and then you,
I mean, you do your business !
nikita. And, Akoulina, my sin is great towards you; I
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 ! He told me to, but I shan't now !
police officer. Repeat what you have said.
nikita. Wait, sir, let me finish !
aki'm [with rapture] Speak, my son ! Tell everything—
you'll 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 !
nikita. I 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. He raves ! I told him to !
NiKfTA. 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 If a claw is 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 yourself, He
will show mercy on you ! God—God ! It is He !96	The	Power	of Darkness
Enter Elder.
elder. There are witnesses enough here.
police officer. We will have the examination at once.
Nikita is bound.
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.
END OF “the POWER OF DARKNESS*5*THE FIRST DISTILLER
A COMEDY IN SIX ACTS
(1886)
eCHARACTERS
A PEASANT.
HIS
MOTHER.
GRANDFATHER.
.LITTLE DAUGHTER.
A NEIGHBOUR.
FOUR VILLAGE ELDERS.
OLD WOMEN, WOMEN, GIRLS AND LADS.
THE CHIEF OF THE DEVILS.
HIS SECRETARY.
A DANDY IMP.
THE OFFICIALS* IMP.
THE PEASANTS* IMP.
SENTINELS, DOORKEEPERS AND IMPSTHE FIRST DISTILLER
A COMEDY
ACT I
peasant [ploughing. Looks up] It’s noon. Time to un-
harness. Gee up, get along! Fagged out ? Poor old
beast! One more turn and back again, that will be the
last furrow, and then dinner. It was a good idea to bring
that chunk of bread with me. I'll not go home, but sit
down by the well and have a bite and a rest, and Peggy
can graze awhile. Then, with God’s help, to work again,
and the ploughing will be done in good time.
Enter Imp ; hides behind a bush.
imp. See what a good fellow he is! Keeps calling on
God. Wait a bit, friend,—you'll be calling on the Devil
before long ! I'll just take away his chunk. He'll miss
it before long, and will begin to hunt for it. He'll be
hungry, and then he'll swear and call on the Devil.
Takes the chunk of bread and sits down behind the bush
watching to see what the Peasant will do„
peasant [unharnesses the horse] With God's blessing!
[Lets the horse loose, and goes towards the place where his
coat is lying] I’m awfully hungry. The wife cut a big
chunk, but see if I don't eat it all. [Coming up to the coat\
Gone ! I must have put it under the coat. [Lifting the
coat] No, it's not here either! What has happened?
[Shakes the coat\.
99IOO
The First Distiller
imp [behind the bush] Go on, go on, search away! I’ve
got it safe !
peasant [moves the plough and shakes his coat again] This
is strange ! Very strange! No one was here, yet the chunk
is gone! If the birds had been at it there would be
some crumbs left, but there’s not a single crumb! No
one has been here, and yet some one has taken it!
imp [rises and looks out] Now he’ll call on the Devil.
peasant. Well, it seems there’s no help for it! Never
mind, I shan’t starve to death. If some one has taken it,
he’s taken it; let him eat it, and may it do him good.
imp [¿pto] Oh, the damned peasant! Instead of swear-
ing properly, he only says, “ May it do him good.” What
can one do with such a fellow ?
Peasant lies down to rest, makes the sign of the cross, yawns,
and falls asleep.
imp [comes oid from behind the bush] It’s all very well
for the boss to talk. The boss keeps on saying, “You
don't bring enough peasants to Hell! See what a lot of
tradesmen, gentlefolk, and all sorts of people flock in
every day, and how few peasants! ” Now, how's one
to get round this one ? There’s no way of getting hold
of him. Haven’t I stolen his last crust ? What can I do
better than that ? And yet he didn’t swear. I’m at my
wits’ end what to do ! Well, I must go and report!
Disappears into the ground.
Curtain.ACT II
Hell. The Chief of the Devils sits in the highest place. The
Devil's Secretary sits lower down, at a table with writing
materials. Sentinels stand at each side. To the right are
five Imps of different kinds. To the left, by the door, the
Doorkeeper. A dandified Imp stands before the Chief
the dandy imp. The whole of my booty for the three
years has been 220,005 men. They're all in my power
now.
the chief. All right. Thank you. Pass on.
The Dandy Imp goes to the right
the chief [to the Secretary] I'm tired! Is there much
business left? Whose reports have we had, and whose
are still to come ?
the secretary [counts on his fingers and, as he counts,
points to the Imps to the right When he mentions any Imp,
the one referred to bows] We've had the Gentlefolks' Devil's
report. He's captured 1836 in all. And the Tradesmen’s
Devil's with 9643. From the Lawyers', 3423. The Women's
we’ve also just had: 186,315 married women, and 17,438
maids. Only two Devils are left, the Officials' and the
Peasants’. There are altogether 220,005 souls on the
list.
chief. Well then, we'd better finish it all to-day. [To
the Doorkeeper] Let them in!
The Officials' Devil enters, and bows to the Chief.
chief. Well, how have you got on ?
officials' imp [jlaughing, and rubbing his hands] My affairs
are all right, just as soot they are white! The booty is
ZOI102
The First Distiller
such that I don't remember anything like it since the
creation of the world.
chief. What, have you captured a great many ?
officials* imp. It’s not so much the quantity. Only
1350 men in all, but such splendid fellows ! Such fellows,
they might shame any Devil! They can embroil people
better than we ourselves can. I’ve introduced a new
fashion among them.
chief. What’s that new fashion ?
officials’ imp. Why, in former times lawyers were in
attendance on the judges and deceived people. Now, I’ve
arranged for them to do business also apart from the judges.
Whoever pays most, is the one to whose business they
attend. And they’ll take such trouble over it that they’ll
make out a case where there is none! They and the
officials between them embroil people far better than we
Devils can.
chief. All right. I’ll have a look at them. You may
pass on.
The Officials' Imp goes to the right.
chief [to Doorkeeper] Let in the last one.
Enter the Peasants* Imp with the chunk of bread. He bows
to the ground.
peasants’ imp. I can’t live like this any longer! Give
me another appointment!
chief. What appointment? What are you jabbering
about ? Get up and talk sense. Give in your report!
How many peasants have you captured this week ?
peasants’ imp [crying] Not one !
chief. What ? Not one ! What do you mean ? What
have you been doing ? Where have you been loafing ?
peasants’ imp [whimpering] I’ve not been loafing; I’ve
been straining every nerve all the time, but I can’t do
anything! There now, I went and took his last crust
from under the very nose of one of them, and, instead of
swearing, he wished it might do me good !The First Distiller	103
chief. What ? . . . What ? . . . What are you mumbling
there? Just blow your nose, and then speak sensibly!
One can't make head or tail of what you*re saying.
peasants' imp. Why, there was a peasant ploughing;
and I knew he had brought only a chunk of bread with
him, and had nothing else to eat. I stole his crust. By
rights he should have sworn; but what does he do ? He
says, “Let him who has taken it eat it, and may it do him
good ! *' I've brought the chunk of bread away with me.
Here it is!
chief. Well, and what of the others ?
peasants’ imp. They’re all alike. I could not manage
to take a single one.
chief. How dare you appear before me with empty
hands ? And as if that were not enough, you must needs
bring some stinking crust or other here! Do you mean to
mock me ? Do you mean to live in Hell and eat the bread
of idleness ? The others do their best, and work hard!
Why, they [points to the Imps] have each supplied 10,000
or 20,000, or even 200,000. And you come with empty
hands, and bring a miserable crust, and begin spinning
your yarns. You chatter, but don’t work ; and that’s why
you’ve lost hold of them. But wait a bit, my friend, I’ll
teach you a thing or two !
peasants' imp. Before you punish me, listen to what I’ll
tell you. It’s all very well for those other Devils, who
have to do with gentlefolk, with merchants, or with
women. It’s all plain sailing for them ! Show a nobleman
a coronet, or a fine estate, and you’ve got him, and may
lead him where you like. It’s the same with a tradesman.
Show him some money and stir up his covetousness, and
you may lead him as with a halter. And with the women
it’s also plain sailing. Give them finery and sweets—and
you may do what you like with them. But as to the
peasants—there’s a long row to hoe with them ! When
he’s at work from morn till night—sometimes even far104	The First Distiller
into the night—and never starts without a thought of God,
how's one to get at him ? Master, remove me from these
peasants ! I’m tired to death of them, and have angered
you into the bargain !
chief. You're humbugging, you idler! It's no use
your talking about the others. They’ve got hold of the
merchants, the nobles, and the women, because they knew
how to treat them, and invented new traps for them! The
official one there—he has made quite a new departure.
You must think of something too ! You've stolen a crust,
and brag about it! What a clever thing to do! Surround
them with snares, and they'll get caught in one or other
of them. But loafing about as you do, and leaving the
way open for them, those peasants of yours have gained
strength. They begin not to care about their last crust.
If they take to such ways, and teach their women the
same, they'll get quite beyond us! Invent something!
Get out of the hole as best you can.
peasants' imp. I can't think how to set about it. Let
me off! I can stand it no longer!
chief [angrily] Can't stand it! What do you think,
then ? Am I to do your work for you ?
peasants' imp. I can't!
chief. Can't ? Wait a bit! Hollo, there! bring the
switches ; give him a thrashing.
The Sentinels seize the Imp and whip him.
peasants' imp. Oh ! Oh! Oh! . . .
chief. Have you thought of something ?
peasants' imp. Oh, oh, I can't!
chief. Give him some more. [They whip] Well—thought
of something ?
peasants' imp. Yes—yes, I have!
chief. Well, tell us what it is.
peasants' imp. I've invented a dodge that will bring
them all into my grasp, if you'll only let me take aThe First Distiller	105
labourer’s place with that peasant. But I can't explain
what it is beforehand.
chief. All right. Only remember, that if you don’t
atone for that crust within three years, I'll flay you alive I
peasants’ imp. They’ll all be mine in three years’ time.
chief. All right. When the three years are past, I
shall come and see for myself!
Curtain.ACT III
A bam. Carts loaded with grain. The Imp as a Labourer
He is shovelling grain off the cart, and the Peasant is carrying
it away in a measure.
LABOURER. Seven !
peasant. How many quarters ?
labourer [looks at the numbers marked on the bam door]
Twenty-six quarters. And this is the seventh bushel of
the twenty-seventh quarter.
peasant. It won't all go in; the barn is nearly full!
labourer. Shovel it nice and even.
peasant. So I will.
Exit with measure.
labourer [alone, takes off his cap, his horns appear] It will
be some time before he returns. I'll ease my horns a bit.
[Horns rise] And I'll take my boots off too; I can't do it
when he's here. [Takes his boots off, his hoofs appear. Sits
on the threshold] It's the third year now. It's near the
time of reckoning. There's more corn than there's room
for. Only one more thing left to teach him, and then let
the Chief come and see for himself. I'll have something
worth showing him! He'll forgive me for that crust!
Neighbour approaches. Labourer hides his horns and hoofs.
neighbour. Good day to you.
labourer. The same to you.
neighbour. Where's your master ?
labourer. He's gone to spread the grain more even; it
won't all go in.
neighbour. Dear me, what a run of luck your master is
xo6The First Distiller	107
having! More than he has room for t We’re all amazed
at the harvests your master has had these two years. It’s
as if some one had told him what was coming. Last year
was a dry season, and he had sown in the bog. Others had
no harvest, but your threshing ground was covered with
sheaves! This year we've a rainy summer, and he’s been
sharp enough to sow on the hill. Everybody’s corn has
rotted, but you have a splendid harvest. What grain!
Ah, what grain!
Takes some grain, weighs it in his Hand, and chews it.
peasant [enters with empty measure] How d’ye do, neigh-
bour ?
neighbour. Good day. I was saying to your man here,
how well you managed to guess where to sow your corn.
Every one envies you. What heaps, what heaps of corn
you have got! You’ll not eat it all in ten years.
peasant. It’s all thanks to Nicholas here. [Points to
Labourer] It was his luck. Last year I sent him to plough,
and what did he do but plough in the bog. I gave him a
scolding, but he persuaded me to sow there. And so I
did, and it turned out all for the best! And this year he
again guessed right, and sowed on the hill!
neighbour. It’s as if he knew what kind of season it
would be. Yes, you have got corn enough and no mistake!
[Silence] And I have come to ask you to lend me a sack
of rye. Ours is all used up. I’ll return it next year.
peasant. All right, you may have it.
labourer [nudging the Peasant] Don’t give it!
peasant. No more words about it. Take it.
neighbour. Thank you. I'll just run and fetch a sack.
labourer [aside] He keeps to his old ways . . . still
goes on giving. He doesn’t always obey me. But just
wait a bit. He'll soon stop giving away.
Exit Neighbour.
peasant [sitting down on the threshold] Why should one
not give to a good man ?io8
The First Distiller
labourer. Giving is one thing, getting back another!
You know—
“It’s a good world to lend in, a good world to spend in,
But to get back one's own, it’s the worst world that’s known.”
That's what the old folk say.
peasant. Don't worry. We've plenty of corn.
labourer. Well, what of that ?
peasant. We've enough, not only till next harvest but
for two years ahead. What are we to do with it all ?
labourer. What are we to do with it ? I could make
such stuff of this com as would make you rejoice all the
days of your life.
peasant. Why, what would you make of it ?
labourer. A kind of drink. Drink, that would give
you strength when you are weak, satisfy you when you
are hungry, give you sleep when you are restless, make
you merry when you're sad, give you courage when you're
afraid. That's the drink I'd make!
peasant. Rubbish!
labourer. Rubbish indeed ! It was just the same when
I told you to sow in the bog, and then on the hill. You
did not believe me then, but now you know ! You'll
find out about the drink the same way.
peasant. But what will you make it of?
labourer. Why, of this same corn.
peasant. But won't that be a sin ?
labourer. Just hear him ! Why should it be a sin ?
Everything is given for a joy to man.
peasant. And where did you get all your wisdom from,
Nick ? You seem a very ordinary man to look at, and
hard-working too. Why, I don't remember you so much
as ever taking your boots off all these two years you've been
with me. And yet you seem to know everything. Where
did you learn it ?
labourer. I've been about a good deal 1The First Distiller	109
peasant. And so you say this drink will give one
strength ?
labourer. Just wait till you try it and see the good
that comes of it.
peasant. And how are we to make it ?
labourer. It’s not hard to make when you know how !
Only we shall want a copper and a couple of iron vessels.
peasant. And does it taste nice ?
labourer. As sweet as honey. When once you’ve tasted
it you'll never give it up.
peasant. Is that so ? Well, I'll go to the neighbour s ;
he used to have a copper. Well have a try I
CurtainACT IV
A bam. In the middle a closed copper on the fire, with an~
other vessel, under which is a tap.
labourer [holds a tumbler under the tap and drinks the
spirit] Well, master, it’s ready now.
peasant [sitting on his heels and looking on] What a queer
thing. Here's water coming out of the mixture. Why
are you letting this water off first ?
labourer. It's not water. It is the very stuff itself!
peasant. Why is it so clear ? I thought it would be
yellow like grain. This is just like water.
labourer. But you just smell it!
peasant. Ah, what a scent! Well, well, let's see what
it's like in the mouth. Let me taste!	[Tries to take the
tumbler out of the Labourer s hand],
labourer. Mind, you’ll spill it!	[Turns the tap off,
drinks and smacks his lips\ It’s ready! Here you are.
Drink it!
peasant [drinks, first sipping, then taking more and more,
till he empties the glass and gives it back] Now then, some
more. One can’t tell the taste from such a drop.
labourer [laughing] Well, you seem to like it! [Draws
some more].
peasant [drinks] Eh, that’s the sort! Let's call the
missis. Hey, Martha ! Gome along! It’s ready! Come
on there!
Enter Wife and little girL
wife. What’s the matter? Why are you kicking up
such a row ?
noThe First Distiller
hi
peasant. You just taste what we've been distilling.
[Hands her the glass] Smell! What does it smell of?
wipe [smells] Dear me!
peasant. Drink !
wipe. But perhaps it may do one some harm ?
peasant. Drink, fool!
wife. True. It is nice !
peasant [a little tipsy] Nice indeed ! You wait and see
what’ll happen. Nick says it drives all weariness out of
one’s bones. The young grow old. I mean, the old
grow young. There now, I’ve only had two glasses of it,
and all my bones have got easy. [Swaggers] You see?
Wait a bit, when you and I drink it every day we’ll grow
young again! Come, Martha ! [Embraces her].
wife. Get along. Why, it's made you quite silly.
peasant. There, you see! You said Nick and I were
wasting the corn, but just see what stuff we’ve con-
cocted. Eh ? It's good, ain’t it ?
wife. Of course, it’s good if it makes the old young
again. Just see how jolly it has made you ! And I feel
jolly too! Now then, join in! Ah . . . Ah . . . Ah . . .
[Sing*].
peasant. Yes, that's the way! We'll all be young, all
young.
wife. We must call mother-in-law, for she’s always sad
and grumbling. She needs renewing. When she’s younger
she’ll get kinder.
peasant [tipsy] Yes, call mother. Call her here, and
grandfather too. I say, Mary, run and call your granny
and great-grandfather. Tell him he must get down from
the oven! We'll make him young again. Now then,
quick! One, two, three, and away ! Off like a shot!
[Girl runs off. To Wife] We’ll have another glass.
Labourer fills and hands the glasses.
peasant [drinks] At first we got young at the top, in the
tongue ; then it went down into the arms. Now it has112
The First Distiller
reached the feet. I feel my feet getting younger. They’re
moving of themselves. [Starts dancing].
wife [drinks] You're a real clever 'un, Nick ! Now then,
strike up!
Labourer takes a balaldyka1 and plays. Peasant and Wife
dance.
labourer [plays in the foreground of the scene, laughing
and winking as he watches them. Then he leaves off playing,
but they still continue to dance] You'll pay for that crust!
You've done it now, my fine fellows. They'll never get
out of it. The Chief can come when he likes now !
Enter a fresh-looking elderly woman, and a very old white-
haired man, the Peasant’s Grandfather.
grandfather. What's the matter ? Have you gone
mad ? Dancing while every one else is at work !
wife [dances and claps her hands] Oh—Oh—Oh—
[Sings]
“ That I'm sinning I will own,
Free from sin is God alone!M
old woman. Oh, you wretch ! The oven's not cleaned
out yet, and here you are dancing !
peasant. Wait a bit, mother. See what has been hap-
pening here. We can make old people young again! Here
you are ! Just drink this ! [Passes tumbler].
old woman. There’s plenty of water in the well. [Smells
it] But what have you put in ? My—what a smell!
peasant. You just drink it.
old woman [tastes] Dear me ! But won't one die of it ?
wife. It will make you more alive. You'll grow young
again!
old woman. Nonsense ! [Drinks] But it's nice ! Better
than our drinks. Here, father, have some too.
Grandfather sits down and shakes his head.
1 The balaldyka is an instrument (generally three-stringed) used
by Russian peasants, and answering to the negroes’ banjo.The First Distiller	113
labourer. Never mind him. But granny must have
another glass. [Hands some to the old woman].
old woman. If only no harm comes of it. Oh dear, it
does burn ! But it is nice.
wife. Drink it! Then you’ll feel it running through
your veins.
old woman. Well, I suppose I'll have to try. [Drinks],
wife. Has it reached your feet yet ?
old woman. True enough, it does run through you. I
feel it here now ! And it really makes one feel quite
light. Come—give me some more. [Drinks again] Fine !
Now I'm quite young again.
peasant. Didn't I tell you ?
old woman. Ah, it's a pity my old man is no longer
here. He might have seen once more what I was like m
my young days.
Labourer plays. Peasant and Wife dance.
old woman [comes into the middle] Do you call that danc-
ing ? Let me show you. [Dances] That's the way! Then
like this, and like that! Do you see ?
Grandfather goes up to the vessel and lets the spirit run out
on to the ground.
peasant [notices and rushes at his Grandfather] What are
you up to, you old fool ? Spilling such fine stuff! Oh,
you old dotard ! [Pushes him away and holds tumbler under
tap] You've emptied it all!
grandfather. It's evil and not good ! God has sent you
a good harvest for you to feed yourself and others, but you
have turned the corn into devils' drink. No good will
come of it. Give up this business. Else you'll perish and
ruin others ! You think this is drink ? It's fire, and will
burn you up! [Takes a brand from the Jire and lights the spilt
spirit. The spirit burns. They all look on with horror].
Curtain.
HACT V
Interior of hid. The Labourer alone, his horns and hoofs
showing.
labourer. There's lots of corn. More than there’s
room for, and he’s now got a taste for it. We’ve been
distilling again, and we’ve filled a barrel and hidden it
away. We’re not going to treat any one for nothing, but
when we want to get something out of a fellow, then we’ll
treat him ! So to-day I told him to invite the village
elders and treat them, that they should divide up the
property between him and his grandfather, and give
everything to him and nothing to the old man ! My three
years are up to-day, and my work is finished. Let the
Chief come and see for himself. I needn’t be ashamed of
his seeing it!
Chief appears out of the ground.
chief. Time’s up ! Have you redeemed your bread-
blunder ? I told you I’d come and see for myself. Have
you managed the Peasant ?
labourer. Done him completely! Judge for yourself.
Some of them will meet here soon. Get into the oven,
and see what they’ll do. You’ll be well satisfied!
chief [climbs into the oven] We’ll see !
Enter the Peasant and four old men. The Wife follows*
The men sit down round the table. The Wife lays the cloth,
sets ox foot brawn and pies on the table. The old men exchange
greetings with Labourer.
first elder. Well, have you made more of the drink ?
«4The First Distiller	115
labourer. Yes, we've distilled as much as we need.
Why let valuable stuff be wasted ?
second elder. And is it a success ?
labourer. Better than the first lot.
second elder. But where did you learn to make it ?
labourer. Going about in the world one learns many
things!
third elder. Yes, yes, you’re a knowing fellow.
Wife brings spirits and glasses.
peasant. Have a drop!
Wife takes a decanter and fills glasses.
wife. Do us the honour!
first elder [drinks] Your health ! Ah, that’s good. It
runs right through all one’s joints. That’s what I call
proper drink!
The other three Elders do the same. Chief gets out of the
men. Labourer goes and stands by him.
labourer [to Chief] See what will happen now! I'll
trip up the woman with my foot and she'll spill the
liquor. Formerly he did not grudge his last crust, but
now see what he'll do about a glass of spirits !
peasant. Now then, wife, fill again and hand it round
in due order—first to our friend here, then to Daddy
Michael.
Wife fills a glass and goes round the table. The Labourer
trips her up ; she stumbles and upsets the glass.
wife. Gracious goodness, I've spilt it! Why do you
get in my way, confound you ?
peasant [to Wife] There now, what a clumsy beast! Her
fingers are all thumbs, and she goes swearing at others!
See what fine stuff she goes spilling on the ground!
wife. I didn't do it on purpose.
peasant. On purpose indeed! Wait till I get up; I'll
teach you how to pour spirits on the ground. [To Labourer]
And you too, you confounded fool, what are you pranc-
ing round the table for ? Go to the Devil!The First Distiller
Wife again fills and hands the glasses round
labourer \_goes back to the oven to the Chief ] You see?
Formerly he did not grudge his last crust, and now for a
glass of spirits he nearly beat his wife and sent me to you
—to the Devil!
chief. It's good, very good ! I’m satisfied.
labourer. You wait a bit. Let them empty the bottle
—and you'll see what will happen. Even now they are
giving each other smooth oily words; presently they’ll
start flattering each other,—as cunning as foxes.
peasant. Well, old friends, what's your opinion of my
business ? My grandfather has been living with me, and
I have been feeding him and feeding him, and now he's
gone to live with my uncle, and wants to take his share
of the property and give it to uncle ! Consider it well;
you are wise men. We could as well do without our own
heads as without you. There's no one in the whole village
to come near you. Take you for example, Ivan Fedotitch
—doesn't every one say you're first among men ? And
as for me, I'll tell you the truth, Ivan Fed6titch, I'm
fonder of you than of my own father or mother. As for
Michael Stepanitch, he's an old friend.
first elder \to Peasant] It's good to talk with a good
man. It's the way to get wisdom. It's just the same
with you. One can't find any one to compare with you
either.
second elder. Wise and affectionate—that's what I like
you for.
third elder. You have my best sympathy. I can't
find words to express it. I was saying to my old woman
only to-day . . .
fourth elder. A friend, a real friend !
labourer \nudges the Chief] Do you hear ? All lies!
They abuse one another behind their backs, but see how
thick they are laying it on now,—like foxes wagging their
tails! And it all comes from that drink.The First Distiller	117
chief. That drink is good, very good ! If they take to
lying like that, they'll all be ours. Very good; I'm
satisfied!
labourer. Wait a bit. When they've finished a second
bottle it will be better still!
wife [serves] Do have another glass.
first elder. Won't it be too much ? Your health1
[Drinks] It's pleasant to drink in the company of a good
man.
second elder. How can one help drinking? Health
to the host and hostess !
third elder. Friends, your health !
fourth elder. This is a brew of the right sort! Let's
be merry! We'll arrange things for you. 'Cos it all
depends on me!
first elder. On you ? No, not on you, but on what
your seniors say.
fourth elder. My seniors are greater fools. Go where
you came from!
second elder. What are you up to now ? You fool!
third elder. It's true what he's saying! 'Cos why ?
The host is not entertaining us for nothing. He means
business.. The business can be arranged. Only you must
stand treat! Show us due respect. 'Cos it's you as wants
me, and not I you ! You're own brother to the pig!
peasant. And you're itself! What are you yelling for ?
Think to surprise me ? You are all good at stuffing
yourselves!
first elder. What are you giving yourself airs for?
See if I don't twist your nose to one side !
peasant. We'll see whose nose will get twisted 1
second elder. Think yourself such a marvel ? Go to
the Devil! I won't speak to you—I'll go away!
peasant [holds hirri] What, will you break up the com-
pany ?
second elder. Let me go, or I’ll call for help!i r 8
The First Distiller
peasant. I won't I What right have you to . . »?
second elder. This right!	[Beats hirn\t
peasant \to the other Elders] Help me !
They fall on one another, and all speak at once.
first elder. That's why. 'Cos it means we're all having
a spree-ee !
second elder. I can arrange everything!
third elder. Let's have some more !
peasant \to Wife] Bring another bottle !
All sit round the table again and drink.
labourer \to Chief ] Have you noticed ? The wolfs
blood in them was aroused, and they've turned as fierce as
wolves.
chief. The drink is good! I'm satisfied 1
labourer Wait a bit. Let them empty a third bottle
Things will be better still!
CuriamACT VI
The scene represents a village street. To the right some old
women are sitting on logs of wood with the Grandfather. In
the centre, is a ring of women, girls, and lads. Dance music
is played and they dance. Noise is heard from the hut, and
drunken screams. An old man comes out and shouts in a tipsy
voice. The Peasant follows him and leads him back.
grandfather. Ah, what doings! what doings! One
would think, what more would any one want than to do
his work on week days, and when Sunday comes round,
to have a good wash, clean the harness, and rest a bit and
sit with his family; or go outside and have a talk with
the old folk about matters concerning the Commune.
Or, if you’re young, have a game. There they are playing,
—and it's pleasant to look at them. It's all pleasant and
good. [Screams inside the hut\ But this sort of thing, what
is it ? It only leads men astray, and pleases the Devils.
And it all comes of fat living !
Tipsy men come tumbling out of the hut, shout, and catch
hold of the girls.
girls. Leave off, Daddy Tom! What do you mean by it ?
lads. Let's go into the lane. It's impossible to play here.
Exeunt all who were playing in the ring.
peasant [goes up to Grandfather] What have you got
now ? The Elders will allot everything to me! [Snaps
his fingers at him\ That's what you'll get! So there you
are! It's all mine and you've nothing ! They'll tell you
so themselves!
The four Elders speak all at once.
first elder. 'Cos I know what's what!
119120
The First Distiller
SECOND ELDER.
“ 'Fore all I'll be heard,
’Cos I’m an old bird 1 ”
third elder. Friend ! dear friend, dearest friend !
fourth elder.
“Jog along hut, jog along bed,
The missis has nowhere to lay down her head 199
Now then, come along !
The Elders take each others arms in couples and go off
reeling, one couple following the other. The Peasant turns
back to the hut, but stumbles before he reaches it,—falls down,
and lies muttering incomprehensible words that sound like grunts.
The Grandfather and those he was with, rise and exeunt.
Enter Labourer and Chief of Devils.
labourer. Did you see ? Now the swine’s blood has
been roused in them, and from wolves they have turned
into swine! [Points to Peasant] There he lies in the dirt
and grunts like a hog!
chief. You have succeeded! First like foxes, then like
wolves, and now like swine ! Well, that is a drink! But
tell me, how did you make it ? I suppose it’s made of a
mixture of foxes’, wolves', and swine’s blood ?
labourer. Oh no ! I only supplied him with too much
corn! As long as he had only as much corn as he needed,
he did not grudge his last crust, but when he had more
than he knew what to do with, the fox’s, the wolf s, and
the swine’s blood in him awoke. He always had beast’s
blood in him, only it could not get the upper hand.
chief. Well, you’re a fine fellow! You've atoned for
your crust-blunder. Now they only need to drink spirits,
and they’re altogether ours !
Curtain.
end of “the first distiller.”FRUITS OF CULTURE
A COMEDY IN FOUR ACTS
(1889)CHARACTERS
LEONÎD FYÔDORITOH zvezdîntsef. A retired Lieutenant of the
Horse Guardi. 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 PÀVLOVNA ZVEZDÎNTSBVA. Wife of Leonid. Stout ; pretends
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 a pince-nez, flirts and giggles, Speaks very quickly
and distinctly,
VASÎLY LEON fDITCH ZVEZDÎXTSEF. Thevr son, aged 25 ; has
studied law, but has no definite occupation. Member of the Cycling
Club, Jockey Club, a/nd of the Society for Promoting the Breeding of
Hounds. Enjoys perfect health, and has imperturbable self-assurance.
Speaks loud and abruptly. Is either perfectly serious—almost morose,
or is noisily gay and bmghs loud. Is nicknamed Vovo.
ALEXÉY VLADÎMIBOVITCH KBOUGOSVÉTLOF. A professor and
scientist of about 50, with quiet a/nd pleasantly self-possessed manners,
and quiet, deliberate, harmonious speech. Likes to talk. Is mildly dis-
dainful of those who do not agree with him. Smokes much. Is lean
and active,
the DOOTOB. About 40. Healthy, fat, red-faced, loud-voiced, and
rough ; with a self satisfied smile constantly on his lips.
MÀKYA KONSTANTÎNOVNA. A girl of 20, from the Conservatoire,
teacher of music. Wears a fringe, and is super-fashionably dressed.
Obsequious, and gets easily confused.
petrîstchef. About 28 ; has taken his degree in philology, and is
looking out for a position. Member of the same clubs as VasUy Leonid-
itch, and also of the Society for the Organisation of Calico Balls.1 Is
bald-headed, quick in movement and speech, and very polite..
\ Economical balls at which the ladies are bound to appear in dresses
made of cotton materials.
122Fruits of Culture
123
THE baroness. A pompous lady of about 50, slow in her movements
speaks with monotonous intonation.
THE PRINCESS. A society woman, a visitor.
HER DAUGHTER. An affected young society woman, a visitor.
THE countess. An ancient dame, with false hair and teeth. Moves
with great difficulty.
GROSSMAN. A dark, nervous, lively man of Jewish type. Speaks
very bud.
the fat lady : MÀRYA vasìlyevna TOLBOtfHINA. A very dis-
tinguished, rich, and kindly woman, acquainted with all the notable
people of the last and present generations. Very stout. Speaks hur-
riedly, trying to be heard above every one élse. Smokes.
BARON KLÌNGEN (1nicknamed KOKO). A graduate of Petersburg
University, Gentleman of the Bedchamber, Attaché to an Embassy.
Is perfectly correct in his deportment, and therefore enjoys peace of
mind and is quietly gay,
TWO SILENT LADIES.
SERGÉY IVÀNITCH SAHÀTOF. About 50, an ex-Assistant Minister
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 IVÀNITCH. Personal attendant on Zvezdintsef, aged
about 60. A man of some education and fond of information. Uses
his pince-nez and pocket-handkerchief too much, unfolding the latter very
slowly. Takes an interest in politics. Is kindly and sensible.
GREGORY. A footman, about 28, handsome, profligate, envious, and
insolent.
JACOB. Butter, about 40, a bustling, kindly man, to whom the inte-
rests of his family in the village are all-important.
SIMON. The butler*s assistant, about 20, a healthy, fresh, peasant lad,
fair, beardless as yet ; calm and smiling.
THE COACHMAN. A man of about 35, a dandy. Has moustaches
but no beard. Rude and decided.
A DISCHARGED MAN-COOK. About 45, dishevelled, unshaved, bloated,
ydlow and trembling. Dressed in a ragged, light summer-overcoat
and dirty trousers. Speaks hoarsely, ejecting the words abruptly.
the SERVANTS' COOK. A talkative, dissatisfied woman of 30.
THE doorkeeper. A retired soldier.
tXnya (TATYÀNA mXrkovna). Lady's-maid, 19, energetic, strong,
merry, with quickly-changing moods. At moments, when strongly ex-
cited, she shrieks with joy.124	Fruits	of	Culture
FIRST PEASANT. About 60. Has served as village Elder. Imagines
that he knows how to treat gentlefolk, and likes to hea/r himself talk.
SECOND PEASANT. About 45, head of a family. A man of few
words. Baugh and truthful. The father of Simon.
THIRD PEASANT. About 70. Wears shoes of plaited bast. Is
nervous, restless, hurried, and tries to cover his confusion by much
talking.
FIBST FOOTMAN {in attendance on the Countess). An old man, with'
old-fashioned manners, wad proud of his place.
SECOND FOOTMAN. Of enormous size, strong, cmd rude.
A POSTER FROM A FASHIONABLE DRESSMAKER'S SHOP. A fresh-
faced man in dark-blue long coat. Speaks firmly, emphatically, and
dearly.
The action takes place m Moscow, in Zvezdintsefs housetFRUITS OF CULTURE
ACT I
The entrance hall of a wealthy house in Moscow. There
are three doors : the front door, the door of Leonid Fyodor-
itch*s study, and the door of Vasily Leoniditch's room. A
staircase leads up to the other rooms ; behind it is another
door leading to the servants’ quarters.
Scene 1.
gregory [looks at himself in the glass and arranges his hair,
$c.] I am sorry about those moustaches of mine !	“ Mous-
taches are not becoming to a footman, *' she says ! And
why ? Why, so that any one might see you're a footman,—
else my looks might put her darling son to shame. He's
a likely one ! There's not much fear of his coming any-
where near me, moustaches or no moustaches ! [Smiling
into the g/asi] And what a lot of 'em swarm round me.
And yet I don't care for any of them as much as for
that Tânya. And she only a lady's-maid ! Ah well,
she's nicer than any young lady. [¿SmsTij] She is a duck !
[Listening] Ah, here she comes. [Smiles] Yes, that's her,
clattering with her little heels. Oh !
Enter Tânya, carrying a cloak and boots.
gregory. My respects to you, Tatyana Markovna.
tânya. What are you always looking in the glass for}
Do you think yourself so good-looking ?
gregory. Well, and are my looks not agreeable ?
ias126	Fruits	of Culture
tanya. So, so; neither agreeable nor disagreeeable, but
just betwixt and between ! Why are all those cloaks hang*
ing there ?
gregory. I am just going to put them away, your lady-
ship ! [Takes down a fur cloak and, wrapping it round her,
embraces her] I say, Tdnya, I'll tell you something . . .
tanya. 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 !
tanya. Now, really, what are you bothering for? I'll
give you such a kiss ! [Raises her hand to strike].
VAsiLY leoniditch [off the scene, rings and then shouts]
Gregory !
tanya. There now, go! Vasily Leoniditch is calling you.
gregory. He’ll wait! He's only just opened his eyes!
I say, why don’t you love me ?
tanya. 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 !
tanya. 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
me ? . . . I say, Tanya . . .
tanya [angrily and severely] You’ll get nothing from
me, I tell you !
vasi'ly leoniditch [off the scene] Gregory !!
gregory. You’re mighty particular, ain't you ?
VAsfLY LEONf ditch [off the scene, shouts persistently, monoton-
ously, and with all his might] Gregory! Gregory! Gregory 1
[Tdnya and Gregory laugh].Fruits of Culture	127
gregory. You should have seen the girls that have been
sweet on me. [Bell rings],
tanya. Well then, go to them, and leave me alone !
gregory. You are a silly, now I think of it. I'm not
Simon!
tanya. 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. I’ve brought a dress, and
here's a note for the lady.
tAnya [taking the note] Sit down, and I'll take it in.
[Exit].
Vasily Leoniditch looks out of the door in shirt-sleeves and
slippers.
VAsfLY leoniditch. Gregory!
GREGORY. Yes, sir,
vasily leoniditch. Gregory ! Don’t you hear me call ?
gregory. I’ve only just come, sir.
vasily leoniditch. Hot water, and a cup of tea.
gregory. Yes, sir; Simon will bring them directly.
vasily leoniditch. And who is this ? Ah, from Bourdier r
porter. Yes, sir.
Exeunt Vasily Leoniditch and Gregory. Bell rings. Tdnya
runs in at the sound of the bell and opens the front door.
tanya [to Porter] Please wait a little.
porter. I am waiting.
Sahdtof 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],
sahatof [adjusting his clothes] Is Leonid Fy6doritch at
home ? Is he up ? [Bell rings],
tAnya. Oh yes, sir. He’s been up a long time.
Doctor enters and looks round for the footman. Sees Sahdtof
and addresses him in an offhand manner.128
Fruits of Culture
doctor. Ah, my respects to you !
sahatof [looks fixedly at hini\ The Doctor, I believe ?
doctor. And I thought you were abroad ! Dropped in
to see Leonid Fy6doritch ?
sahatof. 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 a good many years on her back.
sahatof. 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 ?
sahatof. I ? No, I am not also a spiritualist. . . . Good
morning !	[/s 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 Krougosv^tlof 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.
sahatof. Yes, yes ! Good morning. [Exit, bowing slightly].
doctor \to Tanya] 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 ivanitch [to Porter] What is it you want ?
porter. I’m from Bourdey’s. I brought a dress and a
note, and was told to wait.
Theodore ivanitch. Ah, from Bourdey’s! \To Tanyri]
Who came in just now ?Fruits of Culture
129
tanya. It was Sergey Ivanitch Sahatof and the Doctor.
They stood talking here a bit. It was all about spirit-
alism.
Theodore ivanitch [correcting her] Spiritualism.
tanya. Yes, that's just what I said—spiritalism. Have
you heard how well it went off last time, Theodore Ivan-
itch ? [Laughs] There was knocks, and things flew about!
Theodore ivanitch. And how do you know ?
tanya. Miss Elizabeth told me.
Jacob runs in with a tumbler of tea on a tray.
jacob [to the Porter] Good morning !
porter [disconsolately] Good morning!
Jacob knocks at Vasily LeoniditcKs 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. I’ll bring it back ! I'll 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. I'll 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 Tdnya] No one asked your opinion!
[Exit],
1130	Fruits of Culture
jacob. Ah well, I don't mind. Tatyana Mdrkovna, did
the mistress say anything about yesterday ?
tanya. 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, and
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
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 ivanitch. One. Only one ! [Reeds newspaper].
Exit Jacob.
Bell rings. Enter Gregory {carrying a tray) and the Door-
keeper.
doorkeeper [to Gregory] 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].
tanya. Where are these peasants from ?
doorkeeper. From Koursk, I think.
tanya [shrieks with delight] It's them. . . . It's Simon's
father come about the land! I'll go and meet them!
[Runs off],
doorkeeper. Well, then, what shall I say to them?
Shall they come in here ? They say they've come about
the land—the master knows, they say.
theodore ivanitch. 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 ivanitch. Let them wait outside. I'll send
for them when the time comes. [Exit Doorkeeper]
Enter Tdnya, followed by three Peasants.
tanya. To the right. In here ! In here JFruits of Culture	131
Theodore ivanitch. I did not want them brought in
here!
gregory. Forward minx !
tanya. Oh, Theodore Ivanitch, it won’t matter, they’ll
stand in this corner.
Theodore ivanitch. They’ll dirty the floor.
tanya. They’ve scraped their shoes, and I’ll wipe
the floor up afterwards. [To Peasants] Here, stand just
here.
Peasants come forward carrying presents tied in cotton
handkerchiefs ; cake, eggs, and embroidered towels. They look
around for an icdn before which to cross themselves; not finding
one, they cross themselves looking at the staircase.
gregory [to Theodore Ivanitch]. There now, Theodore
Ivdnitch, they say Pironnet’s boots are an elegant shape.
But those there are ever so much better. [Pointing to the
third Peasant’s bast shoes].
Theodore ivanitch. Why will you always be ridiculing
people ? [Exit Gregory].
Theodore ivanitch [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 ivanitch. Yes, yes, I know. You wait a bit
and IT1 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.
tanya. 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 ?132	Fruits	of	Culture
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 ?
tAnya. I am lady's-maid. Do you know, I also come
from Demen! I know you, and you, but I don't know
him. [Pointing to third Peasant].
third peasant. Them two you know, but me you don't
know ?
tanya. You are Efim Antonitch.
first peasant. That’s just it!
tanya. And you are Simon's father, Zachary Tri-
f&nitch.
second peasant. Right!
third peasant. And. let me tell you, I'm Mitry VlAsitch
Tchilikin. Now do you know ?
tanya. Now I shall know you too!
second peasant. And who may you be ?
tanya. I 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 resemblance
of a duchess!
third peasant. That be so truly. Oh Lord !
VAsfLY LEONfDiTCH [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 ?
tanya. 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 ?
tanya. Why, has he been writing ? [Hides her face in
her apron\Fruits of Culture	133
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!
tanya [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] Gregory !
Where the devil are you ? . . . [Enters from his room in
shirt-sleeves, adjusting his pince-nez],
vasily leoniditch. Is every one dead ?
tanya. He’s not here, sir. . . . I’ll send 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?
tanya. They’re peasants from the Koursk village, sir.
[Peasants bow],
vasily leoniditch. And who is this? Oh yes, from
Bourdier.
Vasily Leoniditch pays no attention to the Peasants bow,
Tanya meets Gregory at the doorway and remains on the
scene,
vasily leoniditch [to Gregory] 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 Gregory and
Vasily Leoniditch].
third peasant. Say now, might we not in the mean-
time just go and wait, say, in some lodging-house or
somewhere ?
tanya. No, no, wait a little. I’ll go and bring you some
plates to put the presents on. [Exit].134	Fruits	of Culture
Enter Sahatof and Leonid Fyodoritch,followed by Theodore
Ivanitch.
The Peasants take up the presents, and pose themselves.
leoni'd fy6doritch [to Peasants] Presently, presently!
Wait a bit! [Points to Porter] Who is this ?
porter. From Bourdey's.
leonid fy6doritch. Ah, from Bourdier.
sahatof [smiling] Well, I don’t deny it: still you under-
stand that, never having seen it, we, the uninitiated, have
some difficulty in believing.
leonid fy6doritch. You say you find it difficult to be-
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!
sahatof. From there? What do you mean? From
where ?
leonid fy6doritch. From the other world. Yes!
sahatof [smiling\ That's very interesting—very inter-
esting !
leonid fy6doritch. Well, supposing we admit that Im
a man carried away by an idea, as you think, and
that I am deluding myself. Well, but what of Alexey
Vladimiritch Krougosvetlof—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 ?
sahatof. But I don’t deny anything. I only say it is
very interesting. It would be interesting to know how
Krougosvetlof explains it!
leonid fy6doritch. He has a theory of his own. Could
you come to-night ?—he is sure to be here. First we shall
have Grossman—you know, the famous thought-reader ?
sahatof. Yes, I have heard of him but have never
happened to meet him.
LEONfD fy6doritch. Then you must come! We shall
first have Grossman, then Kaptchitch, and our mediumisticFruits of Culture	135
séance. . . . [To Theodore Ivanitch} Has the man returned
from Kaptchitch ?
theodore ivÀNiTCH. Not yet, sir.
sahatof. Then how am I to know ?
Leonid fyôdoritch. Never mind, come in any case ! If
Kaptchitch can't come we shall find our own medium.
Màrya Ignatievna is a medium—not such a good one as
Kaptchitch, but still . . .
Tânya enters with plates for the presents, and stands listening.
sahatof [smiling] Oh yes, yes. But here is one puzzling
point :—how is it that the mediums are always of the,
so-called, educated class, such as Kaptchitch and Mârya
Ignâtievna ? If there were such a special force, would it
not be met with also among the common people—the
peasants ?
leonid fyôdoritch. 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 Kaptchitch 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 !
tânya [aside] That was when I was getting out from
under it !
leonîd fyôdoritch. It is quite evident he also is a
medium. Especially as he is very like Home in appear-
ance. You remember Home—a fair-haired naïve sort of
fellow ?
sahatof [shrugging his shoulders] Dear me, this is very
interesting, you know. I think you should try him.
leonîd fyôdoritch. 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 !136	Fruits	of	Culture
sahatof. Moved a brick ... a brick wall ?
leonid fy6doritch. 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!
sahatof. And did not cave in ?
leonid fy6doritch. And did not cave in.
sahatof. Very strange! Well then, I’ll come this
evening.
leonid fy6doritch. Pray do. We shall have a seance
in any case. [Sahdtof puts <m his outdoor things, Leonid
Fyddoiitch sees him to the door].
porter [to Tanya] Do tell your mistress! Am I to
spend the night here ?
tanya. Wait a little ; she's going to drive out with the
young lady, so she'll soon be coming downstairs. [Exit].
leonid fy6doritch [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
duty, it is ! It's also the Commune*s orders that we should
do 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 fy6doritch. But what is it about? What do
you want ?
first peasant. It's to your honour we've come . . .
Enter Petristchef briskly, in fur-lined overcoat.
petristchef. Is Vasily Leoniditch awake yet ? [Seeing
Leonid Fyddoritch, bows, moving only his head].
leonid fy6doritch. You have come to see my son?
PETRfsTCHEF. I ? Yes, just to see Vovo for a moment.
leonid fy6doritch. Step in, step in.
Petristchef takes off his overcoat and walks in briskly.
Exit.Fruits of Culture	137
leonid fy6doritch \to Peasants] 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 no more about it; what’s the good ?
We wish you the same as if you were our own father! Say
no more about it!
LEONfn fy6doritch. All right. Here, Theodore, take
these.
Theodore ivanitch [to Peasants] Give them here. [Takes
the presents],
leonid fy6doritch. Well, what is the business ?
first peasant. We’ve come to your honour . . .
leonid fy6doritch. 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 fy6doritch. Do you mean to buy the land ?
first peasant. That’s just it. It comes to this ... 1
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 fy6doritch. 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
last 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 fy6doritch. That’s all right, but how about
paying up ?
first peasant. As 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.1
1 The present value of the rouble is rather over two shillings and
one penny.138	Fruits	of	Culture
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 fy6doritch. 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 fy6doritch. 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 fy6doritch. That was last year. I would have
agreed to it then, but now I can’t.
second peasant. But how’s that ? We’ve 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 ; well say nothing about cattle, but even a hen, let’s
say, we’ve no room to keep. [Bows] Don’t wrong us,
master! [Bows],
LEONiD fy6doritch. 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!
LEONfD fy6doritch [examining the document] I quite un-Fruits of Culture	139
derstand, 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 ivanitch. Yes, sir. [Exit Leonid Fyddoritch].
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. If he had not given us hopes, for example.
