by Leo Tolstoy
NIKÍTA (crossing himself). True enough! What was I about?
[Throws down the rope.
MÍTRITCH. What?
NIKÍTA (rises). You tell me not to fear men?
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 difference 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 II
Interior of hut, full of people, some sitting round tables and others standing. In the front corner AKOULÍNA and the BRIDEGROOM. On one of the tables an Icon and a loaf of rye-bread. Among the visitors are MARÍNA, her husband, and a POLICE OFFICER, also a HIRED DRIVER, the MATCHMAKER, and the BEST MAN. The women are singing. ANÍSYA carries round the drink. The singing stops.
THE DRIVER. If we are to go, let's go! The church ain't so near.
THE BEST MAN. All right; you wait a bit till the step-father has given his blessing. But where is he?
ANÍSYA. He is coming--coming at once, dear friends! Have another glass, all of you; don't refuse!
THE MATCHMAKER. Why is he so long? We've been waiting such a time!
ANÍSYA. He's coming; coming directly, coming in no time! He'll be here before one could plait a girl's hair who's had her hair cropped! Drink, friends! (Offers the drink.) Coming at once! Sing again, my pets, meanwhile!
THE DRIVER. They've sung all their songs, waiting here!
[The women sing. NIKÍTA and AKÍM enter during the singing.
NIKÍTA (holds his father's arm and pushes him in before him). Go, father; I can't do without you!
AKÍM. I don't like--I mean what d'ye call it....
NIKÍTA (to the women). Enough! Be quiet! (Looks round the hut.) Marína, are you there?
THE MATCHMAKER. Go, take the icón, and give them your blessing!
NIKÍTA. Wait a while! (Looks round.) Akoulína, are you there?
MATCHMAKER. What are you calling everybody for? Where should she be? How queer he seems!
ANÍSYA. Gracious goodness! Why, he's barefoot!
NIKÍTA. Father, you are here! Look at me! Christian Commune, you are all here, and I am here! I am....
[Falls on his knees.
ANÍSYA. Nikíta, darling, what's the matter with you? Oh, my head, my head!
MATCHMAKER. Here's a go!
MATRYÓNA. 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.
NIKÍTA. Christian Commune! I have sinned, and I wish to confess!
MATRYÓNA (shakes him by the shoulder). Are you mad? Dear friends, he's gone crazy! He must be taken away!
NIKÍTA (shakes her off). Leave me alone! And you, father, hear me! And first, Marína, 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.
ANÍSYA. And what are you drivelling about? It's not becoming! No one wants to know! Get up! It's like your impudence!
MATRYÓNA. Oh, oh, he's bewitched! And however did it happen? It's a spell! Get up! what nonsense are you jabbering?
[Pulls him.
NIKÍTA (shakes his head). Don't touch me! Forgive me my sin towards you, Marína! Forgive me, for Christ's sake!
[MARÍNA 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!
NIKÍTA (pushes his wife away and turns to AKOULÍNA). Akoulína, now I'll speak to you! Listen, Christian Commune! I'm a fiend, Akoulína! 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 seize him.
AKÍM (motions them back with his arms). Wait! You lads, what d'ye call it, wait, I mean!
NIKÍTA. Akoulína, 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 buttons--I mean, you wait! Let him, what d'ye call it, speak out, I mean!
POLICE OFFICER. Mind, old man, and don't interfere! I have to draw up an indictment!
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!
AKÍM. Let God's work be done, I mean, and then you. I mean you, do your business!
NIKÍTA. And, Akoulína, my sin is great towards you; I seduced you; forgive me in Christ's name!
[Bows to the ground before her.
AKOULÍNA (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.
NIKÍTA. Wait, sir, let me finish!
AKÍM (with rapture). Speak, my son! Tell everything--you'll feel better! Confess to God, don't fear men! God--God! It is He!
NIKÍTA. 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!
AKOULÍNA. True, that's true!
NIKÍTA. 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!
AKOULÍNA. He raves! I told him to!
NIKÍTA. 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.
NIKÍTA. Wait, there's plenty of time! (Bows to the ground before his father.) Father, dear father, forgive me too,--fiend that I am! You told me from the first, when I took to bad ways, you said then, "If a claw 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!
AKÍM (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!
[Enter ELDER.
ELDER. There are witnesses enough here.
POLICE OFFICER. We will have the examination at once.
[NIKÍTA is bound.
AKOULÍNA. (goes and stands by his side). I shall tell the truth! Ask me!
NIKÍTA (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
FOOTNOTES FOR THE POWER OF DARKNESS
1. It is customary to place a dying person under the icón. One or more icóns hang in the hut of each Orthodox peasant.
2. 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.
3. A formal request for forgiveness is customary among Russians, but it is often no mere formality. Nikíta's first reply is evasive; his second reply, "God will forgive you," is the correct one sanctioned by custom.
4. Loud public wailing of this kind is customary, and considered indispensable, among the peasants.
5. Where not otherwise mentioned in the stage directions, it is always the winter half of the hut that is referre
d to as "the hut." The summer half is not heated, and not used in winter under ordinary circumstances.
