diff options
Diffstat (limited to 'old')
| -rw-r--r-- | old/13147-8.txt | 10503 | ||||
| -rw-r--r-- | old/13147-8.zip | bin | 0 -> 116374 bytes | |||
| -rw-r--r-- | old/13147.txt | 10503 | ||||
| -rw-r--r-- | old/13147.zip | bin | 0 -> 116341 bytes |
4 files changed, 21006 insertions, 0 deletions
diff --git a/old/13147-8.txt b/old/13147-8.txt new file mode 100644 index 0000000..b76396f --- /dev/null +++ b/old/13147-8.txt @@ -0,0 +1,10503 @@ +The Project Gutenberg EBook of Savva and The Life of Man, by Leonid Andreyev + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Savva and The Life of Man + +Author: Leonid Andreyev + +Release Date: August 9, 2004 [EBook #13147] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK SAVVA AND THE LIFE OF MAN *** + + + + +Produced by David Starner, and the Online +Distributed Proofreading Team. + + + + + +THE MODERN DRAMA SERIES + +EDITED BY EDWIN BJÖRKMAN + + +SAVVA + +THE LIFE OF MAN + +BY LEONID ANDREYEV + + + + + SAVVA + + THE LIFE OF MAN + + + TWO PLAYS BY + + LEONID ANDREYEV + + + +TRANSLATED FROM THE RUSSIAN +WITH AN INTRODUCTION BY + +THOMAS SELTZER + + +BOSTON +LITTLE, BROWN, AND +COMPANY + +1920 + + +1914, +BY LITTLE, BROWN, AND COMPANY. + + +_This edition is authorized by Leonid Andreyev, who has +selected the plays included in it._ + +_All Dramatic rights reserved by +Edwin Björkman_ + + + +CONTENTS + + +INTRODUCTION + +CHRONOLOGICAL LIST OF PLAYS BY LEONID ANDREYEV + +SAVVA + +THE LIFE OF MAN + + + + +INTRODUCTION + + +For the last twenty years Leonid Andreyev and Maxim Gorky have +by turns occupied the centre of the stage of Russian literature. +Prophetic vision is no longer required for an estimate of their +permanent contribution to the intellectual and literary development +of Russia. It represents the highest ideal expression of a period +in Russian history that was pregnant with stirring and far-reaching +events--the period of revolution and counter-revolution. It was a +period when Russian society passed from mood to mood at an extremely +rapid tempo: from energetic aggressiveness, exultation, high hope, +and confident trust in the triumph of the people's cause to apathetic +inaction, gloom, despair, frivolity, and religious mysticism. This +important dramatic epoch in the national life of Russia Andreyev +and Gorky wrote down with such force and passion that they became +recognized at once as the leading exponents of their time. + +Despite this close external association, their work differs +essentially in character. In fact, it is scarcely possible to +conceive of greater artistic contrasts. Gorky is plain, direct, broad, +realistic, elemental. His art is native, not acquired. Civilization +and what learning he obtained later through the reading of books have +influenced, not the manner or method of his writing, but only its +purpose and occasionally its subject matter. It is significant to +watch the dismal failure Gorky makes of it whenever, in concession to +the modern literary fashion, he attempts the mystical. Symbolism is +foreign to him except in its broadest aspects. His characters, though +hailing from a world but little known, and often extreme and extremely +peculiar, are on the whole normal. + +Andreyev, on the other hand, is a child of civilization, steeped in +its culture, and while as rebellious against some of the things of +civilization as Gorky, he reacts to them in quite a different way. +He is wondrously sensitive to every development, quickly appropriates +what is new, and always keeps in the vanguard. His art is the +resultant of all that the past ages have given us, of the things that +we have learned in our own day, and of what we are just now learning. +With this art Andreyev succeeds in communicating ideas, thoughts, and +feelings so fine, so tenuous, so indefinite as to appear to transcend +human expression. He does not care whether the things he writes about +are true, whether his characters are real. What he aims to give is a +true impression. And to convey this impression he does not scorn +to use mysticism, symbolism, or even plain realism. His favorite +characters are degenerates, psychopaths, abnormal eccentrics, or just +creatures of fancy corresponding to no reality. Frequently, however, +the characters, whether real or unreal, are as such of merely +secondary importance, the chief aim being the interpretation of an +idea or set of ideas, and the characters functioning primarily only as +a medium for the embodiment of those ideas. + +In one respect Gorky and Andreyev are completely at one--in their +bold aggressiveness. The emphatic tone, the attitude of attack, first +introduced into Russian literature by Gorky, was soon adopted by most +of his young contemporaries, and became the characteristic mark of the +literature of the Revolution. By that token the literature of +Young Russia of that day is as easily recognized as is the English +literature of the Dryden and Pope epoch by its sententiousness. +It contrasts sharply with the tone of passive resignation and +hopelessness of the preceding period. Even Chekhov, the greatest +representative of what may be called the period of despondence, +was caught by the new spirit of optimism and activism, so that he +reflected clearly the new influence in his later works. But while in +Gorky the revolt is chiefly social--manifesting itself through +the world of the submerged tenth, the disinherited masses, _les +misérables_, who, becoming conscious of their wrongs, hurl defiance +at their oppressors, make mock of their civilization, and threaten the +very foundations of the old order--Andreyev transfers his rebellion +to the higher regions of thought and philosophy, to problems that +go beyond the merely better or worse social existence, and asks the +larger, much more difficult questions concerning the general destiny +of man, the meaning of life and the reason for death. + +Social problems, it is true, also interest Andreyev. "The Red Laugh" +is an attack on war through a portrayal of the ghastly horrors of the +Russo-Japanese War; "Savva," one of the plays of this volume, is +taken bodily (with a poet's license, of course) from the actual +revolutionary life of Russia; "King Hunger" is the tragedy of the +uprising of the hungry masses and the underworld. Indeed, of the works +written during the conflict and for some time afterward, all centre +more or less upon the social problems which then agitated Russia. +But with Andreyev the treatment of all questions tends to assume a +universal aspect. He envisages phenomena from a broad, cosmic point of +view; he beholds things _sub specie aeternitatis._ The philosophical +tendency of his mind, though amply displayed even in works like +"Savva"--which is purely a character and social drama--manifests +itself chiefly by his strong propensity for such subjects as those +treated in "To the Stars," "The Life of Man," and "Anathema." In these +plays Andreyev plunges into the deepest problems of existence, and +seeks to posit once more and, if possible, to solve in accordance with +the modern spirit and modern knowledge those questions over which the +mightiest brains of man have labored for centuries: Whence? Whither? +What is the significance of man's life? Why is death? + +If Spinoza's dictum be true, that "a wise man's meditation is not +of death but of life," then Andreyev is surely not a wise man. Some +philosophers might have written their works even without a guarantee +against immortality, though Schopenhauer, who exercised a influence on +the young Andreyev, was of the opinion that "without death there would +hardly be any philosophy"; but of Andreyev it is certain that the bulk +of his works would not have been written, and could not be what they +are, were it not for the fact of death. If there is one idea that can +be said to dominate the author of "The Life of Man," it is the idea of +death. Constantly he keeps asking: Why all this struggling, all this +pain, all this misery in the world, if it must end in nothing? The +suffering of the great mass of mankind makes life meaningless while +it lasts, and death puts an end even to this life. Again and again +Andreyev harks back to the one thought from which all his other +thoughts seem to flow as from their fountain-head. Lazarus, in the +story by that name, is but the embodiment of death. All who behold +him, who look into his eyes, are never again the same as they were; +indeed, most of them are utterly ruined. "The Seven Who Were Hanged" +tells how differently different persons take death. Grim death lurks +in the background of almost every work, casting a fearful gloom, +mocking the life of man, laughing to scorn his joys and his sorrows, +propounding, sphinx-like, the big riddle that no Oedipus will ever be +able to solve. + +For it is not merely the destructive power of death, not merely its +negation of life, that terrifies our author. The pitchy darkness +that stretches beyond, the impossibility of penetrating the veil that +separates existence from non-existence--in a word, the riddle of +the universe--is, to a mind constituted like Andreyev's, a source of +perhaps even greater disquiet. Never was a man hungrier than he with +"the insatiable hunger for Eternity"; never was a man more eager to +pierce the mystery of life and catch a glimpse of the beyond while yet +alive. + +Combined with the perplexing darkness that so pitifully limits man's +vision is the indifference of the forces that govern his destiny. The +wrongs he suffers may cry aloud to heaven, but heaven does not hear +him. Whether he writhe in agony or be prostrated in the dust (against +all reason and justice), he has no appeal, societies, the bulk +of mankind, may be plunged in misery--who or what cares? Man is +surrounded by indifference as well as by darkness. + +Often, when an idea has gained a powerful hold on Andreyev, he pursues +it a long time, presenting it under various aspects, until at last +it assumes its final form, rounded and completed, as it were, in some +figure or symbol. As such it appears either as the leading theme of an +entire story or drama, or as an important subordinate theme. Thus +we have seen that the idea of death finds concrete expression in the +character of Lazarus. The idea of loneliness, of the isolation of the +individual from all other human beings, even though he be physically +surrounded by large numbers, is embodied in the story of "The City." +Similarly the conception of the mystery and the indifference by which +man finds himself confronted is definitely set forth in the figure of +_Someone in Gray_ in "The Life of Man." + +The riddle, the indifference--these are the two characteristics of +human destiny that loom large in Andreyev's conception of it as set +forth in that figure. _Someone in Gray_--who is he? No one knows. No +definite name can be given him, for no one knows. He is mysterious +in "The Life of Man," where he is _Man's_ constant companion; he is +mysterious in "Anathema," where he guards the gate leading from +this finite world to eternity. And as _Man's_ companion he looks on +indifferently, apparently unconcerned whether _Man_ meets with good or +bad fortune. _Man's_ prayers do not move him. _Man's_ curses leave him +calm. + +It is Andreyev's gloomy philosophy, no doubt, that so often causes +him to make his heroes lonely, so that loneliness is developed into +a principle of human existence, in some cases, as in "The City," +becoming the dominant influence over a man's life. Particularly the +men whom life has treated senselessly and cruelly, whom it has dealt +blow after blow until their spirits are crushed out--it is such men in +particular who become lonely, seek isolation and retirement, and slink +away into some hole to die alone. This is the significance of the +saloon scene in "The Life of Man." The environment of the drunkards +who are withdrawn from life, and therefore lonely themselves, +accentuates the loneliness of _Man_ in the last scene. It is his +loneliness that Andreyev desired to bring into relief. His frequenting +the saloon is but an immaterial detail, one of the means of +emphasizing this idea. To remove all possible misunderstanding on this +point, Andreyev wrote a variant of the last scene, "The Death of Man," +in which, instead of dying in a saloon surrounded by drunkards, _Man_ +dies in his own house surrounded by his heirs. "The _loneliness_ of +the dying and unhappy man," Andreyev wrote in a prefatory note to this +variant, "may just as fully be characterized by the presence of the +_Heirs._" + +However, for all the gloom of his works, Andreyev is not a pessimist. +Under one of his pictures he has written: "Though it destroys +individuals, the truth saves mankind." The misery in the world may be +ever so great; the problems that force themselves upon man's mind may +seem unanswerable; the happenings in the external world may fill his +soul with utter darkness, so that he despairs of finding any meaning, +any justification in life. And yet, though his reason deny it, his +soul tells him: "The truth saves mankind." After all, _Man_ is not a +failure. For though misfortunes crowd upon him, he remains intact in +soul, unbroken in spirit. He carries off the victory because he does +not surrender. He dies as a superman, big in his defiance of destiny. +This must be the meaning Andreyev attached to _Man's_ life. We find +an interpretation of it, as it were, in "Anathema," in which _Someone_ +sums up the fate of _David_--who lived an even sadder life than _Man_ +and died a more horrible death--in these words: "David has achieved +immortality, and he _lives immortal_ in the deathlessness of fire. +David has achieved immortality, and he _lives immortal_ in the +deathlessness of light which is life." + +Andreyev was born at Orel in 1871 and was graduated from the gymnasium +there. According to his own testimony, he never seems to have been a +promising student. "In the seventh form," he tells us, "I was always +at the bottom of my class." He lost his father early, and often went +hungry while studying law at the University of St. Petersburg. In the +University of Moscow, to which he went next, he fared better. One of +the means that he used to eke out a livelihood was portrait painting +to order, and in this work he finally attained such proficiency that +his price rose from $1.50 apiece to $6.00. + +In 1897 he began to practise law, but he gave most of his time to +reporting court cases for the "Courier," a Moscow newspaper, and later +to writing _feuilletons_ and stories. He tried only one civil case, +and that one he lost. His work in the "Courier" attracted Gorky's +attention, and the older writer zealously interested himself in +Andreyev's behalf. + +In 1902 his story named "The Abyss" appeared and created a sensation +immediately. Even Countess Tolstoy joined in the dispute which raged +over this story, attacking it as matter unfit for literature. But the +verdict of Andreyev's generation was in his favor. Since then nearly +every new work of his has been received as an important event in +Russia and has sent the critics scurrying to his attack or defence. +His first drama, "To the Stars," appeared while the Russians were +engaged in fighting for liberty (1905), and, naturally enough, it +reflects that struggle. "Savva" was published early the next year, and +"The Life of Man" later in the same year. The production of "Savva" +is prohibited in Russia. It has been played in Vienna and Berlin, and +recently it was staged again in Berlin by "Die Freie Bühne," meeting +with signal success. + + + + +A CHRONOLOGICAL LIST OF PLAYS + +By LEONID ANDREYEV + + + TO THE STARS (K Zviezdam), 1905; + SAVVA (Savva), 1906; + THE LIFE OF MAN (Zhizn Chelovieka), 1906; + KING HUNGER (Tzar Golod), 1907; + THE BLACK MASKS (Chiorniya Maski), 1908; + THE DAYS OF OUR LIFE (Dni Nashey Zhizni), 1908; + ANATHEMA (Anatema), 1909; + ANFISSA (Anfissa), 1909; + GAUDEAMUS (Gaudeamus), 1910; + THE OCEAN (Okean), 1911; + "HONOR" ("Chest"), 1911 (?); + THE PRETTY SABINE WOMEN (Prekrasniya Sabinianki), 1911; + PROFESSOR STORITZYN (Professor Storitzyn), 1912; + CATHERINE (Yekaterina Ivanovna), 1913; + THOU SHALT NOT KILL (Ne Ubi), 1914. + + + + +SAVVA or IGNIS SANAT + +(SAVVA) + +A PLAY IN FOUR ACTS + +1906 + + + + +PERSONS + + +YEGOR IVANOVICH TROPININ, _innkeeper in a monastic suburb. An elderly +man of about fifty, with an important manner and a item, dignified way +of speaking._ + +ANTON _(Tony), anywhere from thirty-five to thirty-eight, bloated +from drinking and always under the influence of alcohol. His face is +bloodless, sad, and sleepy. He has a sparse beard, speaks slowly and +painfully, and never laughs._ + +OLYMPIADA _(Lipa), twenty-eight years old. She is fair and rather +good-looking. There is a touch of monastic severity in her dress._ + +SAVVA, _twenty-three, large, broad-shouldered, with a suggestion of +the peasant in his looks. He walks with a slight stoop, elbows out, +feet in. The motions of his hands are rounded and graceful, his palms +being turned up as if he were carrying something. His features are +large and rough-hewn, and his cheeks and chin are covered with a +soft light down. When agitated or angry, he turns gray as dust, his +movements become quick and agile, and his stoop disappears. He wears +the blouse and boots of a workingman._ + +PELAGUEYA, _a freckled, colorless woman, of about thirty, wearing the +ordinary dress of her class. She is dirty and untidy._ + +SPERANSKY GRIGORY PETROVICH, _an ex-seminarist; tall, very lean, with +a pale, long face, and a tuft of dark hair on his chin. He has long, +smooth hair parted in the middle and falling on each side of his +face. He is dressed either in a long, dark overcoat or in a dark +frock-coat._ + +FATHER KONDRATY, _a friar, forty-two years old, ugly, narrow-chested, +with swollen, animated eyes._ + +VASSYA, _a novice, a strong and athletic youth of nineteen. He has a +round, cheerful, smiling face, and curly, lustrous hair._ + +KING HEROD, _a pilgrim, about fifty. He has a dry, emaciated face, +black from sunburn and road dust. His gray, dishevelled hair and beard +give him a savage appearance. He has only one arm, the left. He is as +tall as Savva._ + +A FAT MONK. + +A GRAY MONK. + +A MAN IN PEASANT OVERCOAT. _Monks, pilgrims, cripples, beggars, blind +men and women, monstrosities._ + +_The action takes place at the beginning of the twentieth century in a +rich monastery celebrated for its wonder-working ikon of the Saviour. +There is an interval of about two weeks between the first and the last +act._ + + + + +SAVVA + +THE FIRST ACT + + +_The interior of a house in a monastic suburb. Two rooms, with a third +seen back of them. They are old, ramshackle, and filthy. The first one +is a sort of dining-room, large, with dirty, low ceiling and smeared +wall-paper that in places has come loose from the wall. There are +three little windows; the one giving on the yard reveals a shed, a +wagon, and some household utensils. Cheap wooden furniture; a large, +bare table. On the walls, which are dotted with flies, appear pictures +of monks and views of the monastery. The second room, a parlor, is +somewhat cleaner. It has window curtains of muslin, two flower-pots +with dried geraniums, a sofa, a round table covered with a tablecloth, +and shelves with dishes. The door to the left in the first room leads +to the tavern. When open, it admits the sound of a man's doleful, +monotonous singing. + +It is noon of a hot and perfectly still summer's day. Now and then the +clucking of hens is heard under the windows. The clock in the belfry +of the monastery strikes every half-hour, a long, indistinct wheeze +preceding the first stroke. + +Pelagueya, who is pregnant, is scrubbing the floor. Seized with +giddiness, she staggers to her feet and leans against the wall, +staring before her with a vacant gaze._ + + +PELAGUEYA + +Oh, God! _(She starts to scrub the floor again)_ + +LIPA _(enters, faint from heat)_ + +How stifling! I don't know what to do with myself. My head seems full +of pins and needles. _(She sits down)_ Polya, say, Polya. + +PELAGUEYA + +What is it? + +LIPA + +Where's father? + +PELAGUEYA + +He's sleeping. + +LIPA + +Oh, I can't stand it. _(She opens the window, then takes a turn round +the room, moving aimlessly and, glancing into the tavern)_ Tony's +sleeping too--behind the counter. It would be nice to go in, bathing, +but it's too hot to walk to the river. Polya, why don't you speak? Say +something. + +PELAGUEYA + +What? + +LIPA + +Scrubbing, scrubbing, all the time. + +PELAGUEYA + +Yes. + +LIPA + +And in a day from now the floors will be dirty again. I don't see what +pleasure you get from working the way you do. + +PELAGUEYA. + +I have to. + +LIPA + +I just took a peep at the street. It's awful. Not a human being in +sight, not even a dog. All is dead. And the monastery has such a queer +look. It seems to be hanging in the air. You have the feeling that if +you were to blow on it, it would begin to swing and fly away. Why are +you so silent, Polya? Where is Savva? Have you seen him? + +PELAGUEYA + +He's in the pasture playing jackstones with the children. + +LIPA + +He's a funny fellow. + +PELAGUEYA + +I don't see anything funny about it. He ought to be working, that's +what he ought to be doing, not playing like a baby. I don't like your +Savva. + +LIPA _(lazily)_ + +No, Polya, he is good. + +PELAGUEYA + +Good? I spoke to him and told him how hard the work was for me. +"Well," he says, "if you want to be a horse, pull." What did he come +here for? I wish he'd stayed where he was. + +LIPA + +He came home to see his folks. Why, it's ten years since he left. He +was a mere boy then. + +PELAGUEYA + +A lot he cares for his folks. Yegor Ivanovich is just dying to get +rid of him. The neighbors don't know what to make of him either. He +dresses like a workingman and carries himself like a lord, doesn't +speak to anybody and just rolls his eyes like a saint. I am afraid of +his eyes. + +LIPA + +Nonsense. He has beautiful eyes. + +PELAGUEYA + +Can't he see that it's hard for me to be doing all the housework +myself? A while ago he saw me carrying a pail full of water. I was +straining with all my might. He didn't even say good morning; just, +passed on. I have met a lot of people in my life, but never anybody +whom I disliked so much. + +LIPA + +I'm so hot, everything seems to be turning round like wheels. Listen, +Polya, if you don't want to work, don't. No one compels you to. + +PELAGUEYA + +If I won't work, who will? Will you? + +LIPA + +No, I won't. We'll hire a servant. + +PELAGUEYA + +Yes, of course, you have plenty of money. + +LIPA + +And what's the use of keeping it? + +PELAGUEYA + +I'll die soon and then you'll get a servant. I won't last much longer. +I have had one miscarriage, and I guess a second child will be the end +of me. I don't care. It's better than to live the way I do. Oh! _(She +clasps her waist)_ + +LIPA + +But for God's sake, who is asking you to? Stop working. Don't scrub. + +PELAGUEYA + +Yes, stop it, and all of you will be going about saying: "How dirty +the house is!" + +LIPA _(weary from the heat and Pelagueya's talk)_ + +Oh, I'm so tired of it! + +PELAGUEYA + +Don't you think I feel tired too? What are you complaining about +anyhow? You are a lady. All you have to do is pray and read. I don't +even get time to pray. Some day I'll drop into the next world all of +a sudden just as I am, with my skirt tucked up under my belt: "Good +morning! How d'you do!" + +LIPA + +You'll be scrubbing floors in the next world too. + +PELAGUEYA + +No, in the next world it's you who'll be scrubbing floors, and I'll +sit with folded hands like a lady. In heaven we'll be the first ones, +while you and your Savva, for your pride and your hard hearts-- + +LIPA + +Now, Polya, am I not sorry for you? + +YEGOR IVANOVICH TROPININ _(enters, still sleepy, his beard turned +to one side, the collar of his shirt unbuttoned; breathing heavily)_ +Whew! Say, Polya, bring me some cider. Quick! _(Pause)_ Who opened the +window? + +LIPA + +I did. + +YEGOR + +What for? + +LIPA + +It's hot. The stove in the restaurant makes it so close here you can't +breathe. + +YEGOR + +Shut it, shut it, I say. If it's too hot for you, you can go down into +the cellar. + +LIPA + +But what do you want to have the window shut for? + +YEGOR + +Because. Shut it! You have been told to shut the window--then shut it! +What are you waiting for? _(Lipa, shrugging her shoulders, closes the +window and is about to leave)_ Where are you going? The moment your +father appears, you run away. Sit down! + +LIPA + +But you don't want me. + +YEGOR + +Never mind whether I want you or not--sit down! Oh, my! _(He yawns and +crosses himself)_ Where is Savva? + +LIPA + +I don't know. + +YEGOR + +Tell him I'll turn him out. + +LIPA + +Tell him so yourself. + +YEGOR + +Fool! _(He yawns and crosses himself)_ Oh, Lord Jesus Christ, have +mercy on us sinners! What was it I was dreaming about just now? + +LIPA + +I don't know. + +YEGOR + +Who asked you? You stupid, how could you tell what I was dreaming? +You've got brains, haven't you? + +PELAGUEYA _(handing him cider)_ + +There. + +YEGOR + +There. Put it down and don't "there" me. _(Takes the jug and drinks)_ +What was I talking about? _(Pelagueya finishes scrubbing the floor)_ +Oh yes, about the Father Superior. A smart fellow he is. You'll have +to go a long way to find another like him. He had the old coffin +exchanged for a new one. The pilgrims chewed the old one to pieces, +so he put a new one in its place. He put a new one in place of the +old one. They'll chew this, one to pieces too, the fools! Anything you +give them, the fools! Do you hear or don't you? + +LIPA + +I hear. What's so remarkable about it? A swindle, that's all. + +YEGOR + +What's remarkable about it is that, he didn't ask your advice. They +chewed the old one to pieces, so he put a new one in its place exactly +like it; Yes, just exactly like the one in which the saint lay before. +Remember us in heaven where thou dwellest, O Saint! _(He crosses +himself and yawns)_ You can lose your teeth on this one too. They +chewed the old one to pieces completely. Where are you off to? Sit +down! + +LIPA + +I can't, it's so hot in here. + +YEGOR + +But I can. Sit down, you won't melt. _(Pause)_ They chewed up the old +one, so he put up a new one. Where is Savva? + +PELAGUEYA + +He's playing; jackstones with the children. + +YEGOR + +I'm not asking you. What time is it? + +PELAGUEYA + +It just struck two. + +YEGOR + +Tell him I'll turn him out. I won't stand it. + +LIPA + +Stand what? Be reasonable. + +YEGOR + +I won't stand it. Who is he anyway? Never at home in time for dinner. +He comes and feeds like a dog by himself--knocks about at night and +doesn't lock the gate. I went out yesterday and found the gate wide +open. If we are robbed, who'll pay for it? + +LIPA + +There are no thieves here. What thieves have you ever seen in this +place? + +YEGOR + +What thieves? A lot. When all people are asleep, he is knocking about. +Who ever heard of such a thing? + +LIPA + +But if he doesn't want to sleep, what is he to do? + +YEGOR + +What, you too? He doesn't want to? Let him go to bed, and he'll sleep. +No one wants to sleep, but once you lie down you fall asleep. He +doesn't want to? I know him. Who asked him to come? He was making +bank-notes over there--then why didn't he stay where he was and do +what he pleased? What business has he here? + +LIPA + +What bank-notes? + +YEGOR + +What bank-notes? Not real ones. Nothing is done to you for making real +bank-notes. Counterfeit bank-notes, that's what. Not the sort of thing +you get patted on the head for, when you are caught, no sirree! It's +very strict now. I'll go to the police captain and tell him: "It's +like this--just search him." + +LIPA + +Oh, nonsense. + +PELAGUEYA + +You are the only, one who doesn't know it. Everybody else knows it. + +LIPA + +Oh, Lord! + +YEGOR + +Well, about the Lord we know better than you. You needn't appeal to +Him. I want you to tell Savva that I am not afraid of him. He didn't +strike the right person. I'll just make him skip. I'll turn him out. +Let him go where he came from. The idea of my having to be responsible +for his robberies. Who's ever heard of such a thing? + +LIPA + +You are not quite wide awake, father, that's what's the matter with +you. + +YEGOR + +I am wide awake all right, and have been for a long time. What I'd +like to know is, are _you_ wide awake? Look out, Lipa, don't let it +happen to you too. + +LIPA + +What? + +YEGOR + +It. _(He yawns and crosses himself)_ If mother were to rise from her +grave now and see her children, she would be delighted. Fine children, +she would say. I have nursed you, and brought you up, and what's the +result? Regular good-for-nothing scamps. Tony'll soon begin to drink +again. I can see it on his face. Who's ever heard of such a thing? +People will soon be coming here for the feast-day, and I'll have to +work alone for the whole bunch. Polya, hand me that match from the +floor--there. No, not there, you blind goose. There, you stupid. + +PELAGUEYA _(hunting for the match)_ + +I don't see it. + +YEGOR + +I'll take you by the back of your neck and give you such a shaking +that you'll see mighty quick. There it is, damn you! + +LIPA _(faint)_ + +Oh, God, what a blistering heat! + +YEGOR + +There it is. Where are you crawling? Under the chair. There, damn you! + +SAVVA _(enters gayly, the pocket of his blouse full of jackstones)_ I +won six pair. + +YEGOR + +Well, the idea! + +SAVVA + +I finished that rascal Misha, cleared him all up. What are you +mumbling about there? + +YEGOR + +Nothing. Only I wish you'd address me a little more politely. + +SAVVA _(paying no attention to him)_ + +Lipa, I won six pair. + +LIPA + +How can you play in such heat? + +SAVVA + +Wait, I am going to put the jackstones away. I have eighteen pair now. +Misha, the little rascal, plays well. _(He goes out)_ + +YEGOR _(rising)_ + +I don't want to see him any more. Tell him to get out of here at once. + +LIPA + +All right, I will. + +YEGOR + +Don't say "all right," but do what your father tells you. A fine lot +of brats--that's a sure thing! Yes, yes. _(Goes)_ If mother saw them-- + +PELAGUEYA + +He speaks of mother as if he weren't the one that drove her to an +early grave. He talked her to death, the old scold! He just talks and +talks, and nags and nags, and he doesn't know himself what he wants. + +LIPA + +To be with you is like being caught in the wheel of a machine. My head +is spinning round and round. + +PELAGUEYA + +Then why don't you go away with your Savva? What are you waiting for? + +LIPA + +Look here, why are you angry with me? + +PELAGUEYA + +I am not angry. I am telling the truth. You don't want to marry. You +are disgusted with all your beaux. Why don't you go into a convent? + +LIPA + +I won't go into a convent, but I will go away from here, soon enough, +I think. + +PELAGUEYA + +Well, go! No one is keeping you. The road is wide open. + +LIPA + +Ah, Polya, you are angry and sulky with me. You don't know how I spend +my nights thinking about you. At night I lie awake and think and think +about you, and about all the people that are unhappy--all of them. + +PELAGUEYA + +What do you want to think about me for? You had better think about +yourself. + +LIPA + +And no one knows it. Well, what's the use of talking? You couldn't +understand anyhow. I am sorry for you, Polya. _(Pelagueya laughs)_ +What's the matter? + +PELAGUEYA + +If you are sorry for me, why don't you carry out that pail? The way I +am, I shouldn't be lifting heavy things. Why don't you help me, if you +are so sorry for me? + +LIPA _(her face darkening, then brightening again)_ Give it to me. +_(She picks up the pail and starts to carry it away)_ + +PELAGUEYA _(spitefully)_ + +Hypocrite! Let go! Where are you going? _(She carries out the pail and +returns for the other things)_ + +SAVVA _(entering; to his sister)_ + +Why is your face so red? + +LIPA + +It's hot. + +_[Pelagueya laughs._ + +SAVVA + +Say, Pelagueya, has Kondraty inquired for me? + +PELAGUEYA + +Kondraty! What Kondraty? + +SAVVA + +Kondraty, the friar; he looks something like a sparrow. + +PELAGUEYA + +I didn't see any Kondraty. Like a sparrow! That's a funny way of +putting it. + +SAVVA + +Tell Tony to come here, won't you? + +PELAGUEYA + +Tell him yourself. + +SAVVA + +Well, well! + +PELAGUEYA _(calls through the door before she goes out into the +tavern)_ Anthony, Savva wants you. + +LIPA + +What do you want him for? + +SAVVA + +What a queer habit you have here of plying a person with questions all +the time. Where, who, why, what for? + +LIPA _(slightly offended)_ + +You needn't answer if you don't want to. + +TONY _(enters, speaking slowly and with difficulty)_ + +Who wants me? + +SAVVA + +I am expecting Kondraty here--you know Kondraty, don't you? Send him +in when he comes. + +TONY + +Who are you? + +SAVVA + +And send in two bottles of whiskey too, do you hear? + +TONY + +Maybe I do and maybe I don't. Maybe I'll send the whiskey and maybe I +won't. + +SAVVA + +What a sceptic. You've grown silly, Tony. + +LIPA + +Leave him alone, Savva. He has got that from the seminary student, +from Speransky. Anyhow, he is full of-- + +TONY _(sitting down)_ + +I didn't get it from anybody. I can understand everything myself. The +blood has congealed in my heart. + +SAVVA + +That's from drink, Tony. Stop drinking. + +TONY + +The blood has congealed in my heart. You think I don't know what's +what. A while ago you weren't here with us, and all of a sudden you +came. Yes, I understand everything. I have visions. + +SAVVA + +What do you see? God? + +TONY + +There is no God. + +SAVVA + +How's that? + +TONY + +And no devil either. There's nothing, no people, no animals, nothing. + +SAVVA + +What is there then? + +TONY + +There are only faces, a whole lot of faces. It's faces, faces, faces. +They are very funny, and I keep laughing all the time. I just sit +still, and the faces come jumping and gliding past me, jumping and +gliding. You've got a very funny face too, Savva. _(Sadly)_ It's +enough to make one die of laughter. + +SAVVA _(laughing gayly)_ + +What kind of a face have I? + +TONY + +That's the kind of face you have. _(Pointing his finger at him)_ She +also has a face, and she. And father too. And then there are +other faces. There are a lot of faces. I sit in the tavern and see +everything. Nothing escapes me. You can't fool me. Some faces are +small and some are large, and all of them glide and glide--Some are +far away, and some are as close to me as if they wanted to kiss me or +bite my nose. They have teeth. + +SAVVA + +All right, Tony, now you can go. We'll talk about the faces later. +Your own face is funny enough. + +TONY + +Yes, of course. I, too, have a face. + +SAVVA + +All right, all right. Go now. Don't forget to send in the whiskey. + +TONY + +As in the daytime so at night. A lot of faces. _(From the door)_ And +in regards to whiskey, maybe I'll send it and maybe I won't. I can't +tell yet. + +SAVVA _(to Lipa)_ + +Has he been that way a long time? + +LIPA + +I don't know. I think so. He drinks an awful lot. + +PELAGUEYA _(going)_ + +No wonder. You're enough to drive a man to drink. Cranks. _(Exit)_ + +LIPA + +My, how stifling! I don't know what to do with myself. Say, Savva, why +aren't you nicer to Polya? She is such a wretched creature. + +SAVVA + +A slavish soul. + +LIPA + +It isn't her fault if she's that way. + +SAVVA _(coldly)_ + +Nor mine either. + +LIPA + +Oh, Savva, if you only knew the terrible life people lead here. The +men drink, and beat their wives, and the women-- + +SAVVA + +I know. + +LIPA + +You say it so calmly. I have been waiting very much to have a talk +with you. + +SAVVA + +Go ahead. + +LIPA + +You'll soon be leaving us, I suppose. + +SAVVA + +Yes. + +LIPA + +Then I won't have any chance to talk to you. You are scarcely ever at +home. This is the first time, pretty nearly. It seems so strange that +you should enjoy playing with the children, you a grown man, big as a +bear. + +SAVVA _(merrily)_ + +No, Lipa, they play very well. Misha is very good at the game, and +I have a hard time holding up my end of it. I lost him three pairs +yesterday. + +LIPA + +Why, he is only ten years old.-- + +SAVVA + +Well, what of it? The children are the only human beings here. They +are the wisest part of the-- + +LIPA _(with a smile)_ + +And I? How about me? + +SAVVA _(looking at her)_ + +You? Why, you are like the rest. + +_[A pause. Being offended, Lipa's languor disappears to some extent._ + +LIPA + +Maybe I bore you. + +SAVVA + +No, you make no difference to me one way or another. I am never bored. + +LIPA _(with a constrained smile)_ + +Thank you, I am glad of that at least. Were you in the monastery +to-day? You go there often, don't you? + +SAVVA + +Yes, I was there. Why? + +LIPA + +I suppose you don't remember--I love our monastery. It is so +beautiful. At times it looks so pensive. I like it because it's so +old. Its age gives it a solemnity, a stern serenity and detachment. + +SAVVA + +Do you read many books? + +LIPA _(blushing)_ + +I used to read a lot. You know I spent four winters in Moscow with +Aunt Glasha. Why do you ask? + +SAVVA + +Never mind. Go on. + +LIPA + +Does what I say sound ridiculous? + +SAVVA + +No, go on. + +LIPA + +The monastery is really a remarkable place. There are nice spots there +which no one ever visits, somewhere between the mute walls, where +there is nothing but grass and fallen stones and a lot of old, old +litter. I love to linger there, especially at twilight, or on hot +sunny days like to-day. I close my eyes, and I seem to look far, +far into the distant past--at those who built it and those who first +prayed in it. There they walk along the path carrying bricks and +singing something, so softly, so far away. _(Closing her eyes)_ So +softly, so softly. + +SAVVA + +I don't like the old. As to the building of the monastery, it was done +by serfs, of course; and when they carried bricks they didn't sing, +but quarrelled and cursed one another. That's more like it. + +LIPA _(opening her eyes)_ + +Those are my dreams. You see, Savva, I am all alone here. I have +nobody to talk to. Tell me--You won't be angry, will you?--Tell me, +just me alone, why did you come here to us? It wasn't to pray. It +wasn't for the feast-day. You don't look like a pilgrim. + +SAVVA _(frowning)_ + +I don't like you to be so curious. + +LIPA + +How can you think I am? Do I look as if I were curious? You have +been here for two weeks, and you ought to see that I am lonely. I am +lonely, Savva. Your coming was to me like manna fallen from the sky. +You are the first living human being that has come here from over +there, from real life. In Moscow I lived very quietly, just reading my +books; and here--you see the sort of people we have here. + +SAVVA + +Do you think it's different in other places? + +LIPA + +I don't know. That's what I should like to find out from you. You have +seen so much. You have even been abroad. + +SAVVA + +Only for a short time. + +LIPA + +That makes no difference. You have met many cultured, wise, +interesting people. You have lived with them. How do they live? What +kind of people are they? Tell me all about it. + +SAVVA + +A mean, contemptible lot. + +LIPA + +Is that so? You don't say so! + +SAVVA + +They live just as you do here--a stupid, senseless existence. The +only difference is in the language they speak. But that makes it still +worse. The justification for cattle is that, they are without +speech. But when the cattle become articulate, begin to speak, defend +themselves and express ideas then the situation becomes intolerable, +unmitigatedly repulsive. Their dwelling-places are different +too--yes--but that's a small thing. I was in a city inhabited by a +hundred thousand people. The windows in the house of that city are all +small. Those living in them are all fond of light, but it never occurs +to anyone that the windows might be made larger. And when a new house +is built, they put in the same kind of windows, just as small, just as +they have always been. + +LIPA + +The idea! I never would have thought it. But they can't all be like +that. You must have met good people who knew how to live. + +SAVVA + +I don't know how to make you understand. Yes, I did meet, if not +altogether good people, yet--The last people with whom I lived were +a pretty good sort. They didn't accept life ready-made, but tried to +make it over to suit themselves. But-- + +LIPA + +Who were they--students? + +SAVVA + +No. Look here--how about your tongue--is it of the loose kind? + +LIPA + +Savva, you ought to be ashamed! + +SAVVA + +All right. Now then. You've read of people who make bombs--little +bombs, you understand? Now if they see anybody who interferes with +life, they take him off. They're called anarchists. But that isn't +quite correct. _(Contemptuously)_ Nice anarchists they are! + +LIPA _(starting back, awestruck)_ + +What are you talking about? You can't possibly be in earnest. It isn't +true. And you in it, too? Why, you look so simple and talk so simply, +and suddenly--I was hot a moment ago, but now I am cold, _(The rooster +crows-under the window, calling the chickens to share some seed he has +found)_ + +SAVVA + +There now--you're frightened. First you want me to tell you, and +then-- + +LIPA + +Don't mind me, Savva, it's nothing. It was so unexpected. I thought +such people didn't really exist--that they were just a fiction of the +imagination. And then, all of a sudden, to find you, my brother--You +are not joking, Savva? Look me straight in the eye. + +SAVVA + +But why did you get frightened? They are not so terrible after all. In +fact, they are very quiet, orderly people, and very deliberate. They +meet and meet, and weigh and consider a long time, and then--bang!