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 ivanitch. 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 con-
venient for us.
theodore ivanitch. What is the whole sum ?
first peasant. The whole sum in readiness is 4000
roubles, you see.
theodore ivanitch. 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.
Vasily Leoniditch and Petristchef appear in the doorway
both smoking cigarettes.
VAsiLY leoniditch. I have told you already I’ll do my140	Fruits of Culture
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!
vasi'ly leoniditch. But I’ve already said I'll do my best,
and so I will. Eh, what ?
petristchef. Nothing. I only say, get some at any cost
I will wait.
Exit into Vasily Leoniditch* s room, closing door.
vasily leoniditch [waving his arm] It's a deuce of a go!
[The Peasants bow].
vasily leoniditch [looking at Porter, to Theodore Ivanitch]
Why don’t you attend to this fellow from Bourdier ? He
hasn't come to take lodgings with us, has he ? Just look,
he is asleep! Eh, what ?
Theodore ivanitch. 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 this ? Money ? For whom ? Is it for us ?
[To Theodore IvdnitcK] Who are they ?
Theodore ivanitch. They are peasants from Koursk.
They are buying land.
vasily leoni'ditch. Has it been sold them ?
Theodore ivanitch. No, they have not yet come to any
agreement. They are too stingy.
vasily leoni'ditch. 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 offering
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 ?Fruits of Culture	141
first peasant. That?s just it. The land appears as 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 in
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
4*00 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 ivanitch. He 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 ivanitch. I can’t say. All I know is that he
went away undecided about it.
VAsiLY leoniditch. What d’you think,Theodore Ivanitch.
is he flush of cash ? Eh, what ?
theodore ivanitch. I 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 our new Society, and Petris-
tchef has been chosen, and I had borrowed money from
Petristchef and must pay the subscription both for him
and for myself. Eh, what ?
theodore ivanitch. And what is this new Society ? A
Cycling Club ?142	Fruits	of	Culture
vasIly LEONiDiTCH. No. Just let me tell you. It is quite
a new Society. It is a very serious Society, you know. And
who do you think is President ? Eh, what ?
Theodore ivanitch. What’s the object of this new
Society ?
vasily leoniditch. It is a “ Society to Promote the
Breeding of Pure-bred Russian Hounds/' Eh, what ?
And I'll tell you, they're having the first meeting and a
lunch, to-day. And I've no money. I'll go to him and
have a try ! [Exit through study door].
first peasant [to Theodore Ivdniteh] And who might he
be, respected sir ?
theodore ivanitch [smiles] The young master.
third peasant. The heir, so to say. Oh Lord! [puts
away the money] I'd better hide it meanwhile.
first peasant. And we were told he was in military
service, in the cav'rely, for example.
theodore ivanitch. 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] He's the right sort.
He'll feed them finely!
third peasant. Oh Lord 1
Enter Vasily Leoniditch followed by Leonid Fyddoritch.
VAsiLY leoniditch. 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 300 roubles to go on with ! . . .
leonId fy6doritch. I tell you I can't do it, and 1 can't!
I haven't got it.
VAsfLY leonIditch. Why, you have just sold some land.
LEONfD fy6doritch. 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].Fruits of Culture	143
Theodore ivanitch. I told you this was not the right
moment.
VAsfLY LEONiDiTCH. Well, I say ! Here's a position to be
in ! I'll go and see mamma—that's my only hope. He's
going crazy over his spiritualism and forgets everything
else. [Goes upstairs].
Theodore Ivdnitch takes newspaper and is just going to sit
down, when Betsy and Marya Konstantinovna, followed by
Gregory, come down the stairs.
betsy. Is the carriage ready ?
gregory. Just coming to the door.
betsy [to Mdrya Konstantinovna] Come along, come along,
I know it is he.
MARYA KONSTANTfNOVNA. Which he ?
betsy. You know very well whom I mean—Petristchef,
of course.
marya konstanti'novna. 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 konstanti'novna. 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
dress. I can't act dressed like a scarecrow. [Pointing to
Peasants] And who are these ?144	Fruits	of	Culture
gregory. Peasants who have come to buy some land of
other.
betsy. And I thought they were the beaters. Are you
not beaters ?
first peasant. No, no, lady. We have come to see
Leonid Fyodoritch about the signing into our possession of
the title-deeds to some land.
betsy. Then how is it ? Vovo was expecting some
beaters who were to come to-day. Are you sure you are
not the beaters ? [The Peasants are silent] How stupid they
are I [Goes to Vasily Leoniditch’s door] Vovo? [Laughs],
mArya K0N9TANTiN0VNA. 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 ? How do you do, Marya Konstantinovna ?
[Shakes hands long and violently with Betsy, and then rvith
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],
PETRfsTCHEF. One can’t always hit the mark, you know.
It's something like a lottery. Blanks and blanks again,
and at last you win! [Theodore Ivdnitch goes into the
study].Fruits of Culture	145
BETsv. Well, this was blank then ; but tell me, were you
at the Mergasofs* last night ?
petristchef. Not exactly at the Mère Gas of s, but rather
at the Père Gâsof s, or better still, at the Fils Gâsof s.
Betsy. You can’t do without puns. It’s an illness.
And were the Gypsies there ?1	[.Laughs'].
petristchef	"	On their aprons silken threads,
little birds with golden heads ! ” . . .
Betsy. Happy mortals! And we were yawning at
Fofo’s.
petristchef [continues to sing] “ And she promised and
she swore, She would ope’ her . . . her . . . her . . .
how does it go on, Mârya Konstantinovna ?
MARYA KONSTANTI NO VN A. u Closet door.”
petristchef. How ? What ? How, Mârya Konstanti-
novna ?
Betsy. Cessez, vous devenez impossible ! 2
petristchef. J’ai cessé, j ai bébé, fai dédé . . .8
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, Mârya Konstantinovna, come !
[Exeunt Betsy, Mârya 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 ?
1 The Gypsy choirs are very popular in Moscow.
* BETSY. Cease ! You are becoming quite unbearable !
8 PETBÎSTCHEF. I have 0 said {ceased), B said» and D said,
K146	Fruits	of	Culture
gregory [mimicking him] “ Musitional ” indeed! You
don't understand anything!
first peasant. That's just so. And stupidity, one might
say, is our ignorance.
third peasant. Oh Lord! [Gipsy songs and guitar ac-
companiment are heard from Vasily Leoniditch’s room].
Enter Simon, followed by Tanya, who watches the meeting
between father and son.
gregory [to Simon] What do you want ?
Simon. I have been to Mr. Kaptchitch.
gregory. Well, and what’s the answer ?
Simon. He sent word he couldn't possibly come to-night.
gregory. All right, 111 let them know. [2&c&].
simon [to his father] How d'you do, father! My re-
spects to Daddy Efim and Daddy Mitry! How are all
at home ?
second peasant. Very well, Simon.
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, 1*11 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, I'll tell him over our tea. [Exit].
Theodore Ivdnitch enters and sits down by the window.
first peasant. Respected sir, how's our business pro-
ceeding ?
theodore ivanitch. Wait a bit, he'll be out presently,
he's just finishing.
tanya [to Theodore IvanitcK] And how do you know,
Theodore Ivdnitch, he is finishing ?Fruits of 'Culture	147
theodore ivanitch. I know that when he has finished
questioning, he reads the question and answer aloud.
tanya. Can one really talk with spirits by means of a
saucer ?
theodore ivanitch. It seems so.
tanya. But supposing they tell him to sign, will he sign ?
theodore ivanitch. Of course he will.
tanya. But they do not speak with words ?
theodore ivanitch. Oh, yes. By means of the alphabet.
He notices at which letter the saucer stops.
tanya. Yes, but at a si-ance ? . . .
Enter Leonid Fyddoritch.
leonid fyodoritch. 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 fy6doritch. 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.
leoni'd fy6doritch. 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
hen run about.
Leonid Fyddoritch goes up to the door and stops. Enter,
descending the staircase, Anna Pdvlovna and doctor, followed
by Vasily Leoniditch, who is in a merry and playful mood and
is putting some bank-notes into Ms purse.
anna pavlovna [tightly laced, and wearing a bonnet] Then
I am to take it ?148	Fruits	of	Culture
doctor. If the symptoms recur you must certainly take
it, but above all, you must behave better. How can you
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 pavlovna. All right, all right!
doctor. Yes, u 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 pavlovna. 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. All right, if I have time I’ll pop in. [Exit],
anna pavlovna [noticing the Peasants] What’s this?
What ? What people are these ? [Peasants bow\
Theodore ivanitch. These are peasants from Koursk,
come to see Leonid Fy6doritch about the sale of some
land.
anna pavlovna. I see they are peasants, but who let
them in ?
Theodore ivanitch. Leonid Fy6doritch gave the order.
He has just been speaking to them about the sale of the
land.
anna pAvlovna. What sale ? There is no 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 scariet-fever microbes, of smallpox
microbes, of diphtheria microbes ! Why, they are from
Koursk Government, where there is an epidemic of diph-
theria . . . Doctor! Doctor! Call the doctor back !
Leonid Fyddoritch goes into his room and shuts the door*
Gregory goes to recall the Doctor.
VAsiLY leoni'ditch [smokes at the Peasants] Never mind,Fruits of Culture	149
mamma; if you	like I'll fumigate them	so	that	all the
microbes will go	to pot! Eh, what ?
Anna Pavlovna	remains severely silent, awaiting	the	Doctor s
return.
YAsfLY 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.
VAsfLY LEONfditch. This kind ? . . . [Grunts like a pig],
anna pAvlovna. Vovo, Vovo, leave off!
VAsfLY LEONf ditch. 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. I said, we'd better go to some lodging
meanwhile!
Enter Doctor and Gregory,
doctor. What's the matter ? What's happened ?
anna pavlovna. 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 epi-
demic of diphtheria, right in my house!
doctor. These good fellows you mean, I suppose ?
anna pavlovna. 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 pavlovna. But don't you yourself advise careful-
ness ?
doctor. Of course, of course. Still, why excite yourself?
anna pavlovna. How can I help it? Now we shall
have to have the house completely disinfected.
doctor. Oh no! Why completely ? That would cost150	Fruits of Culture
300 roubles or more. I'll arrange it cheaply and well for
you. Take, to a large bottle of water . . .
ANNA PAVLOVNA. 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
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 tumblers—
you'll see how well it will act. No danger whatever!
anna pavlovna. Tdnya ! Where is Tanya ?
Enter Tdnya.
tAnya. Did you call, M'm ?
anna pavlovna. You know that big bottle in my dress-
ing-room ?
tanya. Out of which we sprinkled the laundress yester-
day ?
anna pAvlovna. 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 . . .
tanya. Yes, M'm; I know how.
anna pavlovna. 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 recoir till this evening. [Exit].
anna pavlovna. 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
stupidity, 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 wrappedQ.Fruits of Culture	151
third peasant. Oh Lord, oh Lord ! didn't I say—some
lodging-house meanwhile!
Gregory pishes him out Exeunt Peasants.
porter [who has repeatedly tried to say something] Will
there be any answer ?
anna pavloyna. Ah, from Bourdier ? [.Excitedly] None.
None I You can take it back. I told her I never 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 Bour-
dier, depart!
porter. I might have been told that long ago. I have
sat here nearly five hours !
VAsfLY leoniditch. Ambassador from Bourdier, begone !
anna pAvlovna. Cease, please !
Exit Porter.
anna pavlovna. 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 Mdrya Konstantinovna.
anna pavlovna. You always keep one waiting !
betsy. On the contrary, I was waiting for you!
Petristchef bows with his head only, then kisses Anna Pdv-
lov?ias hand.
anna pavlovna. How d'you do ! [To Betsy] You always
have an answer ready !
betsy. If you are upset, mamma, I had better not go.
anna pavlovna. Are we going or not ?
betsy. Well, let us go; it can't be helped.
anna pavlovna. Did you see the man from Bourdier ?
betsy. Yes, and I was very glad. I ordered the costume,
and am going to wear it when it is paid for.152
Fruits of Culture
anna pavlovna. I am not going to pay for a costume
that is indecent!
betsy. Why has it become indecent ? First it was
decent, and now you have a fit of prudery.
anna pavlovna. Not prudery at all! If the bodice were
completely altered, then it would do.
betsy. Mamma, that is quite impossible.
anna pavlovna. Well, get dressed. [They sit down.
Gregory puts on their over-shoes for them].
VAsfLY leonIditch. Mdrya Konstantinovna, do you notice
a vacuum in the hall ?
marya Konstantinovna. What is it ? [Laughs in antici-
VAsfLY leoni'ditch. Bourdier’s man has gone! Eh,
what ? Good, eh ?	[Laughs loudly],
anna pavlovna. Well, let us go. [Goes out of the door, but
returns at once] Tanya I
tanya. Yes, M'm ?
anna pavlovna. Don't let Frisk catch cold while I am
away. If she wants to be let out, put on her little yellow
cloak. She is not quite well to-day.
tanya. Yes, M'm.
Exeunt Anna Pdvlovna, Betsy, and Gregory,
pETRfsTCHEF. Well, have you got it ?
vasIly leoniditch. Not without trouble, I can tell you!
First I 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] If 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 Leoniditch put on their outdoor things
and go out Tanya follows.
theodore ivanitch [alone] Yes, nothing but unplea-
santness. How is it they can't live in peace ? But one
must say the new generation are not—the thing. AndFruits of Culture	153
as to the women's dominion! . . . Why, Leonid Fyodoritch
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!
tAnya. Come in, come in, grand-dads, never mind !
Enter Ttiny a and the Peasants.
Theodore ivanitch. Why have you brought them back ?
tanya. Well, Theodore Ivanitch, we must do something
about their business. I shall have to wash the place any-
how.
theodore ivAnitch. But the business will not come off,
I see that already.
first peasant. 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 cattle—why, we have no room
to keep a hen !	[They bow\.
theodore ivanitch. I 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
papers—I'll try and see what I can do, but I hardly hope
to succeed. \Eaa£\.
Tdnya 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 signature
to our document.
tAnya. 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.154	Fruits of Culture
third peasant. He 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.
tanya [considering] He 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.
tanya. Just wait and see what Theodore Ivdnitch will
say. If he cannot persuade the master, I’ll try some-
thing.
first peasant. Get round him, will you ?
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 !
tanya. 1 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 Ivdnitch.
theodore ivanitch. No, friends, it’s no 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.
tanya. Yes, yes! You go into the street, and I'll run
out to you in a minute and have a word with you.
Exeunt Peasants.
tanya. Theodore Ivanitch, dear Theodore Ivdnitch, ask
the master to come out and speak to me for a moment.
I have something to say to him.
theodore ivanitch. What next ?Fruits of Culture	155
tAnya. I must, Theodore Ivdnitch. Ask him, do; there's
nothing wrong about it, on my sacred word.
theodore ivAnitch. But what do you want with him ?
tanya. That's a little secret. 1 will tell you later on,
only ask him.
theodore iyanitch [smiling] I can't think what you are
up to! All right, I'll go and ask him. [Exit].
tanya. I'll 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 I'll teach Simon
what to do. If it doesn't succeed it's no great matter.
After all it's not a sin.
Enter Leonid Fyddoritch followed by Theodore Ivdnitch.
leonid fyddoritch [smiling] Is this the petitioner ?
Well, what is your business ?
tanya. It's a little secret, Leonid Fy6doritch; let me
tell it you alone.
leonid fy6doritch. What is it ? Theodore, leave us
for a minute.
Exit Theodore Ivdnitch.
tanya. 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 fy6doritch. So that's it!
tanya. I open my heart to you as to a father! I have
no one to advise me, being an orphan.
LEONfD fy6doritch. Well, and why not ? He seems a
nice lad.
tXnya. 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 fy6doritch. What is it ? Does he drink ?
tanya. God forbid ! But since I know that there id
such a thing as spiritalism . . .156	Fruits	of Culture
LEONfD fy6doritch. Ah, you know that ?
tanya. Of course ! I understand it very well. Some,
of course, through ignorance, don't understand it.
LEONfD fy6doritch. Well, what then ?
tanya. I am very much afraid for Simon. It does
happen to him.
leonId fy6doritch. 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.
LEONfD fy6doritch. Why, it's the very thing I was
saying to Sergey Ivdnitch this morning ! Yes? . . .
tanya. Or else . . . when was it? ... Oh yes, last
Wednesday. We sat down to dinner, and the spoon just
jumps into his hand of itself!
LEONfD fy6doritch. Ah, that is interesting ! Jumps
into his hand ? When he was drowsing ?
tanya. That I didn't notice. I think he was, though.
LEONfD fy6doritch. Yes ? . . .
tanya. And that's what I'm 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!
LEONfD fy6doritch [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.
tanya. So that's what it is ! And I was afraid !
LEONfD fy6doritch. No, there's nothing to be afraid of.
[Aside], That's capital! Kaptchitch can't come, so we
will test him to-night. ... [To Tdnya] No, my dear,
don't be afraid, he will be a 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.
tanya. Thank you, sir. Now I shan't think any moreFruits of Culture	157
about it ; but I was so frightened. . . . What a thing it
is, our want of education !
leonid fy6doritch. No, no, don’t be frightened. . .
Theodore !
Enter Theodore Ivanitch.
leonîd fyôdoritch. I am going out now. Get every-
thing ready for to-night’s séance.
Theodore ivanitch. But Mr. Kaptchitch is not coming.
leonîd fyôdoritch. That does not matter. [Puts on over-
coat] We shall have a trial séance with our own medium.
[Exit. Theodore Ivanitch goes out with him],
tanya [aloné\ He believes it ! He believes it ! [Shrieks
and jumps with joy] He really believes it ! Isn’t it won-
derful ! [Shrieks] Now I'll do it, if only Simon has pluck
for it !
Theodore Ivânitch returns.
Theodore ivanitch. Well, have you told him your secret?
tanya. Fll tell you too, only later on. . . . But I have a
favour to ask of you too, Theodore Ivânitch.
Theodore ivanitch. Yes ? What is it?
tanya [shyly] You have been a second father to me,
and I will open my heart before you as before God.
Theodore ivanitch. Don’t beat about the bush, but
come straight to the point.
tanya. The point is . . . well, the point is, that Simon
wants to marry me.
Theodore ivanitch. Is that it ? I thought I noticed . . .
tànya. 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 Mihâylitch, 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 ivanitch. Good girl, that’s right ! Well, what
then?
tànya. Well, Simon wrote to his father; and he, his158	Fruits	of	Culture
father, sees me to-day, and says : “ He's 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 ivanitch [smiling] Then I am to turn match-
maker—am I ? Well, I can do that.
tAnya. Theodore Ivanitch, dearest, be a father to me,
and I'll pray for you all my life long.
Theodore ivanitch. All right, all right, I'll come later on.
Haven't I promised ? [Takes up newspaper].
tanya. You are a second father to me !
Theodore ivanitch. All right, all right.
tanya. Then I'll rely on you. [Exit],
theodore ivanitch [alone, shaking his head] A good affec-
tionate 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
mter garments and sit drinking tea at the table, and perspiring.
Theodore Ivdnitch is smoking a cigar at the other side of the
stage. The discharged Cook is lying on the brick oven, and is
unseen during the early part of the scene.
Theodore ivanitch. My advice is, don't hinder him ! If
it’s his wish and hers, in Heaven’s name let him do it.
She is a 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.
Theodore ivanitch. 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. I'll consult my missus, and then
may Heaven bless them!
Theodore ivanitch. Then let's shake hands on it!
second peasant. Well, it seems it will have to come off.
pirst 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.
*59i6o
Fruits of Culture
All that’s left to be done is to have a drink on it, and
then it will be all in order.
Theodore ivanitch. That's not at all necessary. \An
awhvard silence].
Theodore ivanitch. 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 neighbourhood.
second peasant. A 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 ivanitch. There now, would you let me join
your Commune if I settled among you ?
second peasant. Why not ? If you stand drink for the
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 a king, and no
mistake.
Theodore ivanitch. 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 Fy6doritch 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 ivAnitch. He’d do it willingly.
second peasant. It seems he’s afraid of his wife.
Theodore ivanitch. 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 ivAnitch. We'll see what comes of Tdnya’s
attempt. She's taken the business into her hands now!Fruits of Culture
161
third peasant \takes a sip of ted\ 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 ivanitch. If the business depended on me.
... [To Second Peasant] Well, friend, so we’ve done
our bit of match - making! It’s agreed then about
Tanya ?
second peasant. I’ve given my word, and I’ll 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 1
Theodore ivanitch. You don’t say so !
servants’ cook. Yes, Jacob told Tanya,
Theodore ivanitch. Extraordinary *
Enter Coachman.
Theodore ivanitch. What do you want ?
coachman \to Theodore Ivdnitch] 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 IVANITCH. 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 ivAnitch. 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 !I 62
Fruits of Culture
theodore ivanitch. Yes, that will never do. I'll go
and ask about it.
coachman. They’d better be brought here to Louk6rya
servants’ cook [angrily] People have to eat here, and
you’d like to lock dogs in here ! As it is . . .
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 ivanitch. I must ask Vasily Leoniditch.
coachman [<angrily] He’d better hang the brutes 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 ivanitch. That’s not right! Certainly not
right! \To Peasants] Well then, it’s time we were saying
good-bye* friends.
peasants. Good-bye!
Exit Theodore Ivdnitch.
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 general.
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 ? He’s 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.Fruits of Culture	163
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 !
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 !
first peasant. In course gentlefolks' food is of an airial
kind.
servants' cook. Airial, 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! All
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. And so 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 laugK\.
servants' cook. As soon as, by God’s grace, they have
opened their eyes, the samovdr is brought in—tea, coffee,
chocolate. Hardly is the second samovar emptied, a third164	Fruits	of	Culture
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!
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 free ? " 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 manner, you could hear 'em down here !
third peasant. Oh Lord !
servants' cook. Well, and that's all the work they do!
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 Simon.
Simon. Hope you're 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,Fruits of Culture	165
“ Do it, and we’ll get the land for our peasants; he’ll 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, “Do as I tell you,” and that’s all.
second peasant. But what is it you have to do ?
Simon. Nothing just now. They 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.
second peasant. That’s all right! Well, if God grants
that we get the land, I’ll 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,—I’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!Fruits of Culture
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
upstairs 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.
simon. No, the old ones sit still.
servants* cook. Get along,—I*ve seen it myself!
simon. No they don’t.
discharged cook [in a hoarse voice, looking down from the
oven\ That's the Polka-Mazurka. You fools don't under-
stand what dancing is. The way they dance . . .
servants1 cook. Shut up, you dancer! And keep quiet—
there’s some one coming.
Enter Gregory ; old Cook hides hurriedly.
gregory \to Servants* Cook] Bring some sour cabbage.
servants* cook. I am 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 sweetmeatsFruits of Culture	167
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 estab-
lished themselves down here! Mind, if the mistress finds
it out she’ll give it you hot, like she did this morning!
[Exit, laughing].
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 !
Jacob 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.
jacob. You’ve plenty of time; your business won’t begin
till after their tea. Hope you are enjoying your tea!
first peasant. Thanks, come and join us.
Exit Simon.
jacob. I haven’t time. However, I'll just have one cup
for company's sake.
first peasant. And we’ve just been having a conversa-
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.168	Fruits	of	Culture
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 ?
jacob [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
me ? 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
has to go out of town, he’ll not do it for less than a thou-
sand !	“ Give a thousand,” he says, “ or else you may
kick the bucket for what I care ! ”
third peasant. Oh Lord !
second peasant. Then does he know some charm ?
jacob. I suppose 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 ill.
They send for that doctor at once. " A thousand roubles,Fruits of Culture	169
then I'll come/' Well, they 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 I'll not attend her! ”
And, oh my! The old General forgot all his pride,
and starts wheedling 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 doctoring,
and it got all right1
Discharged Cook on the oven coughs.
jacob. Ah, 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 Loukerya.
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
Loukerya.
Enter Servants Cook with the sour cabbage.
jacob \to Servants* Cook~\ I see you've got Paul Petrov-
itch here again ?
servants' cook. And where's he to go to ? Is he to go
and freeze ?170	Fruits of Culture
third peasant. What liquor does. . . . Liquor, let’s say
. . . [Clicks his tongue sympathetically].
second peasant. Of course. A firm man's firm as a
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? I'll give you
such a drop !...
discharged cook. Have 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. A little vódka—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 Jills a wine-glass]
Here you are ; you'll get no more.
discharged cook [clutches hold of it and drinks, trembling
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 Cook meekly begins to climb up, muttering 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 Discharged Cook settles down} muttering all the time.
Silence.
second peasant. I want to ask you something : that
girl of Aksinya's as comes from our village and is livingFruits of Culture	171
here. How is she ? What is she like ? How is she
living—I mean, does she live honest ?
jacob. She's a nice girl; one can say nothing but good
of her.
servants’ cook. I'll 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! 'Cos 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 dorm 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 indeed! . . .
first peasant. That's just it. It's the old circum-
stances.
second peasant.
While they drank and they fed, you were “ curly head.”
When they’d finished the prog, ’twas “ Get out, mangy dog!99
third peasant. Oh Lord !
discharged cook. Much you know. What is “ Sautey a
la Bongmont" ? What is “ Bavassary " ? Oh, the things172	Fruits of Culture
I could make! Think of it! The Emperor tasted my
work, 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 Voznesensky.
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 Tdnya, running.
tanya. Jacob, what are you doing, amusing yourself
here ? She is calling you 1
jacob. I’m coming; but what’s up ?
tanya. Frisk is barking; it’s hungry. And she’s scold-
ing you. “ How cruel he is,” she says. u He’s 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 ?
tanya. 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]Fruits of Culture	173
first peasant. Dinner for a dog ?
tanya. Yes, of course! They prepare a special cutlet
for her; it must not be too fat. And I do the washing—
the dog's washing, I mean.
third peasant. Oh Lord !
tanya. It's like that gentleman who had a funeral for^
his dog.
second peasant. What's that ?
tanya. 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 I'd not cry/'
[Laughs].
discharged cook [ from up on the oven] That is true ; that's
right 1
tanya. Well, the gentleman, he gets home and goes
straight to his lady : “ What a good-hearted man our
coachman is; he was crying all the way home about poor
Dash. Have him called. . . . Here, drink this glass of
v6dka/' he says, “and 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. AJ> lassie, but you've set us a-laughing !
tanya [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's174	Fruits of Culture
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. I’ll fill your
cup, Mitry Vlasitch.
THIRD PEASANT. All right, fill it, fill it.
first peasant. Well, dear, and what progression is our
business making ?
tanya. It's getting on . . .
first peasant. Simon told us . . ,
tanya [quickly] Did he ?
second peasant. But he could not make us understand.
tanya. 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 succeeds.
. . . [Shrieks] Oh, how nice it would be !
second peasant. Don't lose that paper, mind. It has cost
money.
tanya. 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] I've had
enough.
tanya [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].
tanya [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 bom days, I'll dance
then!
tanya [laughing] All right, I'll be in hopes of it. [Silence].
second peasant [examines Tdnya] That's all very well,
but you're not fit for peasant work.
tanya. Who ? I ? Why, don't you think me strongFRUITS OF CULTURE. Act II.
First Peasant. Well, dear, and what progression is our business making?
TAnya. It’s getting on . . .Fruits of Culture	175
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 ?
tanya. Well, there's a thing made with bone, like—some-
thing 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 ? Y ou know, when you spit on your hands !
second peasant. Tighten the girths, you mean.
tanya. Yes, yes, that's it. And you know I mustn't
shove against her with my knee. [.Laughs].
second peasant. Why do you pull her in ?
tanya. For a reason !
second peasant. Why, is she doing penance ?
tanya. No, it's for beauty's sake !
first peasant. That's to say, you pull in her paunch for
appearance* sake.
tanya. Sometimes I lace her up so that her eyes are
ready to start from her head, and she says, “ Tighter,” till
my hands tingle. And you say I’m not strong ! [Peasants
laugh and shake their heads].
tanya. But here, I've been jabbering. [Runs awayf
laughing].
third peasant. Ah, the lassie has made us laugh !
first peasant. She's a tidy one !
second peasant. She’s not bad.
Enter Sahâtof and Vasily Leoniditch. Sahdtof holds a tea-
spoon in his hand.
vasîly 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 ! I’ve
only just returned. [¿Sees Peasants'] Ah, the peasants are
here again !
sahâtof. Yes, yes, that’s all very well, but we came here
to hide this article. Where shall we hide it ?
vasily leoniditch. Excuse me a moment. [To Servants
Cook] Where are the dogs ?176	Fruits	of Culture
servants’ cook. In the coachman’s quarters. You can't
keep dogs in the servants' kitchen !
vasily LEONimTCH. Ah, in the coachman’s quarters ? All
right,
sahatof. I am waiting.
vasily leoniditch. Excuse me, please. Eh, what? Hide
it ? I’ll 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 d'ye want my pocket ? You're
a 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 leoni'ditch [laughs. To Sahatof ] D’you know why
he’s so frightenedf? Shall I tell you ? He’s got a heap of
money. Eh, what ?
sahatof. Yes, yes, I see. Well, you talk to them a bit,
and I'll 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 leoni'ditch. 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*Fruits of Culture	177
sahatof [having put the spoon into a bag belonging to the
Third Peasant] Cestfait. Ready. Come along. [Exit].
vasIly leoniditch. So don't be stingy! Eh? Well,
good-bye. [Exit].
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 ?
second peasant. He’s drunk, I daresay.
Peasants turn their cups upside-down, rise, and cross them-
selves.
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 ! He’d 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 him-
self].
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, I’ll 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. I’d like to
get hold of ten acres, and then I could take Simon back.178	Fruits	of Culture
third peasant. You’re 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 Vifgin,
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 Professor and the Doctor, the Fat
Lady and Leonid Fyôdoritch, Betsy and Petristchef \ Vasily
Leoniditch and Mdrya Konstantinovna, Anna Pdvlovna and
the Baroness, Theodore Ivânitch and Tânyd\.
Peasants jump up. Grossman comes forward stepping
quickly, then stops.
fat lady. You need not trouble yourselves ; I have
undertaken the task of observing, and am strictly
fulfilling my duty î Mr. Sahâtof, are you not leading
him ?
sahatof. Of course not !
fat lady. You must not lead him, but neither must you
resist ! [To Leonid Fyôdoritch] I know these experiments.
I have tried them myself. Sometimes I used to feel a
certain effluence, and as soon as I felt it . . .
leonîd fyôdoritch. 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 . . .
leonîd fyôdoritch. Sh . . . !
Grossman goes about, searches near the First and Second
Peasants, then approaches the Third, and stumbles over a
bench.
baroness. Mais dites-moi, on le paye ?1
anna pavlovna. Je ne saurais vous dire.
1 baroness. But tell me, please, is hé paid for this î
anna pâvlovna. I really do not know.Fruits of Culture	179
baroness. Mais c est un monsieur f1
ANNA PAVLOVNA. Oh, oui !
baroness. Qa tient du miraculeux. West ce pas ? Com-
ment est-ce quil trouve f
anna pavlovna. Je ne saurais vous dire. Mon mari vous
Vexpliquera. [Noticing Peasants, turns round, and sees the
Servants' Coolr] Pardon . . . what is this ?
Baroness goes up to the group.
anna pavlovna [to Servants’ Cook] Who let the peasants
in ?
servants' cook. Jacob brought them in.
anna pavlovna. Who gave Jacob the order ?
servants' cook. I can't say. Theodore Ivanitch has
seen them.
anna pavlovna. Leonid!
Leonid Fyddoritch does not hear, being absorbed in the search,
and says, Sh . . .
anna pavlovna. 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 ivanitch. I thought there would not be any
danger if they came here. The men have come on
business. They have far to go, and are from our village.
anna pavlovna. That's the worst of it! They are from
the Koursk village, where people are dying of diph-
theria like flies! But the chief thing is, I ordered them
out of the house! . . . Did I, or did I not ? [.Ap-
proaches the others that have gathered round the Peasants] Be
careful! Don't touch them—they are all infected with
1	baroness. But he is a gentleman ?
anna pAvlovna. Oh yes !
baroness. It is almost miraculous. Isn’t it? How does he
manage to find things ?
anna pavlovna. I really can’t tell you. My husband will
explain it to you. . . . Excuse me. . . .i8o
Fruits of Culture
diphtheria ! [2Vo one heeds her, and she steps aside in a
dignified manner and stands quietly waiting].
petristchef [sniffs loudly] I 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. He’s getting near, I tell you. Eh,
what ?
grossman [searches excitedly round the Third Peasant] It is
here; I feel it is!
fat lady. Do you feel an effluence ? [Grossman stoops
and finds the spoon in the bag].
all. Bravo ! [General enthusiasm].
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. st 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 fy6doritch [angrily to his son] Always playing
the fool! [To the Third 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
himJ.
VAsiLY LEONiDiTCH. Let’s go straight from here into theFruits of Culture
181
coachman's room. I've got a bitch there—épatante !1
Eh, what ?
betsy. What a horrid word. Couldn't you say dog ?
vasily leoniditch. No. I can't say—Betsy is a man,
épatant I should have to say young woman ; it's a parallel
case. Eh, what ? Mârya Konstantinovna, isn't it true ?
Good, eh ? [Laughs loudly],
mârya Konstantinovna. Well, let us go. [Exeunt Mârya
Konstantinovna, Betsy, Petristchef, and Vasily Leoniditch;].
fat lady [to Grossman] Well? how are you? Have
you rested ? [Grossman does not answer. To Sahatof] And
you, Mr. Sahatof, did you feel the effluence ?
sahatof. I felt nothing. Yes, it was very fine—very
fine. Quite a success !
baroness. Admirable 1 Ça ne le fait pas souffrir f 2
leonîd fyôdoritch. Pas le moins du monde.
professor [to Grossman] May I trouble you? [Hands
him a thermometer] At the beginning of the experiment
it was 37 decimal 2, degrees.3 [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 feels
Grossmans pulse],
fat lady [to Grossman] One moment ! The condition
you were in could not be called sleep ?
grossman [wearily] It was hypnosis.
sahAtof. 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.
1	Stunning I
2	baroness. Capital I Does it not cause him any pain ?
leonîd fyôdoritch. Not the slightest.
8 He uses a Centigrade thermometer.i82
Fruits of Culture
sahátof. 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.
sahátof. A moment, just a moment! That is your
definition, but Liébault told me himself . . .
doctor [lets go of Grossmans pulsé] Ah, that’s all right;
well now, the temperature ?
fat lady [iinterrupting] 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! [To Saháiof] But I think I
interrupted you ?
sahátof [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’s a proof! That’s just
as it should be. [Takes out pocket-book and writes] 82, yes ?
And 37 and 5. When the hypnotic state is induced, it
invariably produces a heightened action of the heart.
doctor. I can, as a medical man, bear witness that your
prognosis was justified by the event.
professor [to Sahátof] You were saying ? . . .
sahátof. 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 . . .Fruits of Culture	183
' sahâtof. Yes, but I don't reject Charcot's labour.
I know him also, I am only repeating what Liébault
told me . . .
^ grossman [excitedly] There are 3000 patients in
the Salpêtrière, and I have gone through the whole
'q course.
«*«»
£3 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 fyôdoritch. However, we had better go upstairs
again. Baroness, this way !
Exeunt Grossman, Sahâtof, Professor, Doctor, the Fat Lady,
and Baroness, talking loudly and interrupting each other.
anna pâvlovna [catching hold of Leonid Fyôdoritch*s arm]
How often have I asked you not to interfere in household
matters ! You think of nothing but your nonsense, and
the whole house is on my shoulders. You will infect us all !
leonid fyôdoritch. What? How? I don t understand
what you mean.
anna pâvlovna. How ? Why, people ill of diphtheria
sleep in the kitchen, which is in constant communication
with the whole house.
LEONID FYÔDORITCH. Yes, but I . . ,
ANNA PÂVLOVNA. What, I ?
leonid fyôdoritch. I know nothing about it.
anna pâvlovna. It’s your duty to know, if you are the
head of the family. Such things must not be done.
leonîd fyôdoritch. But I never thought... I thought...
anna pâvlovna. It is sickening to listen to you ! [Leonid
Fyôdoritch remains silent],
anna pâvlovna [¿o Theodore Ivdnitch] 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 in184	Fruits	of	Culture
here! And with my illness . . . [Gets more and more ex-
cited, and at last begins to cry] Doctor! Doctor ! Peter
Petrovitch! ... He’s gone too! .	. [Exit, sobbing,
followed by Leonid Fyddoritch],
All 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 lodging-
house, lads!
theodore ivanitch [¿o Tdnya] What are we to do ?
tanya. Never mind, Theodore Ivanitch, let them sleep
with the coachman.
theodore ivanitch. How can we do that ? The coach-
man was complaining as it is, that his place is full of dogs.
tanya. Well then, the porter's lodge.
theodore ivanitch. And supposing it’s found out ?
tanya. It won’t be found out! Don’t trouble about
that, Theodore Ivanitch. How can one turn them out
now, at night ? They’ll not find anywhere to go to.
theodore ivanitch. Well, do as you please. Only they
must go away from here. [Exit\.
Peasants 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 !
tanya. Well then, daddy, come along to the porter's
lodge.
first 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 ?
tanya. We'll see in an hour’s time.
second peasant. You’ll do the trick?
tanya [laughs] Yes, God willing!
Curtain.ACT III
Evening of the same day. The small drawing-room in
Leonîd Fyôdoritch7s house, where the séances are always held.
Leonid Fyôdoritch and the Professor.
leonîd fyôdoritch. Well then, shall we risk a séance
with our new medium ?
professor. Yes, certainly. He is a powerful medium,
there is no doubt about it. And it is especially desir-
able 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 con-
nection and identity of the different phenomena will
be still more evident. You will see then that, if the
medium is as strong as he was just now, Grossman will
vibrate.
leonîd fyôdoritch. 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
sahatof. 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 ?
leonîd fyôdoritch. Yes, certainly !
sahatof. In spite of the absence of Mr. Kaptchitch's
mediumistic powers ?
leonîd fyôdoritch. Vous avez la main heureuse.x Fancy,
1 leonîd fyôdoritch. Yon bring good luck.
185186
Fruits of Culture
that very peasant whom I mentioned to you this morning,
turns out to be an undoubted medium.
sahatof. Dear me ! Yes, that is peculiarly interesting !
leonid fy6doritch. Yes, we tried a few preliminary
experiments with him just after dinner.
sahatof. So you*ve had time already to experiment, and
to convince yourself . . .
leonid fy6doritch. Yes, perfectly ! And he turns out
to be an exceptionally powerful medium.
sahatof [incredulously] Dear me !
leonid fy6doritch. 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 Professor] Had you heard about it ?
professor. No, I had not heard that detail.
sahatof [to the Professor]. But still, you admit the pos-
sibility of such phenomena ?
professor. What phenomena ?
sahatof. 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 ?
sahatof. 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 the 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.Fruits of Culture	187
sahatof. Yes, certainly, but . . .
Enter' Tdnya, who hides behind the hangings.
leonid fyódoritch. 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.
sahatof. Materialisation even ? What do you mean by
materialisation ?
leonid fyódoritch. 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 phenomena, and the application
to them of general laws.
Enter the Fat Lady.
fat lady. Anna Pavlovna has allowed me to join you.
leonìd fyódoritch. Very pleased.
fat lady. Oh, how tired Grossman seems ! He 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 l^now, 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
smoking,—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 it188
Fruits of Culture
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! Allow 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 rail-
ways ! I, for instance, can't sleep while travelling ; I
cannot fall asleep to save my life !
professor [makes another attempt, which the Fat Lady
baffles] The loss of strength . . .
sahatof [smiling] Yes; oh yes !
Leonid Fyodoritch rings.
fat lady. I am awake one night, and another, and a
third, and still I can t sleep!
Enter Gregory.
leonid fyôdoritch. 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. [.Eæzi],
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 fy ôdoritch. Let's go into the drawing-room in
the meantime.
faî* 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," youFruits of Culture	189
know. What is the use of maintaining that the common
people are all perfect, when I have myself seen . . .
leonid FYÔDORITCH. 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 afterwards.
They are children, and, as I always say, children need
both love and severity !
Exeunt all, all talking together.
Tânya enters from behind the hangings.
tanya. 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 ?
tanya. Oh, Miss Elizabeth, I have only just come; I
only wished . . . only came in . . . [Embarrassed],
betsy. But they are going to have a séance here
directly. [Notices Tânya drawing in the threads, looks at her,
and suddenly bursts out laughing] Tânya! 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 !
tânya. Miss Elizabeth, dearest Î
betsy [idelighted] Oh, that is a joke ! Well, I never.
But why do you do it ?
tânya. Oh miss, dear miss, don't betray me !
betsy. Not for the world ! I'm awfully glad. Only
tell me how you manage it ?
tanya. 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 . . .
tânya. Miss Elizabeth, darling! I will confess it, but
only to you. I used to ao it just for fun, but now I mean
business.
betsy. What ? How ? What business ?190	Fruits	of	Culture
tAnya. 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 ?
tanya. Well, I thought, when they put out the lights,
I’ll at once begin knocking and shying things about,
touching their heads with the threads, and at last I’ll
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!
tanya. Well, I’ll teach him . . .	[Laughs so that she
cant continue] I’ll tell him to squeeze with his hands any
one he can get hold of! Of course, not your father—he’d
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.
tanya. 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 ivAnitch. Why are you here ?
tanya. It’s you I want, Theodore Ivanitch, dear . . .
THEODORE IVANITCH. Well, what is it ?
tanya, About that affair of mine as I spoke of.
Theodore ivAnitch [laughs'] I’ve 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.Fruits of Culture	191
tanya [with a shriek] Never ! So it's all right ?
Theodore ivanitch. Don’t I tell you so ? He says, “ I
shall consult the missus, and then, God willing . .
tanya. Is that what he said ? [Shrieks] Dear Theodore
Ivanitch, I'll pray for you all the days of my life !
Theodore ivanitch. All right ! All right ! Now is not
the time. Fve been ordered to arrange the room for the
séance.
tanya. Let me help you. How's it to be arranged ?
theodore ivanitch. How ? Why, the table in the
middle of the room—chairs—the guitar—the accordion.
The lamp is not wanted, only candles.
tanya [helps Theodore Ivanitch to place the things] Is that
right ? The guitar here, and here the inkstand. [Places
it] So?
theodore ivanitch. Can it be true that they’ll make
Simon sit here ?
tanya. I suppose so ; they've done it once.
theodore ivanitch. Wonderful ! [Puts on his pince-nez]
But is he clean ?
tanya. How should I know ?
theodore ivanitch. Then, I'll tell you what .
tanya. Yes, Theodore Ivanitch ?
theodore ivanitch. Go and take a nail-brush and some
Pears’ soap ; you may take mine . . . and go and cut his
claws and scrub his hands as clean as possible.
tanya. He can do it himself.
theodore ivanitch. Well then, tell him to. And tell
him to put on a clean shirt as well.
tanya. All right, Theodore Ivânitch. [E&it],
theodore ivanitch [«& down in an easy-chair] They're
educated and learned—Alexey 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 it192	Fruits	of	Culture
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 Fyódoritch sitting by. . . . Extraordinary
human weakness!
Enter Leonid Fyódoritch.
leonid fyódoritch. Is it all ready ?
theodore ivanitch [rising leisurely] Quite ready. [Smiles]
Only I don't know about your new medium. I hope he
won't disgrace you, Leonid Fyódoritch.
leonid fyódoritch. No, I and Alexéy Vladimiritch have
tested him. He is a wonderfully powerful medium !
theodore ivanitch. Well, I don't know. But is he
clean enough ? I don't suppose you have thought of
ordering him to wash his hands ? It might be rather
inconvenient.
leoníd fyódoritch. His hands ? Oh yes ! They're not
clean, you think ?
theodore ivanitch. What can you expect? He's a
peasant, and there will be ladies present, and Márya
Vasilevna.
leoníd fyódoritch. It will be all right.
theodore ivanitch. And then I have something to report
to you. Timothy, the coachman, complains that he can’t
keep things clean because of the dogs.
leoníd fyódoritch [arranging the things on the table absent-
mindedly] What dogs ?
theodore ivanitch. The three hounds that came for
Vasily Leoniditch to-day.
leoníd fyódoritch [vexed] Tell Anna Pávlovna! She
can do as she likes about it. I have no time.
theodore ivanitch. But you know her weakness . . .
leoníd fyódoritch. 'Tis just as she likes, let her do asFruits of Culture	193
she pleases. As for him,—one never gets anything bat
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 fy6doritch. 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 all.
simon. Why should I think ? The more one thinks,
the worse it is.
leonid fy6doritch. 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.
LEONin fy6doritch. But above all, don’t be frightened.
Because you might be surprised yourself. You must
understand that just as we live here, so a whole world of
invisible spirits live here also.
Theodore ivanitch [improving on what Leonid Fyodoritch
has said] Invisible feelings, do you understand ?
simon [laughs] How can one help understanding! It’s
very plain as you put it.
leonid fy6doritch. 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 matter
at all.
leonid fy6doritch. Well then, I’ll go and call them
all. ... Is everything ready ?
THEODORE IVANITCH. I think SO.
leonid fy6doritch. But the slates ?
theodore ivanitch. They are downstairs. I’ll bring
them. [Exit],
leonid fy6doritch. All right then. So don’t be afraid,
but be at your ease.
N194	Fruits of Culture
simon. Had I not better take off my coat ? One would
be more easy like.
leonid fyódoritch. 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 Tdnya in her stockings and in a dress of the colour of
the wall-paper. Simon laughs.
tanya. Shsh !... They’ll hear ! There, stick these
matches on your fingers as before. [/SizcA# 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.
tanya. 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 'em, 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 everything ?
simon. Yes, I'll remember, but it is too funny.
tanya. But mind you don’t laugh. Still, it won’t
matter much if you do laugh ; they'd think it was in your
sleep. Only take care you don't really fall asleep when
they put out the lights.
simon. No fear, I’ll pinch my eavs.
tanya. Well then Sim darling, only mind do as I tell
you, and don't get frightened. He’ll sign the paper, see
if he don't ! They’re corning !
Gets under the sofa.Fruits of Culture	195
Enter Grossman and the Professor, Leonid Fyôdoritch and
the Fai Lady, the Doctor, Sahâtof and Anna Pâvlovna. Simon
stands near the door.
lkonîd fyôdoritch. Please come in, all you doubters !
Though we have a new and accidentally discovered
medium, I expect very important phenomena to-night.
sahatof. That's very, very interesting.
fat lady (jpointing to Simon\ Mais il est très bien !1
anna pâvlovna. Yes, as a butler’s assistant, but hardly . . .
sahâtof. Wives never have any faith in their husbands’
work. You don’t believe in anything of this kind?
anna pâvlovna. 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 I 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 j ust such a dream that I . . .
Enter Vasily Leoniditch and PetHstchef
fat lady. And much was revealed to me by that dream.
Nowadays the young people [points to Petristchef and Vasily
Leoniditch] deny everything.
vasîly leonîdïtch. But look here, you know—now I,
for instance, never deny anything ! Eh, what ?
Betsy and Mârya 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
know . . . why, well, it appeared every evening! My
husband’s brother—what do you call him ? Not beau-frère
—what's the other name for it ?—I never can remember
the names of these different relationships—well, he went
1 fat lady. But he looks quite nice.196	Fruits	of Culture
there three nights running, and still he saw nothing ; so
I said to him . . .
leonid fyodoritch. Well, who is going to stay here ?
FAT LADY. I ! I !
SAHATOF. I.
anna pavlovna [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 proofs ?
anna pavlovna. Then I am to take it to-night for
certain ?
doctor. Take what? . . . Oh, the powder. Yes, it
would perhaps be better. Yes, yes, take it. . . . How-
ever, I shall come upstairs again.
anna pavlovna. 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.
sahatof. Yes, thanks !