6. The Foundlings' Hospital in Moscow, where 80 to 90 percent of the children die.
7. Nan calls Mítritch "daddy" merely as a term of endearment.
8. Probably Kurds
9. This refers to the songs customary at the wedding of Russian peasants, praising the bride and bridegroom.
10. It is etiquette for a bride to bewail the approaching loss of her maidenhood.
END OF THE POWER OF DARKNESS * * * * *
FRUITS OF CULTURE
CHARACTERS
LEONÍD FYÓDORITCH ZVEZDÍNTSEF. A retired Lieutenant of the Horse Guards. Owner of more than 60,000 acres of land in various provinces. A fresh-looking, bland, agreeable gentleman of 60. Believes in Spiritualism, and likes to astonish people with his wonderful stories.
ANNA PÁVLOVNA ZVEZDÍNTSEVA. Wife of Leoníd. 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.
VASÍLY LEONÍDITCH ZVEZDÍNTSEF. Their son, aged 25; has studied law, but has no definite occupation. Member of the Cycling Club, Jockey Club, and of the Society for Promoting the Breeding of Hounds. Enjoys perfect health, and has imperturbable self-assurance. Speaks loud and abruptly. Is either perfectly serious--almost morose, or is noisily gay and laughs loud. Is nicknamed Vovo.
ALEXÉY VLADÍMIROVITCH KROUGOSVÉTLOF. A professor and scientist of about 50, with quiet and pleasantly self-possessed manners, and quiet, deliberate, harmonious speech. Likes to talk. Is mildly disdainful of those who do not agree with him. Smokes much. Is lean and active.
THE DOCTOR. About 40. Healthy, fat, red-faced, loud-voiced, and rough; with a self-satisfied smile constantly on his lips.
MÁRYA KONSTANTÍNOVNA. A girl of 20, from the Conservatoire, teacher of music. Wears a fringe, and is super-fashionably dressed. Obsequious, and gets easily confused.
PETRÍSTCHEF. About 28; has taken his degree in philology, and is looking out for a position. Member of the same clubs as Vasíly Leoníditch, and also of the Society for the Organisation of Calico Balls. [1] Is bald-headed, quick in movement and speech, and very polite.
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 loud.
THE FAT LADY: MÁRYA VASÍLYEVNA TOLBOÚHINA. A very distinguished, rich, and kindly woman, acquainted with all the notable people of the last and present generations. Very stout. Speaks hurriedly, trying to be heard above every one else. Smokes.
BARON KLÍNGEN (nicknamed 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 IVÁNITCH SAHÁTOF. 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 IVÁNITCH. Personal attendant on Zvezdíntsef, 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. Butler, about 40, a bustling, kindly man, to whom the interests 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, yellow 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.
TÁNYA (TATYÁNA MÁRKOVNA). LADY's-maid, 19, energetic, strong, merry, with quickly-changing moods. At moments, when strongly excited, she shrieks with joy.
FIRST PEASANT. About 60. Has served as village Elder. Imagines that he knows how to treat gentlefolk, and likes to hear himself talk.
SECOND PEASANT. About 45, head of a family. A man of few words. Rough 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.
FIRST FOOTMAN (in attendance on the Countess). An old man, with old-fashioned manners, and proud of his place.
SECOND FOOTMAN. Of enormous size, strong, and rude.
A PORTER FROM A FASHIONABLE DRESSMAKER'S SHOP. A fresh-faced man in dark-blue long coat. Speaks firmly, emphatically, and clearly.
The action takes place in Moscow, in Zvesdíntsef's house.
ACT I
The entrance hall of a wealthy house in Moscow. There are three doors: the front door, the door of LEONÍD FYÓDORITCH'S study, and the door of VASÍLY LEONÍDITCH'S room. A staircase leads up to the other rooms; behind it is another door leading to the servants' quarters.
SCENE I
GREGORY (looks at himself in the glass and arranges his hair, etc.). I am sorry about those moustaches of mine! "Moustaches are not becoming to a footman," she says! And why? Why, so that any one might see you're a footman,--else my looks might put her darling son to shame. He's a likely one! There's not much fear of his coming anywhere near me, moustaches or no moustaches! (Smiling into the glass.) And what a lot of 'em swarm round me. And yet I don't care for any of them as much as for that Tánya. And she only a lady's-maid! Ah well, she's nicer than any young lady. (Smiles.) She's a duck! (Listening.) Ah, here she comes. (Smiles.) Yes, that's her, clattering with her little heels. Oh!
[Enter TÁNYA, carrying a cloak and boots.
GREGORY. My respects to you, Tatyána Márkovna.
TÁNYA. What are you always looking in the glass for? Do you think yourself so good-looking?
GREGORY. Well, and are my looks not agreeable?
TÁNYA. So, so; neither agreeable nor disagreeable, but just betwixt and between! Why are all those cloaks hanging 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, Tánya, I'll tell you something....
TÁNYA. 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!
TÁNYA. Now, really, what are you bothering for? I'll give you such a kiss!
[Raises her hand to strike.
VASÍLY LEONÍDITCH (off the scene, rings and then shouts). Gregory!
TÁNYA. There now, go! Vasíly Leoníditch is calling you.
GREGORY. He'll wait! He's only just opened his eyes! I say, why don't you love me?
TÁNYA. What sort of loving have you imagined now? I don't love anybody.