--a +sparrow drops dead. The next minute there is another sparrow in its +place, hopping about on the very same branch. Why are you looking at +my hands? + +LIPA + +Oh, nothing. Give me your hand--no, your right hand. + +SAVVA + +Here. + +LIPA + +How heavy it is. Feel how cold mine are. Go on, tell me all about it. +It's so interesting. + +SAVVA + +What's there to tell? They are a brave set of people, I must admit; +but it is a bravery of the head, not of the hands. And their heads are +partitioned off into little chambers; they are always careful not to +do anything which is unnecessary or harmful. Now you can't clear a +dense forest by cutting down one tree at a time, can you? That's what +they do. While they chop at one end, it grows up at the other. You +can't accomplish anything that way; it's labor lost. I proposed a +scheme to them, something on a larger scale. They got frightened, +wouldn't hear of it. A little weak-kneed they are. So I left them. +Let them practise virtue. A narrow-minded bunch. They lack breadth of +vision. + +LIPA + +You say it as calmly as if you were joking. + +SAVVA + +No, I am not joking. + +LIPA + +Aren't you afraid? + +SAVVA + +I? So far I haven't been, and I don't ever expect to be. What worse +can happen to a man than to have been born? It's like asking a man who +is drowning whether he is not afraid of getting wet. _(Laughs)_ + +LIPA + +So that's the kind you are. + +SAVVA + +One thing I learned from them: respect for dynamite. It's a powerful +instrument, dynamite is--nothing like it for a convincing argument. + +LIPA + +You are only twenty-three years old. You have no beard yet, not even a +moustache. + +SAVVA _(feeling his face)_ + +Yes, a measly growth; but what conclusions do you draw from that? + +LIPA + +Fear will come to you yet. + +SAVVA + +No. If I haven't been frightened so far by watching life, there's +nothing else to fear. Life, yes. I embrace the earth with my eyes, the +whole of it, the entire little planetoid, and I can find nothing more +terrible on it than man and human life. And I am not afraid of man. + +LIPA _(scarcely listening to him; ecstatically)_ + +Yes, that's the word. That's it. Savva, dear, I am not afraid of +bodily suffering either. Burn me on a slow fire. Cut me to pieces. I +won't cry. I'll laugh. I know I will. But there is another thing I am +afraid of. I am afraid of people's suffering, of the misery from which +they cannot escape. When in the stillness of the night, broken only by +the striking of the hours, I think of how much suffering there is all +around us--aimless, needless suffering; suffering one doesn't even +know of--when I think of that, I am chilled with terror. I go down on +my knees and pray. I pray to God, saying to Him: "Oh, Lord, if there +has to be a victim, take me, but give the people joy, give them peace, +give them forgetfulness. Oh, Lord, all powerful as Thou art--" + +SAVVA + +Yes. + +LIPA + +I have read about a man who was eaten by an eagle, and his flesh grew +again overnight. If my body could turn into bread and joy for the +people, I would consent to live in eternal torture in order to feed +the unfortunate. There'll soon be a holiday here in the monastery-- + +SAVVA + +I know. + +LIPA + +There is an ikon of the Saviour there with the touching inscription: +"Come unto me, all ye that labour and are heavy laden-- + +SAVVA + +And I will give you rest." I know. + +LIPA + +It is regarded as a wonder-working ikon. Go there on the feast-day. +It's like a torrent pouring into the monastery, an ocean rolling +toward its walls; and this whole ocean is made up entirely of human +tears, of human sorrow and misery. Such monstrosities, such cripples. +After witnessing one of those scenes, I walk about as in a dream. +There are faces with such a depth of misery in them that one can never +forget them as long as one lives. Why, Savva, I was a gay young +thing before I saw all that. There is one man who comes here every +year--they have nicknamed him King Herod-- + +SAVVA + +He is here already. I've seen him. + +LIPA + +Have you? + +SAVVA + +Yes, he has got a tragic face. + +LIPA + +Long ago, when still a young man, he killed his son by accident, and +from that day he keeps coming here. He has an awful face. And all of +them are waiting for a miracle. + +SAVVA + +Yes. There is something worse than inescapable human suffering, +however. + +LIPA + +What? + +SAVVA _(lightly)_ + +Inescapable human stupidity. + +LIPA + +I don't know. + +SAVVA + +I do. Here you see only a small fragment of life, but if you could see +and hear all of it--When I first read their newspapers, I laughed and +thought it was a joke. I thought they were published in some asylum +for the insane. But I found it was no joke. It was really serious, +Lipa, really serious. And then my head began to ache with an +intolerable pain. _(He presses his hand to his forehead)_ + +LIPA + +Your head began to ache? + +SAVVA + +Yes. It's a peculiar pain. You don't know what it is like. Few people +know what it is. And the pain continued until I resolved-- + +LIPA + +What? + +SAVVA + +To annihilate everything. + +LIPA + +What are you saying? + +SAVVA + +Yes, yes, everything. All that's old. + +LIPA _(in amazement)_ + +And man? + +SAVVA + +Man is to remain, of course. What is in his way is the stupidity +that, piling up for thousands of years, has grown into a mountain. The +modern sages want to build on this mountain, but that, of course, +will lead to nothing but making the mountain still higher. It is +the mountain itself that must be removed. It must be levelled to its +foundation, down to the bare earth. Do you understand? + +LIPA + +No, I don't understand you. You talk so strangely. + +SAVVA + +Annihilate everything! The old houses, the old cities, the old +literature, the old art. Do you know what art is? + +LIPA + +Yes, of course I know--pictures, statues. I went to the Tretyakov art +gallery. + +SAVVA + +That's it--the Tretyakov, and other galleries that are bigger still. +There are some good things in them, but it will be still better to +have the old stuff out of the way. All the old dress must go. Man must +be stripped bare and left naked on a naked earth! Then he will build +up a new life. The earth must be denuded, Lipa; it must be stripped +of its hideous old rags. It deserves to be arrayed in a king's mantle; +but what have they done with it? They have dressed it in coarse +fustian, in convict clothes. They've built cities, the idiots! + +LIPA + +But who will do it? Who's going to destroy everything? + +SAVVA + +I. + +LIPA + +You? + +SAVVA + +Yes, I. I'll begin, and then, when people get to understand what I am +after, others will join in. The work will proceed merrily, Lipa. The +sky will be hot. Yes. The only thing not worth destroying is science. +That would be useless. Science is unchangeable, and if, you destroyed +it to-day, it would rise up again the same as before. + +LIPA + +How much blood will have to be shed? Why, it's horrible! + +SAVVA + +No more than has been shed already--and there'll be rhyme and reason +to it, at least. _(Pause; the hens cluck in the yard; from the same +direction comes Tony's sleepy voice_: "Polya, father wants you. Where +did you put his cap?") + +LIPA + +What a scheme! Are you not joking, Savva? + +SAVVA + +You make me sick with your "you are joking, you are joking." + +LIPA + +I am afraid of you, Savva. You are so serious about it. + +SAVVA + +Yes, there are many people who are afraid of me. + +LIPA + +If you would only smile a little. + +SAVVA _(looking at her with wide-open eyes and a frank face, and +breaking abruptly into a clear, ringing laugh)_ Oh, you funny girl, +what should I be smiling for? I'd rather laugh. _(Both laugh)_ Are you +afraid of tickling? + +LIPA + +Stop it! What a boy you are still! + +SAVVA + +All right. And Kondraty, isn't here yet. I wonder why. Do you think +the devil has taken him? The devil is fond of monks, you know. + +LIPA + +What strange fancies you have. Why, now you are joking-- + +SAVVA _(somewhat surprised)_ + +They are not fancies. + +LIPA + +My fancies are different. You are a dear now, because you talk to +me. In the evening I'll tell you all about myself. We'll take a walk +together, and I'll tell you everything. + +SAVVA + +Very well, I'll listen. Why shouldn't I? + +LIPA + +Tell me, Savva, if I may ask--are you in love with a woman? + +SAVVA + +Ah, switched around to the subject of love after all--just like a +woman! I hardly know what to say. I did love a girl, in a way, but she +didn't stick it out. + +LIPA + +Stick out what? + +SAVVA + +My love, or perhaps myself. All I know is that one fine day she went +away and left me. + +LIPA _(laughing)_ + +And you? + +SAVVA + +Nothing. I remained alone. + +LIPA + +Have you any friends, comrades? + +SAVVA + +No. + +LIPA + +Any enemies? I mean is there anyone whom you particularly dislike, +whom you hate? + +SAVVA + +Yes--God. + +LIPA _(incredulously)_ + +What? + +SAVVA + +God, I say--the one whom you call your Saviour. + +LIPA _(shouting)_ + +Don't dare speak that way! You've gone out of your mind! + +SAVVA + +Ah! I touched your sensitive spot, did I? + +LIPA + +Don't you dare! + +SAVVA + +I thought you were a gentle dove, but you have a tongue like a +snake's. _(He imitates the movements of a snake's tongue with his +finger)_ + +LIPA + +Good Lord! How dare you, how can you speak like that of the Saviour? +Why, one dares not look at him. Why have you come here? + +_[Kondraty appears at the door of the tavern, looks around, and enters +quietly._ + +KONDRATY + +In the name of the Father, the Son, and the Holy Ghost! + +SAVVA + +Amen! You're very late, my gracious lord! + +KONDRATY + +I did the will of him who sent me. I was picking young little +cucumbers for the Father Superior. He has them made into a dainty dish +which he loves dearly for an appetizer. My, what infernal heat! I was +in pools of perspiration before I got through. + +SAVVA _(to Lipa)_ + +You see, here is a monk. He likes a drink. His cussing vocabulary +isn't bad. He is no fool, and as to women-- + +KONDRATY + +Don't embarrass the young lady, Mr. Tropinin. In the presence of a +lady-- + +SAVVA + +And furthermore, he doesn't believe in God. + +KONDRATY + +He is joking. + +LIPA + +I don't like such jokes. What have you come here for? + +KONDRATY + +I am here by invitation. + +SAVVA + +I have some business with him. + +LIPA _(without looking at Savva)_ + +What have you come here for? + +SAVVA + +For nothing that concerns you. You had better have a talk with him. He +is a chap that possesses a great deal of curiosity. He's not a fool, +either, but knows what's what. + +LIPA _(looking searchingly at Savva)_ + +I know him well, I know him very well. + +KONDRATY + +To my regret I must admit it's true. I have the unenviable fortune of +being known as a man who does not observe the outer forms of conduct. +It is on account of that characteristic I was fired from my position +as government clerk, and it's on that account I am now frequently +condemned to live for weeks on nothing but bread and water. I cannot +act in secret. I am open and above-board. In fact, I fairly cry aloud +whatever I do. For example, the circumstances under which I met you, +Mr. Tropinin, are such that I am ashamed to recall them. + +SAVVA + +Don't recall them then. + +KONDRATY _(to Lipa)_ + +I was lying in a mud puddle in all my dignity, like a regular hog. + +LIPA _(disgusted)_ + +All right. + +KONDRATY + +But I am not ashamed to speak of it; first, because many people saw +it, and of course nobody took the trouble to get me out of it except +Savva Yegorovich, and secondly, because I regard this as my cross. + +LIPA + +A fine cross! + +KONDRATY + +Every man, Miss Olympiada, has his cross. It isn't so very nice to be +lying in a mud puddle. Dry ground is pleasanter every time. And do you +know, I think half of the water in that puddle was my own tears, and +my woeful lamentations made ripples on it-- + +SAVVA + +That's not quite so, Kondraty. You were singing a song: "And we're +baptized of him in Jordan"--to a very jolly tune at that. + +KONDRATY + +You don't say! What of it? So much the worse. It shows to what depths +a man will descend. + +SAVVA + +Don't assume a melancholy air, father. You're quite a jovial fellow by +nature, and the assumption of grief doesn't go well with your face, I +assure you. + +KONDRATY + +True, Savva Yegorovich, I was a jolly fellow; but that was before I +entered the monastery. As soon as I came here I took a tumble, so to +speak; I lost my joviality and serenity and learned to know what real +sorrow is. + +_[Tony enters and remains standing in the doorway gazing ecstatically +at the monk._ + +SAVVA + +Why so? + +KONDRATY _(stepping nearer and speaking in a lowered voice)_ There is +no God here--there's only the devil. This is a terrible place to live +in, on my word it is, Mr. Savva. I am a man with a large experience. +It's no easy thing to frighten me. But I am afraid to walk in the hall +at night. + +SAVVA + +What devil? + +KONDRATY + +The ordinary one. To you, educated people, he appears in a nobler +aspect of course; but to us plain, simple people, he reveals himself +as he really is. + +SAVVA + +With horns? + +KONDRATY + +How can I tell? I never saw the horns; but that's not the point, +although I may say that his shadow clearly shows the horns. The thing +is that we have no peace in our monastery; there is always such a +noise and clatter there. Everything is quiet outside; but inside there +are groans and gnashing of teeth. Some groan, some whine, and some +complain about something, you can't tell what. When you pass the +doors, you feel as if your soul were taking leave of the world behind +every door. Suddenly something glides from around the corner.--and +there's a shadow on the wall. Nothing at all--and yet there's a +shadow on the wall. In other places it makes no difference. You pay +no attention to such a trifle as a shadow; but here, Savva Yegorovich, +they are alive, and you can almost hear them speak. On my word of +honor! Our hall, you know, is so long that it seems never to end. You +enter--nothing! You see a sort of black object moving in front of +you, something like the figure of a man. Then it stretches out, grows +larger and larger and wider and wider until it reaches across the +ceiling, and then it's behind you! You keep on walking. Your senses +become paralyzed. You lose all consciousness. + +SAVVA _(to Tony)_ + +What are you staring at? + +TONY + +What a face! + +KONDRATY + +And God too is impotent here. Of course we have sacred relics and a +wonder-working ikon; but, if you'll excuse me for saying so, they have +no efficacy. + +LIPA + +What are you saying? + +KONDRATY + +None whatever. If you don't believe me, ask the other monks. They'll +bear me out. We pray and pray, and beat our foreheads, and the result +is nothing, absolutely nothing. If the image did nothing else than +drive away the impure power! But it can't do even that. It hangs there +as if it were none of its business, and as soon as night comes, the +stir and the gliding and the flitting around the corners begin again. +The abbot says we are cowards, poor in spirit, and that we ought to +be ashamed. But why are the images ineffective? The monks in the +monastery say-- + +LIPA + +Well? + +KONDRATY + +But it's hard to believe it. It's impossible. They say that the +devil stole the real image long ago--the one that could perform +miracles--and hung up his own picture instead. + +LIPA + +Oh, God, what blasphemy! Why aren't you ashamed to believe such vile, +horrid stuff? You who are wearing a monk's robe at that! You really +ought to be lying in a puddle--it's the proper place for you. + +SAVVA + +Now, now, don't get mad. Don't mind her, Father Kondraty, she doesn't +mean it. She is a good girl. But really, why don't you leave the +monastery? Why do you want to be fooling about here with shadows and +devils? + +KONDRATY _(shrugging his shoulders)_ + +I would like to leave; but where am I to go? I dropped work long ago. +I am not used to it any more. Here at least I don't have to worry +about how to get a piece of bread. And as for the devil _(cautiously +winking to Savva as he turns to the window and fillips his neck with +his fingers)_ I have a means against him. + +SAVVA + +Well, let's go out and have a talk. You, face, will you send us some +whiskey? + +TONY _(gloomily)_ + +He isn't telling the truth. There are no devils either. The +devil couldn't have hung up his picture if there's no devil. It's +impossible. He had better ask me. + +SAVVA + +All right, we'll speak about that later. Send us whiskey. + +TONY _(goes)_ + +I won't send you any whiskey either. + +SAVVA + +What a stupid fellow! I tell you what, father. You go out into the +garden through that door. I'll be, with you in a moment. Don't lose +yourself. _(He goes out after Tony)_ + +KONDRATY + +Good-bye, Miss Olympiada. + +_[Lipa doesn't answer. When Kondraty has left, she walks around the +room a few times, agitated, waiting for Savva._ + +SAVVA _(entering)_ + +Well, what a fool! + +LIPA _(barring his way)_ + +I know why you came here. I know! Don't you dare! + +SAVVA + +What's that? + +LIPA + +When I heard you talk, I thought it was just words, but now--Come to +your senses! Think! You've gone crazy. What do you mean to do? + +SAVVA + +Let me go. + +LIPA + +I listened to you and laughed! Good Lord! I feel as if I had awakened +from a terrible dream. Or is it all a dream? What was the monk here +for? What for? + +SAVVA + +Now that will do. You have had your say; that's enough. Let me go. + +LIPA + +Don't you see you have gone crazy? Do you understand? You are out of +your mind. + +SAVVA + +I'm sick of hearing you repeat that. Let's go. + +LIPA + +Savva; dear, darling Savva--No? Very well, you won't listen to me? +Very well. You'll see, Savva, you'll see. You ought to have your hands +and feet tied. And you _will_ be bound, too. There are people who will +do it. Oh, God! What does this mean? Stay! Stay! Savva! + +SAVVA _(going)_ + +All right, all right. + +LIPA _(shouting)_ + +I'll denounce you. Murderer! Ruffian! I'll denounce you. + +SAVVA _(turning round)_ + +Oho! You had better be more careful. _(Puts his hand on her shoulder +and looks into her eyes)_ You had better be more careful, I say. + +LIPA + +You--_(For about three seconds there is a struggle between the two +pairs of eyes, after which Lipa turns aside, biting her lips)_ I am +not afraid of you. + +SAVVA + +That's better. But don't shout. One should never shout. _(Exit)_ + +LIPA _(alone)_ + +What does this mean? What am I to do? _(The hens cluck)_ + +YEGOR TROPININ _(in the door)_ + +What's the matter? What's the row here--hey? I was gone just half an +hour, and everything has gone topsy-turvy. Lipa, why did you let the +chickens get into the raspberry bushes? Go and drive 'em away, damn +you! I am talking to you--yes, to you! Go, or I'll go you, I'll go +you, I'll-- + +CURTAIN + + + + +THE SECOND ACT + + +_Within the enclosure of the monastery. In the rear, at the left, +appear the monastery buildings, the refectory, monks' cells, parts of +the church and the steeple, all connected by passageways with arched +gates. Board-walks run in different directions in the court. At the +right the corner of the steeple wall is seen slightly jutting out. +Nestling against it is a small monastic cemetery surrounded by a +light, grilled iron fence. Marble monuments and slabs of stone and +iron are sunk deep into the earth. All are old and twisted. It is a +long time since anyone was buried there. The cemetery contains also +some wild rose-bushes and two or three rather small trees. + +It is evening, after vespers. Long shadows are falling from the tower +and the walls. The monastery and the steeple are bathed in the reddish +light of the setting sun. Monks, novices and pilgrims pass along +the board-walks. In the beginning of the act may be heard behind the +scenes the driving of a village herd, the cracking of a herdsman's +whip, the bleating of sheep, the lowing of cattle, and dull cries. +Toward the end of the act it grows much darker, and the movement in +the yard ceases almost entirely. + +Savva, Speransky, and the Young Friar are seated on a bench by the +iron fence. Speransky is holding his hat on his knees, and now and +then he strokes his long, straight hair, which is hanging in two +mournful strands over his long, pale face. He holds his legs together +speaks in a low, sad tone, and gesticulates with extended forefinger. +The Friar, young, round-faced, and vigorous, pays no attention to the +conversation, but is smiling continually, as if at his own thoughts._ + + +SAVVA _(preoccupied, looking aside)_ + +Yes. What kind of work do you do here? + +SPERANSKY + +None at all, Mr. Savva. How can a man in my condition do any work? +Once a man begins to doubt his own existence, the obligation to work +naturally ceases to exist for him. But the deacon's wife does +not understand it. She is a very stupid woman, utterly lacking in +education, and, moreover, of an unlovely, cruel disposition. She +insists on making me work. But you can imagine the sort of work I +do under the circumstances. You see, the situation is this. I have a +splendid appetite. That appetite began to develop while I was yet a +student in the seminary. Now this deaconess, if you please, makes a +fuss about every piece of bread I eat. She doesn't understand, the +ignorant woman, the possibility of the non-existence of this piece of +bread. If I had a real existence like the rest of you, I should feel +very bad, but in my present condition her attacks don't affect me in +the least. Nothing affects me, Mr. Savva, nothing in the wide world. + +SAVVA _(smiling at the Friar's unconscious joy, but still +preoccupied)_ How long have you been in this condition? + +SPERANSKY + +It began in the seminary while I was studying philosophy. It is a +dreadful condition, Mr. Savva. I have grown somewhat accustomed to it +now, but at first it was unendurable. I tried to hang myself once, +and they cut me down. Then I tried a second time, and they cut me down +again. Then they turned me out of the seminary. "Go hang yourself in +some other place, you madman," they said. As if there were any other +place! As if all places were not the same! + +THE FRIAR + +Mr. Savva, let's go fishing to-morrow at the mill. + +SAVVA + +I don't like fishing. It bores me. + +FRIAR + +I'm sorry. Well then, let's go into the woods and knock down the dry +branches of trees. It's fine sport to walk about in the forest and +knock off the branches with a stick. And when you shout "Ho-ho-ho!" +the echo from the ravine answers back "Ho-ho-ho!" Do you like +swimming? + +SAVVA + +Yes, I like it. I am a good swimmer. + +FRIAR + +I like it too. + +SPERANSKY _(with a deep sigh)_ + +Yes, it's a strange condition. + +SAVVA _(smiling at the Friar)_ + +Eh? Well, how are you now? + +SPERANSKY + +When my uncle took me to his house, he made me promise I would never +attempt suicide again. That was the only condition oh which he would +consent to let me live with him. "All right," I said; "if we really +exist, then I won't make any further attempt to hang myself." + +SAVVA + +Why do you want to know whether you exist or not? There is the +sky. Look, how beautiful it is. There are the swallows and the +sweet-scented grass. It's fine! _(To the Friar)_ Fine, isn't it, +Vassya? + +FRIAR + +Mr. Savva, do you like to tear up ant-hills? + +SAVVA + +I don't know. I never tried. + +FRIAR + +I like it. Do you like to fly kites? + +SAVVA + +It's a long time since I tried to. I used to like it very much. + +SPERANSKY _(patiently awaiting the end of their conversation)_ + +Swallows! What good is their flying to me? Anyhow, maybe swallows +don't exist either, and it's all a dream. + +SAVVA + +Suppose it is a dream. Dreams are very beautiful sometimes, you know. + +SPERANSKY + +I should like to wake up, but I can't. I wander around and wander +around until I am weary and feeble, and when I rouse myself I find +I am here, in the very same place. There is the monastery and the +belfry, and the clock strikes the hour. And it's all like a dream, a +fantasy. You close your eyes, and it does not exist. You open them, +and it's there again. Sometimes I go out into the fields at night +and close my eyes, and then it seems to me there is nothing at all +existing. Suddenly the quail begin to call, and a wagon rolls down +the road. Again a dream. For if you stopped up your ears, you wouldn't +hear those sounds. When I die, everything will grow silent, and then +it will be true. Only the dead know the truth, Mr. Savva. + +FRIAR _(smiling, cautiously waving his hands at a bird; in a whisper)_ +It's time to go to bed, time to go to bed. + +SAVVA _(impatiently)_ + +What dead? Listen, my dear sir. I have a plain, simple, peasant mind, +and I don't understand those subtleties. What dead are you talking +about? + +SPERANSKY + +About all the dead, every one without exception. That's why the faces +of the dead are so serene. Whatever agonies a man may have suffered +before his death, the moment he dies his face becomes serene. That's +because he has learned the truth. I always come here to attend the +funerals. It's astonishing. There was a woman buried here. She had +died of grief because her husband was crushed under a locomotive. You +can imagine what must have been going on in her mind before her death. +It's too horrible to think of. Yet she lay there, in the coffin, +absolutely serene and calm. That's because she had come to know that +her grief was nothing but a dream, a mere phantom. I like the dead, +Mr. Savva. I think the dead really exist. + +SAVVA + +I don't like the dead. _(Impatiently)_ You are a very disagreeable +fellow. Has anybody ever told you that? + +SPERANSKY + +Yes, I have, heard it before. + +SAVVA + +I would never have taken you out of the noose. What damn fool did it +anyway? + +SPERANSKY + +The first time it was the Father Steward, the next time my classmates. +I am very sorry you disapprove of me, Mr. Tropinin. As you are an +educated man, I should have liked to show you a bit of writing I did +while I was in the seminary. It's called "The Tramp of Death." It's a +sort of story. + +SAVVA + +No, spare me, please. Altogether I wish you'd-- + +FRIAR. _(rising)_ + +There comes Father Kirill. I had better beat it. + +SAVVA + +Why? + +FRIAR + +He came across me in the forest the other day when I was-shouting "Ho! +Ho!" "Ah," said he, "you forest sprite with goat's feet!" To-morrow +after dinner, all right? _(Walks away, sedately at first, but then +with a sort of dancing step)_ + +FAT MONK _(approaches)_ + +Well, young men, having a pleasant chat? Are you Mr. Tropinin's son? + +SAVVA + +I am the man. + +FAT MONK + +I have heard about you. A decent, respectable gentleman your father +is. May I sit down? _(He sits down)_ The sun has set, yet it's still +hot. I wonder if we'll have a storm to-night. Well, young man, how do +you like it here? How does this place compare with the metropolis? + +SAVVA + +It's a rich monastery. + +FAT MONK + +Yes, thank the Lord. It's celebrated all over Russia. There are many +who come here even from Siberia. Its fame reaches far. There'll soon +be a feast-day, and-- + +SPERANSKY + +You'll work yourself sick, father. Services day and night. + +FAT MONK + +Yes, we must do our best for the monastery. + +SAVVA + +Not for the people? + +FAT MONK + +Yes, for the people too. For whom else? Last year a large number of +epileptics were cured; quite a lot of them. One blind man had his +eyesight restored, and two paralytics were made to walk. You'll see +for yourself, young man, and then you won't smile. I have heard that +you are an unbeliever. + +SAVVA + +You have heard correctly. I am an unbeliever. + +FAT MONK + +It's a shame, a shame. Of course, there are many unbelievers nowadays +among the educated classes. But are they any happier on that account? +I doubt it. + +SAVVA + +No, there are not so many. They think they are unbelievers because +they don't go to church. As a matter of fact, they have greater faith +than you. It's more deep-seated. + +FAT MONK + +Is that so? + +SAVVA + +Yes, yes. The form of their faith is, of course, more refined. They +are cultured, you see. + +FAT MONK + +Of course, of course. People feel better, feel more confident and +secure, if they believe. + +SAVVA + +They say the devil is choking the monks here every night. + +FAT MONK _(laughing)_ + +Nonsense. _(To the Gray Monk passing by)_ Father Vissarion, come here +a moment. Sit down. Mr. Tropinin's son here says the devil chokes +us every night. Have you heard about it? _(The two monks laugh +good-naturedly as they look at each other)_ + +GRAY MONK + +Some of the monks can't sleep well because they have overeaten, so +they think they are being choked. Why, young man, the devil can't +enter within our sacred precincts. + +SAVVA + +But suppose he does suddenly put in an appearance? What will, you do +then? + +FAT MONK + +We'll get after him with the holy-water sprinkler, that's what we'll +do. "Don't butt in where you have no business to, you black-faced +booby!" _(The monk laughs)_ + +GRAY MONK + +Here comes King Herod. + +FAT MONK + +Wait a while, Father Vissarion. _(To Savva)_ You talk about faith and +such things. There's a man for you--look at him--see how he walks. +And yet he has chains on him weighing four hundred pounds. He doesn't +walk, he dances. He visits us every summer, and I must say he is a +very valuable guest. His example strengthens others in their faith. +Herod! Ho, Herod! + +KING HEROD + +What do you want? + +FAT MONK + +Come here a minute. This gentleman doubts the existence of God. Talk +to him. + +KING HEROD + +What's the matter with yourself? Are you so full of booze that you +can't wag your own tongue? + +FAT MONK + +You heretic! What a heretic! _(Both monks laugh)_ + +KING HEROD _(approaching)_ + +What gentleman? + +FAT MONK + +This one. + +KING HEROD _(scrutinizing him)_ + +He doubts? Let him doubt. It's none of my business. + +SAVVA + +Oh! + +KING HEROD + +Why, what did you think? + +FAT MONK + +Sit down, please. + +KING HEROD + +Never mind. I'd rather stand. + +FAT MONK _(to Savva, in a loud whisper)_ + +He is doing that to wear himself out. Until he has reduced himself +to absolute faintness he'll neither sleep nor eat. _(Aloud)_ This +gentleman is wondering at the kind of chains you have on your body. + +KING HEROD + +Chains? Just baby rattles. Put them on a horse and he too would carry +them if he had the strength. I have a sad heart. _(Looks at Savva)_ +You know, I killed my own son. Yes, I did. Have they been telling you +about me, these chatterboxes? + +SAVVA + +They have. + +KING HEROD + +Can you understand it? + +SAVVA + +Why not? Yes, I can. + +KING HEROD + +You lie--you can't. No one can understand it. Go through the whole +world, search round the whole globe, ask everybody--no one will be +able to tell you, no one will understand. And if anyone says he does, +take it from me that he lies, lies just as you do. Why, you can't even +see your own nose properly, yet you have the brazenness to say you +understand. Go. You are a foolish boy, that's what you are. + +SAVVA + +And you are wise? + +KING HEROD + +I am wise. My sorrow has made me so. It is a great sorrow. There is +none greater on earth. I killed my son with my own hand. Not the hand +you are looking at, but the one which isn't here. + +SAVVA + +Where is it? + +KING HEROD + +I burnt it. I held it in the stove and let it burn up to my elbow. + +SAVVA + +Did that relieve you? + +KING HEROD + +No. Fire cannot destroy my grief. It burns with a heat that is greater +than fire. + +SAVVA + +Fire, brother, destroys everything. + +KING HEROD + +No, young man, fire is weak. Spit on it and it is quenched. + +SAVVA + +What fire? It is possible to kindle such a conflagration that an ocean +of water will not quench it. + +KING HEROD + +No, boy. Every fire goes out when its time comes. My grief is great, +so great that when I look around me I say to myself: Good heavens, +what has become of everything else that's large and great? Where has +it all gone to? The forest is small, the house is small, the mountain +is small, the whole earth is small, a mere poppy seed. You have to +walk cautiously and look out, lest you reach the end and drop off. + +FAT MONK _(pleased)_ + +Fine, King Herod, you are going it strong. + +KING HEROD + +Even the sun does not rise for me. For others it rises, but for me +it doesn't. Others don't see the darkness by day, but I see it. It +penetrates the light like dust. At first I seem to see a sort of +light, but then--good heavens, the sky is dark, the earth is dark, all +is like soot. Yonder is something vague and misty. I can't even make +out what it is. Is it a human being, is it a bush? My grief is +great, immense! _(Grows pensive)_ If I cried, who would hear me? If I +shouted, who would respond? + +FAT MONK _(to the Gray Monk)_ + +The dogs in the village might. + +KING HEROD _(shaking his head)_ + +O you people! You are looking at me as at a monstrosity--at my hair, +my chains--because I killed my son and because I am like King Herod; +but my soul you see not, and my grief you know not. You are as blind +as earthworms. You wouldn't know if you were struck with a beam on the +head. Say, you pot-belly, what are you shaking your paunch, for? + +SAVVA + +Why--the way he talks to you! + +FAT MONK _(reassuringly)_ + +It's nothing. He treats us all like that. He upbraids us all. + +KING HEROD + +Yes, and I will continue to upbraid. Fellows like you are not fit +to serve God. What you ought to do is to sit in a drinkshop amusing +Satan. The devils use your belly to go sleigh-riding on at night. + +FAT MONK _(good-naturedly)_ + +Well, well, God be with you. You had better speak about yourself; +stick to that. + +KING HEROD _(to Savva)_ + +You see? He wants to feast on my agony. Go ahead, feast all you want. + +GRAY MONK + +My, what a scold you are. Where do you get your vocabulary? He once +told the Father Superior that if God were not immortal he, the Father +Superior, would long ago have sold him piece by piece. But we tolerate +him. He can do no harm in a monastery. + +FAT MONK + +He attracts people. Many come here for his sake. And what difference +does it make to us? God sees our purity. Isn't that so, King Herod? + +KING HEROD + +Oh, shut up, you old dotard. Look at him; he can scarcely move his +legs, old Harry with the evil eye. Keeps three women in the village; +one is not enough for him. _(The monks laugh good-naturedly)_ You see, +you see? Whew! Look at their brazen, shameless eyes! Might as well +spit on them! + +SAVVA + +Why do you come here? + +KING HEROD + +Not for them. Listen, young man. Have you a grief? + +SAVVA + +Perhaps I have. Why? + +KING HEROD + +Then listen to me. When you are in sorrow, when you are suffering, +don't go to people. If you have a friend, don't go to him. It's more +than you'll be able to stand. Better go to the wolves in the forest. +They'll make short work of it, devour you at once, and there will be +the end of it. I have seen many evil things, but I have never seen +anything worse than man. No, never! They say men are created in His +image, in His likeness. Why, you skunks, you have no image. If you had +one, the tiniest excuse for one, you would crawl away on all fours and +hide somewhere from sheer shame. You damned skunks! Laugh at them, cry +before them, shout, at them. It doesn't make any difference. They +go on licking their chops. King Herod--Damned skunks! And when King +Herod--not I, but the real one with a golden crown--killed your +children, where were you--hey? + +FAT MONK + +We weren't even in the world then, man. + +KING HEROD + +Then there were others like you. He killed. You accepted it. That's +all. I have asked many the question: "What would you have done?" +"Nothing," they always reply. "If he killed, what could be done about +it?" Fine creatures! Haven't the manliness to stand up even for their +children. They are worse than dogs, damn them! + +FAT MONK + +And what would you have done? + +KING HEROD + +I? I should have wrung his neck from off his royal gold crown--the +confounded brute! + +GRAY MONK + +It says in the scripture: "Render unto Caesar the things that are +Caesar's, and to God the things that are God's." + +FAT MONK + +That is to say, don't interfere with other people's business. Do you +understand? + +KING HEROD _(to Savva in despair)_ + +Just listen, listen to what they are saying. + +SAVVA + +I hear what they are saying. + +KING HEROD + +Just you wait, my precious! You'll get what's coming to you, and +mighty quick. The devil will come and hurl you into the fiery pit. To +hell, to gehenna, with you! How your fat will melt and run! Do you get +the smell, monk? + +FAT MONK + +That's from the refectory. + +KING HEROD + +You are on the run, fast as your feet can carry you! Ah! but where to? +Everywhere is hell, everywhere is fire. You refused to hearken unto +me, my pet; now you shall hearken unto the fire. Won't I be glad, +won't I rejoice! I'll take off my chains so that I can catch them and +present them to the devil--first one, then the other. Here, take him. +And the howl they'll set up, and the weeping and lamentation. "I am +not guilty." Not guilty? Who, then, is--who? To gehenna with you! +Burn, you damned hypocrites, until the second Advent. And then we'll +build a new fire, then we'll build a new fire. + +GRAY MONK + +Isn't it time for us to go, Father Kirill? + +FAT MONK + +Yes, we had better be moving along. It's getting dark, and it's time +to retire. + +KING HEROD + +Aha! You don't like to hear the truth. It isn't pleasant, is it? + +FAT MONK + +Hee-hee, brother, talk is cheap. A barking dog doesn't bite. Scold +away, scold away. We are listening. God in heaven will decide who is +to go to hell and who elsewhere. "The meek, shall inherit the earth," +says the Gospel. Good-bye, young gentlemen. + +GRAY MONK _(to King Herod)_ + +Let me give you a piece of advice, however. Talk, but don't talk too +much. Don't go too far. We are only tolerating you because you are +a pitiful creature and because you are foolish. But if you give your +tongue too free a rein, we can stop it, you know. Yes, indeed. + +KING HEROD + +All right, try--try to stop me. + +FAT MONK + +What's the use, Father Vissarion? Let him talk. It doesn't do any +harm. Listen, listen, young gentlemen. He is an interesting fellow. +Good night. + +_[They go. The Fat Monk is heard laughing heartily._ + +KING HEROD _(to Savva)_ + +Fine specimens. I can't stand them. + +SAVVA + +I like you, uncle. + +KING HEROD + +Do you? So you don't like their kind either? + +SAVVA + +No, I don't. + +KING HEROD + +Well, I'll sit down for a while. My legs are swollen. Have you got a +cigarette? + +SAVVA _(handing him a cigarette)_ + +Do you smoke? + +KING HEROD + +Sometimes. Excuse me for having talked to you the way I did before. +You are a good fellow. But why did you lie and say you understood? No +one can understand it. Who is this with you? + +SAVVA + +Oh, he just happened along. + +KING HEROD + +Well, brother, feeling bad, down in the mouth? + +SPERANSKY + +Yes, I feel blue. + +KING HEROD + +Keep still, keep still, I don't want to listen. You are suffering? +Keep still. I am a man too, brother, so I don't understand. I'll +insult you if you don't look out. _(Throws away the cigarette)_ No, +I can't. As long as I keep standing or walking I manage somehow. The +moment I sit down, it's hell. Oh! Ow-w! _(Writhing in agony)_ I simply +can't catch my breath. Oh, God, do you see my torture? Eh? Well, well, +it's nothing. It's gone. Oh! Ow-w! + +_[The sky has become overcast with clouds. It turns dark quickly. Now +and then there are flashes of lightning._ + +SAVVA _(quietly)_ + +One must try to stifle one's grief, old man. Fight it. Say to yourself +firmly and resolutely: "I don't want it." And it will cease to be. You +seem to be a good, strong man. + +KING HEROD + +No, friend, my grief is such that even death won't remove it. What is +death? It is little, insignificant, and my grief is great. No, death +won't end my grief. There was Cain. Even when he died, his sorrow +remained. + +SPERANSKY + +The dead do not grieve. They are serene. They know the truth. + +KING HEROD + +But they don't tell it to anybody. What's the good of such truth? Here +am I alive, and yet I know the truth. Here am I with my sorrow. You +see what it is--there is no greater on earth. And yet if God spoke to +me and said, "Yeremey, I will give you the whole earth if you give me +your grief," I wouldn't give it away. I will not give it away, friend. +It is sweeter to me than honey; it is stronger than the strongest +drink. Through it I have learned the truth. + +SAVVA + +God? + +KING HEROD + +Christ--that's the one! He alone can understand the sorrow that is +in me. He sees and understands. "Yes, Yeremey, I see how you suffer." +That's all. "I see." And I answer Him: "Yes, O Lord, behold my +sorrow!" That's all. No more is necessary. + +SAVVA + +What you value in Christ is His suffering for the people, is that it? + +KING HEROD + +You mean his crucifixion? No, brother, that suffering was a trifle. +They crucified Him--what did that matter? The important point was that +thereby He came to know the truth. As long as He walked the earth, He +was--well--a man, rather a good man--talking here and there about this +and that. When He met someone, He would talk to him about this and +that, teach him, and tell him a few good things to put him on the +right track. But when these same fellows carried Him off to the cross +and went at Him with knouts, whips, and lashes, then His eyes were +opened. "Aha!" He said, "so that's what it is!" And He prayed: +"I cannot endure such suffering. I thought it would be a simple +crucifixion; but, O Father in Heaven, what is this?" And the Father +said to Him: "Never mind, never mind, Son! Know the truth, know what +it is." And from then on, He fell to sorrowing, and has been sorrowing +to this day. + +SAVVA + +Sorrowing? + +KING HEROD + +Yes, friend, he is sorrowing. _(Pause. Lightning)_ + +SPERANSKY + +It looks like rain, and I am without rubbers and umbrella. + +KING HEROD + +And everywhere, wheresoever I go, wheresoever I turn, I see before +me His pure visage. "Do you understand my suffering, O Lord?" "I +understand, Yeremey, I understand everything. Go your way in peace." +I am to Him like a transparent crystal with a tear inside. "You +understand, Lord?" "I understand, Yeremey." "Well, and I understand +you too." So we live together. He with me, I with Him. I am sorry +for Him also. When I die, I will transmit my sorrow to Him. "Take it, +Lord." + +SAVVA + +But after all, you are not quite right in running down the people +the way you do. There are some good men also--very few--but there are +some. Otherwise it wouldn't be of any use to live. + +KING HEROD + +No, friend, there are none. I don't want to fool you--there are none. +You know, it was they who christened me with the name of King Herod. + +SAVVA + +Who? + +KING HEROD + +Why, your people. There is no beast more cruel than man. I killed +my boy, so I am King Herod to them. Damn them, it never enters their +minds how terrible it is for me to be burdened with such a nick-name. +Herod! If they only called me so out of spite! But not at all. + +SAVVA + +What is your real name? + +KING HEROD + +Yeremey. That's my name--Yeremey. But they call me Herod, carefully +adding King, so that there may be no mistake. Look, there comes +another monk, a plague on him. Say, did you ever see His countenance? + +SAVVA + +I did. + +KING HEROD + +And did you see His eyes? No? Then look, try to see them--Where is he +off to, the bat? To the village to his women. + +KONDRATY _(enters)_ + +Peace be with you, honest folks. Good evening, Savva. To what lucky +chance do I owe this meeting? + +KING HEROD + +Look, monk, the devil's tail is sticking out of your pocket. + +KONDRATY + +It isn't the devil's tail, it's a radish. You're very clever, but you +didn't hit it right that time. + +KING HEROD _(spitting in disgust)_ + +I can't bear to look at them. They turn my stomach. Good-bye, friend. +Remember what I told you. When you are in sorrow, don't go to people. + +SAVVA + +All right, uncle, I understand. + +KING HEROD + +Rather go to the forest to the wolves. _(Goes out; his voice is heard +out of the darkness)_ Oh, Lord, do you see? + +KONDRATY + +A narrow-minded fool. Killed his son and puts on airs. You can't get +by him. He won't let you alone. It's something to be proud of, isn't +it, to have killed one's own son? A great thing. + +SPERANSKY _(with a sigh)_ + +No, Father Kondraty, you are mistaken. He is a happy man. If his son +were brought to life this moment, he would instantly kill him. He +wouldn't give him five minutes to live. But of course when he dies, +he'll know the truth. + +KONDRATY + +That's what I said, you fool. If it were a cat he killed, he might +have some reason to be proud--but his own son! What are you thinking +about, Savva Yegorovich? + +SAVVA + +I am waiting. I should like to know how soon this gentleman will go. +The devil brought him, I think. Now, here comes someone else. _(Peers +into the darkness)_ + +LIPA _(approaching. She stops and hesitates)_ + +Is that you, Savva? + +SAVVA + +Yes, and is that you? What do you want? I don't like people to follow +me everywhere I go, sister. + +LIPA + +The gate to this place is open. Everybody has a right to come in. Mr. +Speransky, Tony has been asking for you. He wants the seminarist, he +says. + +SAVVA + +There, go together--a jolly pair. Good-bye, sir, good-bye. + +SPERANSKY + +Good-bye. I hope I'll see you soon again, Mr. Savva, and have another +talk. + +SAVVA + +No, don't try, please. Abandon the hope. Good-bye. + +LIPA + +How rude you are, Savva. Come, Mr. Speransky. They have business of +their own to attend to. + +SPERANSKY + +Still I haven't given up hope. Good-bye. _(Goes out)_ + +SAVVA + +Just grabbed me and stuck--the devil take him! + +KONDRATY _(laughing)_ + +Yes, he is a sticker from the word go. If he likes you, you +can't shake him off. He'll follow you everywhere. We call him the +"shadow"--partly, I suppose, because he is so thin. He has taken a +fancy to you, so you'll have a time of it. He'll stick to you like a +leech. + +SAVVA + +I am not in the habit of wasting a lot of words. I'll give him the +slip without much ceremony. + +KONDRATY + +They have, even tried beating him, but it doesn't do any good. He is +known here for miles around. He is a character. + +_[A pause. Lightning. Every now and then is heard the roll of distant +thunder._ + +SAVVA + +Why did you tell me to meet you here in this public place where +everyone may come? They fell on me like a swarm of fleas--monks and +all sorts of imbeciles. I'd rather have spoken to you in the woods, +where we could be let alone. + +KONDRATY + +I did it to escape suspicion. If I went with you to the woods they'd +say: "What has a God-fearing man like Kondraty got to do with such a +fellow?" I hope you pardon! "Why is he so thick with him?" I purposely +timed my coming so that they'd see us together with others. + +SAVVA _(looking fixedly at him)_ + +Well? + +KONDRATY _(turning away his eyes and shrugging his shoulders)_ I +can't. + +SAVVA + +You are afraid? + +KONDRATY + +To tell the truth, I am. + +SAVVA + +You're no good, old chap. + +KONDRATY + +Perhaps not. You have a right to draw your own conclusions. _(Pause)_ + +SAVVA + +But what are you afraid of, you booby? The machine is not dangerous. +It won't hurt you. All you have to do is to put it in the right place, +set it off, and then you can go to the village to your mistresses. + +KONDRATY + +That's not the point. + +SAVVA + +What then? Are you afraid of being caught? But I told you, if anything +should happen, I'll take the guilt on myself. Don't you believe me? + +KONDRATY + +Why, of course I believe you. + +SAVVA + +What then? Do you fear God? + +KONDRATY + +Yes, I do. + +SAVVA + +But you don't believe in God--you believe in the devil. + +KONDRATY + +Who knows? Maybe some day I'll suddenly discover that He does exist. +In that case, Mr. Savva, I thank you, but I'd rather not. Why should +I? I live a nice, quiet existence. Of course, it's all a humbug, +an imposition. But what business is it of mine? The people want to +believe--let them. It wasn't I who invented God. + +SAVVA + +Look here. You know I could have done it myself. All I need have done +was to take a bomb and throw it into the procession. That's all. +But that would mean the killing of many people, which at the present +juncture would serve no useful purpose. I therefore ask you to do it. +If you refuse, then the blood will rest on you. You understand? + +KONDRATY + +Why on me? I am not going to throw the bomb. And