Exit Anna Pdvlovna.
betsy po Petristchef] You must stay, I tell you. I pro-
mise you something extraordinary. Will you bet ?
marya Konstantinovna. But you don’t believe in it ?
betsy. To-day I do.
marya Konstantinovna [to Petristchef] And do you be-
lieve ?
petristchef. “ I can’t believe, I cannot trust a heart
for falsehood framed/* Still, if Elizabeth Leonidovna
commands . . .
vasily leonîditch. Let us stay, Mârya Konstantinovna.
Eh, what ? I shall invent something épatant
mârya konstantînovna. No, you mustn’t make me laugh.
You know I can t restrain myself.
vasily leonîditch [loud] I remain !Fruits of Culture	197
leonîd fyôdoritch [severely] But I beg those who re-
main not to joke about it. It is a serious matter.
petristchef. Do you hear? Well then, let’s stay.
Vovo, sit here, and don’t be too shy.
betsy. Y es, it’s all very well for you to laugh ; but just
wait till you see what will happen.
vasîly leoniditch. Oh, but supposing it’s true ? Won’t
it be a go ! Eh, what ?
petristchef \trembles\ Oh, I’m afraid, I’m afraid ! Mârya
Konstantinova, I’m afraid ! My tootsies tremble.
betsy [laughing\ Not so loud.
All sit dorvn.
leonîd fyôdoritch. Take your seats, take your seats.
Simon, sit down !
simon. Yes, sir. [Sits down on the edge of the chair].
leonîd fyôdoritch. Sit properly.
professor. Sit straight in the middle of the chair, and
quite at your ease. [Arranges Simon on his chair\.
Betsy, Mârya Konstantinovna and Vasily Leoniditch laugh.
leonîd fyôdoritch [raising his voice] I beg those who
are going to remain here not to behave frivolously, but to
regard this matter seriously, or bad results might follow.
Do you hear, Vovo ! If you can’t be quiet, go away !
vasîly leoniditch. Quite quiet ! [Hides behind Fat Lady],
leonîd fyôdoritch. Alexéy Vladimiritch, will you mes-
merise him?
professor. No ; why should I do it when Anton Borisitch
is here ? He has had far more practice and has more
power in that department than I. . . . Anton Borisitch !
grossman. Ladies and gentlemen, I am not, strictly
speaking, a spiritualist. I have only studied hypnotism. It
is true I have studied hypnotism in all its known manifesta-
tions ; but what is called spiritualism, is entirely unknown
to me. When a subject is thrown into a trance, I may
expect the hypnotic phenomena known to me : lethargy,
abulia, anaesthesia, analgesia, catalepsy, and every kind of198	Fruits of Culture
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 sig-
nificance.
sahatof. I thoroughly agree with Mr. Grossman. Such
an explanation would be very interesting.
LEONiD fy6doritch. I think Alexey Vladimiritch will
not refuse to give us a short explanation.
professor. Why not ? I can give an explanation if it is
desired. [To the Doctor] Will you kindly note his tempe-
rature and pulse ? My explanation must, of necessity, be
cursory and brief.
leonid fy6doritch. 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 Lady — then
reseating himself ] Ladies and gentlemen ! The pheno-
menon 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 “inter-
course with the spirit world." That definition is inexact.
Under such a definition 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, sepa-
rating the one from the other. We say, matter is composed
of molecules . . .
petristchef. Prosy matter! [ Whispering and laughter].
professor [pausesj then continues] Molecules are com-
posed of atoms, but the atoms, having no extension, arcFruits of Culture	199
in 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
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
manifest itself are very diverse, and it is one of these new
and as yet but little known phases of energy, that we are
investigating to-night. I refer to mediumistic energy.
Renewed whispering and laughter among the young people.
professor [stops and casts a severe look round] Mediumistic
energy has been known to mankind for ages : prophecy,
presentiments, visions and so on, are nothing but mani-
festations of mediumistic energy. The manifestations pro-
duced 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
imponderable substance—an ether—was recognised, so
mediumistic phenomena seemed mysterious until the now
fully established fact was recognised, that between the
particles of ether there exists another still more rarified
imponderable substance not subject to the law of the
three dimensions . . .
Renewed laughter, whispers, and giggling.
professor [again looks round severely] And just as mathe-
matical calculations have irrefutably proved the existence
of imponderable ether which gives rise to the phenomena
of light and electricity, so the successive investigations
of the ingenious Hermann, of Schmidt, and of Joseph200
Fruits of Culture
Schmatzhofen,have confirmed beyond a doubt the existence
of a substance which fills the universe and may be called
spiritual ether.
fat lady. Ah, now I understand. I am so grate-
ful .. .
Leonid fyôdoritch. Yes, but Alexéy Vladimiritch, could
you not . . . condense it a little ?
professor \not heeding the remark] And so, as I have just
had the honour 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 height-
ened—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.
sahAtof. 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.Fruits of Culture
201
tat lady \to Sahátof] What is it that puzzles you ? It
is so simple. . . . Thank you so, so much !
leonid fyódoritch. 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 honour of explaining will be
confirmed by the fact, which we shall presently have an
opportunity of observing, that after the medium has been
thrown into a trance his temperature and pulse will inevit-
ably rise, just as occurs in cases of hypnotism.
leonid fyódoritch. Yes, yes. But excuse me a moment.
I should like to reply to Sergéy Ivánitch'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 ! Perhaps the
Spaniard was bom in one of our houses and is a baby now !
leonid fyódoritch. Quite possibly.
professor. I think it is time we began.
leonid fyódoritch. I was only going to say . . .
professor. It is getting late.
leonid fyódoritch. Very well. Then we will com-
mence. Antón Borisitch, be so good as to hypnotise the
medium.202
Fruits of Culture
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 fy6doritch [to the Professor] I think it is quite
immaterial.
professor. Quite.
grossman. Then I will make use of my own method,
which I showed in Odessa.
LEONiD fy6doritch. If you please !
Grossman waves his arms above Simon. Simon closes his
eyes and stretches himself.
grossman [looking closely at him] He is falling asleep!
He is asleep! A remarkably rapid occurrence of hyp-
nosis. The subject has evidently already reached a state
of anaesthesia. He is remarkable,—an unusually impres-
sionable subject, and might be subjected to interest-
ing experiments! . . . [Sits down, rises, sits down again]
Now one might run a needle into his arm. If you
like . . .
professor [to Leonid Fyodoritch] Do you notice how the
medium's trance acts on Grossman ? He is beginning to
vibrate.
leonid fy6doritch. Yes, yes . . . can the lights be ex-
tinguished now ?
sahatof. But why is darkness necessary ?
professor. Darkness ? Because it is a condition of the
manifestation of mediumistic energy, just as a given
temperature is a condition necessary for certain mani-
festations of chemical or dynamic energy.
leoni'd fy6doritch. 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 fy6doritch. Yes, certainly. [Puts out candles]
Ladies and gentlemen ! attention, if you please.Fruits of Culture	203
Tanya gets from under the sofa and takes hold of a thread
tied to a chandelier.
petrístchef. I like that Spaniard! Just in the midst
of a conversation—off he goes head downwards ... as
the French say: piquer une tete.1
Betsy. You just wait a bit, and see what will happen !
petrístchef. I liave only one fear, and that is that Vovo
may be moved by the spirit to grunt like a pig!
vasíly leoníditch. Would you like me to? I will . . .
leoníd fyódoritch. Gentlemen ! Silence, if you please!
Silence. Simon licks the matches on his fingers and rubs his
knuckles with them.
leoníd fyódoritch. A light! Do you see the light ?
sahatof. A light? Yes, yes, I see; but allow me . . .
fat lady. Where ? Where ? Oh dear, I did not see
it! Ah, there it is. Oh ! . . .
professor [whispers to Leonid Fyódoritch, and points to
Grossman, who is moving] Do you notice how he vibrates ?
It is the dual influence. [The light appears again].
leoníd fyódoritch [to the Professor] It must be he—
you know!
sahatof. Who?
leoníd fyódoritch. A Greek, Nicholas. It is his light.
Don’t you think so, Alexéy Vladimiritch ?
sahatof. 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 is he? Where is he? I don’t see
him.
leoníd fyódoritch. He 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 ?
Tánya raps twice on the wall.
1 To take a header.204	Fruits	of Culture
leonid fy6doritch [joyfully] It is he ! It is	he!
fat lady. Oh dear ! Oh ! I shall go away !
sahatof. Why do you suppose it is he ?
leonid fy6dofitch. Why, the two knocks.	It is an
affirmative answer; else all would have been silence.
Silence. Suppressed giggling in the young peoples comer.
Tdnya throws a lampshade, pencil and penwiper upon the
table.
leonid fy6doritch [whispers] Do you notice^ gentlemen,
here is a lamp-shade, and something else—a pencil! . . .
Alexey 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.
sahatof. Excuse me, excuse me ! I should like to see
whether it is not the medium who is doing it all himself?
leonid fy6doritch. Do you think so ? Well, sit by him
and hold his hands. But you may be sure he is asleep.
sahatof [approaches. Tdnya lets a thread touch his head.
He is frightened, and stoops]. Ye . . . ye . . . yes! Strange,
very strange !	[Takes hold of Simons elbow. Simon howls].
professor [to Leonid Fyddoritch] Do you notice the
effect of Grossman's presence ? It is a new phenomenon—
I must note it . . . [Runs out to note it down, and returns
again].
leonid fy6doritch. Yes. . . . But we cannot leave
Nicholas without an answer. We must begin . . .
grossman [rises, approaches Simon and raises and lowers his
arm] It would be interesting to produce contraction ! The
subject is in profound hypnosis.
professor [to Leonid Fyddoritch] Do you see ? Do you
see ?
grossman. If you like . . .
doctor. Now then, my dear sir, leave the management
to Alexey Vladimiritch, the affair is turning out serious,Fruits of Culture	205
professor. Leave him 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 fy6doritch. Silence, if you please.
Tdnya draws a thread over the Fat Lady s head.
fat lady. Aie!
leonid fy6doritch. What ? What is it ?
fat lady. He took hold of my hair !
leonid fy6dorItch [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!
sahatof. Yes, it is strange, very strange !
leoni'd fy6doritch. He is here and is seeking for inter-
course. Who wishes to put a question to him ?
sahatof. I should like to put a question, if I may.
professor. Please do.
sahatof. Do I believe or not ?
Tdnya knocks twice.
professor. The answer is affirmative.
sahatof. Allow me to ask again. Have I a ten rouble
note in my pocket ?
Tdnya knocks several times and passes a thread over
Sahatof s head.
sahatof. 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 !
sahatof. No, but allow me! Here I have a thread in my
hand !
leonid fy6doritch. A thread ? Hold it fast; that
happens often, and not only threads but sometimes even
silk cords—very ancient ones !
sahatof. No—but where did this thread come from ?
Tdnya throws a cushion at him.2o6
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sahAtof. 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 mani-
festations.
fat lady. For goodness’ sake don't interrupt! I should
also like to ask something. May I ?
LEONfD fy6doritch. 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 belladonna ?
Silence, whispers among the young people ; suddenly Vasily
Leoniditch begins to cry like a baby :	“ ou~a, ou-a! ”
[Laughter.] Holding their mouths and noses, the girls and
Petristckef run away bursting with laughter.
fat lady. Ah, that must be the monk who's been born
again!
leonId fy6doritch \beside himself with anger, whispers]
One gets nothing but tomfoolery from you ! If you don't
know how to behave decently, go away !
Exit Vasily Leoniditch. Darkness and silence.
fat lady. Oh, what a pity! Now one can't ask any
more ! He is bom !
LEONfD fy6doritch. Not at all. It is only Vovo's non-
sense. But he is here. Ask him.
professor. That often happens. These jokes and ridi-
cule are quite usual occurrences. I expect he is still here.
But we may ask. Leonid Fy6doritch, will you ?
LEONfD fy6doritch. No, you, if you please. This has
upset me. So unpleasant! Such want of tact! . . .
professor. Very well. . . . Nicholas, are you here ?
Tdnya raps twice and rings. Simon roars, spreads his arms
out, seizes Sahdtof and the Professor—squeezing them.
professor. What an unexpected phenomenon! The
medium himself reacted upon! This never happened
before ! Leonid Fy6doritch, will you watch ? It is difficult
for me to do so. He squeezes me so I Mind you observe
Grossman ! This needs the very greatest attention !Fruits of Culture	207
Tdnya throws the peasants' paper on the table.
leonid fy6doritch. Something has fallen upon the table.
professor. See what it is !
leonid fy6doritch. Paper ! A folded paper!
Tdnya throws a travelling inkstand on the table.
leonid fy6doritch. An inkstand !
Tdnya throws a pen.
leonid fy6doritch. A pen !
Simon roars and squeezes.
professor [crushed] Wait a bit, wait: a totally new mani-
festation ! The action proceeding not from the mediumistic
energy produced, but from the medium himself! How-
ever, open the inkstand, and put the pen on the table, and
he will write!
Tdnya goes behind Leonid Fyddoritch and strikes him on the
head with the guitar.
leonid fy6doritch. He has struck me on the head!
[Examining table] The pen is not writing yet and the paper
remains folded.
professor. See A^hat the paper is, and quickly; evi-
dently the dual influence—his and Grossman’s—has pro-
duced a perturbation!
leonid fy6doritch [goes out and returns at once] Extra-
ordinary ! This paper is an agreement with some peasants
that I refused to sign this morning and returned to the
peasants. Probably he wants me to sign it ?
professor. Of course ! Of course ! But ask him.
leonid fy6doritch. Nicholas, do you wish . . .
Tdnya knocks twice.
professor. Do you hear ? It is quite evident!
Leonid Fyddoritch takes the paper and pen and goes out
Tdnya knocks, plays on the guitar and the accordion, and then
creeps under the sofa. Leonid Fyddoritch returns. Simon
stretches himself and coughs.
LEONiD fy6doritch. He is waking up. We can light
the candles.2o8
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professor [hurriedly] Doctor, Doctor, please, his pulse
and temperature ! You will see that a rise of both will be
apparent.
leonid fyôdoritch [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].
sahatof [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.
leonîd fyôdoritch. A thread ! A thread ! We have
been witnessing manifestations more important than a
thread.
sahatof. I don't know. At all events, je réserve mon
opinion.
fat lady [to Sahdtof] 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 illusion, but afterwards it became clearer and clearer,
like a live . . .
sahatof. 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 . . .
sahatof [moves away. Aside] What exaggeration !
fat lady [addressing the Doctor] You must have seen it !
It rose up from your side.
Doctor goes on counting pulse without heeding her.
fat lady [to Grossman] And that light, the light around
it, especially around its little face ! And the expression so
mild and tender, something so heavenly ! [Smiles tenderly
herself].
grossman. I saw phosphorescent light, and objectsFruits of Culture	209
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, mam, just so.
fat lady. Still not unendurable ?
simon. Just so, mam. [To Leonid Fyddoritch] Am I to
go?
LEONiD fy6doritch. Yes, you may go.
doctor [to the Professor] 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 fy6doritch. I'm 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 Sahdtof] If we had kept to hypnotism,
we might have produced a thorough state of epilepsy.
The success might have been complete!
sahatof. It is very interesting, but not entirely
convincing. That is all I can say.
Enter Theodore Ivdnitch.
leonid fy6doritch [with paper in his hand] Ah, Theo-
o
$
1
<3210
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dore, what a remarkable séance we have had ! It turns
out that the peasants must have the land on their own
terms.
Theodore ivanitch. Dear me !
leonîd fyôdoritch. Yes, indeed. [Showing paper] Fancy,
this paper that I returned to them, suddenly appeared on
the table ! I have signed it.
theodore ivanitch. How did it get there ?
leonîd fyôdoritch. Well, it did get there ! [Exit
Theodore Ivânitch follows him out],
tanya [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 ?
tanya. 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 ! I'll
tell them what tricks you're up to, if you don't let me
have my way !
tanya. And you'll not get your way, and you'll not do
me any harm !
Curiam*ACT IV
The same scene as in Act /. The next day. Two liveried
footmen, Theodore Ivdnitch 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 ivAnitch. Yes, we changed to Saturday so as
to be on the same day as the Golovkins and Grade von
Grabes . . .
second footman. The Stcherb&kofs 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 J watch, and sits down on the settle.
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
Shoubins. And then there is the rehearsal.
young princess. You'11 have plenty of time. Do, please.
Ne nous fais pas faux bond.1 Fedya and Koko will come.
betsy. J*en at par-dessus la tete de votre Koko,2
young princess. I thought I should see him here.
Ordinairement il est d'une exactitude ... *
betsy. He is sure to come.
1 Do not disappoint ns.
9 betsy. I have more than enough of your Koko.
*	young PRINCESS. ... He is usually so very punctual . . ,
Ml212
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young princess. When I see you together, it always
seems to me that he has either just proposed or is just
going to propose.
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. Cesses, les gens!1
Young Princess sits down, talking in whispers. Gregory
puts on her overshoes.
young princess. Well then, good-bye till this evening.
betsy. I’ll 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 toide belle. [Kisses Betsy, and exit, followed by her
daughter. Betsy goes upstairs].
gregory. I 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 understand1
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.
1 betsy. Cease; mind the servants IFruits of Culture	213
oreoory. 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?
I'll go and have a smoke. \Exit\.
second footman. That's a bold young man you've got.
Theodore iVANiTCH. A worth less fellow, not fit for
service. He used to be an office boy and has got spoilt.
I advised them not to take him, but the mistress liked
him. 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
scatterbrains. “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 Koko
Klingen, wearing his pince-nez] Ko-ko, co-coa. Cocoa
tin, where do you spring from ?
koko klîngen. From the Stcherbâkofs. You are always
playing the fool . . .
petristchef. No, listen to my charade. My first is the
same as my second, my third may be cracked, my whole is
like your pate.
koko klîngen. I give it up. I've no time.
petrîstchef. Where else are you going ?
koko klîngen. Where? Of course to the Ivins, to
practise for the concert. Then to the Shoübins, 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 klîngen. How did yesterday's séance go off?
petrîstchef. Screamingly funny ! There was a peasant,
and above all, it was all in the dark. Vovo cried like an214	Fruits	of	Culture
infant, the Professor defined, and Marya Vasilevna refined.
Such a lark! You ought to have been there.
koko klIngen. I’m afraid, mon cker. 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. Et ga nc
m arrange pas du tout, du tout Mais du tout, du tout /1
PETRisTCHEF. Instead of a proposal, make a proposition,
and receive a sentence! Well, I shall go in to Vovo’s.
If you’ll call for me, we can go to the re-her-Sarah
together.
koko KLiNGEN. I can’t think how you can be friends with
such a fool. He is so stupid,—a regular blockhead !
petristchef. And I am fond of him. I love Vovo,
but . . . t( with a love so strange, ne’er towards him the
path untrod shall be ” . . . [Exit into Vovo*s room].
Betsy comes down with a Lady. Koko bows significantly to
Betsy.
betsy [shaking Kokos hand without turning towards him.
To Lady\ 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:
“ Ob, naught so beautiful as nature:
The Nautilus sails by.
Oh, naughty lass, oh, naughty lass I
Oh, nought, oh nought/ Oh fie !99
1 And that won’t Buit me at all, at all! Not at all, at all!Fruits of Culture	215
lady. I see, my second is “ nought,” and what is my
first ?
koko kiJngen. My first is Aero, the name of a girl
savage.
bktsy. Aero, you see, is a savage who wished to devour
the object of her love. [Laughs] She goes about lamenting,
and sings—
“My appetite,”
koko klIngen [interrupts]—
" How can I fight,” ...
betsy [chimes in]—
“ Some one to chew I long.
I	seeking go . .
KOKO KLINGEN-------
•* But even so . .
BETSY----
“No one to chew can find.”
KOKO KLINGEN-------
“ A raft sails by,’
BETSY----
“ It cometh nigh;
Two generals upon it . , ,**
KOKO KLiNGEN-------
u 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. Charmant!
betsy. 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. [To Theodore Ivdnitck] Is
Bourdier s man here ?2l6
Fruits of Culture
Theodore ivanitch. 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 plea-
sure for you. Au revoir.
lady. Good-bye !	[They bow. Exit Lady],
betsy \to Koko KUngen] Come up to mamma.
Betsy and Koko go upstairs. Jacob enters from servants*
quarters, carrying a tray with teacups, cakes, fyc., and goes
panting across the stage.
jacob \to the Footmen] How d'you do ? How d'you do ?
[Footmen bow].
jacob [¿o Theodore Ivdnitch] Couldn't you tell Gregory
to help a bit! I'm ready to drop. . . . \Eodt up the
first footman. That is a hard-working chap you've got
there.
Theodore ivanitch. 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 ivanitch. 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
peasants. There was such a row! ff 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 ivanitch. Gregoi*y, you go and help Jacob,
I'll stay here. He can't manage alone.Fruits of Culture	217
gregory. He’s awkward, that's why he can’t manage.
[Exit\.
first footman. And what is this new mania they have
got ? This infection ! ... So yours also is afraid of it ?
theodore ivanitch. She fears it worse than fire! Our
chief business, nowadays, is fumigating, washing, and
sprinkling.
first footman. I see. That’s why there is such a stuffy
smell here. [ With animation] I don't know what we’re
coming to with these infection notions. It’s just detest-
able ! They seem to have forgotten the Lord. There's
our master’s sister, Princess Mosol6va, 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 !
Enter Vasily Leoniditch and PetHstckeffrom Vasily Leonid-
itcJis room, smoking cigarettes.
petristchef. Come along then, only I must take Koko
—Cocoanut, with me.
vasily LEONiDiTCH. Your Koko is a regular dolt; I can't
bear him. A 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 LEONiniTCH. 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 out-
door things and goes out\2l8
Fruits of Culture
PETRfsTCHEF [thoughtfully] Ma-kin-tosh, Co-co-tin. . . ,
Let’s see. [Goes upstairs].
Jacob runs across the stage.
Theodore ivanitch. What’s the matter?
jacob. There is no more thin bread and butter. I
said . . . [Exit].
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! I think
you cannot escape from God anywhere.
Theodore ivanitch. That’s what I think.
Jacob 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 Tdnya ; she bows to the Footmen.
tAnya. Good afternoon.
Footmen bow.
tanya. Theodore Ivanitch, I have a word to say to you.
THEODORE IVANITCH. Well, what ?
tanya. The peasants have come again, Theodore Ivan-
itch . . .
Theodore ivanitch. 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 ivanitch. But where are they ?
tanya. Here, by the porch.
Theodore ivanitch. All right, I’ll ^ell the master.
tanya. I have another request to you, dear Theodore
Ivanitch.
THEODORE IVANITCH. What nOW ?
tanya. Why, don’t you see, Theodore Ivanitch, I can't
remain here any longer. Ask them to let me go.
Enter Jacob, running.Fruits of Culture	219
Theodore ivanitch [to Jacob] What d’you want ?
jacob. Another samovAr, and oranges.
Theodore iyanitch. Ask the housekeeper.
Exit Jacob.
Theodore ivanitch [to Tdnya] How is that ?
tanya. Why, don't you see, my position is such . , .
jacob [jruns in] There are not enough oranges.
Theodore ivanitch. Serve up as many as you've got
[Exit Jacob']. Now's not the time! Just see what a
bustle we are in.
tanya. But you know yourself, Theodore Iv&nitch, there
is no end to this bustle; one might wait for ever—you
know yourself—and my affair is for life. . . . Dear Theodore
Ivanitch, you have done me a good turn, be a father to me
now, choose the right moment and tell her, or else sheJll
get angry and won't let me have my passport.1
Theodore ivanitch. Where’s the hurry ?
tanya. 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.2 Do tell her, dear Theodore
Ivanitch !
Theodore ivanitch. Go away—this is not the place.
An elderly Gentleman comes downstairs, puts on overcoat, and
goes out followed by the Second Footman.
Exit Tanya. Enter Jacob.
jacob. Just fancy, Theodore Ivdnitch, 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 ?
1	Employers have charge of the servants’ passports, and in this
way have a hold on them in case of misconduct.
2	See footnote, p. 28. 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.220
Fruits of Culture
theodore ivanitch. Did the mistress speak to you ?
jacob. She's just spoken. Do speak up for me, Theodore
Ivdnitch ! 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 Ivdnitch, do, please !
Anna Pdvlovna comes down with the old Countess, whom she
is seeing off. The Countess has false teeth and hair. The First
Footman helps the Countess into her outdoor things.
anna pavlovna. Oh, most certainly, of course ! I am so
deeply touched.
countess. If it were not for my illness, I should come
oftener to see you.
anna pavlovna. You should really consult Peter Petr6v-
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 pavlovna. Pray, take care of yourself.
countess. Merci, millefois merd.1
Gregory, dishevelled and excited, jumps out from the servants'
quarters. Simon appears behind him in the doorway.
simon. You’d better leave her alone!
gregory. You rascal! Pll teach you how to fight, you
scamp, you!
anna pavlovna. What do you mean ? Do you think you
are in a public-house ?
gregory. This coarse peasant makes life impossible for
me.
anna pAvlovna [ provoked] You've lost your senses.
Don’t you see? \To Countess] Merci9 mille fois merci. A
mardi ! 2
Exeunt Countess and First Footman.
anna pAvlovna [to Gregory] What is the meaning of
this ?
1	COUNTESS. Thank you (for your hospitality), a thousand thankg.
2	anna pXvlovna. Thank you (for coming to see us), a thousand
thanks. Till next Tuesday !Fruits of Culture
221
gregory. Though I do occupy the position of a footman,
»till I won’t allow every peasant to hit me; I have my
pride too.
anna pavlovna. Why, what has happened ?
gregory. Why, this Simon of yours has got so brave,
sitting with the gentlemen, that he wants to fight!
anna pavlovna. Why ? What for ?
gregory. Heaven only knows !
anna pavlovna [to Simon] What is the meaning of it ?
simon. Why does he bother her ?
anna pavlovna. 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 pavlovna [to Simon] How dare you fight in my
house ?
theodore ivanitch. May I 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 pavlovna. What trickery ?
gregory. Why, at the seance. All 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 pavlovna. What is that ? From under the sofa ?
gregory. I give you my word of honour. 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.222
Fruits of Culture
anna pAvlovna. And you saw it yourself?
gregorv. 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 Doorkeeper^
u No, no, you cannotDoorkeeper is seen at the front door,
the three Peasants rush in past him, the Second Peasant first;
the Third one stumbles, falls on his nose, and catches hold
of it.
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 pavlovna. Wait a bit with your thanks. It was all
done by fraud ! It is not settled yet. Not sold yet. . . .
Leonid. . . . Call Leonid Fy6doritch. [Exit Doorkeeper],
Leonid Fyddoritch enters, but, seeing his wife and the Pea-
sants, 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 yourseli be deceived like the
veriest blockhead.
leonid fy6doritch. How ? I don’t understand who is
deceiving ?
anna pavlovna. You ought to be ashamed of yourself!
You have grey hair, and you let yourself be deceived and
laughed at like a silly boy. You grudge your son some
three hundred roubles which his social position demands,
and let yourself be tricked of thousands—like a fool!
leonid fy6doritch. Now come, Annette, try to be
calm.
first peasant. We are only come about the acceptation
of the sum, for example . . •FRUITS OF CULTURE. Act IV.
Anna PAvlovna. There, you see ! You are being made a fool of.Fruits of Culture	223
third peasant [taking out the money] Let us finish the
matter, for Christ's sake !
anna paylovna. Wait, wait !
Enter Tanya and Gregory.
anna pavlovna [angrily] You were in the small drawing-
room during the séance last night ?
Tânya looks round at Theodore Ivànitch, Leonid Fy6doritckJ
and Simon, and sighs.
gregory. It's no use beating about the bush ; I saw
you myself . . .
anna pavlovna. Tell me, were you there ? I know all
about it, so you'd better confess ! I'll not do anything to
you. I only want to expose him [pointing to Leonid Fyodor-
itcK\ your master. . . . Did you throw the paper on the
table ?
tânya. I don't know how to answer. Only one thing,—
let me go home.
Enter Betsy unobserved.
anna pavlovna [to Leonid Fyôdoritch] There, you see!
You are being made a fool of.
tânya. Let me go home, Anna Pavlovna !
anna pàvlovna. No, my dear ! You may have caused
us a loss of thousands of roubles. Land has been sold
that ought not to be sold !
tanya. Let me go, Anna Pavlovna !
anna pavlovna. No ; you'll have to answer for it ! Such
tricks won't do. We'll have you up before the Justice of
the Peace !
betsy [comes forward] Let her go, mamma. Or, if you
wish to have her tried, you must have me tried too ! She
and I did it together.
anna pavlovna. Well, of course, if ym have a hand in
anything, what can one expect but the very worst results !
Enter the Professor.
professor. How do you do, Anna Pavlovna? How do
you do, Miss Betsy ? Leonid Fyôdoritch, I have brought224
Fruits of Culture
you a report of the Thirteenth Congress of Spiritualists at
Chicago. An amazing speech by Schmidt!
leonid fy6doritch. Oh, that is interesting !
anna pavlovna. I will tell you something much more
interesting! It turns out that both you and my husband
were fooled by this girl! Betsy takes it on herself,
but that is only to annoy me. It was an illiterate peasant
girl who fooled you, and you believed it all. There were
no mediumistic phenomena last night; it was she |jpointing
to Tdnya] who did it!
professor [taking off his overcoat] What do you mean ?
anna pavlovna. I mean that it was she who, in the
dark, played on the guitar and beat my husband on the
head and performed all your idiotic tricks—and she has
just confessed!
professor [smiling] What does that prove ?
anna pavlovna. It proves that your mediumism is—
tomfoolery; that's what it proves !
professor. Because this young girl wished to deceive, we
are to conclude that mediumism is “ tomfoolery,” as you
are pleased to express it ? [Smiles] A curious conclusion!
Very possibly this young girl may have wished to deceive:
that often occurs. She may even have done something;
but then, what she did—she did. But the manifesta-
tions of mediumistic energy still remain manifestations
of mediumistic energy ! It is even very probable that
what this young girl did, evoked (and so to say solicited)
the manifestation of mediumistic energy,—giving it a
definite form.
anna pavlovna. Another lecture !
professor [sternly] You say, Anna Pavlovna, that this
girl, and perhaps this dear young lady also, did some-
thing ; but the light we all saw, and, in the first case the
fall, and in the second the rise of temperature, and Gross-
man’s excitement and vibration—were those things also
done by this girl ? And these are facts, Anna Pavlovna,Fruits of Culture	225
facts ! No ! Anna Pavlovna, there are things which must
be investigated and fully understood before they can be
talked about, things too serious, too serious . . .
leonid fy6doritch. And the child that Marya Vasilevna
distinctly saw ? Why, I saw it too. . . . That could not
have been done by this girl.
anna pAvlovna. You think yourself wise, but you are—
a fool.
LEONfn fy6doritch. Well, Fm going. . . . Alexey Vladi-
miritch, will you come ? [Exit into Ms study].
professor [shrugging his shoulders, follows] Oh, how far,
how far, we still lag behind Western Europe !
Enter Jacob.
anna pavlovna [following Leonid Fyodor itch with her eyes]
He has been tricked like a fool, and he sees nothing ! [To
Jacob] What do you want ?
jacob. How many persons am I to lay the table
for ?
anna pavlovna. For how many ? . . , Theodore Ivan-
itch ! Let him give up the silver plate to you. Be off, at
once ! It is all his fault! This man will bring me to my
grave. Last night he nearly starved the dog that had
done him no harm ! And, as if that were not enough, he
lets the infected peasants into the kitchen, and now they
are here again! It is all his fault 1 Be off at once ! Dis-
charge him, discharge him! [To Simon] And you, horrid
peasant, if you dare to have rows in my house again, I'll
teach you !
second peasant. All right, if he is a horrid peasant there’s
no good keeping him ; you’d better discharge him too, and
there’s an end of it.
anna pavlovna [while listening to him looks at Third Peasant]
Only look ! Why, he has a rash on his nose—a rash ! He is
ill; he is a hotbed of infection !! Did I not give orders,
yesterday, that they were not to be allowed into the house,
and here they are again ? Drive them out !
p22Ó
Fruits of Culture
Theodore ivAnitch. Then are we not to accept their
money ?
anna pavlovna. Their money ? Oh yes, take their
money; but they must be turned out at once, especially
this one ! He is quite rotten !
third peasant. That's not just, lady. God's my wit-
ness, it's not just! You'd better ask my old woman, let's
say, whether I am rotten ! I’m clear as crystal, let's say.
anna pavlovna. He talks ! . . . Off, off with him ! It's
all to spite me ! . . . Oh, I can't bear it, I can't! . . .
Send for the doctor! [Runs away, sobbing. Exit also Jacob
and Gregory].
tAnya [to Betsy] Miss Elizabeth, darling, what am I to
do now ?
betsy. Never mind, you go with them and I'll arrange
it all. [Exit],
first peasant. Well, your reverence, how about the re-
ception of the sum now ?
second peasant. Let us settle up, and go.
third peasant [fumbling with the packet of bank-notes]
Had I known, I'd not have come for the world. It’s worse
than a fever!
Theodore ivAnitch [to Doorkeeper] Show them into my
room. There's a counting-board there. I'll receive their
money. Now go.
doorkeeper. Come along.
Theodore ivAnitch. And it's Tanya you have to thank
for it. But for her you'd not have had the land.
first peasant. That's just it. As she made the proposal,
so she put it into effect.
third peasant. She's made men of us. Else what were
we ? We had so little land, no room to let a hen out,
let’s say, not to mention the cattle. Good-bye, dear!
When you get to the village, come to us and eat honey.
second peasant. Let me get home and I'll start brew-
ing the beer for the wedding! You will come ?Fruits of Culture	227
tanya. Yes, I’ll come, 1*11 come! [Shrieks] Simon, this
is fine, isn't it ? [Exeunt Peasants].
Theodore ivanitch. Well, Tanya, when you have your
house IT1 come to visit you. Will you welcome me ?
tAnya. Dear Theodore Ivanitch, just the same as we
would our own father! [Embraces and kisses Aim].
Curtain.
END OF “FRUITS OF CULTURE,”THE LIVE CORPSE
A PLAY IN SIX ACTSCHARACTERS
THEODORE VASILYEVICH PROTASOV (f&DYa).
ELISABETH ANDREYEVNA PROTASOVA (LISA). HlS V)ij6
misha. Their son.
anna pavlovna. Lisa's mother.
sasha. Lisa’s younger, unmarried sister.
VICTOR MIHAYLOVICH KARENIN.
ANNA DMITRIEVNA KARENINA.
PRINCE SERGIUS DMITRIEVICH ABR^ZKOV.
masha. A gipsy girl.
ivXn makarovich. An old qipsy man. }	,
,	,	.	r	Masha/s parents.
nastasia ivanovna. An old gipsy woman. >
officer.
musician.
first gipsy man.
second gipsy man.
GIPSY WOMAN.
GIPSY CHOIR.
DOCTOR.
MICHAEL ALEXANDROVICH AFREMOV.
stAkhov. }
butk^vioh. y Fedya’s boon companions.
korotk6v. '
IVAN PETROVICH ALEXANDROV.
voznes^nsky. Karenin’s secretary.
petushk6v. An artist.
ARTEMYEV.
WAITER IN THE PRIVATE ROOM AT THE RESTAURANT*
WAITER IN A LOW-CLASS RESTAURANT.
MANAGER OF THE SAME.
POLICEMAN.
*3*232
The Live Corpse
INVESTIGATING MAGISTRATE.
MELNIKOV.
CLERK.
USHER.
YOUNG LAWYER.
petrushin. A lawyer.
LADY.
ANOTHER OFFICER.
ATTENDANT AT LAW COURTS*
Protasovs’ nurse.
PROTASOVS’ MAID.
AFR^MOV?S FOOTMAN.
KARENIN’S FOOTMAN,THE LIVE CORPSE
ACT I
Scene 1
Protasov s1 fiat in Moscow. The scene represents a small
dining-room.
Anna Pavlovna, a stout grey-haired lady, tightly laced, is
sitting alone at the tea-table on which is a samovdr. Enter
nurse, carrying a teapot,
nurse. May I have a little hot water, ma'am ?
anna pavlovna. Yes. How’s Baby?
nurse. He's restless. . . . There's nothing worse than
for a lady to nurse her baby herself! She has her
troubles, and the child must suffer. What can her milk
be like, when she lies awake crying all night ?
anna pavlovna. But she seems quieter now.
nurse. Quiet, indeed ! It makes one ill to see her.
She’s been writing something, and crying.
Enter Sasha.
sasha \to Nurse] Lisa is looking for you.
nurse. I'm coming, I'm coming. [Esdt\,
anna pavlovna. Nurse says she keeps on crying. • . .
Why can't she control herself?
sasha. Well really, mother, you are amazing! . . . A
1 Protasov is his family name, but the name by which he is
usually addressed is Fddya, an abbreviation of his Christian name—
Theodore. The ceremonious form of address would be Theodore
Vasilyevich.
233234	The Live Corpse
woman has left her husband, her child's father, and you
expect her to be calm!
anna pavlovna. Well, not calm . . . But what's done
is done! If I, her mother, not only allowed my daughter
to leave her husband, but am even glad she has done it,
that shows he deserved it. One ought to rejoice, not to
grieve, at the chance of freeing oneself from such a bad
man!
sasha. Mother, why say such things ? You know it's
not true! He's not bad—but on the contrary, he's a
wonderful man, in spite of his weaknesses.
anna pavlovna. Yes indeed, a “wonderful" man—as
soon as he has money in his pocket—his own or other
people's. ...
sasha. Mother ! He has never taken other people's !
anna pavlovna. Yes he has—his wife's! Where's the
difference ?
sasha. But he gave all his property to his wife !
anna pavlovna. Of course, when he knew that other-
wise he was sure to squander it all!
sAsha. Squander or not, I only know that a wife must
not separate from her husband, especially from such a
one as Fedya.
anna pavlovna. Then, in your opinion she ought to
wait till he has squandered everything, and brought his
gipsy mistresses into the house ?
sasha. He has no mistresses!
anna pavlovna. That's the misfortune—he seems to
have bewitched you all! But not me—no! He won't
come over me! I see through him, and he knows it.
Had I been in Lisa's place I should have left him a
year ago.
sasha. How lightly you say it!
anna pavlovna. Not lightly at all. It's not a light
thing for me, as a mother, to see my daughter divorced.
Believe me it's not! But yet it is better than ruining aThe Live Corpse	235
young life. ... No, I'm thankful to God that she has
at last made up her mind, and that it is all over.
sasha. Perhaps it's not all over !
anna pavlovna. Oh ! If he only consents to a divorce....
sasha. What good will that do ?
anna pAvlovna. This good; that she is young, and may
again be happy.
sasha. Oh mother! It's dreadful to hear you speak so !
Lisa can't love another.
anna pavlovna. Why not, when she's free? Many a
man a thousand times better than your Fedya might turn
up who would be only too happy to marry Lisa.
sAsha. Mother, it's not right! I know you're thinking
of Victor Karenin. . . .
anna pavlovna. And why shouldn’t I ? He has loved
her these ten years, and she loves him.
sasha. Yes, but not as a husband! They have been
friends from childhood.
anna pavlovna. We know those friendships! If only
the obstacles were out of the way!
Enter Maid.
anna pavlovna. What is it ?
maid. The mistress has sent the porter with a note for
Mr. Karenin.
anna pavlovna. What mistress ?
maid. Our mistress—Mrs. Protasova.
anna pavlovna. Well?
maid. Mr. Kar6nin has sent back word that he will
come round at once.
anna pavlovna [surprised] We were just speaking of
him! Only I can't think why ... [to Sasha] Do you
know ?
sasha. Perhaps I do, and perhaps I don't!
anna pavlovna. Y ou always have secrets!
sasha. Lisa will tell you herself when she comes.
anna pavlovna [shakes her head. To Maid] The236	The	Live	Corpse
samovàr must be made to boil again. Take it, Doun-
yàsha.
Maid takes samovàr, and exit.
anna pavlovna [to Saska who has risen and is going out]
It turns out just as I told you ! She sent for him at
once. . . .
SÀSHA. She may have sent for him for quite a different
reason.
anna pIvlovna. What for, then ?
sasha. Now, at this moment, Karénin is the same to
her as old Nurse Trifonovna.
anna pavlovna. Well, you'll see. . . . Don't I know
her ? She has sent for him to comfort her.
sàsha. Oh mother, how little you know her, to be able
to suppose ... !
anna pavlovna. Well, we'll see !... And I am very,
very glad.
sasha. We shall see ! [Exit, humming a tune].
anna pavlovna [alone, shakes her head and mutters] It’s
all right, it's all right !
Enter Maid.
maid. Mr. Karénin has come.
anna pavlovna. Well then, show him in, and tell your
mistress.
Maid exit by inner door. Enter Karénin, who bows to
Anna Pavlovna.
karénin. Your daughter wrote to me to come. I
meant to come and see you to-night, anyhow. So I was
very pleased ... Is Elisabeth Andréyevna 1 well ?
anna pavlovna. Yes, she is well, but Baby is a bit rest-
less. She will be here directly. [In a melancholy voice]
Ah yes ! It is a sad time. . « . But you know all about
it, don't you ?
karénin. I do. I was here, you know, the day before
1 Elisabeth Andréyevna is the polite way of speaking of Mrs.
Protàsova, otherwise Lisa.The Live Corpse	237
yesterday, when his letter came. But is it possible that
everything is irrevocably settled ?
anna pavlovna. Why of course! Naturally! To go
through it all again would be intolerable.
karenin. This is a case where the proverb applies:
“ Measure ten times before you cut once/' ... It is very
painful to cut into the quick.
anna pavlovna. Of course it is; but then their marriage
has long had a rift in it, so that the tearing asunder was
easier than one would have thought. He himself sees
that, after what has occurred, it is impossible for him to
return.
KARENIN. Why so ?
anna pavlovna. How can you expect it, after all his
horrid goings-on—after he swore it should not happen
again, and that if it did he would renounce all rights as
a husband and set her perfectly free ?
karenin. Yes, but how can a woman be free when she
is bound by marriage ?
anna pavlovna. By divorce. He promised her a
divorce, and we shall insist on it.
karenin. Yes, but Elisabeth Andreyevna loved him
so. . . .
anna pavlovna. Ah, but her love has suffered such
trials that there can hardly be anything left of it!
Drunkenness, deception, and infidelity . . . Can one
love such a husband ?
karenin. Nothing is impossible to love.
anna pavlovna. You talk of love! But how can one
love such a man—a broken reed, whom one can never
depend on ? Don’t you know what it came to ... ?
[Looks round at the door, and continues hurriedly] All his
affairs in a muddle, everything pawned, nothing to pay
with! Then their uncle sends 2,000 roubles to pay the
interest on their mortgaged estates, and he takes the
money and disappears. His wife is left at home, with a238	The Live Corpse
sick baby, waiting for him—and at last gets a note asking
her to send him his clothes and things!
kar^nin. Yes, yes ; I know.
Enter Lisa and Sdsha,
anna pavlovna. Well, here is Victor Mihaylovich,1
obedient to your summons.
kar^nin. Yes, but I am sorry I was delayed for a few
minutes.
lisa. Thank you. I have a great favour to ask of you,
and I have no one to turn to but you.
karenin. Anything in my power . . •
lisa. You know all about . . . ?
KARENIN. I do.
anna pavlovna. Well then, I shall leave you [To
Sdsha] Come, we'll leave them alone. [Exit with Sasha],
lisa. Yes, he wrote to me saying that he considers
everything at an end . . . [struggling with her tears] . . .
and I was hurt! . . . and so ... In a word, I consented
to break—I answered, accepting his renunciation.
karenin. And now you repent ?
lisa. Yes. I feel that I was wrong, and that I cannot
do it. Anything is better than to be separated from him.
In short—I want you to give him this letter. . . . Please,
Victor, give him the letter, and tell him . • . and bring
him back!
karenin [surprised^ Yes, but how?
lisa. Tell him I ask him to forget everything, and to
return. I might simply send the letter, but I know him:
his first impulse, as always, will be the right one—but
then someone will influence him, and he'll change his
mind and not do what he really wants to. . . .
karenin. I will do what I can.
lisa. You're surprised at my asking you ?
karenin. No. . . . Yet, to tell you the truth—yes, 1
am surprised.
1 The polite way of naming Mr. Karenin.The Live Corpse	239
lisa. But you are not ^ngry ?
karenin. As if I could be angry with you!
lisa. I asked you because I know you care for him.
karenin. Him, and you too! You know that. I am
thinking not of myself, but of you. Thank you for
trusting me ! I will do what I can.
lisa. I know. ... I will tell you everything. To-
day I went to Afr^mov’s to find out where he was. I
was told he had gone to the gipsies—which is what I
feared most of all. I know he will get carried away if
he is not stopped in time—and that’s what has to be
done. ... So you’ll go ?
karenin. Of course, and at once.
lisa. Go! . . . Find him, and tell him all is forgotten
and I am waiting for him.
karenin. But where am I to look for him ?
lisa. He is with the gipsies. I went there myself. . . .
I went as far as the porch, and wished to send in the
letter, but changed my mind and decided to ask you.
Here is the address. . . . Well, then, tell him to return:
tell him nothing has happened ... all is forgotten. Do
it for love of him, and for the sake of our friendship!
karenin. I will do all in my power ! [Bows, and exit].
lisa. I can’t, I can’t! Anything rather than . .
I can’t!
Enter Sasha.
sasha. Well, have you sent ?
Lisa nods affirmatively.
sasha. And he agreed ?
lisa. Of course.
sasha. But why just him ? I don’t understand,
lisa. But who else ?
sasha. Don’t you know he is in love with you ?
lisa. That’s dead and gone. Whom would you have
had me send ? . . . Do you think he will come back ?
sasha. I am sure of it, because . . ,240	The	Live	Corpse
Enter Anna Pdvlovna. Sasha is silent.
anna pavlovna. And where is Victor Mihaylovich ?
lisa. He's gone.
anna pavlovna. Gone ! How's that ?
lisa. I asked him to do something for me.
anna pavlovna. “ Do something ? ” Another secret!
lisa. It's not a secret. I simply asked him to give a
letter into Fedya's own hands.
anna pavlovna. Fedya ? What—to Theodore Vasilye-
vich?
lisa. Yes, to Fedya.
anna pavlovna. I thought all relations between you
were over!
lisa. I can't part from him.
anna pavlovna. What? Are you going to begin all
over again P
lisa. I wanted to, and’tried . , . but I can't! Anything
you like—only I can't part from him !
anna pavlovna. Then do you want to have him back
again ?
lisa. Yes.
anna pavlovna. To let that skunk into the house
again ?
lisa. Mother, I beg you not to speak so of my husband!
anna pavlovna. He was your husband.
lisa. No, he is my husband still.
anna pavlovna. A spendthrift, a drunkard, a rake . . .
and you can't part from him ?
lisa. Why do you torment me! You seem to want to
do it. . . . It's hard enough for me without that.
anna pavlovna. I torment you! Well then, I'll go. I
can't stand by and see it. . . .
Lisa is silent
anna pavlovna. I see! That's just what you want—
I'm in your way. ... I can't live so. I can't make you
out at all! It's all so new-fangled—first you make upThe Live Corpse	241
jour mind to separate, then you suddenly send for a man
who is in love with you . . .
lisa. Nothing of the kind.
anna pavlovna. Karenin proposed to you . . . and you
send him to fetch your husband! Why ? To arouse
jealousy ?
lisa. Mother, what you are saying is terrible! Leave
me alone !
anna pavlovna. Very well! Turn your mother out of
the house, and let in your rake of a husband! . . . Yes, I
will not remain here! Good-bye, then—I leave you to
your fate; you can do as you please! [Exit slamming
door].
lisa [drops into a chair] That’s the last straw!
sasha. Never mind. ... It will be all right; we'll
soon pacify Mother.
anna pavlovna [passing through] Dunyasha! My
trunk!
sasha. Mother, listen! . . . [follows her out with a
significant glance to Lisa].
Curtain.
Scene 2
A room in the gipsies’ house.	The choir is singing (e Kana-
vela.” Fedya in his shirt-sleeves is lying prone on the sofa.
Afremov sits astride a chair in front of the leader of the choir.
An officer sits at a table, on which are bottles of champagne and
glasses. A musician is taking notes.
afremov. F^dya, are you asleep ?
fedya [rising] Don't talk. . . . Now let's have “ Not at
Eve”
Q242	The Live Corpse
gipsy leader. That won’t do, Theodore Vasilyevich!
Let Masha sing a solo now.
fedya. All right! And then, “ Not at Eve/’ [Lies
down again].
officer. Sing fi Fateful Hour.”
gipsy. All agreed ?
AFREMOV. Go on!
officer [to musician] Have you taken it down ?
musician. Quite impossible! It's different every time.
. . . And the scale is somehow different. Look here!
[Beckons to a gipsy woman who is looking on] Is this right ?
[Hums].
gipsy. That’s it, that’s splendid !
fedya. He’ll never get it; and if he does take it down
and shoves it into an opera, he’ll only spoil it! . . . Now,
Masha, start off! Let’s have “ Fateful Hour ”—take your
guitar. [Rises, sits down opposite her, and gazes into her
eyes],
Masha sings.
fedya. That’s good too! Mdsha, you’re a brick ! . , .
Now then, Not at Eve ” I
afremov. No, wait! First, my burial song. . . .
officer. Why burial ?
afremov. Because, when I’m dead . . . you know, dead
and laid in my coffin, the gipsies will come (you know I
shall leave instructions with my wife) and they will begin
to sing t( I Walked a Mile ”... and then I’ll jump out of
my coffin ! . . . Do you understand ? [To the musician] You
just write this down. [To the gipsies] Well, rattle along I
Gipsies sing.
afremov. What do you think of that? . . . Now then,
“ My Brave Lads ” !
Gipsies sing.
Afremov gesticulates and dances. The gipsies smile and
continue singing, clapping their hands. Afremov sits down and
the song ends.The Live Corpse
243
gipsies. Bravo! Michael Andr^yevich!1 He’s a real
gipsy!
fedya. Well, now (t Not at Eve M!
Fedya. That’s it! It’s wonderful . . . And where does
it all happen—all that this music expresses? Ah, it’s
fine! . . . And how is it man can reach such ecstasy, and
cannot keep it ?
musician [taking notes] Yes, it’s most original.
fedya. Not original—but the real thing!
afremov [;to gipsies] Well, have a rest now.
[Takes the guitar and sits down beside Katya, one of the
musician. It’s really simple, except the rhythm. . . .
fi&dya [waves his hand, goes to Masha, and sits down on
sofa beside her] Oh, M&sha, M£sha! How you do turn me
inside-out!
masha. And how about what I asked you for ?
fedya. What? Money? . . . [Takes some out of his
trouser-pocket] Here, take it!
Mdsha laughs, takes it, and hides it in her bosom.
fedya [to the gipsies] Who can make it out ? She opens
heaven for me, and then asks for money to buy scents
with! [To Mdsha] Why, you don’t in the least under-
stand what you’re doing!
masha. Not understand indeed! I understand that
when I am in love, I try to please my man, and sing all
the better.
fedya. Do you love me ?
masha. Looks like it!
fedya. Wonderful! [Kisses her].
Exeunt most of the gipsies. Some couples remain : FSdya
with Mdsha, Afremov with Kdtya, and the officer with Gasha.
The musician writes. A gipsy man strums a valse tune on the
Gipsies sing.
guitar.
1 The polite way of addressing Mr. Afrémov.244	The	Live	Corpse
Fedya. But I’m married, and your choir won't allow
it. . . .
mAsha. The choir is one thing, one's heart’s another !
I love those I love, and hate those I hate.
fedya. Ah ! This is good ! Isn't it ?
Masha. Of course it’s good—we've jolly visitors, and
are all merry.
Enter gipsy man.
gipsy [to Fédya] A gentleman is asking for you.
fédya. What gentleman ?
gipsy. I don't know. . . . Well dressed, wears a sable
overcoat—
fédya. A swell ? Well, ask him in. [Exit Gipsy].
AFRÉMov. Who has come to see you here ?
fédya. The devil knows ! Who can want me ?
Enter Karenin. Looks round.
fédya. Ah, Victor ! I never expected you ! . . . Take
off your coat! . . . What wind has blown you here?
Come, sit down and listen to “ Not at Eve.”
Karenin. Je voudrais vous parler sans témoins,1
fédya. What about ?
karénin. Je viens de chez mus. Voire femme m7a chargé
de cette lettre et puis . . .2
fédya [takes letter, reads, frowns, then smiles affection-
ately] I say, Karénin, of course you know what is in this
letter ?
karénin. I know , . . and I want to say . • .
fédya. Wait, wait a bit ! Please don't imagine that I
am drunk and my words irresponsible. ... I mean,
that I am irresponsible ! I am drunk, but in this matter
I see quite clearly. • • . Well, what were you com-
missioned to say ?
karénin. I was commissioned to find you, and to tell
1 I wanted to speak to you alone.
*	I have come from your home. Your wife has entrusted me
with this letter, and besides . . •The Live Corpse	245
you . . . that . . . she ... is waiting for you. She
asks you to forget everything and come back.
fédya [listens in silence, gazing into Karenins eyes] Still,
I don’t understand why you . . .
karénin. Elisabeth Andréyevna sent for me, and asked
me . . .
FEDYA. So . . .
karénin. But I ask you, not so much in your wife’s
name as from myself. . . . Come home !
Fedya. You are a better man than I. (What nonsense !
It is easy enough to be better than I) ... I am a
scoundrel, and you are a good—yes, a good man. . . .
And that is the very reason why I won’t alter my
decision. ... No ! Not on that account either—but
simply because I can’t and won’t. . . . How could I
return ?
karénin. Let us go to my rooms now, and I’ll tell her
that you will return to-morrow.
fédya. And to-morrow, what ?... I shall still be I,
and she—she. [Goes to the table and drinks] It's best to
have the tooth out at one go. . . . Didn’t I say that if I
broke my word she was to throw me over ? Well, I have
broken it, and that’s the end of it.
karénin. For you, but not for her !
Fedya. It is extraordinary that you should take pains to
prevent our marriage being broken up !
karénin [¿s about to speak, but Mdsha comes up] . . .
fedya [interrupting him] Just hear her sing “ The
Flax ” ! . . . Masha !
The gipsies re-enter.
masha [1whispers] An ovation, eh ?
fedya [laughs] An ovation! . . . wVictor, my Lord!
Son of Michael ! ” . . .
Gipsies sing a song of greeting and laudation.
karénin [listens in confusion then asks\ How much shall
I give them ?246	The	Live Corpse
fedya. Well, give them twenty-five roubles.#
Karenin gives the money.
fedya. Splendid ! And now, “ The Flax! ”
Gipsies sing.
fedya [looks round] Karenin's bunked! • ■ . Well,
devil take him!
Gipsy group breaks up.
fedya	down by Mdsha] Do you know who that was ?
masha. I heard his name.
fedya. He's an excellent fellow! He came to take
me home to my wife. She loves a fool like me, and see
what I am doing here . . . !
masha. Well, and it's wrong! You ought to go back
to her. ... You ought to pity her.
fedya. You think I ought to? Well, I think I ought
not.
masha. Of course, if you don’t love her you need not.
Only love counts.
fedya. And how do you know that ?
masha. Seems I do !
fedya. Well, kiss me then! . . . Now, let's have
“ The Flax ” once more, and then finish up.
Gipsies sing.
fedya. Ah, how good it is! If only one hadn't to
wake up! . . . If one could die so *
*	About £2, 10s.
Curtain.ACT II
Scene 1
Two weeks have passed since Act I. Anna Pdvlovna and
Karenin are discovered sitting in Lisa's dining-room. Enter
Sdsha.
karenin. Well, what news?
sasha. The doctor says there is no danger at present,
as long as he does not catch cold.
anna pavlovna. Yes, but Lisa is quite worn out.
sasha. He says it's false croup, and a very mild attack.
[Points to a basket]. What's that ?
anna pavlovna. Grapes. Victor brought them.
karenin. Won't you have some ?
sasha. Yes, she likes grapes. She has become terribly
nervous.
karenin. Naturally—after not sleeping for two nights,
and not eating.
sasha. And how about you.
karenin. That's quite another matter.
Enter doctor and Lisa.
doctor [impressively] Yes, that's it. Change it every
half-hour if he's awake, but if he's asleep don't disturb
him. You need not paint the throat. The room must
be kept at its present temperature . . .
lisa. But if he again begins to choke ?
doctor. He probably won't, but if he should, use the
spray. And give him the powders: one in the morning
and the other at night. I will give you the prescription now.
24 7248	The	Live	Corpse
anna pAvlovna. Have a cup of tea, doctor ?
doctor. No thanks. . . . My patients are expecting
me.
Sits down to the table. Sdska brings him paper and ink.
lisa. So you’re sure it is not croup ?
doctor [smiling] Perfectly certain!
karenin [to Lisa] And now have some tea, or, better
still, go and lie down! . . . Just see what you look
like. . . .
lisa. Oh, now I am alive again. Thank you, you are a
true friend! [Presses his hand. Sdsha moves away angrily]
I am so grateful to you, dear friend! At such times one
recog . . ,
karenin. What have I done ? There’s really no cause
at all to thank me.
lisa. And who stopped up all night ? WTho fetched the
very best doctor ?
karenin. I am already fully rewarded by the fact that
Misha is out of danger; and above all by your kindness.
lisa [presses his hand again and laughs, showing him some
money in her hand] That’s for the doctor; but I never
know how to give it. . . .
karenin. Neither do I.
anna pavlovna. Don’t know what ?
lisa. How to give money to a doctor. . . . He has
saved more than my life, and I give him money! It
seems so unpleasant.
anna pavlovna. Let me give it. I know how. It’s
quite simple.
doctor [rises and hands the prescription to Lisa] These
powders are to be well mixed in a tablespoonful of boiled
water . . . [goes on talking].
Karenin sits at the table drinking tea ; Sdsha and Anna
Pdvlovna come forward.
sasha. I can’t bear the way they go on ! It’s just as if
she were in love with him.The Live Corpse	249
anna pavlovna. Well, can it be wondered at ?
sasha. It’s disgusting !
jDoctor takes leave of everybody, and exit. Anna Pavlovna
goes with him.
lisa [to Karenin\ He's so sweet now! As soon as evei
he was a little better he at once began to smile and crow.
I must go to him, but I don't like leaving you.
karenin. You had better have a cup of tea, and eat
something.
lisa. I don't want anything now. I am so happy after
all that anxiety! . . . [5ofa].
karenin. There ! You see how worn out you are!
lisa. I'm so happy! . . . Would you like to have a
look at him ?
karenin. Of course.
lisa. Then come with me. [Exeunt].
anna pavlovna [returning to Sdsha\ What are you look-
ing so glum about? ... I gave him the money quite
well, and he took it.
sasha. It's disgusting ! She has taken him with her to
the nursery. It's just as if he were her fiance or her
husband. . . .
anna pavlovna. Whatever does it matter to you ? Why
need you get excited about it ? Did you mean to marry
him yourself?
sasha. I ? Marry that pikestaff? I'd rather marry I
don’t know whom, than him! Such a thing never entered
my head. ... I am only disgusted that, after Fedya,
Lisa can be so attracted by a stranger.
anna pavlovna. Not a stranger, but an old playfellow!
sasha. Don't I see by their smiles and looks that they
are in love ?
anna pavlovna. Well, what is there to be surprised at
in that ? He shares her anxiety about her baby, shows
sympathy and helps her . . . and she feels grateful.
Besides, why should she not love and marry Victor ?250	The	Live	Corpse
sasha. That would be disgusting—disgusting. . . .
Enter Karenin and Lisa. Karenin silently takes leave.
Sasha goes off angrily.
lisa [to Anna Pdvlovna] What’s the matter with her ?
anna pavlovna. I really don’t know.
Lisa sighs, and is silent.
Curtain.
Scene 2
AfrSmovs sitting-room.	Glasses of wine on the table.
Afremov, Fedya Stakhov (shaggy), Butkevich (close-shaven), and
Korotk&v (a tuft-hunter).
korotk6v. And I tell you that he'll be out of the run-
ning ! La Belle Bois is the best horse in Europe. . . .
Will you bet ?
stakhov. Don't, my dear fellow. ... You know very
well that nobody believes you, or will bet with you.
korotk6v. I tell you your Cartouche won't be in it!
afremov. Stop quarrelling! Let me settle it . . . ask
Fedya—he'll give you the right tip.
fedya. Both horses are good. All depends on the
jockey.
stakhov. Giisev is a rascal, and needs a firm hand on
him.
korotk6v	No	!
fedya. Wait a bit—I'll settle your differences. . . ,
Who won the Moscow Derby ?
korotk6v. He did—but what of that? It was only
chance. If Crakus had not fallen ill. . . . [Enter footman],
afremov. What is it ?
footman. A lady has come, and is asking for Mr.
Protasov.The Live Corpse	251
afri&mov. What is she like ? A real lady ?
footman. I don't know her name, but she's a real lady.
afremov. Fedya! a lady to see you !
fedya [startled] Who is it ?
afremov. He doesn't know.
footman. Shall I ask her into the dining-room ?
fedya. No, wait . . . I'll go myself and see.
Exeunt Fedya and footman,
korotk6v. Who can it be ? It must be Masha.
stakhov. Which Mdsha ?
korotk6v. The gipsy. She's in love with him, like a
cat.
stakhov. What a darling she is ...! And how she
sings!
afremov. Charming! Tanyiisha and she ! They sang
with Peter yesterday.
stakhov. What a lucky fellow that is !
afremov. Why ? Because the girls are all sweet on him ?
Not much luck in that!
korotk6v. I can't bear gipsies—nothing refined about
them.
butkevich. No, you can't say that!
korotk6v. I'd give the whole lot for one French
woman!
afremov. Yes, we know you—and your aesthetics! . . .
I'll go and see who it is. [Exit],
stakhov. ' If it's Masha, bring her in here! We'll make
her sing. ... No, the gipsies aren't what they used to
be. Tanyiisha, now—by Gad !
butkevich. And I believe they're just the same.
stakhov. Just the same? When instead of their own
pieces they sing empty drawing-room songs ?
butkevich. Some drawing-room songs are very good.
korotk6v. Will you bet I don't get them to sing a
drawing-room song so that you won't know it from one
of their own ?252	The Live Corpse
stakhov. Korotk6v always wants to bet!
Enter Afremov.
afremov. I say, you fellows, it's not Mdsha—and there's
no room he can ask her into but this. Let us clear out
to the billiard room. [Exeunt].
Enter Fedya and Sdsha.
sasha [confused] Fedya, forgive me if it’s unpleasant—
but for God's sake hear me ! . . . [Her voice trembles].
Fedya walks up and down the room. Sdsha sits down, and
follows him with her eyes.
sAsha. F6dya ! Come home !
fedya. Just listen to me, Sasha ... I quite understand
you, Sasha dear, and in your place I should do the same
—I should try to find some way to bring back the old
state of affairs. But if you were me, if—strange as it
sounds—you, dear sensitive girl, were in my place . . .
you would certainly have done as I did, and have gone
away and ceased to spoil someone else's life.
sasha. Spoil ? How ? As if Lisa could live without you!
fedya. Oh, Sdsha dear! Dear heart! . . . She can,
she can! And she will yet be happy—far happier than
with me.
sasha. Never!
fedya. It seems so to you [Takes her hand] . . . But
that's not the point. The chief thing is, that / can't! . . .
You know, one folds a piece of thick paper this way and
that a hundred times and still it holds together; but
fold it once more, and it comes in half. ... So it was
with Lisa and me. It hurts me too much to look into
her eyes—and she feels the same, believe me!
sasha. No, no!
fedya. You say No," but you yourself know that it
is “ Yes" !
sasha. I can only judge, by myself. If I were in her
place, and you answered as you are doing, it would be
dreadful!The Live Corpse	253
fedya. Yes, for you , . . [Pause ; both are agitated].
SÂSHA [rises] Must things really remain so ?
FÉDYA. I suppose . . .
SÂSHA. Fédya come back !
fedya. Thank you, Sasha dear ! You will always
remain a precious memory to me. . . . But good-bye,
dear heart !... Let me kiss you. [Kisses her forehead],
SÂSHA [agitated] No, I don't say good-bye, and I don't
believe, and won't believe . . . Fédya !
fédya. Well then, listen! But give me your word
that what I tell you, you won't repeat to anybody—do
you promise ?
sasha. Of course !
fédya. Well then, listen, Sâsha. . . . It’s true that I
am her husband and the father of her child, but I am—
superfluous ! Wait, wait—don't reply. ... You think
I’m jealous ? Not at all ! In the first place, I have no
right ; secondly, I have no cause. Victor Karénin is he*
old friend and mine too. He loves her, and she him.
SÀSHA. No !
fédya. She does—as an honest, moral woman can, who
does not allow herself to love anyone but her husband.
But she loves, and will love him when this obstacle
[points to himself] is removed ; and I will remove it, and
they shall be iiappy ! [His voice trembles],
sash a. Fédya, don't talk like that !
fédya. Why, you know very well that it's true ! And
I shall be glad of their happiness, and it's the best I can
do. I shall not return, but shall give them their
freedom. . . • Tell them so. . . . Don't answer—and
good-bye !
Kisses her on the forehead, and opens the door for her.
sasha. Fédya—you are wonderful !
fédya. Good-bye, good-bye !... [Exit Sdsha].
fédya. Yes, yes. . , . That's the thing . , . that's the
thing !... [Rings],254	The Live Corpse
Enter footman.
fedya. Call your master. , . . [Exit footman]. , , , And
it's true—it’s true.
Enter Afremov.
fedya. Come along!
afremov. Have you settled matters ?
fedya. Splendidly!
“ And she swore by ev’ry power . *
Splendidly! . . . Where are they all ?
afremov. They're playing billiards.
fedya. That’s right—we will too [iS'iwgs]
** Rest here, just an hour . ,
Come along I
Curtain.ACT III
Scene 1
Prince Abréskoi. a sixty-year-old bachelor with moustaches,
a retired army man, elegant, very dignified and melancholy-
looking. Anna Dmitrievna Karénina ( Victor s mother), afffty-
year-old “grande dame” who tries to appear younger, and
intersperses her remarks rvith French expressions.
Anna Dmitrievna's sitting-room, furnished with expensivi
simplicity, and filled with souvenirs.
Anna Dmitrievna is writing. Footman enters.
footman. Prince Abrézkov . . .
anna dmitrievna. Yes, certainly . . . [Turns round and
touches herself up before the looking-glass'].
Enter Abrézkov.
prince abrézkov. Xespère que je ne force pas la con-
signe. . . -1 [Kmes her hand],
anna dmitrievna. You know that vous êtes toujours le
bienvenu2—and to-day especially ! You got my note ?
prince abrézkov. I did, and this is my answer.
anna dmitrievna. Ah, my friend! I begin quite to
despair. Il est positivement ensorcelé!3 I never before
knew him so insistent, so obstinate, so pitiless, and so
indifferent to me. He has quite changed since that
woman dismissed her husband !
1 I hope I am not forcing myself on you.
*	You are always welcome.
8 He is positively bewitched !
*552§6	The Live Corpse
prince abrezkov. What are the facts ? How do matters
actually stand ?
anna dmîtrievna. He wants to marry her come what
may.
prince abrezkov. And how about the husband ?
anna DMiTRiEVNA. He agrees to a divorce.
prince abrezkov. Dear me !
anna dmitrievna. And he, Victor, lends himself to it,
with all the abominations—lawyers, proofs of guilt—tout
ça est dégoûtant /1 And it doesn't seem to repel him. I
don't understand him—he was always so sensitive, so
reserved . . .
prince abrezkov. He is in love! Ah, when a man
really loves . . .
anna dmîtrievna. Yes, but how is it that in our day
love could be pure—could be a loving friendship, lasting
through life ? That kind of love I understand and value.
prince abrezkov. Nowadays the young generation no
longer contents itself with those ideal relations. La pos-
session de Vâme ne leur suffit plus.2. It can’t be helped ! . .
What can one do with him ?
anna dmitrievna. You must not say that of him—but
it's as if he were under a spell. It’s just as if he were
someone else. ... You know, I called on her. He
begged me so. I went there, did not find her in, and
left my card. Elle ma fait demander si je ne pourrais la
recevoir ;3 and to-day [looks at the clock] at two o'clock,
that is in a few minutes' time, she will be here. I
promised Victor I would receive her, but you understand
how I am placed I I am not myself at all ; and so, from
old habit, I sent for you. I need your help !
prince abrezkov. Thank you.
anna dmitrievna. This visit of hërs, you understand,
1	It is all disgusting !
3 For them, to possess the soul is no longer enough.
*	She inquired whether I would receive her.The Live Corpse	257
will decide the whole matter—Victor's fate ! I must
either refuse my consent—but how can I ?
prince abrezkov. Don’t you know her at all ?
anna dmìtrievna. I have never seen her. But Im
afraid of her. A good woman could not consent to leave
her husband, and he a good man, too! As a fellow-
student of Victor's he used to visit us, you know, and
was very nice. But whatever he may be, quels-que soient les
torts quii a eu vis-à-vis d’elle,1 one must not leave one's
husband. She ought to bear her cross. What I don't
understand is how Victor, with the convictions he holds,
can think of marrying a divorced woman ! How often—
quite lately—he has argued warmly with Spitsin in my
presence, that divorce was incompatible with true Chris-
tianity ; and now he himself is going in for it ! Si elle a
pu le charmer à un tel point2 ... I am afraid of her ! But
I sent for you to know what you have to say to it all, and
instead of that I have been doing all the talking myself !
What do you think of it ? Tell me your opinion. What
ought I to do ? You have spoken with Victor?
prince abrezkov. I have : and I think he loves her.
He has grown used to loving her; and love has got a
great hold on him. He is a man who takes things slowly
but firmly. What has once entered his heart will never
leave it again ; and he will never love anyone but her ;
and he can never be happy without her, or with anyone
else.
anna dmìtrievna. And how willingly Vàrya Kazàntseva
would have married him ! What a girl she is, and how
she loves him !
prince abrezkov [smiling]. Cest compter sans son hòte !3
That is quite out of the question now. I think it’s best to
submit, and help him to get married.
1	However he may have wronged her.
2	If she has been able to charm him to such a degree . . .
8 That’s reckoning without .your host I
R258	The	Live	Corpse
anna dmi'trievna. To a divorced woman—and have him
meet his wife's husband ?. . . I can't think how you can
speak of it so calmly. Is she a woman a mother could
wish to see as the wife of her only son—and such a son ?
prince abrezkov. But what is to be done, my dear
friend ? Of course it would be better if he married a
girl whom you knew and liked; but since that’s impos-
sible . . . Besides it's not as if he were going to marry a
gipsy, or goodness knows who . . .! Lisa Protasova is a
very nice good woman. I know her, through my niece
Nelly, and know her to be a modest, kind-hearted, affec-
tionate and moral woman.
anna dmitrievna. A moral woman—who makes up her
mind to leave her husband!
prince abrezkov. This is not like you ! You're unkind
and harsh! Her husband is the kind of man of whom
one says that they are their own worst enemies ; but he
is an even greater enemy to his wife. He is a weak,
fallen, drunken fellow. He has squandered all his
property and hers too. She has a child. . . . How can
you condemn her for leaving such a man ? Nor has she
left him: he left her.
anna dmItrievna. Oh, what mud ! What mud ! And I
have to soil my hands with it!
prince abrezkov. And how about your religion ?
anna dmitrievna. Of course, of course ! To forgive,
“As we forgive them that trespass against us." Mais,
cest plus fort qui moi !
prince abrezkov. How could she live with such a man ?
If she had not loved anyone else she would have had to
leave him. She would have had to, for her child's sake.
The husband himself—an intelligent kind-hearted man
when he is in his senses—advises her to do it. . . .
Enter Victor, who kisses his mother s hand and greets Prince
Abrezkov.
1 But it’s beyond me IThe Live Corpse	259
victor. Mother, I have come to say this: Elisabeth
Andreyevna will be here in a minute, and I beg, I
implore you—if you still refuse your consent to my
marriage . . .
anna DMfTRiEVNA [interrupting him] Of course I still
refuse my consent . . .
victor [continues his speech and frowns] In that case I
beg, I implore you, not to speak to her of your refusal!
Don't settle matters negatively . . .
anna DMiTRiEVNA. I don't expect we shall mention the
subject. For my part, I certainly won't begin.
victor. And she is even less likely to. I only want
you to make her acquaintance.
anna DMiTRiEVNA. The one thing I can't understand is
how you reconcile your desire to marry Mrs. Protasova,
who has a husband living, with your religious conviction
that divorce is contrary to Christianity.
victor. Mother, this is cruel of you! Are we really so
immaculate that we must always be perfectly consistent
when life is so complex ? Mother, why are you so cruel
to me ?
anna dmItrievna. I love you. I desire your happiness.
victor [to Prince Abrezkov] Prince!
prince abrezkov. Of course you desire his happiness.
But it is not easy for you and me, with our grey hairs, to
understand the young; and it is particularly difficult for
a mother grown accustomed to her own idea of how her
son is to be happy. Women are all like that.
anna DMiTRiEVNA. Yes, yes indeed ! You are all against
me! You may do it, of course. Vous ites majeur.1 . . .
But you will kill me!
victor. You are not yourself. This is worse than
cruelty!
prince abrezkov [to Victor] Be quiet, Victor. Your
mother's words are always worse than her deeds,
1 You are of age.2Óo	The	Live	Corpse
anna DMÎTRiEVNA. I shall tell her how I think and feel,
but I will do it without offending her.
prince abrézkov. Of that I am sure.
Enter footman.
prince abrezkov. Here she is.
victor, rii go.
footman. Elisabeth Andréyevna Protâsova.
victor. I am going. Please, Mother !	[Exit.
Prince A brézkov also rises.
anna dmitrievna. Ask her in. [To Prince Abrézkov]
No, you must please stay here !
prince abrézkov. I thought you’d find a tête-à-tête
easier.
anna dmîtrievna. No, I’m afraid ... [Zs restless] If
I want to be left tête-à-tête with her, I will nod to you.
Cela dépendra.l ... To be left alone with her may make it
difficult for me. But I’ll do like that if. . . [Makes a sign],
prince abrézkov. I shall understand. I feel sure you
will like her. Only be just.
anna dmîtrievna. How you are all against me 1
Enter Lisa, in visiting dress and hat.
anna dmîtrievna [rising] I was sorry not to find you in,
and it is kind of you to call.
lisa. I never dreamed that you'd be so good as to
call. ... I am so grateful to you for wishing to see me.
anna dmîtrievna [pointing to Prince Abrézkov] You are
acquainted ?
prince abrézkov. Yes, certainly. I have had the
pleasure of being introduced. [They shake hands and sit
down] My niece Nelly has often mentioned you to me.
lisa. Yes, she and I were great friends [glancing timidly
at Anna Dmitrievna], and we are still friendly. [To Anna
Dmitrievna] I never expected that you would wish to
see me.
anna dmîtrievna. I knew your husband well. He was
1 It will depend.The Live Corpse	261
friendly with Victor, and used to come to our house
before he left for Tambov. I think it was there you
married ?
lisa. Yes, it was there we married.
anna dm£trievna. But after his return to Moscow he
never visited us.
lisa. Yes, he hardly went out anywhere.
anna dmitrievna. And he never introduced you
to me.
[Awkward silence.
prince abrezkov. The last time I met you was at the
theatricals at the Denisovs'. They went off very well;
and you were acting.
lisa. No . . . Yes . . . Of course ... I did act.
[Silence again\ Anna Dmitrievna, forgive me if what I
am going to say displeases you, but I can't and don't
know how to dissemble! I have come because Victor
Mihaylovich said . . . because he—I mean, because
you wished to see me. . . . But it is best to speak
out [with a catch in her voice] ... It is very hard for
me. . . . But you are kind.
prince abrezkov. I'd better go.
ANNA DMITRIEVNA. YeS, do.
Prince Abrezkov takes leave of both women, and exit.
ANNA DMiTRiEVNA. Listen, Lisa ... I am very sorry
for you, and I like you. But I love Victor. He is the
one being I love in the world. I know his soul as I know
my own. It is a proud soul. He was proud as a boy of
seven. . . . Not proud of his name or wealth, but
proud of his character and innocence, which he has
guarded. He is as pure as a maiden.
lisa. I know.
anna dmitrievna. He has never loved any woman.
You are the first. I do not say I am not jealous. I am
jealous. But we mothers—your son is still a baby, and
it is too soon for you—we are prepared for that. I was262	The Live Corpse
prepared to give him up to his wife and not to be jealous
—but to a wife as pure as himself . . .
lisa. I * . . have I . . .
anna dmitrievna. Forgive me! I know it was not
your fault* but you are unfortunate. And I know him.
Now he is ready to bear—and will bear—anything, and
he would never mention it, but he would suffer. His
wounded pride would suffer, and he would not be
happy.
lisa. I have thought of that.
anna dmitrievna. Lisa, my dear, you are a wise and
good woman. If you love him you must desire his
happiness more than your own. And if that is so, you
will not wish to bind him and give him cause to repent—
though he would never say a word.
lisa. I know he wouldn't! I have thought about it,
and have asked myself that question. I have thought of
it, and have spoken of it to him. But what can I do,
when he says he does not wish to live without me ? I
said to him: “ Let us be friends, but do not spoil your
life; do not bind your pure life to my unfortunate one !
But he does not wish for that.
anna dmItrievna. No, not at present. . . .
lisa. Persuade him to leave me, and I will agree. I
love him for his own happiness and not for mine. Only
help me! Do not hate me! Let us lovingly work
together for his happiness !
anna dmitrievna. Yes, yes ! I have grown fond of you.
[Kisses her. Lisa cites] And yet, and yet it is dreadful!
If only he had loved you before you married . . .
lisa. He says he did love me then, but did not wish
to prevent a friend's happiness.
anna dmitrievna. Ah, how hard it all is! Still, we
will love one another, and God will help us to find what
we want.
victor [entering] Mother, dear! I have heard every-The Live Corpse	263
thing! I expected this: you are fond of her, and all
will be well!
lisa. I am sorry you heard. I should not have said
it if . . .
anna dmi'trievna. Still, nothing is settled. All I can
say is, that if it were not for all these unfortunate cir-
cumstances, I should have been glad. [.Kisses her\.
victor. Only, please don't change!
Curtain.
Scene 2
A plainly furnished room ; bed, table, sofa. Fedya alone.
A knock at the door. A woman s voice outside. Why have
you locked yourself in, Theodore Vasilyevich? Fedya!
Open ... 1
f^dya [gets up and unlocks door] That’s right! Thank
you for coming. It’s dull, terribly dull!
masha. Why didn't you come to us ? Been drinking
again ? Eh, eh! And after you'd promised I
fedya. D’you know, I've no moneyl
masha. And why have I taken it into my head to care
for you!
fedya. Masha!
masha. Well, what about “ Masha, Mdsha ” ? If you
were really in love, you’d have got a divorce long ago.
They themselves asked you to. You say you don’t love
her, but all the same you keep to her! I see you don’t
wish . . .
fedya. But you know why I don’t wish!
masha. That’s all rubbish. People say quite truly that
you’re an empty fellow.264	The	Live	Corpse
fedya. What can I say to you ? That your words hurt
me, you know without being told!
masha. Nothing hurts you!
fedya. You know that the one joy I have in life is
your love.
masha. My love—yes; but yours doesn't exist.
fedya. All right. I’m not going to assure you. Be-
sides, what's the good ? You know!
masha. F6dya; why torment me ?
fedya. Which of us torments ?
masha [cries] You are unkind !
fedya [goes up and embraces her] Masha! What’s it all
about ? Stop that. One must live, and not whine. It
doesn't suit you at all, my lovely one!
masha. You do love me ?
fedya. Whom else could I love ?
masha. Only me? Well then, read what you have
been writing.
fedya. It will bore you.
masha. It's you who wrote it, so it's sure to be good.
fedya. Well then listen. [Reads] “One day, late in
autumn, my friend and I agreed to meet on the Murygin
fields, where there was a close thicket with many young
birds in it. The day was dull, warm, and quiet. The
mist . .
Enter two old gipsies, Masha's parents, Ivdn Makarovich
and Nastasia Ivdnovna.
Nastasia [stepping up to her daughter] Here you are
then, you damned runaway sheep! [To Fedya] My re-
spects to you, sir! [To Mdsha] Is that how you treat
us, eh ?
ivan [to FSdya] It's wrong, sir, what you're doing!
You're ruining the wench! Oh, but it's wrong . . .
You're doing a dirty deed.
nastasia. Put on your shawl! March at once! . . .
Running away like this! What can I say to the choir ?The Live Corpse ,	265
Gallivanting with a beggar—what can you get out of
him ?
masha. I don't gallivant! I love this gentleman, that's
all. I’ve not left the choir. I'll go on singing, and
what . . .
ivan. Say another word, and I'll pull the hair off your
head! . . . Slut! . . . Who behaves like that ? Not
your father, nor your mother, nor your aunt! . . . It's
bad, sir! We were fond of you—often and often we sang
to you without pay. We pitied you, and what have you
done ?
nastasia. You’ve ruined our daughter for nothing . . .
our own, our only daughter, the light of our eyes, our
priceless jewel—you’ve trodden her into the mire, that's
what you’ve done! You've no conscience.
fedya. Nastasia Iv&novna, you suspect me falsely. Your
daughter is like a sister to me. I care for her honour.
You must think no evil . , . but I love her! What is
one to do ?
ivan. But you didn’t love her when you had money!
If you’d then subscribed ten thousand roubles or so to
the choir, you might have had her honourably. But now
you’ve squandered everything, and carry her off by
stealth! It’s a shame, sir, a shame !
mAsha. He has not carried me off! I came to him
myself, and if you take me away now, I shall come back
again. I love him, and there’s an end of it! My love is
stronger than all your locks ... I won’t!
nastasia. Come, Mdsha dearest! Come, my own!
Don't sulk. You've done wrong, and now come
along.
ivan. Now then, you’ve talked enough! March!
[Seizes her hand] Excuse us, sir! [Exit the three gipsies].
Enter Prince Abrezkov.
prince abrezkov. Excuse me. I have been an unwill-
ing witness of an unpleasant scene. . . .266	The Live Corpse
fedya. Whom have I the honour ? . . . [Recognises the
Prince] Ah, Prince Abrezkov!	[They shake hands],
prince abrezkov. An unwilling witness of an unpleas-
ant scene. I should have been glad not to hear, but
having overheard it, I consider it my duty to tell you so.
I was directed here, and had to wait at the door for those
people to come out—more particularly as their very loud
voices rendered my knocking inaudible.
fedya. Yes, yes—please take a seat. Thank you for
telling me: it gives me the right to explain that scene to
you. I don’t mind what you may think of me, but I
should like to tell you that the reproaches you heard
addressed to that girl, that gipsy singer, were unjust.
That girl is as morally pure as a dove ; and my relations
with her are those of a friend. There may be a tinge of
romance in them, but it does not destroy the purity—the
honour—of the girl. That is what I wished to tell you;
but what is it you want of me ? In what way can I be
of service ?
prince abrezkov. In the first place, I . . .
fedya. Forgive me, Prince. My present social stand-
ing is such, that my former slight acquaintance with you
does not entitle me to a visit from you, unless you have
some business with me. What is it ?
prince abrezkov. I won't deny it. You have guessed
right. I have business with you; but I beg you to
believe that the alteration in your position in no wise
affects my attitude towards you.
fedya. I am sure of it.
prince abrezkov. My business is tliis. The son of my
old friend, Anna Dmitrievna Kar6nina, and she herself,
have asked me to ascertain directly from you what are
your relations . . . May I speak out? . . . your rela-
tions with your wife, Elisabeth Andreyevna Protasova.
fedya. My relations with my wife, or rather with her
who was my wife, are entirely at an end.The	Live Corpse	267
prince	abrezkov. So	I understood, and that	is why I
accepted this difficult mission.
fédya.	At an end, and, I hasten to add, not	by her
fault, but	by mine—by	my innumerable faults.	She is,
as she always was, quite irreproachable.
prince abrézkov. Well then, Victor Karénin, or rather
his mother, asked me to find out what your inten-
tions are.
fédya [growing excited] What intentions ? I have none.
I set her quite free ! Moreover, I will never disturb her
peace. I know she loves Victor Karénin. Well, let
her! I consider him a very dull, but very good and
honourable man, and I think that she will, as the phrase
goes, be happy with him ; and—que le bon Dieu les
bénisse !1 That's all. . .
prince abrezkov. Yes, but we . . .
fédya [iinterrupting] And don't suppose that I feel the
least bit jealous. If I said that Victor is dull, I withdraw
the remark. He is an excellent, honourable, moral man :
almost the direct opposite of myself. And he has loved
her from childhood. Perhaps she too may have loved
him when she married me—that happens sometimes !
The very best love is unconscious love. I believe she
always did love him ; but as an honest woman she did
not confess it even to herself. But ... a shadow of
some kind always lay across our family life—but why am
I confessing to you ?
prince abrézkov. Please do ! Believe me, my chief
reason for coming to you was my desire to understand
the situation fully. ... I understand you. I under-
stand that the shadow, as you so well express it, may
have been . . .
fédya. Yes, it was; and that perhaps is why I could
not find satisfaction in the family life she provided for
me, but was always seeking something, and being carried
1 May God bless them I268	The Live Corpse
away. However, that sounds like excusing myself. I
don't want to, and can't, excuse myself. I was (I say
with assurance, was) a bad husband. I say was, because
in my consciousness I am not, and have long not been,
her husband. I consider her perfectly free. So there
you have my answer to your question.
prince abrezkov. Yes, but you know Victor’s family,
and himself too. His relation to Elisabeth Andreyevna
is, and has been all through, most respectful and distant.
He assisted her when she was in trouble . . .
fedya. Yes, I by my dissipation helped to draw them
together. What's to be done ? It had to be so !
prince abrezkov. You know the strictly Orthodox con-
victions of that family. Having myself a broader outlook
on things, I do not share them; but I respect and under-
stand them. I understand that for him, and especially
for his mother, union with a woman without a Church
marriage is unthinkable.
fedya. Yes, I know his stu . . . his strictness, his
conservatism in these matters. But what do they want ?
A divorce ? I told them long ago that I am quite willing;
but the business of taking the blame on myself, and all
the lies connected with it, are very trying. . . ,x
prince abrezkov. I quite understand you, and sympa-
thise. But how can it be avoided ? I think it might be
arranged that way—but you are right. It is dreadful,
and I quite understand you.
fedya [pressing the Prince’s hand] Thank you, dear
Prince! I always knew you were a kind and honourable
man. Tell me what to do. How am I to act? Put
yourself in my place. I am not trying to improve. I
am a good-for-nothing; but there are things I cannot dc
quietly. I cannot quietly tell lies.
1 Under the Russian law divorce was only obtainable if ocular
evidence of adultery was forthcoming, and a great deal of perjury
was usually involved in such cases.The Live Corpse	269
prince abrézkov. I don't understand you! You, a
capable, intelligent man, so sensitive to what is good—
how can you let yourself be so carried away—so forget
what you expect of yourself? How have you ruined
your life and come to this ?
fed y a [forcing back tears of emotion] I have led this
disorderly life for ten years, and this is the first time a
man like you has pitied me ! I have been pitied by my
boon-companions, by rakes and by women ; but a reason-
able, good man like you . . . Thank you ! How did I
come to my ruin ? First, through drink. It is not that
drink tastes nice ; but do what I will, I always feel I am
not doing the right thing, and I feel ashamed. I talk to
you now, and feel ashamed. As for being a Maréchal de
la noblesse, or a Bank Director—I should feel ashamed, so
ashamed ! It is only when I drink that I do not feel this
shame. And music : not operas or Beethoven, but
gipsies !... That is life ! Energy flows into one’s
veins ! And then those dear black eyes, and those
smiles ! And the more delicious it is, the more ashamed
one feels afterwards.
prince abrezkov. How about work ?
fedya. I have tried it, but it’s no good. I am always
dissatisfied with it—but what's the use of talking about
myself1 I thank you.
prince abrezkov. Then what am I to say ?
fedya. Tell them I will do what they wish. They
want to get married, and that there should be no obstacle
to their marriage ?
prince abrézkov. Of course.
fédya. I'll do it! Tell them I will certainly
do it.
prince abrézkov. But when ?
fédya. Wait a bit. Well, say in a fortnight. Will
that do ?
prince abrezkov. Then I may tell them so ?270	The	Live	Corpse
fj&dya. You may. Good-bye, Prince! Thank you
once again!
[Exit Prince].
fedya [sits for a long time and smiles silently] That’s the
way, that's the way! It must be so, must be, must be!
Splendid!
Curiam.ACT IV
Scene I
A private room in a restaurant A waiter shows in Fedya
and Ivdn Petrdvich Alexandrov.
waiter. Here, please. No one will disturb you here.
Ill bring some paper directly.
ivan petr6vich. Protasov, I'll come in too.
fI&dya [seriously] If you like, but I’m busy and . . . All
right, come in.
ivan petr6vich. You wish to reply to their demands?
I'll tell you what to say. I should not do it that way—
I always speak straight out, and act with decision.
fedya [io waiter] A bottle of champagne !
Exit waiter.
f£dya [taking out a revolver and putting it on the table]
Wait a bit!
ivan petr6vich. What’s that? Do you want to shoot
yourself? You can if you like. I understand you!
They wish to humiliate you, and you will show them the
sort of man you are! You will kill yourself with a
revolver, and them with magnanimity. I understand you.
I understand everything, because I am a genius.
f^dya. Of course—of course. Only . . . [Enter waiter
with paper and ink],
fedya [covers the revolver with a napkin] Uncork it—let's
have a drink. [They drink. Fedya writes] Wait a bit!
ivAn petr6vich. Here's to your . . . great journey!
You know I'm above all this. I'm not going to restrain
27*272	The	Live	Corpse
you! Life and death are alike to Genius. I die in life,
and live in death. You will kill yourself that two people
should pity you; and I—I shall kill myself that the whole
world may understand what it has lost. I won't hesitate,
or think about it I I seize it [snatches revolver]—now!
And all is over. But it is too soon yet. [Lays down
revolver] Nor shall I write anything; they must under-
stand it themselves. . . . Oh, you . . •
fiSdya [writing] Wait a bit.
ivan petr6vich. Pitiful people! They fuss, they
bustle, and don't understand—don't understand anything
at all. . . . I'm not talking to you, I am only expressing
my thoughts. And, after all, what does humanity need ?
Very little—only to value its geniuses. But they always
are executed, persecuted, tortured. . . . No! I'm not
going to be your toy! I will drag you out into the open J
No-o-o! Hypocrites!
fedya [having finished writing, drinks and reads over his
letter] Go away, please!
ivAn petr6vich. Go away ? Well, good-bye then! I
am not going to restrain you. I shall do the same. But
not yet. I only want to tell you . . .
fedya. All right! You'll tell me afterwards. And
now, dear chap, just one thing: give this to the manager
[gives him money] and ask if a parcel and a letter have
come for me. . . . Please do!
ivan petr6vich. All right—then you'll wait for me ? I
have still something important to tell you—something that
you will not hear in this world nor in the next, at any rate
not till I come there. . . . Am I to let him have all of this ?
fIcdya. As much as is necessary. [Exit Ivan Petrovich.]
Fedya sighs with relief; locks the door behind Ivdn Petrd-
vich; takes up the revolver, cocks it, puts it to his temple;
shudders, and carefully lowers it again,, Groans.
f£dya. No; I can't! I can't! I can't! [Knock at the
door] Who's there fThe Live Corpse	273
[Mdshds voice from outside] It’s me!
fedya. Who's “ me ” ? Oh, Mdsha . . . [opens door].
masha. I’ve been to your place, to Pop6v’s, to Afremov’s,
and guessed that you must be here.	revolver] That’s
a nice thing! There’s a fool! A regular fool! Is it
possible you really meant to ?
fedya. No, I couldn’t.
masha. Do I count for nothing at all ? You heathen !
You had no pity for me? Oh, Theodore Vasilyevich,
it’s a sin, a sin ! In return for my love . . .
fedya. I wished to release them. I promised to, and
I can’t lie.
masha. And what about me ?
fedya. What about you ? It would have set you free
too. Is it better for you to be tormented by me ?
masha. Seems it’s better. I can’t live without you.
fedya. What sort of life could you have with me?
You’d have cried a bit, and then gone on living your
own life.
masha. I shouldn’t have cried at all! Go to the devil,
if you don’t pity me ! [Cries].
fedya. Masha, dearest! I meant to do it for the best.
masha. Best for yourself!
fedya [smiles] How’s that, when I meant to kill
myself ?
masha. Of course, best for yourself! But what is it
you want ? Tell me.
fedya. What I want ? I want a great deal.
mAsha. Well, what? What?
fedya. First of all, to keep my promise. That is the
first thing, and quite sufficient. To lie, and do all the
dirty work necessary to get a divorce ... I can’t!
masha. Granted that it’s horrid—I myself . . .
fedya. Next, they must really be free—my wife and
he. After all, they are good people; and why should
they suffer ? That’s the second thing.
s274	The Live Corpse
más ha. Well, there isn't much good in her, if she's
thrown you over.
fedya. She didn't—I threw her over.
Masha. All right, all right! It's always you. She is an
angel! What else !
fédya. This—that you are a good, dear girlie—and
that I love you, and if I live I shall ruin you.
Masha. That’s not your business. I know quite well
what will ruin me.
fédya	But above all, above all . . . What use
is my life? Don't I know that I am a lost good-for-
nothing ? I am a burden to myself and to everybody—
as your father said. I'm worthless. . . .
más ha. What rubbish! I shall stick to you. I've
stuck to you already, and there's an end of it! As to
your leading a bad life, drinking and going on the spree
—well, you're a living soul! Give it up, and have done
with it!
fédya. That’s easily said.
masha. Well, then, do it.
fédya. Yes, when I look at you I feel as if I could
really do anything.
MÁ8HA. And so you shall! Yes, you'll do it! [See*
the letter] What’s that ? You've written to them ? What
have you written ?
fédya. What have I written ? . . . [Takes the letter and
is about to tear it up] It's no longer wanted now.
masha [snatches	the letter]	You’ve said	you	would	kill
yourself? Yes?	You did	not mention	the	revolver—
only said that you'd kill yourself?
fédya. Yes, that I should	be no more.
másha. Give it	me—give	it, give it!	. . .	Have	you
read What to Do f
fédya. I think I have.
másha. It's a tiresome novel, but there’s one very, very
good thing in it. That what's his name ?—Rakhmánov—The Live Corpse	275
goes and pretends he has drowned himself. And you—
can you swim ?
FEDYA. No.