then, what have I got +to do with them--I mean the people that get killed? What concern are +they of mine? There are plenty of people in the world. You can't kill +them all, no matter how many bombs you throw. + +SAVVA + +Aren't you sorry for them? + +KONDRATY + +If I were to be sorry for everybody, I should have no sympathy left +for myself. + +SAVVA + +That's right. You are a bright man. You have a good mind. I have +already told you so. And yet you hesitate. You are clever, and yet you +are afraid to smash a piece of wood. + +KONDRATY + +If it is nothing but a piece of wood, then why go to so much trouble +about it? The point is, it is not a piece of wood, it is an image. + +SAVVA + +For me it is a piece of wood. For the people it is a sacred object. +That is why I want to destroy it. Imagine how they'll open their +mouths and stare. Ah, brother, if you were not a coward, I would tell +you some things. + +KONDRATY + +Go ahead and talk. It's no sin to listen. I am not a coward either. I +am simply careful. + +SAVVA + +This would only be the beginning, brother. + +KONDRATY + +A good beginning, I won't deny it. And what will be the end? + +SAVVA + +The earth stripped naked, a _tabula rasa_, do you understand? And on +this naked earth, naked man, naked as his mother bore him. No breeches +on him, no orders, no pockets, nothing. Imagine men without pockets. +Queer, isn't it? Yes indeed, brother, the ikon is only the beginning. + +KONDRATY + +Oh, they'll make new ones. + +SAVVA + +But they won't be the same as before. And they'll never forget this +much--that dynamite is mightier than their God, and that man is +mightier than dynamite. Look at them; see them yonder praying and +kneeling, not daring to raise their heads and look you straight in the +face, mean slaves that they are! Then comes a real man, and smash goes +the whole humbug. Done for! + +KONDRATY + +Really! + +SAVVA + +And when a dozen of their idols have gone the same way, the slaves +will begin to understand that the kingdom of their God is at an end, +and that the kingdom of man has come. Lots of them will drop from +sheer terror. Some will lose their wits, and others will throw +themselves into the fire. They'll say that Antichrist has come. Think +of it, Kondraty! + +KONDRATY + +And aren't you sorry for them? + +SAVVA + +Sorry for them? Why, they built a prison for me, and I am to be sorry +for them. They put me in a torture chamber, and I am to be sorry for +them. Bah! + +KONDRATY + +Who are you to be above pity? + +SAVVA + +I? I am a man who have been born. And having been born, I began to +look about. I saw churches and penitentiaries. I saw universities and +houses of prostitution. I saw factories and picture galleries. I saw +palaces and filthy dens. I calculated the number of prisons there are +to each gallery, and I resolved that the whole edifice must go, the +whole of it must be overturned, annihilated. And we are going to do +it. Our day of reckoning has come. It is time. + +KONDRATY + +Who are "we"? + +SAVVA + +I, you Kondraty, and others. + +KONDRATY + +The people are stupid. They won't understand. + +SAVVA + +When the conflagration rages all around them, they will understand. +Fire is a good teacher, old boy. Have you ever heard of Raphael? + +KONDRATY + +No, I haven't. + +SAVVA + +Well, when we are through with God, we'll go for fellows like him. +There are lots of them--Titian, Shakespeare, Byron. We'll make a nice +pile of the whole lot and pour oil over it. Then we'll burn their +cities. + +KONDRATY + +Now, now you are joking. How is that possible? How can you burn the +cities? + +SAVVA + +No, why should I be joking? All the cities. Look here, what are their +cities? Graves, stone graves. And if you don't stop those fools, if +you let them go on making more, they will cover the whole earth with +stone, and then all will suffocate--all. + +KONDRATY + +The poor people will have a hard time of it. + +SAVVA + +All will be poor then. What is it that makes a man rich? His having +a house and money, and the fact that he has surrounded himself with a +fence. But when there are no houses, no money, and no fences-- + +KONDRATY + +That's so. And there won't be any legal papers either, no stocks, no +bonds, no title-deeds. They will all have been burnt up. + +SAVVA + +No, there will be no legal papers. It's work then--you'll have to go +to work even if you are a nobleman. + +KONDRATY _(laughing)_ + +It's funny. All will be naked as when coming out of a bath. + +SAVVA + +Are you a peasant, Kondraty? + +KONDRATY + +Yes, I am a peasant, sure enough. + +SAVVA + +I am a peasant also. We have nothing to lose, brother. We can't fare +worse than we do now. + +KONDRATY + +How could it be worse? But a great many people will perish, Mr. +Tropinin. + +SAVVA + +It makes no difference. There'll be enough left. It is the +good-for-nothings that will perish, the fools to whom this life is +like a shell to a crab. Those who believe will perish, because their +faith will be taken away from them. Those who love the old will +perish, because everything will be taken away from them. The weak, +the sick, those who love quietness. There will be no quietness in the +world, brother. There will remain only the free and the brave, those +with young and eager souls and clear eyes that can embrace the whole +universe. + +KONDRATY + +Like yours? I am afraid of your eyes, Savva Yegorovich, especially in +the dark. + +SAVVA + +Yes, like mine. And emancipated from everything, naked, armed only +with their reason, they will deliberate; discuss, talk things over, +and build up a new life, a good life, Kondraty, where every man may +breathe freely. + +KONDRATY + +It's interesting. But men are sly creatures. Something of the old +will be left over. They'll hide it, or try some other trick, and then +behold! back they slide to the old again, everything just as it was, +just as of old. What then? + +SAVVA + +Just as of old? _(Gloomily)_ Then they will have to be wiped clean off +the face of the earth. Let there be no living human being on earth. +Enough of it! + +KONDRATY _(shaking his head)_ + +But-- + +SAVVA _(putting his hand on his shoulder)_ + +Believe me, monk, I have been in many cities and in many lands, +Nowhere did I see a free man. I saw only slaves. I saw the cages in +which they live, the beds on which they are born and die; I saw their +hatreds and their loves, their sins and their good works. And I saw +also their amusements, their pitiful attempts to bring dead joy back +to life again. And everything that I saw bore the stamp of stupidity +and unreason. He that is born wise turns stupid in their midst; he +that is born cheerful hangs himself from boredom and sticks out his +tongue at them. Amidst the flowers of the beautiful earth--you have +no idea how beautiful the earth is, monk--they have erected insane +asylums. And what are they doing with their children? I have never +yet seen parents that do not deserve capital punishment; first because +they begot children, and secondly because, having begot them, they did +not immediately commit suicide. + +KONDRATY + +Good heavens, how you talk! Hearing you, one hardly knows what to +think. + +SAVVA + +And how they lie, how they lie, monk! They don't kill the truth--no, +they kick her and bruise her daily, and smear her clean face with +their dirt and filth so that no one may recognize her, so that the +children may not love her, and so that she may have no refuge. In all +the world--yes, monk, in all the world--there is no place for truth. +_(Sinks into meditation. Pause)_ + +KONDRATY + +Is there no other way--without fire? It's terrible, Savva Yegorovich. +Consider what it means! It's the end of the world. + +SAVVA + +No, it can't be helped, partner. It must be. The end of the world must +come too. They were treated with medicine, and it did no good. They +were treated with iron, and it did no good. Now they must be treated +with fire--fire! + +_[Pause. Lightning flashes. The thunder has ceased. Somewhere outside +a watchman can be heard striking his iron rod._ + +KONDRATY + +And there'll be no drinkshops either? + +SAVVA _(pensively)_ + +No, nothing. + +KONDRATY + +They'll start drinkshops again all right. Can't get along without +them, you know. _(A prolonged pause)_ Ye-es. What are you thinking +about, Savva Yegorovich? + +SAVVA + +Nothing. _(Draws a light breath, cheerfully)_ Well, Kondraty, shall we +begin? + +KONDRATY _(swaying his head to and fro)_ + +It's a mighty hard problem you have put up to me. It's a poser. + +SAVVA + +Never mind, don't get shaky now. You are a sensible man; you know +it can't be helped; there is nothing else to do. Would I be doing it +myself, if it were not necessary? You can see that, can't you? + +KONDRATY _(heaving a sigh)_ + +Ye-es, hm! Why, Mr. Tropinin--why, my dear fellow--don't I know, don't +I understand it all? It's a rotten, cursed life! Ah, Mr. Savva, Mr. +Savva--look here. If I were to tell anyone that I am a good man, +they'd laugh and say: "What are you lying for, you drunkard?" Kondraty +a good man! It sounds like a joke even to myself. And yet I swear to +you, by God, I am a good man! I don't know how it happened the way it +did, why I am what I am now. I lived and lived, and suddenly! How it +came about, what the reason of it is, I don't know. + +SAVVA + +And you are still afraid? + +KONDRATY + +What am I now? I am neither a candle for God nor a poker for the +devil. Sometimes when I think matters over--ah, Mr. Savva, do +you think I have no conscience? Don't I understand? I understand +everything but--I am not really afraid of the devil either. I am just +playing the fool. The devil--nonsense! If you were in the place of +us in there, you would understand. Not long ago, when I was drunk, I +cried: "Get out, devil--out of my way--am a desperate man!" I don't +care for anything. I don't care if I die. I am ready. You have worked +at me, Mr. Savva, until I have grown quite soft. _(Wipes his eyes with +his sleeves)_ + +SAVVA + +Why should you die? I don't want to die either. We are going to live +for some time to come, we are. How old are you? + +KONDRATY + +Forty-two. + +SAVVA + +Just the right age. + +KONDRATY + +I am sorry for the ikon. They say it appeared miraculously in the +river, and that's how it came to be here. + +SAVVA + +Nonsense. Don't waste your feelings. It's supposed to be a +wonder-working ikon and hasn't one miracle to its credit. Why, it +makes one feel like a fool just to say it. + +KONDRATY + +They say it has been replaced by the devil, so that it isn't the real +one. + +SAVVA + +So much the better. And yet you crack your heads in front of it and +fool the people about it. There is no use wasting words, my friend. +It's agreed then. + +KONDRATY + +You have to go now. The gate will soon be closed. And all of a +sudden-- + +SAVVA + +What "all of a sudden"? + +KONDRATY + +And all of a sudden I'll be going to the ikon, and it will strike me +down with lightning and thunder. Won't it? + +SAVVA _(laughing)_ + +Don't be afraid. It won't strike you. That's what everybody thinks. +They are all afraid they'll be struck by lightning and thunder. But it +won't happen. Believe me, a man may blow up the ikon and no lightning +will strike him. Do you need money? + +KONDRATY + +Have you got any? + +SAVVA + +I have. + +KONDRATY _(suspiciously)_ + +Where did you get it? + +SAVVA + +What business is that of yours? Suppose I killed a rich man, or cut +somebody's throat--are you going to report me to the police? + +KONDRATY _(reassured)_ + +What are you thinking of, Savva Yegorovich? That's your concern. As to +your offer, of course, money always comes in handy. It will enable me +to leave the monastery. I'll tell you in confidence, I have long been +nursing a scheme--it's my dream--to settle somewhere along the road +and start an inn. I like company. I am a talkative chap myself. I know +I'll succeed. It doesn't hurt a host to have a drink now and then. The +guests like it. With a jolly host you'll spend every penny you have, +and your pants besides, and you won't notice it. I know by personal +experience. + +SAVVA + +Why not? You can start an inn if you want to. + +KONDRATY + +And besides, I am still in the full vigor of manhood. Instead of +sinning here, I'd rather get legally married. + +SAVVA + +Don't forget to invite me to the wedding. I'll act as your godfather. + +KONDRATY + +You are too young. As to the money--when shall it be, before or after? + +SAVVA + +Judas got his before. + +KONDRATY _(offended)_ + +There now, when you should be doing your best to persuade me, you call +me Judas. It isn't pleasant. The idea of calling a living man Judas! + +SAVVA + +Judas was a fool. He hanged himself. You are going to start an inn. + +KONDRATY + +Again? If that's what you think of me-- + +SAVVA _(slapping his shoulders)_ + +Well, well, uncle, don't you see I'm joking? Judas betrayed a man, and +you are not going to betray anything but lumber. Is that right, old +man? _Speransky and Tony appear, the latter walking very unsteadily._ + +KONDRATY + +There--brought by the devil! With us carrying on this kind of +conversation, and they-- + +SAVVA + +It's agreed then? + +KONDRATY + +Oh, you're too much for me. + +SPERANSKY _(bowing)_ + +Good evening once more, Mr. Savva Tropinin. Mr. Anthony and myself +have just been at the other end, in the cemetery. A woman was buried +there to-day, so we wanted to have a look. + +SAVVA + +To see if she hadn't crawled out of her grave? What are you dragging +him along with you for? Tony, go to bed, you can't stand on your feet. + +TONY + +I won't go. + +SPERANSKY + +Tony is very excited to-day. He sees all kinds of faces. + +SAVVA + +Funny faces? + +TONY + +Yes, funny. What else can you expect? _(Sadly)_ Your face, Savva, is +very, very funny. + +SAVVA + +All right, go along with you! Take him home. What are you dragging him +about with you for? + +SPERANSKY + +Good-bye. Come along, Mr. Anthony. + +_[Speransky goes out. Tony follows him, looking back at Savva, and +stumbling as he goes along. They disappear in the dark._ + +KONDRATY + +It's time for us also to be going. Have you got that money at hand? + +SAVVA + +Yes, I have. Now listen. Sunday is the feast-day. You are to take the +machine Saturday morning and plant it at night at half past eleven, +four days from now. I'll show you how to do it and everything else +that's necessary. Four days more. I am sick of staying in this place. + +KONDRATY + +And suppose I betray you? + +SAVVA _(darkly)_ + +Then I'd kill you. + +KONDRATY + +Good heavens! + +SAVVA + +Now I am going to kill you if you merely try to back out. You know too +much, brother. + +KONDRATY + +You are joking. + +SAVVA + +Maybe I am joking. I am such a jolly fellow. I like to laugh. + +KONDRATY + +When you first came here, you were gay. Tell me, Mr. Savva _(looking +around cautiously)_, did you ever kill a man, a real live man? + +SAVVA + +I did. I cut the throat of that rich business man I told you about. + +KONDRATY _(waving his hand)_ + +Now I see that you are joking. Well, good-bye, I am going. Don't you +hang around here either. The gate will soon be closed. Oh, my--I am +never afraid--but just as soon as I begin to think of the hall, it's +awful. There are shadows there now. Good night. + +SAVVA + +Good night. + +_[Kondraty disappears in the dark. Lightning. Savva remains leaning +on the railing to stare at the white tombstones that are momentarily +revealed by the flashes of lightning._ + +SAVVA _(to the graves)_ + +Well, you dead ones, are you going to turn over in your graves or not? +For some reason I don't feel very cheerful--oh, ye dead--I don't feel +the least bit cheerful. _(Lightning)_ + +CURTAIN + + + + +THE THIRD ACT + + +_A festively decorated room with three windows to the street. One +window is open, but the curtain is drawn. An open door, painted dark, +leads into the room seen in the first act. + +It is night and dark. Through the windows can be heard the continuous +tramp of the pilgrims on their way to the monastery for the next day's +celebration. Some are barefoot; some wear boots or bast shoes. Their +steps are quick and eager, or slow and weary. They walk singly or in +groups of two or three, the majority in silence, though now and then +suppressed, indistinct talking may be heard. Starting from somewhere +far off to the left, the sound of the footsteps and the talking, +muffled at first, approaches and grows louder, until at times it seems +to fill the whole room. Then it dies away in the distance again. +The impression is that of some tremendous movement, elemental and +irrepressible. + +At the table, lighted only by a flickering stump of a tallow candle, +sit Speransky and Tony. The latter is very drunk. Cucumbers, herring, +and bottles of whiskey are on the table. The rest of the room is +entirely dark. Occasionally the wind blows the white curtain at the +window and sets the candle flame tossing. + +Tony and Speransky talk in whispers. A prolonged pause follows the +rise of the curtain._ + +TONY _(bending over to Speransky, mysteriously)_ + +So you say it is possible we do not exist, eh? + +SPERANSKY _(in the same manner)_ + +As I have already stated, it is doubtful, extremely doubtful. There is +very good reason to suppose that we really do not exist--that we don't +exist at all. + +TONY + +And you are not, and I am not. + +SPERANSKY + +And you are not, and I am not. No one is. _(Pause)_ + +TONY _(looking around, mysteriously)_ + +Where are we then? + +SPERANSKY + +We? + +TONY + +Yes, we. + +SPERANSKY + +That's something no one can tell. No one knows, Anthony. + +TONY + +No one? + +SPERANSKY + +No one. + +TONY _(glancing around)_ + +Doesn't Savva know? + +SPERANSKY + +No, Savva doesn't know either. + +TONY + +Savva knows everything. + +SPERANSKY + +But even he doesn't know that. + +TONY _(threatening with his finger)_ + +Keep still, keep still! _(Both look around and are silent)_ + +TONY _(mysteriously)_ + +Where are they going, eh? + +SPERANSKY + +To the elevation of the ikon. To-morrow is a feast-day--the day of +raising the ikon. + +TONY + +No, I mean where are they really going--really--don't you understand? + +SPERANSKY + +I do. It isn't known. No one knows, Anthony. + +TONY + +Hush! _(Makes a funny grimace, closes his mouth with his hand and +leans on it)_ + +SPERANSKY _(in a whisper)_ + +What's the matter? + +TONY + +Keep quiet, keep quiet. Listen. _(Both are listening)_ + +TONY _(in whisper)_ + +Those are faces. + +SPERANSKY + +Yes? + +TONY + +It's faces that are going. A lot of faces--can't you see them? + +SPERANSKY _(staring)_ + +No, I can't. + +TONY + +But I can. There they are, laughing. Why aren't you laughing, eh? + +SPERANSKY + +I feel very despondent. + +TONY + +Laugh. You must laugh. Everybody is laughing. Hush, hush! _(Pause)_ +Listen, nobody exists, nobody--do you understand? There is no God, +there is no man, there are no animals. Here is the table--it doesn't +exist. Here is the candle--it doesn't exist. The only things that +exist are faces--you understand? Keep quiet, keep quiet. I am very +much afraid. + +SPERANSKY + +What are you afraid of? + +TONY _(bending near to Speransky)_ + +That I'll die of laughter. + +SPERANSKY + +Really? + +TONY _(shaking his head affirmatively)_ + +Yes, that I'll die of laughter. I am afraid that some day I'll catch +sight of a face which will send me off roaring with laughter; and I'll +roar and roar until I die. Keep quiet. I know. + +SPERANSKY + +You never laugh + +TONY + +I am always laughing, but you don't see it. It's nothing. The only +thing I am afraid is that I'll die. I'll come across a face one of +these days which will start me off in a fit of laughter, and I'll +laugh and laugh and laugh and won't be able to stop. Yes, it's coming, +it's coming. _(Wipes his chest and neck)_ + +SPERANSKY + +The dead know everything. + +TONY _(mysteriously, with awe)_ + +I am afraid of Savva's face. It's a very funny face. One could die +laughing over it. The point is that you can't stop laughing--that's +the principal thing. You laugh and laugh and laugh. Is there nobody +here? + +SPERANSKY + +Apparently no. + +TONY + +Keep quiet, keep quiet, I know. Keep quiet. _(Pause; the tramp of the +pilgrim's footsteps grows louder, as if they were walking in the very +room itself)_ Are they going? + +SPERANSKY + +Yes, they are going. _(Pause)_ + +TONY + +I like you. Sing me that song of yours. I'll listen. + +SPERANSKY + +With your permission, Anthony. _(Sings in an undertone, almost in a +whisper, a dismal, long-drawn-out tune somewhat resembling a litany)_ + + Life's a sham, 'tis false, untrue, + Death alone is true, aye, true. + +_(With increasing caution and pedantry, shaking his finger as if +imparting a secret)_ + + All things tumble, vanish, break, + Death is sure to overtake + Outcast, tramp, and tiniest fly + Unperceived by naked eye. + +TONY + +What? + +SPERANSKY + + Unperceived by naked eye, + Wheedling, coaxing, courting, wooing, + Death weds all to their undoing + And the myth of life is ended. + +That's all, Anthony. + +TONY + +Keep still, keep still. You have sung your song--now keep quiet. + +_[Lipa enters, opens the window, removes the flowers, and looks out +into the street. Then she lights the lamp._ + +TONY + +Who is it? Is that you, Lipa? Lipa, eh, Lipa, where are they going? + +LIPA + +They are coming here for the feast-day. You had better go to bed, +Tony, or father will see you and scold you. + +SPERANSKY + +Big crowds, aren't they? + +LIPA + +Yes. But it's so dark, you can't see. Why are you so pale, Mr. +Speransky? It is positively painful to look at you. + +SPERANSKY + +That's how I feel, Miss Lipa. + +_[A cautious knock is heard at the window._ + +LIPA _(opening the window)_ + +Who is there? + +TONY _(to Speransky)_ + +Keep quiet, keep quiet. + +KING FRIAR _(thrusting his smiling face through the window)_ Is Savva +Yegorovich in? I wanted to ask him to come with me to the woods. + +LIPA + +No. Aren't you ashamed of yourself, Vassya? To-morrow is a big +feast-day in your monastery and you-- + +YOUNG FRIAR _(smiling)_ + +There are plenty of people in the monastery without me. Please tell +Mr. Savva that I have gone to the ravine to catch fireflies. Ask him +to call out: "Ho, ho!" + +LIPA + +What do you want fireflies for? + +YOUNG FRIAR + +Why, to scare the monks with. I'll put two fireflies next to each +other like eyes, and they'll think it's, the devil. Tell him, please, +to call: "Ho, ho, ho!" _(He disappears in the darkness)_ + +LIPA _(shouting after him)_ + +He can't come to-day. _(To Speransky)_ Gone already--ran off. + +SPERANSKY + +They buried three in the cemetery to-day, Miss Olympiada. + +LIPA + +Have you seen Savva? + +SPERANSKY + +No, I am sorry to say I haven't. I say, they buried three people +to-day. One old man--perhaps you knew him--Peter Khvorostov? + +LIPA + +Yes, I knew him. So he's dead? + +SPERANSKY + +Yes, and two children. The women wept a great deal. + +LIPA + +What did they die of? + +SPERANSKY + +I am sorry, but I don't know. It didn't interest me. Some children's +disease, I suppose. When children die, Miss Olympiada, they turn all +blue and look as if they wanted to cry. The faces of grown people are +tranquil, but children's faces are not. Why is that so? + +LIPA + +I don't know--I've never noticed it. + +SPERANSKY + +It's a very interesting phenomenon. + +LIPA + +There's father now. I told you to go to bed. Now I've got to listen to +your brawling. I'll get out. + +_(Exit. Enter Yegor Tropinin)_ + +YEGOR + +Who lighted the lamp? + +SPERANSKY + +Good evening, Mr. Tropinin. + +YEGOR + +Good evening. Who lighted the lamp? + +SPERANSKY + +Miss Olympiada. + +YEGOR _(blowing it out)_ + +Learned it from Savva. _(To Tony)_ And you, what's the matter with +you? How long, how long, for Christ's sake? How long am I to stand all +this from you, you good-for-nothing loafers? Eh? Where did you get the +whiskey, eh? + +TONY + +At the bar. + +YEGOR + +It wasn't put there for you, was it? + +TONY + +You have a very funny face, father. + +YEGOR + +Give me the whiskey. + +TONY + +I won't. + +YEGOR + +Give here! + +TONY + +I won't. + +YEGOR _(slaps his face)_ + +Give it to me, I say. + +TONY _(falls on the sofa, still holding on to the bottle)_ + +I won't. + +YEGOR _(sitting down, calmly)_ + +All right, swill until you bust, devil. What was I saying? That fool +put it out of my head. Oh yes, the pilgrims are going, it strong this +time. It's been a bad year for the crops. That's another reason, I +suppose. There's no grub, they have nothing to eat, and so they'll +pray. If God listened to every fool's prayer, we'd have a fine time of +it. If he listened to every fool, what chance would the wise man have? +A fool remains a fool. That's why he is called a fool. + +SPERANSKY + +That's correct. + +YEGOR + +I should say it is correct. Father Parfeny is a smart man. He +flim-flams them all right. He put up a new coffin--did you hear that? +The old one has all been eaten away by the pilgrims, so he put a new +one into its place. It was old, so he put a new one instead. They'll +eat that one away. No matter what you give them--Tony, are you +drinking again? + +TONY + +I am. + +YEGOR + +I am! I am! I'll hand you out another one in a moment and we'll see +what you say then. + +_[Enter Savva, looking very gay and lively. He stoops less than usual, +talks rapidly, and looks sharp and straight, but his gaze does not +rest long on the same person or object._ + +SAVVA + +Ah, the philosophers! Father! A worthy assemblage. Why do you keep +it so dark here, like some hell-hole with a lot of rats in it? A +philosopher has to have light. The dark is good only for going through +people's pockets. Where is the lamp? Oh, here it is. _(He lights the +lamp)_ + +YEGOR _(ironically)_ + +Perhaps you'll open the windows too? + +SAVVA + +Quite right. I'll open the windows also. _(Opens them)_ My, how they +keep pouring in! + +SPERANSKY + +A whole army. + +SAVVA + +And all of them will die in time and acquire peace. And then they'll +know the truth, for it never comes except in the society of worms. +Have I got the essence of your optimistic philosophy down right, my +thin, lean friend? + +SPERANSKY _(with a sigh)_ + +You are always joking. + +SAVVA. + +And you are always moping. Look here now. What with the poor, scanty +fare the deacon's wife doles out to you and your constant grieving, +you will soon die, and then your face will assume an expression of +perfect peace. A peaked nose, and all around, stretching in every +direction, a vast expanse of peace. Can't you get some comfort out +of that? Isn't it a consolation to you? Think of it, a tiny island of +nose lapped in an ocean of peace. + +SPERANSKY _(dejectedly)_ + +You are still joking. + +SAVVA + +The idea! Who would joke about death? No, when you die, I'll follow +your funeral and proclaim to all: "Behold, here is a man who has come +to know the truth." Oh no, I'll rather hang you up as a banner of +truth. And, the more your skin and flesh decompose and crumble, the +more will the truth come out. It will be a most instructive object +lesson, highly educative. Tony, why are you staring at me? + +TONY _(sadly)_ + +You have a very funny face. + +YEGOR + +What are they talking about? + +SAVVA + +Father, what's the matter with your face? Have you sooted it? It looks +as black as Satan's. + +YEGOR _(quickly putting his hand to his face)_ + +Where? + +SPERANSKY + +They are just making fun. There is nothing on your face, Mr. Tropinin. + +YEGOR + +The fool! Satan? You are Satan yourself, God forgive me! + +SAVVA _(making a terrible face and holding up his fingers in the shape +of horns)_ I am the devil. + +YEGOR + +By God, you are the very devil himself! + +SAVVA _(glancing round the room)_ + +Isn't the devil going to get any dinner to-day? I have had all I want +of sinners. I am surfeited with them. I should like to have something +more appetizing now. + +YEGOR + +Where were you knocking about at the regular dinner hour? You'll have +to do without dinner now. + +SAVVA + +I was with the children, father, with the children. They told me +stories. They tell stories splendidly, and they were all about devils, +witches, and the dead--your specialty, philosopher. They trembled with +fear as they told them. That's why we stayed so long. They were afraid +to go home. Misha was the only one who wasn't scared. He is a brick. +He's afraid of nothing. + +SPERANSKY _(indifferently)_ + +What of it? He'll die too. + +SAVVA + +My dear sir, don't be so funereal. You are like an undertakers' trust. +Don't be forever croaking: "Die, die, die." Here, take my father, +for instance. He'll soon die; but look at his face, how pleasant and +cheerful it is. + +YEGOR + +Satan! You're the devil incarnate! + +SPERANSKY + +But since we don't know-- + +SAVVA + +My good friend, life is such an interesting business. You +understand--life. Come, let's have a game of jackstones to-morrow. +I'll provide the jacks, first-class jacks. _(Enter Lipa, unnoticed)_ +And then you should take gymnastic exercises. I mean it seriously. See +how sunken your chest is. You'll choke of consumption in a year or so. +The deaconess will be glad, but it will create consternation among +the dead. Seriously now. I have taken gymnastic exercises. Look. _(He +lifts a heavy chair easily by the leg)_ There, you see! + +LIPA _(laughing aloud)_ + +Ha, ha, ha! + +SAVVA _(putting the chair down, with a touch of embarrassment)_ + +What's the matter? I didn't know you were here. + +LIPA + +You, ought to join the circus as an acrobat. + +SAVVA _(glumly)_ + +Don't talk nonsense. + +LIPA + +Are you offended? + +SAVVA _(suddenly bursting into a good-natured, merry laugh)_ Oh, a +trifle! All right, the circus, why not? We'll both join it, Speransky +and I. Not as acrobats though, but as clowns. How about it? Can you +swallow hot junk? No? Well, I'll teach you. As for you, Lipa, won't +you please let me have something to eat? I haven't had anything since +this morning. + +YEGOR + +A regular Satan, a regular Satan! Hasn't had anything to eat! Who has +ever heard of eating at this hour of the night? Who has ever seen such +a thing? + +SAVVA + +I'll give you a chance to see it now. It's very interesting. Wait, +I'll teach you also how to swallow hot junk. I'll make you an expert. +You'll be a wonder. + +YEGOR + +Me? Fool, you can't teach me anything any more. Tony, give me the +whiskey. + +TONY + +I won't. + +YEGOR + +The devil take you all! Brought up and fed a lot of--_(Exit)_ + +LIPA _(handing him milk and dark bread)_ + +You seem to be happy to-night? + +SAVVA + +Yes, I am, and you are happy too. + +LIPA _(laughing)_ + +I am. + +SAVVA + +And I am happy. _(He drinks the milk with avidity; the footsteps in +the street grow louder, filing the room with their sound, and then die +away again)_ What a treading and a tramping! + +LIPA _(looking out of the window)_ + +The weather will be fine to-morrow. As long as I can remember the sun +has always been shining brightly that way. + +SAVVA + +Hm, yes. That's good. + +LIPA + +And when they carry the ikon, it sparkles all over with the precious +stones like fire. Only His face remains gloomy. All the gems don't +give him any pleasure. He is sad and gloomy like the people's woe. + +SAVVA _(coolly)_ + +Hm, yes. Is that so? + +LIPA + +Just think how many tears have fallen upon Him, how many sighs and +groans He has heard! That alone is enough to make the ikon holy for +all who love and sympathize with the people and understand their soul. +Why, they have nobody except Christ, all those unfortunate, miserable +people. When I was a little girl, I was always waiting for a miracle-- + +SAVVA + +It would be interesting. + +LIPA + +But now I understand that He Himself is waiting for a miracle from +the people. He is waiting for the people to stop fighting, hating, and +destroying each other. + +SAVVA + +Well, what of it? + +LIPA _(fixing her gaze upon him)_ + +Nothing. To-morrow you'll see for yourself when they carry Him in the +procession. You'll see what effect the mere consciousness that He is +there with them has upon them, how it transforms them, what it does +to them. The whole year round they live a dog's life, in filth, +quarrelling with each other, suffering. On that day all the ugliness +seems to vanish. It is an awful and a joyous day when suddenly you +cast away from yourself all that is superfluous and when you feel so +clearly your nearness to all the unfortunates that are and ever were, +and your nearness to God. + +SAVVA _(abruptly)_ + +What time is it? + +SPERANSKY + +The clock has just struck a quarter past eleven, if I am not mistaken. + +LIPA + +It's still early. + +SAVVA + +Early for what? + +LIPA + +Nothing. It's still early, that's all. + +SAVVA _(suspiciously)_ + +What do you mean? + +LIPA _(defiantly)_ + +What I mean. + +SAVVA + +Why did you say it's still early? + +LIPA _(paling)_ + +Because it's only a little after eleven; but when it's twelve-- + +SAVVA _(jumping up and going to her quickly; fixing her with his +stare, he speaks slowly, pronouncing every word separately and +distinctly)_ So? Is that it? When it's twelve--_(He turns to Speransky +without removing his eyes from Lipa)_ Listen, you go home. + +LIPA _(frightened)_ + +No, stay, Mr. Speransky. Please stay, I beg you. + +SAVVA + +If you don't go at once, I'll throw you out of the window. Well? + +SPERANSKY + +Excuse me, I never had the faintest idea--I was here with Mr. Anthony +Tropinin. I am going instantly. Where is my hat? I put it here +somewhere-- + +SAVVA + +There's your hat. _(Throws it to him)_ + +LIPA _(feebly)_ + +Stay here awhile longer, Mr. Speransky. Sit down. + +SPERANSKY + +No, it's late. I must go to bed. Good night, Miss Olympiada. Good +night, Mr. Tropinin. Your brother is asleep already, I believe. You +ought to take him to bed. I'm going, I'm going. _(Exit)_ + +SAVVA _(speaking in a quiet, calm tone; his movements are heavy and +slow, as if his body had suddenly stiffened)_ You know it? + +LIPA + +I do. + +SAVVA + +You know all? + +LIPA + +All. + +SAVVA + +Did the monk tell you? + +LIPA + +He did. + +SAVVA + +Well? + +LIPA _(drawing back a little, and raising her hand for +protection)_-Well, nothing will happen. There'll be no blowing up. You +understand, Savva, there'll be no explosion. + +_[Pause. Footsteps are heard in the street, and indistinct talking. +Savva turns around. Stooping more than usually, he takes a turn around +the room with peculiar slowness._ + +SAVVA + +Well? + +LIPA + +Then you had better believe me, brother. Believe me. + +SAVVA + +Yes? + +LIPA + +Why that was--I don't know what it was--it was a piece of madness. +Think it over. + +SAVVA + +Is it really true? + +LIPA + +Yes, it's true. It's all over. You can't help it any more. There is +nothing for you to do. + +SAVVA + +Tell me how it happened. _(Sits down deliberately, his eyes fixed on +Lipa)_ + +LIPA + +I guessed a little something long ago--that day when you spoke to +me--only I didn't know exactly what it was. And I saw the little +machine too. I have another key to the trunk. + +SAVVA + +Evidently you have been cut out for a spy. Go on! + +LIPA + +I am not afraid of insults. + +SAVVA + +Never mind, never mind--go on. + +LIPA + +Then I saw that you had frequent talks with that fellow--Kondraty. +Yesterday I looked in the trunk again, and the machine wasn't there. +So I understood. + +SAVVA + +You say you have another key? + +LIPA + +Yes. The trunk is mine, you know. Well, and to-day-- + +SAVVA + +When to-day? + +LIPA + +Toward evening--I couldn't find Kondraty anywhere--I told him that I +knew all. He got very much frightened and told me the rest. + +SAVVA + +A worthy pair--spy and traitor. + +LIPA + +If you are going to insult me, I won't say another word. + +SAVVA + +Never mind, never mind--go on. + +LIPA + +He was going to tell the Father Superior, but I didn't let him. I +didn't want to ruin you. + +SAVVA + +No? + +LIPA + +When it was, all over, I understood what a crazy scheme it was--so +crazy that I simply can't think of it as real. It must have been a +nightmare. It's quite impossible. And I began to feel sorry for you-- + +SAVVA + +Yes. + +LIPA + +I am sorry for you now too. _(With tears)_ Savva, darling, you are my +brother. I have rocked your cradle. My dear angel, what idea is this +you have got into your mind? Why, it's terrible--it's madness. I +understand how hard it must be for you to see how people live, and so +you have resolved on a desperate deed. You have always been good and +kind, and so I can understand you. Don't you think it's hard for me to +see this life? Don't you think I suffer myself? Give me your hand. + +SAVVA _(pushing her hand away)_ + +He told you he would go to the Superior? + +LIPA + +But I didn't let him. + +SAVVA + +Has he got the machine? + +LIPA + +He'll give it back to you to-morrow. He was afraid to give it to me. +Savva dear, don't look at me like that. I know it's unpleasant for +you, but you have a lot of common sense. You can't help seeing that +what you wanted to do was an absurdity, a piece of lunacy, a vagary +that can come to one only in one's dreams at night. Don't I understand +that life is hard? Am I not suffering from it myself? I understand +even your comrades, the anarchists. It's not right to kill anybody; +but still I understand them. They kill the bad. + +SAVVA + +They are not my comrades. I have no comrades. + +LIPA + +Aren't you an anarchist? + +SAVVA + +No. + +LIPA + +What are you then? + +TONY _(raising his head)_ + +They are going, they are going. Do you hear? + +SAVVA _(quietly, but ominously)_ + +They are going. + +LIPA + +There, you see. Who is going? Think of it. It's human misery that's +going. And you wanted to take away from them their last hope, their +last consolation. And to what purpose? In the name of what? In the +name of some wild, ghastly dream about a "naked earth." _(Peers with +terror into the darkness of the room)_ A naked earth! It's terrible +to think of it. A naked earth! How could a man, a human being, ever +conceive such an idea? A naked earth! Nothing, nothing! Everything +laid bare, everything annihilated. Everything that people worked for +through all the years; everything they have created with so much toil, +with so much pain. Unhappy people! There is among you a man who says +that all this must be burned, must be consumed with fire. + +SAVVA + +You remember my words to perfection. + +LIPA + +You awakened me, Savva. When you told me all that, my eyes were +suddenly opened, and I began to love everything. Do you understand? I +began to love it all. These walls--formerly I didn't notice them; +now I am sorry for them--so sorry, I could cry. And the books and +everything--each brick, each piece of wood to which man has applied +his labor. Let's admit that it's poor stuff. Who says it's good? But +that's why I love it--for its defects, its imperfections, its crooked +lines, its unfulfilled hopes. For the labor and the tears. And all who +hear you talking, Savva, will feel as I do, and will begin to love all +that is old and dear and human. + +SAVVA + +I have nothing to do with you. + +LIPA + +Nothing to do with us? With whom then have you to do? No, Savva, you +don't love anyone. You love only yourself and your dreams. He who +loves men will not take away from them all they have. He will not +regard his own wishes more than their lives. Destroy everything! +Destroy Golgotha! Consider: _(with terror)_ destroy Golgotha! The +brightest, the most glorious hope that ever was on earth! All right, +you don't believe in Christ. But if you have a single drop of nobility +in your nature, you must respect and honor His noble memory. He was +also unhappy. He was crucified--crucified, Savva. You are silent? Have +you nothing to say? + +SAVVA + +Nothing. + +LIPA + +I thought--I thought--if you succeeded in carrying out your plot--I +thought I'd kill you--that I'd poison you like some noxious beast. + +SAVVA + +And if I don't succeed-- + +LIPA + +You are still hoping? + +SAVVA + +And if I don't succeed, I'll kill you. + +LIPA _(advancing a step toward him)_ + +Kill me! Kill me! Give me a chance to suffer for the sake of Christ. +For the sake of Christ and for the sake of the people. + +SAVVA + +Yes. I'll kill you. + +LIPA + +Do you suppose I didn't think of it? Do you suppose I didn't think of +it? Oh, Lord, to suffer for Thee! Is there higher happiness than that? + +SAVVA _(with a contemptuous gesture, pointing at Lipa)_ + +And that's a human being! That's one counted among the best! That's +the kind in which they take pride! Ah me, how poor you are in good +people! + +LIPA + +Insult! Mock! That's the way it has always been. They have always +heaped insults upon us before they killed us. + +SAVVA + +No, I don't mean to insult you. How can I insult you? You are simply +a silly woman. There have been many such in the past. There are many +such to-day. You are simply a foolish, insignificant creature. You are +even innocent, like all insignificant persons. And if I mean to kill +you, there is no reason to be proud of it. Don't think you are an +object specially worthy of my indignation. No, it would merely make +matters a little easier for me. When I was chopping wood, and the axe +in my raised arm struck the threshold instead of the log of wood, the +jar was not so hard as if someone had arrested the motion of my arm. A +raised hand must fall on something. + +LIPA + +And to think that this beast is my brother! + +SAVVA + +Whose cradle you rocked and whose diapers you changed. Yes. But to me +it doesn't seem in the least strange that you are my sister, or that +this bundle there is my brother. No, Tony! They are going. _(Tony +turns his head and stares stupidly without making any answer)_ And it +doesn't seem in the least strange to me that any insignificant chit +and piece of nothingness calling itself my brother or my sister should +go to the chemist's and buy a nickel's worth of arsenic on finding out +who I am. You see, they have even attempted to poison me. The girl who +left me tried to do it, but she lost her nerve. The point is that my +sisters and brothers, among other things, have the characteristic of +being cowards. + +LIPA + +I would have done it. + +SAVVA + +I don't doubt it. You are a little hysterical, and hysterical people +are determined, unless they happen to burst into tears first. + +LIPA + +I hysterical? All right, have it your way, have it your way. And who +are you, Savva? + +SAVVA + +That doesn't interest me. + +LIPA + +They are going, they are going. And they will find what they need. And +that is the work of an hysterical woman. Do you hear how many of them +there are? And if they found out--if I were to open the window +this minute and cry out: "This man here has tried to destroy your +Christ"--If you want it, I'll do it this instant. You need only say +so. Shall I? _(She takes a step toward the window in a frenzy of rage)_ +Shall I? + +SAVVA + +Yes, it's a good way of escaping the crown of thorns. Go ahead, shout. +But look out, don't knock Tony down. + +LIPA _(turning back)_ + +I am sorry for you. You are beaten, and one doesn't like to kick a +man who is down. But remember, remember, Savva, there are thousands, +thousands of them coming in, and each one is your death! + +SAVVA _(smiling)_ + +The tramp of death. + +LIPA + +Remember that each one of these would consider himself happy in +killing you, in crushing you like a reptile. Each one of these is your +death. Why, they beat a simple thief to death, a horse thief. What +would they not do to you! You who wanted to steal their God. + +SAVVA + +Quite true. That's property too. + +LIPA + +You still have the brazenness to joke? Who gave you the right to do +such a thing? Who gave you power over people? How dare you meddle with +what to them is right? How dare you interfere with their life? + +SAVVA + +Who gave me the right? You gave it to me. Who gave me the power? You +gave it to me. And I will cling to it with grim determination. Try +to take it from me. You gave it to me--you with your malice, your +ignorance, your stupidity! You with your wretched impotence! Right! +Power! They have turned the earth into a sewer, an outrage, an abode +of slaves. They worry each other, they torture each other, and they +ask: "Who dares to take us by the throat?" I! Do you understand? I! +_(Rises)_ + +LIPA + +You are a mere man like everybody else. + +SAVVA + +I am the avenger! Behind me follow in pursuit all those whom you +stifled and crushed. Ah, they have been pursuing their wicked trade in +all quietness, thinking that no one would discover them--thinking +that they would get away with it in the end. They have been lying, +grovelling, and sneaking. They have been cringing and abusing +themselves before their altars and their impotent God, saying: "There +is nothing to be afraid of--we are among ourselves." Then comes a man +who says: "An accounting--I want an accounting! What have you done? +Out with it. Give me an accounting. Go on now! Don't try to cheat, for +I know you. I demand an account for each and every single item. I +will not condone a single drop of blood, I will not absolve you from a +single tear." + +LIPA + +But to destroy all. Think of it! + +SAVVA + +What could you do with them? What would _you_ do? Try to persuade the +oxen to turn away from their bovine path? Catch each one by his horns +and pull