Masha. That's all right. Let me have your clothes—
everything, and your pocket-book too.
fédya. How can I ?
masha. Wait a bit, wait, wait ! Let’s go home ; then
you'll change your clothes.
fédya. But it will be a fraud.
masha. All right! You go to bathe, your clothes
remain on the bank, in the pocket is your pocket-book
and this letter.
fédya. Yes, and then?
masha. And then? Why, then we'll go off together
and live gloriously.
Enter Ivân Petrovich.
Ivan petrôvich. There now! And the revolver? I'll
take it.
masha. Take it; take it! We’re off.
Curtain.
Scene 2
The Protasovs drawing-room.
karénin. He promised so definitely, that I am sure he
will keep his word.
lisa. I am ashamed to say it, but I must confess that
what I heard about that gipsy girl makes me feel quite
free. Don't think it is jealousy ; it isn't, but you know—
it sets me free. I hardly know how to tell you. . . .
karénin. You don't know how to tell me . . . Why?
lisa [smiling] Never mind! Only let me explain what276	The Live Corpse
I feel. The chief thing that tormented me was, that 1
felt I loved two men; and that meant that I was an
immoral woman.
karenin. You immoral ?
lisa. But since I knew that he had got someone else,
and that he therefore did not need me, I felt free, and
felt that I might truthfully say that I love you. Now
things are clear within me, and only my position torments
me. This divorce! It is such torture—and then this
waiting!
karenin. It will soon, very soon, be settled. Besides
his promise, I sent my secretary to him with the petition
ready for signature, and told him not to leave till it is
signed. If I did not know him so well, I should think
he was purposely behaving as he does.
lisa. He? No, it is the result both of his weakness
and his honesty. He doesn't want to say what is not
true. Only you were wrong to send him money.
karenin. I had to. The want of it might be the cause
of the delay.
lisa. No, there is something bad about money.
karenin. Well, anyhow, he need not have been so
punctilious . . .
lisa. How selfish we are becoming!
karenin. Yes, I confess it. It’s your own fault. After
all that waiting, that hopelessness, I am now so happy!
And happiness makes one selfish. It's your fault!
lisa. Do you think it’s you only ? I too—I feel full of
happiness, bathed in bliss! I have everything—Misha
has recovered, your mother likes me, and you—and above
all, I, I love!
karenin. Yes? And no repenting? No turning back?
usA. Since that day everything has changed in me.
karenin. And will not change again ?
lisa. Never! I only wish you to have done with it all
as completely as I have.The Live Corpse	277
Enter nurse, with baby. Lisa takes the baby on her lap.
karenin. What wretched people we are !
lisa [kissing baby] Why ?
karenin. When you married, and I heard of it on my
return from abroad, and was wretched because I felt that
I had lost you, it was a relief to me to find that you still
remembered me. I was content even with that. Then
when our friendship was established and I felt your
kindness to me, and even a little gleam of something in
our friendship that was more than friendship, I was
almost happy. I was only tormented by a fear that I
was not being honest towards F6dya. But no! I was
always so firmly conscious that any other relation than
one of purest friendship with my friend's wife was
impossible—besides which, I knew you—that I was not
really troubled about that. Afterwards, when Fedya
began to cause you anxiety, and I felt that I was of some
use to you, and that my friendship was beginning to
alarm you—I was quite happy, and a sort of vague hope
awoke in me. Still later, when he became altogether
impossible and you decided to leave him, and I spoke
to you plainly for the first time, and you did not say
if No,” but went away in tears—then I was perfectly
happy; and had I then been asked what more I wanted,
I should have answered “ Nothing" ! But later on, when
there came the possibility of uniting our lives: when my
mother grew fond of you and the possibility began to be
realised; when you told me that you loved and had
loved me, and then (as you did just now) that he no
longer existed for you and that you love only me—what
more, one would think, could I wish for ? But no! Now
the past torments me! I wish that past had not existed,
and that there were nothing to remind me of it.
usa [reproachfully] Victor!
karenin. Lisa, forgive me ! If I tell you this, it is only
because I don’t want a single thought of mine about278	The	Live Corpse
you to be hidden from you. I have purposely told you,
to show how bad I am, and how well I know that I must
struggle with and conquer myself. . . . And now Fve
done it! I love him.
lisa. That’s as it should be. I did all I could, but it
was not I that did what you desired : it happened in my
heart, from which everything but you has vanished.
kar^nin. Everything ?
lisa. Everything, everything—or I would not say so.
jEnter footman.
footman. Mr. Voznesensky.
karenin. He’s come with Fedya’s answer.
lisa [to KarSnin] Ask him in here.
karenin [rising and going to the door] Well, here is the
answer!
lisa [gives baby to nurse; exit nurse] Is it possible,
Victor, that everything will now be decided ? [Kisses
Karbiiii],
Enter Voznesinsky.
karenin. Well?
voznes^nsky. He has gone.
karenin. Gone ! And without signing the petition ?
voznesensky. The petition is not signed, but a letter
was left for you and Elisabeth Andreyevna [Takes letter
out of his pocket and gives it to Karenin] I went to his
lodgings, and was told he was at the restaurant. I went
there, and Mr. Protdsov told me to return in an hour and I
should then have his answer. I went back, and then . . .
karenin. Is it possible that this means another delay ?
More excuses ! No, that would be downright wicked.
How he has fallen !
lisa. But do read the letter! [Karenin opens letter].
voznesensky. You do not require me any longer?
karEnin. Well, no. Good-bye! Thank you . . .
[Pauses in astonishment as he reads].
Exit Voznesensky.The Live Corpse	279
lisa. What—what is it ?
karenin. This is awful!
lisa [takes hold of letter] Read !
karenin [1reads] “Lisa and Victor, I address myself to
you both. I won't lie and call you 'dear' or anything
else. I cannot master the feeling of bitterness and re-
proach (I reproach myself, but all the same it is painful)
when I think of you and of your love and happiness. I
know everything. I know that though I was the husband,
I have—by a series of accidents—been in your way.
Cest mot qui suis I’intrus.1 But all the same, I cannot
restrain a feeling of bitterness and coldness towards you.
I love you both in theory, especially Lisa, Lisette! But
actually I am more than cold towards you. I know I am
wrong, but cannot change.
lisa. How can he . . .
karenin [continues reading] “ But to business! This
very feeling of discord within me forces me to fulfil your
desire not in the way you wish. Lying, acting so dis-
gusting a comedy, bribing the Consistorium, and all those
horrors, are intolerably repulsive to me. Vile as I may
be, I am vile in a different way, and cannot take part in
those abominations—simply cannot! The solution at
which I have arrived is the simplest: to be happy, you
must marry. I am in the way; consequently I must
destroy myself. . .
lisa [seizes Victor s hand] Victor !
karenin [reads] “. . . must destroy myself. And I
will do it. When you get this letter, I shall be no more.
“ P. S. What a pity you sent me money to pay for the
divorce proceedings! It is unpleasant, and unlike you !
But it can't be helped. I have so often made mistakes,
why shouldn't you make one ? I return the money. My
1 It is I who am the intruder.280	The Live Corpse
way of escape is shorter, cheaper, and surer. All I ask is,
don't be angry with me, and think kindly of me. And,
one thing more—there is a clockmaker, Evgényev, here.
Can't you help him, and set him on his feet ? He's a
good man, though weak.—Good-bye,
“ Fedya/*
lisa. He has taken his life ! Yes . . .
karénin [:rings, and runs out to the hall\ Call Mr.
Voznesénsky back !
lisa. I knew it ! I knew it ! Fédya, dear Fédya !
karénin. Lisa !
lisa. It's not true, not true that I didn't love him and
don't love him ! I love only him ! I love him ! And
I've killed him. Leave me !
Enter Voznesénsky.
karénin. Where is Mr. Protdsov ? What did they tell
you ?
voznesénsky. They told me he went out this morning,
left this letter, and had not returned.
karénin. We shall have to find out about it, Lisa. I
must leave you.
lisa. Forgive me, but I too can t lie ! Go now—go,
and find out . . .
Curtain.ACT V
Scene 1
A dirty room in a low-class restaurant. A table, at which
people sit drinking tea and vódka. In the foreground a small
table, at which sits Fédya, tattered, and much come down in the
world. With him is Petushkóv, a gentle, mild man with long
hair, of clerical appearance. Both are slightly drunk.
petushkóv. I understand, I understand. That is true
love ! Yes ? Go on.
fédya. Well, you know, if a woman of our class showed
such feeling and sacrificed everything for the man she
loved. . . . But she was a gipsy, brought up to money-
hunting, and yet she had this self-sacrificing love ! Gave
everything, and wanted nothing herself! The contrast
was so wonderful !
petushkóv. Yes, in art we call it “ value.” You can
only get quite bright red by putting green round it.
But that’s not to the point. I understand, quite under-
stand.
fédya. Yes, and I believe the one good action of my
life is that I never took advantage of her love. And do
you know why ?
petushkóv. Pity.
fédya. Oh no ! I never felt pity for her. What I felt
for her was always rapturous admiration—and when she
sang ! Ah, how she sang—and perhaps still sings ! I
always regarded her as far above me. I did not ruin her,
simply because I loved her ; loved her truly. And now
she's a good, happy memory !	[.DrinksJ.
s8z282	The Live Corpse
petushkóv. Yes, I understand, I understand. It’s
ideal.
fédya. I'll tell you something. I have had my
passions, and once I was in love with a lady—very
handsome—and I loved her nastily, like a dog. She
gave me a rendezvous, And I did not go, because I
thought it was treating the husband shabbily. And it is
strange that, even now, when I remember it I want to
feel pleased and to approve of myself for having acted
honourably, but I always repent as if I had committed a
sin! But in the case of Másha, on the contrary, I am
always pleased—pleased that I did not pollute that
feeling of mine. ... I may fall lower still, sell all I
have on me, be covered with lice and sores—but this
jewel . . . no, not jewel, but ray of sunshine, is still with
me and in me.
petushkóv. I understand, I understand! And where is
she now ?
fédya. I don't know! And I’d rather not know. All
that belonged to a different life; and I don't want to mix
it up with this. . . .
A woman is heard screaming at a table behind. The
manager and a policeman come in and take her out. Fédya
and Petushkóv listen, and look on in silence. When all is
quiet again,
petushkóv. Yes, your life is astonishing.
fédya. No, it's most simple ! You know, in the society
in which I was bom there are only three careers open to
a man—only three. The first is to enter the civil or
military service, to earn money and increase the abomina-
tions amid which we live. That was repulsive to me.
Perhaps I had not the capacity for it; but above all it
repelled me. Then the second is to destroy those
abominations. To do that you must be a hero; and I
am not a hero. And the third is to forget it all by
going on the spree, drinking and singing. That is whatThe Live Corpse	283
I did. And this is what my singing has brought me
to! [Drinks],
petushk6y. And what about family life ? I should be
happy if I had a wife. My wife ruined me.
fedya. Family life? Yes, my wife was an ideal
woman. She is still living. But how shall I tell you?
There was no yeast in it—you know, the yeast that
makes the beer froth ! Well, there was nothing of that in
our life: it was flat, and I wanted something to help me
to forget—and one can't forget when there's no sparkle in
life. Then I began to do all sorts of nasty things. And
you know, we love people for the good we do them, and
dislike them for the harm we do them; and I did her
much harm. She seemed to love me .
petushk6v. Why do you say a seemed'' ?
fedya. I say it because there was never anything about
her that made her creep into my soul as Masha did. But
that's not what I meant to say. When she was pregnant,
or nursing her baby, I used to vanish, and come home
drunk; and of course, just because of that, I loved her
less and less. Yes, yes ! [in ecstasy] I have it! The reason
I love Masha is that I did her good and not harm.
That’s why I love her. The other one I tormented, and
therefore I don't like her. ... No, after all, I simply
don't like her! Was I jealous? Yes, but that too is
past. . . .
Enter Artemyev, with a cockade on his cap, dyed moustaches,
and old, renovated clothes.
artemyev. Wish you a good appetite! [Bows to Fedya]
I	see you've made acquaintance with our painter, our artist.
fedya [coldly] Yes, we are acquainted.
artemyev [to Petushkdv] And have you finished the
portrait ?
petushkxSv. No, I lost the order.
artemyev down] I'm not in your way ?
Fedya and Petushkov do not answer.284	The Live Corpse
petushkôv. Theodore Vasilyevich was telling me
about his life.
artémyev. Secrets? Then I won't disturb you—go
on ? I'm sure I don't want you. Swine !	[Goes to next
table and calls for beer. He listens all the time to Fédya’s
conversation with Petushkôv, and leans towards them without
their noticing it
fédya. I don't like that gentleman.
petushkôv. He was offended.
fédya. Well, let him be ! I can't stand him.	He	is
such a fellow, my words won't come when he is	there.
Now with you I feel at ease, and comfortable. Well,
what was I saying ?
petushkôv. You were speaking about your jealousy.
And how was it you parted from your wife ?
fédya. Ah !	[Pauses and considers] It's a curious
story. My wife is married . . .
petushkôv. How's that ? Are you divorced ?
fedya [smiles] No, I left her a widow.
petushkôv. What do you mean ?
fédya. I mean that she's a widow ! I don't exist.
petushkôv. Don't exist ?
fédya. No, I'm a corpse ! Yes . . .	[Artémyev learn
over, listening] Well, you see—I can tell you about it;
and besides, it happened long ago ; and you don't know
my real name. It was this way. When I had tired out
my wife and had squandered everything I could lay my
hands on, and had become unbearable, a protector turned
up for her. Don't imagine that there was anything dirty
or bad about it—no, he was my friend and a very good
fellow—only in everything my exact opposite ! And as
there is far more evil than good in me, it follows that he
was a good—a very good man : honourable, firm, self-
restrained and, in a word, virtuous. He had known my
wife from her childhood, and loved her. When she
married me he resigned himself to his fate. But later,The Live Corpse	285
when I became horrid and tormented her, he began to
come oftener to our house. I myself wished it. They
fell in love with one another, and meanwhile I went
altogether to the bad, and abandoned my wife of my own
accord. And besides, there was Mâsha. I myself ad-
vised them to marry. They did not want to, but I
became more and more impossible, and it ended in . . .
petushkôv. The usual thing ?
fédya. No. I am sure ; I know for certain that they
remained pure. He is a religious man, and considers
marriage without the Church's blessing a sin. So they
began asking me to agree to a divorce. I should have
had to take the blame on myself. It would have been
necessary to tell all sorts of lies . . . and I couldn’t!
Believe me, it would have been easier for me to take my
life than to tell such lies—and I wished to do so. But
then a kind friend came and said, “ Why do it ? ” and
arranged it all for me. I wrote a farewell letter, and
next day my clothes, pocket-book and letters were found
on the river bank. I can't swim.
petushkôv, Yes, but how about the body ? They did
not find that !
fedya. They did ! Fancy ! A week later somebody's
body was found. My wife was called to identify the de-
composing body. She just glanced at it, a Is it he ? ”
“It is.” And so it was left. I was buried, and they
married and are living in this town, happily. And I—
here I am, living and drinking! Yesterday I passed
their house. The windows were lit up, and someone's
shadow crossed the blind. Sometimes it's horrid, and
sometimes not. It's horrid when I've no money . . .
[Drinks],
ARTEMYEV [approaches] Excuse me, but I heard your
story. It's a very good story, and more than that—a
very useful one! You say it's horrid when one has no
money ? There's nothing more horrid. But you, in your286	The	Live Corpse
position, should always have money. Aren't you a corpse ?
Well then . . .
fédya. Excuse me ! I did not speak to you and don't
want your advice.
artémyev. But I want to give it ! You are a corpse ;
but suppose you come to life again ? Then they,, your
wife and that gentleman, who are so happy—they would
be bigamists, and at best would be sent to the less distant
parts of Siberia. So why should you lack money ?
fédya. I beg you to leave me alone.
Artemyev. Simply write a letter. I'll write it for you
if you like ; only give me their address, and you'll be
grateful to me.
fédya. Be off, I tell you ! I have told you nothing !
artémyev. Yes, you have ! Here’s my witness. The
waiter heard you say you were a corpse.
waiter. I know nothing about it.
fédya. You scoundrel !
artemyev. Am I a scoundrel ? Eh, police ! I'll give
him in charge !
Fédya rises to go, but Artémyev holds him. Enter policeman.
Curtain.
Scene 2
The ivy-covered verandah of a bungalow in the country.
Anna Dmitrievna Karenina. Lisa {pregnant), nurse, and boy.
lisa. Now he's on his way from the station.
boy. Who is ?
lisa. Papa.
boy. Papa's coming from the station?The Live Corpse	287
lisa. Cest étonnant comme il l’aime, tout-à-fait comme son
père.1
anna dmîtrievna. Tant 7nieux ! Se souvient-il de son père
véritable ? 2
lisa [sighs] I never speak to him about it. I say to
myself, “Why confuse him?" Sometimes I think I
ought to tell him. What is your opinion, Maman ?
anna dmîtrievna. I think it is a matter of feeling,
Lisa, and if you obey your feelings your heart will tell
you what to say and when to say it. What a wonderful
conciliator death is ! I confess there was a time when
Fédya—whom I had known from a child—was repulsive
to me ; but now I only remember him as that nice lad,
Victor's friend, and as the passionate man who sacrificed
himself—illegally and irreligiously, but still sacrificed
himself—for those he loved. On aura beau dire, Faction
est belled ... I hope Victor will not forget to bring the
wool : I've hardly any left. [Knits],
lisa. I hear him coming.
The sound of wheels and bells is heard. Lisa rises, and
goes to the edge of the veranda.
lisa. There’s someone with him, a lady in a bonnet—
It's Mother ! I have not seen her for an age. [Goes to
the door].
Enter Karénin and Anna Pavlovna.
anna pavlovna [kisses Lisa and Anna Dmitrievna] Victor
met me, and has brought me here.
anna dmîtrievna. He has done well.
anna pavlovna. Yes, certainly. I thought to myself,
“ When shall I see her again ? " and kept putting it off.
But now I’ve come, and if you don't turn me out I will
stay till the last train.
1	It is surprising how he loves him—just as if he were his
father.
2	So much the better ! Does he remember his real father ?
*	Say what one likes—it is a fine action.288	The	Live Corpse
kar^nin [kisses his wife, mother, and the boy\ D’you
know what a piece of luck! Congratulate me—I have
two days* holiday. They'll be able to get on without me
to-morrow.
lisa. Splendid! Two days! It's long since we had
that! We'll drive to the Hermitage, shall we ?
anna pavlovna. What a likeness ! Isn't he a strapping
fellow ? If only he has not inherited everything—his
father's heart . . .
anna dmitrievna. But	not his weakness.
lisa. No, everything!	Victor agrees with	me that	if
only he had been rightly	guided in childhood	. . .
anna pavlovna. Well,	I don't know about that;	but	I
simply can't think of him without tears.
lisa. No more can we. How much higher he stands
now in our recollection!
anna pavlovna. Yes, I am sure of it.
lisa. How it all seemed insoluble at one time—and
then everything suddenly came right.
anna dmitrievna. Well, Victor, did you get the wool ?
karenin. Yes, I did. [Brings a bag, and takes out
parcels]. Here is the wool, and this is the eau-de-
Cologne ; and here are letters—one “ On Government
Service” for you, Lisa [hands her a letter]. Well Anna
Pavlovna, if you want to wash your hands I will show you
your room. I must make myself tidy too ; it is almost
dinner time. Lisa, Anna Pavlovna's room is the corner
one downstairs, isn't it ?
Lisa is pale; holds the letter in trembling hands, and
reads it
karenin. What's the matter ? Lisa, what is it ?
lisa. He is alive! . . . Oh God! When will he re-
lease me ! Victor, what does this mean ? [Sofo].
karenin [Takes letter and reads] This is dreadful!
anna dmitrievna. What is it ? Why don’t you tell me ?
karenin. It is dreadful 1 He’s alive, she's a bigamist,The Live Corpse	289
and I a criminal! It’s a notice from the Examining
Magistrate—a summons for Lisa to appear before him.
anna Dmitrievna. What a dreadful man! Why has he
done this ?
karenin. All lies, lies !
lisa. Oh, how I hate him! I don't know what I am
saying . . . [Exit in tears. Karenin follows her].
anna pavlovna. How is it he's alive ?
anna dmitrievna! All I know is, that as soon as Victor
came in contact with this world of mud—they were sure
to draw him in too! And so they have. It's all fraud—
all lies 1
Curtain.
TACT VI
Scene 1
The room of an Examining Magistrate, who sits at a table
talking to Melnikov. At a side table a clerk is sorting papers.
examining magistrate. But I never said anything of
the kind to her. She invented it, and now reproaches me.
melnikov. She does not reproach you, but is grieved.
examining magistrate. All right, I’ll come to dinner.
But now I have a very interesting case on. \To Clerk']
Ask her in.
clerk. Shall I ask them both ?
examining magistrate [finishes his cigarette and hides it]
No, only Mrs. Karenina, or rather—by her first husband
—Protasova.
melnikov [going out] Ah, Karenina !
examining magistrate. Yes, it's a nasty affair. It's true
I am only beginning to look into it, but it's a bad business.
Well, good-bye! [Exit Melnikov].
Enter Lisa, in black and veiled.
examining magistrate. Take a seat, please. [Points to
a chair] Believe me, I much regret to have to question
you, but we are under the necessity . . . Please be calm,
and remember that you need not answer my questions.
Only, in my opinion, for your own sake—and in fact for
everybody's sake—the truth is best. It is always best,
even practically.
lisa. I have nothing to conceal.
examining magistrate. Well then [looks at paper]—your
290The Live Corpse	291
name, position, religion—all that I have put down. Is it
correct ?
lisa. Yes.
examining magistrate. You are accused of contracting
a marriage with another man, knowing your husband to
be alive.
lisa. I did not know it.
examining magistrate. And also of having persuaded
your husband, and bribed him with money, to commit
a fraud—a pretended suicide—in order to free yourself
of him.
lisa. That is all untrue.
examining magistrate. Well then, allow me to put a
few questions. Did you send him 1,200 roubles in July
of last year ?
lisa. It was his own money, the proceeds of the sale of
some things of his. At the time I parted from him, and
when I was expecting a divorce, I sent him the money.
examining magistrate. Just so! Very well. That
money was sent to him on the 17th of July, two days
before his disappearance ?
lisa. I think it was on the 17th, but I don't remember.
examining magistrate. And why was the application to
the Consistorium for a divorce withdrawn, just at that
time—and the lawyer told not to proceed with the case ?
lisa. I don't know.
examining magistrate. Well, and when the police
asked you to identify the body, how was it you recognised
it as your husband's ?
lisa. I was so excited that I did not look at the body,
and I felt so sure it was he, that when they asked me I
answered, “1 think it is he,”
examining magistrate. Yes, you did not see well, in
consequence of a very natural excitement. And now may
I ask why you have sent a monthly remittance to Saratov,
the very town where your first husband was living ?292	The	Live	Corpse
lisa. My husband sent that money, and I cannot say
what it was for, as that is not my secret. But it was not
sent to Theodore Vasilyevich, for we were firmly convinced
of his death. That I can say for certain.1
examining magistrate. Very well. Only allow me to
remark, madam, that the fact of our being servants of the
law does not prevent our being men; and believe me I
quite understand your position and sympathise with you!
You were tied to a man who squandered your property,
was unfaithful—in short, brought misfortune. . r .
lisa. I loved him.
examining magistrate. Yes ; but still the desire to free
yourself was natural, and you chose this simpler way,
without realising that it would lead you into what is
considered a crime—bigamy!	I quite understand it.
The judges will understand too; and therefore I advise
you to confess everything.
lisa. I have nothing to confess. I have never lied.
[Cries] Do you want me any longer ?
examining magistrate. I must ask you to remain here.
I will not trouble you with any more questions. Only
kindly read this over and sign it. It is your deposition.
See whether your answers have been correctly taken down«
Please take that seat. [Points to an armchair by the window.
To Clerk] Ask Mr. Karenin to come in.
Enter Karenin, stem and solemn.
examining magistrate. Please take a seat.
karenin. Thank you ! [Remains standing] What do you
want of me ?
examining magistrate. I have to take your deposition.
karenin. In what capacity ?
1 Had Tolstoy lived to give a final revision to this play, he would
probably have made it clearer that Karenin sent a monthly payment
to the clockmaker Evgenyev, in response to the request contained in
the last letter F^dya addressed to Lisa and himself; and that this
money found its way to F^dya.The Live Corpse	293
examining magistrate \smiling\ I, in the capacity of
Examining Magistrate, am obliged to question you in the
capacity of an accused person.
karénin. Indeed ! Accused of what ?
examining magistrate. Of marrying a woman whose
husband was alive. However, allow me to question you
properly. Kindly sit down.
karénin. Thank you.
examining magistrate. Your name?
karénin. Victor Karénin.
examining magistrate. Your calling?
karénin. Chamberlain and Member of Council.
examining magistrate. Age ?
karénin. Thirty-eight.
examining magistrate. Religion ?
karénin. Orthodox ; and I have never before been
tried or questioned I Well ?
examining magistrate. Did you know that Theodore
Vasilyevich Protasov was alive when you married his wife ?
karénin. L did not know it. We were both convinced
that he was drowned.
examining magistrate. After Protasov's alleged death,
to whom in Saratov did you send a monthly remittance ?
karénin. I do not wish to reply to that question.
examining magistrate. Very well. Why did you send
money—1,200 roubles—to Mr. Protasov just before his
pretended death on 17th July?
karénin. That money was given to me by my wife . . .
examining magistrate. By Mrs. Protasova ?
karénin. ... by my wife, to send to her husband.
She considered that money to be his, and having severed
all connection with him, considered it unfair to keep it.
examining magistrate. One more question—why did
you withdraw the application for divorce ?
karénin. Because Theodore Vasilyevich undertook to
apply for a divorce, and wrote me about it.294	The	Live	Corpse
examining magistrate. Have you got his letter ?
Karenin. It has been lost.1
examining magistrate. It is strange that everything
which might convince the Court of the truth of your
evidence should either be lost or non-existent.
karénin. Do you want anything more ?
examining magistrate. I want nothing, except to do
my duty ; but you'll have to exonerate yourselves, and
I have just advised Mrs. Protàsova, and I advise you also,
not to try to hide what everyone can see, but to say what
really happened. Especially as Mr. Protasov is in such
a condition that he has already told everything just as it
happened, and will probably do the same in Court, I
should advise . . .
karénin. I request you to keep within the limits of your
duty, and not to give me your advice ! May we go ?
[.Approaches Lisa, who rises and takes his arm].
examining magistrate. I am very sorry to be obliged
to detain you . . . [Karénin looks round in astonishment]
Oh, I don't mean that I arrest you. Though that would
make it easier to get at the truth, I shall not resort to
such a measure. I only want to take Protasov's deposi-
tion in your presence, and to confront him with you—
which will make it easier for you to detect any falsehood
in what he says. Please take a seat. Call in Mr.
Protasov !
Enter Fédya, dirty and shabby.
fedya [addresses Lisa and Karénin] Lisa ! Elisabeth
Andréyevna! Victor! I am not guilty! I wished to
act for the best. But if I am guilty . . . forgive me,
forgive me ! [Bows low to them\.
examining magistrate. Please to answer my questions.
fédya. Ask, then.
examining magistrate. Your name ?
1	Karénin does not produce Fédya’s letter because it would have
proved connivance in the divorce proceedings.The Live Corpse	295
fédya. Why, you know it!
examining magistrate. Please answer.
fédya. Well then, Theodore Protásov.
examining magistrate. Your calling, age and religion ?
fédya [after a pause] Aren't you ashamed to ask such
nonsense? Ask what you want to know, and not such
rubbish!
examining magistrate. I beg you to be more careful in
your expressions, and to answer my questions!
fédya. Well, if you're not ashamed of it, here you are:
Calling, graduate ; age, forty; religion, Orthodox. What
next!
examining magistrate. Did Mr. Karénin and your wife
know that you were alive when you left your clothes on
the river bank and disappeared ?
fédya. Certainly not! I wished really to commit
suicide, but afterwards—but there's no need to go into
that. The thing is, that they knew nothing about it.
examining magistrate. How is it that you gave a
different account to the police officer ?
fédya. What police officer ? Oh, when he came to see
me at the dosshouse ? I was drunk, and was romancing.
I don't remember what I said. All that was rubbish.
Now I am not drunk, and am telling the whole truth!
They knew nothing. They believed that I was no longer
alive, and I was glad of it. And everything would have
gone on as it was, but for that rascal, Artémyev! If
anyone is guilty, it is I alone.
examining magistrate. I understand your wish to be
magnanimous, but the law demands the truth. Why
was money sent to you ?
Fédya is silent.
You received through Semyonov the money sent to
you in Sarátov ?
Fédya is silent.
Why don't you answer ? It will be put down in thezgô	The	Live	Corpse
depositions that the accused did not answer these
questions, and this may harm you and them very much.
Well then, how was it?
fedya [after a pause] Oh, Mr. Magistrate, how is it
you are not ashamed ! Why do you pry into other
people's lives ? You are glad to have power, and to show
it, you torment not physically but morally—torment
people a thousand times better than yourself!
examining magistrate. I beg . . .
fedya. You've nothing to beg ! I shall say what I
think, and you \to Clerk] write it down ! At least for
once there will be sensible human words in a police
report !	[Raises his voice] There are three people : I, he,
and she. Our relations to one another are complex—a
spiritual struggle such as you know nothing of, a struggle
between good and evil goes on. That struggle ends in a
manner which sets them free. They were all at peace.
They were happy, and remembered me with affection.
I, fallen as I was, was glad that I had acted as I ought,
and that I, a good-for-nothing, had gone out of their
lives, so as not to stand in the way of people who were
good and who had life before them. And so we were all
living, when suddenly a blackmailing scoundrel appears
who wants me to take part in his rascality, and I send
him about his business. Then he comes to you, to the
champion of Justice! The guardian of Morality! And
you, who receive each month a few pounds for doing
your dirty work, put on your uniform, and calmly bully
these people—bully people whose little finger is worth
more than your whole body and soul ! People who would
not admit you to their anteroom ! But you have got so
far, and are pleased . . .
examining magistrate. I shall have you turned out !
fédya. I'm not afraid of anyone, because I'm a corpse
and you can’t do me any harm. No position could be
worse than mine ! So turn me out !The Live Corpse	297
karenin. May we go ?
examining magistrate. Immediately, but first sign your
deposition.
fedya. You’d be quite comic, if you weren't so vile!
examining magistrate. Take him away ! I arrest you.
fedya \to Lisa and Karenin] Forgive me !
karenin [approaches and holds out his hand] It had to
happen!
Lisa passes by. Fedya boms low to her.
Curtain.
Scene 2
A corridor of the Law Courts. In the background a door
with glass panels, beside which stands an usher. Further to
the right another door through which the accused are led.
Ivdn Petrovich Alexdndrov comes to the first door and wishes
to enter.
usher. Where are you going ? You mustn't ! Shoving
in like that 1
ivan petr6vich. Why mustn't I ? The law says the
proceedings are public. [.Applause is heard from inside the
Court].
usher. Anyhow, you mustn't, and that's all about it.
ivan petr6vich. Ignorant fellow! You don't know
whom you are speaking to!
A Young Lawyer in a dress-suit enters from the Court.
young lawyer. Are you concerned in this case ?
ivan petr6vich. No, I am the public, and this
ignoramus—this Cerberus—won’t let me in!298
The Live Corpse
young lawyer. But this door is not for the public.
IYÁN petróvich. I know, but I am a man who should
be admitted.
young lawyer. Wait a bit—they'll adjourn in a
minute. [Is just going, when he meets Prince Abrézkov].
prince abrézkov. May I ask how the case stands ?
young lawyer. The Counsel are speaking—Petrushin
is addressing the Court.
Applause from within.
prince abrézkov. And how do the defendants bear
their position ?
young lawyer. With great dignity, especially Karenin
and Elisabeth Andréyevna. It is as if not they were being
indicted, but they were indicting society! That's what
is felt, and on that Petrúshin is working«
prince abrézkov. Well, and Protásov ?
young lawyer. He is terribly excited. He trembles
all over; but that is natural, considering the life he
leads. He is particularly irritable, and interrupted the
Public Prosecutor and Counsel several times . . .
prince abrézkov. What do you think the result will be ?
young lawyer. It is hard to say. In any case they
won't be found guilty of premeditation; but still . . .
[A gentleman comes out, and Prince Abrézkov moves towards
the door] You wish to go in ?
prince abrézkov. I should like to.
young lawyer. You are Prince Abrézkov?
prince abrézkov. I am.
young lawyer [to Usher] Let this gentleman pass. There
is an empty chair just to the left.
Usher lets Prince Abrézkov pass. As the door opens,
Counsel is seen speaking.
ivÁN petróvich. Aristocrats! I am an aristocrat of the
soul, and that is higher !
young lawyer. Well, excuse me . . . [Exit].
Petushkov enters hurriedly, and approaches Iván Petróvich.The Live Corpse	299
petushk6v. Ah, how are you, Ivan Petrovich ? How
are things going ?
ivan petr6vich. Counsel are still speaking, but this
fellow won't let me in.
usher. Don’t make a noise here ! This is not a public-
house !
Applause. The doors open. Lawyers, and the public—
men and women—come out
a lady. Splendid! He really moved me to tears.
officer. It’s better than any novel. Only I don’t
understand how she could love him so. Dreadful object!
The other door opens. The accused come out: first Lisa,
then Karenin. They pass along the corridor. Fedya follows
alone.
lady. Hush—here he is! Look how excited he seems!
Lady and Officer pass on.
fedya [approaches Ivdn Petrovich] Have you brought
it ?
ivan petr6vich. Here it is. [Hands Fedya some-
thing].
fedya [Hides it in his pocket, and wishes to pass out, but
sees Petushkov] Stupid ! Vile! Dreary, dreary! Sense-
less. [ Wishes to pass].
Enter Counsel Petrushin; stout, red, and animated. He
approaches Fedya.
petrushin. Well, friend! Our affairs are going well—
only don’t you go and spoil things for me in your last
speech!
fedya. I won’t speak. What is the use? I shan’t
do it.
petrushin. Yes, you must speak. But don’t be ex-
cited. The whole matter is now in a nutshell! Only
tell them what you told me—that if you are being tried,
it is only for not having committed suicide : that is, for
not doing what is considered a crime both by civil and
ecclesiastical law.300	The	Live	Corpse
fédya. I shan’t say anything !
petrushin. Why not ?
fédya. I don't want to, and shan't. Tell me only., at
the worst, what will it be ?
petrushin. I have already told you—at worst, exile to
Siberia.
fedya. Who will be exiled ?
petrushin. You and your wife.
fédya. And at best ?
petrijshin. Church penance, and of course annulment
of the second marriage.
fédya. Then they will again tie me to her—or rather,
her to me ?
petrushin. Yes, that must be so. But don't excite
yourself, and please say what I told you, and above all,
don’t say anything superfluous. However [inoticing that a
circle of listeners has formed round them\ I am tired, and
will go and sit down ; and you’d better take a rest. The
chief thing is, not to lose courage !
fédya. No other sentence is possible ?
petrushin [going] No other.
Enter Attendant.
attendant. Pass on ! Pass on ! No loitering in the
corridor !
fedya. Directly! [Takes oid revolver and shoots himself
m the heart. Falls. AU rush on him\ All right, I think it
is done. . . . Lisa !...
The audience, judges, accused, and witnesses rush out from
all the doors.
In front of all is Lisa. Behind her Mdsha, Karénin, [van
Petr&vich and Prince Abrézkov.
lisa. Fédya, what have you done ! W7hy ?
fédya. Forgive me that I could not . . . free you any
other way. . . . It’s not for you . . . it's best for me.
I have long . . . been ready . . .
lisa. You will live !The Live Corpse	301
A Doctor bends over Fédya and listens.
fédya. I need no doctor to tell me . . . Good-bye,
Victor . . . Ah, Másha! . . . it's too late this time . . .
[ Weeps] How good . . . how good! [Dies].
Curtain.
END OF "THE LIVE CORPSE.WTHE CAUSE OF IT ALL
A PLAY IN TWO ACTSCHARACTERS
AKULfNA. An old woman ofseventy, brisk, dignified, old-fashioned.
michael. Her son, thirty-five years old, passionate, self-satisfied}
vain and strong.
martha. Her daughter-in-law, a grumbler, speaks much and
rapidly.
parashka. Ten years old, daughter of Martha and Michael.
taras. The village elder's assistant, speaks slowly and gives
himself airs.
a tramp. Forty years old, restless, thin, speaks impressively .
wAera drunk is particularly free and easy.
ignat. Forty years old, a buffoon; merry and stupid.THE CAUSE OF IT ALL
ACT I
Autumn. A peasant’s hut, with a small room partitioned off.
Akulina sits spinning; Martha the housewife is kneading
bread ; little Pardshka is rocking a cradle.
martha. Oh dear, my heart feels heavy! I know it
means trouble; there's nothing to keep him there. It
will again be like the other day, when he went to town
to sell the firewood and drank nearly half of it. And he
blames me for everything.
akulina. Why look for trouble ? It is still early, and
the town is a long way off. For the present ...
martha. What do you mean by early ? Akimych is back
already. He started after Michael but Michael's not
back yet! It’s worry worry all day long; that's all the
pleasure one gets.
akuli'na. Akimych took his load straight to a customer;
but our man took his to sell at the market.
martha. If he were alone I shouldn't worry, but Ignat
is with him ; and when he's with that lousey hound (God
forgive me !), he's sure to get drunk. Early and late one
toils and moils. Everything is on our shoulders! If one
only got anything by it! But no! hustling about all day
long is all the pleasure one gets.
Door opens and Tards enters with a ragged Tramp.
3°5	u306	The	Cause of it All
taras. Good day to you! I've brought a man. who
wants a night's lodging.1
tramp [bows'] My respects to you.
martha. Why do you bring them to us so often ? We
put up a tramp last Wednesday night; you always bring
them to us. You should make Stepanida put them up;
there are no children there. It's more than I can do to
look after my own family, and you always bring these
people to us.
taras. Everyone in turn has to put them up.
martha. It’s all very well to say “ everyone in turn/'
but I have children, and besides, the master is not at
home to-day.
taras. Never mind, let the fellow sleep here to-night;
hell not wear out the place he lies on.
akulina [to Tramp] Come in and sit down, and be our
guest.
tramp. I tender my gratitude. I should like a bite of
something, if possible.
martha. You haven’t had time to look round, and want
to eat already. Didn’t you beg anything in the village ?
tramp	I’m not in the habit of begging because
of my position, and having no producks of my own . . .
Akulina rises, goes to the table, takes a loaf of bread, cuts a
slice, and gives it to the Tramp.
tramp [taking the bread] Merci.2 [Sits down on the bench
and eats greedily].
taras. And where is Michael ?
martha. Why, he took hay to the town. It’s time he
1	It is customary for the village authorities to quarter tramps on
each peasant household in a village in turn, or in such order as
.appears convenient.
2	The tramp, who has had some acquaintance with educated
Revolutionaries, tries to introduce foreign words, or words not
generally used by workmen, into his talk. In this instance he
used the French word merci instead of the plain “ thank you.”The Cause of it All	307
was back, but he's not here. Something must have
happened.
Taras. Why, what should happen ?
martha. What indeed ? Not anything good ; it's only
bad one has to expect. As soon as he's out of the house
he forgets all about us ! I expect he'll come back
tipsy !
akulina [sitting down to spin, points at Martha and says
to Tards] It's not in her to be quiet. As I always say,
we women must find something to grumble about.
martha. If he were alone I should not be afraid, but
he went with Ignat.
taras \smiling\ Ah well, Ignat Ivanovich certainly is
fond of a drop of vódka.
akulìna. Doesn't he know what Ignat is like ! Ignàt
is one man, and our Michael's another.
martha. It's all very well for you to talk, mother ; but
Im sick of his drinking. While he is sober it would be
a sin to complain of him, but when he's drunk, you know
what he is like. One can't say a word ; everything is
wrong.
taras. Yes, but look at you women too ; a man has a
drink. Well, he swaggers about a bit, and sleeps it off,
and everything goes on all right; but then the likes of
you keep on nagging at him.
martha. When he's drunk there's no pleasing him, do
what you will.
taras. But you should understand that we can't help
having a drop now and then. Your woman's business is
at home, but the likes of us must have a drop when
we're on business, or for company's sake. Well, so one
drinks, and where is the harm ?
martha. You may talk, but it's hard on us women.
Oh, how hard it is ! If one harnessed you men to our
work just for a week, you would sing a different tune.
Kneading, cooking, baking, spinning, weaving, and the308	The Cause of it All
cattle to look after, and all the rest of it, and the brats
to keep washed and clothed and led; it's all on our
shoulders, and if anything is the least bit not to his fancy,
there you are, especially when he’s drunk. Oh dear,
what a life ours is!
tramp [1chewing] That's quite correct. It’s the cause
of it all; I mean all the catastrophes of life proceed from
alcoholic liquors.
taras. It seems to have bowled you over too!
tramp. No, not exactly that, though I have suffered
from that too. The career of my life might have been
different but for the drink.
taras. Now, to my thinking, if you drink reasonably >
there’s no manner of harm in it.
tramp. But I say that it is so strong that it may com
pletely ruin a man.
martha. That’s what I say: you worry and do your
best, and the only comfort you get is to be scolded and
beaten like a dog.
tramp. And that's not all. There are some people,
persons I mean, that are quite deprived of their reason
through it and commit entirely inappropriate actions.
While he does not drink, give him anything you like
and he won’t take what is not his; but when drunk, he
grabs whatever comes handy. Many a time one gets
beaten and put in prison. As long as I don’t drink, all
goes honestly and honourably, but as soon as I drink, I
mean as soon as that same person drinks, he at once
begins grabbing whatever comes his way.
akulina. And I think it’s all in oneself.
tramp. Of course it's in oneself as long as one is well,
but this is a kind of disease.
taras. A nice kind of disease. A good hiding would
soon cure that disease. Well, goodbye for the present.
[Exit].
martha [wipes her hands and turns to go\The Cause of it All	309
akulina [sees that the Tramp has finished his bread] Martha,
I say, Martha ! Cut him another piece.
Martha. Bother him, I must get the samovàr to boil.
[Exit],
Akulina rises, goes to the table3 cuts a chunk of bread and
gives it to the Tramp.
tramp. Merci, I have acquired a great appetite.
akulìna. Are you a workman ?
tramp. Who ? I ? I was a mechanic.
akulìna. And what wages did you get ?
tramp. I used to get fifty, and even seventy roubles, a
month.
akulina. That's a good lot ! Then how have you come
down so low ?
tramp. Come down ! I'm not the only one. I've come
down because the times are such that it is impossible for
an honest man to live.
martha \brings in the samovdr\ Oh Lord! it's certain
sure he'll come home drunk. I feel it in my heart.
akulina. I'm afraid he must really have gone on the
spree.
martha. There it is. One struggles and struggles and
kneads and bakes and cooks and spins and weaves and
tends the cattle ; everything on one's own shoulders.
[The baby in the cradle cries] Paràshka, rock the boy. Oh
dear, what a life it is for us women. And when he is
drunk, nothing is right ! . . . If one only says a word he
doesn't like . . .
akulina [making the tea\ And this is the last of the tea.
Did you tell him to get some ?
martha. Of course. He said he would, but he'll have
forgotten all about his home !... {She puts the samovàr
on the table].
The Tramp moves away.
akulina. Why do you leave the table ? We are going
to drink tea.310	The	Cause	of it All
tramp. I tender my gratitude for the hearty hospitality.
[Throws away the cheap cigar1 he was smoking and comes to
the iablej.
Martha. And what sort do you belong to ? Peasants,
or some other ?
tramp. Well, I'm not of the peasant class, nor of the
aristocracy. I'm of the double-edged class.
martha. What's that ? [hands him a cup of tea~\.
tramp. Merci. Why this; that my father was a Polish
Count, and besides him I had many others; and I also
had two mothers. In general my biography presents
many difficulties.
martha. Have another cup ? Well, did you get any
learning ?
tramp. My learning has also been very uncircum-
stantial. Not my mother, but my godmother apprenticed
me to a blacksmith. That blacksmith was my first
perdagogue; and his perdagogy consisted in this—that
he did not beat his anvil as often as he beat my un-
fortunate head. Nevertheless, however much he hit me,
he could not deprive me of talent. Then I went to a
locksmith's, and there I was appreciated, and became
foreman. I made acquaintance with educated people,
and belonged to a political faction. I was able to master
intellectual literature; and my life might have been
elevated for I possessed immense talent.
AKULfNA. Of course.
tramp. But here came an upset. The despotic yoke
oppressing the life of the people! I got into prison; I
mean, I suffered the incarceration of freedom.
martha. What for ?
tramp. For our rights.
martha. What rights ?
tramp. WThat rights ? Why the rights that the bourgeois
1 The “cigar” will have probably consisted of some bad tobacco
rolled up in a bit of newspaper.The Cause of it All	311
should not feast continually, and that the labouring
proletariat might reap the rewards of labour.
akulina. And get back the land, I suppose ?
tramp. Well naturally. The Agromoric question too.
akulìna. May God and the Holy Queen of Heaven
grant it. We are that pressed for land. Well, and how
are things now ?
tramp. Now ? I am off to Moscow. I shall go to an
exploiter of labour. Can't be helped ; I shall humble my-
self and say—give me what work you will, only take me.
akulìna. Well, have some more tea.
tramp. Thank you ; merci I mean.
Noise and talk in the passage outside.
akulìna. Here’s Michael, just in time for tea.
martha [mei] Oh, my goodness, Ignat is with him I
That means he’s drunk.
Michael and Igndt stagger in.
Ignat. How are you all ?	[Crosses himself before the ico7i\
Here we are, damn you, just in time for tea. We went
to church, service was done ; we went to dine, all eaten
and gone ; to the pub. we went in, just time to begin.
Ha, ha, ha ! You give us some tea and we’ll give you
some vódka. That's fair. [Laughs\.
michael. Where has this swell come from ?	[Points to
Tramp. Takes a bottle from the bosom of his coat and puts it
on the table] Bring some cups.
akulina. Well, did you get on all right?
ignat. Nothing could be better, damn you ; drank, and
had a spree, and have brought some home.
michael [ fills the cups with vódka, hands one to his mother
and then one to the Tramp] Drink, you too !
tramp [taking cup] I offer most heartfelt thanks. Your
health. [Empties the cup].
ignat. Fine fellow, how he swills, damn him ! I should
think hunger makes it run through all his veins. [Pours
out some more\.3i2	The	Cause	of	it	All
tramp [drinks] I wish you success in all your under-
takings.
akuuna. Well, did you get a good price for the hay ?
Ignat. Good or bad, we've drunk it all, damn you ! Am
I right, Michael ?
Michael. Why, of course. It's not made to be looked
at ! One must have some fun once in a hundred years.
martha. What are you swaggering for? There's not
much good in that. We've nothing to eat at home, and
see what you're doing.
Michael [threateningly] Martha !
martha. Well, what of Martha ? I know I'm Martha.
Oh, it makes me sick to look at you.
Michael. Martha, look !
martha. There's nothing to see. I don't want to look.
michael. Pour out the vódka and serve it round to our
visitors.
martha. Faugh, you bleary-eyed hound. I don’t want
to speak to you.
michael. You don't? Ah, you baggage, what did
you say ?
martha [rocks cradle. Pardshka is frightened and comes
to her] What I said ? I said I do not want to talk to you,
that's all.
michael. Have you forgotten ? [Jumps up from the table,
strikes her on the head and knocks off her kerchief] One !
martha. Oh ! Oh ! Oh ! [Runs crying to the door],
michael. You'll not get away, you jade ! [Rtishes at her].
tramp [jumps up from the table and seizes his ami] You have
no kind of complete right.
michael [stops and looks at Tramp with surprise] Is it long
since you had a thrashing ?
tramp. You have no complete right to subject the
female sex to insults.
michael. Oh, you son of a bitch ! Do you see this ?