him away? Would you put on a frock-coat and read a lecture? +Haven't they had plenty to teach them? As if words and thoughts had +any significance to them! Thought--pure, unhappy thought! They have +perverted it. They have taught it to cheat and defraud. They have made +it a saleable commodity to be bought at auction in the market. No, +sister, life is short and I am not going to waste it in arguments +with oxen. The way to deal with them is by fire. That's what they +require--fire! Let them remember long the day on which Savva Tropinin +came to the earth! + +LIPA + +But what do you want? What do you want? + +SAVVA + +What do I want? To free the earth, to free mankind, to sweep the +whole two-legged, chattering tribe out of existence. Man--the man of +to-day--is wise. He has come to his senses. He is ripe for liberty. +But the past eats away his soul like a canker. It imprisons him within +the iron circle of things already accomplished, within the iron circle +of facts. I want to demolish the facts--that's what I want to +do: demolish all facts! To sweep away all the accumulated +rubbish--literature, art, God. They have perverted mankind. They have +immortalized stupidity. I want to do away with everything behind man, +so that there is nothing to see when he looks back. I want to take him +by the scruff of his neck and turn his face toward the future. + +LIPA + +Look here, Savva. You are not immortal, and the two-legged animal has +arms also. + +SAVVA + +Do you think I don't know that every one of these stupid asses would +be glad to kill me? But it won't happen, it won't happen. The time has +come for my arrival, and I have arrived. Prepare yourselves. The time +has come. You little insignificant thing there--you thought that by +stealing one little possibility away from me you could rob me of all? +Oh no--I am as rich as ever. + +LIPA + +I am your sister, but oh! how glad I am that you are not immortal. + +SAVVA + +I see that you are a thoroughgoing anarchist. They too think that all +is done if one man is killed. But if they kill me, hang me, break me +on the wheel, there will come another purer than I. Where there's an +itch, there is always somebody to scratch it! Yes, sister! If not I, +then someone else, and _(clenching his fist)_ it will fare ill with +your world. + +LIPA + +You are a terrible man. I thought you would be crushed by your +failure, but you are like Satan. The fall has only made you blacker. + +SAVVA + +Yes, Lipa, only a sparrow can fly straight up from the ground. A +large bird must descend to adjust and spread its wings for its upward +flight. + +LIPA + +Aren't you sorry for the children? Think of the number of children +that will have to perish. + +SAVVA + +What children? Oh yes, Misha. _(Tenderly)_ Misha is a fine boy, +that's true. When he grows up, he will show you no mercy. Yes, the +children--You are beginning to be afraid of them, and you have good +reason for it. Never mind. It's true that I love children. _(With +pride)_ And they love me. But they don't care for you. + +LIPA + +I don't play jackstones with them. + +SAVVA + +How silly you are, sister. But I like to play with them. + +LIPA + +Then go ahead and play. + +SAVVA + +Well, I _will_ play. + +LIPA + +When you talk like that I have the feeling once more that it has all +been a dream--all that we were saying just now. Is it really true that +you want to kill me? + +SAVVA + +Yes, if it must be done. But perhaps it won't be necessary. + +LIPA + +You are joking! + +SAVVA + +Every one of you will have it that I am joking. You keep constantly +telling me so. You seem to have utterly lost the sense for what is +serious. + +LIPA + +No, it's not a dream. They are going. + +SAVVA + +Yes, they are going. _(Both listen)_ + +LIPA + +You still seem to believe. What do you believe? + +SAVVA + +I believe in my destiny. _(The hour begins to strike in the belfry of +the monastery)_ Twelve. + +LIPA _(counting)_ + +Seven--eight--and to think that this is the hour when it should have +happened--the very idea of it--_(A muffled report as of a powerful +explosion is heard)_ What was that? + +SAVVA + +Yes, what was it? + +_[Both rush to the window, waking Tony, who moves his head sleepily. +The tread of the footsteps in the street stops momentarily. Then +all begin to run. Frightened cries are heard, weeping, loud, abrupt +ejaculations of "What's the matter?" "Oh, Lord!" "Fire, fire!" "No, +something has fallen down!" "Let's run!" The word "monastery" is +frequently heard._ + +TONY + +They are running! Where are they running to? Why is nobody here? + +PELAGUEYA _(entering the room, half dressed)_ + +Oh, Lord! Oh, heavens! Is it possible the monastery is on fire! Good +gracious! Heavens! And you here, you drunken sot! You monster! + +TONY + +Oho! They are running? Faces, mugs, eh? + +_[The bell begins to toll the alarm. Then the strokes follow each +other in more rapid succession; hasty, disquieting, uneven, they blend +with the noise of the street and seem to creep through the window._ + +PELAGUEYA _(crying)_ + +Good God, I don't know where to turn. + +_[She runs out. The cries in the street grow louder. Someone yells +in one prolonged note "Oh-oh-oh!" until the sound is drowned in the +general noise, excitement, and ringing._ + +LIPA _(moving away from the window, very pale, stupefied)_ What does +it mean? It cannot be. It is impossible. Tony, Tony, get up. Tony, +brother, what does it mean? Tony! + +TONY _(reassuringly)_ + +It's nothing. They are all faces. + +SAVVA _(leaving the window, calm and stern, but also pale)_ Well, +sister? + +LIPA _(flinging herself about the room)_ + +I want to run with the rest. I'll run. Where is my scarf? Where is my +scarf? My God, My God! Where is my scarf? + +SAVVA + +Your scarf? There it is. But I won't give it to you. Sit down; you +have nothing to do there. + +LIPA + +Let me have it. + +SAVVA + +No, sit down, sit down. It's too late now anyway. + +LIPA + +Too late? + +SAVVA + +Yes, too late. Don't you hear the noise the crowd is making and the +way they are running and pushing? + +LIPA + +I'll run, I'll run. + +SAVVA + +Keep still--sit down. _(Forces her to sit down)_ Tony, did you hear? +They've exploded God. + +TONY _(looking at Savva's face in terror)_ + +Savva, don't make me laugh. Turn your face away. + +_[Savva smiles and walks around the room with buoyant step, without +his usual stoop._ + +LIPA _(faintly)_ + +Savva. + +SAVVA + +What is it? Speak louder. + +LIPA + +Is it, really true? + +SAVVA + +It's true. + +LIPA + +And doesn't He really exist? + +SAVVA + +He does not. + +_[Lipa begins to cry, at first low, then more and more loudly. The +sound of the ringing bells and the noise of the crowd continue to +swell. The rolling and clatter of wagons is also heard._ + +SAVVA + +They are running. My, how they are running! _(Lipa says something, but +her words are inaudible)_ Louder. I can't hear you. My, how they are +ringing. + +LIPA _(aloud)_ + +Kill, me, Savva. + +SAVVA + +Why? You'll die anyhow. + +LIPA + +I can't wait. I'll kill myself. + +SAVVA + +Go ahead, kill yourself, kill yourself quick! + +_[Lipa cries, burying her head in the armchair Tony, his face +distorted with fear, looks at Savva, holding both his hands in +readiness at his mouth. Loud peals of the bell. The disquieting sound +blends with the loud tone of Savva's speech._ + +SAVVA _(shouting)_ + +Ah! They are ringing. Ring on! Ring on! Soon the whole earth will +ring. I hear! I hear! I see your cities burning! I see the flames. I +hear the crackling. I see the houses tumbling on your heads. There +is no place to run to. No refuge! No refuge! Fire everywhere. The +churches are burning. The factories are burning. The boilers are +bursting. An end to all slavish toil! + +TONY _(trembling with fear)_ + +Savva, shut up, or I am going to laugh. + +SAVVA _(unheeding)_ + +The time has come! The time has come! Do you hear? The earth is +casting you out. There is no place for you on earth. No! He is coming! +I see him! He is coming, the free man! He is being born in the flames! +He himself is fire and resolution! An end to the earth of slaves! + +TONY + +Savva, shut up! + +SAVVA _(bending down to Tony)_ + +Be prepared! He is coming! Do you hear his tread? He is coming! He is +coming! + +CURTAIN + + + + +THE FOURTH ACT + + +_Near the monastery. A broad road crosses the stage obliquely. On the +far side of the road is the river, beyond which opens a wide prospect +of the surrounding country--meadows, woods, and villages, with the +crosses of the churches burning in the sun. In the distance, at the +right, where the mountain projects over a glistening bend of the +river, is seen a part of the walls and the towers of the monastery. On +the near side of the road is a hilly elevation covered with trampled +grass. It is between five and six in the morning. The sun is out. The +mist over the meadow is scattering slowly. + +Now and then a pilgrim or group of pilgrims may be seen hurrying by +on their way to the monastery. Wagons carrying cripples and other +monstrosities pass along the road. The noise of thousands may be +heard from the monastery. The crowd is evidently moved by some joyous +emotion. No individual voices are heard, but it is as if one could +feel the singing of the blind, the cries, and the quick, glad snatches +of conversation. The general effect is that of an elemental force. +The noise decreases at regular intervals, like a wave, and then the +singing of the blind becomes distinctly audible. + +Lipa and the Young Friar appear on the near side of the road: Lipa is +sitting on the hillock, dressed as she was the night before, but her +head is covered with a white scarf carelessly tied. She is exhausted +with joy and almost dropping off to sleep. The Friar stands near +her. On his face there is a troubled, vacant look. His movements are +irresolute and aimless. He tries to smile, but his smile is twisted +and pitiful. He is like a child who feels hurt without knowing the +cause._ + +LIPA _(untying her scarf)_ + +Heavens, but this is splendid! I should like to die here. I can't get +enough of it. Oh, it's splendid, it's splendid! + +FRIAR _(looking around)_ + +Yes, it is splendid. But I can't stand it in there. I can't. They push +and jostle and press and jam. They crushed the life out of one woman, +absolutely crushed her. She had a child with her. I couldn't look at +it. I--I'll go to the woods. + +LIPA + +How splendid! Oh, Lord! + +FRIAR _(looking dejectedly into the distance)_ + +I'll go to the woods. + +LIPA + +And to think that only yesterday everything was just as usual. There +was nothing of all this, no miracle, nothing. There was only Savva--I +can't believe it was yesterday. It seems to me a whole year has +passed, a century. Oh, Lord! + +FRIAR _(his face clouding)_ + +Why did he do it? Why? + +LIPA + +Can't you guess, Vassya? + +FRIAR _(waving his hand)_ + +I asked him to come to the woods with me. He should have come. + +LIPA + +Did he tell you anything? + +FRIAR _(waving his hand)_ + +He should have come. Yes, he should have come. + +LIPA + +Ah, Vassya, Vassya, on account of your woods you missed one of the +greatest events that ever happened--so great, in fact, that no man +remembers the like of it. Ah, Vassya, how can you be speaking about +anything else when right now, right here--right here--a miracle has +happened. Do you understand? A miracle! The very mention of it fills +one with awe. A miracle! Oh, God! Where were you, Vassya, when the +explosion occurred? In the woods? + +FRIAR + +Yes, in the woods. I didn't hear the explosion. I only heard the +ringing of the alarm bell. + +LIPA + +Well? + +FRIAR + +Nothing. I ran back and found the gate open and everybody crying like +mad. And the ikon-- + +LIPA + +Well, well? Did you see? + +FRIAR + +Yes, it was in the same place as before. And all around--_(Growing +animated)_ You know the iron grating over there--you know it, don't +you? It was twisted like a rope. It's funny to look at. It looks like +something soft. I touched it, and it wasn't soft, of course. What +power! It must have been something tremendous. + +LIPA + +Well, and what about the ikon--the ikon? + +FRIAR + +What about it? Nothing. It's there in its place, and our people are +praying to it. + +LIPA + +Oh, Lord! And the glass is whole too? + +FRIAR + +The glass is whole too. + +LIPA + +That's what they told me, but I can't believe it yet. Forgive me, O +Lord! Well, what are they doing? They are overjoyed, I suppose. + +FRIAR + +Yes, they are overjoyed. They act as if they were drunk. You can't +make out what they are saying. A miracle, a miracle. Father Kirill +keeps grunting like a pig "Oui, oui, oui." They put cold compresses on +his head. He is fat, and he may pass out any moment. No, I can't stand +it here. Come, let us go. I'll take you home, Miss Olympiada. + +LIPA + +No, Vassya dear, I'll go in there. + +FRIAR + +Don't go, for heaven's sake. They'll crush you, as they did that +woman. They are all like drunk. They are carrying on and shouting like +mad, with their eyes wide open. Listen. Can't you hear them? + +LIPA + +You are still a boy, Vassya. You don't understand. Why, it's a +miracle. All their lives these people have been waiting for a miracle. +Perhaps they had already begun to despair, and now--O Lord! It's +enough to make you mad with joy. Yesterday, when I heard the cry of "a +miracle," I thought: "No, it's impossible. How could it happen?" But +then I saw them crying, crossing themselves, and going down on their +knees. And the ringing of the alarm bell stopped. + +FRIAR + +Oh, it was Afanassy who rang. He's terribly strong, a regular giant. + +LIPA + +And the only thing heard was "A miracle, a miracle!" No one spoke, and +yet one kept hearing "A miracle, a miracle," as if the whole earth +had become articulate. And even now, when I close my eyes, I hear +"A miracle, a miracle!" _(She closes her eyes and listens with an +ecstatic smile)_ How splendid! + +FRIAR + +I am sorry for Mr. Savva. Listen to the noise they are making. + +LIPA + +Oh, don't talk about him. He'll have to answer to God. Are they going +to sing "Christ is arisen" instead of the usual hymn when they carry +the ikon in the procession to-day? Vassya, do you hear? I am asking +you a question. + +FRIAR + +Yes, they say that they are. Go home, Miss Olympiada, won't you? + +LIPA + +You can go, if you like. + +FRIAR + +But how can I leave you alone? They'll come tearing down here soon. +For heaven's sake, there is Mr. Savva! + +_[Savva comes in hatless. His face is dark and stormy. There are lines +under his eyes. He looks sideways with a steady stare. Frequently he +glances around and seems to be listening to something. His gait is +heavy, but quick. Noticing Lipa and the Friar, he turns and walks +toward them. At his approach Lipa rises and turns away._ + +SAVVA + +Have you seen Kondraty? + +FRIAR + +No, he is in the monastery. + +_[Savva remains standing in silence. The noise in the monastery has +subsided and the sad, pitiful singing of the blind is heard._ + +FRIAR + +Mr. Savva. + +SAVVA + +Have you got a cigarette? + +FRIAR + +No, I don't smoke. _(Plaintively)_ Come to the woods, Mr. Savva. +_(Savva remains immovable and silent)_ They'll kill you, Mr. Tropinin. +Come to the woods--please come! _(Savva looks fixedly at him, then +silently turns and walks away)_ Mr. Tropinin, on my word you had +better come with me to the woods. + +LIPA + +Leave him alone. He is like Cain. He can't find a place on the earth. +Everybody is rejoicing, and he-- + +FRIAR + +His face is black. I am sorry for him. + +LIPA + +He is black all through. You had better keep away from him, Vassya. +You don't know whom you are pitying. You are too young. I am his +sister. I love him, but if he is killed, it will be a benefit to the +whole world. You don't know what he wanted to do. The very thought of +it is terrible. He is a madman, Vassya, a fearful lunatic. Or else he +is--I don't know what. + +FRIAR _(waving his hand)_ + +You needn't tell me all that. I know. Of course I know. Don't I see? +But I am sorry for him all the same, and I am disgusted too. Why did +he do it? Why? What stupid things people will do! Oh, my! + +LIPA + +I have only one hope--that he has understood at last. But if-- + +FRIAR + +Well, what's the "if"? + +LIPA + +Oh, nothing, but--When he came here, it was as if a cloud had passed +across the sun. + +FRIAR + +There you go also! You should be happy--Why don't you rejoice? Don't +be "iffing" and "butting." + +_[A crowd begins to collect gradually. Two wagons with cripples stop +on the road. A paralytic has been sitting for some time under a tree, +crying and blowing his nose and wiping it with his sleeve. A Man in +Peasant Overcoat appears from the direction of the monastery._ + +MAN IN OVERCOAT _(officiously)_ + +We must get the cripples over to Him, to the ikon--we must get them +over there. What's the matter, women, are you asleep? Come on, move +along. You'll get your rest over there. What's the matter with you, +gran'pa? Why aren't you moving along? You ought to be there with your +legs. Go on, old man, go on. + +PARALYTIC _(crying)_ + +I can't walk. + +MAN IN OVERCOAT _(fussily)_ + +Oh, that's it? That's what's the matter with you, eh? Come, I'll give +you a lift. Get up. + +PARALYTIC + +I can't. + +PASSER-BY + +Won't his legs work? What you want to do is to put him on his feet, +and then he'll hop away by himself. Isn't that right, old man? + +MAN IN OVERCOAT + +You take hold of him on that side, and I'll take this one. Well, old +man, get a move on you. You won't have to suffer long now. + +PASSER-BY + +There he goes hop, hop. That's right. Go it, go it, old man, and you +won't get left. _(He goes away)_ + +FRIAR _(smiling happily)_ + +They started him going all right. Clever, isn't it? He is galloping +away at a great rate too. Good-bye, old gran'pa. + +LIPA _(crying)_ + +Lord! Lord! + +FRIAR _(pained)_ + +What's the matter? Don't cry, for pity's sake. What are you crying +for? There is no cause for crying. + +LIPA + +No cause do you say, Vassya? I am crying for joy. Why aren't you glad, +Vassya? Don't you believe in the miracle? + +FRIAR + +Yes, I do. But I can't bear to see all this. They all behave like +drunks, and shout and make a noise. You can't understand what they are +talking about. They crushed that woman. _(With pain and disgust)_ They +squeezed the life out of her. Oh, Lord, I simply can't! And the whole +business. Father Kirill keeps grunting "Oui, oui, oui." _(Laughs +sadly)_ Why is he grunting? + +LIPA _(sternly)_ + +You learned that from Savva. + +FRIAR + +No, I didn't. Tell me, why is he grunting? _(Laughs sadly)_ Why? + +_[Yegor Tropinin enters dressed in holiday attire, his beard and hair +combed. He looks extremely solemn and stern._ + +YEGOR + +Why are you here, eh? And in that kind of dress? You're a fine sight. + +LIPA + +I had no time to get dressed. + +YEGOR + +But you found time to get here. What you have no business to do you +have time for, but what you should do you have no time for. Go home +and get dressed. It isn't proper. Who has ever seen such a thing? + +LIPA + +Oh, papa! + +YEGOR + +There is nothing to "oh" about. It's all right, papa is papa, but you +see I am properly dressed. I dressed and then went out. That's the +right way to do. Yes. It's a pleasure to look at myself sideways. I +dressed as was proper, yes. On a day like this you ought to give a +hand at the counter. Tony has disappeared, and Polya can't do all the +work herself. You needn't be making such a face now. + +MERCHANT _(passing by)_ + +Congratulate you on the miracle, Mr. Tropinin! + +YEGOR + +Thank you, brother, the same to you. Wait, I'll go with you. You are a +goose, Olympiada. You have always been a goose, and you have remained +a goose to this day. + +MERCHANT + +You'll have a fine trade now. + +YEGOR + +If it please the Lord! Why are you so late? Have you been sleeping? +You keep sleeping, all of you, all the time. _(They go out)_ + +FRIAR + +I scattered all the fireflies I caught on the road when I ran last +night. And now the crowd has trampled them down. I wish I had left +them in the woods. Listen to the way they are shouting. I wonder +what's the matter. They must have squeezed somebody to death again. + +LIPA _(closing her eyes)_ + +When you talk, Vassya, your words seem to pass by me. I hear and I +don't hear. I think I should like to stay this way all my life without +moving from the spot. I should like to remain forever with my +eyes shut, listening to what is going on within me. Oh, Lord! What +happiness! Do you understand, Vassya? + +FRIAR + +Yes, I understand. + +LIPA + +No. Do you understand what it is that has happened to-day? Why, it +means that God has said--God Himself has said: "Wait and do not fear. +You are miserable. Never mind, it's nothing, it's only temporary. You +must wait. Nothing has to be destroyed. You must work and wait." Oh, +it will come, Vassya, it will come. I feel it now, I know it. + +FRIAR + +What will come? + +LIPA + +Life, Vassya, real life will come. Oh, mercy! I still feel like crying +for joy. Don't be afraid. + +_[Speransky and Tony enter, the latter very gloomy, glancing sideways +and sighing. In a queer way he sometimes recalls Savva his gait and +look._ + +SPERANSKY + +Good morning, Miss Olympiada. Good morning, Vassya. What an +extraordinary event, if we are to believe what people say. + +LIPA + +Believe, Mr. Speransky, believe. + +SPERANSKY + +You judge in a very simple offhand manner. If, however, you take into +consideration the fact that it is highly probable that nothing exists, +that even we ourselves do not exist-- + +TONY + +Keep quiet. + +SPERANSKY + +Why? There is no miracle for me, Miss Olympiada. If at this moment, +for example, everything on this earth were suddenly to be suspended in +the air, I shouldn't regard it as a miracle. + +LIPA + +As what then? You're a very peculiar man. + +SPERANSKY + +I should look on it simply as a change. It was first one thing and +then it became another. If you wish, I'll admit that for me the very +fact that things are as they are is in itself a miracle. All are glad +and rejoicing but I sit and think: "Time is blinking his eyes now, and +there is a change. The old people are dead, and in their places appear +the young. And they are apparently glad and rejoicing too." + +TONY + +Where is Savva? + +LIPA + +Why do you want him? + +SPERANSKY + +He has been looking for Mr. Savva ever so long. We have looked +everywhere, but have not been able to find him. + +FRIAR + +He was here awhile ago. + +TONY + +Where did he go? + +FRIAR + +To the monastery, I think. + +TONY _(pulling Speransky)_ + +Come. + +SPERANSKY + +Good-bye, Miss Olympiada. How they are shouting over there! The time +will come when they will all be silent. _(They go off)_ + +FRIAR _(disturbed)_ + +Why are they looking for Mr. Savva? + +LIPA + +I don't know. + +FRIAR + +I don't like that seminarist. Always nosing about where there are dead +around. What does he want? He is a dreadfully disagreeable fellow. +Never misses a funeral. He smells death miles away. + +LIPA + +He is an unhappy creature. + +FRIAR + +Unhappy? Why is he unhappy? Even the dogs in the village are afraid +of him. You don't believe it? It's so, upon my word! They bark at him, +and then slink away behind the gate. + +LIPA + +What does all this matter anyway, Vassya? It's of no account, mere +trifles. To-day they are going to sing: "Christ is arisen from the +dead. Death has conquered death." Do you understand? "Death has +conquered death." + +FRIAR + +I understand. I understand. But why does he say "All will become +silent" and that sort of stuff? I don't like it, I don't like it. +They have crushed a woman to death--perhaps others too. _(Shaking his +head)_ I don't like it. In the woods everything is so quiet and nice, +and here--I'd prefer that no miracle had happened. I'd rather have +things nice and pleasant. What's the use of it? What's the use of the +miracle? There is no need of a miracle. + +LIPA + +What are you talking about, Vassya? + +FRIAR + +Savva Tropinin! The idea. It shouldn't have been done. There was no +need of it. He said he'd go with me to the woods and then--I liked him +a lot, but now I am afraid of him. Why did he do it? Why? My, what a +fearful crowd! More cripples coming, and more and more. + +LIPA + +What is the matter, Vassya? What are you so excited about? + +FRIAR + +Everything was so nice and fine. Oh, my! Why _don't_ you go home, Miss +Olympiada? Do go, please. You have seen all there is to be seen. It's +enough. What can you gain by staying here? Come, I'll go with you. Oh, +God, there comes Mr. Savva again! + +LIPA + +Where? + +FRIAR + +There he is. For heaven's sake! + +SAVVA _(enters and sits down)_ + +Has Kondraty been here? + +FRIAR + +No, Mr. Savva. + +_[Pause. Again the piteous singing of the blind can be heard._ + +SAVVA + +Got a cigarette, Vassya? + +FRIAR + +No, I haven't. I don't smoke. + +LIPA _(harshly)_ + +What are you waiting for, Savva? Go away. You are not wanted here. +Look at yourself. You are a terrible sight. Your face is black. + +SAVVA + +I didn't sleep all last night. That's why it's black. + +LIPA + +What are you waiting for? + +SAVVA + +For an explanation. + +LIPA + +You don't believe in the miracle? + +SAVVA _(smiling)_ + +Vassya, do you believe in the miracle? + +FRIAR + +Yes, of course I do, Mr. Savva. + +SAVVA + +Wait. You'll find out. What are they doing down there? They have +already crushed three to death. + +FRIAR Three? + +SAVVA + +And they'll kill many more. And they all keep shouting: "A miracle, +a miracle!" At last it has come. They have got what they have been +waiting for at last. + +LIPA + +And it's you, Savva, who gave them the miracle. It's you who are to be +thanked for it. + +SAVVA _(gloomily)_ + +Well, Vassya, the monks are glad, aren't they? Tell me, don't be +afraid. + +FRIAR + +They are very glad, Mr. Savva. They are crying. + +SAVVA _(looking at him)_ + +_Crying?_ Why are they crying? + +FRIAR + +I don't know. I suppose for joy. Father Kirill grunts like a pig "Oui, +oui, oui." They all act as if they were drunk. + +SAVVA _(rising, agitated)_ + +As if they were drunk? What does that mean? Perhaps they really are +drunk. + +FRIAR + +Oh no, Mr. Tropinin. It's all on account of the miracle. They are mad +with joy. Father Kirill keeps grunting "Oui, oui, oui." He vows that +if he remains alive he'll swear off liquor and live as a hermit. + +SAVVA _(eyeing him)_ + +Well? + +FRIAR + +That's all. + +SAVVA + +What do they say? + +FRIAR + +They say they'll do penance and stop sinning. They hug each other and +behave as if they were drunk. + +SAVVA _(walking up and down, stroking his forehead with his hand)_ +Yes, hm. So that's the way! Yes. + +LIPA _(following him with her eyes)_ + +Go away from here, Savva. You are not wanted here. + +SAVVA + +What? + +LIPA _(reluctantly)_ + +They may recognize you and then--Why don't you put on a hat at least? +You look like-- + +FRIAR + +Yes, go--please go--dear Mr. Savva. Why, they--why, they might kill +you! + +SAVVA _(in a sudden outburst of anger)_ + +Leave me alone! No one will kill me. It's bosh! _(Pause. Sits down)_ +I wish I could get a drink of water or something. I am very thirsty. +Isn't there a pool or something of the kind around here? + +FRIAR _(looking in terror at Savva)_ + +No, it's all dried up. + +SAVVA _(frowning)_ + +Sorry. + +FRIAR + +Oh, that woman there has a jug of water. _(Gleefully)_ I'll go and ask +her for it. _(Runs)_ + +LIPA + +You ought not to have that water. Go away from here, Savva, go away. +Look what gladness there is all around you. Everybody, everything +rejoices. The earth is glad. The sun is glad. You are the only one who +is not--you alone. I still can't forget that you are my brother. Go. +But wherever you go, bear with you the memory of this day always. +Remember that the same fate awaits you everywhere. The earth will not +surrender her God to you; the people will not surrender to you that +whereby they live and breathe. Yesterday I still feared you. To-day +I regard you with pity. You are pitiful, Savva! Go! Why are you +laughing? + +SAVVA _(smiling)_ + +Isn't it a little premature, sister, for you to be delivering my +funeral oration? + +LIPA + +Aren't you frightened yet? + +SAVVA + +Why should I be frightened? At your tricks and jugglery? I am used to +the lies and frauds, Lipa. You can't frighten me with them. I still +have a lot of stupid confidence left. It will help. It will come in +handy the next time. + +LIPA + +Savva! + +FRIAR _(bringing the jug of water)_ + +I had the hardest time getting it from her. She was like flint. She +said she needed it herself. She was a hard case. + +SAVVA + +Thank you, boy. _(Drinks with avidity)_ Fine! _(Drinks the last drop)_ +That was fine water. Take it back and tell the woman her water was +fine and that there is none like it in all the world. + +FRIAR _(merrily)_ + +All right, I'll tell her. _(Goes off)_ + +LIPA _(in a whisper)_ + +You are the enemy of the human race. + +SAVVA _(smacking his lips)_ + +Very well, very well. Just wait. We'll hear what Kondraty has to say. +The blackguard! I'll give it to him! + +LIPA _(with emphasis, but still in a whisper as before)_ + +You are the enemy of the human race! You are the enemy of the human +race! + +SAVVA + +Louder! No one hears you. It's a spicy bit of information. + +LIPA + +Go away from here. + +_[The Friar returns._ + +SAVVA _(looking into the distance with narrowed eyes)_ + +It's nice out there, isn't it, Vassya? Whose woods are they? +Vazykin's? Have I ever been there with you? + +FRIAR _(gleefully)_ + +Yes, they're Vazykin's. I was there yesterday, Mr. Savva. I caught a +whole handful of fireflies, but as I ran--_(He grows sorrowful at the +memory)_ My, how they are shouting! What are they up to anyway? Did +you say they killed three, Mr. Tropinin? Was that what you said? + +SAVVA _(coolly)_ + +Yes, three. + +FRIAR + +What are they pushing and jostling for anyhow? He'll be carried in the +procession and they can all see Him. + +SAVVA + +When will they carry Him? + +FRIAR _(looking up)_ + +It won't be long now. + +LIPA + +They'll sing "Christ is Arisen" to-day. + +SAVVA _(smiling)_ + +Is that so? Didn't I arrange a feast-day for them though? + +_[Tony and Speransky appear._ + +FRIAR + +Are these fellows here too? For goodness' sake, what do they want? +What are they looking for? I don't like it. Mr. Tropinin, come; let's +go away from here. + +SAVVA + +Why? + +FRIAR + +They are coming this way, Speransky-- + +SAVVA + +Aha! The "Tramp of Death" is approaching. + +_[Lipa looks at him in astonishment. The Friar presses his hand to his +bosom in a state of agitation._ + +FRIAR _(plaintively)_ + +What are you saying? Oh, God! Why did you say that? You mustn't do it. +This is no tramp of death, nothing of the kind. + +SAVVA + +It's a kind of story he has written--Good morning, good morning. What +can I do for you? + +SPERANSKY + +Mr. Anthony Tropinin is looking for you, Mr. Savva. + +SAVVA + +What do you want? + +TONY _(very sadly, hiding a little behind Speransky)_ + +Nothing. + +FRIAR _(listening attentively and then speaking with passion)_ What +are you running around for then, and whom are you hunting? If you want +nothing, do nothing. But you are running around and hunting, hunting. +It isn't nice, I tell you! + +TONY _(after a passing glance at the Friar he fixes his gaze on +Savva)_ Savva. + +SAVVA _(irritated)_ + +What do you want? + +_[Tony makes no answer, but hides behind Speransky, looking over his +shoulder. In the course of what follows he keeps steadily looking at +Savva. His lips and eyebrows twitch, and at times he presses both his +hands hard against his mouth._ + +SPERANSKY + +The crowd is in a state of great agitation, Miss Olympiada. They broke +the old gate opening on the other side of the woods and rushed in. The +Father Superior came out and asked them to behave. They shout so +you can't hear anything at all. Many are rolling on the ground in +convulsions. I suppose they are sick. It's very strange, quite unusual +in fact. + +LIPA + +Will they carry Him out soon? I must go. _(Rises)_ + +SPERANSKY + +They say it'll be soon now. One wagon with cripples in it was +upset--cripples without hands or feet. They are lying on the ground +crying. It's all so strange. + +FRIAR + +What? Did you see it yourself? + +_[Kondraty appears on the road coming from the monastery. He is +walking in the company of two pilgrims, who are listening attentively +to him. Catching sight of Savva, Kondraty says something to his +companions, who remain standing where they are while he goes up to +Savva._ + +SAVVA + +Aha! + +KONDRATY _(clean, spruce, beaming)_ + +Good morning, Miss Olympiada. Good morning to you too, Mr. Savva +Tropinin. + +SAVVA + +Good morning, good morning. You have come after all? You were not +afraid? + +KONDRATY _(calmly)_ + +Why should I be afraid? You won't kill me, I suppose, and if you +should, it would be sweet to die at your hands. + +SAVVA + +What bravery! And how clean you are! You are positively painful to +look at. You didn't make quite so smart an appearance when you lay +wallowing in the puddle. You were a little the worse for the mud, and +so on. + +KONDRATY _(shrugging his shoulders and speaking with dignity)_ It's +no use recalling that incident now. It's quite out of place. Mr. +Tropinin, it's time for you to have done with your spite and malice, +high time. + +SAVVA + +Well? + +KONDRATY + +That's all. There is no "well" about it. You have had your shot. Be +satisfied. + +SAVVA + +Are congratulations upon the miracle in order? + +KONDRATY + +Yes, Mr. Tropinin, upon the miracle--the miracle, indeed. _(He weeps +with a bland air, wiping his face with his handkerchief)_ God granted +that I should live to see the day. + +SAVVA _(rising and advancing a step toward the monk; peremptorily)_ +Enough now! Stop your hocus-pocus. You have played your trick. Now +stop, or I'll knock all that jugglery out of you. Do you hear? + +FRIAR + +Mr. Savva, good Mr. Savva, please don't. + +KONDRATY _(drawing back a little)_ + +Not so loud, not so loud. We are not in the forest where you can kill +rich merchants and get away with it. There are people here. + +SAVVA _(lowering his voice)_ + +Well, tell me all about it. Come on. + +KONDRATY + +What's the use of going away? I can tell you everything right here. I +have no secrets. It's you who have secrets. I am all here. + +SAVVA + +You'll lie if you tell it here. + +KONDRATY _(heatedly, with tears)_ + +Shame, Mr. Tropinin! Shame! Shame! Why do you insult me? Is it because +you saw me lying in the puddle? It's a sin, a shame! + +SAVVA _(perplexed)_ + +What's the matter with you? + +KONDRATY + +Do you think I am going to lie on a day like this? Miss Olympiada, +you at least ought to know--Good God! Good God! Why, Christ has just +arisen! Do you understand? + +_[The crowd increases. Some cast glances at the group with the two +monks before they pass on._ + +LIPA _(excitedly)_ + +Father Kondraty-- + +KONDRATY _(beating his breast)_ + +Do you understand? I have lived all my life like a scoundrel, so why, +why did God do this with me? Do you understand, Miss Olympiada? Do you +understand? Eh? + +SAVVA _(perplexed)_ + +Talk sense. Stop blubbering. + +KONDRATY _(waving his hand)_ + +I am not angry with you. I bear you no grudge. Who are you that I +should bear any resentment against you? + +SAVVA + +Talk sense. + +KONDRATY + +I'll tell Miss Olympiada. I won't speak to you. You knew me as a +drunkard, Miss Olympiada, a mean, worthless creature. Now listen. _(To +Speransky)_ And you, young man, may listen also. It will teach you a +lesson. It will show you how God works His will unseen. + +LIPA + +I see, Father Kondraty. Forgive me. + +KONDRATY + +God will forgive you. Who am I to forgive you? So that's the way it +was, Miss Olympiada. I followed your advice and went to the Father +Superior with the infernal machine. It was indeed an infernal machine! +And I told him everything, just the way I felt, with a perfect candor +and purity of heart. + +SPERANSKY _(guessing)_ + +Is that how it happened? What a remarkable event! + +FRIAR _(quietly)_ + +Keep quiet. What are you butting in for? + +KONDRATY + +Ye-es. The Father Superior turned pale. "You scamp," he said, "do you +know with whom you have had dealings?" "I do," I said, trembling all +over. Well, they called together the whole brotherhood and discussed +the matter in secret. And then the Father Superior said to me: "It's +this way, Kondraty," he said. "God has chosen you as the instrument +of His sacred will. Yes. _(Weeps)_ God has chosen you as the +instrument--" + +LIPA + +Well? Go on. + +KONDRATY + +Ye-es, hm. "Go," he said, "and put down the machine as you were told +to do, and set it going according to the directions. Carry out the +devil's plot in full. I and the other brothers will sing a hymn +quietly as we carry the ikon away. Yes, that's what we'll do. We'll +carry the ikon away. And thus the devil will be made a fool of." + +SAVVA + +Ah! + +LIPA _(astonished)_ + +But, Father Kondraty, how can that be? + +_[Savva laughs heartily._ + +KONDRATY + +Patience, patience, Miss Olympiada. "And when," said the Father +Superior, "the devil's plot shall have been carried out, then we'll +put the ikon--the dear, precious ikon--back in His place." Well, I +won't attempt to describe the scene that took place when we carried +the ikon away. It's beyond my power. The brothers sobbed and wept. +Not one of them was able to sing. The little candles burned with tiny +little flames. And then when we carried Him out to the gate, and when +we began to think and remembered--who is now in His sacred place--we +lay around the ikon, our faces on the ground, and cried and wept +bitter, bitter tears, tears of pity and contrition. "O Thou, our own, +our precious idol, have mercy on us, return to Thy place." _(Lipa +cries; the Friar wipes his eyes with his fist)_ And then--bang! went +the machine, and the sulphurous smoke spread all around so that it was +impossible to breathe. _(In a whisper)_ And then many beheld the devil +in the smoke, and they were so terrified that they lost consciousness. +It was horrible! And then, as we carried Him back, all of one accord, +as though we had agreed beforehand, began to sing "Christ is arisen." +That's how it happened. + +SAVVA + +You hear, Lipa? But what's the matter with you? Why are you all +crying? + +FRIAR + +It makes one feel so sorry, Mr. Savva. + +SAVVA + +Why, they fooled you, they played a trick on you. Or else you are all +lying, lying with your tears. + +_[Kondraty makes a gesture of indifference._ + +LIPA _(shaking her head, weeping)_ + +No, Savva, you don't understand. Oh, Lord! Oh, Lord! + +KONDRATY + +You have no God, that's the reason you don't understand; You have only +reason, and pride, and malice. That's why you don't understand. +Ah, Mr. Savva, you wanted to ruin me too. And I tell you as a +Christian--it would have been better if you had never been born. + +SAVVA + +Oh, fiddlesticks! Whom do you think you can hoodwink? Do you think I +have turned blind? + +KONDRATY _(turning away with a wave of his hand)_ + +You can shout as much as you like. + +FRIAR + +Mr. Savva, you mustn't shout, you mustn't. We have already attracted +the attention of the crowd. They are looking at us. + +SAVVA _(laying his hand on Kondraty's shoulder and speaking in a +low voice)_ Look here, I understand. Of course, in the presence of +people--but you understand, don't you, Kondraty? You are a clever +man, a very bright man. You understand that all this is nonsense. Just +consider, brother, consider a moment. Didn't they carry the ikon away? +Then where is the miracle? + +KONDRATY _(twisting himself free from Savva's grasp, shaking his +head and speaking aloud)_ Then you don't understand? No, you don't +understand. What of it? + +SAVVA _(in a whisper)_ + +Listen, remember our talk. + +KONDRATY _(aloud)_ + +Don't whisper to me. I have nothing to hide from anybody. How do you +think miracles happen anyhow? Say, you are a smart man too, and yet +you can't comprehend a simple matter like this. Why, it's all your +work, all your doing, isn't it? You gave me the machine. You planned +the explosion. Your orders have been carried out. And yet the ikon +is untouched; it's whole. That's all I have to say. It's the plain, +simple statement of fact. Yet you come here with your arguments and +try to get away from those facts by mere reasoning. + +LIPA _(looking around in a paroxysm of excitement)_ + +How simple it is! And how terrible! O Lord, O Lord! And to think that +it was I who did it, I, with my own hands! O my God! _(She falls on +her knees, turning her eyes toward heaven)_ + +SAVVA _(looking at her savagely, then at Kondraty)_ + +Well! + +KONDRATY _(drawing back in fright)_ + +Why are you staying here? Why haven't you left already? + +SAVVA _(shouting)_ + +What a ---- fool you are! + +KONDRATY _(paling)_ + +Lower, lower, I say. Don't talk like that, or I'll shout. + +SAVVA _(turning quickly toward Speransky)_ + +What are you staring at with your mouth wide open? You are a +philosopher. You, you are a philosopher. Can you understand the +stupidity of these people? They think it's a miracle. _(Laughs)_ They +think it's a miracle. + +SPERANSKY _(stepping back)_ + +Excuse me, Mr. Tropinin, but from their point of view--I don't know. + +SAVVA + +You don't know? + +SPERANSKY + +Who does know? _(Cries out, in despair)_ The dead alone, Mr. Savva, +the dead alone. + +KONDRATY + +Ah! You are cornered--Antichrist! + +LIPA _(in terror)_ + +Antichrist? + +_[Hearing the cry, the two pilgrims who were with Kondraty approach. +They are gradually joined by others, among whom is the Man in Peasant +Overcoat._ + +FIRST PILGRIM + +What is it, father? Has he revealed himself? + +KONDRATY + +Look at him, look at him! + +SAVVA + +Vassya, you dear, fine boy--Vassya, what is the matter with them? Hear +what they are saying. Hear the nonsense they are talking. You good, +nice boy! + +FRIAR _(drawing back)_ + +Mr. Savva, don't, don't. Go away from here. Leave this place. + +SAVVA + +Vassya, Vassya, you, you-- + +FRIAR _(crying)_ + +But I don't know. I don't know anything. I am afraid. + +LIPA _(ecstatically)_ + +Antichrist! Antichrist! + +SECOND PILGRIM + +Hear! Hear! + +KONDRATY + +Ah! You are cornered. Here is your money--take it! It has burned holes +in my pockets, your accursed money. Here, take it, take it, you brood +of Antichrist! _(Throws the money at him)_ + +SAVVA _(raising his fist as if to deal a blow)_ I'll teach you-- + +FIRST PILGRIM + +Boys, don't be afraid. Here boys, here! + +SAVVA _(pressing his head between his hands)_ + +Oh, it hurts, it hurts! Darkness is closing in. + +KONDRATY + +It's beginning to get you, is it? That's right, that's right. + +LIPA + +Antichrist! + +TONY _(shouting)_ + +Savva, Savva! + +SAVVA _(sinking for a moment into profound, terrible meditation; then +he straightens himself suddenly and seems to grow in stature; he cries +out with a wild joy as if speaking above the heads of all to reach +somebody far off)_ I am right! Therefore I am right! It was all +necessary! All! All! _(He stands as if petrified in an upward-striving +posture)_ + +KONDRATY + +Boys, it's he who did it. That's the fellow. + +MAN IN OVERCOAT _(pushing himself forward, officiously)_ + +What's the matter, boys? Aha! He is caught! Which one? This one? Come +on with you! _(Takes hold of Savva by the sleeve)_ + +SAVVA _(shaking him off with such violence that the man falls down)_ +Get away from me! + +VOICES + +Don't let him go! + +KONDRATY + +Hold him! + +FRIAR _(crying)_ + +Run, Mr. Savva, run. + +_[During the following scene Lipa prays. Speransky looks on with keen +curiosity, while Tony stares over his shoulder. All the voices become +blended into one raging, frightened, savage roar._ + +CROWD + +Get at him from that side! Yes, go yourself! You have a stick! Oh, +hang it, there isn't a single stone around! Hold him, hold him, he'll +escape! + +MAN IN OVERCOAT _(getting to his feet again and assuming the +leadership)_ Surround him, boys, surround him! Block the way to the +river! Don't let him run away! Well, now, get a move on you! + +CROWD + +Go yourself--I've tried once! Push that way! Get hold of him! Grab +him! Aha! + +KONDRATY _(shouting at the top of his voice)_ + +Beat him! Beat the Antichrist! Beat him! + +SAVVA _(the danger brings him back to his senses. He looks around, +takes in the path to the river with a quick glance, and gray as dust +with rage, he makes for it with a single abrupt movement)_ Get out of +the way, you monsters! + +CROWD + +He is getting away! He is getting away! Hold him! Boys, he is getting +away! He is getting away! + +_[As Savva advances, the crowd falls back in a semicircle, tumbling +against one another. Kondraty begins to make the sign of the cross at +Savva and continues to do so throughout the remaining scene._ + +SAVVA _(advancing)_ + +Get out of the way! Get out of the way! So you're scared now, you +dogs? You've pulled in your tails? Get out of the way! Go on! + +CROWD + +He is getting away. + +_[King Herod issues from the crowd, and plants himself in front of +Savva so as to obstruct his way. There is a terrible look on his face. +Savva comes up close to him and stops._ + +SAVVA + +Well? + +_[A brief pause. The conversation is carried on in a sort of +undertone, almost calmly._ + +KING HEROD + +Is that you? + +SAVVA + +Is that you? Let me go. + +KING HEROD + +A man? + +SAVVA + +Yes, let me go. + +KING HEROD + +Did you want the Saviour? Christ? + +SAVVA + +They fooled you. + +KING HEROD + +People may fool, Christ never. What's your name? + +SAVVA + +Savva. Get out of my way, I tell you. + +KING HEROD + +Surrender Thy servant Savva. Hold! + +_[He strikes a heavy, swinging blow with his left fist whence Savva +did not expect an attack. Savva sinks on one knee. The crowd rushes at +him and tramples him down._ + +CROWD + +Beat him! Aha! So! He is turning back! Beat him! + +FRIAR + +What does this mean? Oh! Oh! Oh! _(He clutches his head with both +hands, cries, and runs away)_ + +SAVVA _(fighting desperately, he appears for a moment looking fierce +and terrible)_ Let go--Ho-o-o! _(He sinks back again)_ + +CROWD + +That's the way. One, two--Ah! Strike! Got him? Not yet! Got him? What +are you waiting for? Strike! Done! + +A VOICE + +He's still moving. + +CROWD + +Strike! + +MAN IN OVERCOAT + +Peter, got a knife? Finish him with your knife. Cut his throat. + +PETER + +No, I'd rather do it with my heel. One! Two! + +KONDRATY _(cursing him)_ + +Lord Jesus Christ! Lord Jesus Christ! + +_[Loud cries are heard from the background: "They are carrying Him! +They are carrying Him!" The mob begins to disperse and thins out +quickly._ + +CROWD + +They are carrying Him! Yes, it's enough. It's done. No, let me at +him--once more. There! I gave him one good one in his face. They are +carrying Him! They are carrying Him! + +KING HEROD + +Enough, enough. A grand feast for you, you accursed beasts! + +CROWD + +I tell you, they are carrying Him! Lie there, you! Oh my, am I going +to be late? Enough now. Are you sorry for him, eh? Is it _your_ head? +One more! Come on! + +_[They run away so that Savva's mangled body becomes visible._ + +MAN IN OVERCOAT + +It ought to be taken away from here. It isn't right to leave it here +on the road. It's dirty. Boys! Say, boys! + +_[He goes off following the rest, but is met by the procession pouring +in upon the stage. There is a great din and humming of talk. Speransky +and Tony approach the body cautiously, bend over it on their knees, +one on each side, and stare at it eagerly._ + +SPERANSKY + +Dead! His eyes are gone. + +TONY + +Shut up! _(He bursts into a groaning laugh, pressing his hands hard to +his mouth)_ + +SPERANSKY + +But his face is calm. Look, Mr. Anthony. It's because now he knows the +truth. + +TONY + +Shut up! _(Bursts out laughing)_ What a funny face he has! + +_[He laughs behind his hand. Then his laugh bursts through his +fingers, so to speak, grows in intensity, becomes irresistible, and +passes into a whine. The crowd begins to fill the stage, concealing +the body, Speransky, and Tony. The bells are rung in the monastery as +at Easter, and at the same time the singing of thousands of voices is +heard._ + +CROWD + +"Christ is risen from the dead. He has conquered death with death and +given life to those lain in their graves. Christ--" + +LIPA _(flinging herself into the crowd)_ + +"Christ is risen!" + +_[The crowd continues to pour in, filling the entire stage. Gaping +mouths and round, wide-open eyes are seen everywhere. Shrill shrieks +are uttered by the crazed epileptics. A momentary outcry is heard:_ +"Somebody crushed!" _Tony's laughter dies away somewhere. The +triumphant hymn rises, spreads, passes into a titanic roar that drowns +every other sound. The bells continue to ring._ + +CROWD _(shouting at their utmost power)_ + +"Christ is risen from the dead. He has conquered death with death and +given life to those lain in their graves. Christ is risen--" + +CURTAIN + + + + +THE LIFE OF MAN + +(ZHIZN CHELOVIEKA) + + +A PLAY IN FIVE SCENES WITH A PROLOGUE + +1906 + + +TO THE BRIGHT +MEMORY OF MY FRIEND, MY WIFE + +I DEDICATE THIS COMPOSITION + +THE LAST + +ON WHICH WE WORKED TOGETHER + + + + +PERSONS + + +Someone in Gray called He + +Man + +His Wife + +Man's + Father + Relatives + Neighbors + Friends + Enemies + Guests + +Servants + +Musicians + +Physicians + +A Bartender + +Drunkards + +Old Women + + + + +PROLOGUE--_Someone in Gray called He, speaking of the Life of Man_ + +SCENE I--_The Birth of Man and the Mother's Travail_ + +SCENE II--_Love and Poverty_ + +SCENE III--_Wealth. Man's Ball_ + +SCENE IV--_Man's Misfortune_ + +SCENE V--_The Death of Man_ + + + + +THE LIFE OF MAN + +PROLOGUE + +SOMEONE IN GRAY CALLED HE, SPEAKING OF THE LIFE OF MAN + + +_A large, rectangular space resembling a room without doors or windows +and quite empty. Everything is gray, monocolored, drab--the watts +gray, and the ceiling, and the floor. A feeble, even light enters from +some invisible source. It too is gray, monotonous, spectral, producing +neither lights nor shadows. + +Someone in Gray moves noiselessly away from the wall, close against +which He has been standing. He wears a broad, gray, formless smock, +vaguely outlining the contours of His body; and a hat of the same +gray throws the upper part of His face into heavy shadow. His eyes +are invisible. All that is seen are His cheekbones, His nose, and His +chin, which is massive, heavy, and blunt, as if hewn out of rock. His +lips are pressed tight together. Raising His head slightly, He begins +to speak in a firm, cold, unemotional, unimpassioned voice, like +a reader hired by the hour reading the Book of Fate with brutal +indifference._ + +SOMEONE IN GRAY + +Look and listen, you who have come here to laugh and be amused. There +will pass before you the whole life of Man, from his dark beginning to +his dark ending. Previously non-existant, mysteriously hidden in the +infiniteness of time, neither feeling nor thinking and known to no +one, he will mysteriously break through the prison of non-being and +with a cry announce the beginning of his brief life. In the night of +non-existence a light will go up, kindled by an unseen hand. It is the +life of Man. Behold the flame--it is the life of Man. + +Being born, he will take the form and the name of Man, and in all +things will become like other men already living. And their hard lot +will be his lot, and his hard lot will be the lot of all human beings. +Inexorably impelled by time, he will, with inavertible necessity, pass +through all the stages of human life, from the bottom to the top, from +the top to the bottom. Limited in vision, he will never see the next +step which his unsteady foot, poised in the air, is in the very act of +taking. Limited in knowledge, he will never know what the coming day +will bring, or the coming hour, or the coming minute. In his unseeing +blindness, troubled by premonitions, agitated by hope and fear, he +will submissively complete the iron-traced circle foreordained. + +Behold him a happy youth. See how brightly the candle burns. From +boundless stretches of space the icy wind blows, circling, careering, +and tossing the flame. In vain. Bright and clear the candle burns. Yet +the wax is dwindling, consumed by the fire. Yet the wax is dwindling. + +Behold him a happy husband and father. But see how strangely dim and +faint the candle burns, as if the yellowing flame were wrinkling, as +if it were shivering with cold and were creeping into concealment. The +wax is melting, consumed by the fire. The wax is melting. + +Behold him, an old man, ill and feeble. The stages of life are already +ended. In their stead nothing but a black void. Yet he drags on with +palsied limbs. The flame, now turned blue, bends to the ground and +crawls along, trembling and falling, trembling and falling. Then it +goes out quietly. + +Thus Man will die. Coming from the night, he will return to the night +and go out, leaving no trace behind. He will pass into the infinity of +time, neither thinking nor feeling, and known to no one. And I, whom +all call He, shall remain the faithful companion of Man throughout +his life, on all his pathways. Unseen by him, I shall be constantly +at hand when he wakes and when he sleeps, when he prays and when he +curses. In his hours of joy, when his spirit, free and bold, rises +aloft; in his hours of grief and despair, when his soul clouds over +with mortal pain and sorrow, and the blood congeals in his heart; in +the hours of victory and defeat; in the hours of great strife with the +immutable, I shall be with him--I shall be with him. + +And you who have come here to be amused, you who are consecrated to +death, look and listen. There will pass before you, like a distant +phantom echo, the fleet-moving life of Man with its sorrows and its +joys. + +_[Someone in Gray turns silent. The light goes out, and He and the +gray, empty room are enveloped in darkness._ + + + + +THE FIRST SCENE + +THE BIRTH OF MAN AND THE MOTHER'S TRAVAIL + + +_Profound darkness; not a stir. Like a swarm of mice in hiding, the +gray silhouettes of Old Women in strange headgear are dimly discerned; +also vaguely the outline of a large, lofty room. The Old Women carry +on a conversation in low, mocking voices._ + +OLD WOMEN'S CONVERSATIONS + +--I wonder whether it'll be a boy or a girl. + +--What difference does it make to you? + +--I like boys. + +--I like girls. They always sit at home waiting till you call on them. + +--Do you like to go visiting? + +_[The Old Women titter._ + +--He knows. + +--He knows. _(Silence)_ + +--Our friend would like to have a girl. She says boys are so restless +and venturesome and are always seeking danger. Even when they are +little, they like to climb tall trees and bathe in deep water. They +often fall, and they drown. And when they get to be men, they make +wars and kill one another. + +--She thinks girls don't drown. I have seen many girls drowned. They +look like all drowned people, wet and green. + +--She thinks girls don't get killed by stones thrown at them. + +--Poor woman, she has such a hard time giving birth to her child. +We have been sitting here sixteen hours, and she is still crying. At +first she cried out loud. Her screams pierced our ears. Then she cried +more quietly, and now she is only moaning. + +--The doctor says she'll die. + +--No, the doctor says the child will die and she will live. + +--Why do they bear children? It is so painful. + +--And why do they die? It is still more painful. + +_[The Old Women laugh suppressedly._ + +--Yes, they bear children and die. + +--And bear children again. + +_[They laugh. A subdued cry of the suffering woman is heard._ + +--Beginning again. + +--She's recovered her voice. That's good. + +--That's good. + +--Poor husband. He's lost his head completely. You ought to see him. +He's a sight. At first he was glad his wife was pregnant and said +he wanted a boy. He thinks his son will be a cabinet minister or a +general. Now he doesn't want anything, neither a boy nor a girl. He +just goes about grieving and crying. + +--Every time she is seized with pain he begins to labor, too, and gets +red in the face. + +--He was sent to the chemist's shop for medicine, and he hung about +there for two hours without being able to remember what he was sent +for. He returned without it. + +_[The Old Women titter. The cries grow louder and die away. Silence._ + +--What's the matter with her? Maybe she has died already. + +--No. If she had, we'd hear crying, and the doctor would come running +and begin to talk nonsense. They'd bring her husband out in a faint, +and we'd have to work over him. No, she's not dead. + +--Then what are we sitting here for? + +--Ask Him. What do we know? + +--He won't tell. + +--He won't tell. He never tells anything. + +--He orders us about as he pleases, gets us out of bed, and makes us +watch; and then it turns out that our coming wasn't even needed. + +--We came of our own accord, didn't we? We must tell the truth. There, +she's screaming again. + +--Haven't you had as much of it as you want? + +--Are you satisfied? + +--I keep my mouth shut and wait. + +--You're an angel. + +_[They laugh. The cries grow louder._ + +--Listen to her. What fearful pain she must be suffering. Have you any +idea of what the pain is like? It's as if your insides were being torn +to pieces. + +--We all have borne children. + +--It's just as if she were not herself. I don't recognize our friend's +voice. It's naturally so soft and gentle. + +--Her screaming is more like the roar of a wild beast. + +--You feel the night in it. + +--You feel the boundless black forest and hopelessness and terror. + +--You feel solitude and grief. There are other people with her. Why +can't you hear other voices beside that savage, dismal wail? + +--They are talking, but you can't hear them. Have you ever noticed how +solitary man's cries are? Any number of men will talk, and you won't +hear them. But let one human being cry, and it seems as if the others +were all silent, listening. + +--I once heard a man scream who had been run over by a Carriage and +had his leg crushed. The street was full of people. Yet he seemed to +be the only one there. + +--But this is more terrible. + +--Say rather it is louder. + +--I should say it is more prolonged. + +--No, it's more terrible. You feel death in it. + +--You had a feeling of death then, too. In fact, the man did die. + +--Don't dispute. It's all the same to you. + +_[Silence. Cries._ + +--How strange man's crying is! When you yourself are ill and cry, +you don't notice how strange it is. I can't imagine the mouth that +produces such sounds. Can it be a woman's mouth? I can't imagine it. + +--It's as if it got twisted and crooked. + +--As if the sound issued from some depth. Now it's like the cry of +someone drowning. Listen, she's choking. + +--A heavy person is sitting on her chest. + +--Someone is choking her. + +_[The crying ceases._ + +--At last she has quieted down. You get tired of crying. It's +monotonous and not beautiful. + +--You're looking for beauty here too, are you? + +_[The Old Women titter._ + +--Hush! Is He here? + +--I don't know. + +--He seems to be. + +--He doesn't like laughing. + +--They say He laughs Himself. + +--Whoever heard Him laugh? You are simply repeating hearsay. So many +lies are told about Him. + +--He hears us. Let us be serious. + +_[They laugh quietly._ + +--After all, I'd like to know whether it'll be a boy or a girl. + +--I admit, it's interesting to know whom you'll have to deal with. + +--I wish it died before it was born. + +--What a kind creature you are. + +--No better than you. + +--I hope it turns out to be a general. + +_[They laugh._ + +--You are too merry. I don't like it. + +--And you are too sad. I don't like that. + +--Don't wrangle. Don't wrangle. We are all both sad and merry. Let +each be what she pleases. _(Silence)_ + +--When they are born, they are so funny. Babies are very funny. + +--And self-satisfied. + +--And very exacting, I don't like them. They begin to cry at once and +make demands, as if they expected everything to be ready for them. +Even before looking, they know there is a breast and milk, and demand +them. Then they demand to be put to sleep and rocked and dandled and +patted on their red backs. I like them better when they die. Then +they're less exacting. They stretch out of themselves and don't ask to +be rocked. + +--No, they are very funny. I like to wash them when they are born. + +--I like to wash them when they are dead. + +--Don't dispute. Don't dispute. Each will have her way. One will wash +the child when it is born, another when it dies. + +--But why do they think they have a right to make demands the moment +they are born? I don't like it. They don't _think_ they have. It's +their stomachs that make the demands. + +--They're forever demanding. + +--But their demands are never granted. + +_[The Old Women laugh. The cries begin again._ + +--She is screaming again. + +--Animals give birth to their offspring more easily. + +--And they die more easily, and live more easily; I have a cat. You +ought to see how fat and happy she is. + +--I have a dog, and I tell him every day: "You are going to die." His +only reply is to show his teeth and to wag his tail gayly. + +--But they are animals. + +--And these are human beings. + +_[They laugh._ + +--Now she'll either die or be delivered. I feel that the whole remnant +of her strength is in that wail. + +--Eyes wide open. + +--Cold perspiration on her forehead. + +_[They listen._ + +--She is giving birth to the child. + +--No, she is dying. + +_[The cries cease._ + +--I tell you-- + +SOMEONE IN GRAY _(speaks in a resonant, powerful voice)_ + +Silence! Man is born. + +_[Almost simultaneously with His announcement the crying of an infant +is heard and the candle in His hand lights. A tall candle. It burns +hesitatingly and feebly. Gradually the flame grows stronger. The +corner in which Someone in Gray stands motionless is always darker +than the other corners, and the yellow flame illumines His blunt chin, +His tightly closed lips, and His massive, bony face. The upper part +of His face is concealed by His cap. He is somewhat taller than an +ordinary man. + +He puts the long, thick candle in an antique candlestick. His hand +comes into relief against the green bronze. It is gray, firm, with +long, thin fingers. + +Gradually the room grows brighter. The figures of five hunch-backed +Old Women emerge from the gloom, and the room becomes visible. It +is rectangular, with high, smooth, monotonously colored walls. Two +curtainless windows in the background and two on the right. The night +glooms through them. Straight, high-backed chairs against the walls._ + +THE OLD WOMEN _(talking rapidly)_ + +--Hear them running about. They're coming here. + +--How bright it is! Let's go. + +--Look, the candle is tall and bright. + +--Let's go, let's go. Quick! + +--But we'll come back. We'll come back. + +_[They laugh quietly, mockingly, and disappear into the dusk with odd, +zigzagging movements. As they leave, the light grows brighter, but +still it remains dim, lifeless, and cold. The corner in which Someone +in Gray stands motionless with the burning candle is darker than the +others. + +Enter the Doctor in a white uniform, and Man's Father, whose face +wears an expression of extreme exhaustion and joy. There are lines +under his eyes; his cheeks are sunken and his hair is dishevelled; he +is very negligently dressed. The Doctor looks very learned._ + +DOCTOR + +Up to the very last moment I didn't know whether your wife would pull +through or not. I used all the means at the disposal of medical skill +and science. But science can do very little unless nature helps too; +I was really excited. My pulse is still going hard. Though I have +assisted at so many births, yet I can't rid myself of a sense of +uneasiness. But you are not listening to me, sir. + +MAN'S FATHER + +I'm listening, but I can't hear. Her screams are still ringing in my +ears, and it's hard for me to pull myself together. Poor woman, how +she suffered! I was a fool, I was stupid and wanted to have children. +But hereafter I will renounce. It is criminal. + +DOCTOR + +You will call me again when your next child comes. + +FATHER + +No, never. I'm ashamed to admit it, but just now I hate the child for +which she suffered so. I didn't even see him. What sort of a boy is +he? + +DOCTOR + +He's a well-fed, strong little youngster, and if I'm not mistaken he +resembles you. + +FATHER + +Me? Fine! Now I'm beginning to love him. I always wanted a boy to look +like me. Did you see--his nose is like mine, isn't it? + +DOCTOR + +Yes, his nose and eyes. + +FATHER + +His eyes too? Ah, that's good. I'll raise your fee. + +DOCTOR + +You'll have to pay me for using the instruments also. + +FATHER _(turning to the corner where He stands motionless)_ + +God, I thank Thee for having granted my wish and given me a son who +resembles me. I thank Thee for preserving my wife from death, and +bringing my child into the world alive. I pray Thee that he may grow +up big, healthy, and strong; that he may be wise and honest, and that +he may never cause us grief, but be a constant joy to his mother and +me. If Thou wilt do this, I will always believe in Thee and go to +church. + +_[Enter Relatives, six in number. An elderly woman, uncommonly +stout, with a double chin and small, proud eyes and an air of extreme +haughtiness and self-importance. An elderly man, her husband, very +tall and uncommonly thin, so that his coat hangs loosely on his +body; a short goatee, long, smooth hair, as if wet, reaching to his +shoulders; eye-glasses; has a frightened; yet pedantic expression; +a low black silk hat in his hand. A young girl, their daughter, with +naïvely upturned nose, blinking eyes, and open mouth. A weazened +woman, with contracted features and a sour expression, in her hand +a handkerchief, with which she frequently wipes her mouth; Two young +men, looking absolutely alike, with extremely high collars that +stretch their necks; glossy hair; a hesitating, embarrassed +expression. The characteristics of each of the Relatives is +exaggerated in the extreme._ + +ELDERLY LADY + +Let me congratulate you on the birth of your son, dear brother. +_(Kisses him)_ + +ELDERLY MAN + +My dear brother, I heartily congratulate you on the birth of your son, +to which you have been looking forward so long. _(Kisses him)_ + +THE REST + +We congratulate you, dear uncle, on the birth of your son. + +_[They kiss him. Exit the Doctor._ + +MAN'S FATHER _(greatly moved)_ + +Thank you! Thank you! You are all very good, very nice, dear people, +and I love you very much. I had my doubts beforehand thought that you, +dear sister, were a little too much rapt up in yourself and your own +worth and importance; and that you, dear brother, were somewhat too +pedantic. The rest of you I thought were too cold to me, and came here +only for the sake of the dinners. Now I see I was mistaken. I'm very +happy. I get a son who resembles me, and then all at once I see myself +surrounded by so many good people who love me. _(They kiss)_ + +GIRL + +Uncle dear, what are you going to call your son? I hope you'll give +him a lovely, poetic name. So much depends on a man's name. + +ELDERLY LADY + +I should advise a simple, solid name. Men with nice names are usually +frivolous and rarely successful. + +ELDERLY MAN + +It seems to me, brother, you should name your son after some older +relative. Keeping the same names in the family tends to preserve and +strengthen the line. + +FATHER + +Yes, my wife and I have already discussed the subject, but have not +been able to reach a decision. You see, there are so many new things +to think of when a child comes, so many new problems to solve which +never arose before. + +ELDERLY LADY + +It fills up your life. + +ELDERLY MAN + +It gives life a beautiful purpose. By properly educating a child, +preventing it from making the mistakes which we had to pay for so +dearly, and strengthening its mind with our own rich experiences, we +produce a better man and advance slowly but surely toward the final +goal of existence, which is perfection. + +FATHER + +You are quite right, brother. When I was little I loved to torture +animals. That developed cruelty in me. I won't allow my son to +torture animals. Even after I had grown up I often made mistakes in my +friendships and love. I chose friends who were unworthy and women who +were faithless. I'll explain to my son-- + +DOCTOR _(enters and says aloud)_ + +Your wife is feeling very bad. She wants to see you. + +FATHER + +Oh, my God! _(He and the Doctor leave)_ + +_[The Relatives seat themselves in a semicircle. Solemn silence for a +time. Someone in Gray stands motionless in the corner, His stony face +turned toward them._ + +RELATIVES' CONVERSATION + +--Do you think, dear, she may die? + +--No, I don't think so. She is a very impatient woman and makes too +much of her pains. All women bear children and none of them die. I +have borne six children. + +--But the way she screamed, mamma? + +--Yes, her face was purple from screaming. I noticed it. + +--Not from screaming, but from laboring. You don't understand about +these things. My face got purple too, but I didn't scream. + +--Not long ago an acquaintance of mine, the civil engineer's wife, +gave birth to a child, and she scarcely made a sound. + +--I know. There's no need for my brother to be so upset. One must be +firm and take things calmly. And I'm afraid, too, he'll introduce a +lot of his fantastic notions in the bringing up of his children and +indulge their every whim. + +--He's a very weak character. He has little enough money, and yet he +lends it to people who don't deserve to be trusted. + +--Do you know how much the child's layette cost? + +--Don't talk to me of it! It gets on my nerves, my brother's +extravagance does. I often quarrel with him because he's so +improvident. + +--They say a stork brings babies. What sort of a stork is it? + +_[The young men burst out laughing._ + +--Don't talk nonsense. I gave birth to five children right in your +presence, and I'm no stork, thank the Lord. + +_[The young men burst our laughing again. The Elderly Woman eyes them +long and sternly._ + +--It's only a superstition. Children are born in an absolutely natural +way, firmly established by science. They've moved to new quarters now. + +--Who? + +--The engineer and his wife. Their old place was chilly and damp. They +complained to the landlord several times, but he paid no attention. + +--I think it's better to live in a small place that's warm than in a +large place that's damp. You are liable to catch your death of cold +and rheumatism if you live in a damp house. + +--I have a friend, too, who lives in a very damp house. And I too. +Very damp. + +--There are so many damp places nowadays. + +--Tell me, please--I've been wanting to ask you a long time--how do +you remove a grease stain from light-colored material? + +--Woollen? + +--No, silk. + +_[The child's crying is heard behind the scene._ + +--Take a piece of ice and rub it on the spot hard. Then take a hot +iron and press the spot. + +--No? Fancy, how simple! I heard benzine was better. + +--No, benzine is good for dark material. For light goods ice is +better. + +--I wonder whether smoking is allowed here. Somehow at never occurred +to me before whether one may or may not smoke where there is a +new-born baby. + +--It never occurred to me either. How strange! I know it isn't proper +to smoke at funerals, but here-- + +--Nonsense! Of course you may smoke. + +--Smoking is a bad habit just the same. You are still a very young man +and ought to take good care of your health. There are many occasions +in life when good health is highly essential. + +--But smoking stimulates. + +--Believe me, it's a very unhealthy stimulant. When I was young and +reckless, I was also guilty of using, or rather abusing, tobacco-- + +--Mamma, listen to him crying. My, how he's crying! Does he want milk, +mamma? + +_[The young men burst out laughing. The Elderly Woman looks at them +sternly._ + +CURTAIN + + + + +THE SECOND SCENE + +LOVE AND POVERTY + + +_The entire place is filled with a warm, bright light. A large, very +poor room, high walls, the color of old rose, covered here and there +with beautiful, fantastic, roughly drawn designs. To the right are +two lofty windows, eight panes in each, with the darkness of night +glooming through them. Two poor beds, two chairs, and a bare table, +on which stands a half-broken pitcher of water and a pretty bunch of +flowers. + +In the darkest corner stands Someone in Gray, the candle in His hand +now reduced by a third, but the flame still very bright, high, and +white. It throws a powerful light on His face and chin. + +Enter the Neighbors, dressed in light, gay dresses, their hands full +of flowers, grasses, and fresh branches of oak and birch. They run +about the room, scattering them. Their faces are merry, simple, and +good-natured._ + +NEIGHBORS' CONVERSATION + +--How poor they are! Look, they haven't even a single spare chair. + +--And no curtains in the windows. + +--And no pictures on the walls. + +--How poor they are! All they eat is hard bread. + +--And all they drink is water, cold water from the spring. + +--They don't own any clothes at all except what they have on. She +always goes about in her rosy dress with her neck bare, which makes +her look like a young girl. + +--And he wears his blouse and loose necktie, which makes him look like +an artist, and makes the dogs bark at him. + +--And makes all the respectable people disapprove of him. + +--Dogs hate the poor. I saw three dogs attack him yesterday. He +beat them off with a stick and shouted: "Don't you dare to touch my +trousers; they're my last pair!" And he laughed, and the dogs flung +themselves at him and showed their teeth and barked viciously. + +--I saw two respectable people, a lady and a gentleman, meet him on +the street to-day. They were terribly frightened and crossed to the +other side. "He'll ask for money," said the gentleman. "He'll kill +us," piped the lady. From the other side of the street they looked +back at him and held on to their pockets. He shook his head and +laughed. + +--He's such a jolly good fellow. + +--They're always laughing. + +--And singing. + +--It's he who sings. She dances. + +--In her rosy dress, with her little bare neck. + +--It does one good to look at them. They are so young and wholesome. + +--I am sorry for them. They're starving. Do you understand? They're +actually going without food. + +--Yes, it's true. They had more clothes and furniture, but they sold +every bit, and now they've nothing more to sell. + +--I know. She had such pretty earrings, and she sold them to buy +bread. + +--He had a beautiful black frock-coat, the one in which he was +married, and he sold that too. + +--The only thing they'll have left is their engagement rings. How poor +they are! + +--That's nothing. I was once young myself, and I know what it is. + +--What did you say, grandpa? + +--I said it's nothing, nothing at all. + +--Look, the mere thought of them makes grandpa want to sing. + +--And dance. + +_[They laugh._ + +--He is so kind. He made my boy a bow and arrow. + +--She cried with me when my daughter was ill. + +--He helped me mend the rickety fence. He's strong. + +--It's nice to have such good neighbors. Their youth warms our cold +old age. Their jolliness drives away our cares. + +--But their room is like a prison, it's so empty. + +--No, it's like a temple. It's so bright. + +--Look, they have flowers on the table, the flowers she picked on her +walk in the country in her rosy dress with her little bare neck. Here +are lilies-of-the-valley. The dew hasn't dried on them yet. + +--There is the burning campion. + +--And violets. + +--Don't touch; don't touch the flowers, girls. Her kisses are upon +them. Don't throw them on the floor, girls. Her breath is upon them. +Don't blow them away with your breath. Don't touch, don't touch the +flowers, girls. + +--He'll come and he'll see the flowers. + +--He'll take the kisses. + +--He'll drink her breath. + +--How poor they are! How happy they are! + +--Come, let's leave. + +--Haven't we brought our dear neighbors anything? + +--What a shame! + +--I brought a bottle of milk and a piece of white, sweet-smelling +bread. _(Puts them on the table)_ + +--I brought flowers. _(Scatters them)_ + +--We brought branches of oak and birch with green leaves. Let's put +them up around the walls. The room will look like cheerful green +woods. + +_[They decorate the room with the branches, concealing the dark +windows and covering the pinkish nakedness of the walls with leaves._ + +--I, brought a good cigar. It is a cheap one, but it's strong and +fragrant and will give pleasant dreams. + +--And I brought a ribbon, a red ribbon. It makes a very pretty fancy +bow for the hair. It's a present my sweetheart gave me; but I have so +many ribbons and she hasn't even one. + +--What did you bring, grandpa? Did you bring anything? + +--Nothing, nothing, except my cough. They don't want that, do they, +neighbor? + +--No more than they want my crutches. Hey, girls, who wants my +crutches? + +--Do you remember, neighbor? + +--Do _you_ remember, neighbor? + +--Come, let's go to sleep, neighbor. It's late already. _(They +sigh and leave, one coughing, the other knocking the floor with his +crutches)_ + +--Come, come! + +--May God give them happiness. They are such good neighbors. + +--God grant that they may always be healthy and merry and always love +each other. And may the hideous black cat never pass between them. + +--And may the good man find work. It's bad when a man is out of work. +_(They leave)_ + +_[Enter immediately the Wife of Man, very pretty, graceful, and +delicate, wearing flowers in her luxuriant hair which is hanging +loose. The expression on her face is very sad. She seats herself on +a chair, folds her hands in her lap, and speaks in a sad tone, turned +toward the audience._ + +MAN'S WIFE + +I've just returned from the city, where I went looking for I don't +know what. We are so poor, we have nothing, and it's very hard for us +to live. We need money, and I don't know how in the world to get it. +People won't give it to you for the asking, and I haven't the strength +to take it away from them. I was looking for work, but I can't get +work either. There are lots of people and little work, they say. I +looked on the ground as I walked to see if some rich person hadn't +lost his purse, but either nobody had lost one or somebody luckier +than I had already picked it up. I feel so sad. My husband will soon +come from his search for work, tired and hungry. What am I to give him +except my kisses? But you can't satisfy your hunger on kisses. I feel +so sad I could cry. + +I can go without eating for a long time and not feel it, but he can't. +He has a large body which demands food, and when he's gone a long time +without it, he gets pale, sick, and excited. He scolds me and then +begs me not to be angry at him. I never am angry at him, because I +love him dearly. It only makes me feel so sad. + +My husband is a very talented architect. I even think he's a genius. +He was left an orphan when a mere boy, and after his parents' death +his relatives supported him for some time; but as he was always of +an independent nature, sharp in his talk and prone to make unpleasant +remarks, and as he showed them no gratitude, they dropped him. +He continued to study, nevertheless, supporting himself by giving +lessons, and so made his way through college. He often went hungry, +my poor husband. Now he is art architect and draws plans of beautiful +buildings, but no one wants to buy them, and many stupid persons make +fun of them even. To make one's way in the world one must have either +patrons or luck. He has neither. So he goes about looking for a +chance, and maybe with his eyes on the ground looking for money like +me. He is still very young and simple. Of course, some day fortune +will come to us, too. But when will it be? In the meantime it's very +hard to live. When we were married we had a little property, but we +soon spent it. We went to the theatre and ate candy. He still has +hopes, but I sometimes lose all hope and cry to myself. My heart +breaks when I think he'll be here soon and I have nothing to give him +again except my poor kisses. + +O God, be a kind, merciful Father to us. You have so much of +everything, bread and work and money. Your earth is so rich. She grows +corn and fruit in her fields, covers the meadows with flowers, and +yields gold and beautiful precious stones from her bowels. And your +sun has so much warmth, and your pensive stars have so much quiet joy. +Give us, I pray you, a little from your abundance, just a little, +as much as you give your birds. A little bread, so that my dear good +husband may not be hungry; a little warmth, so that he may not be +cold; and a little work, so that he may carry his beautiful head +erect. And please do not be angry with my husband because he swears so +and laughs, and even sings and makes me dance. He is so young and not +a bit staid or serious. + +Now, after I have prayed, I feel relieved and hopeful again. Why, +indeed, should God not grant one's request when one asks Him for it so +earnestly? I'll go and hunt a little to see if somebody hasn't dropped +a purse or a diamond. _(Exit)_ + +SOMEONE IN GRAY + +She knows not that her wish has already been fulfilled. She knows not +that this morning two men in a rich house were bending eagerly over +a sketch by Man and were delighted with it. They searched for Man the +whole day; wealth was looking for him as he was looking for wealth. +And to-morrow morning, after the neighbors have gone to work, an +automobile will stop in front of this house, and two men bending low +will enter the poor room and bring wealth and fame. But neither he nor +she knows it. Thus fortune will come to Man, and thus also it will go. + +_[Enter Man and his Wife. He has, a beautiful proud head, bright eyes, +a high forehead, dark eyebrows parting at the root of the nose like +two bold wrings, and wavy black hair carelessly tossed back. A low, +white, turndown collar reveals a well-formed neck and part of his +chest. He is light and quick in his movements, like a young animal._ + +MAN + +Nothing again. I'll lie down and remain in bed the whole day. Anyone +wanting me will have to come here. I can't go to him. I'll stay in bed +the whole of to-morrow too. + +WIFE + +Are you tired? + +MAN + +Yes, I'm tired and hungry. I could eat a whole ox, like the Homeric +hero, but I shall have to content myself with a piece of hard bread. +Don't you know that a man can't live all the time on bread alone? I +want to tear, bite, chew! + +WIFE + +I'm sorry for you, dear. + +MAN + +I'm sorry for myself, but that doesn't satisfy my hunger. I stood a +whole hour in front of a restaurant to-day, looking at the chickens, +pastry, and sausages, as people look at works of art. And then the +signs. They describe ham so well that you could eat sign and all. + +WIFE + +I like ham too. + +MAN + +Who doesn't like ham? How about lobster? Do you like lobster? + +WIFE + +Yes. + +MAN + +You should have seen the lobster I saw. It was a painted one, but +it was even more beautiful than a live one. Red like a cardinal, +majestic, stern. You could kneel down and do homage to it. I think I +could eat two such cardinals and a priest of a carp besides. + +WIFE _(sadly)_ + +You didn't see my flowers, did you? + +MAN + +Flowers? You can't eat flowers, can you? + +WIFE + +You don't love me. + +MAN _(kisses her)_ + +Excuse me, but really I'm so hungry. Look, my hands are trembling and +I haven't even the strength to throw a stone at a dog. + +WIFE _(kisses his hand)_ + +My poor husband! + +MAN + +Where do those leaves, on the floor come from? They smell so good. Is +that your work too? + +WIFE + +No, the neighbors must have done it. + +MAN + +Fine people our neighbors are. It's strange, there are so many good +people in the world, and yet a man can die of hunger. Why is it? + +WIFE + +You've turned so sad. Your face is growing pale. What is the matter? +Do you see anything? + +MAN + +Yes, as I was joking, the terrible image of poverty glided in front of +me and stopped there, in the corner. Do you see it? Arms stretched out +in complaint, a child abandoned in the woods, a praying voice, and the +stillness of a human desert. Help! No one hears. Help, I'm dying! +No one hears. Look, wife, look! See the dark, gloomy shadows there, +quivering and rising like black smoke from a long, terrible chimney +leading into hell. Look! And I'm in the midst of them! + +WIFE + +I'm afraid. I can't look in that dark corner. Did you see all that in +the street? + +MAN Yes, I saw it in the street, and soon it'll be that way with us. + +WIFE + +No, God will not permit it. + +MAN + +Then why does He permit it to happen to others? + +WIFE + +We're better than others. We are good people. We never offend Him. + +MAN + +You think so? I do a lot of swearing. + +WIFE + +You're not bad. + +MAN + +Yes, I am bad. When I walk along the street and see all the things +that don't belong to us, I feel as if I had tusks like a boar. Oh, how +much money I haven't got! Listen, my dear wife. I was walking in the +park to-day, that lovely park, where the paths are straight as arrows +and the beech-trees like kings wearing crowns-- + +WIFE + +And I was walking in the city streets. Shops everywhere, such +beautiful shops! + +MAN + +I saw men, beautifully dressed, carrying canes, and I thought: "I +haven't anything like that." + +WIFE + +I saw elegantly dressed women, wearing dainty shoes that make your +feet beautiful, and pretty hats from under which your eyes shine +impenetrably, and silk skirts that make such a mysterious rustle; and +I thought: "I haven't a good hat or a silk skirt." + +MAN + +A ruffian jostled me. I showed him my tusks, and he fled in disgrace +to hide himself in the crowd. + +WIFE + +A well-dressed lady jostled me, but I didn't even look at her, I felt +so embarrassed. + +MAN + +Men rode by on proud, fiery horses. And I have nothing like that. + +WIFE + +She had diamonds in her ears. You felt like kissing them. + +MAN + +Red and green automobiles glided past noiselessly like phantoms with +burning eyes, and people sat in them and laughed and looked lazily +from one side to the other. And I have nothing like it. + +And I have no diamonds, no emeralds, no pure white pearls. + +MAN + +I saw a fine restaurant on the Island. It was brightly illuminated, +like heaven, and they were eating there. Black-coated monsters carried +around butter and bread and wine and beer, and people ate and drank. +My little wife, I'm hungry! I want something to eat! + +WIFE + +Dearie, you're running around all the time, and that makes you still +hungrier. You'd better sit down. I'll kneel beside you, and you can +take a piece of paper and draw a beautiful, beautiful building. + +MAN + +My inspiration is also hungry. It draws nothing but edible landscapes. +My palaces are like portly cakes with fat stuffing, and my churches +like sausages. But I see tears in your eyes. What is it, my dear wife? + +WIFE + +I feel so miserable not to be able to help you. + +MAN + +You make me ashamed of myself. I am a strong man with a good mind; I +am able, talented, and healthy, and yet I can't do a thing. My dear +wife, my little fairy is crying, and I am not able to help her. A +woman's tears are her husband's disgrace, I am ashamed. + +WIFE + +But it isn't your fault that people don't appreciate you. + +MAN + +My ears are burning just as they used to when I was a boy and had had +them boxed. Why, you are hungry too, and I, egoist that I am, haven't +noticed it. It's mean of me. + +WIFE + +My dear, I don't feel hungry. + +MAN + +It's unfair, it's contemptible. That ruffian who jostled me was right. +He saw I was a fat pig and that's all, a boar with sharp tusks but a +stupid head. + +WIFE. + +If you are going to keep on reproaching yourself, I'll cry again. + +MAN + +Don't, don't. No tears! Tears in your eyes frighten me. I am afraid +of those shining crystal drops, as if some other, some terrible person +were shedding them, not you. I won't let you cry. We have nothing, we +are poor. But I'll tell you of what we are going to have. I will charm +you with a bright fairy tale, my queen. I will array you in dazzling +dreams as in roses! + +WIFE + +You mustn't be afraid. You are strong, you are a genius, you will +conquer. Your momentary despair will pass away, and divine inspiration +will again quicken your proud head. + +MAN _(assumes a challenging attitude and throws an oak leaf into the +corner where the Unknown stands, saying)_ Ho, you, whatever your name, +Fate, Devil, or Life, I fling my glove down before you, I challenge +you to combat! The poor in spirit bow before your enigmatic power. +Your stony face inspires them with fear; in your silence they hear +the approaching tread of misery and terrible ruin. But I am strong and +bold, and I challenge you to combat! Come on! Let the swords glitter, +the shields clang! Deal and receive blows so that the earth trembles! +Ho, come forth to battle! + +WIFE _(nestling up at his left, somewhat behind, speaking solemnly)_ +Bolder, my husband, still bolder! + +MAN + +To your evil-boding inaction I oppose my living, daring strength; to +your gloom my clear, resonant laugh! Ho, repel the blows! You have +a stone brow, devoid of reason. I will throw the glowing balls of my +sparkling thought at it. You have a stone heart, devoid of pity. Take +care, I will pour into it the poison of my rebellious outcries. The +dark cloud of your grim wrath overshadows the sun. We will light the +darkness with our swords. Ho, repel the blows! + +WIFE + +Bolder, still bolder, my proud knight! Your squire is behind you. + +MAN + +Victorious, I will sing songs which the whole world will reecho; +fallen under your blows, my only thought shall be to rise again and +rush into battle. There are weak spots in my armor, but when my red +blood is flowing, I will gather my last strength and cry: "You have +not conquered, evil Enemy of Man!" + +WIFE + +Bolder, my knight! I will wash your wounds with my tears. I will stop +the flow of your red blood with my kisses. + +MAN + +And dying on the field of battle as the brave die, with one cry I will +destroy your blind joy: "I have conquered!" I have conquered, O cruel +Enemy. Unto my last breath I did