[Shows his fist].The Cause of it All	313
tramp. I will not allow exploitations to be performed
on the female sex.
Michael. I'll give you such an extolpation that you'll
not know which end you stand on. , . .
tramp. Go on, strike away! Why don't you ?	[Holds
out his face].
michael [shrugs his shoulders and spreads out his arms]
Suppose I really go for you ?
tramp. I tell you, strike !
michael. Well, you are a rum chap, now I come to
look at you. [Drops his arms and shakes his head],
ignat [to Tramp] One sees at once that you're pretty
sweet on the women, damn you!
tramp. I stand up for their rights.
michael [to Martha as, breathing heavily, he steps to the
table] Well Martha, you must set a big candle before the
saints for his sake. But for him, I'd have beaten you to
a jelly.
martha. What else can one expect of you. One
worries all one's life, baking and cooking; and as soon
as . . .
michael. Now, have done, have done ! [Offers vddka to
the Tramp] Drink. [To his wife] And what are you
slobbering for ? Mayn't a fellow have his joke ? There
you are [gives her money], put it away. Here are two
three-rouble notes and two twenty-copeck pieces.
martha. And the tea and sugar I wanted ?
michael [takes parcel from his pocket and hands it to his
wife. Martha takes the money and the parcel and goes into
the little room, silently arranging the kerchief on her head]
What an unreasonable lot these women are. [He again
offers vodka to the Tramp] There, drink.
tramp [declining it] Drink it yourself.
michael. Come now, don't fuss.
tramp [drinking] Success to you.
ignat [to Tramp] You must have seen many a strange314	The Cause of it All
sight, I suppose. Oh, what a fine coat you've got!
Latest fashion. Where did you get it from? [pointing
to Tramp s tattered jacket]. Don’t you mend it, it's fine as
it is! It's getting on in years, I fancy. Well, it can't
be helped. If I had one like it, the women would be
sweet on me too ! [To Martha] Ain't that true ?
akulina. You should not, Ignat Ivanych. Before see-
ing anything of him, why go and hold up a man to
laughter ?
tramp. It comes of his uneducatedness.
ignat. I'm doing it friendly-like. Drink [offers v6dk(i\,
akulIna. He says himself—it's the cause of all evil—
and he's been in prison because of it.
michael. What were you in prison for ?
tramp [very drunk] I've suffered for expropriation.
michael. What's that ?
tramp. Why, this way. Came up to a fat paunch:
a Give up your money, else here's a levolver."1 He tries
this way and that, but forks out 2,300 roubles.
akulina. Oh Lord !
tramp. We meant to dispose of it the proper way.
Zembrik6f was our leader. Then those ravens swooped
down on us. At once under arrest, and into prison.
ignat. And took the money away ?
tramp. Of course. Only they could not convict me.
At the trial the procurator said these words to me:
t{ You've stolen money ” says he ; and I answer him
straight: “ Thieves steal, but we have performed an
expropriation for our Party." And he didn't know what
to say. He tried this way and that, but couldn't answer
me. “ Lead him," says he, “ to prison," that is—to the
incarceration of free life.
ignat. Clever dog ! A regular brick ! [Offering vodka]
Drink, damn you.
1 As usual he mispronounces his word and calls a “ revolver”
“ a levolver.”The Cause of it All	315
akulina. Fie, how nastily you speak !
ignat. I, Grannie? I don’t mean it for abuse; it’s
a manner of speech of mine. Damn you, damn you ! . . .
Your good health, Grannie.
martha [returns and stands at the table pouring out tea].
michael. That’s right. Fancy taking offence! I say,
it’s thanks to him. [To Tramp] What do you think?
[Embraces Martha] I cherish my old woman. See, how
I cherish her. In a word, my old woman is first-rate.
I would not change her for anybody.
ignat. There, that’s good. Grannie, drink! I stand
treat.
tramp. What it means—the power of enershy! One
was in a state of melancholy, and now there’s nothing
but pleasantness and friendly disposition. Grannie, I
feel much love for you and for everybody. Brothers dear
[sings revolutionary song].
michael. It has got right hold of him in his hungerACT II
Same kut Morning
Martha and Akulina. Michael is asleep
martha [takes hatchet] I must go and chop some fire-
wood.
AKULfNA [with a pail] He'd have beaten you black and
blue yesterday, had it not been for that fellow. I don't
see him. Has he gone ? I suppose he has. [Exit one
after the other],
michael [climbs down from the top of the omen] Just look,
the sun's already quite high. [Puts on his boots] She
must have gone to fetch water with mother. How my
head aches! I won't do it again; the devil take it!
[Crosses himself before the icon, prays, and then washes his
hands and face] I'll go and harness.
Enter Martha with firewood.
martha. And yesterday's beggar ? Has he gone ?
michael. Must have gone. Can't see him.
martha. Oh well, let him go. He seemed a clever
chap though.
michael. He took your part!
martha. What of that!
Michael puts on his coat.	*
martha. And the tea and sugar? Did you put them
away last night, eh ?
michael. I thought you did.
Enter Akulina nith a pail of water,
martha \to Akulina] Mother, have you taken the parcel ?
316The Cause of it All	317
akulina. No, I know nothing about it. I haven’t
seen it.
martha. Last night, I put it on the window-sill.
AKULfNA. Yes, I saw it there.
martha. Where can it be? [They look for it\
akulIna. Dear me, what a shame !
Enter Neighbour.
neighbour. Well Michael Tikh6nych, are we to go for
the wood ?
michael. Yes, of course. I’m just going to harness;
but you see we’ve lost something.
neighbour. Dear me! What is it ?
martha. Why, you see, my old man brought a parcel
from town yesterday, with tea and sugar in it, and I put
it down here on the window-sill and didn’t remember to
put it away; and now it’s gone.
michael. And we’re committing the sin of suspecting
a tramp who spent the night here.
neighbour. What sort of tramp ?
martha. Well, he’s rather thin and has no beard.
michael. His coat’s all in rags.
neighbour. Curly hair and rather hooked nose ?
michael. Yes, yes!
neighbour. I’ve just met him, and wondered why he
was stepping out so fast.
michael. It must be him. Where was he ?
neighbour. I don’t think he can have crossed the
bridge yet.
michael [snatches up his cap and goes out quickly, followed
by the Neighbour] I’ll catch the knave. It’s him.
martha. Oh, what a shame, what a shame! It’s surely
him.
akulina. And suppose it’s not. It happened once,
some twenty years ago, that they accused a man of
having stolen a horse. A crowd collected. One says:
“I myself saw him catching it.” Another says he saw318	The	Cause	of	it	All
him leading it. It was a big piebald horse, easily noticed.
All the people began searching for it, and in the forest
they found the lad. u It's you/' they say. He protests
and swears it was not him. They say: “ What’s the good
of listening to him; the women said quite certainly it’s
him.” Then he said something rude. George Lapushkin
(he’s dead now) was a hot-tempered man. He dashed
at him slap bang, and struck him on the mouth. “It
was you,” said he, and hit out at him. Then all the
others fell on him and began beating him with sticks and
fists till they killed him. And what do you think ! . . . .
Next day the real thief was found. The lad they killed
had only gone into the forest to choose a tree to cut
down.
martha. Yes, of course, we may be sinning against him.
He has come down very low, but seemed a good fellow.
akuli'na. Yes, he has sunk very low. One can’t expect
much from the likes of him.
martha. They’re shouting. I expect they’re bringing
him back.
Enter Michael, Neighbour, an old man and a lad, pushing
the Tramp before them.
michael [with the parcel in his hands, excitedly to his wife]
It was found on him. [To Tramp] You thief! You
dog!
akuli'na [to Martha] It’s him, poor soul. See how he
hangs his head.
martha. It seems it was himself he spoke about
yesterday that grabs anything that’s handy when he’s
had some drink.
tramp. I’m not a thief; I'm an expropriator. I am a
worker and must live. You can’t understand it. Do
what you like with me.
neighbour. Take him to the village Elder or straight
to the police!
tramp. I tell you, do whatever you like. I am notThe Cause of it All	319
afraid, and am ready to suffer for my convictions. If you
were educated you would understand.
martha [to her husband] Suppose we let him go, in God’s
name. We've got the parcel back. Let him go and let's
not commit another sin.
michael [repeating] “ Another sin ! " Taken to teach-
ing ? One wouldn’t know what to do without you, eh ?
martha. Why not let him go ?
michael. “ Let him go! '' One knows what to do without
you, you fool. “ Let him go ! '' Go he may, but he must
hear a word or two so that he should feel. [To Tramp]
Well then, listen, you sir, to what I have to say to you.
Though you are in a very low state, still you have done
very wrong—very wrong. Another man would have
caved your ribs in, and have taken you to the police;
but I will only say this. You've done wrong, as wrong
as may be ; only you are in a very bad way and I don’t
want to hurt you. [Pauses. Everyone is silent. Then he
continues solemnly] Go, and God be with you, and do not
do it again. [Looks at his wife] And you want to teach
me!
neighbour. You shouldn't, Michael; oh, you should
not. You're encouraging that sort of thing.
michael [the parcel still in his hand] Whether I should
or not is my business. [To his wife] And you tried to
teach me!	looks at the parcel, then at his wife,
and gives it to the Tramp with decision] Take it, you can
drink it on the way. [To wife] And you wanted to teach
me! [To Tramp] Go, you've been told to go. Then go,
and no palavering.
tramp [takes parcel. Silence] You think I don't under-
stand. [His voice trembles] I fully understand. Had you
beaten me like a dog, it would have felt less hard.
Don't I understand what I am ? I am a rascal, a degene-
rate, I mean. Forgive me for the Lord's sake. [Sobs,
throws the parcel on the table, and goes out hurriedly].320	The Cause of it All
martha. A good thing he didn't take the tea, or we
should have had none to drink.
michael [to wife] And you wanted to teach me!
neighbour. How he cried, poor soul.
AKULiNA. He too was a man.THE LIGHT SHINES IN
DARKNESS
DRAMACHARACTERS
NICHOLAS IVANOVICH SAR^NTSOV.
MARY IVANOVNA SARYNTSOVA. Hi* Wife.
lyuba. Their daughter.
sty6pa. Their son.
vanya. A younger son.
missy. Their daughter.
THE SARYNTSOVS* LITTLE CHILDREN.
ALEXANDER MIKAYLOVICH STARKOVSKY. (Lyvbd’s betrothed ifl
Act IV).
MITROFAN ERMILYCH. V&nytfs tutor.
THE SARiNTSOVS’ GOVERNESS.
alexandra ivanovna kohovtseva. Mary Ivanovnas sister.
peter semyonovich k^hovtsev. Her husband.
lisa. Their daughter.
princess cheremshInov.
BORis. Her son.
t6nya. Her daughter.
A YOUNG PRIEST.
THE SAR^NTSOVS* NURSE.
THE SARtfNTSOVS* MEN-SERVANTS.
ivan zyabrev. A peasant.
A PEASANT WOMAN. His Wife.
malashka. His daughter {carrying her baby-brother).
peter. A peasant.
a rural policeman.
FATHER GERASIM. A pHeSt.
A NOTARY.
A CARPENTER.
A GENERAL.
HIS ADJUTANT.
A COLONEL.
A REGIMENTAL CLERK.
3*3324 The Light Shines in Darkness
A SENTINEL.
TWO SOLDIERS.
A GENDARME OFFICER.
HIS CLERK.
THE CHAPLAIN OF THE REGIMENT.
THE CHIEF DOCTOR IN A MILITARY ASYLUM.
AN ASSISTANT DOCTOR.
WARDERS.
an invalid officer,
pianist.
COUNTESS.
ALEXANDER PETB6vICH.
PEASANT MEN AND WOMEN, STUDENTS, LADIES, DANCING COUPLES.THE LIGHT SHINES IN
DARKNESS
ACT I
Scene 1
The scene represents the verandah of a fine country-house,
in front of which a croquet-lawn and tennis-court are shown,
also a flower-bed. The children are playing croquet with their
governess. Mary Ivânovna Sari/ntsova, a handsome elegant
woman of fot ty ; her sister, Alexândra Ivânovna Kokovtseva,
a stupid, determined woman of forty-jive ; and her husband,
Peter Semyonovich Kohovstsev, a fat flabby man, dressed in
a summer suit, with a pince-nez, are sitting on the verandah
at a table with a samovar and coffee-pot. Mary Ivânovna
Saryntsova, Alexândra Ivânovna Kôhovtseva, and Peter
Semyonovich Kokovtsev are drinldng coffee, and the latter
is smoking.
alexândra ivanovna. If you were not my sister, but a
stranger, and Nicholas Ivanovich not your husband, but
merely an acquaintance, I should think all this very
original, and perhaps I might even encourage him,
J'aurais trouvé tout ça très gentil;1 but when I see that
your husband is playing the fool—yes, simply playing
the fool—then I can't help telling you what I think about
1	I should have considered it all very pretty.
3*5326 The Light Shines in Darkness
it. And I shall tell your husband, Nicholas, too. Je lui
dirai son fait, ma chère.1 I am not afraid of anyone.
mary Ivanovna. I don’t feel the least bit hurt ; don't I
see it all myself? but I don't think it so very important.
alexandra ivanovna. No. You don’t think so, but 1
tell you that, if you let it go on, you will be beggared.
Du train que cela va ?
peter semyônovich. Come ! Beggared indeed ! Not
with an income like theirs.
alexandra ivanovna. Yes, beggared ! And please don’t
interrupt me, my dear ! Anything a man does always
seems right to you !
peter semyônovich. Oh !	I don’t know. I was
saying------
alexandra ivanovna. But you never do know what you
are saying, because when you men begin playing the fool,
il ri y a pas de raison que ça fuisse.3 I am only saying that
if I were in your place, I should not allow it. J}aurais
mis bon ordre à toutes ces lubies.4 What does it all mean ?
A husband, the head of a family, has no occupation,
abandons everything, gives everything away, et fait le
généreux à droite et à gauche.5 I know how it will end !
Nom en savons quelque chose.6
peter semy ôn 0 vie h [to Mary Ivânovna]. But do explain
to me, Mary, what is this new movement ? Of course I
understand Liberalism, County Councils, the Constitution,
schools, reading-rooms, and tout ce qui s'en suit ; 7 as well as
Socialism, strikes, and an eight-hour day ; but what is
this ? Explain it to me.
mary ivanovna. But he told you about it yesterday
1	I will tell him the plain fact, my dear.
2	At the rate things are going.
8 There is no reason for it to stop.
4	I should put an end to all these fads.
5	And plays the bountiful left and right.
•	We know something about it.
7	All the rest of it.The Light Shines in Darkness 327
peter SEMYÔNOVICH. I confess I did not understand.
The Gospels, the Sermon on the Mount—and that
churches are unnecessary ! But then how is one to pray,
and all that ?
mary Ivanovna. Yes. That is the worst of it. He
would destroy everything, and give us nothing in its place.
peter sEMYÔNoviCH. How did it begin ?
mary ivanovna. It began last year, after his sister died.
He was very fond of her, and her death had a very great
effect on him. He became quite morose, and was always
talking about death ; and then, you know, he fell ill him-
self with typhus. When he recovered, he was quite a
changed man.
Alexandra ivanovna. But, all the same, he came in
spring to see us again in Moscow, and was very nice, and
played bridge. Il était très gentil et comme tout le monde.1
mary ivanovna. But, all the same, he was then quite
changed.
peter semyônovich. In what way ?
mary ivanovna. He was completely indifferent to his
family, and purely and simply had Vidée fixe. He read
the Gospels for days on end, and did not sleep. He
used to get up at night to read, made notes and extracts,
and then began going to see bishops and hermits—con-
sulting them about religion.
Alexandra ivanovna. And did he fast, or prepare for
communion ?
mary ivanovna. From the time of our marriage—that’s
twenty years ago—till then he had never fasted nor
taken the sacrament, but at that time he did once take the
sacrament in a monastery, and then immediately afterwards
decided that one should neither take communion nor go
to church.
alexandra ivanovna. That’s what I say—thoroughly
inconsistent !
3 He was very nice, and like everybody else328 The Light Shines in Darkness
mary ivanovna. Yes, a month before, he would not
miss a single service, and kept every fast-day; and then
he suddenly decided that it was all unnecessary. What
can one do with such a man ?
Alexandra ivAnovna. I have spoken and will speak to
him again.
peter semy6novich. Yes! But the matter is of no
great importance.
alexandra ivanovna. No ? Not to you! Because you
men have no religion.
peter semy6novich. Do let me speak. I say that that
is not the point. The point is this: if he denies the
Church, what does he want the Gospels for ?
mary ivanovna. Well, so that we should live according
to the Gospels and the Sermon on the Mount, and give
everything away.
peter semy6novich. But how is one to live if one gives
everything away ?
alexandra ivanovna. And where has he found in the
Sermon on the Mount that we must shake hands with
footmen? It says “ Blessed are the meek," but it says
nothing about shaking hands!
mary ivanovna. Yes, of course, he gets carried away, as
he always used to. At one time it was music, then
shooting, then the school. But that doesn’t make it any
the easier for me !
peter semy6novich. Why has he gone to town to-
day?
mary ivanovna. He did not tell me, but I know it is
about some trees of ours that have been felled. The
peasants have been cutting trees in our wood.
peter semy6novich. In the pine-tree plantation ?
mary ivanovna. Yes, they will probably be sent to
prison and ordered to pay for the trees. Their case
was to be heard to-day, he told me of it, so I feel certain
that is what he has gone about.The Light Shines in Darkness 329
alexandra ivanovna. He will pardon them, and to-
morrow they will come to take the trees in the park.
mary ivanovna. Yes, that is what it leads to. As it is,
they break our apple-trees and tread down the green
cornfields, and he forgives them everything.
peter semy6novich. Extraordinary!
alexandra ivanovna. That is just why I say that it
must not be allowed to go on. Why, if it goes on like
that, tout y passera.1 I think it is your duty as a mother
to prendre tes mesures.2
mary ivanovna. What can I do ?
alexandra ivanovna. What indeed ! Stop him ! Ex-
plain to him that this cannot go on. You have your
children ! What sort of an example is it for them ?
mary ivanovna. Of course, it is hard; but I go on
bearing it, and hoping it will pass, like his former in-
fatuations.
alexandra ivanovna. Yes, but “Aide toi et Dieu
t’aideraf ”3 You must make him feel that he has not
only himself to think of, and that one can't live like that.
mary ivanovna. The worst of all is that he no longer
troubles about the children, and I have to decide every-
thing myself. I have an unweaned baby, besides the
older children: girls and boys, who have to be looked
after, and need guidance. And I have to do it all
single-handed. He used to be such an affectionate and
attentive father, but now he seems no longer to care.
Yesterday I told him that Vanya is not studying properly,
and will not pass his exam., and he replied that it would
be by far the best thing for him to leave school alto-
gether.
peter semy6novich. To go where ?
mary ivanovna. Nowhere! That's the most terrible
1 Everything will be lost.
3	To take measures.
8	God helps those who help themselves.33° The Light Shines in Darkness
thing about it; everything we do is wrong, but he does
not say what would be right.
peter semy6novich. That's odd.
Alexandra ivanovna. What is there odd about it ? It
is just your usual way. Condemn everything, and do
nothing yourself!
mary ivanovna. StytSpa has now finished at the Uni-
versity, and ought to choose a career; but his father says
nothing about it. He wanted to take a post in the Civil
Service, but Nicholas Ivanovich says he ought not to do
so. Then he thought of entering the Horse-Guards, but
Nicholas Ivanovich quite disapproved. Then the lad
asked his father: “ What am I to do then—not go and
plough after all ?" and Nicholas Ivanovich said: “ Why
not plough ? It is much better than being in a Govern-
ment Office/' So what was he to do ? He comes to me
and asks, and I have to decide everything, and yet the
authority is all in his hands.
Alexandra ivanovna. Well, you should tell him so
straight out.
mary ivanovna. So I must! I shall have to talk to him.
Alexandra ivanovna. And tell him straight out that
you can't go on like this. That you do your duty, and
he must do his; or if not—let him hand everything over
to you.
mary ivanovna. It is all so unpleasant!
Alexandra ivanovna. I will tell him, if you like. Je
lui dirai son faitA
Enter a young priest, confused and agitated. He carries
a book, and shakes hands all round.
priest. I have come to see Nicholas Ivdnovich. I
have, in fact, come to return a book.
mary ivanovna. He has gone to town, but will be back
soon.
alexandra ivanovna. What book are you returning ?
1 I’ll tell him the truth.The Light Shines in Darkness 331
priest. Oh, it's Mr. Renan's Life of Jesus.
peter semy6novich. Dear me! What books you
read!
priest \much agitated, lights a cigarette] It was Nicholas
Ivanovich gave it to me to read.
alexandra ivanovna [contemptuously] Nicholas Ivanovich
gave it you! And do you agree with Nicholas Ivanovich
and Mr. Renan ?
priest. No, of course not. If I really did agree, I should
not, in fact, be what is called a servant of the Church.
alexandra ivanovna. But if you are, as it is called,
a faithful servant of the Church, why don’t you convert
Nicholas Ivanovich ?
priest. Everyone, in fact, has his own views on these
matters, and Nicholas Ivanovich really maintains much that
is quite true, only he goes astray, in fact, on the main
point, the Church.
alexandra ivanovna [contemptuously] And what are the
many things that Nicholas Ivanovich maintains that are
quite true ? Is it true that the Sermon on the Mount bids
us give our property away to strangers and let our own
families go begging ?
priest. The Church, in fact, sanctions the family, and
the Holy Fathers of the Church, in fact, blessed the
family; but the highest perfection really demands the
renunciation of worldly advantages.
alexandra ivanovna. Of course the Anchorites acted
so, but ordinary mortals, I should imagine, should act in
an ordinary way, as befits all good Christians.
priest. No one can tell unto what he may be called.
alexandra ivanovna. And, of course, you are married ?
priest. Oh yes.
alexandra ivanovna. And have you any children ?
priest. Two.
alexandra ivanovna. Then why don't you renounce
worldly advantages, and not go about smoking a cigarette ?332 The Light Shines in Darkness
priest. Because of my weakness, in fact, my unworthi-
ness.
alexandra ivanovna. Ah ! I see that instead of bringing
Nicholas Ivanovich to reason, you support him. That, I
tell you straight out, is wrong !
Enter Nurse.
nurse. Don’t you hear baby crying ? Please come to
nurse him.
mary ivAnovna. I'm coming, coming ?	[Rises and exit].
alexandra ivanovna. I’m dreadfully sorry for my sister.
I see how she suffers. Seven children, one of them
unweaned, and then all these fads to put up with. It
seems to me quite plain that he has something wrong
’¿ere [touching her forehead. To Priest] Now tell me,
I ask you, what new religion is this you have discovered ?
priest. I don't understand, in fact . . .
alexandra ivanovna. Oh, please don’t beat about the
bush. You know very well what I am asking you about.
priest. But allow me . . .
alexandra ivanovna. I ask you, what creed is it that
bids us shake hands with every peasant and let them cut
down the trees, and give them money for vodka, and
abandon our own families.
priest. I don’t know that . . .
alexandra ivanovna. He says it is Christianity. You
are a priest of the Orthodox Greek Church, and therefore
you must know and must say whether Christianity bids
us encourage robbery.
priest. But I . . .
alexandra ivanovna. Or else, why are you a priest, and
why do you wear long hair and a cassock ?
priest. But we are not asked . . .
alexandra ivanovna. Not asked, indeed! Why, I am
asking you! He told me yesterday that the Gospels say,
“ Give to him that asketh of thee.” But then in what
sense is that meant tThe Light Shines in Darkness 333
priest. In its plain sense, I suppose.
Alexandra ivanovna. And I think not in the plain sense ;
we have always been taught that everybody's position is
appointed by God.
priest. Of course, but yet . . .
alexândra ivanovna. Oh, yes. It's just as I was told ;
you take his side, and that is wrong ! I say so straight
out. If some young school teacher, or some young lad,
lickspittles to him, it's bad enough—but you, in your
position, should remember the responsibility that rests
on you.
priest. I try to . . .
alexândra ivanovna. What sort of religion is it, when
he does not go to church, and does not believe in the
sacraments ? And instead of bringing him to his senses,
you read Renan with him, and interpret the Gospels in a
way of your own.
priest [excitedly] I cannot answer. I am, in fact,
upset, and will hold my tongue.
alexândra ivânovna. Oh ! If only I were your Bishop ;
I'd teach you to read Renan and smoke cigarettes.
peter semyônovich. Mais cessez, au nom du del. De quel
droit ?1
alexândra ivanovna. Please don't teach me. I am
sure the Reverend Father is not angry with me. What if
I have spoken plainly. It would have been worse had I
bottled up my anger. Isn't that so ?
priest. Forgive me if I have not expressed myself as I
should. [ Uncomfortable pause].
Enter Lyuba and Lisa. Lyuba} Mary Ivânovna’s daughter,
is a handsome energetic girl of twenty. Lisa, Alexândra
Ivânovna’s daughter, is a little older. Both have kerchiefs on
their heads, and are carrying baskets, to go gathering mush-
rooms. They greet A lexândra Ivânovna, Peter Semyùnovichy and
the priest
1 But do stop, for heaven’s sake. What right have you 1334 The Light Shines in Darkness
ly^ba. Where is Mamma ?
alexandra ivanovna. Just gone to the baby.
peter semy6novich. Now mind you bring back plenty
of mushrooms. A little village girl brought some lovely
white ones this morning. I'd go with you myself, but it's
too hot.
lisa. Do come, Papa!
alexandra ivanovna. Yes, go, for you are getting
too fat.
peter semy6novich. Well, perhaps I will, but I must
first fetch some cigarettes. [Exit].
alexandra ivanovna. Where are all the young ones ?
lyuba. Sty6pa is cycling to the station, the tutor has
gone to town with papa. The little ones are playing
croquet, and Vdnya is out there in the porch, playing
with the dogs.
alexAndra ivanovna. Well, has Sty6pa decided on
anything ?
ly^ba. Yes. He has gone himself to hand in his appli-
cation to enter the Horse-Guards. He was horribly rude
to papa yesterday.
alexandra ivanovna. Of course, it's hard on him
too. ... II riy a pas de patience qui tienne.1 The young
man must begin to live, and he is told to go and plough!
ly^ba. That's not what papa told him; he said . . ,
alexandra ivanovna. Never mind. Still Sty6pa must
begin life, and whatever he proposes, it's all objected to.
But here he is himself.
The Priest steps aside, opens a book, and begins to read.
Enter Stydpa cycling towards the verandah.
alexandra ivanovna. Quand on parle du soleil on en voit
les rayons.2 We were just talking about you. Lyiiba
says you were rude to your father.
sty6pa. Not at alL There was nothing particular.
1 There are limits to human endurance.
*	Speak of the sun and you see its rays.The Light Shines in Darkness 335
He gave me his opinion, and I gave him mine. It is not
my fault that our views differ. Lyüba, you know, under-
stands nothing, but must have her say about everything.
Alexandra ivanovna. Well, and what have you de-
cided on ?
styôpa. I don’t know what Papa has decided. I'm
afraid he does not quite know himself ; but as for me, I
have decided to volunteer for the Horse-Guards. In our
house some special objection is made to every step that is
taken ; but this is all quite simple. I have finished my
studies, and must serve my time. To enter a line
regiment and serve with tipsy low-class officers would be
unpleasant, and so I'm entering the Horse-Guards, where
I have friends.
alexandra ivanovna. Yes; but why won’t your father
agree to it?
styôpa. Papa! What is the good of talking about
him? He is now possessed by his idée JixeHe sees
nothing but what he wants to see. He says military
service is the basest kind of employment, and that there-
fore one should not serve, and so he won't give me any
money.
lisa. ISTo ! Styôpa. He did not say that ! You know
I was present. He says that if you cannot avoid serving,
you should go when you are called ; but that to volunteer,
is to choose that kind of service of your own free will.
styôpa. But it's I, not he, who is going to serve. He
himself was in the army !
lisa. Yes, but he does not exactly say that he will not
give you the money ; but that he cannot take part in an
affair that is contrary to his convictions.
styôpa. Convictions have nothing to do with it. One
must serve—and that’s all !
lisa. I only say what I heard.
1	Fixed idea.336 The Light Shines in Darkness
sty6pa. I know you always agree with Papa. Do you
know, Aunt, that Lisa takes Papa’s side entirely in
everything ?
lisa. What is true . . .
ALEXANDRA ivanovna. Don’t I know that Lisa always
takes up with any kind of nonsense. She scents non-
sense. Elle Jlaire cela de loin.1
Enter Vdnya running in with a telegram in his hand,
followed by the dogs. He wears a red shirt.
vanya [to Lyuba]. Guess who is coming ?
lyi^ba. What’s the use of guessing ? Give it here [stretch-
ing towards him. Vdnya does not let her have the telegram].
vanya. I’ll not give it you, and I won’t say who it is
from. It’s someone who makes you blush !
lyuba. Nonsense ! Who is the telegram from ?
vanya. There, you’re blushing! Aunty, she is blushing,
isn’t she ?
ly^ba. What nonsense! Who is it from ? Aunty,
who is it from ?
alexAndra ivanovna. The Cheremsh&novs.
lyiJba. Ah !
vanya. There you are ! Why are you blushing ?
ly^ba. Let me see the telegram, Aunt. [Reads] “ Ar-
riving all three by the mail train. Cheremshdnovs.”
That means the Princess, Boris, and T6nya. Well, I
am glad!
vanya. There you are, you’re glad ! Sty6pa, look how
she is blushing.
sty6pa. That’s enough—teasing over and over again.
vanya. Of course, because you’re sweet on T6nya!
You’d better cast lots; for two men must not marry one
another’s sisters.2
1	She scents it from afar,
2	In Russia the relationships that are set up by marriage
debar a marriage between a woman’s brother-in-law and her
pisterThe Light Shines in Darkness 337
sty6pa. Don't humbug! Shut up! How often have
you been told to ?
lisa. If they are coming by the mail train, they will be
here directly.
lyuba. That's true, so we can't go for mushrooms.
Enter Peter Semy&novich with his cigarettes.
lyiJba. Uncle Peter, we are not going!
peter semy6novich. Why not ?
lyuba. The Cheremshanovs are coming directly. Better
let's play tennis till they come. Sty6pa, will you
play ?
sty6pa. I may as well.
lyuba. Vanya and I against you and Lisa. Agreed?
Then I'll get the balls and call the boys. [Eodt\
peter semy6novich. So I'm to stay here after all!
priest [preparing to go]. My respects to you.
alexAndra ivanovna. No, wait a bit, Father. I want
to have a talk with you. Besides, Nicholas Ivdnovich
will be here directly.
priest [sits down, and lights another cigarette]. He may
be a long time.
alexandra ivAnovna. There, someone is coming. I
expect it's he.
peter semy6novich. Which Cheremshdnova is it ?
Can it be Golitzin's daughter ?
alexandra ivAnovna. Yes, of course. It's the Cherem-
shdnova who lived in Rome with her aunt.
peter semy6novich. Dear me, I shall be glad to see
her. I have not met her since those days in Rome
when she used to sing duets with me. She sang beauti-
fully. She has two children, has she not ?
alexAndra ivAnovna. Yes, they are coming too.
peter semy6novich. I did not know that they were
so intimate with the Saryntsovs.
alexAndra ivAnovna. Not intimate, but they lodged
together abroad last year, and I believe that la princesse a
Y338 The Light Shines in Darkness
des vues sur Lyuba, pour son Jils. Cest une Jine mouche, elle
flaire une jolie dot.1
peter semyónovich. But the Cheremshánovs them-
selves were rich.
alexandra ivanovna. They were. The prince is still
living, but he has squandered everything, drinks, and has
quite gone to the dogs. She petitioned the Emperor,
left her husband, and so managed to save a few scraps.
But she has given her children a splendid education.
11	Jaut lui rendre cette justice.2 The daughter is an
admirable musician; and the son has finished the
University, and is charming. Only I don’t think Mary
is quite pleased. Visitors are inconvenient just now.
Ah! here comes Nicholas.
Enter Nicholas Ivánovich.
Nicholas ivánovich. How d’you do, Alina;3 and you,
Peter Semyónovich. [To the Priest] Ah ! Vasily Nikanó-
rych. [Shakes hands with them].
alexandra ivanovna. There is still some coffee left.
Shall I give you a cup ? It’s rather cold, but can easily
be warmed up. [Rings].
Nicholas ivánovich. No, thank you. I have had some-
thing. Where is Mary ?
alexandra ivanovna. Feeding Baby.
Nicholas ivanovich. Is she quite well ?
alexandra ivanovna. Pretty well. Have you done
your business ?
Nicholas ivanovich. I have. Yes. If there is any tea
or coffee left, I will have some. [To Priest] Ah! you’ve
brought the book back. Have you read it ? I’ve been
thinking about you all the way home.
Enter man-servant, who hows. Nicholas Ivánovich shakes
1	The princess has her eye on Lyúba for her son. She is a
knowing one, and scents a nice dowry.
2	One must do her that much justice.
*	AKna. is an abbreviation, and a pet name, for Alexándra.The Light Shines in Darkness 339
hands with him. Alexandra Ivanovna shrugs her shoulders,
exchanging glances with her husband.
alexandra ivanovna. Re-heat the samovar, please.
Nicholas ivanovich. That's not necessary, Alina. I
don't really want any, and I'll drink it as it is.
Missy, on seeing her father, leaves her croquet, runs to him,
and hangs round his neck.
missy. Papa ! Come with me.
Nicholas ivanovich [caressing her\ Yes, I'll come
directly. Just let me eat something first. Go and play,
and I'll soon come.
Exit Missy.
Nicholas Ivdnovich sits down to the table, and eats and
drinks eagerly.
alexandra ivanovna. Well, were they sentenced ?
Nicholas ivanovich. Yes ! They were. They themselves
pleaded guilty. \To Priest] I thought you would not
find Renan very convincing . . .
alexandra ivanovna. And you did not approve of the
verdict ?
Nicholas ivanovich [vexed]. Of course I don't approve
of it. [To Priest] The main question for you is not
Christ's divinity, or the history of Christianity, but the
Church . . .
alexandra ivanovna. Then how was it ? They confessed
their guilt, et vous leur avez donné un démenti ?1 They did
not steal them—but only took the wood ?
Nicholas ivanovich [who had begun talking to the priest,
turns resolutely to Alexândra Ivdnoma]. Alina, my dear,
do not pursue me with pinpricks and insinuations.
ALEXANDRA IVANOVNA. But not at all . . .
Nicholas ivanovich. And if you really want to know
why I can't prosecute the peasants about the wood they
needed and cut down . . .
1 And yon contradicted them«34° The Light Shines in Darkness
alexandra ivAnovna. I should think they also need
this samovar.
Nicholas ivanovich. Well, if you want me to tell you
why I can’t agree with those people being shut up in prison,
and being totally ruined, because they cut down ten trees
in a forest which is considered to be mine . . .
alexandra ivanovna. Considered so by everybody.
peter semy6novich. Oh dear! Disputing again.
Nicholas ivanovich. Even if I considered that forest
mine, which I cannot do, we have 3000 acres of forest,
with about 150 trees to the acre. In all, about 450,000
trees—is that correct? Well, they have cut down ten
trees—that is, one 45-thousandth part. Now is it worth
while, and can one really decide, to tear a man away from
his family and put him in prison for that ?
sty6pa. Ah ! but if you don't hold on to this one 45-
thousandth, all the other 44,990 trees will very soon be
cut down also.
Nicholas ivanovich. But I only said that in answer to
your aunt. In reality I have no right to this forest.
Land belongs to everyone; or rather, it can't belong to
anyone. We have never put any labour into this land.
sty6pa. No, but you saved money and preserved this
forest.
Nicholas ivanovich. How did I get my savings ? What
enabled me to save up ? And I didn’t preserve the forest
myself! However, this is a matter which can't be proved
to anyone who does not himself feel ashamed when he
strikes at another man—
sty6pa. But no one is striking anybody!
Nicholas ivanovich. Just as when a man feels no
shame at taking toll from others’ labour without doing
any work himself, you cannot prove to him that he
ought to be ashamed; and the object of all the Political
Economy you learnt at the University is merely to justify
the false position in which we live.The Light Shines in Darkness 341
sty<Spa. On the contrary; science destroys all prejudices.
Nicholas ivanovich. However, all this is of no import-
ance to me. What is important is that in Yefim's1 place
I should have acted as he did, and I should have been
desperate had I been imprisoned. And as I wish to do
to others as I wish them to do to me—I cannot condemn
him, but do what I can to save him.
peter semy6novich. But, if one goes on that line, one
cannot possess anything.
Alexdndra Ivdnovna and Stydpa—
Alexandra ivanovna. Then it is much more pro-
fitable to steal than to work.
sty6pa. You never reply to one's arguments. I
say that a man who saves, has a right to enjoy his
savings.
Nicholas ivanovich [,smiling] I don't know which I am
to reply to. [To Peter Semydnovich] It's true. One
should not possess anything.
alexandra ivanovna. But if one should not possess
anything, one can't have any clothes, nor even a crust of
bread, but must give away everything, so that it's im-
possible to live.
Nicholas ivanovich. And it should be impossible to live
as we do!
sty6pa. In other words, we must die ! Therefore, that
teaching is unfit for life. . . .
Nicholas ivanovich. No. It is given just that men
may live. Yes. One should give everything away.
Not only the forest we do not use and hardly ever see,
but even our clothes and our bread.
alexandra ivanovna. What I And the children's too ?
Nicholas ivanovich. Yes, the children's too. And not
only our bread, but ourselves. Therein lies the whole
teaching of Christ. One must strive with one's whole
strength to give oneself away.
1 Yefim was the peasant who had cut down the tree.342 The Light Shines in Darkness
sty6pa. That means to die.
Nicholas ivanovich. Yes, even if you gave your life for
your friends, that would be splendid both for you and for
others. But the fact is that man is not solely a spirit,
but a spirit within a body; and the flesh draws him to
live for itself, while the spirit of light draws him to
live for God and for others: and the life in each of us is
not solely animal, but is equipoised between the two. But
the more it is a life for God, the better; and the animal
will not fail to take care of itself.
sty6pa. Why choose a middle course: an equipoise
between the two ? If it is right to do so—why not give
away everything and die ?
Nicholas ivanovich. That would be splendid. Try to
do it, and it will be well both for you and for others.
alexandra ivanovna. No, that is not clear, not simple.
C’est tirtf pas les cheveux.1
Nicholas ivanovich. Well, I can't help it, and it can't
be explained by argument. However, that is enough.
sty6pa. Yes, quite enough, and I also don't under-
stand it. [Exit],
Nicholas ivanovich [turns to Priest] Well, what im-
pression did the book make on you ?
priest [agitated] How shall I put it? Well, the
historic part is insufficiently worked out, and it is not
fully convincing, or let us say, quite reliable; because the
materials are, as a matter of fact, insufficient. Neither the
Divinity of Christ, nor His lack of Divinity, can be proved
historically; there is but one irrefragible proof. . . .
During this conversation first the ladies and then Peter
Semyonovich go out.
Nicholas ivanovich. You mean the Church?
priest. Well, of course, the Church, and the evidence,
let's say, of reliable men—the Saints for instance.
Nicholas ivAnovich. Of course, it would be excellent if
1 It’s too fine spun.The Light Shines in Darkness 343
there existed a set of infallible people to confide in.
It would be very desirable; but its desirability does not
prove that they exist!
priest. And I believe that just that is the proof. The
Lord could not in fact have exposed His law to the
possibility of mutilation or misinterpretation, but must in
fact have left a guardian of His truth to prevent that
truth being mutilated.
Nicholas ivanovich. Very well; but we first tried to
prove the truth itself, and now we are trying to prove the
reliability of the guardian of the truth.
priest. Well here, as a matter of fact, we require faith.
Nicholas ivanovich ! Faith—yes, we need faith. We
can’t do without faith. Not, however, faith in what
other people tell us, but faith in what we arrive at
ourselves, by our own thought, our own reason . . .
faith in God, and in true and everlasting life.
priest. Reason may deceive. Each of us has a different
mind.
Nicholas ivanovich \hotly\ There, that is the most
terrible blasphemy! God has given us just one sacred
tool for finding the truth—the only thing that can unite
us all, and we do not trust it!
priest. How can we trust in it, when there are con-
tradictions.
Nicholas ivanovich. Where are the contradictions ?
That twice two are four; and that one should not do to
others what one would not like oneself; and that every-
thing has a cause ? Truths of that kind we all acknowledge
because they accord with all our reason. But that God
appeared on Mount Sinai to Moses, or that Buddha flew
up on a sunbeam, or that Mahomet went up into the sky,
and that Christ flew there also—on matters of that kind
we are all at variance.
priest. No, we are not at variance, those of us who abide
in the truth are all united in one faith in God, Christ.344 The Light Shines in Darkness
Nicholas ivanovich. No, even there, you are not united,
but have all gone asunder; so why should I believe you
rather than I would believe a Buddhist Lama? Only
because I happened to be born in your faith ?
[The tennis players dispute] “ Out! ”	“ Not out! ”
vÁNYA. I saw it	:
During the conversation, men-servants set the table again for
tea and coffee.
Nicholas ivanovich. You say the Church unites. But, on
the contrary, the worst dissensions have always been
caused by the Church. “How often would I have
gathered you as a hen gathers her chickens.” . . .
priest. That was until Christ. But Christ did gather
them all together.
Nicholas ivanovich. Yes, Christ united; but we have
divided: because we have understood him the wrong
way round. He destroyed all Churches.
priest. Did he not say: “ Go, tell the Church.”
Nicholas ivánovich. It is not a question of words!
Besides those words don't refer to what we call “ Church.”
It is the spirit of the teaching that matters. Christ's
teaching is universal, and includes all religions, and does
not admit of anything exclusive; neither of the Resurrec-
tion nor the Divinity of Christ, nor the Sacraments—nor
of anything that divides.
priest. That, as a matter of fact, if I may say so, is
your own interpretation of Christ's teaching. But
Christ's teaching is all founded on His Divinity and
Resurrection.
Nicholas ivánovich. That’s what is so dreadful about
the Churches. They divide by declaring that they
possess the full indubitable and infallible truth. They
say : “ It has pleased us and the Holy Ghost.” That began
at the time of the first Council of the Apostles. They
then began to maintain that they had the full and exclusive
truth. You see, if I say there is a God: the first causeThe Light Shines in Darkness 345
of the Universe, everyone can agree with me; and such
an acknowledgment of God will unite us; but if I say
there is a God: Brahma, or Jehovah, or a Trinity, such
a God divides us. Men wish to unite, and to that end
devise all means of union, but neglect the one indubitable
means of union—the search for truth! It is as if people
in an enormous building, where the light from above
shone down into the centre, tried to unite in groups around
lamps in different comers, instead of going towards the
central light, where they would naturally all be united.
priest. And how are the people to be guided—without
any really definite truth ?
Nicholas ivAnovich. That's what is terrible! Each
one of us has to save his own soul, and has to do God's
work himself, but instead of that we busy ourselves saving
other people and teaching them. And what do we teach
them ? We teach them now, at the end of the nineteenth
century, that God created the world in six days, then
caused a flood, and put all the animals in an ark, and all
the rest of the horrors and nonsense of the Old Testament.
And then that Christ ordered everyone to be baptized
with water; and we make them believe in all the absurdity
and meanness of an Atonement essential to salvation;
and then that he rose up into the heavens which do not
really exist, and there sat down at the right hand of the
Father. We have got used to all this, but really it is
dreadful! A child, fresh and ready to receive all that is
good and true, asks us what the world is, and what its
laws are; and we, instead of revealing to him the
teaching of love and truth that has been given to us,
carefully ram into his head all sorts of horrible absurdities
and meannesses, ascribing them all to God. Is that not
terrible? It is as great a crime as man can commit.
And we—you and your Church—do this ! Forgive me !
priest. Yes, if one looks at Christ's teaching from a
rationalistic point of view, it is so.346 The Light Shines in Darkness
Nicholas ivanovich. Whichever way one looks, it is so.
[Pause].
Enter Alexdndra Ivdnoma. Priest bows to take his leave.
alexandra ivanovna. Good-bye, Father. He will lead
you astray. Don't you listen to him.
priest. No. Search the Scriptures! The matter is
too important, as a matter of fact, to be—let's say—
neglected. [Exit],
alexandra ivanovna. Really, Nicholas, you have no
pity on him! Though he is a priest, he is still only a boy,
and can have no firm convictions or settled views. . . .
Nicholas ivanovich. Give him time to settle down and
petrify in falsehood ? No! Why should I ? Besides, he
is a good, sincere man.
alexandra ivanovna. But what will become of him if
he believes you ?
Nicholas ivanovich. He need not believe me. But if
he saw the truth, it would be well for him and for every-
body.
alexandra ivanovna. If it were really so good, everyone
would be ready to believe you. As it is, no one believes
you, and your wife least of all. She can’t believe you.
Nicholas ivanovich. Who told you that ?
alexandra ivanovna. Well, just you try and explain it
to her! She will never understand, nor shall I, nor
anyone else in the world, that one must care for other
people and abandon one's own children. Go and try to
explain that to Mary !
Nicholas ivanovich. Yes, and Mary will certainly
understand. Forgive me, Alexdndra, but if it were not
for other people's influence, to which she is very suscep-
tible, sbe would understand me and go with me.
alexandra ivanovna. To beggar your children for the
sake of drunken Yefim and his sort? Never! But if I
have made you angry, please forgive me. I can't help
speaking out.The Light Shines in Darkness 347
Nicholas ivanovich. I am not angry. On the contrary,
I am even glad you have spoken out and given me
the opportunity—challenged me—to explain to Mary my
whole outlook on life. On my way home to-day I was
thinking of doing so, and I will speak to her at once ; and
you will see that she will agree, because she is wise and
good.
alexandra ivanovna. Well, as to that, allow me to
have my doubts.
Nicholas ivanovich. But I have no doubts. For you
know, this is not any invention of my own; it is only
what we all of us know, and what Christ revealed to us.
alexandra ivanovna. Yes, you think Christ revealed
this, but I think he revealed something else.
Nicholas ivanovich. It cannot be anything else.
Shouts from the tennis ground.
LYtfBA. Out!
vanya. No, we saw it.
lisa. I know. It fell just here!
lyijtba. Out! Out! Out!
vanya. It's not true.
lyuba. For one thing, it's rude to say It's not true.”
vanya. And it's rude to say what is not true !
Nicholas ivanovich. Just wait a bit, and don't argue,
but listen. Isn't it true that at any moment we may die,
and either cease to exist, or go to God who expects us
to live according to His will ?
ALEXANDRA IVANOVNA. Well?
Nicholas ivanovich. Well, what can I do in this life
other than what the supreme judge in my soul, my
conscience—God—requires of me ? And my conscience—
God—requires that I should regard everybody as equal,
love everybody, serve everybody.
alexandra ivanovna. Your own children too?
Nicholas ivanovich. Naturally, my own too, but obeying
all that my conscience demands. Above all, that I348 The Light Shines in Darkness
should understand that my life does not belong to me—
nor yours to you—but to God, who sent us into the
world and who requires that we should do His will. And
His will is . . .
alexAndra ivAnovna. And you think that you will
persuade Mary of this ?
Nicholas ivAnovich. Certainly.
alexAndra ivAnovna. And that she will give up edu-
cating the children properly, and will abandon them ?