not recognize your power! + +WIFE + +Bolder, my knight, bolder! I will die beside you. + +MAN + +Ho, come forth to battle! Let the swords glitter, the shields clang! +Deal and receive blows to make the earth tremble! Ho, come forth! + +_[For some time Man and his Wife remain in the same posture; then they +turn around, facing each other, and kiss._ + +MAN + +That's the way we'll deal with life, my dear, won't we? Let it frown +like a blind owl in the sun--we'll compel it to smile. + +WIFE + +And to dance to our songs--so we will, we two. + +MAN + +We two. You're a good wife, you're my true friend, you're a brave +little woman, and as long as you are with me I fear nothing. Poverty, +what does it amount to? To-day we're poor, to-morrow rich. + +WIFE + +And what is hunger? To-day we are hungry, to-morrow satisfied. + +MAN + +Do you think so? It's quite possible. But I'll eat a lot. I shall need +so much to satisfy my hunger. Tell me, do you think this will prove +enough? In the, morning, tea or coffee or chocolate. You can have your +choice. It's free. Then a breakfast of three courses, then lunch, then +dinner, then-- + +WIFE + +More fruit. I like fruit. + +MAN + +Very well. I'll buy fruit by the barrel, direct from the wholesale +market. It's cheaper and fresher. Besides, we'll have our own garden. + +WIFE + +But we have no land. + +MAN + +I'll buy land. I've always wanted to have my own piece of land. By the +way, I'll build a house for us and design it too. Let the rascals see +what sort of an architect I am. + +WIFE + +I should like to live in Italy, close by the sea; in a white marble +villa in a grove of lemons and cypresses, with marble steps leading +straight down to the blue water. + +MAN + +I understand. That's all right. But I intend, besides, to build a +castle in the mountains of Norway. Below, the fjord; and above, on the +steep mountain, the castle. We have no paper. But look, I'll show it +to you on the wall here. Here is the fjord, you see? + +WIFE + +Yes, beautiful. + +MAN + +Here, sparkling blue water gently beating against the green grass; +here, beautiful cinnamon-colored stone; and there, in the recess, +where this spot is, a bit of blue sky and serene white clouds. + +WIFE + +Look, there is a white boat floating on the water--it looks like two +swans swimming side by side. + +MAN + +And up there rises the mountain. Bright and green below, it turns +gloomier and sterner as it ascends--rugged crags, dark shadows, fallen +boulders, and patches of clouds. + +WIFE + +Like a ruined castle. + +MAN + +And there, on that spot--the middle one--I'll build my royal castle. + +WIFE + +It's cold up there, and windy. + +MAN + +I'll have thick stone walls and large windows with all the panes made +out of a single piece of glass. At night, when the winter snowstorms +begin to rage and the fjord below to roar, we'll draw the curtains and +make a fire in the huge fireplace. It is such a tremendous fireplace +that it will hold a whole log. It will burn up a whole forest of +pines. + +WIFE + +How nice and warm. + +MAN + +And how quiet too, if you will please notice. Carpets covering the +whole, floor and lots of books will make it cosy and quietly lively. +And we'll be there, the two of us. The wind howling outside and we two +sitting before the fireplace on a white bear-skin rug. "Wouldn't you +like to have a look at what's doing outside?" you'll say. "All right!" +And we'll go to the largest window and draw aside the curtain. Good +heavens! What a sight! + +WIFE + +See the snow whirling. + +MAN + +Galloping like white horses, like myriads of frightened little +spirits, pale with fear and seeking safety in the night. And what a +howling and roaring! + +WIFE + +Oh, it's cold. I'm shivering. + +MAN + +Go back to the fireplace, quick! Hey there, fetch me grandfather's +goblet--not that one, the golden one from which the vikings drank. +Fill it up with sparkling wine--not that way--fill it to the brim with +the burning draught. Venison is roasting on the spit. Bring it here. +I'll eat some. Quick, or I'll eat you. I'm hungry as the devil. + +WIFE + +There, they have brought it. Now, go on. + +MAN + +Go on? I'll eat some, of course. What else do you expect? What are you +doing to my head, little wife? + +WIFE + +I am the goddess of fame. I have woven a crown of the oak leaves that +our neighbors scattered here, and I'm crowning you. It's Fame that +has come to you, the beautiful goddess Fame. _(Puts the wreath on his +head)_ + +MAN + +Yes, fame; loud, noisy fame. Look at the wall. Do you see this? It's +I, walking. And who is this next to me? Do you see? + +WIFE + +I. + +MAN + +Look, they are bowing to us; they are whispering about us; they are +pointing their fingers at us. There is a venerable old gentleman +saying with tears in his eyes: "Happy the land that has such +children!" See how pale this youth here has turned. Fame looked at him +and gave him a smile. That's after I built the People's House, which +is the pride of the whole country. + +WIFE + +You are my famous husband. The oak wreath suits you so well. A laurel +wreath would become you still better. + +MAN + +Look, look, there come the representatives of the city where I was +born. They bow to me and say: "Our city is proud of the honor--" + +WIFE + +Oh! + +MAN + +What is it? + +WIFE + +I found a bottle of milk. + +MAN + +Impossible! + +WIFE + +And bread, soft, sweet-smelling bread. And a cigar. + +MAN + +Impossible! You are mistaken. It's the dampness from that damned wall, +that's what it is. It isn't milk. + +WIFE + +But it is. + +MAN + +A cigar? Cigars don't grow on windows. They are sold for fortunes in +tobacco stores. It's a black stick, a piece of a branch, I'm sure. + +WIFE + +Look and see. I suppose our neighbors brought it. + +MAN + +Our neighbors? I tell you they're people--they're not human--they're +divine. But even if the devil himself brought it--quick, give it here, +my sweet little wife. + +_[Man's Wife seats herself on his knees, and so they eat. She breaks +off pieces of bread and puts them in his mouth. He feeds her the milk +from the bottle._ + +MAN + +Seems to be cream. + +WIFE + +No, it's milk. Chew better. You'll choke. + +MAN. + +Give me the crust. It's so brown. + +WIFE + +I told you, you'd choke. + +MAN + +No, it went down. I swallowed it. + +WIFE + +The milk is running down my chin and neck. Oh, it's tickling me. + +MAN. + +Lean over. I'll lick it off. We mustn't let a drop go to waste. + +WIFE + +You're a cunning one. + +MAN + +There! Quick work. All good things soon come to an end. This +bottle seems to have a double bottom. It looks so large. The glass +manufacturers are terrible cheats. + +_[He lights the cigar with the air of a man relaxing into beatific +repose. His Wife ties the red ribbon in her hair, looking at herself +in the dark pane of the window._ + +WIFE + +Don't you see? + +MAN + +I see everything. I see your ribbon, and I see, you want me to kiss +you on your dear little bare neck. + +WIFE. + +No, sir, I won't permit that. You've grown too forward of late anyway. +You take such liberties. Please go on smoking your cigar and leave my +neck-- + +MAN + +What, isn't your neck mine? I'll be jiggered! Why, it's an attack +on the sacred rights of property _(She runs away; he catches her and +kisses her)_ So, the property rights have been restored. Now, my +dear, we'll dance. Imagine that this is a magnificent, a luxurious, a +wonderful, a supernatural, ah exquisitely beautiful palace. + +WIFE + +Very well. I'm imagining it. + +MAN + +Imagine you're the queen of the ball. + +WIFE + +All right. It is imagined. + +MAN + +And that counts, marquises, and dukes come up and ask you to dance. +But you refuse. You choose that one--What's his name?--the one in +uniform--the prince. What's the matter? + +WIFE + +I don't like princes. + +MAN + +Indeed? Then whom do you like? + +WIFE + +Talented artists. + +MAN + +Very well. Here's one for you. Why, girl, what are you doing? Are you +flirting with the air? + +WIFE + +I am imagining. + +MAN + +All right. Imagine a wonderful orchestra. Here is the Turkish +drum--boom, boom, boom! _(He strikes his fist on the table as on a +drum)_ + +WIFE + +Why, dear, it's only in the circus that they attract crowds by beating +drums, but in a palace-- + +MAN + +Oh, hang it! Stop imagining that, then. Now imagine something else. +The violins are playing a melodious plaint; the flutes are singing +gently; the double bass drones like a beetle. + +_[Man sits down, still wearing his oak wreath, and strikes up a dance +tune, clapping his hands in accompaniment. The melody is the same as +in the next scene at Man's ball. The Wife dances. She is well-formed +and graceful._ + +MAN + +Oh, you darling! + +WIFE + +I am the queen of the ball. + +_[The song and dance grow ever jollier. Man rises slowly and begins +to dance lightly on the spot where he is standing; then he seizes his +Wife and dances with her. The oak wreath slips to one side. Someone +in Gray looks on indifferently, the candle burning brightly in his +petrified hand._ + +CURTAIN + + + + +THE THIRD SCENE + +A BALL AT MAN'S HOUSE + + +_The ball is in the drawing-room of Man's large mansion. It is a very +lofty, spacious, perfectly rectangular room. The floor is bright and +smooth. There is a certain irregularity about the room due to the +disproportionate size of the parts. Thus, the doors are very small +in proportion to the windows. This produces a strange, irritating +impression, as of something disharmonious, something lacking, and also +of something superfluous and adventitious. The whole is pervaded by a +chilly white, the monotony of which is broken only by a row of windows +in the rear wall. They are very high, reaching almost to the ceiling, +and dense with the blackness of night. Not one gleam, not a bright +spot shows in the blank spaces between the window frames. Man's wealth +shows in the abundance of gildings. There are gilded chairs, and +very wide gold frames enclose the pictures. These constitute the only +furniture as well as the only ornamentation. The lighting is from +three chandeliers shaped like tings, with a few electric lights placed +at a great distance apart. At the ceiling the light is bright, but +considerably less so below, so that the walls seem grayish. + +The ball is in full swing. The music is furnished by an orchestra +of three pieces. The musicians resemble closely their respective +instruments; the violinist, a violin--lean neck, small head, a shock +of hair brushed to one side, back somewhat bent, a handkerchief +correctly adjusted on his shoulder under the violin; the flute-player, +a flute--very, tall, with a thin, elongated face, and stiff, thin +legs, the bass-violinist, a double-bass--stumpy, round-shouldered, +lower part of his body very stout, wide trousers. The uncommon effort +with which the musicians play is painfully evident. They beat time, +swing their heads, and shake their bodies. The tune is the same +throughout the ball, a short polka in two musical phrases, producing a +jolly, hopping, extremely insipid effect. The three instruments do +not quite keep time with one another, producing a sort of queer +detachment, a vacant space, as it were, between them and the sounds +which they produce. + +Young men and girls are dancing dreamily. All are handsome, +distinguished-looking, with good figures. In contrast to the piercing +notes of the music, their dancing is smooth, noiseless, light. At +the first musical phrase, they circle around; at the second, they +gracefully part and join again. There is a slight mannerism in their +dancing. + +Along the walls, on the gilded chairs, sit the Guests, stiff and +constrained. They scarcely venture to move their heads. Their +conversation is also constrained. They do not whisper to one another; +they do not laugh, and they scarcely look at one another. They speak +abruptly, as if chopping out the words of a text. Their hands hanging +superciliously over their laps make their arms look as if they had +been broken at the wrists. The monotony of their faces is strongly +emphasized. Every face bears the same expression of self-satisfaction, +haughtiness, and inane respect for the wealth of Man. + +The dancing girls are all in white, the men in black. Some of the +Guests wear black, white, and brightly yellow? flowers. + +In the near corner, which is darker than the rest, Someone in Gray +called He stands motionless. The candle in his hand is reduced +two-thirds and burns with a strong, yellow light, casting a yellow +sheen on His stony face and chin._ + +THE GUESTS' CONVERSATION + +--It is a very great honor to be a guest at Man's ball. + +--You may add, it is an honor of which very few have been deemed +worthy. The whole city tried to get themselves invited, but only a +very few succeeded. My husband, my children, and I are quite proud of +the honor Man has showed us. + +--I am really sorry for those who were not able to get here. They +won't sleep the whole night from sheer envy, and to-morrow they'll say +nasty things about the ball and call it a bore. + +--They never saw such magnificence. + +--Or such wonderful wealth and luxury. + +--Or, I dare say, such charming, free and easy gayety. + +--If this isn't gay, I should like to know what is. + +--Oh, what's the use of talking? You can't convince people consumed by +jealousy. They'll tell us we didn't sit on gilded chairs, absolutely +not. + +--They'll say that the chairs were of the commonest sort, bought at +second hand. + +--That the illumination was not by electricity, but just by tallow +candles. + +--Say candle stumps. + +--Or dirty lamps. + +--They'll have the impudence to maintain that the mouldings in Man's +house are not gilded. + +--And that the broad picture frames are not made of gold. It seems to +me I can hear the very ring of it. + +--You can see its glitter. That's quite sufficient, I should think. + +--I have rarely had the pleasure of hearing such music. + +--It is divine harmony. It transports the soul to higher spheres. + +--I should think the music good enough, considering the money paid for +it. It is the best trio in the city. They play on the most important +and solemn occasions. + +--If you listen awhile, it compels your absolute attention. After a +ball at Man's, my children keep singing the tune a long time. + +--I sometimes think I hear it in the street. I look around--no +musicians, no music. + +--What I like especially in these musicians is the great effort they +make when they play. They know the price they're paid and don't want +to get the money for nothing. That's very decent of them. + +--It seems as if they became a part of their instruments, their +efforts are so great. + +--Or as if the instruments became part of them. + +--How rich! + +--How magnificent! + +--How brilliant! + +--How rich! + +_[For some time the two expressions, "How rich! How magnificent!" are +repeated from different parts of the room, uttered abruptly, like a +bark._ + +--Beside this ballroom there are fourteen other magnificent rooms in +Man's house. I have seen them all. The dining-room has such a huge +fireplace that you can put a whole log into it. There are magnificent +guest-rooms and a beautiful boudoir. A large bedroom, and over the +pillows on the beds--just fancy!--canopies! + +--Why, how wonderful! Canopies! + +--Did you hear? Canopies! + +--Permit me to continue. For their son, the little boy, they have a +beautiful bright room of golden yellow wood. It looks as if the sun +were shining into it all the time. + +--He is such a fine boy. He has curly hair that looks like the rays of +the sun. + +--That's true. When you look at him you wonder whether the sun has +risen. + +--And when you look at his eyes you think: "Autumn is, gone, and the +blue sky is here again." + +--Man loves his son madly. He bought him a pony for horseback riding, +a nice snow-white pony. My children-- + +--Pray, let me continue. Have I told you yet about the swimming-pool? + +--No. No. + +--A swimming-pool, a perfect marvel. + +--What, a swimming-pool! + +--Yes. And further on is Man's study, full of books, books, books. +They say he's a very learned man. + +--You can see it by the books. + +--I have seen his garden. + +--I haven't. + +--It was entrancing, I must say. Imagine an emerald-green lawn kept +beautifully mowed and trimmed at the edges. In the middle a path of +fine red sand. + +--Flowers--even palms. + +--Yes, even palms. And all the trees trimmed as carefully and +precisely as the lawn, some cut in the shape of pyramids, others +in the shape of green columns. There's a lovely fountain and little +plaster elves and deer scattered all around in the grass. + +--How rich! + +--How magnificent! + +--How brilliant! + +--How rich! + +--Man did me the honor of showing me his stables and barns. I had +to tell him how much I admired his horses and carriages. I was +particularly impressed by his motor car. + +--Think of it, he has seven servants; seven--a chef, a woman-cook, two +maids, gardeners-- + +--You forget the coachman and the chauffeur. + +--Yes, of course, the coachman and the chauffeur. + +--And they themselves do nothing at all. They are too fine. + +--You must admit, it is a great honor to have been invited to Man's +ball. + +--Don't you find the music somewhat monotonous? + +--No, I don't, and I'm surprised you do. Don't you see what kind of +musicians they are? + +--I should like to hear such music all my life. That's what I say. +There's something, in that music that stirs me. + +--Me too. + +--Me too. + +--It is a delicious sensation to abandon oneself to dreams of +happiness under the influence of this music! + +--To transport oneself in fancy to the astral spheres! + +--How fine! + +--How rich! + +--How magnificent! + +_[These phrases are repeated._ + +--I notice a stir at that door. Man and his Wife will soon pass +through the hall. + +--The musicians are working away for dear life. + +--There they are! + +--They're coming! Look, they're coming! + +_[Man, his Wife, his Friends, and his Enemies appear in the door on +the right, cross the room diagonally to the door on the left. The +dancers go on dancing, but part to make way for them. The musicians +play desperately loud and out of tune. Man has aged greatly. His long +hair and long beard are beginning to turn gray. But his face is manly +and handsome, and he walks with calm dignity and an air of coldness. +He looks straight ahead of him, as if not noticing those around him. +His Wife has also aged, but she is still beautiful and walks leaning +on his arm. She too seems not to notice the people around her, but +looks straight ahead, with a rather strange, almost fixed expression. +Both are richly dressed. + +His Friends follow directly behind Man. They resemble one another very +much--noble faces, high and candid foreheads, honest eyes. They walk +proudly, throwing out their chests, stepping firmly and confidently, +and looking, now to this side, now to that, with condescension and +slight disdain. They wear white roses in their buttonholes. + +Following them at a slight distance come Man's Enemies, also very much +resembling one another--mean, cunning faces; low, heavy foreheads; +long, ape-like arms. They walk uneasily, pushing, bending, and hiding +behind one another, and casting sharp, mean, envious, sidelong glances +from beneath lowered lids. Yellow roses appear in their buttonholes. +Thus they pass through the room, slowly and in perfect silence. The +sounds of the steps, the music, and the exclamations of the Guests +produce a sharply discordant noise._ + +GUESTS' CONVERSATION + +--There they are. There they are. What an honor! + +--How handsome he is! + +--What a manly face! + +--Look! Look! + +--He isn't looking at us! + +--He doesn't see us! + +--We are his guests! + +--What an honor! What an honor! + +--And his wife! Look! Look! + +--How beautiful she is! + +--How proud! + +--I tell you, just look at her diamonds! + +--Her pearls! Her pearls! + +--And her rubies! + +--How rich! What an honor! + +--Honor! Honor! Honor! + +_[The same phrases are repeated again._ + +--Here are Man's Friends! + +--Look, look, there are Man's Friends. + +--Noble faces! + +--Proud gait! + +--They shine with the reflected splendor of his fame. + +--How they love him! + +--How faithful they are to him! + +--What an honor to be one of Man's Friends! + +--They regard everything here as their own! + +--They're at home here! + +--What an honor! + +--Honor! Honor! Honor! + +_[Same phrases are repeated._ + +--And there are Man's Enemies! + +--Look, look, Man's Enemies! + +--They walk like whipped curs! + +--Man has subdued them! + +--He's put a muzzle on them! + +--They're wagging their tails! + +--They're sneaking behind one another. + +--They're pushing one another. + +--Ha-ha! Ha-ha! + +_[Everybody laughs._ + +--What mean faces! + +--What greedy looks! + +--Cowardly! + +--Malevolent! + +--They're afraid to look at us! + +--They feel we're at home! + +--Let's frighten them. + +--Man'll be thankful to us for it. + +--Ho-ho! + +_[They shout at Man's Enemies, mingling their shouts with laughter. +The Enemies huddle closer together and cast sharp, timid, sideward +glances._ + +--They're going! They're going! + +--What an honor! + +--They're going! + +--Ho-ho! Ha-ha! + +--They're gone! They're gone! They're gone! + +_[The procession disappears through the door on the left. A pause of +silence. The music plays less loudly, and the dancers begin gradually +to fill the hall._ + +--Where did they go? + +--I believe they went to the dining-room, where supper is being +served. + +--I suppose they'll soon invite us in. Do you see anybody looking for +us? + +--Yes, it's time for supper. If you eat too late, you can't sleep +well. + +--I always serve supper early. + +--A late supper lies heavy on your stomach. + +--And the music is still playing. + +--And they're still dancing. + +--I wonder they don't get tired. + +--How rich! + +--How magnificent! + +--Do you know for how many guests they have prepared the supper? + +--I didn't get a chance to count all the covers. The caterer came in, +and I had to get out. + +--Could they possibly have forgotten us? + +--Man is so proud, and we are so unimportant. + +--Don't say that. My husband says we do him an honor by accepting his +invitation. We are rich, too. + +--When you consider the reputation of his wife-- + +--Do you see anyone looking for us? Maybe he's looking for us in the +other rooms. + +--How rich! + +--If you are not careful with other people's money, it's easy to get +rich, I think. + +--Oh, now, it's only his enemies who say that. + +--Well, after all, there are some very respectable people among them. +I must admit that my husband-- + +--It is late, though. + +--It's clear there must be a mistake somewhere. I can't believe we've +simply been forgotten. + +--Evidently you know people and life very little if you think so. + +--I am surprised. We are rich enough ourselves. + +--It seems to me someone called us. + +--You're mistaken, no one called us. I don't understand it. To +be quite frank--why did we come to a house like this, with such a +reputation? One should be very careful of the friends one chooses. + +A LIVERIED LACKEY _(appears at the door)_ + +Man and his Wife beg the honored guests to step into the dining-room. + +GUESTS _(rising quickly)_ + +--What a livery! + +--He asked us to come in! + +--I said there must be a mistake somewhere. + +--Man is so good. I'm sure he hasn't had a chance to sit down at table +himself. + +--Didn't I say someone was looking for us? + +--What a livery! + +--They say the supper is grand. + +--Everything at Man's is done in a grand style. + +--What music! What an honor to be at Man's ball! + +--Let those envy us who-- + +--How grand! + +--How magnificent! + +--What an honor! + +_[They go out one after the other, repeating the last phrases. One +couple after the other stop dancing and follow the Guests in silence. +For some time a single couple remain circling on the floor, but they +too join the others at last. The musicians, however, continue to play, +making the same desperate effort. The lackey turns out the electric +lights, leaving only one light in the farthest chandelier. The figures +of the musicians are vaguely seen in the dim light, swaying to and +fro with their instruments. The outline of Someone in Gray is sharply +visible. The flame of the candle flickers, illuminating His stony face +and chin with a garish, yellow light. He turns around without raising +his head, walks slowly and calmly through the whole length of the +room, and disappears through the door through which Man passed out._ + +CURTAIN + + + + +THE FOURTH SCENE + +MAN'S MISFORTUNE + + +_A large, gloomy, quadrangular room, with dark watts, dark floor, and +dark ceiling. There are two high, curtainless windows with eight panes +in the rear watt, and between them a small, low door. Two similar +windows appear in the right wall. Night glooms through the windows, +and when the door opens, the same deep blackness of night stares into +the room. In general, however bright Man's rooms may be, the vast +darkness of the windows engulfs the light. + +On the left wall there is nothing but a small, low door leading to +the rest of the house. At the window on the right stands a broad sofa +covered with dark oilcloth. Man's desk is very simple and poor. On it +are seen a dimly burning, shaded lamp, a sheet of yellow paper with +a sketch drawn on it, and a lot of toys--little peaked cap, a wooden +horse without a tail, and a red, long-nosed clown with bells. Between +the windows there is an old dilapidated bookcase entirely empty. The +visible lines of dust left by the books show that they must have been +removed recently. The room has only one chair. + +In the darkest corner stands Someone in Gray called He. The candle in +his hand is now no longer than it is thick. The wax is running over a +little. The stump burns with a reddish, flickering light, and casts a +red sheen on His stony face and chin. + +The only remaining servant of Man, an Old Woman, is sitting on +the chair. She speaks in an even voice, addressing an imaginary +companion._ + +OLD WOMAN + +There! Man has slipped back into poverty. He had a lot of valuable +things, horses and carriages, and even an automobile. Now he has +nothing. Of all his servants I am the only one left. There are still +some good things in here and in two other rooms. There's the sofa and +the bookcase. But in the other twelve rooms there's not a thing. They +are dark and empty. Rats run around in them day and night and fight +and squeak. People are afraid, but I'm not. It's all the same to me. + +An iron sign has been hanging on the gate for ever so long, saying +the house is for sale. But no one wants to buy it. The sign's rusty +already, and the rain has worn the letters away. But no one comes to +buy the house. No one wants an old house. Yet maybe someone will buy +it. Then we'll be going to look for another place to live in. It'll +be a strange place. My mistress will begin to cry, and I dare say, the +old gentleman will too. But I won't. It's all the same to me. + +You wonder what's become of all his riches. I don't know. Maybe it +seems strange, but I've been living with other people all my life, +and many is the time I've seen money disappear, quietly running off +through some leak or other. That's the way it has happened to these +folks too. They had a lot, then it got to be a little, and then +nothing at all. People came and bought things. Then they stopped +coming. I once asked my mistress how it came about. She answered: +"People have stopped liking what they used to like; they have stopped +loving what they used to love." "How is that possible?" says I. "How +can people stop liking what they once liked?" She didn't answer and +fell to crying. But I didn't. It's all the same to me. It's all the +same to me. + +People say they are surprised at me. It's terrible, they say, to +live in this house; terrible to sit here at night with only the wind +whining in the chimney and the rats squeaking and scuffling. Maybe it +is terrible, I don't know; but I don't think about it. Why should I? +There they sit, the two of them, in their room, looking at each other +and listening to the whining of the wind; and I sit in the kitchen +alone and listen to the whining of the wind. Doesn't the same wind +whine in our ears? Young folks used to come to see their son, and they +would all laugh and sing and go through the empty rooms to chase the +rats. But nobody comes to me, and I sit alone, all alone. There's no +one to talk to, so I talk to myself, and it's all the same to me. + +I'm sure they had a hard enough time of it--no need of more ill luck. +But three days ago another misfortune happened to them. The young +gentleman went out walking, his hat cocked, his hair dressed in latest +fashion. And a bad man went and threw a stone at him from behind a +corner and broke his head like a nut. They brought him home, put him +to bed, and now he's dying in there. Maybe he'll recover and live--who +knows? The old lady and the old gentleman cried, and then they put all +the books on a wagon and sold them. With the money they hired a nurse, +bought medicines, and even grapes. So the books, too, were of some +good. But he doesn't eat the grapes. He doesn't even look at them. +They just lie there on the dish, just lie there. + +DOCTOR _(enters through the outer door; his face looks red and his +manner is uneasy)_ Can you tell me if I am in the right place? I'm +a doctor. I have many visits to pay, and I often make mistakes. I'm +called here and there and everywhere, and all the houses look alike +and the people in them are all sad. Have I struck the right place? + +OLD WOMAN + +I don't know. + +DOCTOR + +I'll consult my note-book. Is there a child here choking with a sore +throat? + +OLD WOMAN + +No. + +DOCTOR + +Is there a man here who suddenly went insane from poverty and attacked +his wife and two children with a hatchet? Four patients in all, I +suppose. + +OLD WOMAN + +No. + +DOCTOR + +Is there a girl here whose heart stopped beating? Don't lie, old +woman, I think she is here. + +OLD WOMAN + +No. + +DOCTOR + +Well, I believe you. You seem to speak the truth. Is there a young man +here whose head was broken by a stone and who is dying? + +OLD WOMAN + +Yes. Go through that door on the left, but don't go any farther. The +rats will eat you up! + +DOCTOR + +Very well. They keep ringing, ringing all the time, day and night. +Here it is, late at night. All the lights in the street are out, and I +am still on the run. Often I make a mistake and enter the wrong house. +Yes, old woman, I do. _(Exit through the door leading inside)_ + +OLD WOMAN + +One doctor has already treated him, but didn't cure him. Now there's +another, and I guess he won't cure him either. Well! Then their son +will die, and we'll remain alone in the house. I'll sit in the +kitchen and talk to myself, and they'll sit in there keeping quiet and +thinking. Another room vacated, another room for the rats to scuffle +in. Let them squeak and scuffle. It's all the same to me. It's all +the same to me. You ask me why that bad fellow threw the stone at our +young gentleman. I don't know--how could I know why people want to +kill each other? One threw a stone from behind a corner and ran away; +the other one fell in a heap and is now dying--that's all I know. They +say that our young gentleman was a fine chap, very brave, and very +kind to poor people. I don't know anything about it--it is all the +same to me. Whether they are good or bad, young or old, quick or dead, +it is all the same to me. It is all the same to me. + +As long as they pay, I'll stay with them; and when they stop paying, +I'll go to other people to do their housework, and finally I shall +stop altogether--when I get old, and my eyesight gets poor, so that +I can't tell salt from sugar. Then they'll turn me out and say: "Go +where you please. We'll hire another one." What of it? I'll go. It's +all the same to me. Here, there, or nowhere, it's all the same to me. +It's all the same to me. + +_[Enter Doctor, Man and his Wife. Both have aged greatly and are +completely gray. Man's long bristling hair and beard give his face +a leonine appearance. He walks slightly stooping, but holds his head +erect and looks sternly and resolutely from beneath his gray eyebrows. +When he looks at anything closely, he puts on large, silver-framed +eye-glasses._ + +DOCTOR + +Your son has fallen into a deep sleep. Don't wake him. It may bring on +a turn for the better. You go to sleep too. When one has a chance to +sleep one should grab it and not stay up talking. + +WIFE + +Thank you, doctor, it's been such a relief. Will you call to-morrow +again? + +DOCTOR + +Yes, to-morrow and the day after to-morrow. Old woman, you go to bed +too. It's late, it's time for all to go to bed. Is that the door to +leave by? I often make mistakes. + +_[He goes out. The Old Woman goes also. Man and his Wife are left +alone._ + +MAN + +Look, wife, I began to draw this while our son was still well. I +stopped at this line and thought I'd rest and resume the work later. +See what a simple, placid line it is, yet horrible to look at. It +may be the last line I shall have drawn in our boy's lifetime. What +malicious ignorance there is graven in its simplicity and placidity. + +WIFE + +Don't get excited, my dear. Don't think those evil thoughts. I believe +the doctor told the truth and our son will recover. + +MAN + +Aren't you excited too? Look at yourself in the mirror. You're as +white as your hair, my old friend. + +WIFE + +Of course, I am a little excited, but I'm convinced there's no danger. + +MAN + +Now, as always, you encourage me and fool me so sincerely, so +guilelessly. My poor squire, true guardian of my dulled sword, your +knight is a poor, broken-down man. He cannot hold a weapon in his +feeble hand. What do I see? Our son's toys. Who put them there? + +WIFE + +My dear, you put them there yourself long ago. Have you forgotten? You +said you found it easier to work with the child's innocent toys beside +you. + +MAN + +Yes, I had forgotten. But now it's terrible to look at them, as +terrible as it is for a convict to look at instruments of torture. If +the child dies, his toys will remain as a curse to the living. Wife, +wife, the sight of them is terrible to me! + +WIFE + +It was when we were still poor that we bought them. How touching it is +to look at them, those poor, dear toys! + +MAN + +I can't help it, I must take them in my hands. Here's the horse with +the tail torn off. Hop, hop, horsie! Where are you galloping off to? +I'm going far, far away, papa, to where the fields are and the green +woods. Take me along, horsie. Hop, hop, hop! Sit down, dear papa. And +there's the soldier's cap, the cheap cap I tried on myself in fun when +I bought it. Who are you? I'm a knight, papa. I'm the bravest, the +strongest knight. Where are you going, my little knight? I'm going to +kill the dragon, dear papa. I'm going to free the captives, papa. Go, +go, my little knight. _(The Wife cries)_ And there's our everlasting +clown, with his kind, stupid face. But how ragged he is, as if he +had come out of a hundred frays. Tinkle, friend, the way you used to +tinkle. What, you can't? Only one bell left, you say? Well, I'll throw +you on the floor. _(Throws down the toy)_ + +WIFE + +What are you doing? Remember how often our boy kissed his funny face. + +MAN + +Yes, that was wrong of me. Forgive me, friend, forgive me. _(He bends +down with difficulty and picks up the clown)_ Still laughing? Don't. +I'll put you away, out of sight. Don't be angry, I can't bear your +smile now. Go and laugh in a place where I can't see you. + +WIFE + +It breaks my heart to hear you speak like that. Believe me, our son +will get well. It wouldn't be just if the young were to die before the +old, would it? + +MAN + +Just? Where have you ever seen justice, wife? + +WIFE + +Please, dear husband, I beg you, kneel down beside me, and let us both +pray to God. + +MAN + +It's hard for an old man to bend his old knees. + +WIFE + +Bend them. You should--you must. + +MAN + +He will not hear me, He whose ear I've never troubled with either +praise or entreaty. You pray. You are the mother. + +WIFE + +You pray--you are the father. If a father is not to pray for his son, +who is? To whom are you leaving him? Can one person tell the same +things in the same way as the two of us together? + +MAN + +Very well. Maybe eternal justice will answer the prayers of an old man +who bends his old knees. + +_[Both go down on their knees, their faces turned to the corner +where the Unknown stands motionless; their arms are folded over their +breasts while they pray._ + +THE MOTHER'S PRAYER + +God, I beg you, let my son live. I can understand only one thing, I +can say only one thing, only one thing--God, let my son live. I +have no other words, all is dark around me, everything is falling. +I understand nothing, and there's such a terror in my heart, O Lord, +that I can say only this one thing--God, let my son live! Let him +live! Forgive me for praying so poorly. But I cannot pray in any other +way. You understand, O Lord, I can't. Look at me! Just look at me! Do +you see? Do you see how my head shakes, do you see how my hands shake? +But what are my hands, O Lord! Have pity on him. He is so young--he +has a birthmark on his right hand. Let him live, even if only a little +while, a little while. He is so young, such a mere foolish child--he's +still fond of sweets. I bought him grapes. Pity--have pity! + +_[She weeps in a subdued way, covering her face with her hands. Man +speaks without looking at her._ + +THE FATHER'S PRAYER + +Here I am praying, you see. I've bent my old knees. I've prostrated +myself in the dust before you. I'm kissing the ground, do you see? +Maybe I have sometimes offended you. If so, forgive me, forgive me. It +is true, I was haughty, arrogant. I demanded and did not beg. Often I +condemned--forgive me. And if you wish, if this be your will, punish +me, but spare my son. Spare him, I beg you. Not for mercy, not for +pity do I pray you. I pray for justice. You are old, and I am old too. +You will understand more easily than I. Bad people wanted to kill +him, people who insult you by their deeds and defile your earth--bad, +heartless people, who throw stones from behind corners. From +behind corners, the scoundrels! Do not then, I pray you, permit the +fulfilment of this evil deed. Stay the blood, give back the life--give +back the life to my noble son! You took everything away from me, but +did I ever ask you like a beggar: "Give me back my wealth, give me +back my friends, give me back my talent"? No, never. I did not even +ask you for my talent, and you know what his talent means to a man. +It is more than life. I thought perhaps that's the way it ought to be, +and I bore everything, bore everything with pride. But now I ask +you on my knees, in the dust, kissing the earth: "Give back my son's +life." I kiss your earth! + +_[He rises. Someone called He listens indifferently to the father's +and mother's prayers._ + +WIFE + +I'm afraid your prayer was not humble enough. There was a certain tone +of pride in it. + +MAN + +No, no, my wife, I spoke well to Him, the way a man should speak. He +cannot love cringing flatterers better than brave, proud men who speak +the truth. No, wife, you cannot understand. Now I believe also and +feel reassured--in fact, I am happy. I feel that I too still signify +something to my boy, and it makes me glad. Go and see if he's asleep. +He needs a lot of good, hard sleep. + +_[The Wife goes out. Man, with a friendly look to the corner where +Someone in Gray stands, picks up the toy clown, plays with it, and +gives its red nose a quick kiss. At that instant his Wife enters and +Man speaks shamefacedly._ + +MAN + +I was begging his pardon. I insulted this fool. Well, how is our dear +boy? + +WIFE + +He is so pale. + +MAN + +That's nothing. It'll pass away. He lost a lot of blood. + +WIFE + +It makes me so sad to look at his poor shorn head. He had such +beautiful golden curls. + +MAN + +They had to be cut so that the wound could be washed. Never mind, +wife, his hair will grow again and be still finer. Did you keep what +was cut off? Be sure to keep it. His precious, blood is on it. + +WIFE + +Yes, I put it away in the chest, the last one left of all our wealth. + +MAN + +Don't worry about wealth. Just wait until our son begins to work. +He'll restore all we've lost. I feel well again, wife, and I firmly +believe in our future. Do you remember our poor little rosy room? The +good neighbors scattered oak leaves in it, and you made a wreath of +them and put it on my head and said I was a genius. + +WIFE + +I say so still. Other people have ceased to appreciate you, but not I. + +MAN + +No, my dear little wife, you're wrong. What genius creates outlives +the old dirty bundle of rags known as the body, whereas I am still +living, and my productions-- + +WIFE + +No, they're not dead and they never will die. Do you remember that +corner house you built ten years ago? Every evening at sunset you go +to look at it. Is there a more beautiful building in the whole city, +is there any with more depth to it? + +MAN + +Yes, I purposely built it so that the last rays of the setting sun +should fall upon it and set its windows aglow. When the whole city is +in darkness, my house is still taking leave of the sun. It was well +done, and perhaps it will survive me a little while at least. What do +you think? + +WIFE + +Of course, my friend. + +MAN + +The only thing that hurts, wife, is that the people have forgotten me +so soon. They might have remembered me a little longer, just a little +longer. + +WIFE + +They have forgotten what they knew, and ceased to love what they +loved. + +MAN + +They might have remembered me a little longer, a little longer. + +WIFE + +I saw a young artist near that house. He studied it carefully and made +a sketch of it in his sketchbook. + +MAN + +Ah, why didn't you tell me that before? It's highly significant, +highly significant. It means that my ideas are accepted and handed +down by others, and even if I am forgotten, my ideas will live. It is +tremendously significant. + +WIFE + +Yes, my dear, you are not forgotten. Do you remember the young man who +bowed so reverently to you on the street? + +MAN + +Yes, that's so, wife. He was a fine, very fine youth. He had such a +nice young face. It's good you reminded me of his bow. It has sent a +ray of brightness into my heart. But I feel sleepy. I must be tired. I +am old too, my dear little gray wife. Have you noticed it? + +WIFE + +You're just as handsome as ever. + +MAN + +And my eyes are bright? + +WIFE + +Yes, your eyes are bright. + +MAN + +And my hair is black as pitch? + +WIFE + +It's so white, so like snow that it's even more beautiful. + +MAN + +And no wrinkles? + +WIFE + +Yes, there are little wrinkles on your face, but-- + +MAN + +Of course, I know I'm a beauty. To-morrow I'll buy myself a uniform +and enter the light cavalry. Yes? _(His Wife laughs)_ + +WIFE + +There, you're joking too, as in olden times. But lie down here and +sleep a little. I'll go to look after our boy. Don't worry, I won't +leave him. I'll call you when he wakes. You don't care to kiss an old +wrinkled hand, do you? + +MAN _(kissing her hand)_ + +Go, you're the most beautiful woman I've ever known. + +WIFE + +And the wrinkles? + +MAN + +What wrinkles? I only see a dear, kind, good, sensible face. Nothing +else. Don't take offence at my stern tone. Go to the boy, watch him, +stay with him like a quiet shadow of gentleness and love. And if he is +disturbed in his sleep, sing him a song as you used to do. And put the +grapes nearer, so that he can reach them. + +_[The Wife goes out. Man lies down on the sofa, his head toward the +spot where Someone in Gray stands immobile, so that His hand almost +touches Man's gray, dishevelled hair. Man falls asleep quickly._ + +SOMEONE IN GRAY + +Man has fallen into a sound, sweet sleep, deceived by hope. His breath +is soft as a child's, his heart beats calmly and evenly, bringing +him relief. He knows not that in a few moments his son will die. In +mysterious dream-fancies a picture of impossible happiness arises +before him. + +It seems to him that he and his son are drifting in a white boat along +a beautiful, quiet stream. It seems to him that it is a glorious day, +and he sees the deep sky and the transparent crystal water. He hears +the rustling of the reeds as they part before the boat. It seems to +him that he is happy and glad. All his feelings betray him. + +Suddenly he is disturbed. The terrible truth has entered through the +thick veil of sleep and stung his thoughts. + +"Why is your golden hair cut so short, my boy? Why?" + +"I had a headache, papa, that's why." + +And deceived once more, he feels happy again, sees the deep sky, and +hears the rustling of the parting reeds. + +He knows not that his son is already dying. He hears not how, in a +last senseless hope, with a child's faith in the power of adults, his +son is calling him without words, with his heart: "Papa, papa, I am +dying! Hold me!" Man sleeps soundly and sweetly, and in the deceptive, +mysterious fancies there arises before him the picture of impossible +happiness. Awake, Man! Your son is dead. + +_[Man lifts his head, frightened, and rises._ + +MAN + +Ha! What is it? I thought I heard someone call me. + +_[At that moment many women behind the scenes burst into a wail--the +loud, long-drawn wail over the dead. The Wife enters, frightfully +pale._ + +MAN + +Dead? + +WIFE + +Yes, he is dead. + +MAN + +Did he call me? + +WIFE + +No, he never awoke. He didn't call anyone. He is dead--my son, my +dear, darling boy! + +_[She falls on her knees before Man and sobs, clasping his knees. Man +puts his hand on her hand and, turning to the corner where Someone in +Gray stands indifferently, speaks in a sobbing, but terrible voice._ + +MAN + +You insulted a woman, scoundrel! You killed a boy! _(His Wife sobs. +Man softly strokes her hair with his trembling hand)_ Don't cry, my +dear, don't cry. He will scoff at our tears, just as He scoffed at +our prayers. And you--I don't know who you are--God, Devil, Fate, or +Life--I curse you! + +_[Man speaks the following in a loud, powerful voice, one arm about +his wife as if to protect her, the other arm fiercely extended toward +the Unknown._ + +MAN'S CURSE + +I curse everything that you have given. I curse the day on which I was +born. I curse the day on which I shall die. I curse the whole of my +life, its joys and its sorrows. I curse myself. I curse my eyes, my +ears, my tongue. I curse my heart and my head, and I fling everything +back at your cruel face, a senseless Fate! Be accursed, be forever +accursed! With my curses I conquer you. What else can you do to +me? Hurl me to the ground, I will laugh and shout in your face: +"Be accursed!" Seal my mouth with the clamps of death, with my +last thought I will shout into your stupid ears: "Be accursed, be +accursed!" Take my body, tear at it like a dog, drag it into the +darkness--I am not in it. I have disappeared, but disappearing I shall +repeat: "Be accursed, be accursed!" Through the woman whom you have +insulted, through the boy whom you have killed, I convey to you the +curses of Man! + +_[He turns in silence, with fiercely uplifted hand. Someone in Gray +listens passively to the curses. The flame of the candle flickers as +if blown by the wind. Thus they stand for some time in tense silence +confronting each other, Man and Someone in Gray. The wailing behind +the scenes grows louder and more prolonged, passing into a doleful +chant._ + +CURTAIN + + + + +THE FIFTH SCENE + +THE DEATH OF MAN + + +_An uncertain, unsteady, blinking light, so dim that at first nothing +is distinguishable. When the eye grows accustomed to it, the following +scene becomes visible. + +A long, wide room with a very low ceiling and windowless. The entrance +is down a flight of steps from somewhere above. The walls are bare and +dirty and resemble the coarse, stained hide of some huge animal. Along +the entire back wall up to the stairs runs a, bar with a top of +smooth glass. This is covered with bottles full of differently colored +liquors that are arranged in regular rows. Behind a low table sits +the Bartender, immobile, with his hands folded across his paunch. His +white face is blotched with red. His head is bald, and he has a large, +reddish beard. He wears an expression of utter calm and indifference, +which he maintains throughout, never changing his seat or his +attitude. + +Drunkards, both men and women, sit at small tables on wooden stools. +Their number seems to be augmented by their shadows dancing on the +walls and ceiling. + +It is one endless monotony of repulsive ugliness and desolation. +The men's faces resemble masks with the various features +disproportionately magnified or reduced: big noses, or no noses at +all; eyes staring savagely, almost starting from their sockets, or +eyes narrowed to scarcely visible slits and points; huge Adam's apples +and tiny chins. Their hair is tangled, frowzy, dirty, covering half +the face on some of them. Despite their differences, a horrible +sameness is stamped upon their faces: a greenish, ghastly tinge of +decay and an expression that appears grotesque in some, gloomy and +stupidly timid in others. + +They are dressed in dull rags, with here a bony arm bared, there +a sharp knee, and there again a frightfully sunken chest. Some are +almost entirely naked. The women differ little from the men, except +that they are even uglier and more uncouth. All have trembling heads +and hands and walk with an uncertain step, as if on a slippery, or +hilly, or sliding surface. Their voices, too, are all alike, rough and +hoarse. They speak as uncertainly as they walk, as if their lips were +frozen and refused to obey. + +In the centre, at a separate table, sits Man, his gray, unkempt head +leaning on his arms. In this position he remains throughout the +scene, except during the one moment when he speaks. He is dressed very +poorly. + +In the corner stands Someone in Gray, with the candle burned nearly +to the end. The slender blue flame flickers, now bending, now striving +upward with its sharp little tongue. Its blue throws a ghastly glare +on His face and chin._ + +THE DRUNKARD'S CONVERSATION + +--Oh my! Oh my! + +--Look, everything is swaying so strangely. There's nothing to rest +your eyes on. + +--Everything is shaking as in a fever--the people, the chair, the +ceiling. + +--Everything is floating and rocking as on waves. + +--Do you hear a noise? I hear a kind of noise, as if an iron wheel +were rumbling, or stones falling from a mountain, large stones coming +down like rain. + +--It's the ringing in your ears. + +--It's the tingling of your blood. I feel my blood. It flows heavy +through my veins, thick, thick, black, smelling of rum. And when it +gets to my heart, it all falls down, and it's terrible. + +--It seems to me I see flashes of lightning. + +--I see huge, red woodpiles and people burning on them. It's +disgusting to smell the roasting flesh. + +--Dark shadows circle around the piles. They are drunk, the shadows +are. Hey, invite me! I'll dance with you. + +--Oh my! Oh my! + +--I am happy, too. Who will laugh with me? Nobody. So I'll laugh by +myself. _(He laughs)_ + +--A charming woman is kissing my lips. She smells of musk and her +teeth are like a crocodile's. She wants to bite me. Get away, you +dirty hussy! + +--I am not a dirty hussy. I am an old pregnant snake. I've been +watching a whole hour to see little snakes come out of my body below +and crawl around. Say, don't step on my little snakes. + +--Where are you going? + +--Who's walking there? Sit down. You make the whole house shake when +you walk. + +--I can't. I feel awful sitting down. + +--I too. When I am sitting I feel a horror running through my whole +body. + +--So do I. Let me go. + +_[Three or four Drunkards reel aimlessly about, getting tangled up In +the chairs._ + +--Look what it's doing. It's been jumping for two hours, trying to get +on my knee. It just misses by an inch. I drive it away and it comes +back again. + +--Black cockroaches are creeping under my skull and buzzing. + +--My brain is falling apart. I feel the gray matter separating. My +brain is like rotten cheese. It stinks. + +--There's some sort of a corpse here. I smell it. + +--Oh my! Oh my! + +--I'll sneak up to her to-night and cut her throat. + +--The blood will flow. It's flowing already. See how red it is. + +--I am constantly being followed by three men. They are calling me +into a dark corner of the vacant lot, and they want to kill me. They +are already at the door. + +--Who is walking on the walls and ceiling? + +--Good Lord! They have come to take me. + +--Who? + +--They. + +--My tongue is getting paralyzed. I'll cry. _(Cries)_ + +--My whole body is coming out. I'll soon be turned inside out, and +then I'll be all red. + +--Listen, listen. Ho! Somebody! A monster is going for me. He's +raising his hand. Help! Ho! + +--What is it? Help! A spider! + +--Help! + +_[For some time they shout "Help!" hoarsely._ + +--We are all drunkards. Let's call down all the people from above. +It's so disgusting up there. + +--No, don't. When I leave here and go out on the street, it rampages +and tears about like a wild beast and soon throws me off my, feet. + +--We've all come here. We drink rum and it gives us joy. + +--It gives us fright. I shiver the whole day from fright. + +--Fright is better than life. Who wants to return to life? + +--I don't. + +--I don't. I'd rather croak here. I don't want to live. + +--No one! + +--Oh my! Oh my! + +--Why does Man come here? He drinks little and just sits still. We +don't want him. + +--Let him go to his own house. He has a house of his own. + +--Fifteen rooms. + +--Don't touch him. He has no place to go to any more. + +--He has fifteen rooms. + +--They're empty. Only rats run around and fight in them. + +--And his wife. + +--He hasn't any. Seems she died. + +_[During this conversation and the following, Old Women in strange +headgear enter quietly and replace unnoticeably the Drunkards, who +quietly depart. The women mingle in the conversation, but in such a +way that no one notices it._ + +CONVERSATION OF DRUNKARDS AND OLD WOMEN + +--He'll soon die, too. He can scarcely drag himself along, he's so +weak. + +--He has fifteen rooms. + +--Listen to the beating of his heart. It's uneven and faint. It'll +soon stop beating altogether. + +--Hey, Man, give us an invitation to your house. You have fifteen +rooms. + +--It'll soon stop beating altogether, that old, sick, feeble heart of +Man! + +--He's asleep, the drunken fool. It's dreadful to sleep, and yet he +sleeps. He might die in his sleep. + +--Hey, there, wake him up! + +--Do you remember how it used to beat when it was young and strong? + +_[A low laugh is heard._ + +--Who's laughing? There are some here who have no business to be here. + +--It just seems so to you. We are all alone, only we drunkards. + +--I'll go out on the street and start a fight. I've been robbed. I'm +stark naked, and my skin is green. + +--Good evening. + +--The wheel is rumbling again. Oh, Lord, they'll crush me! Help! + +_[No one responds._ + +--Good evening. + +--Do you remember his birth? I believe you were there. + +--I must be dying. Good Lord! Good Lord! Who will carry me to the +grave? Who will bury me? I'll be lying like a dog on the street. +People will step over me, wagons will ride over me. They'll crush me. +Oh, my God! Oh, my God! _(Cries)_ + +--Permit me to congratulate you, my dear friend, on the birth of your +child. + +--I am positive there is a mistake here. For a circle to fall out of a +straight line is an absurdity. I'll demonstrate it on the spot. + +--You're right. + +--Oh my! Oh my! + +--It's only ignoramuses in mathematics who will permit it. I won't. I +won't permit it, do you hear? + +--Do you remember the rosy dress and the little bare neck? + +--And the flowers? The lilies-of-the-valley on which the dew never +dried, and the violets, and the green grass? + +--Don't touch, don't touch the flowers, girls. + +_[They utter a low and suppressed laugh._ + +--Oh my! Oh my! + +_[The drunkards have all gone. Their places are taken by the Old +Women. The light grows steady and very faint. The figure of the +Unknown is sharply outlined, and so is Man's gray head, on which a, +faint light falls from above._ + +OLD WOMEN'S CONVERSATION. + +--Good evening. + +--Good evening. What a splendid night! + +--Here we are together again. How are you feeling? + +--I cough a little. + +_[They laugh suppressedly._ + +--It won't take long now. He'll die soon. + +--Look at the candle. The flame is blue and thin and spreading +sideways. There's no more wax. It's only the wick that's burning. + +--It doesn't want to go out. + +--When did you ever see a flame that did want to go out? + +--Don't dispute, don't dispute. Whether it wants to go out, or doesn't +want to go out, time is flying. + +--Do you remember his motor car? He once almost ran me down. + +--And his fifteen rooms? + +--I was there a little while ago. The rats almost ate me up, and I +caught a cold in the draught. Someone had stolen the window frames, +and the wind was blowing through the whole house. + +--Did you try the bed in which his wife died? Isn't it soft and nice? + +--Yes, I went through all the rooms and let my fancy play a little. +They have such a pretty nursery. It's a pity the window frames are +knocked out there too, and the wind makes a racket with the litter on +the floor. And the child's bed too is so dear. Now the rats have made +their nest in it and breed their children there. + +--Such dear, naked little rats. + +_[They titter._ + +--And in his study the toys are lying on the table: a horse without a +tail, a soldier's cap, and a red-nosed clown. I played a little with +them. I put on the soldier's cap. It was very becoming to me. But +there's such a lot of dust on the things. I got all dirty. + +--But did you go into the drawing-room where the ball was given? It's +so gay there. + +--Yes, I did. Fancy what I saw. It was dark, the windows were broken, +and the wind was playing with the wall-paper-- + +--Making a sound as of music. + +--And in the darkness the guests were squatting on their knees at the +wall--and you should have seen how they looked! + +--We know. + +--And they barked: "How rich! How magnificent! How brilliant! How +rich!" + +--You're joking, of course. + +--Of course I'm joking. You know I have a funny disposition. + +--How rich! How magnificent! + +--How gay! + +_[They titter._ + +--Let's remind him of it! + +--How rich! How magnificent! + +--Do you remember how the music played at your ball? + +--He's going to die soon. + +--The dancers circled about, circled about, and the music played so +gently, so beautifully. They played this way. + +_[They make a semicircle about Man and hum the tune played by the +musicians at the ball._ + +--Let's get up a ball. It's so long since I've danced. + +--Imagine that this is a palace, a magnificent, an exquisitely +beautiful palace. + +--Call the musicians. Why, you can't have a ball without music. + +--Musicians! + +--You remember? + +_[They sing. At that instant the three musicians who played at +the ball come down the stairs. The one with the violin adjusts his +handkerchief on his shoulder with great precision, and all three begin +to play, making an exaggerated effort. But the notes are soft and +gentle as in a dream._ + +--There you have the ball. + +--How rich! How magnificent! + +--How brilliant! + +--You remember, don't you? + +_[Singing softly to the music, they begin to circle about Man, +imitating in a wild, monstrous fashion the movements of the girls in +the white dresses who danced at the ball. At the first musical phrase +they circle, at the second they join and part gracefully and quietly, +whispering_: + +--Do you remember? + +--You're going to die soon--do you remember? + +--Do you remember? + +--Do you remember? + +--You're going to die soon--do you remember? + +--Do you remember? + +_[The dance grows brisker, the movements sharper. Strange, whining +notes mingle into the singing of the Old Women. An equally strange +laugh passes around the circle of dancers, suppressed and quiet at +first. As each one glides past Man, she flings an abrupt whisper into +his ear_: + +--Do you remember? + +--Do you remember? + +--How gentle! How exquisite! + +--What balm to the soul! Do you remember? + +--You're going to die soon, you're going to die soon. + +--You're going to die soon-- + +--Do you remember? + +_[They circle more quickly, their movements growing still more abrupt. +Suddenly there is silence and they halt. The musicians grow rigid with +the instruments in their hands. The dancers remain fixed in the +game position in which they were when the silence fell. Man rises, +straightens himself, throws back his gray, beautiful, terribly +majestic head, and calls out in a surprisingly loud voice, full of +sorrow and wrath. After each short phrase a brief but profound pause +follows._ + +MAN + +Where is my squire? Where is my sword? Where is my shield? I am +disarmed! Come to me quick! Quick! Be accurs-- + +_[He sinks down on the chair and dies, his head falling backward. +At the same moment the candle flares up brightly and goes out. All +objects are buried in a dense twilight which seems to be descending +the stairs until it gradually covers everything. The face of dead +Man alone remains bright. Low, vague conversation, whisperings and +derisive mockery are heard from the Old Women._ + +SOMEONE IN GRAY + +Silence! Man has died! + +_[Profound silence. Then the same cold, indifferent voice repeats from +a remote depth, like an echo_: + +Silence! Man has died! + +_[Profound silence. The twilight thickens, but the mice-like figures +of the Old Women are still seen standing rigid. Presently they begin +to circle about the dead body mutely, quietly; then they begin to sing +softly, and the musicians begin to play. The gloom thickens, the music +and the song grow louder and louder, and the wild dance grows more +unrestrained, until finally it ceases to be a dance, the Old Women +merely whirling about the dead man arm in arm, stamping their feet, +screeching, and laughing a wild, prolonged laugh. Complete darkness +descends. Only the face of Man is still lighted up. Then this light +too is extinguished. Black impenetrable darkness prevails. + +In the darkness are heard the movements of the mad dancers, their +screeching and laughter, and the discordant, desperately loud sounds +of the music. Just when they have reached their highest pitch, all the +sounds and noises withdraw rapidly somewhere and die away. Stillness._ + +CURTAIN + + + + + + + + + + +End of Project Gutenberg's Savva and The Life of Man, by Leonid Andreyev + +*** END OF THIS PROJECT GUTENBERG EBOOK SAVVA AND THE LIFE OF MAN *** + +***** This file should be named 13147-8.txt or 13147-8.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/3/1/4/13147/ + +Produced by David Starner, and the Online +Distributed Proofreading Team. + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/old/13147-8.zip b/old/13147-8.zip Binary files differnew file mode 100644 index 0000000..bfe98b4 --- /dev/null +++ b/old/13147-8.zip diff --git a/old/13147.txt b/old/13147.txt new file mode 100644 index 0000000..0873bcc --- /dev/null +++ b/old/13147.txt @@ -0,0 +1,10503 @@ +The Project Gutenberg EBook of Savva and The Life of Man, by Leonid Andreyev + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Savva and The Life of Man + +Author: Leonid Andreyev + +Release Date: August 9, 2004 [EBook #13147] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK SAVVA AND THE LIFE OF MAN *** + + + + +Produced by David Starner, and the Online +Distributed Proofreading Team. + + + + + +THE MODERN DRAMA SERIES + +EDITED BY EDWIN BJOeRKMAN + + +SAVVA + +THE LIFE OF MAN + +BY LEONID ANDREYEV + + + + + SAVVA + + THE LIFE OF MAN + + + TWO PLAYS BY + + LEONID ANDREYEV + + + +TRANSLATED FROM THE RUSSIAN +WITH AN INTRODUCTION BY + +THOMAS SELTZER + + +BOSTON +LITTLE, BROWN, AND +COMPANY + +1920 + + +1914, +BY LITTLE, BROWN, AND COMPANY. + + +_This edition is authorized by Leonid Andreyev, who has +selected the plays included in it._ + +_All Dramatic rights reserved by +Edwin Bjoerkman_ + + + +CONTENTS + + +INTRODUCTION + +CHRONOLOGICAL LIST OF PLAYS BY LEONID ANDREYEV + +SAVVA + +THE LIFE OF MAN + + + + +INTRODUCTION + + +For the last twenty years Leonid Andreyev and Maxim Gorky have +by turns occupied the centre of the stage of Russian literature. +Prophetic vision is no longer required for an estimate of their +permanent contribution to the intellectual and literary development +of Russia. It represents the highest ideal expression of a period +in Russian history that was pregnant with stirring and far-reaching +events--the period of revolution and counter-revolution. It was a +period when Russian society passed from mood to mood at an extremely +rapid tempo: from energetic aggressiveness, exultation, high hope, +and confident trust in the triumph of the people's cause to apathetic +inaction, gloom, despair, frivolity, and religious mysticism. This +important dramatic epoch in the national life of Russia Andreyev +and Gorky wrote down with such force and passion that they became +recognized at once as the leading exponents of their time. + +Despite this close external association, their work differs +essentially in character. In fact, it is scarcely possible to +conceive of greater artistic contrasts. Gorky is plain, direct, broad, +realistic, elemental. His art is native, not acquired. Civilization +and what learning he obtained later through the reading of books have +influenced, not the manner or method of his writing, but only its +purpose and occasionally its subject matter. It is significant to +watch the dismal failure Gorky makes of it whenever, in concession to +the modern literary fashion, he attempts the mystical. Symbolism is +foreign to him except in its broadest aspects. His characters, though +hailing from a world but little known, and often extreme and extremely +peculiar, are on the whole normal. + +Andreyev, on the other hand, is a child of civilization, steeped in +its culture, and while as rebellious against some of the things of +civilization as Gorky, he reacts to them in quite a different way. +He is wondrously sensitive to every development, quickly appropriates +what is new, and always keeps in the vanguard. His art is the +resultant of all that the past ages have given us, of the things that +we have learned in our own day, and of what we are just now learning. +With this art Andreyev succeeds in communicating ideas, thoughts, and +feelings so fine, so tenuous, so indefinite as to appear to transcend +human expression. He does not care whether the things he writes about +are true, whether his characters are real. What he aims to give is a +true impression. And to convey this impression he does not scorn +to use mysticism, symbolism, or even plain realism. His favorite +characters are degenerates, psychopaths, abnormal eccentrics, or just +creatures of fancy corresponding to no reality. Frequently, however, +the characters, whether real or unreal, are as such of merely +secondary importance, the chief aim being the interpretation of an +idea or set of ideas, and the characters functioning primarily only as +a medium for the embodiment of those ideas. + +In one respect Gorky and Andreyev are completely at one--in their +bold aggressiveness. The emphatic tone, the attitude of attack, first +introduced into Russian literature by Gorky, was soon adopted by most +of his young contemporaries, and became the characteristic mark of the +literature of the Revolution. By that token the literature of +Young Russia of that day is as easily recognized as is the English +literature of the Dryden and Pope epoch by its sententiousness. +It contrasts sharply with the tone of passive resignation and +hopelessness of the preceding period. Even Chekhov, the greatest +representative of what may be called the period of despondence, +was caught by the new spirit of optimism and activism, so that he +reflected clearly the new influence in his later works. But while in +Gorky the revolt is chiefly social--manifesting itself through +the world of the submerged tenth, the disinherited masses, _les +miserables_, who, becoming conscious of their wrongs, hurl defiance +at their oppressors, make mock of their civilization, and threaten the +very foundations of the old order--Andreyev transfers his rebellion +to the higher regions of thought and philosophy, to problems that +go beyond the merely better or worse social existence, and asks the +larger, much more difficult questions concerning the general destiny +of man, the meaning of life and the reason for death. + +Social problems, it is true, also interest Andreyev. "The Red Laugh" +is an attack on war through a portrayal of the ghastly horrors of the +Russo-Japanese War; "Savva," one of the plays of this volume, is +taken bodily (with a poet's license, of course) from the actual +revolutionary life of Russia; "King Hunger" is the tragedy of the +uprising of the hungry masses and the underworld. Indeed, of the works +written during the conflict and for some time afterward, all centre +more or less upon the social problems which then agitated Russia. +But with Andreyev the treatment of all questions tends to assume a +universal aspect. He envisages phenomena from a broad, cosmic point of +view; he beholds things _sub specie aeternitatis._ The philosophical +tendency of his mind, though amply displayed even in works like +"Savva"--which is purely a character and social drama--manifests +itself chiefly by his strong propensity for such subjects as those +treated in "To the Stars," "The Life of Man," and "Anathema." In these +plays Andreyev plunges into the deepest problems of existence, and +seeks to posit once more and, if possible, to solve in accordance with +the modern spirit and modern knowledge those questions over which the +mightiest brains of man have labored for centuries: Whence? Whither? +What is the significance of man's life? Why is death? + +If Spinoza's dictum be true, that "a wise man's meditation is not +of death but of life," then Andreyev is surely not a wise man. Some +philosophers might have written their works even without a guarantee +against immortality, though Schopenhauer, who exercised a influence on +the young Andreyev, was of the opinion that "without death there would +hardly be any philosophy"; but of Andreyev it is certain that the bulk +of his works would not have been written, and could not be what they +are, were it not for the fact of death. If there is one idea that can +be said to dominate the author of "The Life of Man," it is the idea of +death. Constantly he keeps asking: Why all this struggling, all this +pain, all this misery in the world, if it must end in nothing? The +suffering of the great mass of mankind makes life meaningless while +it lasts, and death puts an end even to this life. Again and again +Andreyev harks back to the one thought from which all his other +thoughts seem to flow as from their fountain-head. Lazarus, in the +story by that name, is but the embodiment of death. All who behold +him, who look into his eyes, are never again the same as they were; +indeed, most of them are utterly ruined. "The Seven Who Were Hanged" +tells how differently different persons take death. Grim death lurks +in the background of almost every work, casting a fearful gloom, +mocking the life of man, laughing to scorn his joys and his sorrows, +propounding, sphinx-like, the big riddle that no Oedipus will ever be +able to solve. + +For it is not merely the destructive power of death, not merely its +negation of life, that terrifies our author. The pitchy darkness +that stretches beyond, the impossibility of penetrating the veil that +separates existence from non-existence--in a word, the riddle of +the universe--is, to a mind constituted like Andreyev's, a source of +perhaps even greater disquiet. Never was a man hungrier than he with +"the insatiable hunger for Eternity"; never was a man more eager to +pierce the mystery of life and catch a glimpse of the beyond while yet +alive. + +Combined with the perplexing darkness that so pitifully limits man's +vision is the indifference of the forces that govern his destiny. The +wrongs he suffers may cry aloud to heaven, but heaven does not hear +him. Whether he writhe in agony or be prostrated in the dust (against +all reason and justice), he has no appeal, societies, the bulk +of mankind, may be plunged in misery--who or what cares? Man is +surrounded by indifference as well as by darkness. + +Often, when an idea has gained a powerful hold on Andreyev, he pursues +it a long time, presenting it under various aspects, until at last +it assumes its final form, rounded and completed, as it were, in some +figure or symbol. As such it appears either as the leading theme of an +entire story or drama, or as an important subordinate theme. Thus +we have seen that the idea of death finds concrete expression in the +character of Lazarus. The idea of loneliness, of the isolation of the +individual from all other human beings, even though he be physically +surrounded by large numbers, is embodied in the story of "The City." +Similarly the conception of the mystery and the indifference by which +man finds himself confronted is definitely set forth in the figure of +_Someone in Gray_ in "The Life of Man." + +The riddle, the indifference--these are the two characteristics of +human destiny that loom large in Andreyev's conception of it as set +forth in that figure. _Someone in Gray_--who is he? No one knows. No +definite name can be given him, for no one knows. He is mysterious +in "The Life of Man," where he is _Man's_ constant companion; he is +mysterious in "Anathema," where he guards the gate leading from +this finite world to eternity. And as _Man's_ companion he looks on +indifferently, apparently unconcerned whether _Man_ meets with good or +bad fortune. _Man's_ prayers do not move him. _Man's_ curses leave him +calm. + +It is Andreyev's gloomy philosophy, no doubt, that so often causes +him to make his heroes lonely, so that loneliness is developed into +a principle of human existence, in some cases, as in "The City," +becoming the dominant influence over a man's life. Particularly the +men whom life has treated senselessly and cruelly, whom it has dealt +blow after blow until their spirits are crushed out--it is such men in +particular who become lonely, seek isolation and retirement, and slink +away into some hole to die alone. This is the significance of the +saloon scene in "The Life of Man." The environment of the drunkards +who are withdrawn from life, and therefore lonely themselves, +accentuates the loneliness of _Man_ in the last scene. It is his +loneliness that Andreyev desired to bring into relief. His frequenting +the saloon is but an immaterial detail, one of the means of +emphasizing this idea. To remove all possible misunderstanding on this +point, Andreyev wrote a variant of the last scene, "The Death of Man," +in which, instead of dying in a saloon surrounded by drunkards, _Man_ +dies in his own house surrounded by his heirs. "The _loneliness_ of +the dying and unhappy man," Andreyev wrote in a prefatory note to this +variant, "may just as fully be characterized by the presence of the +_Heirs._" + +However, for all the gloom of his works, Andreyev is not a pessimist. +Under one of his pictures he has written: "Though it destroys +individuals, the truth saves mankind." The misery in the world may be +ever so great; the problems that force themselves upon man's mind may +seem unanswerable; the happenings in the external world may fill his +soul with utter darkness, so that he despairs of finding any meaning, +any justification in life. And yet, though his reason deny it, his +soul tells him: "The truth saves mankind." After all, _Man_ is not a +failure. For though misfortunes crowd upon him, he remains intact in +soul, unbroken in spirit. He carries off the victory because he does +not surrender. He dies as a superman, big in his defiance of destiny. +This must be the meaning Andreyev attached to _Man's_ life. We find +an interpretation of it, as it were, in "Anathema," in which _Someone_ +sums up the fate of _David_--who lived an even sadder life than _Man_ +and died a more horrible death--in these words: "David has achieved +immortality, and he _lives immortal_ in the deathlessness of fire. +David has achieved immortality, and he _lives immortal_ in the +deathlessness of light which is life." + +Andreyev was born at Orel in 1871 and was graduated from the gymnasium +there. According to his own testimony, he never seems to have been a +promising student. "In the seventh form," he tells us, "I was always +at the bottom of my class." He lost his father early, and often went +hungry while studying law at the University of St. Petersburg. In the +University of Moscow, to which he went next, he fared better. One of +the means that he used to eke out a livelihood was portrait painting +to order, and in this work he finally attained such proficiency that +his price rose from $1.50 apiece to $6.00. + +In 1897 he began to practise law, but he gave most of his time to +reporting court cases for the "Courier," a Moscow newspaper, and later +to writing _feuilletons_ and stories. He tried only one civil case, +and that one he lost. His work in the "Courier" attracted Gorky's +attention, and the older writer zealously interested himself in +Andreyev's behalf. + +In 1902 his story named "The Abyss" appeared and created a sensation +immediately. Even Countess Tolstoy joined in the dispute which raged +over this story, attacking it as matter unfit for literature. But the +verdict of Andreyev's generation was in his favor. Since then nearly +every new work of his has been received as an important event in +Russia and has sent the critics scurrying to his attack or defence. +His first drama, "To the Stars," appeared while the Russians were +engaged in fighting for liberty (1905), and, naturally enough, it +reflects that struggle. "Savva" was published early the next year, and +"The Life of Man" later in the same year. The production of "Savva" +is prohibited in Russia. It has been played in Vienna and Berlin, and +recently it was staged again in Berlin by "Die Freie Buehne," meeting +with signal success. + + + + +A CHRONOLOGICAL LIST OF PLAYS + +By LEONID ANDREYEV + + + TO THE STARS (K Zviezdam), 1905; + SAVVA (Savva), 1906; + THE LIFE OF MAN (Zhizn Chelovieka), 1906; + KING HUNGER (Tzar Golod), 1907; + THE BLACK MASKS (Chiorniya Maski), 1908; + THE DAYS OF OUR LIFE (Dni Nashey Zhizni), 1908; + ANATHEMA (Anatema), 1909; + ANFISSA (Anfissa), 1909; + GAUDEAMUS (Gaudeamus), 1910; + THE OCEAN (Okean), 1911; + "HONOR" ("Chest"), 1911 (?); + THE PRETTY SABINE WOMEN (Prekrasniya Sabinianki), 1911; + PROFESSOR STORITZYN (Professor Storitzyn), 1912; + CATHERINE (Yekaterina Ivanovna), 1913; + THOU SHALT NOT KILL (Ne Ubi), 1914. + + + + +SAVVA or IGNIS SANAT + +(SAVVA) + +A PLAY IN FOUR ACTS + +1906 + + + + +PERSONS + + +YEGOR IVANOVICH TROPININ, _innkeeper in a monastic suburb. An elderly +man of about fifty, with an important manner and a item, dignified way +of speaking._ + +ANTON _(Tony), anywhere from thirty-five to thirty-eight, bloated +from drinking and always under the influence of alcohol. His face is +bloodless, sad, and sleepy. He has a sparse beard, speaks slowly and +painfully, and never laughs._ + +OLYMPIADA _(Lipa), twenty-eight years old. She is fair and rather +good-looking. There is a touch of monastic severity in her dress._ + +SAVVA, _twenty-three, large, broad-shouldered, with a suggestion of +the peasant in his looks. He walks with a slight stoop, elbows out, +feet in. The motions of his hands are rounded and graceful, his palms +being turned up as if he were carrying something. His features are +large and rough-hewn, and his cheeks and chin are covered with a +soft light down. When agitated or angry, he turns gray as dust, his +movements become quick and agile, and his stoop disappears. He wears +the blouse and boots of a workingman._ + +PELAGUEYA, _a freckled, colorless woman, of about thirty, wearing the +ordinary dress of her class. She is dirty and untidy._ + +SPERANSKY GRIGORY PETROVICH, _an ex-seminarist; tall, very lean, with +a pale, long face, and a tuft of dark hair on his chin. He has long, +smooth hair parted in the middle and falling on each side of his +face. He is dressed either in a long, dark overcoat or in a dark +frock-coat._ + +FATHER KONDRATY, _a friar, forty-two years old, ugly, narrow-chested, +with swollen, animated eyes._ + +VASSYA, _a novice, a strong and athletic youth of nineteen. He has a +round, cheerful, smiling face, and curly, lustrous hair._ + +KING HEROD, _a pilgrim, about fifty. He has a dry, emaciated face, +black from sunburn and road dust. His gray, dishevelled hair and beard +give him a savage appearance. He has only one arm, the left. He is as +tall as Savva._ + +A FAT MONK. + +A GRAY MONK. + +A MAN IN PEASANT OVERCOAT. _Monks, pilgrims, cripples, beggars, blind +men and women, monstrosities._ + +_The action takes place at the beginning of the twentieth century in a +rich monastery celebrated for its wonder-working ikon of the Saviour. +There is an interval of about two weeks between the first and the last +act._ + + + + +SAVVA + +THE FIRST ACT + + +_The interior of a house in a monastic suburb. Two rooms, with a third +seen back of them. They are old, ramshackle, and filthy. The first one +is a sort of dining-room, large, with dirty, low ceiling and smeared +wall-paper that in places has come loose from the wall. There are +three little windows; the one giving on the yard reveals a shed, a +wagon, and some household utensils. Cheap wooden furniture; a large, +bare table. On the walls, which are dotted with flies, appear pictures +of monks and views of the monastery. The second room, a parlor, is +somewhat cleaner. It has window curtains of muslin, two flower-pots +with dried geraniums, a sofa, a round table covered with a tablecloth, +and shelves with dishes. The door to the left in the first room leads +to the tavern. When open, it admits the sound of a man's doleful, +monotonous singing. + +It is noon of a hot and perfectly still summer's day. Now and then the +clucking of hens is heard under the windows. The clock in the belfry +of the monastery strikes every half-hour, a long, indistinct wheeze +preceding the first stroke. + +Pelagueya, who is pregnant, is scrubbing the floor. Seized with +giddiness, she staggers to her feet and leans against the wall, +staring before her with a vacant gaze._ + + +PELAGUEYA + +Oh, God! _(She starts to scrub the floor again)_ + +LIPA _(enters, faint from heat)_ + +How stifling! I don't know what to do with myself. My head seems full +of pins and needles. _(She sits down)_ Polya, say, Polya. + +PELAGUEYA + +What is it? + +LIPA + +Where's father? + +PELAGUEYA + +He's sleeping. + +LIPA + +Oh, I can't stand it. _(She opens the window, then takes a turn round +the room, moving aimlessly and, glancing into the tavern)_ Tony's +sleeping too--behind the counter. It would be nice to go in, bathing, +but it's too hot to walk to the river. Polya, why don't you speak? Say +something. + +PELAGUEYA + +What? + +LIPA + +Scrubbing, scrubbing, all the time. + +PELAGUEYA + +Yes. + +LIPA + +And in a day from now the floors will be dirty again. I don't see what +pleasure you get from working the way you do. + +PELAGUEYA. + +I have to. + +LIPA + +I just took a peep at the street. It's awful. Not a human being in +sight, not even a dog. All is dead. And the monastery has such a queer +look. It seems to be hanging in the air. You have the feeling that if +you were to blow on it, it would begin to swing and fly away. Why are +you so silent, Polya? Where is Savva? Have you seen him? + +PELAGUEYA + +He's in the pasture playing jackstones with the children. + +LIPA + +He's a funny fellow. + +PELAGUEYA + +I don't see anything funny about it. He ought to be working, that's +what he ought to be doing, not playing like a baby. I don't like your +Savva. + +LIPA _(lazily)_ + +No, Polya, he is good. + +PELAGUEYA + +Good? I spoke to him and told him how hard the work was for me. +"Well," he says, "if you want to be a horse, pull." What did he come +here for? I wish he'd stayed where he was. + +LIPA + +He came home to see his folks. Why, it's ten years since he left. He +was a mere boy then. + +PELAGUEYA + +A lot he cares for his folks. Yegor Ivanovich is just dying to get +rid of him. The neighbors don't know what to make of him either. He +dresses like a workingman and carries himself like a lord, doesn't +speak to anybody and just rolls his eyes like a saint. I am afraid of +his eyes. + +LIPA + +Nonsense. He has beautiful eyes. + +PELAGUEYA + +Can't he see that it's hard for me to be doing all the housework +myself? A while ago he saw me carrying a pail full of water. I was +straining with all my might. He didn't even say good morning; just, +passed on. I have met a lot of people in my life, but never anybody +whom I disliked so much. + +LIPA + +I'm so hot, everything seems to be turning round like wheels. Listen, +Polya, if you don't want to work, don't. No one compels you to. + +PELAGUEYA + +If I won't work, who will? Will you? + +LIPA + +No, I won't. We'll hire a servant. + +PELAGUEYA + +Yes, of course, you have plenty of money. + +LIPA + +And what's the use of keeping it? + +PELAGUEYA + +I'll die soon and then you'll get a servant. I won't last much longer. +I have had one miscarriage, and I guess a second child will be the end +of me. I don't care. It's better than to live the way I do. Oh! _(She +clasps her waist)_ + +LIPA + +But for God's sake, who is asking you to? Stop working. Don't scrub. + +PELAGUEYA + +Yes, stop it, and all of you will be going about saying: "How dirty +the house is!" + +LIPA _(weary from the heat and Pelagueya's talk)_ + +Oh, I'm so tired of it! + +PELAGUEYA + +Don't you think I feel tired too? What are you complaining about +anyhow? You are a lady. All you have to do is pray and read. I don't +even get time to pray. Some day I'll drop into the next world all of +a sudden just as I am, with my skirt tucked up under my belt: "Good +morning! How d'you do!" + +LIPA + +You'll be scrubbing floors in the next world too. + +PELAGUEYA + +No, in the next world it's you who'll be scrubbing floors, and I'll +sit with folded hands like a lady. In heaven we'll be the first ones, +while you and your Savva, for your pride and your hard hearts-- + +LIPA + +Now, Polya, am I not sorry for you? + +YEGOR IVANOVICH TROPININ _(enters, still sleepy, his beard turned +to one side, the collar of his shirt unbuttoned; breathing heavily)_ +Whew! Say, Polya, bring me some cider. Quick! _(Pause)_ Who opened the +window? + +LIPA + +I did. + +YEGOR + +What for? + +LIPA + +It's hot. The stove in the restaurant makes it so close here you can't +breathe. + +YEGOR + +Shut it, shut it, I say. If it's too hot for you, you can go down into +the cellar. + +LIPA + +But what do you want to have the window shut for? + +YEGOR + +Because. Shut it! You have been told to shut the window--then shut it! +What are you waiting for? _(Lipa, shrugging her shoulders, closes the +window and is about to leave)_ Where are you going? The moment your +father appears, you run away. Sit down! + +LIPA + +But you don't want me. + +YEGOR + +Never mind whether I want you or not--sit down! Oh, my! _(He yawns and +crosses himself)_ Where is Savva? + +LIPA + +I don't know. + +YEGOR + +Tell him I'll turn him out. + +LIPA + +Tell him so yourself. + +YEGOR + +Fool! _(He yawns and crosses himself)_ Oh, Lord Jesus Christ, have +mercy on us sinners! What was it I was dreaming about just now? + +LIPA + +I don't know. + +YEGOR + +Who asked you? You stupid, how could you tell what I was dreaming? +You've got brains, haven't you? + +PELAGUEYA _(handing him cider)_ + +There. + +YEGOR + +There. Put it down and don't "there" me. _(Takes the jug and drinks)_ +What was I talking about? _(Pelagueya finishes scrubbing the floor)_ +Oh yes, about the Father Superior. A smart fellow he is. You'll have +to go a long way to find another like him. He had the old coffin +exchanged for a new one. The pilgrims chewed the old one to pieces, +so he put a new one in its place. He put a new one in place of the +old one. They'll chew this, one to pieces too, the fools! Anything you +give them, the fools! Do you hear or don't you? + +LIPA + +I hear. What's so remarkable about it? A swindle, that's all. + +YEGOR + +What's remarkable about it is that, he didn't ask your advice. They +chewed the old one to pieces, so he put a new one in its place exactly +like it; Yes, just exactly like the one in which the saint lay before. +Remember us in heaven where thou dwellest, O Saint! _(He crosses +himself and yawns)_ You can lose your teeth on this one too. They +chewed the old one to pieces completely. Where are you off to? Sit +down! + +LIPA + +I can't, it's so hot in here. + +YEGOR + +But I can. Sit down, you won't melt. _(Pause)_ They chewed up the old +one, so he put up a new one. Where is Savva? + +PELAGUEYA + +He's playing; jackstones with the children. + +YEGOR + +I'm not asking you. What time is it? + +PELAGUEYA + +It just struck two. + +YEGOR + +Tell him I'll turn him out. I won't stand it. + +LIPA + +Stand what? Be reasonable. + +YEGOR + +I won't stand it. Who is he anyway? Never at home in time for dinner. +He comes and feeds like a dog by himself--knocks about at night and +doesn't lock the gate. I went out yesterday and found the gate wide +open. If we are robbed, who'll pay for it? + +LIPA + +There are no thieves here. What thieves have you ever seen in this +place? + +YEGOR + +What thieves? A lot. When all people are asleep, he is knocking about. +Who ever heard of such a thing? + +LIPA + +But if he doesn't want to sleep, what is he to do? + +YEGOR + +What, you too? He doesn't want to? Let him go to bed, and he'll sleep. +No one wants to sleep, but once you lie down you fall asleep. He +doesn't want to? I know him. Who asked him to come? He was making +bank-notes over there--then why didn't he stay where he was and do +what he pleased? What business has he here? + +LIPA + +What bank-notes? + +YEGOR + +What bank-notes? Not real ones. Nothing is done to you for