Never!
Nicholas ivAnovich. Not only will she understand, but
you too will understand that it is the only thing to do.
alexAndra ivAnovna. Never!
Enter Mary Ivdnovna.
Nicholas ivanovich. Well, Mary! I didn't wake you
this morning, did I ?
mary ivAnovna. No, I was not asleep. And have you
had a successful day ?
Nicholas ivAnovich. Yes, very.
mary ivAnovna. Why, your coffee is quite cold! Why
do you drink it like that ? By the way, we must prepare
for our visitors. You know the Cheremshanovs are
coming ?
Nicholas ivAnovich. Well, if you're glad to have them, I
shall be very pleased.
mary ivAnovna. I like her and her children, but they
have chosen a rather inconvenient time for their visit.
alexAndra ivAnovna [rising] Well, talk matters over
with him, and I'll go and watch the tennis.
A pause, then Mary Ivdnoma and Nicholas Ivdnovich begin
both talking at once.
mary ivAnovna. It's inconvenient, because we must
have a talk.
Nicholas ivAnovich. I was just saying to Aline . , ,
MARY IVANOVNA. What ?
Nicholas ivAnovich. No, you speak first.The Light Shines in Darkness 349
mary ivanovna. Well, I wanted to have a talk with you
about Styópa. After all, something must be decided.
He, poor fellow, feels depressed, and does not know what
awaits him. He came to me, but how can I decide ?
Nicholas ivánovich. Why decide ? He can decide for
himself.
mary ivánovna. But, you know, he wants to enter the
Horse-Guards as a volunteer, and in order to do that he
must get you to countersign his papers, and he must also
be in a position to keep himself; and you don't give him
anything. [Gets excited].
Nicholas ivánovich. Mary, for heaven's sake don't get
excited, but listen to me. I don't give or withhold
anything. To enter military service of one's own free
will, I consider either a stupid, insensate action, suitable
for a savage if the man does not understand the evil of
his action, or despicable if he does it from an interested
motive. . . .
mary ivánovna. But nowadays everything seems savage
and stupid to you. After all, he must live ; you lived !
Nicholas ivánovich [getting irritable] I lived when I did
not understand ; and when nobody gave me good advice.
However, it does not depend on me but on him.
mary ivánovna. How not on you ? It's you who don't
give him an allowance,
Nicholas ivánovich. I can't give what is not mine!
mary ivánovna. Not yours ? What do you mean ?
Nicholas ivánovich. The labour of others does not
belong to me. To give him money, I must first take it
from others. I have no right to do that, and I cannot do
it! As long as I manage the estate I must manage it as
my conscience dictates; and I cannot give the fruits of
the toil of the overworked peasants to be spent on the
debaucheries of Life-Guardsmen. Take over my property,
and then I shall not be responsible !
mary ivánovna. You know very well that I don't want350 The Light Shines in Darkness
to take it, and moreover I can't. I have to bring up the
children, besides nursing them and bearing them. It is
cruel!
Nicholas ivanovich. Mary, dear one ! That is not the
main thing. When you began to speak I too began and
wanted to talk to you quite frankly. We must not go on
like this. We are living together, but don't understand
one another. Sometimes we even seem to misunderstand
one another on purpose.
mary ivanovna. I want to understand, but I don't. No,
I don't understand you. I do not know what has come
to you.
Nicholas ivanovich. Well then, try and understand !
This may not be a convenient time, but heaven knows
when we shall find a convenient time. Understand not
me—but yourself: the meaning of your own life ! We
can't go on living like this without knowing what we are
livirig for.
mary ivanovna. We have lived so, and lived very
happily. [Noticing a look of vexation on his face] All right,
all right, I am listening.
Nicholas ivanovich. Yes, I too lived so—that is to say,
without thinking why I lived ; but a time came when I
was terror-struck. Well, here we are, living on other
people's labour—making others work for us—bringing
children into the world and bringing them up to do the
same. Old age will come, and death, and I shall ask
myself: “ Why have I lived ? ” In order to breed more
parasites like myself? And, above all, we do not even
enjoy this life. It is only endurable, you know, while, like
Vanya, you overflow with life’s energy.
mary ivanovna. But everybody lives like that.
Nicholas ivanovich. And they are all unhappy.
mary ivanovna. Not at all.
Nicholas ivanovich. Anyhow, I saw that I was terribly
unhappy, and that I made you and the children unhappy,The Light Shines in Darkness 351
and I asked myself: “ Is it possible that God created us
for this end ? ” And as soon as I thought of it, I felt at
once that he had not. I asked myself: “ What, then, has
God created us for ? ”
Enter Man-servant.
mary ivanovna [Not listening to her husband, turns to
Servant] Bring some boiled cream.
Nicholas ivanovich. And in the Gospels I found the
answer, that we certainly should not live for our own sake.
That revealed itself to me very clearly once, when I was
pondering over the parable of the labourers in the vine-
yard. You know ?
mary ivanovna. Yes, the labourers.
Nicholas ivanovich. That parable seemed to show me
more clearly than anything else where my mistake had
been. Like those labourers I had thought that the vine-
yard was my own, and that my life was my own, and
everything seemed dreadful; but as soon as I had under-
stood that my life is not my own, but that I am sent into
the world to do the will of God . . .
mary ivanovna. But what of it ? We all know that!
Nicholas ivanovich. Well, if we know it we cannot go
on living as we are doing, for our whole life—far from
being a fulfilment of His will—is, on the contrary, a
continual transgression of it.
mary ivanovna. But how is it a transgression—when
we live without doing harm to anyone ?
Nicholas ivanovich. But are we doing no harm ? Such
an outlook on life is just like that of those labourers.
Why we . . .
mary ivanovna. Yes, I know the parable—and that he
paid them all equally.
Nicholas ivanovich [after a pause] No, it's not that.
But do, Mary, consider one thing—that we have only one
life, and can live it well, or can waste it.
mary ivanovna. I can't think and argue ! I don't sleep352	The Light Shines	in	Darkness
at night; I am nursing. I have to manage the whole
house, and instead of helping me, you say things ;to me
that I don't understand.
Nicholas ivanovich. Mary!
mary ivanovna. And now these visitors.
Nicholas ivanovich. No, let us come to an understanding.
[Kisses her] Shan't we ?
mary ivanovna. Yes, only be like you used to be.
Nicholas ivanovich. I can't, but now listen.
The	sound of bells and an	approaching vehicle	are
heard.
mary ivanovna. I can't now—they have arrived! I
must go to meet them. [Exit behind comer of house.
Stydpa and Lyuba follow her].
vanya. We shan't abandon it;	we	must finish the	game
later.	Well, Lyilba, what now ?
lyuba [seriously] No nonsense, please.
Alexdndra Ivdnovna, with her husband and Lisa, come out
on to the verandah. Nicholas Ivdnovich paces up and down
wrapt in thought.
alexAndra ivanovna. Well, have you convinced her?
Nicholas ivanovich. Alina, what is going on between
us is very important. Jokes are out of place. It is not
I who am convincing her, but life, truth, God: they are
convincing her—therefore she cannot help being con-
vinced, if not to-day then to-morrow, if not to-morrow . . .
It is awful that no one ever has time. Who is it that
has just come ?
peter semy6novich. It's the CheremsMnovs. Catiche
CheremsMnov, whom I have not met for eighteen years.
The last time I saw her we sang together: “ La ci darem
la mano." [&ng£].
alexandra ivanovna. Please don't interrupt us, and
don't imagine that I shall quarrel with Nicholas. I am
telling the truth. [To Nicholas Ivdnovich] I am not joking
at all, but it seemed to me strange that you wanted toThe Light Shines in Darkness 353
convince Mary just when she had made up her mind
to have it out with you!
Nicholas ivanovich. Very well, very well. They
are coming. Please tell Mary I shall be in my
room. [Exit\
Curtain.
%ACT II
Scene 1
In the same country-house, a week later. The scene repre-
sents a large dining-hall. The table is laid for tea and coffee,
with a samovdr. A grand piano and a music-stand are by the
wall. Mary Ivdnovna, the Princess and Peter Semyonovich
are seated at the table.
peter semy6novich. Ah, Princess, it does not seem so
long ago since you were singing Rosina’s part, and I . . .
though nowadays I am not fit even for a Don Basilio.
princess. Our children might do the singing now, but
times have changed.
peter semy6novich. Yes, these are matter-of-fact times
. . . But your daughter plays really seriously and well.
Where are the young folk ? Not asleep still, surely ?
mary ivanovna. Yes, they went out riding by moonlight
last night, and returned very late. I was nursing baby
and heard them.
peter semy6novich. And when will my better-half be
back ? Have you sent the coachman for her ?
mary ivanovna. Yes, they went for her quite early;
I expect she will be here soon.
princess. Did Alexandra Ivdnovna really go on purpose
to fetch Father Gerdsim ?
mary ivanovna. Yes, the idea occurred to her yesterday,
and she was off at once.
princess. Quelle energie I Je I’admire.1
i What energy, I do admire her,
354The Light Shines in Darkness 355
peter semy6novich. Ohs pour ced, ce nest pas ga qui nous
manque-1 [Takes out a cigar] But I will go and have a
smoke and take a stroll through the park with the dogs
till the young people are up. [Exit],
princess. I don't know, dear Mary Ivdnovna, whether
I am right, but it seems to me that you take it all too
much to heart. I understand him. He is in a very
exalted state of mind. Well, even supposing he does
give to the poor? Dont we anyway think too much
about ourselves ?
mary ivanovna. Yes, if that were all, but you don't
know him ; nor all he is after. It is not simply helping
the poor, but a complete revolution, the destruction of
everything.
princess. I do not wish to intrude into your family life,
but if you will allow me . . .
mary ivanovna. Not at all—I look upon you as one of
the family—especially now.
princess. I should advise you to put your demands to
him openly and frankly, and to come to an agreement as
to the limits. . . .
mary ivanovna [excitedly] There are no limits! He
wants to give away everything. He wishes me now, at
my age, to become a cook and a washerwoman.
princess. No, is it possible ! That is extraordinary.
mary ivanovna [takes a letter out of her pocket] We are
by ourselves and I am glad to tell you all about it. He
wrote me this letter yesterday. I will read it to you.
princess. What? He lives in the same house with
you, and writes you letters ? How strange !
mary ivanovna. No, I understand him there. He gets
so excited when he speaks. I have for some time past
felt anxious about his health.
princess. What did he write ?
mary ivanovna. This [reading] “You reproach me for
1 Oh, as far as that goes, we are not lacking.3 56 The Light Shines in Darkness
upsetting our former way of life, and for not giving you
anything new in exchange, and not saying how I should
like to arrange our family affairs. When we begin to
discuss it we both get excited, and that's why I am
writing to you. I have often told you already why I
cannot continue to live as we have been doing; and I
cannot, in a letter, show you why that is so, nor why we
must live in accord to Christ's teaching. You can do one
of two things : either believe in the truth and voluntarily
go with me, or believe in me and trusting yourself
entirely to me—follow me." [Stops reading] I can do
neither the one nor the other. I do not consider it
necessary to live as he wishes us to. I have to consider
the children, and I cannot rely on him. [Reads] “My
plan is this: We shall give our land to the peasants, re-
taining only 135 acres besides the orchards and kitchen-
garden and the meadow by the river. We will try to
work ourselves, but will not force one another, nor the
children. What we keep should still bring us in about
£50 a year.”
princess. Live on ¿050 a year—with seven children! Is
it possible !
mary ivanovna. Well, here follows his whole plan: to
give up the house and have it turned into a school, and
ourselves to live in the gardener's two-roomed cottage.
princess. Yes, now I begin to see that there is some-
thing abnormal about it. What did you answer ?
mary ivanovna. I told him I couldn't; that were I
alone I would follow him anywhere, but I have the
children. . . . Only think! I am still nursing little
Nicholas. I tell him we can't break up everything like
that. After all, was that what I agreed to when I
married ? And now I am no longer young or strong.
Think what it has meant to bear and nurse nine children.
princess. I never dreamed that things had gone so far.
mary ivanovna. That is how things are and I don'tThe Light Shines in Darkness 357
know what will happen. Yesterday he excused the
Dmitrovka peasants their rent; and he wants to give the
land to them altogether.
princess. I do not think you should allow it. ft is
your duty to protect your children. If he cannot deal
with the estate, let him hand it over to you.
mary ivanovna. But I don't want that.
princess. You ought to take it for the children's sake.
Let him transfer the property to you.
mary ivanovna. My sister Alexandra told him so; but
he ;says he has no right to do it; and that the land
belongs to those who work it, and that it is his duty to
give it to the peasants.
princess. Yes, now I see that the matter is far more
serious than I thought.
mary ivanovna. And the Priest! The Priest takes his
side, too.
princess. Yes, I noticed that yesterday.
mary ivanovna. That's why my sister has gone to
Moscow. She wanted to talk things over with a lawyer,
but chiefly she went to fetch Father Gerasim that he may
bring his influence to bear.
princess. Yes, I do not think that Christianity calls
upon us to ruin our families.
mary ivanovna. But he will not believe even Father
Gerasim. He is so firm ; and when he talks, you know, I
can't answer him. That’s what is so terrible, that it
seems to me he is right.
princess. That is because you love him.
mary ivanovna. I don’t know, but it's terrible, and
everything remains unsettled—and that is Christianity!
[Enter Nurse~\.
nurse. Will you please come. Little Nicholas has
woke up and is crying for you.
mary ivanovna. Directly! When I am excited he gets
stomach ache. Coming, coming358 The Light Shines in Darkness
Nicholas Ivánovich enters by another door, with a paper in
his Hand.
Nicholas ivánovich. No, this is impossible!
mary ivánovna. What has happened ?
Nicholas ivánovich. Why, Peter is to be imprisoned on
account of some wretched pine-trees of ours.
mary ivánovna. How’s that ?
Nicholas ivánovich. Quite simply ! He cut it down, and
they informed the Justice of Peace* and he has sentenced
him to three months’ imprisonment. His wife has come
about it.
mary ivánovna. Well, and can't anything be done ?
Nicholas ivánovich. Not now. The only way is not to
possess any forest. And I will not possess any. What is
one to do ? I shall, however, go and see whether what we
have done can be remedied. [Goes out on to the verandah
and meets Boris and Lyúba],
Lyuba. Good morning, papa	him],	where	are	you
going ?
Nicholas ivánovich. I have just returned from the
village and am going back again. They are just dragging
a hungry man to prison because he . . .
lyuba. I suppose it's Peter ?
Nicholas ivánovich, Yes, Peter. [Exit, followed by Mary
Ivánovna].
lytjba down in front of samovár] Will you have tea
or coffee?
Boris. I don't mind.
lytjba. It's always the same, and I see no end to it!
boris. I don't understand him. I know the people are
poor and ignorant and must be helped, but not by en-
couraging thieves.
lyóba. But how ?
borís. By our whole activity. By using all our know-
ledge in their service, but not by sacrificing one's own
life.The Light Shines in Darkness 359
lyuba. And papa says, that that is just what is wanted.
BORfs, I don't understand. One can serve the people
without ruining one's own life. That is the way I want
to arrange my life. If only you . . .
lyuba. I want what you want, and am not afraid of
anything.
BORfs. How about those earrings—that dress . . .
lyijba. The earrings can be sold and the dresses must
be different, but one need not make oneself quite a guy.
BORis. I should like to have another talk with him*
Do you think I should disturb him if I followed him to
the village ?
ly^ba. Not at all. I see he has grown fond of you,
and he addressed himself chiefly to you last night.
boris \Jinishes his coffee] Well, I'll go then.
lyijba. Yes, do, and I'll go and wake Lisa and Tanya.
Curtain.
Scene 2
Village street. Ivdn Zydbrev, covered with a sheepskin coat}
is lying near a hut.
ivan zyabrev. Malashka!
A tiny girl comes out of the hut with a baby in her arms.
The baby is crying.
ivan zyabrev. Get me a drink of water.
Maldshka goes back into the hut, from where the baby can be
heard screaming. She brings a bowl of water.
ivan zyabrev. Why do you always beat the youngster
and make him howl ? I'll tell mother.
malashka. Tell her then. It's hunger makes him
howl!360 The Light Shines in Darkness
ivan zyabrev [drinks] You should go and ask the
D&nkins for some milk.
malashka. I went, but there wasn't any. And there
was no one at home.
ivan zyabrev. Oh! if only I could die! Have they
rung for dinner ?
malashka. They have. Here's the master coming.
Enter Nicholas Ivdnovich.
Nicholas ivanovich. Why have you come out here ?
ivan zyabrev. Too many flies in there, and it's too hot.
Nicholas ivanovich. Then you're warm now ?
ivan zyabrev. Yes, now I'm burning all over.
Nicholas ivanovich. And where is Peter? Is he at
home ?
ivan zyabrev. At home, at this time ? Why, he's gone
to the field to cart the corn.
Nicholas ivanovich. And I hear that they want to put
him in prison.
ivan zyabrev. That's so, the Polieeman has gone to the
field for him.
Enter a pregnant Woman, carrying a sheaf of oats and a
rake. She immediately hits Maldshka on the back of the head.
woman. What d’you mean by leaving the baby ? Don't
you hear him howling! Running about the streets is all
you know.
malashka [howling] I've only just come out. Daddy
wanted a drink.
woman. I'll give it you.	sees	the land-owner, N. /.
Sar$ntsov] Good-day, sir. Children are a trouble! I'm
quite done up, everything on my shoulders, and now
they're taking our only worker to prison, and this lout is
sprawling about here.
Nicholas ivanovich. What are you saying ? He's
quite ill!
woman. He's ill, and what about me ? Am I not ill ?
When it's work, he's ill; but to merry-make or pull myThe Light Shines in Darkness 361
hair out, he's not too ill. Let him die like a hound!
What do I care ?
Nicholas ivanovich. How can you say such wicked
things ?
woman. I know it's a sin ; but I can't subdue my heart.
I'm expecting another child, and I have to work for two.
Other people have their harvest in already, and we have
not mowed a quarter of our oats yet. I ought to finish
binding the sheaves, but can't. I had to come and see
what the children were about.
Nicholas ivanovich. The oats shall be cut—I'll hire
someone, and to bind the sheaves too.
woman. Oh, binding's nothing. I can do that myself,
if it’s only mown down quick. What d'y ou think, Nicholas
Ivanovich, will he die ? He is very ill!
Nicholas ivanovich. I don't know. But he really is
very ill. I think we must send him to the hospital.
woman. Oh God ! [Begins to cry] Don't take him away,
let him die here.1 \To her husband, who utters something]
What's the matter ?
ivan zyabrev. I want to go to the hospital. Here I'm
treated worse than a dog.
woman. Well, I don't know. I've lost my head
Malashka, get dinner ready.
Nicholas ivanovich. What have you for dinner ?
woman. What? Why, potatoes and bread, and not
enough of that. [Enters hut A pig squeals, and children
are crying inside],
ivan zyabrev [groans] Oh Lord, if I could but die!
Enter Boris.
BORfs. Can I be of any use ?
Nicholas ivanovich. Here no one can be of use to
another. The evil is too deeply rooted. Here we can
only be of use to ourselves, by seeing on what we build
1 The woman, for all her roughness, is sorry to part from her
husband.362 The Light Shines in Darkness
our happiness. Here is a family: five children, the wife
pregnant, the husband ill, nothing but potatoes to eat,
and at this moment the question is being decided whether
they are to have enough to eat next year or not. Help
is not possible. How can one help ? Suppose I hire a
labourer; who will he be ? Just such another man : one
who has given up his farming, from drink or from want.
Boris. Excuse me, but if so, what are you doing here ?
Nicholas ivánovich. I am learning my own position.
Finding out who weeds our gardens, builds our houses,
makes our garments, and feeds and clothes us. [Peasants
with scythes and women with rakes pass by and bow.
Nicholas Ivánovich, stopping one of the Peasants] Ermil,
won't you take on the job of carting for these people ?
ermil [shakes his head] I would with all my heart, but I
can't possibly do it. I haven't carted my own yet. We
are off now to do some carting. But is Iván dying ?
another peasant. Here's Sebastian, he may take on
the job. I say, Daddy Sebastian ! They want a man to
get the oats in.
sebastian. Take the job on yourself. At this time of
year one day's work brings a year's food. [The Peasants
pass on\.
Nicholas ivánovich. They are all half-starved; they
have only bread and water, they are ill, and many of them
are old. That old man, for instance, is ruptured and is
suffering, and yet he works from four in the morning to
ten at night, though he is only half alive. And we ? Is
it possible, realising all this, to live quietly and consider
oneself a Christian? Or let alone a Christian—simply
not a beast ?
borís. But what can one do ?
Nicholas ivánovich. Not take part in this evil. Not
own the land, nor devour the fruits of their labour. How
this can be arranged, I don't yet know. The fact of the
matter is—at any rate it was so with me—I lived and didThe Light Shines in Darkness 363
not realise how I was living. I did not realise that I am
a son of God and that we are all sons of God—and all
brothers. But as soon as I realised it—realised that we
have all an equal right to live—my whole life was turned
upside down. But I cannot explain it to you now. I will
only tell you this : I was blind, just as my people at home
are, but now my eyes are opened and I cannot help
seeing; and seeing it all, I can't continue to live in such
a way. However, that will keep till later. Now we
must see what can be done.
Enter Policeman, Peter, his wife, and boy.
peter \ falls at Nicholas Ivdnovich’s feet] Forgive me, for
the Lord's sake, or I'm ruined. How can the woman get
in the harvest ? If at least I might be bailed out.
Nicholas ivanovich. I will go and write a petition for
you. \To Policeman] Can't you let him remain here for
the present ?
policeman. Our orders are to take him to the police-
station now.
Nicholas ivanovich \to Peter] Well then go, and I'll do
what I can. This is evidently my doing. How can one
go on living like this ?	[Exit].
Curtain.
Scene 3
In the same country-house. It is raining outside. A
drawing-room with a grand piano. T6nya has just finished
playing a sonata of Schumann s and is sitting at the piano.
Stydpa is standing by the piano. Boris is sitting. Lyuba,
Lisa, Mitrofdn Ermilych and the young Priest are all
stirred by the music.
lyuba. That andante ! Isn't it lovely!
sty6pa. No, the scherzo. Though really the whole of
it is beautiful.
lisa. Very fine.364 The Light Shines in Darkness
sty6pa. But I had no idea you were such an artist.	It
is real masterly play. Evidently the difficulties no longer
exist for you, and you think only of the feeling, and
express it with wonderful delicacy.
lyuba. Yes, and with dignity.
t6nya. While I felt that it was not at all what I meant
it to be. A great deal remained unexpressed.
lisa. What could be better ? It was wonderful.
lyi)ba. Schumann is good, but all the same Chopin
takes a stronger hold of one's heart.
sty6pa. He is more lyrical.
t6nya. There is no comparison.
lyijba. Do you remember his prelude ?
t6nya. Oh, the one called the George Sand prelude ?
[Plays the commencement].
lyuba. No, not that one. That is very fine, but so
hackneyed. Do play this one. \T6nya plays what she
can of it3 and then breaks off ].
t6nya. Oh, that is a lovely thing. There is something
elemental about it—older than creation.
sty6pa [laughs] Yes, yes. Do play it. But no, you
are too tired. As it is, we have had a delightful morning,
thanks to you.
t6nya [rises and looks out of window] There are some
more peasants waiting outside.
lyuba. That is why music is so precious. I understand
Saul. Though I'm not tormented by devils, I still under-
stand him. No other art can make one so forget every-
thing else as music does. [.Approaches the window. To
Peasants] Whom do you want ?
peasants. We have been sent to speak to Nicholas
Ivanovich.
lyuba. He is not in. You must wait.
t6nya. And yet you are marrying Boris who under-
stands nothing about music.
lyijba. Oh, surely not.The Light Shines in Darkness 365
eorîs [absently] Music ? Oh no. I like music, or
rather I don't dislike it. Only I prefer something simpler
—I like songs.
tónya. But is not this sonata lovely ?
boris. The chief thing is, that it is not important ; and
it rather hurts me, when I think of the lives men live,
that so much importance is attached to music.
They all eat sweetmeats, which are standing on the table.
lisa. How nice it is to have a fiancé here and sweet-
meats provided !
borìs. Oh that is not my doing. It's mamma’s.
tónya. And quite right too.
lyuba. Music is precious because it seizes us, takes
possession of us, and carries us away from reality. Every-
thing seemed gloomy till you suddenly began to play,
and really it has made everything brighter.
lisa. And Chopin's valses. They are hackneyed, but
all the same . . .
tónya. This . . . [jplays].
Enter Nicholas Ivdnovich. He greets Boris, Tónya,
Styópa, Lisa, Mitrofdn Ermîlych and the Priest
Nicholas ivanovich. Where's mamma ?
lyóba. I think she's in the nursery.
Styopa calls the Man-servant
lyuba. Papa, how wonderfully Tónya plays ! And
where have you been ?
Nicholas ivanovich. In the village.
Enter servant, Afandsy.
styópa. Bring another samovàr.
Nicholas ivanovich [greets the Man-servant, and shakes
hands with him1] Good-day. [Servant becomes confused.
Exit Servant Nicholas Ivdnovich also goes off].
1 People shake hands much more often in Russia than in
England, but it is quite unusual to shake hands with a servant,
and Nicholas Ivànovich does it in consequence of his belief that all
men are brothers.366 The Light Shines in Darkness
sty6pa. Poor Afandsy! He was terribly confused. 1
can't understand papa. It is as if we were guilty of
something.
Enter Nicholas Ivdnovich.
Nicholas ivanovich. I was going back to my room
without having told you what I feel. (To Tdnya) If what
I say should offend you—who are our guest—forgive me,
but I cannot help saying it. You, Lisa, say that Tonya
plays well. All you here, seven or eight healthy young
men and women, have slept till ten o'clock, have eaten
and drunk and are still eating; and you play and discuss
music: while there, where I have just been, they were
all up at three in the morning, and those who pastured
the horses at night have not slept at all; and old and
young, the sick and the weak, children and nursing-
mothers and pregnant women are working to the utmost
limits of their strength, so that we here may consume the
fruits of their labour. Nor is that all. At this very
moment, one of them, the only breadwinner of a family,
is being dragged to prison because he has cut down one
of a hundred thousand pine-trees that grow in the forest
that is called mine. And we here, washed and clothed,
having left the slops in our bedrooms to be cleaned up
by slaves, eat and drink and discuss Schumann and
Chopin and which of them moves us most or best cures
our ennui ? That is what I was thinking when I passed
you, so I have spoken. Consider, is it possible to go
on living in this way ?	[Stands greatly agitated].
lisa. True, quite true !
lytjba. If one lets oneself think about it, one can't
live.
sty6pa. Why ? I don't see why the fact that people
are poor should prevent one talking about Schumann.
The one does not exclude the other. If one . . .
Nicholas ivanovich [angrily] If one has no heart, if
one is made of wood . . .The Light Shines in Darkness 367
sty6pa. Well, I'll hold my tongue.
t6nya. It is a terrible problem; it is the problem of
our day; and we should not be afraid of it, but look it
straight in the face, in order to solve it.
Nicholas ivAnovich. We cannot wait for the problem
to be solved by public measures. Every one of us must
die—if not to-day, then to-morrow. How can I live
without suffering from this internal discord ?
boris. Of course there is only one way; that is, not
to take part in it at all.
Nicholas ivanovich. Well, forgive me if I have hurt
you. I could not help saying what I felt. \Exit\.
sty6pa. Not take part in it? But our whole life is
bound up with it.
boris. That is why he says that the first step is to
possess no property; to change our whole way of life and
live so as not to be served by others but to serve others.
t6nya. Well, I see you have quite gone over to
Nicholas Ivdnovich's side.
borIs. Yes, I now understand it for the first time—after
what I saw in the village. ... You need only take off
the spectacles through which we are accustomed to look
at the life of the people, to realise at once the connection
between their sufferings and our pleasures—that is
enough!
Mitrofan ermilych. Yes, but the remedy does not
consist in ruining one's own life.
sty6pa. It is surprising how Mitrofan Ermilych and I,
though we usually stand poles asunder, come to the same
conclusion: those are my very words, “ not ruin one's
own life."
boris. Naturally! You both of you wish to lead a
pleasant life, and therefore want life arranged so as to
ensure that pleasant life for you. \To Stydpa] You wish to
maintain the present system, while Mitrof&n Ermilych
wants to establish a new one*368 The Light Shines in Darkness
Lyuba and Tonya whisper together. Tdnya goes to the
piano and plays a nocturne by Chopin, General silence,
sty6pa. That's splendid; that solves everything.
boris. It obscures and postpones everything!
While Tdnya is playing, Mary Ivdnovna and the Princess
enter quietly and sit down to listen.
Before the end of the nocturne carriage bells are heard
outside,
lytjtba. It is Aunt. \Goes to meet her\
The music continues. Enter Alexdndra Ivdnovna, Father
Gerdsim {a priest with a cross round his neck) and a Notary,
All rise,
father gerasim. Please go on, it is very pleasant.
The Princess approaches to receive his blessing, and the
young Priest does the same,
alexandra ivanovna. I have done exactly what I said I
would do. I found Father Gerasim, and you see I have
persuaded him to come—he was on his way to Koursk—
so I have done my part; and here is the Notary. He
has got the deed ready; it only needs signing.
mary ivanovna. Won't you have some lunch ?
Notary puts down his papers on the table3 and exit,
mary ivanovna. I am very grateful to Father Gerasim.
father gerasim. What else could I do—though it was
out of my way—yet as a Christian I considered it my
duty to visit him.
Alexdndra Ivdnovna whispers to the young people. They
consult together and go out on to the verandah, all except
Boris, The young Priest also wants to go.
father gerasim.1 No. You as a pastor and spiritual
father must remain here ! You may benefit by it yourself,
and may be of use to others. Stay here, if Mary
Ivanovna has no objection.
mary ivanovna. No, I am as fond of Father Vasily as
1	Father G-erdsim is modelled on the lines of the celebrated
Father John of Cronstadt.The Light Shines in Darkness 369
if he were one of the family. I have even consulted
him; but being so young he has not much authority.
father gerasim. Naturally, naturally.
alexandra ivanovna [approaching] Well, you see now,
Father Gerasim, that you are the only person who can
help and can bring him to reason. He is a clever, well-
read man, but learning, you know, can only do harm. He
is suffering from some sort of delusion. He maintains
that the Christian law forbids a man to own any property;
but how is that possible ?
father gerasim. Temptation, spiritual pride, self-will!
The Fathers of the Church have answered the question
satisfactorily. But how did this befall him ?
mary ivanovna. Well, to tell you everything . . . when
we married he was quite indifferent to religion, and
we lived so, and lived happily, during our best years—the
first twenty years. Then he began to reflect. Perhaps
he was influenced by his sister, or by what he read.
Anyhow, he began thinking and reading the Gospels,
and then suddenly he grew extremely religious, began
going to church and visiting the monks. Then all at
once he gave all this up and changed his way of life
completely. He began doing manual labour, would not
let the servants wait on him, and above all he is now
giving away his property. He yesterday gave away a
forest—both the trees and land. It frightens me, for I
have seven children. Do talk to him. Til go and ask
him whether he will see you. [jExit],
father gerasim. Nowadays many are falling away.
And is the estate his or his wife’s ?
princess. His ! That's what is so unfortunate.
father gerasim. And what is his official rank ?
princess. His rank is not high. Only that of a cavalry
captain, I believe. He was once in the army.
father gerasim. There are many who turn aside in
that way. In Odessa there was a lady who was carried
2	a37© The Light Shines in Darkness
away by Spiritualism and began to do much harm. But alx
the same, God enabled us to lead her back to the Church.
princess. The chief thing, please understand, is that my
son is about to marry his daughter. I have given my
consent, but the girl is used to luxury and should there-
fore be provided for, and not have to depend entirely on
my son. Though I admit he is a hard-working and an
exceptional young man.
Enter Mary Ivdnovna and Nicholas Ivdnovick.
Nicholas ivanovich. How d’you do, Princess ? How
d’you do? [To Father Gerdsim] I beg your pardon. I
don't know your name.1
father gerasim. Do you not wish to receive my
blessing ?
Nicholas ivanovich. No, I don’t.
father gerasim. My name is Gerdsim S6dorovitch.
Very pleased to meet you.
Men-servants bring lunch and wine.
father gerasim. Pleasant weather, and good for the
harvest.
Nicholas ivanovich. I suppose you came, at Alexandra
Ivanovna's invitation, to divert me from my errors and
direct me in the path of truth. If that is so, don't let
us beat about the bush, but let us get to business at once.
I do not deny that I disagree with the teaching of the
Church. I used to agree with it, and then left off doing
so. But with my whole heart I wish to be in the truth
and will at once accept it if you show it to me.
father gerasim. How is it you say you don’t believe
the teaching of the Church ? What is there to believe
in, if not the Church ?
Nicholas ivanovich. God and His law, given to us in
the Gospels.
1 He knows fehat the priest is Father Gerasim, but wishes to
address him not as a priest, bnt by his Christian name and
patronymic, as one gentleman would usually address another.The Light Shines in Darkness 371
father gerasim. The Church teaches that very law.
Nicholas ivanovich. If it did so, I should believe in the
Church, but unfortunately it teaches the contrary.
father gerasim. The Church cannot teach the contrary,
because it was established by the Lord himself. It is
written, ((I give you power,” and, “ Upon this rock I will
build my Church; and the gates of hell shall not prevail
against it.”
Nicholas ivanovich. That was not said in this con-
nection at all, and proves nothing. But even if we were
to admit that Christ established the Church, how do I
know that it was your Church ?
father gerasim. Because it is said, te Where two or
three are gathered together in my name, there am I in
the midst of them/*
Nicholas ivanovich. That, too, was not said in this
connection, and proves nothing.
father gerasim. How can one deny the Church ? It
alone provides salvation.
Nicholas ivanovich. I did not deny the Church until
I found it supported everything that is contrary to
Christianity.
father gerasim. It can make no mistakes, for it alone
has the truth. Those who leave it go astray, but the
Church is sacred.
Nicholas ivanovich. I have already told you that I do
not accept that. I do not accept it because, as is said in
the Gospels, “ By their deeds shall ye know them, by
their fruit shall ye know them/' I have found out that the
Church blesses oaths, murders and executions.
father gerasim. The Church acknowledges and
sanctifies the Powers ordained by God.
During the conversation, Stydpa, Lyuba, Lisa and Tonya
at different times enter the room and sit or stand listening.
Nicholas ivanovich. I know that the Gospels say, not
only “ Do not kill,” but “ Do not be angry,” yet the372 The Light Shines in Darkness
Church blesses the army. The Gospel says, “ Swear not
at all/* yet the Church administers oaths. The Gospel
says . , .
father gerásim. Excuse me. When Pilate1 said, a I
adjure thee by the living God," Christ accepted his
oath by replying “ I am.”
Nicholas ivánovich. Dear me! What are you saying ?
That is really absurd.
father gerásim. That is why the Church does not
permit everyone to interpret the Gospel, lest he should
go astray, but like a mother caring for her child gives
him an interpretation suitable to his strength. No, let
me finish! The Church does not lay on its children
burdens too heavy for them to bear, but demands that
they should keep the Commandments: love, do no
murder, do not steal, do not commit adultery.
Nicholas ivánovich. Yes I Do not kill me, do not steal
from me my stolen goods. We have all robbed the
people, we have stolen their land and have then made a
law forbidding them to steal it back; and the Church
sanctions all these things.
father gerásim. Heresy and spiritual pride are speak-
ing through you. You ought to conquer your intellectual
pride.
Nicholas ivánovich. It is not pride. I am only asking
you what should I do according to Christ’s law, when I have
become conscious of the sin of robbing the people and
enslaving them by means of the land. How am I to act ?
Continue to own land and to profit by the labour of
starving men : putting them to this kind of work \jpoints
to Servant who is bringing in the lunch and some wine\, or am
I to return the land to those from whom my ancestors
stole it ?
father gerásim. You must act as behoves a son of the
1 Father Gerásim attributes to Pilate what was said by Caiaphas
the high priest.The Light Shines in Darkness 373
Church. You have a family and children, and you must
keep and educate them in a way suitable to their position.
NICHOLAS ivanovich. Why ?
father gerasim. Because God has placed you in that
position. If you wish to be charitable, be charitable by
giving away part of your property and by visiting the
poor.
Nicholas ivanovich. But how is it that the rich young
man was told that the rich cannot enter the Kingdom of
Heaven ?
father gerasim. It is said, ifIf thou wouldest be
perfect.”
Nicholas ivanovich. But I do wish to be perfect.
The Gospels say, “Be ye perfect as your Father in
Heaven . .
father gerasim. But we have to understand in what
connection a thing is said.
Nicholas ivanovich. I do try to understand, and all
that is said in the Sermon on the Mount is plain and
comprehensible.
father gerasim. Spiritual pride.
Nicholas ivanovich. Where is the pride, since it is said
that what is hidden from the wise is revealed to babes ?
father gerasim. Revealed to the meek, but not to the
proud.
Nicholas ivanovich. But who is proud ? I, who consider
myself a man like the rest of mankind, and one who
therefore must live like the rest by his own labour and
as poorly as his brother men, or those who consider them-
selves to be specially selected sacred people, knowing the
whole truth and incapable of error ; and who interpret
Christ's words their own way ?
father gerasim [offended] Pardon me, Nicholas Ivanovich,
I did not come here to argue which of us is right, nor to
receive an admonition, but I called, at Alexandra Ivanovna’s
request, to talk things over with you. But since you374 The Light Shines in Darkness
know everything better than I do, we had better end our
conversation. Only, once again, I must entreat you in
God’s name to come to your senses. You have gone
cruelly astray and are ruining yourself,
mary ivAnovna. Won't you have something to eat ?
father gerasim. No, I thank you. [Exit with Alexdndra
Ivdnovna].
mary ivanovna [to young Pnesi] And what now ?
priest. Well, in my opinion, Nicholas Ivdnovich spoke
the truth, and Father Gerasim produced no argument on
his side.
princess. He was not allowed to speak, and he did not
like having a kind of debate with everybody listening.
It was his modesty that made him withdraw.
boris. It wasn’t modesty at all. All he said was so
false. It was evident that he had nothing to say.
princess. Yes, with your usual instability I see that
you are beginning to agree with Nicholas Ivanovich about
everything. If you believe such things you ought not to
marry.
boris. I only say that truth is truth, and I can’t help
saying it.
princess. You of all people should not talk like that.
BORis. Why not ?
princess. Because you are poor, and have nothing to
give away. However, all this is not our business. [Exit,
followed by all except Nicholas Ivdnovich and Mary Ivdnovna\.
Nicholas ivanovich pondering, then smiles at his own
thoughts] Mary! What is all this for? Why did you
invite that wretched, erring man ? Why do those noisy
women and that priest come into our most intimate life ?
Can we not settle our own affairs ?
mary ivanovna. What am I to do, if you want to leave
the children penniless? That is what I cannot quietly
submit to. You know that I am not grasping, and that I
want nothing for myself.The Light Shines in Darkness 375
Nicholas ivanovich. I know, I know and believe it.
But the misfortune is that you do not trust the truth.
I know you see it, but you can't make up your mind to
rely on it. You rely neither on the truth nor on me.
Yet you trust the crowd—the Princess and the rest of
them.
mary ivanovna. I believe in you, I always did; but
when you want to let the children go begging . . .
Nicholas ivanovich. That means that you do not rely
on me. Do you think I have not struggled and have not
feared! But afterwards I became convinced that this
course is not only possible but obligatory, and that it is the
one thing necessary and good for the children themselves.
You always say that were it not for the children you
would follow me, but I say that if we had no children we
might live as we are doing; we should then only be
injuring ourselves, but now we are injuring them too.
mary ivanovna. But what am I to do, if I don't under-
stand ?
Nicholas ivanovich. And what am I to do? Don’t I
know why that wretched man—dressed up in his cassock
and wearing that cross—was sent for, and why Alexandra
Ivdnovna brought the Notary? You want me to hand
the estate over to you, but I can't. You know that I
have loved you all the twenty years we have lived
together. I love you and wish you well, and therefore
cannot sign away the estate to you. If I sign it away at
all, it can only be to give it back to those from whom it
has been taken—the peasants. And I can’t let things
remain as they are, but must give it to them. I’m glad
the Notary has come; and I will do it,
mary ivanovna. No, that is dreadful! Why this
cruelty ? Though you think it a sin, still give it to me.
[Weeps],
Nicholas ivanovich. You don't know what you are
saying. If I give it to you, I cannot go on living with376 The Light Shines in Darkness
you; I shall have to go away. I cannot continue to live
under these conditions. I shall not be able to look on while
the life-blood is squeezed out of the peasants and they
are imprisoned, in your name if not in mine. So choose!
mary ivanovna. How cruel you are! Is this Chris-
tianity ? It is harshness! I cannot, after all, live as you
want me to. I cannot rob my own children and give
everything away to other people; and that is why you
want to desert me. Well—do so ! I see you have ceased
loving me, and I even know why.
Nicholas ivanovich. Very well then—I will sign; but,
Mary, you demand the impossible of me. [Goes to writing-
table and d:g7w] You wished it, but I shall not be able to
go on living like this.
Curtain.ACT III
SCENE 1
The scene is laid in Moscow. A large room. In it a
carpenters bench; a table with papers on it; a book-cup-
board ; a looking-glass and pictures on the wall behind, with
some planks leaning in front of them. A Carpenter and
Nicholas Ivdnovich wearing a carpenter s apron are working
at the bench, planing.
Nicholas ivAnovich [takes a board from the vice] Is that
all right ?
carpenter [setting a plane] Not quite, you must do it
more boldly—like this.
Nicholas ivanovich. It is easy to say boldly, but I can't
manage it.
carpenter. But why should your honour trouble to
learn to be a carpenter? There are such a lot of us
nowadays that we can hardly get a living as it is.
Nicholas ivanovich [at work againJ I'm ashamed to
lead an idle life.
carpenter. Yours is that kind of position. God has
given you property.
Nicholas ivanovich. That's just where it is. I don't
believe that God gave it, but that some of us have taken
it, and taken it from our brother men.
carpenter [taken aback] That's so! But still you've
no need to do this.
Nicholas ivAnovich. I understand that it must seem
strange to you that while living in this house where
there is such superfluity, I should wish to earn something.
377378 The Light Shines in Darkness
carpenter [laughs] No. Everybody knows that gentle-
folk want to master everything. Well, now go over it again
with the smoothing plane.
Nicholas ivánovich. You won’t believe me and will
laugh, but still I must tell you that formerly I was not
ashamed to live in this way, but now that I believe in
Christ's law, which tells us we are all brothers—I am
ashamed to live so.
carpenter. If you are ashamed of it, give away your
property.
Nicholas ivánovich. I wanted to, but failed, and gave
it to my wife.
carpenter. But after all it would not be possible for
you to do it—you are too used to comforts.
[Voice outside the door\ Papa, may I come in ?
Nicholas ivánovich. You may, you always may.
Enter Lyuba.
lyúba. Good-day, Jacob!
carpenter. Good-day, Miss!
lyúba. Boris has gone to his regiment. I am afraid of
what he may do or say there. What do you thjnk ?
Nicholas ivánovich. What can I think? He will do
what is natural to him.
lyúba. It is awful. He has such a short time to serve1
and may go and ruin his whole life.
Nicholas ivánovich. He did well not to come to see
me. He understands that I can't say anything to him
but what he knows himself. He told me that he handed
in his resignation because he sees that not only is there
no more immoral, lawless, cruel and brutal occupation
than this one, the object of which is to kill, but also that
there is nothing more degrading and mean than to have
to submit implicitly to any man of higher rank who
happens to come along. He knows all that.
1 The period of compulsory service for a University graduate
would be short in any case.The Light Shines in Darkness 379
lyuba. That’s just why I am afraid. He knows that,
and may want to take some action.
Nicholas ivanovich. His conscience—the God that
dwells within him—will decide that. Had he come to
me I should have given him only one piece of advice :
not to do anything in which he is guided by his reason
alone—nothing is worse than that—but only to act when
his whole being demands it. Now I, for instance, wished
to act according to Christ's injunction: to leave father,
wife and children and to follow Him, and I left home*
but how did it end ? It ended by my coming back and
living with you in luxury in town. Because I was trying
to do more than I had strength for, I have landed myself
in this degrading and senseless position: I wish to live
simply and to work with my hands, but in these surround-
ings, with lackeys and porters, it seems a kind of affectation.
I see that, even now, Jacob Nikon6rych is laughing at me.
carpenter. Why should I laugh? You pay me, and
give me my tea. I am grateful to you.
LYijBA, I wonder if I had not better go to him.
Nicholas ivanovich. My dear, my darling, I know you
find it hard and are frightened, though you should not
be so. After all, I am a man who understands life.
Nothing evil can happen. All that appears evil really
makes one's heart more joyful; only understand that a
man who has started on that path will have to choose,
and it sometimes happens that God's side and the
Devil's weigh so equally that the scales oscillate, and it
is then that the great choice has to be made. At that
point any interference from outside is terribly dangerous
and tormenting. It is as though a man were making
such terrible efforts to draw a weight over a ridge that
the slightest touch would cause him to break his back.
ly^ba. Why should he suffer so ?
Nicholas ivanovich. That is as though a mother were
to ask why she should suffer. There can be no child-3 Bo The Light Shines in Darkness
birth without suffering, and it is the same in spiritual
life. One thing I can tell you. Boris is a true Christian,
and consequently is free, and if you cannot as yet be like
him, or believe in God as he does, then believe in God
through him.
mary ivanovna [behind door] May I come in ?
Nicholas ivanovich. You may always come in. What
a reception I'm having here to-day.
mary ivanovna. Our priest, Vasily Nikon6rovich, has
come. He is going to the Bishop, and has resigned his
living!
Nicholas ivanovich. Impossible!
mary ivanovna He is here! Lyiiba, go and call him !
He wants to see you. [Exit Lyuba], I had another
reason for coming. I want to speak to you about Vdnya.
He behaves abominably, and does his lesson so badly that
he can't possibly pass; and when I speak to him he is rude.
Nicholas ivanovich. Mary, you know I am out of
sympathy with the whole manner of life you are all
leading, and with the education you are giving to the
children. It is a terrible question for me, whether I have
a right to see them perishing before my very eyes . . .
mary ivAnovna. Then you should suggest something
else, something definite. But what do you offer ?
Nicholas ivanovich. I cannot say what. But can only
say that first we should get rid of all this depraving luxury.
mary ivanovna. So that they should become peasants!
I cannot agree to that.
Nicholas ivanovich. Then don't consult me. The
things that grieve you are natural and inevitable.
Enter Priest and Lyuba. The Priest and Nicholas Ivdnovich
kiss1 one another.
1 It is not unusual among Russians for men-friends to kiss one
another; but it is quite unusual for a man of position to kiss a
village priest who calls as a visitor—and it indicates great intimacy
or great emotion.The Light Shines in Darkness 381
Nicholas ivanovich. Is it possible that you have thrown
it all up ?
priest. I could stand it no longer.
Nicholas ivanovich. I did not expect it so soon.
priest. But it was really impossible. In our calling
we cannot be indifferent. We have to hear confessions,
and to administer the Sacrament, and when once one has
become convinced that it is all not true . . .
Nicholas ivanovich. Well, and what now?
priest. Now I am going to the Bishop to be questioned.
I am afraid he will exile me to the Solovetsk Monastery.
At one time I thought of asking you to help me to
escape abroad, but then I considered that it would seem
cowardly. Only, there is my wife !
Nicholas ivanovich. Where is she ?
priest. She has gone to her father's. My mother-in-
law came and took our boy away. That hurt me very
much. I should much like . . . [pauses, restraining ¡us
tears\
Nicholas ivanovich. Well, may God help you! Are
you staying with us ?
princess [running into the room\ There now, it has
happened. He has refused to serve, and has been put
under arrest. I have just been there but was not ad-
mitted. Nicholas Ivanovich, you must go.
lyuba. Has he refused ? How do you know ?
princess. I was there myself! Vasily Andreevich,
who is a Member of the Council, told me all about it.
Boris just walked in and told them he would serve no
longer, would take no oath, and in ^act said everything
Nicholas Ivanovich has taught him.
Nicholas ivanovich. Princess! Can such things be
taught ?
princess. I don't know. Only this is not Christianity I
What is your opinion, Father ?
priest. I am no longer “ Father.”382 The Light Shines in Darkness
princess. Well, all the same. However, you are also
one of them ! No, I cannot leave things in this state.
And what cursed Christianity it is that makes people
suffer and perish. I hate this Christianity of yours. It's
all right for you, who know you won’t be touched; but I
have only one son, and you have ruined him !
Nicholas ivanovich. Do be calm, Princess.
princess. Yes you, you have ruined him ! And having
ruined him, you must save him. Go and persuade him to
abandon all this nonsense. It’s all very well for rich
people, but not for us.
lyuba [crying] Papa, what can be done ?
Nicholas ivanovich. I will go. Perhaps I can be of
some use. [Takes off his apron],
princess [helping Mm on with his coat] They would not
let me in, but now we will go together and I shall get
my way. [Exeunt],
Curtain.
Scene 2.
A Government office, A Clerk is seated at a table, and a
Sentinel is pacing up and down. Enter a General with his
Adjutant The Clerk jumps up, the Sentinel presents arms.
general. Where is the Colonel ?
clerk. Gone to see that new conscript, Your Excel-
lency.
general. Ah, very well. Ask him to come here to me.
clerk. Yes, Your Excellency.
general. And what are you copying out ? Isn’t it the
conscript’s evidence?
clerk. Yes, sir, it is.
general. Give it here.The Light Shines in Darkness 383
The Clerk hands General the paper and exit. The General
hands it to his Adjutant
general. Please read it.
adjutant [sreading] “ These are my answers to the
questions put to me, namely: (1) Why I do not take
my oath. (2) Why I refuse to fulfil the demands of the
Government. (3) What induced me to use words offensive
not only to the army but also to the Highest Authorities.
In reply to the first question : I cannot take the oath
because I accept Christ's teaching, which directly and
clearly forbids taking oaths, as in St. Matthew's Gospel,
ch. 5 w. 33-37, and in the Epistle of St. James, ch. 5
v. 12.”
general. Of course he must be arguing! Putting his
own interpretations!
adjutant [goes on reading] a The Gospel says: i Swear
not at all, but let your yea be yea, and your nay, nay; and
what is more than these is of the evil one!' St. James's
Epistle says : ' Before all things, brethren, swear not by
the heavens nor by the earth, nor by any other oath ; but
let your yea be yea, and your nay, nay, that ye fall not
into temptation !9 But apart from the fact that the Bible
gives us such clear injunctions not to swear—or even if
it contained no such injunctions—I should still be unable
to swear to obey the will of men, because as a Christian I
must always obey the will of God, which does not always
coincide with the will of men.”
general. He must be arguing! If I had my way, there
would be none of this.
adjutant [reading] “ I refuse to fulfil the demands of
men calling themselves the Government, because . . .”
general. What insolence !
adjutant. “Because those demands are criminal and
wicked. They demand of me that I should enter the
army, and learn and prepare to commit murder, though
this is forbidden both in the Old and the New Testa-384 The Light Shines in Darkness
ments, and above all by my conscience. To the third
question . .
Enter Colonel followed by Clerk. The General shakes
hands with Colonel.
colonel* You are reading the evidence ?
general. Yes. Unpardonably insolent language. Well,
go on.
adjutant. " To the third question : What induced me
to use offensive words before the Court, my answer is :
that I was induced to do so by the wish to serve God,
and in order to expose the fraud carried on in His name.
This desire, I hope to retain till I die, and therefore . .
general. Come ; that's enough ; one can't listen to all
this balderdash. The fact is all this sort of thing must
be eradicated, and action taken to prevent the people
being perverted. \To Colonel] Have you spoken to him ?
colonel. I have been doing so all the time. I tried to
shame him, and also to convince him that it would only
be worse for himself, and that he would gain nothing by
it. Besides that, I spoke of his relations. He was very
excited, but Isolds to his opinions.
general. A pity you talked to him so much. We are
in the army not to reason, but to act. Call him here !
Exit Adjutant with Clerk.
general [sits down] No, Colonel, that's not the way.
Fellows of this kind must be dealt with in a different
manner. Decisive measures are needed to cut off the
diseased limb. One maggoty sheep infects the whole
flock. In these cases one must not be too squeamish.
His being a Prince, and having a mother and a fiancée, is
none of our business. We have a soldier before us and
we must obey the Tsar’s will.
colonel. I only thought that we could move him more
easily by persuasion.
general. Not at all—by firmness ; only by firmness ! I
have dealt with men of that sort before. He must beThe Light Shines in Darkness 385
made to feel that he is a nonentity—a grain of dust
beneath a chariot wheel, and that he cannot stop it.
colonel. Well, we can try !
general [getting irritable] No need to try! I don't
need to try! I have served the Tsar for forty-four years,
I have given and am giving my life to the service, and
now this fellow wants to teach me and wants to read
me theological lectures ! Let him take that to the Priest,
but to me—he is either a soldier or a prisoner.
That's all!
Enter Boris guarded by two Soldiers and followed by
Adjutant and Clerk.
general [pointing with a finger] Place him there.
borís. I need no placing. I shall stand or sit where I
like, for I do not recognise your authority.
general. Silence! You don't recognise authority? I
will make you recognise it.
Boris [site down on a stool] How wrong it is of you to
shout so !
general. Lift him, and make him stand!
Soldiers raise him.
borís. That you can do, and you can kill me ; but you
cannot make me submit . . .
general. Silence, I tell you. Hear what I have to say
to you.
borís. I don't in the least want to hear what you have
to say.
general. He is mad! He must be taken to the
hospital to be examined. That is the only thing to do.
colonel. The order was to send him to be examined
at the Gendarmes' office.
general. Well, then, send him there. Only put him
into uniform.
colonel. He resists.
general. Bind him. [To Boris] Please hear what I have
to say to you. I don’t care what happens to you, but for
2 B386 The Light Shines in Darkness
your own sake I advise you, bethink yourself. You will
rot in a fortress,, and not do any good to anyone. Give
it up. Well, you flared up a bit and I flared up.
kirn on the shoulder] Go, take the oath and give up all that
nonsense. [To Adjutant] Is the Priest here ? [To Boris]
Well? [Boris is silent] Why don't you answer? Really
you had better do as I say. You can't break a club with
a whip. You can keep your opinions, but serve your
time! We will not use force with you. Well?
BORis. I have nothing more to sayt I have said all 1
had to.
general. There, you see, you wrote that there are such
and such texts in the Gospels. Well, the Priest knows
all about that. Have a talk with the Priest, and then
think things over. That will be best. Good-bye, and I
hope “au re voir/' when I shall be able to congratulate
you on having entered the Tsar’s service. Send the
Priest here. [Exit, followed by Colonel and Adjutant].
BORis [To Clerk and Convoy Soldiers] There you see how
they deceive you. They know that they are deceiving
you. Don’t submit to them. Lay down your rifles and
go away. Let them put you into the Disciplinary
Battalions and flog you; it will not be as bad as it is to
serve such impostors.
clerk. But how could one get on without an army?
It’s impossible.
BORis. That is not for us to consider. We have to
consider what God demands of us; and God wants
us.
one of the soldiers. But how is it that they speak of
rt the Christian army ” ?
borIs. That is not said anywhere in the Bible. It’s
these impostors who invented it.
Enter a Gendarme Officer with Clerk.
gendarme officer. Is it here that the conscript, Prince
Cheremshanov, is being kept?The Light Shines in Darkness 387
clerk. Yes, sir. Here he is.
gendarme officer. Come here, please. Are you Prince
Boris Simenovich Cheremshanov, who refuses to take
the oath ?
boris. I am.
gendarme officer [s/Ay down and points to a seat
opposite] Please sit down.
boris. I think our conversation will be quite useless.
gendarme officer. I don’t think so. At any rate not
useless to you. You see it's like this. I am informed
that you refuse military service and the oath, and are
therefore suspected of belonging to the Revolutionary
Party, and that is what I have to investigate. If it is
true, we shall have to withdraw you from the service and
imprison you or banish you according to the share you
have taken in the revolution. If it is not true, we shall
leave you to the military authorities. You see I express
myself quite frankly to you, and I hope you will treat
us in the same way.
boris. In the first place I cannot trust men who wear
this sort of thing [pointing to the Gendarme Office?'7s uniform].
Secondly, your very occupation is one I cannot respect,
and for which I have the greatest aversion. But I do
not refuse to answer your questions. What do you wish
to know ?
gendarme officer. In the first place, tell me your name,
your calling, and your religion ?
BORis. You know all that and I will not reply. Only
one of the questions is of great importance to me. I am
not what is called an Orthodox Christian.
gendarme officer. What then is your religion ?
boris. I do not label it.
gendarme officer. But still ? . . .
boris. Well then, the Christian religion, according to
the Sermon on the Mount.
gendarme officer. Write it down [Clerk writes. To388 The Light Shines in Darkness
Boris] Still you recognise yourself as belonging to some
nationality or rank.
BORis. No, I don't. 1 recognise myself as a man, and
a servant of God.
gendarme officer. Why don't you consider yourself a
member of the Russian Empire ?
BORis. Because I do not recognise any empires.
gendarme officer. What do you mean by not recog-
nising ? Do you wish to overthrow them ?
boris. Certainly I wish it, and work for it.
gendarme officer [To Clerk] Put that down. [To Boris]
How do you work for it ?
boris. By exposing fraud and lies,, and by spreading
the truth. When you entered I was telling these
soldiers not to believe in the fraud into which they
have been drawn.
gendaaime officer. But beside this method of exposing
and persuading, do you approve of any others ?
borIs. No, I not only disapprove, but I consider all
violence to be a great sin ; and not only violence, but all
concealment and craftiness . . .
gendarme officer. Write that down. Very well. Now
kindly let me know whom you are acquainted with. Do
you know Ivashenko?
borIs. No.
gendarme officer. Klein ?
boris. I have heard of him, but never met him.
Enter Priest (an old man wearing a cross and carrying
a Bible). The Clerk goes up to him and receives his
blessing..
gendarme officer. Well, I think I may stop. I consider
that you are not dangerous, and not within our jurisdic-
tion. I wish you a speedy release. Good-day. [Presses
Boris's hand].
boris. One thing I should like to say to you. Forgive
me, but I can't help sayiiig it. Why have you chosenThe Light Shines in Darkness 389
this wicked, cruel profession ? I should advise you to
give it up.
gendarme officer [smiles] Thank you for your advice,
but I have my reasons. My respects to you. [To Priest]
Father, I relinquish my place to you [Exit with Clerk].
priest. How can you so grieve the authorities by re-
fusing to fulfil the duty of a Christian, to serve the Tsar
and your Fatherland ?
BORis [smiling] Just because I want to fulfil my duty as
a Christian, I do not wish to be a soldier.
priest. Why don't you wish it ? It is said that,
To lay down one's life for a friend ” is to be a true
Christian. . . .
boris. Yes, to “lay down one’s life,” but not to take
another man's. That is just what I want to do, to “ lay
down my life."
priest. You do not reason rightly, young man. John
the Baptist said to the soldiers . . .
boris [smiling] That only goes to prove that even in
those days the soldiers used to rob, and he told them
not to!
priest. Well, but why don't you wish to take your oath ?
boris. You know that the Gospels forbid it!
priest. Not at all. You know that when Pilate said :
“I adjure thee by the living God, art thou the Christ?’'
the Lord Jesus Christ answered “ I am." That proves
that oaths are not forbidden.
boris. Are not you ashamed to talk so ?	You—an
old man.
priest. Take my advice and don't be obstinate. You
and I cannot change the world. Just take your oath
and you'll be at ease. Leave it to the Church to know
what is a sin and what is not.
boris. Leave it to you ? Are you not afraid to take so
much sin upon yourself?
priest. What sin ? Having been brought up firmly390 The Light Shines in Darkness
in the faith, and having worked as a priest for thirty
years, I can have no sins on my shoulders.
boris. Whose then is the sin, when you deceive such
numbers of people ? What have these poor fellows got
in their heads ?	[Points to Sentinel].
priest. You and I, young man, will never settle that.
It is for us to obey those placed above us.
boris. Leave me alone! I am sorry for you and—I
confess—it disgusts me to listen to you. Now if you were
like that General—but you come here with a cross and the
Testament to persuade me in the name of Christ, to deny
Christ! Go [<excitedly]. Leave me—Go. Let me be
taken back to the cell that I may not see anyone, I am
tired, dreadfully tired!
priest. Well, if that is so, good-bye.
Enter Adjutant.
adjutant. Well?
priest. Great obstinacy, great insubordination.
adjutant. So he has refused to take the oath and to
serve ?
priest. On no account will he.
adjutant. Then he must be taken to the hospital.
priest. And reported as ill ? That no doubt would be
better, or his example may lead others astray.
adjutant. To be put under observation in the ward for
the mentally diseased. Those are my orders.
priest. Certainly. My respects to you. [Exit].
adjutant [approaches Boris] Come, please. My orders
are to conduct you--------
BORis. Where to?
adjutant. First of all to the hospital, where it will be
quieter for you, and where you will have time to think
things over.
BORis. Fve thought them over long ago. But let us
go! [Exeunt],
Curtain.The Light Shines in Darkness 391
Scene 8
Room in Hospital. Head Doctor, Assistant Doctor, an
Officer - Patient in a dressing - gown, and two Warders
wearing blouses.
patient. I tell you that you are only leading me to
perdition. I have already several times felt quite well.
head doctor. You must not get excited. I should be
glad to sign an order for you to leave the hospital, but
you know yourself that liberty is dangerous for you. If
I were sure that you would be looked after , . .
patient. You think I should take to drink again ? No,
I have had my lesson, but every extra day I spend here
only does me harm. You are doing [gets excited] the
opposite of what you ought to do. You are cruel. It's
all very well for you I
head doctor. Don’t get excited. [Makes a sign to
Warders ; who come up from behind].
patient. It's easy for you to argue, being at liberty ;
but how about us who are kept among madmen! [To
Warders] What are you after ? Be off!
head doctor. I beg of you to be calm.
patient. But I beg and I demand that you set me
free. [ Yells, and rushes at the Doctor, but the Warders seize
him. A struggle; after which he is taken out\.
assistant doctor. There! Now it has begun again.
He nearly got at you that time.
head doctor. Alcoholic . . . nothing can be done.
But there is some improvement.
Enter Adjutant.
adjutant. How d’you do.
head doctor. Good morning!
adjutant. I have brought you an interesting fellow, a392 The Light Shines in Darkness
certain Prince Cheremshanov, who has been conscripted,
but on religious grounds refuses to serve. He was sent
to the Gendarmes, but they say he does not come within
their jurisdiction, not being a political conspirator. The
Priest exhorted him, but also without effect.
head doctor \laughing\ And then as usual you bring
him to us, as the highest Court of Appeal. Well, let’s
have him.
Exit Assistant Doctor.
adjutant. He is said to be a highly educated young
man, and he is engaged to a rich girl. It’s extraordinary!
I really consider this is the right place for him!
head doctor. Yes, it's a mania.
Boris is brought in.
head doctor. Glad to see you. Please take a seat and
let’s have a chat. \To Adjutant] Please leave us. [Exit
BORfs. I should like to ask you, if possible, if you
mean to lock me up somewhere, to be so good as to do it
quickly and let me rest.
head doctor. Excuse me, we must keep the rules.
Only a few questions. What do you feel? What are
you suffering from ?
boris. Nothing. I am perfectly well.
head doctor. Yes, but you are not behaving like other
people.
boris. I am behaving as my conscience demands.
head doctor. Well, you see you have refused to per-
form your military service. On what grounds do you
do so ?
BORfs. I am a Christian, and therefore cannot commit
murder.
head doctor. But one must defend one’s country from
her foes, and keep those who want to destroy the social
order from evil-doing.
boris. No one is attacking our country ; and there areThe Light Shines in Darkness 393
more among the governors who destroy social order,
than there are among those whom they oppress.
head doctor. Yes ? But what do you mean by
that?
borìs. I mean this : the chief cause of evil—vódka—is
sold by the Government ; false and fraudulent religion is
also fostered by the Government ; and this military service
which they demand of me—and which is the chief means
of demoralising the people—is also demanded by the
Government.
head doctor. Then, in your opinion, Government and
the State are unnecessary.
borìs. That I don't know ; but I know for certain that
I must take no part in evil-doing.
head doctor. But what is to become of the world ? Is
not our reason given in order to enable us to look ahead.
boris. It is also given in order to enable us to see that
social order should not be maintained by violence, but by
goódness; and that one man’s refusal to participate in
evil cannot be at all dangerous.
head doctor. Well now, allow me to examine you a
bit. Will you have the goodness to lie down? [Begins
touching him] You feel no pain here?
BORIS. No.
head doctor. Nor here?
BORIS. No.
head doctor. Take a deep breath, please. Now don’t
breathe. Now allow me [takes out a measure and measures
forehead and nose]. Now be so good as to shut your eyes
and walk.
borìs. Are you not ashamed to do all this ?
head doctor. What do you mean ?
boris. All this nonsense? You know that I am quite
well and that I am sent here because I refuse to take
part in their evil deeds, and because they have no answer
to give to the truth I told them ; and that is why they394 The Light Shines in Darkness
pretend to think me mad. And you co-operate with
them. It is horrid and it is shameful. Don’t do it!
head doctor. Then you don't wish to walk ?
boris. No, I don't. You may torture me, but you must
do it yourself; I won't help you. [Hotly] Let me alone !
[The Doctor presses button of bell. Enter two Warders].
head doctor. Don't get excited. I quite understand
that your nerves are strained. Will you please go to
your ward ?
Enter Assistant Doctor.
assistant doctor. Some visitors have just come to see
Cheremshanov.
boris. Who are they ?
assistant doctor. Sar^ntsov and his daughter.
BORis. I should like to see them.
head doctor. There is no reason why you shouldn't.
Ask them in. You may see them here. [Exit, followed
by Assistant and Warders],
Enter Nicholas Ivdnovich and Lyuba. The Princess looks
in at the door and says> “ Go in, I'll come later."
lyuba [goes straight to Boris, takes his head in her hands
and kisses him] Poor Boris.
boris. No, don't pity me. I feci so well, so joyful, so
light. How d'you do. [Kisses Nicholas Ivanovich].
Nicholas ivanovich. I have come to say chiefly one
thing to you. First of all, in such affairs it is worse to
overdo it than not to do enough. And in this matter
you should do as is said in the Gospels, and not think
beforehand, “ I shall say this, or do that" :	When they
deliver you up, take no thought how or what ye shall
speak: for it is not ye that speak, but the Spirit of your
Father who speaketh in you." That is to say, do not act
because you have reasoned out beforehand that you should
do so and so, but act only when your whole being feels
that you cannot act otherwise.
borIs. I have done so. 1 did not think I should refuseThe Light Shines in Darkness 395
to serve; but when I saw all this fraud, those Mirrors of
Justice, those Documents, the Police and Officers smoking,
I	could not help saying what I did. I was frightened,
but only till I had begun, after that it was all so simple
and joyful.
Lyuba sits down and, cries.
Nicholas ivanovich. Above all, do nothing for the sake
of being praised, or to gain the approval of those whose
opinion you value. For myself I can say definitely, that
if you take the oath at once, and enter the service, I shall
love and esteem you not less but more than before;
because not the things that take place in the external
world are valuable, but that which goes on within the
soul.
Bonis. Of course, for what happens within the soul must
make a change in the outside world.
Nicholas ivanovich. Well, I have said my say. Your
mother is here. She is terribly upset. If you can do
what she asks, do it—that is what I wished to say to
you.
From the corridor outside hysterical weeping is heard. A
Lunatic rushes in, followed by Warders who drag him out again.
lyuba. How terrible 1 And you will be kept here ?
[Weeps].
boris. I am not afraid of it, I’m afraid of nothing
now! I feel so happy, the only thing I fear is what you
feel about it. Do help me; I am sure	you will!
lyuba. Can I be glad about it ?
Nicholas ivanovich. Not glad, that	is impossible.	I
myself am not glad. I suffer on his account and	would
gladly take his place, but though I suffer I yet know
that it is well.
lyuba. It may be well; but when will they set him
free ?
BORis. No one knows. I do not think of the future.
The present is so good, and you can make it still better.396 The Light Shines in Darkness
Enter the Princess, his mother.
princess. I can wait no longer ! [To Nicholas Ivd?im)ich]
Well, have you persuaded him ? Does he agree ? B6rya,
my darling, you understand, don’t you, what I suffer?
For thirty years I have lived but for you; rearing you,
rejoicing in you. And now when everything has been
done and is complete—you suddenly renounce everything.
Prison and disgrace! Oh no! Borya {
boris. Mamma ! Listen to me.
princess [to Nicholas Ivdnovich] Why do you say
nothing ? You have ruined him, it is for you to persuade
him. It’s all very well for you ! Lyuba, do speak to him !
lyuba. I cannot!
boris. Mamma, do understand that there are things that
are as impossible as flying; and I cannot serve in the army.
princess. You think that you can’t! Nonsense.
Everybody has served and does serve. You and Nicholas
Ivanovich have invented some new sort of Christianity
which is not Christianity, but a devilish doctrine to make
everybody suffer!
boris. As is said in the Gospels !
princess. Nothing of the kind, or if it is, then all the
same it is stupid. Darling, B6rya, have pity on me.
[Throws herself on his neck, weeps] My whole life has
been nothing but sorrow. There was but one ray of
joy, and you are turning it into torture. B6rya—have
pity on me !
boris. Mamma, this is terribly hard on me. But 1
cannot explain it to you.
princess. Come now, don’t refuse—say you will serve !
Nicholas ivanovich. Say you will think it over—and do
think it over.
boris. Very well then. But you too, Mamma, should
have pity on me. It is hard on me too. [Cries are again
heard from the corridor\ You know Im in a lunatic
asylum, and might really go mad.The Light Shines in Darkness 397
Enter Head Doctor.
head doctor. Madam, this may have very bad conse-
quences. Your son is in a highly excited condition. I
think we must put an end to this interview. You may
call on visiting days—Thursdays and Sundays. Please
come to see him before twelve o'clock.
princess. Very well, very well, I will go. B6rya, good-
bye ! Think it over. Have pity on me and meet me
next Thursday with good news !
Nicholas ivanovich [shaking hands with Boris] Think it
over with God's help, and as if you knew you were to die
to-morrow. Only so will you decide rightly. Good-bye,
BORis [approaching Lyvba] And what do you say to me ?
lyijba. 1 cannot lie ; and I do not understand why you
should torment yourself and everybody. I do not under-
stand—and can say nothing. [Goes out weeping. Exeunt
all except Boris].
boris [talone] Oh how hard it is! Oh, how hard, Lord
help me ! [Prays].
Enter Warders with dressing-go/vn.
warder. Please change.
Boris puts on dressing-gown.
Curtain,ACT IV
Scene 1
In Moscow a year later. A drawing room in the Sa?'yntsov’s
town house is prepared for a dance. Footmen are arranging
plants round the grand piano. Enter Mary Ivdnovna in an
elegant silk dress, with Alexdndra Ivdnovna.
mary ivAnovna. A ball ? No, only a dance! A
“ Juvenile Party" as they once used to say. My children
took part in the Theatricals at the Makofs, and have
been asked to dances everywhere, so I must return the
invitations.
alexandra ivAnovna. I am afraid Nicholas does not
like it.
mary ivAnovna. I can't help it. [To Footmen] Put it
here! [To Alexdndra Ivdnovna] God knows how glad I
should be not to cause him unpleasantness. But I think
he has become much less exacting.
alexAndra ivAnovna. No, no! Only he does not show
it so much. I saw how upset he was when he went off
to his own room after dinner.
mary ivAnovna. What can I do? After all, people
must live. We have seven children, and if they find no
amusement at home, heaven knows what they may be up
to. Anyhow I am quite happy about Lyiiba now.
alexAndra ivAnovna. Has he proposed, then ?
mary ivAnovna. As good as proposed. He has spoken
to her, and she has said, Yes !
alexAndra ivAnovna, That again will be a terrible
blow to Nicholas.
398The Light Shines in Darkness 399
mary ivanovna. Oh, he knows. He can't help knowing.
alexandra ivanovna. He does not like him.
mary ivanovna [¿o the Footmen] Put the fruit on the
side-board. Like whom ? Alexander Mikaylovich ? Of
course not; because he is a living negation of all
Nicholas's pet theories. A nice pleasant kindly man of
the world. But oh ! That terrible night-mare—that affair
of Boris Cheremshanov's. What has happened to him ?
alexandra ivanovna. Lisa has been to see him. He is
still there. She says he has grown terribly thin, and the
Doctors fear for his life or his reason.
mary ivanovna. Yes, he is one of the terrible sacrifices
caused by Nicholas's ideas. Why need he have been
ruined ? I never wished it.
Enter Pianist.
mary ivanovna [to Pianist] Have you come to play ?
pianist. Yes, I am the pianist.
mary ivanovna. Please take a seat and wait a little.
Won't you have a cup of tea ?
pianist [goes to piano] No, thank you!
mary ivanovna. I never wished it. I liked B6rya, but
still he was not a suitable match for Lyiiba—especially'after
he let himself be carried away by Nicholas Iv&novich’sideas.
alexandra ivAnovna. But still, the strength of his con-
victions is astonishing. See what he endures I They
tell him that as long as he persists in refusing to serve,
he will either remain where he is or be sent to the
fortress; but his reply is always the same. And yet
Lisa says he is full of joy and even merry!
mary ivanovna. Fanatic! But here comes Alexander
Mikaylovich!
Enter Alexander Mikdylovick Stark&vsky,1 an elegant man in
evening dress.
1	Alexander in his Christian name, Mikaylovich (= son of Michael)
is his patronymic, and Starkdvsky in his surname which is seldom
used in ordinary social life.400 The Light Shines in Darkness
starkôvsky. I am afraid I have come too soon. [Kisses
the hands of both ladies].
mary ivanovna. So much the better.
starkôvsky. And Lyubôv Nikolàyevna ?1 She proposed
to dance a great deal so as to make up for the time she
has lost, and I have undertaken to help her.
mary ivanovna. She is sorting favours for the cotillion.
starkôvsky. I will go and help her, if I may ?
mary ivanovna. Certainly.
As Starkôvsky is going out he meets Lyuba in evening, but
not low-necked, dress carrying a cushion with stars and
ribbons.
lyùba. Ah ! here you are. Good ! Now you can help
me. There are three more cushions in the drawing-room.
Go and fetch them all.
starkôvsky. I fly to do so !
mary ivanovna. Now, Lyuba ; friends are coming, and
they will be sure to hint and ask questions. May we
announce it ?
LYtrBA. No, Mamma, no. Why ? Let them ask ! Papa
will not like it,
mary ivanovna. But he knows or guesses ; and he will
have to be told sooner or later. I think it would be
better to announce it to-day. Why, C’est le secret de la
comédie.2
Lyuba. No, no, Mamma, please don't. It would spoil our
whole evening, No, no, you must not.
mary ivanovna. Well, as you please.
lyuba. All right then : after the dance, just before
supper,
Enter Starkôvsky.
lyùba. Well, have you got them?
1	Lyubov NikoUvna ( = Love daughter of Nicholas) is the cour-
teous way of naming Lyûba. The latter is a pet name.
2	It is only a comedy secret.The Light Shines in Darkness 401
mary ivanovna. I’ll go and have a look at the little
'ones. [Exit with Alexândra Ivâ?iovna].
starkôvsky [carrying three cushions, which he steadies with
his chin, and dropping things on the way] Don't trouble,
Lyiibov Nikolayevna, I'll pick them up. Well, you have
prepared a lot of favours. If only I can manage to lead
the dance properly ! Vanya, come along.
vanya [bringing more favours] This is the whole lot.
Lyûba, Alexander Mikâylovich and I have a bet on, which
of us will win the most favours.
starkôvsky. It will be easy for you, for you know every-
body here, and will gain them easily, while I shall have to
charm the young ladies first before winning anything. It
means that I am giving you a start of forty points.
vanya. But then you are a fiancé, and I am a
boy.
starkôvsky. Well n 9, I am not a fiancé yet, and I am
worse than a boy.
lyôba. Vanya, please go to my room and fetch the gum
and the pin-cushion from the what-not. Only for good-
ness’ sake don’t break anything.
vAnya. I'll break everything ! [Runs off].
starkôvsky [takes Lyuba's hand] Lyuba, may I ? I am so
happy. [Kisses her hand\ The mazurka is mine, but that
is not enough. One can't say much in a mazurka, and I
must speak. May I wire to my people that I have been
accepted and am happy ?
lyôba. Yes, to-night.
starkôvsky. One word more : how will Nicholas
Ivanovich take it ? Have you told him ? Yes ?
lyüba. No, I haven't ; but I will. He will take it as
he now takes everything that concerns the family. He
will say, “ Do as you think best." But he will be grieved
at heart.
starkôvsky. Because I am not Cheremshânov ? Because
I am a Maréchal de la Noblesse ?
2	c402 The Light Shines in Darkness
lyuba. Yes. But I have struggled with myself and
deceived myself for his sake; and it is not because I love
him less that I am now doing not what he wants, but it is
because I can't lie. He himself says so. I do so want
to live !
stark6vsky. And life is the only truth! Well, and
what of Cheremshanov ?
lyuba [excitedly] Don’t speak of him to me ! I wish to
blame him, to blame him whilst he is suffering; and I
know it is because I feel guilty towards him. All I know
is that I feel there is a kind of love—and I think a more
real love than I ever felt for him.
starkcSvsky. Lyiiba, is that true ?
lyuba. You wish me to say that I love you with that
real love—but I won't say it. I do love you with a
different kind of love; but it is not the real thing either!
Neither the one nor the other is the real thing—if only
they could be mixed together!
stark6vsky. No, no, I am satisfied with mine.
her han<£] Lyuba!
lyuba [pushes him away] No, let us sort these things.
They are beginning to arrive.
Enter Princess with T6nya and a little girl.
lyuba. Mamma will be here in a moment.
princess. Are we the first ?
stark6vsky. Some one must be! I have suggested
making a gutta-percha dummy to be the first arrival!
Enter Styopa, also Vdnya carrying the gum and pin-cuskion.
sty6pa. I expected to see you at the Italian opera last
night.
t6nya. We were at my Aunt’s, sewing for the charity-
bazaar.
Enter Students, Ladies, Mary Ivdnovna and a Countess.
countess. Shan't we see Nicholas Ivanovich ?
mary ivanovna. No, he never leaves his study to come
to our gathering.The Light Shines in Darkness 403
stark6vsky. Quadrille, please !	[Claps his hands. The
dancers take their places and dance\.
alexandra ivanovna [approaches Mary lvdnovna\ He is
terribly agitated. He has been to see Boris, and he came
back and saw there was a ball, and now he wants to go
away! I went up to his door and overheard him talking
to Alexander Petr6vich.
mary ivAnovna. Well ?
stark6vsky. Rond des dames. Les cavaliers en avant!1
alexandra ivanovna. He has made up his mind that it
is impossible for him to live so, and he is going away.
mary ivanovna. What a torment the man is 1 \_Eodt\.
Curtain.
Scene 2
Nicholas Ivdnomch’s room. The dance music is heard in
the distance. Nicholas Ivdnovich has an overcoat on. He
puts a letter on the table. Alexander Petrovich, dressed in
ragged clothes, is with him.
alexander petr6vich. Don’t worry, we can reach the
Caucasus without spending a penny, and there you can
settle down.
Nicholas ivanovich. We will go by rail as far as Ttila,
and from thence on foot. Well, I’m ready. [Puts letter
in the middle of the table, and goes to the door, where he
meets Mary Ivdnovna] Oh ! Why have you come here ?
mary ivanovna. Why indeed ? To prevent your doing
a cruel thing. What's all this for ? Why d'you do it ?
Nicholas ivanovich. Why ? Because I cannot continue
1 Sfcarkovsky, directing the dance, says: “ Ladies form a circle.
Gentlemen advance I ”404 The Light Shines in Darkness
living like this. I cannot endure this terrible, depraved
life.
mary Ivanovna. It is awful. My life—which I give
wholly to you and the children—has all of a sudden
become “ depraved.” [Sees Alexander Petrovich] Renvoyez
au moins cet homme. Je ne veux pas quil soit témoin de cette
conversation.1
alexander petr6vich. Comprenez.	Toujours moi partez,2
Nicholas Ivanovich. Wait for me out there, Alexander
Petrôvich, I'll come in a minute^
Exit Alexander Petrôvich.
mary Ivanovna. And what can you have in common
with such a man as that ? Why is he nearer to you than
your own wife ? It is incomprehensible ! And where
are you going ?
Nicholas ivanovich. I have left a letter for you. I did
not want to speak ; it is too hard ; but if you wish it, I
will try to say it quietly.
mary ivAnovna. No, I don't understand. Why do you
hate and torture your wife, who has given up everything
for you ? Tell me, have I been going to balls, or gone
in for dress, or flirted ? My whole life has been devoted
to the family. I nursed them all myself ; I brought them
up, and this last year the whole weight of their education,
and the managing our affairs, has fallen on me. . . .
Nicholas ivAnovich [interrupting] But all this weight
falls on you, because you do not wish to live as I pro-
posed.
mary ivAnovna. But that was impossible ! Ask anyone !
It was impossible to let the children grow up illiterate,
as you wished them to do, and for me to do the washing
and cooking.
1 At least send that man away. I don’t wish him to be a witness
of our conversation.
Alexander Petrdvich replies in very bad French : “ I understand I
I am always to go away 1 ”The Light Shines in Darkness 405
Nicholas ivanovich. I never wanted that!
mary ivanovna. Well, anyhow it was something of that
kind! No, you are a Christian, you wish to do good,
and you say you love men; then why do you torture the
woman who has devoted her whole life to you ?
Nicholas ivanovich. How do I torture you ? I love
you, but . . .
mary ivanovna. But is it not torturing me to leave me
and to go away ? What will everybody say ? One of two
things, either that I am a bad woman, or that you are
mad.
Nicholas ivanovich. Well, let us say I am mad; but
I can't live like this.
mary ivanovna. But what is there so terrible in it,
even if once in a winter (and only once, because I feared
you would not like it) I do give a party—and even then
a very simple one, only ask Manya and Barbara Vasilyevna !
Everybody said I could not do less—and that it was
absolutely necessary. And now it seems even a crime,
for which I shall have to suffer disgrace. And not only
disgrace. The worst of all is that you no longer love
me! You love everyone else—the whole world, includ-
ing that drunken Alexander Petr6vich—but I still love
you and cannot live without you. Why do you do it ?
Why ?	[ Weeps].
Nicholas ivanovich. But you don't even wish to under-
stand my life ; my spiritual life.
mary ivanovna. I do wish to understand it, but I can't.
I see that your Christianity has made you hate your
family and hate me; but I don't understand why!
Nicholas ivanovich. You see the others do understand!
mary ivanovna. Who ? Alexander Petr6vich, who gets
money out of you ?
Nicholas ivanovich. He and others: T6nya and Vasily
Nikon6rovich. But even if nobody understood it, that
would make no difference*406 The Light Shines in Darkness
mary ivanovna. Vasily Nikonorovich has repented, and
has got his living back, and T6nya is at this very moment
dancing and flirting with Sty6pa.
Nicholas ivanovich. I am sorry to hear it, but it does not
turn black into white, and it cannot change my life.
Mary ! You do not need me. Let me go ! I have tried
to share your life and to bring into it what for me
constitutes the whole of life; but it is impossible. It
only results in torturing myself and you. I not only
torment myself, but spoil the work I try to accomplish.
Everybody, including that very Alexander Petr6vich, has
the right to tell me that I am a hypocrite; that I talk
but do not act! That I preach the Gospel of poverty
while I live in luxury, pretending that I have given up
everything to my wife!
mary ivanovna. So you are ashamed of what people
say ? Really, can’t you rise above that ?
Nicholas ivanovich. It’s not that I am ashamed (though
I am ashamed), but that I am spoiling God’s work.
mary ivanovna. You yourself often say that it fulfils
itself despite man’s opposition; but that’s not the point.
Tell me, what do you want of me ?
Nicholas ivanovich. Haven’t I told you ?
mary ivanovna. But, Nicholas, you know that that is
impossible. Only think, Lyuba is now getting married ;
Vanya is entering the university; Missy and Katya are
studying. How can I break all that off?
Nicholas ivanovich. Then what am I to do ?
mary ivanovna. Do as you say one should do: have
patience, love. Is it too hard for you ? Only bear with
us and do not take yourself from us! Come, what is it
that torments you ?
Enter Vdnya running.
vanya. Mamma, they are calling you !
mary ivAnovna. Tell them I can't come. Go, go!
vanya. Do come 1 [He runs off\tThe Light Shines in Darkness 407
Nicholas ivanovich. You don't wish to see eye to eye
—nor to understand me.
mary ivanovna. It is not that I don't wish to, but that
I can't.
Nicholas ivanovich. No, you don't wish to, and we
drift further and further apart. Only enter into my
feelings; put yourself for a moment in my place, and you
will understand. First, the whole life here is thoroughly
depraved. You are vexed with the expression, but I can
give no other name to a life built wholly on robbery; for
the money you live on is taken from the land you have
stolen from the peasants. Moreover, I see that this life
is demoralising the children: te Whoso shall cause one of
these little ones to stumble," and I see how they are
perishing and becoming depraved before my very eyes.
I cannot bear it when grown-up men dressed up in
swallow-tail coats serve us as if they were slaves. Every
dinner we have is a torture to me.
mary ivanovna. But all this was so before. Is it not
done by everyone—both here and abroad ?
Nicholas ivanovich. But I can't do it. Since I realised
that we are all brothers, I cannot see it without suffering.
mary ivanovna. That is as you please. One can invent
anything.
Nicholas ivanovich [hotly] It’s just this want of under-
standing that is so terrible. Take for instance to-day!
I spent this morning at Rzhanov’s lodging-house, among
the outcasts there; and I saw an infant literally die of
hunger; a boy suffering from alcoholism; and a con-
sumptive charwoman rinsing clothes outside in the cold.
Then I returned home, and a footman with a white tie
opens the door for me. I see my son—a mere lad—
ordering that footman to fetch him some water; and I
see the army of servants who work for us. Then I go to
visit Boris—a man who is sacrificing his life for truth’s sake.
I see how he, a pure, strong, resolute man, is deliberately408	The Light Shines in Darkness
being goaded to lunacy and to destruction, that the Govern-
ment may be rid of him ! I know, and they know, that
his heart is weak, and so they provoke him, and drag him
to a ward for raving lunatics, It is too dreadful, too
dreadful. And when I come home, I hear that the one
member of our family who understood—not me but the
truth—has thrown over both her betrothed to whom
she had promised her love, and the truth, and is going to
marry a lackey, a liar . . .
mary ivanovna. How very Christian !
Nicholas ivanovich. Yes, it is wrong of me, and I am to
blame, but I only want you to put yourself in my place.
I mean to say that she has turned from the truth . . .
mary ivanovna. You say, “from the truth"; but other
people—the majority—say from “an error." You see
Vasily Nikon6rovich once thought he was in error, but
now has come back to the Church.
Nicholas ivanovich. That’s impossible------
mary ivanovna. He has written to Lisa! She will show
you the letter. That sort of conversion is very unstable.
So also in T6nya’s case; I won’t even speak of that
fellow Alexander Petr6vich, who simply considers it
profitable !
Nicholas ivanovich [,getting angry] Well, no matter, I
only ask you to understand me. I still consider that
truth is truth ! All this hurts me very much. And here
at home I see a Christmas-tree, a ball, and hundreds of
roubles being spent while men are dying of hunger. I
cannot live so. Have pity on me, I am worried to death.
Let me go ! Good-bye.
mary ivanovna. Ifyou go, I will go with you. Or if not
with you, I will throw myself under the train you leave
by; and let them all go to perdition—and Missy and Katya
too. Oh my God, my God. What torture! Why ?
What for ?	[ Weeps],
Nicholas ivanovich [at the door] Alexander Petr6vich,The Light Shines in Darkness 409
go home! I am not going. [To his wife] Very well, I
will stay. [Takes off his overcoat].
mary ivanovna [embracing hirn\ We have not much
longer to live. Don't let us spoil everything after
twenty-eight years of life together. Well, I'll give no
more parties ; but do not punish me so.
Enter Vdnya and Kdtya running.
vanya and katya. Mamma, be quick—come.
mary ivanovna. Coming, coming. So let us forgive
one another ! [Exit with Kdtya and Vdnya].
Nicholas ivanovich. A child, a regular child; or a cunning
woman ? No, a cunning child. Yes, yes. It seems Thou
dost not wish me to be Thy servant in this Thy work.
Thou wishest me to be humiliated, so that everyone may
point his finger at me and say,ff He preaches, but he does
not perform.” Well, let them! Thou knowest best
what Thou requirest: submission, humility! Ah, if I
could but rise to that height!
Enter Lisa.
lisa. Excuse me. I have brought you a letter from
Vasily Nikon6rovich. It is addressed to me, but he asks
me to tell you.
Nicholas ivanovich. Can it be really true ?
lisa. Yes. Shall I read it?
Nicholas ivanovich. Please do.
lisa [reading] (i I write to beg you to communicate this
to Nicholas Iv&novich. I greatly regret the error which
led me openly to stray from the Holy Orthodox Church,
to which I rejoice to have now returned. I hope you and
Nicholas Ivanovich will follow the same path. Please
forgive me! ”
Nicholas ivanovich. They have tortured him into this,
poor fellow. But still it is terrible.
lisa. I also came to tell you that the Princess is here.
She came upstairs to me in a dreadfully excited state
and is determined to see you. She has just been to see410	The Light Shines in Darkness
Boris.	I think you had better not see her.	What good
can it do for her to see you ?
Nicholas ivanovich. No. Call her in. Evidently this
is fated to be a day of dreadful torture.
lisa.	Then I'll go and call her. [Exit],
Nicholas ivanovich [alone] Yes—could I but remember
that life consists only in serving Thee ; and that if Thou
sendest a trial, it is because Thou holdest me capable of
enduring it, and knowest that my strength is equal to it:
else it would not be a trial. . . . Father, help me—help
me to do Thy will.
Enter Princess.
princess. You receive me ? You do me that honour ?
My respects to you. I don't give you my hand, for I hate
you and despise you.
Nicholas ivanovich. What has happened ?
princess. Just this, that they are moving him to the
Disciplinary Battalion; and it is you who are the cause
of it.
Nicholas ivanovich. Princess, if you want anything,
tell me what it is; but if you have come here merely to
abuse me, you only injure yourself. You cannot offend
me, for with my whole heart I sympathise with you and
pity you !
princess. What charity! What exalted Christianity!
No, Mr. Saryntsov, you cannot deceive me! We know
you now. You have ruined my son, but you don't care;
and you go giving balls; and your daughter—my son's
betrothed—is to be married and make a good match, that
you approve of; while you pretend to lead a simple life,
and go carpentering. How repulsive you are to me,
with your new-fangled Pharisaism.
Nicholas ivanovich. Don't excite yourself so, Princess.
Tell me what you have come for—surely it was not
simply to scold me ?
princess. Yes, that too! I must find vent for all thisThe Light Shines in Darkness 411
accumulated pain. But what I want is this:	He	is
oeing removed to the Disciplinary Battalion, and I
cannot bear it. It is you who have done it. You!
You! You!
Nicholas ivanovich. Not I, but God. And God knows
how sorry I am for you. Do not resist this will. He
wants to test you. Bear the trial meekly.
princess. I cannot bear it meekly. My whole life was
wrapped up in my son ; and you have taken him from
me and ruined him. I cannot be calm. I have come to
you—it is my last attempt to tell you that you have
ruined him and that it is for you to save him. Go and
prevail on them to set him free. Go and see the
Governor-General, the Emperor, or whom you please.
It is your duty to do it. If you don't do it, I know what
I shall do. You will have to answer to me for it!
Nicholas ivanovich. Teach me what to do. I am
ready to do anything.
princess. I again repeat it—you must save him ! If
you do not—beware ! Good-bye. [Exit].
Nicholas Ivdnovich (alone). Lies down on sofa. Silence.
The door opens and the dance music sounds louder. Enter
Styopa.
sty6pa. Papa is not here, come in !
Enter the adults and the children, dancing in couples.
lyuba [noticing Nicholas Ivdnovich] Ah, you are here.
Excuse us.
Nicholas ivanovich [rising] Never mind. [Exit dancing
couples].
Nicholas ivanovich. Vasily Nikon6rovich has recanted.
I have ruined Boris. Lyiiba is getting married. Can it
be that I have been mistaken? Mistaken in believing
in Thee ? No ! Father help me!
Curtain.412 The Light Shines in Darkness
Tolstoy left the following notes for a fifth act which
was never written.
ACT V
Disciplinary Battalion. A cell. Prisoners sitting and
lying. Boris is reading the Gospel and explaining it.
A man who has been flogged is brought in. ff Ah, if
there were but a Pugachev1 to revenge us on such as
you.” The Princess bursts in, but is turned out. Con-
flict with an officer. Prisoners led to prayers. Boris
sent to the Penitentiary Cell: “He shall be flogged !”
Scene changes.
The Tsar's Cabinet. Cigarettes ; jokes; caresses. The
Princess is announced. “ Let her wait.” Enter peti-
tioners, flattery, then the Princess. Her request is
refused. Exit.
Scene changes.
Mary Ivdnovna talks about illness with the doctor.
<fHe has changed, has become more gentle, but is dis-
pirited.” Enter Nicholas Ivdnovich and speaks to Doctor
about the uselessness of treatment. But for his wife's
sake he agrees to it. Enter T6nya with Sty6pa. Lyiiba
with Stark6vsky. Conversation about land. Nicholas
Ivdnovich tries not to offend them. Exeunt all. Nicholas
Ivdnovich with Lisa. ff I am always in doubt whether I
have done right. I have accomplished nothing. Boris
has perished, Vasily Nikon6rovich has recanted. I set
an example of weakness. Evidently God does not wish
me to be his servant. He has many other servants—and
1 Pugachev was the leader of a formidable rebellion in Russia in
the eighteenth century.The Light Shines in Darkness 413
can accomplish his will without me, and he who realises
this is at peace/' Exit Lisa. He prays. The Princess
rushes in and shoots him. Everybody comes running into
the room. He says he did it himself by accident. He
writes a petition to the Emperor. Enter Vasily Nikon6-
rovich with Doukhobors.1 Dies rejoicing that the fraud
of the Church is exposed, and that he has understood the
meaning of his life.
This play was begun in the *eighties, and continued in
1900 and 1902.
1 Tolstoy did not fully realise the facts (described in A Peculiar
People's of the Doukhobors’ submission to their leader, or of their
belief in him as an incarnation of the Deity. In fact, when he wrote
this play, Tolstoy regarded the Doukhobors as a type of what all
Christians should be.
END OF “THE LIGHT SHINES IN DARKNESS.”
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