making real +bank-notes. Counterfeit bank-notes, that's what. Not the sort of thing +you get patted on the head for, when you are caught, no sirree! It's +very strict now. I'll go to the police captain and tell him: "It's +like this--just search him." + +LIPA + +Oh, nonsense. + +PELAGUEYA + +You are the only, one who doesn't know it. Everybody else knows it. + +LIPA + +Oh, Lord! + +YEGOR + +Well, about the Lord we know better than you. You needn't appeal to +Him. I want you to tell Savva that I am not afraid of him. He didn't +strike the right person. I'll just make him skip. I'll turn him out. +Let him go where he came from. The idea of my having to be responsible +for his robberies. Who's ever heard of such a thing? + +LIPA + +You are not quite wide awake, father, that's what's the matter with +you. + +YEGOR + +I am wide awake all right, and have been for a long time. What I'd +like to know is, are _you_ wide awake? Look out, Lipa, don't let it +happen to you too. + +LIPA + +What? + +YEGOR + +It. _(He yawns and crosses himself)_ If mother were to rise from her +grave now and see her children, she would be delighted. Fine children, +she would say. I have nursed you, and brought you up, and what's the +result? Regular good-for-nothing scamps. Tony'll soon begin to drink +again. I can see it on his face. Who's ever heard of such a thing? +People will soon be coming here for the feast-day, and I'll have to +work alone for the whole bunch. Polya, hand me that match from the +floor--there. No, not there, you blind goose. There, you stupid. + +PELAGUEYA _(hunting for the match)_ + +I don't see it. + +YEGOR + +I'll take you by the back of your neck and give you such a shaking +that you'll see mighty quick. There it is, damn you! + +LIPA _(faint)_ + +Oh, God, what a blistering heat! + +YEGOR + +There it is. Where are you crawling? Under the chair. There, damn you! + +SAVVA _(enters gayly, the pocket of his blouse full of jackstones)_ I +won six pair. + +YEGOR + +Well, the idea! + +SAVVA + +I finished that rascal Misha, cleared him all up. What are you +mumbling about there? + +YEGOR + +Nothing. Only I wish you'd address me a little more politely. + +SAVVA _(paying no attention to him)_ + +Lipa, I won six pair. + +LIPA + +How can you play in such heat? + +SAVVA + +Wait, I am going to put the jackstones away. I have eighteen pair now. +Misha, the little rascal, plays well. _(He goes out)_ + +YEGOR _(rising)_ + +I don't want to see him any more. Tell him to get out of here at once. + +LIPA + +All right, I will. + +YEGOR + +Don't say "all right," but do what your father tells you. A fine lot +of brats--that's a sure thing! Yes, yes. _(Goes)_ If mother saw them-- + +PELAGUEYA + +He speaks of mother as if he weren't the one that drove her to an +early grave. He talked her to death, the old scold! He just talks and +talks, and nags and nags, and he doesn't know himself what he wants. + +LIPA + +To be with you is like being caught in the wheel of a machine. My head +is spinning round and round. + +PELAGUEYA + +Then why don't you go away with your Savva? What are you waiting for? + +LIPA + +Look here, why are you angry with me? + +PELAGUEYA + +I am not angry. I am telling the truth. You don't want to marry. You +are disgusted with all your beaux. Why don't you go into a convent? + +LIPA + +I won't go into a convent, but I will go away from here, soon enough, +I think. + +PELAGUEYA + +Well, go! No one is keeping you. The road is wide open. + +LIPA + +Ah, Polya, you are angry and sulky with me. You don't know how I spend +my nights thinking about you. At night I lie awake and think and think +about you, and about all the people that are unhappy--all of them. + +PELAGUEYA + +What do you want to think about me for? You had better think about +yourself. + +LIPA + +And no one knows it. Well, what's the use of talking? You couldn't +understand anyhow. I am sorry for you, Polya. _(Pelagueya laughs)_ +What's the matter? + +PELAGUEYA + +If you are sorry for me, why don't you carry out that pail? The way I +am, I shouldn't be lifting heavy things. Why don't you help me, if you +are so sorry for me? + +LIPA _(her face darkening, then brightening again)_ Give it to me. +_(She picks up the pail and starts to carry it away)_ + +PELAGUEYA _(spitefully)_ + +Hypocrite! Let go! Where are you going? _(She carries out the pail and +returns for the other things)_ + +SAVVA _(entering; to his sister)_ + +Why is your face so red? + +LIPA + +It's hot. + +_[Pelagueya laughs._ + +SAVVA + +Say, Pelagueya, has Kondraty inquired for me? + +PELAGUEYA + +Kondraty! What Kondraty? + +SAVVA + +Kondraty, the friar; he looks something like a sparrow. + +PELAGUEYA + +I didn't see any Kondraty. Like a sparrow! That's a funny way of +putting it. + +SAVVA + +Tell Tony to come here, won't you? + +PELAGUEYA + +Tell him yourself. + +SAVVA + +Well, well! + +PELAGUEYA _(calls through the door before she goes out into the +tavern)_ Anthony, Savva wants you. + +LIPA + +What do you want him for? + +SAVVA + +What a queer habit you have here of plying a person with questions all +the time. Where, who, why, what for? + +LIPA _(slightly offended)_ + +You needn't answer if you don't want to. + +TONY _(enters, speaking slowly and with difficulty)_ + +Who wants me? + +SAVVA + +I am expecting Kondraty here--you know Kondraty, don't you? Send him +in when he comes. + +TONY + +Who are you? + +SAVVA + +And send in two bottles of whiskey too, do you hear? + +TONY + +Maybe I do and maybe I don't. Maybe I'll send the whiskey and maybe I +won't. + +SAVVA + +What a sceptic. You've grown silly, Tony. + +LIPA + +Leave him alone, Savva. He has got that from the seminary student, +from Speransky. Anyhow, he is full of-- + +TONY _(sitting down)_ + +I didn't get it from anybody. I can understand everything myself. The +blood has congealed in my heart. + +SAVVA + +That's from drink, Tony. Stop drinking. + +TONY + +The blood has congealed in my heart. You think I don't know what's +what. A while ago you weren't here with us, and all of a sudden you +came. Yes, I understand everything. I have visions. + +SAVVA + +What do you see? God? + +TONY + +There is no God. + +SAVVA + +How's that? + +TONY + +And no devil either. There's nothing, no people, no animals, nothing. + +SAVVA + +What is there then? + +TONY + +There are only faces, a whole lot of faces. It's faces, faces, faces. +They are very funny, and I keep laughing all the time. I just sit +still, and the faces come jumping and gliding past me, jumping and +gliding. You've got a very funny face too, Savva. _(Sadly)_ It's +enough to make one die of laughter. + +SAVVA _(laughing gayly)_ + +What kind of a face have I? + +TONY + +That's the kind of face you have. _(Pointing his finger at him)_ She +also has a face, and she. And father too. And then there are +other faces. There are a lot of faces. I sit in the tavern and see +everything. Nothing escapes me. You can't fool me. Some faces are +small and some are large, and all of them glide and glide--Some are +far away, and some are as close to me as if they wanted to kiss me or +bite my nose. They have teeth. + +SAVVA + +All right, Tony, now you can go. We'll talk about the faces later. +Your own face is funny enough. + +TONY + +Yes, of course. I, too, have a face. + +SAVVA + +All right, all right. Go now. Don't forget to send in the whiskey. + +TONY + +As in the daytime so at night. A lot of faces. _(From the door)_ And +in regards to whiskey, maybe I'll send it and maybe I won't. I can't +tell yet. + +SAVVA _(to Lipa)_ + +Has he been that way a long time? + +LIPA + +I don't know. I think so. He drinks an awful lot. + +PELAGUEYA _(going)_ + +No wonder. You're enough to drive a man to drink. Cranks. _(Exit)_ + +LIPA + +My, how stifling! I don't know what to do with myself. Say, Savva, why +aren't you nicer to Polya? She is such a wretched creature. + +SAVVA + +A slavish soul. + +LIPA + +It isn't her fault if she's that way. + +SAVVA _(coldly)_ + +Nor mine either. + +LIPA + +Oh, Savva, if you only knew the terrible life people lead here. The +men drink, and beat their wives, and the women-- + +SAVVA + +I know. + +LIPA + +You say it so calmly. I have been waiting very much to have a talk +with you. + +SAVVA + +Go ahead. + +LIPA + +You'll soon be leaving us, I suppose. + +SAVVA + +Yes. + +LIPA + +Then I won't have any chance to talk to you. You are scarcely ever at +home. This is the first time, pretty nearly. It seems so strange that +you should enjoy playing with the children, you a grown man, big as a +bear. + +SAVVA _(merrily)_ + +No, Lipa, they play very well. Misha is very good at the game, and +I have a hard time holding up my end of it. I lost him three pairs +yesterday. + +LIPA + +Why, he is only ten years old.-- + +SAVVA + +Well, what of it? The children are the only human beings here. They +are the wisest part of the-- + +LIPA _(with a smile)_ + +And I? How about me? + +SAVVA _(looking at her)_ + +You? Why, you are like the rest. + +_[A pause. Being offended, Lipa's languor disappears to some extent._ + +LIPA + +Maybe I bore you. + +SAVVA + +No, you make no difference to me one way or another. I am never bored. + +LIPA _(with a constrained smile)_ + +Thank you, I am glad of that at least. Were you in the monastery +to-day? You go there often, don't you? + +SAVVA + +Yes, I was there. Why? + +LIPA + +I suppose you don't remember--I love our monastery. It is so +beautiful. At times it looks so pensive. I like it because it's so +old. Its age gives it a solemnity, a stern serenity and detachment. + +SAVVA + +Do you read many books? + +LIPA _(blushing)_ + +I used to read a lot. You know I spent four winters in Moscow with +Aunt Glasha. Why do you ask? + +SAVVA + +Never mind. Go on. + +LIPA + +Does what I say sound ridiculous? + +SAVVA + +No, go on. + +LIPA + +The monastery is really a remarkable place. There are nice spots there +which no one ever visits, somewhere between the mute walls, where +there is nothing but grass and fallen stones and a lot of old, old +litter. I love to linger there, especially at twilight, or on hot +sunny days like to-day. I close my eyes, and I seem to look far, +far into the distant past--at those who built it and those who first +prayed in it. There they walk along the path carrying bricks and +singing something, so softly, so far away. _(Closing her eyes)_ So +softly, so softly. + +SAVVA + +I don't like the old. As to the building of the monastery, it was done +by serfs, of course; and when they carried bricks they didn't sing, +but quarrelled and cursed one another. That's more like it. + +LIPA _(opening her eyes)_ + +Those are my dreams. You see, Savva, I am all alone here. I have +nobody to talk to. Tell me--You won't be angry, will you?--Tell me, +just me alone, why did you come here to us? It wasn't to pray. It +wasn't for the feast-day. You don't look like a pilgrim. + +SAVVA _(frowning)_ + +I don't like you to be so curious. + +LIPA + +How can you think I am? Do I look as if I were curious? You have +been here for two weeks, and you ought to see that I am lonely. I am +lonely, Savva. Your coming was to me like manna fallen from the sky. +You are the first living human being that has come here from over +there, from real life. In Moscow I lived very quietly, just reading my +books; and here--you see the sort of people we have here. + +SAVVA + +Do you think it's different in other places? + +LIPA + +I don't know. That's what I should like to find out from you. You have +seen so much. You have even been abroad. + +SAVVA + +Only for a short time. + +LIPA + +That makes no difference. You have met many cultured, wise, +interesting people. You have lived with them. How do they live? What +kind of people are they? Tell me all about it. + +SAVVA + +A mean, contemptible lot. + +LIPA + +Is that so? You don't say so! + +SAVVA + +They live just as you do here--a stupid, senseless existence. The +only difference is in the language they speak. But that makes it still +worse. The justification for cattle is that, they are without +speech. But when the cattle become articulate, begin to speak, defend +themselves and express ideas then the situation becomes intolerable, +unmitigatedly repulsive. Their dwelling-places are different +too--yes--but that's a small thing. I was in a city inhabited by a +hundred thousand people. The windows in the house of that city are all +small. Those living in them are all fond of light, but it never occurs +to anyone that the windows might be made larger. And when a new house +is built, they put in the same kind of windows, just as small, just as +they have always been. + +LIPA + +The idea! I never would have thought it. But they can't all be like +that. You must have met good people who knew how to live. + +SAVVA + +I don't know how to make you understand. Yes, I did meet, if not +altogether good people, yet--The last people with whom I lived were +a pretty good sort. They didn't accept life ready-made, but tried to +make it over to suit themselves. But-- + +LIPA + +Who were they--students? + +SAVVA + +No. Look here--how about your tongue--is it of the loose kind? + +LIPA + +Savva, you ought to be ashamed! + +SAVVA + +All right. Now then. You've read of people who make bombs--little +bombs, you understand? Now if they see anybody who interferes with +life, they take him off. They're called anarchists. But that isn't +quite correct. _(Contemptuously)_ Nice anarchists they are! + +LIPA _(starting back, awestruck)_ + +What are you talking about? You can't possibly be in earnest. It isn't +true. And you in it, too? Why, you look so simple and talk so simply, +and suddenly--I was hot a moment ago, but now I am cold, _(The rooster +crows-under the window, calling the chickens to share some seed he has +found)_ + +SAVVA + +There now--you're frightened. First you want me to tell you, and +then-- + +LIPA + +Don't mind me, Savva, it's nothing. It was so unexpected. I thought +such people didn't really exist--that they were just a fiction of the +imagination. And then, all of a sudden, to find you, my brother--You +are not joking, Savva? Look me straight in the eye. + +SAVVA + +But why did you get frightened? They are not so terrible after all. In +fact, they are very quiet, orderly people, and very deliberate. They +meet and meet, and weigh and consider a long time, and then--bang!--a +sparrow drops dead. The next minute there is another sparrow in its +place, hopping about on the very same branch. Why are you looking at +my hands? + +LIPA + +Oh, nothing. Give me your hand--no, your right hand. + +SAVVA + +Here. + +LIPA + +How heavy it is. Feel how cold mine are. Go on, tell me all about it. +It's so interesting. + +SAVVA + +What's there to tell? They are a brave set of people, I must admit; +but it is a bravery of the head, not of the hands. And their heads are +partitioned off into little chambers; they are always careful not to +do anything which is unnecessary or harmful. Now you can't clear a +dense forest by cutting down one tree at a time, can you? That's what +they do. While they chop at one end, it grows up at the other. You +can't accomplish anything that way; it's labor lost. I proposed a +scheme to them, something on a larger scale. They got frightened, +wouldn't hear of it. A little weak-kneed they are. So I left them. +Let them practise virtue. A narrow-minded bunch. They lack breadth of +vision. + +LIPA + +You say it as calmly as if you were joking. + +SAVVA + +No, I am not joking. + +LIPA + +Aren't you afraid? + +SAVVA + +I? So far I haven't been, and I don't ever expect to be. What worse +can happen to a man than to have been born? It's like asking a man who +is drowning whether he is not afraid of getting wet. _(Laughs)_ + +LIPA + +So that's the kind you are. + +SAVVA + +One thing I learned from them: respect for dynamite. It's a powerful +instrument, dynamite is--nothing like it for a convincing argument. + +LIPA + +You are only twenty-three years old. You have no beard yet, not even a +moustache. + +SAVVA _(feeling his face)_ + +Yes, a measly growth; but what conclusions do you draw from that? + +LIPA + +Fear will come to you yet. + +SAVVA + +No. If I haven't been frightened so far by watching life, there's +nothing else to fear. Life, yes. I embrace the earth with my eyes, the +whole of it, the entire little planetoid, and I can find nothing more +terrible on it than man and human life. And I am not afraid of man. + +LIPA _(scarcely listening to him; ecstatically)_ + +Yes, that's the word. That's it. Savva, dear, I am not afraid of +bodily suffering either. Burn me on a slow fire. Cut me to pieces. I +won't cry. I'll laugh. I know I will. But there is another thing I am +afraid of. I am afraid of people's suffering, of the misery from which +they cannot escape. When in the stillness of the night, broken only by +the striking of the hours, I think of how much suffering there is all +around us--aimless, needless suffering; suffering one doesn't even +know of--when I think of that, I am chilled with terror. I go down on +my knees and pray. I pray to God, saying to Him: "Oh, Lord, if there +has to be a victim, take me, but give the people joy, give them peace, +give them forgetfulness. Oh, Lord, all powerful as Thou art--" + +SAVVA + +Yes. + +LIPA + +I have read about a man who was eaten by an eagle, and his flesh grew +again overnight. If my body could turn into bread and joy for the +people, I would consent to live in eternal torture in order to feed +the unfortunate. There'll soon be a holiday here in the monastery-- + +SAVVA + +I know. + +LIPA + +There is an ikon of the Saviour there with the touching inscription: +"Come unto me, all ye that labour and are heavy laden-- + +SAVVA + +And I will give you rest." I know. + +LIPA + +It is regarded as a wonder-working ikon. Go there on the feast-day. +It's like a torrent pouring into the monastery, an ocean rolling +toward its walls; and this whole ocean is made up entirely of human +tears, of human sorrow and misery. Such monstrosities, such cripples. +After witnessing one of those scenes, I walk about as in a dream. +There are faces with such a depth of misery in them that one can never +forget them as long as one lives. Why, Savva, I was a gay young +thing before I saw all that. There is one man who comes here every +year--they have nicknamed him King Herod-- + +SAVVA + +He is here already. I've seen him. + +LIPA + +Have you? + +SAVVA + +Yes, he has got a tragic face. + +LIPA + +Long ago, when still a young man, he killed his son by accident, and +from that day he keeps coming here. He has an awful face. And all of +them are waiting for a miracle. + +SAVVA + +Yes. There is something worse than inescapable human suffering, +however. + +LIPA + +What? + +SAVVA _(lightly)_ + +Inescapable human stupidity. + +LIPA + +I don't know. + +SAVVA + +I do. Here you see only a small fragment of life, but if you could see +and hear all of it--When I first read their newspapers, I laughed and +thought it was a joke. I thought they were published in some asylum +for the insane. But I found it was no joke. It was really serious, +Lipa, really serious. And then my head began to ache with an +intolerable pain. _(He presses his hand to his forehead)_ + +LIPA + +Your head began to ache? + +SAVVA + +Yes. It's a peculiar pain. You don't know what it is like. Few people +know what it is. And the pain continued until I resolved-- + +LIPA + +What? + +SAVVA + +To annihilate everything. + +LIPA + +What are you saying? + +SAVVA + +Yes, yes, everything. All that's old. + +LIPA _(in amazement)_ + +And man? + +SAVVA + +Man is to remain, of course. What is in his way is the stupidity +that, piling up for thousands of years, has grown into a mountain. The +modern sages want to build on this mountain, but that, of course, +will lead to nothing but making the mountain still higher. It is +the mountain itself that must be removed. It must be levelled to its +foundation, down to the bare earth. Do you understand? + +LIPA + +No, I don't understand you. You talk so strangely. + +SAVVA + +Annihilate everything! The old houses, the old cities, the old +literature, the old art. Do you know what art is? + +LIPA + +Yes, of course I know--pictures, statues. I went to the Tretyakov art +gallery. + +SAVVA + +That's it--the Tretyakov, and other galleries that are bigger still. +There are some good things in them, but it will be still better to +have the old stuff out of the way. All the old dress must go. Man must +be stripped bare and left naked on a naked earth! Then he will build +up a new life. The earth must be denuded, Lipa; it must be stripped +of its hideous old rags. It deserves to be arrayed in a king's mantle; +but what have they done with it? They have dressed it in coarse +fustian, in convict clothes. They've built cities, the idiots! + +LIPA + +But who will do it? Who's going to destroy everything? + +SAVVA + +I. + +LIPA + +You? + +SAVVA + +Yes, I. I'll begin, and then, when people get to understand what I am +after, others will join in. The work will proceed merrily, Lipa. The +sky will be hot. Yes. The only thing not worth destroying is science. +That would be useless. Science is unchangeable, and if, you destroyed +it to-day, it would rise up again the same as before. + +LIPA + +How much blood will have to be shed? Why, it's horrible! + +SAVVA + +No more than has been shed already--and there'll be rhyme and reason +to it, at least. _(Pause; the hens cluck in the yard; from the same +direction comes Tony's sleepy voice_: "Polya, father wants you. Where +did you put his cap?") + +LIPA + +What a scheme! Are you not joking, Savva? + +SAVVA + +You make me sick with your "you are joking, you are joking." + +LIPA + +I am afraid of you, Savva. You are so serious about it. + +SAVVA + +Yes, there are many people who are afraid of me. + +LIPA + +If you would only smile a little. + +SAVVA _(looking at her with wide-open eyes and a frank face, and +breaking abruptly into a clear, ringing laugh)_ Oh, you funny girl, +what should I be smiling for? I'd rather laugh. _(Both laugh)_ Are you +afraid of tickling? + +LIPA + +Stop it! What a boy you are still! + +SAVVA + +All right. And Kondraty, isn't here yet. I wonder why. Do you think +the devil has taken him? The devil is fond of monks, you know. + +LIPA + +What strange fancies you have. Why, now you are joking-- + +SAVVA _(somewhat surprised)_ + +They are not fancies. + +LIPA + +My fancies are different. You are a dear now, because you talk to +me. In the evening I'll tell you all about myself. We'll take a walk +together, and I'll tell you everything. + +SAVVA + +Very well, I'll listen. Why shouldn't I? + +LIPA + +Tell me, Savva, if I may ask--are you in love with a woman? + +SAVVA + +Ah, switched around to the subject of love after all--just like a +woman! I hardly know what to say. I did love a girl, in a way, but she +didn't stick it out. + +LIPA + +Stick out what? + +SAVVA + +My love, or perhaps myself. All I know is that one fine day she went +away and left me. + +LIPA _(laughing)_ + +And you? + +SAVVA + +Nothing. I remained alone. + +LIPA + +Have you any friends, comrades? + +SAVVA + +No. + +LIPA + +Any enemies? I mean is there anyone whom you particularly dislike, +whom you hate? + +SAVVA + +Yes--God. + +LIPA _(incredulously)_ + +What? + +SAVVA + +God, I say--the one whom you call your Saviour. + +LIPA _(shouting)_ + +Don't dare speak that way! You've gone out of your mind! + +SAVVA + +Ah! I touched your sensitive spot, did I? + +LIPA + +Don't you dare! + +SAVVA + +I thought you were a gentle dove, but you have a tongue like a +snake's. _(He imitates the movements of a snake's tongue with his +finger)_ + +LIPA + +Good Lord! How dare you, how can you speak like that of the Saviour? +Why, one dares not look at him. Why have you come here? + +_[Kondraty appears at the door of the tavern, looks around, and enters +quietly._ + +KONDRATY + +In the name of the Father, the Son, and the Holy Ghost! + +SAVVA + +Amen! You're very late, my gracious lord! + +KONDRATY + +I did the will of him who sent me. I was picking young little +cucumbers for the Father Superior. He has them made into a dainty dish +which he loves dearly for an appetizer. My, what infernal heat! I was +in pools of perspiration before I got through. + +SAVVA _(to Lipa)_ + +You see, here is a monk. He likes a drink. His cussing vocabulary +isn't bad. He is no fool, and as to women-- + +KONDRATY + +Don't embarrass the young lady, Mr. Tropinin. In the presence of a +lady-- + +SAVVA + +And furthermore, he doesn't believe in God. + +KONDRATY + +He is joking. + +LIPA + +I don't like such jokes. What have you come here for? + +KONDRATY + +I am here by invitation. + +SAVVA + +I have some business with him. + +LIPA _(without looking at Savva)_ + +What have you come here for? + +SAVVA + +For nothing that concerns you. You had better have a talk with him. He +is a chap that possesses a great deal of curiosity. He's not a fool, +either, but knows what's what. + +LIPA _(looking searchingly at Savva)_ + +I know him well, I know him very well. + +KONDRATY + +To my regret I must admit it's true. I have the unenviable fortune of +being known as a man who does not observe the outer forms of conduct. +It is on account of that characteristic I was fired from my position +as government clerk, and it's on that account I am now frequently +condemned to live for weeks on nothing but bread and water. I cannot +act in secret. I am open and above-board. In fact, I fairly cry aloud +whatever I do. For example, the circumstances under which I met you, +Mr. Tropinin, are such that I am ashamed to recall them. + +SAVVA + +Don't recall them then. + +KONDRATY _(to Lipa)_ + +I was lying in a mud puddle in all my dignity, like a regular hog. + +LIPA _(disgusted)_ + +All right. + +KONDRATY + +But I am not ashamed to speak of it; first, because many people saw +it, and of course nobody took the trouble to get me out of it except +Savva Yegorovich, and secondly, because I regard this as my cross. + +LIPA + +A fine cross! + +KONDRATY + +Every man, Miss Olympiada, has his cross. It isn't so very nice to be +lying in a mud puddle. Dry ground is pleasanter every time. And do you +know, I think half of the water in that puddle was my own tears, and +my woeful lamentations made ripples on it-- + +SAVVA + +That's not quite so, Kondraty. You were singing a song: "And we're +baptized of him in Jordan"--to a very jolly tune at that. + +KONDRATY + +You don't say! What of it? So much the worse. It shows to what depths +a man will descend. + +SAVVA + +Don't assume a melancholy air, father. You're quite a jovial fellow by +nature, and the assumption of grief doesn't go well with your face, I +assure you. + +KONDRATY + +True, Savva Yegorovich, I was a jolly fellow; but that was before I +entered the monastery. As soon as I came here I took a tumble, so to +speak; I lost my joviality and serenity and learned to know what real +sorrow is. + +_[Tony enters and remains standing in the doorway gazing ecstatically +at the monk._ + +SAVVA + +Why so? + +KONDRATY _(stepping nearer and speaking in a lowered voice)_ There is +no God here--there's only the devil. This is a terrible place to live +in, on my word it is, Mr. Savva. I am a man with a large experience. +It's no easy thing to frighten me. But I am afraid to walk in the hall +at night. + +SAVVA + +What devil? + +KONDRATY + +The ordinary one. To you, educated people, he appears in a nobler +aspect of course; but to us plain, simple people, he reveals himself +as he really is. + +SAVVA + +With horns? + +KONDRATY + +How can I tell? I never saw the horns; but that's not the point, +although I may say that his shadow clearly shows the horns. The thing +is that we have no peace in our monastery; there is always such a +noise and clatter there. Everything is quiet outside; but inside there +are groans and gnashing of teeth. Some groan, some whine, and some +complain about something, you can't tell what. When you pass the +doors, you feel as if your soul were taking leave of the world behind +every door. Suddenly something glides from around the corner.--and +there's a shadow on the wall. Nothing at all--and yet there's a +shadow on the wall. In other places it makes no difference. You pay +no attention to such a trifle as a shadow; but here, Savva Yegorovich, +they are alive, and you can almost hear them speak. On my word of +honor! Our hall, you know, is so long that it seems never to end. You +enter--nothing! You see a sort of black object moving in front of +you, something like the figure of a man. Then it stretches out, grows +larger and larger and wider and wider until it reaches across the +ceiling, and then it's behind you! You keep on walking. Your senses +become paralyzed. You lose all consciousness. + +SAVVA _(to Tony)_ + +What are you staring at? + +TONY + +What a face! + +KONDRATY + +And God too is impotent here. Of course we have sacred relics and a +wonder-working ikon; but, if you'll excuse me for saying so, they have +no efficacy. + +LIPA + +What are you saying? + +KONDRATY + +None whatever. If you don't believe me, ask the other monks. They'll +bear me out. We pray and pray, and beat our foreheads, and the result +is nothing, absolutely nothing. If the image did nothing else than +drive away the impure power! But it can't do even that. It hangs there +as if it were none of its business, and as soon as night comes, the +stir and the gliding and the flitting around the corners begin again. +The abbot says we are cowards, poor in spirit, and that we ought to +be ashamed. But why are the images ineffective? The monks in the +monastery say-- + +LIPA + +Well? + +KONDRATY + +But it's hard to believe it. It's impossible. They say that the +devil stole the real image long ago--the one that could perform +miracles--and hung up his own picture instead. + +LIPA + +Oh, God, what blasphemy! Why aren't you ashamed to believe such vile, +horrid stuff? You who are wearing a monk's robe at that! You really +ought to be lying in a puddle--it's the proper place for you. + +SAVVA + +Now, now, don't get mad. Don't mind her, Father Kondraty, she doesn't +mean it. She is a good girl. But really, why don't you leave the +monastery? Why do you want to be fooling about here with shadows and +devils? + +KONDRATY _(shrugging his shoulders)_ + +I would like to leave; but where am I to go? I dropped work long ago. +I am not used to it any more. Here at least I don't have to worry +about how to get a piece of bread. And as for the devil _(cautiously +winking to Savva as he turns to the window and fillips his neck with +his fingers)_ I have a means against him. + +SAVVA + +Well, let's go out and have a talk. You, face, will you send us some +whiskey? + +TONY _(gloomily)_ + +He isn't telling the truth. There are no devils either. The +devil couldn't have hung up his picture if there's no devil. It's +impossible. He had better ask me. + +SAVVA + +All right, we'll speak about that later. Send us whiskey. + +TONY _(goes)_ + +I won't send you any whiskey either. + +SAVVA + +What a stupid fellow! I tell you what, father. You go out into the +garden through that door. I'll be, with you in a moment. Don't lose +yourself. _(He goes out after Tony)_ + +KONDRATY + +Good-bye, Miss Olympiada. + +_[Lipa doesn't answer. When Kondraty has left, she walks around the +room a few times, agitated, waiting for Savva._ + +SAVVA _(entering)_ + +Well, what a fool! + +LIPA _(barring his way)_ + +I know why you came here. I know! Don't you dare! + +SAVVA + +What's that? + +LIPA + +When I heard you talk, I thought it was just words, but now--Come to +your senses! Think! You've gone crazy. What do you mean to do? + +SAVVA + +Let me go. + +LIPA + +I listened to you and laughed! Good Lord! I feel as if I had awakened +from a terrible dream. Or is it all a dream? What was the monk here +for? What for? + +SAVVA + +Now that will do. You have had your say; that's enough. Let me go. + +LIPA + +Don't you see you have gone crazy? Do you understand? You are out of +your mind. + +SAVVA + +I'm sick of hearing you repeat that. Let's go. + +LIPA + +Savva; dear, darling Savva--No? Very well, you won't listen to me? +Very well. You'll see, Savva, you'll see. You ought to have your hands +and feet tied. And you _will_ be bound, too. There are people who will +do it. Oh, God! What does this mean? Stay! Stay! Savva! + +SAVVA _(going)_ + +All right, all right. + +LIPA _(shouting)_ + +I'll denounce you. Murderer! Ruffian! I'll denounce you. + +SAVVA _(turning round)_ + +Oho! You had better be more careful. _(Puts his hand on her shoulder +and looks into her eyes)_ You had better be more careful, I say. + +LIPA + +You--_(For about three seconds there is a struggle between the two +pairs of eyes, after which Lipa turns aside, biting her lips)_ I am +not afraid of you. + +SAVVA + +That's better. But don't shout. One should never shout. _(Exit)_ + +LIPA _(alone)_ + +What does this mean? What am I to do? _(The hens cluck)_ + +YEGOR TROPININ _(in the door)_ + +What's the matter? What's the row here--hey? I was gone just half an +hour, and everything has gone topsy-turvy. Lipa, why did you let the +chickens get into the raspberry bushes? Go and drive 'em away, damn +you! I am talking to you--yes, to you! Go, or I'll go you, I'll go +you, I'll-- + +CURTAIN + + + + +THE SECOND ACT + + +_Within the enclosure of the monastery. In the rear, at the left, +appear the monastery buildings, the refectory, monks' cells, parts of +the church and the steeple, all connected by passageways with arched +gates. Board-walks run in different directions in the court. At the +right the corner of the steeple wall is seen slightly jutting out. +Nestling against it is a small monastic cemetery surrounded by a +light, grilled iron fence. Marble monuments and slabs of stone and +iron are sunk deep into the earth. All are old and twisted. It is a +long time since anyone was buried there. The cemetery contains also +some wild rose-bushes and two or three rather small trees. + +It is evening, after vespers. Long shadows are falling from the tower +and the walls. The monastery and the steeple are bathed in the reddish +light of the setting sun. Monks, novices and pilgrims pass along +the board-walks. In the beginning of the act may be heard behind the +scenes the driving of a village herd, the cracking of a herdsman's +whip, the bleating of sheep, the lowing of cattle, and dull cries. +Toward the end of the act it grows much darker, and the movement in +the yard ceases almost entirely. + +Savva, Speransky, and the Young Friar are seated on a bench by the +iron fence. Speransky is holding his hat on his knees, and now and +then he strokes his long, straight hair, which is hanging in two +mournful strands over his long, pale face. He holds his legs together +speaks in a low, sad tone, and gesticulates with extended forefinger. +The Friar, young, round-faced, and vigorous, pays no attention to the +conversation, but is smiling continually, as if at his own thoughts._ + + +SAVVA _(preoccupied, looking aside)_ + +Yes. What kind of work do you do here? + +SPERANSKY + +None at all, Mr. Savva. How can a man in my condition do any work? +Once a man begins to doubt his own existence, the obligation to work +naturally ceases to exist for him. But the deacon's wife does +not understand it. She is a very stupid woman, utterly lacking in +education, and, moreover, of an unlovely, cruel disposition. She +insists on making me work. But you can imagine the sort of work I +do under the circumstances. You see, the situation is this. I have a +splendid appetite. That appetite began to develop while I was yet a +student in the seminary. Now this deaconess, if you please, makes a +fuss about every piece of bread I eat. She doesn't understand, the +ignorant woman, the possibility of the non-existence of this piece of +bread. If I had a real existence like the rest of you, I should feel +very bad, but in my present condition her attacks don't affect me in +the least. Nothing affects me, Mr. Savva, nothing in the wide world. + +SAVVA _(smiling at the Friar's unconscious joy, but still +preoccupied)_ How long have you been in this condition? + +SPERANSKY + +It began in the seminary while I was studying philosophy. It is a +dreadful condition, Mr. Savva. I have grown somewhat accustomed to it +now, but at first it was unendurable. I tried to hang myself once, +and they cut me down. Then I tried a second time, and they cut me down +again. Then they turned me out of the seminary. "Go hang yourself in +some other place, you madman," they said. As if there were any other +place! As if all places were not the same! + +THE FRIAR + +Mr. Savva, let's go fishing to-morrow at the mill. + +SAVVA + +I don't like fishing. It bores me. + +FRIAR + +I'm sorry. Well then, let's go into the woods and knock down the dry +branches of trees. It's fine sport to walk about in the forest and +knock off the branches with a stick. And when you shout "Ho-ho-ho!" +the echo from the ravine answers back "Ho-ho-ho!" Do you like +swimming? + +SAVVA + +Yes, I like it. I am a good swimmer. + +FRIAR + +I like it too. + +SPERANSKY _(with a deep sigh)_ + +Yes, it's a strange condition. + +SAVVA _(smiling at the Friar)_ + +Eh? Well, how are you now? + +SPERANSKY + +When my uncle took me to his house, he made me promise I would never +attempt suicide again. That was the only condition oh which he would +consent to let me live with him. "All right," I said; "if we really +exist, then I won't make any further attempt to hang myself." + +SAVVA + +Why do you want to know whether you exist or not? There is the +sky. Look, how beautiful it is. There are the swallows and the +sweet-scented grass. It's fine! _(To the Friar)_ Fine, isn't it, +Vassya? + +FRIAR + +Mr. Savva, do you like to tear up ant-hills? + +SAVVA + +I don't know. I never tried. + +FRIAR + +I like it. Do you like to fly kites? + +SAVVA + +It's a long time since I tried to. I used to like it very much. + +SPERANSKY _(patiently awaiting the end of their conversation)_ + +Swallows! What good is their flying to me? Anyhow, maybe swallows +don't exist either, and it's all a dream. + +SAVVA + +Suppose it is a dream. Dreams are very beautiful sometimes, you know. + +SPERANSKY + +I should like to wake up, but I can't. I wander around and wander +around until I am weary and feeble, and when I rouse myself I find +I am here, in the very same place. There is the monastery and the +belfry, and the clock strikes the hour. And it's all like a dream, a +fantasy. You close your eyes, and it does not exist. You open them, +and it's there again. Sometimes I go out into the fields at night +and close my eyes, and then it seems to me there is nothing at all +existing. Suddenly the quail begin to call, and a wagon rolls down +the road. Again a dream. For if you stopped up your ears, you wouldn't +hear those sounds. When I die, everything will grow silent, and then +it will be true. Only the dead know the truth, Mr. Savva. + +FRIAR _(smiling, cautiously waving his hands at a bird; in a whisper)_ +It's time to go to bed, time to go to bed. + +SAVVA _(impatiently)_ + +What dead? Listen, my dear sir. I have a plain, simple, peasant mind, +and I don't understand those subtleties. What dead are you talking +about? + +SPERANSKY + +About all the dead, every one without exception. That's why the faces +of the dead are so serene. Whatever agonies a man may have suffered +before his death, the moment he dies his face becomes serene. That's +because he has learned the truth. I always come here to attend the +funerals. It's astonishing. There was a woman buried here. She had +died of grief because her husband was crushed under a locomotive. You +can imagine what must have been going on in her mind before her death. +It's too horrible to think of. Yet she lay there, in the coffin, +absolutely serene and calm. That's because she had come to know that +her grief was nothing but a dream, a mere phantom. I like the dead, +Mr. Savva. I think the dead really exist. + +SAVVA + +I don't like the dead. _(Impatiently)_ You are a very disagreeable +fellow. Has anybody ever told you that? + +SPERANSKY + +Yes, I have, heard it before. + +SAVVA + +I would never have taken you out of the noose. What damn fool did it +anyway? + +SPERANSKY + +The first time it was the Father Steward, the next time my classmates. +I am very sorry you disapprove of me, Mr. Tropinin. As you are an +educated man, I should have liked to show you a bit of writing I did +while I was in the seminary. It's called "The Tramp of Death." It's a +sort of story. + +SAVVA + +No, spare me, please. Altogether I wish you'd-- + +FRIAR. _(rising)_ + +There comes Father Kirill. I had better beat it. + +SAVVA + +Why? + +FRIAR + +He came across me in the forest the other day when I was-shouting "Ho! +Ho!" "Ah," said he, "you forest sprite with goat's feet!" To-morrow +after dinner, all right? _(Walks away, sedately at first, but then +with a sort of dancing step)_ + +FAT MONK _(approaches)_ + +Well, young men, having a pleasant chat? Are you Mr. Tropinin's son? + +SAVVA + +I am the man. + +FAT MONK + +I have heard about you. A decent, respectable gentleman your father +is. May I sit down? _(He sits down)_ The sun has set, yet it's still +hot. I wonder if we'll have a storm to-night. Well, young man, how do +you like it here? How does this place compare with the metropolis? + +SAVVA + +It's a rich monastery. + +FAT MONK + +Yes, thank the Lord. It's celebrated all over Russia. There are many +who come here even from Siberia. Its fame reaches far. There'll soon +be a feast-day, and-- + +SPERANSKY + +You'll work yourself sick, father. Services day and night. + +FAT MONK + +Yes, we must do our best for the monastery. + +SAVVA + +Not for the people? + +FAT MONK + +Yes, for the people too. For whom else? Last year a large number of +epileptics were cured; quite a lot of them. One blind man had his +eyesight restored, and two paralytics were made to walk. You'll see +for yourself, young man, and then you won't smile. I have heard that +you are an unbeliever. + +SAVVA + +You have heard correctly. I am an unbeliever. + +FAT MONK + +It's a shame, a shame. Of course, there are many unbelievers nowadays +among the educated classes. But are they any happier on that account? +I doubt it. + +SAVVA + +No, there are not so many. They think they are unbelievers because +they don't go to church. As a matter of fact, they have greater faith +than you. It's more deep-seated. + +FAT MONK + +Is that so? + +SAVVA + +Yes, yes. The form of their faith is, of course, more refined. They +are cultured, you see. + +FAT MONK + +Of course, of course. People feel better, feel more confident and +secure, if they believe. + +SAVVA + +They say the devil is choking the monks here every night. + +FAT MONK _(laughing)_ + +Nonsense. _(To the Gray Monk passing by)_ Father Vissarion, come here +a moment. Sit down. Mr. Tropinin's son here says the devil chokes +us every night. Have you heard about it? _(The two monks laugh +good-naturedly as they look at each other)_ + +GRAY MONK + +Some of the monks can't sleep well because they have overeaten, so +they think they are being choked. Why, young man, the devil can't +enter within our sacred precincts. + +SAVVA + +But suppose he does suddenly put in an appearance? What will, you do +then? + +FAT MONK + +We'll get after him with the holy-water sprinkler, that's what we'll +do. "Don't butt in where you have no business to, you black-faced +booby!" _(The monk laughs)_ + +GRAY MONK + +Here comes King Herod. + +FAT MONK + +Wait a while, Father Vissarion. _(To Savva)_ You talk about faith and +such things. There's a man for you--look at him--see how he walks. +And yet he has chains on him weighing four hundred pounds. He doesn't +walk, he dances. He visits us every summer, and I must say he is a +very valuable guest. His example strengthens others in their faith. +Herod! Ho, Herod! + +KING HEROD + +What do you want? + +FAT MONK + +Come here a minute. This gentleman doubts the existence of God. Talk +to him. + +KING HEROD + +What's the matter with yourself? Are you so full of booze that you +can't wag your own tongue? + +FAT MONK + +You heretic! What a heretic! _(Both monks laugh)_ + +KING HEROD _(approaching)_ + +What gentleman? + +FAT MONK + +This one. + +KING HEROD _(scrutinizing him)_ + +He doubts? Let him doubt. It's none of my business. + +SAVVA + +Oh! + +KING HEROD + +Why, what did you think? + +FAT MONK + +Sit down, please. + +KING HEROD + +Never mind. I'd rather stand. + +FAT MONK _(to Savva, in a loud whisper)_ + +He is doing that to wear himself out. Until he has reduced himself +to absolute faintness he'll neither sleep nor eat. _(Aloud)_ This +gentleman is wondering at the kind of chains you have on your body. + +KING HEROD + +Chains? Just baby rattles. Put them on a horse and he too would carry +them if he had the strength. I have a sad heart. _(Looks at Savva)_ +You know, I killed my own son. Yes, I did. Have they been telling you +about me, these chatterboxes? + +SAVVA + +They have. + +KING HEROD + +Can you understand it? + +SAVVA + +Why not? Yes, I can. + +KING HEROD + +You lie--you can't. No one can understand it. Go through the whole +world, search round the whole globe, ask everybody--no one will be +able to tell you, no one will understand. And if anyone says he does, +take it from me that he lies, lies just as you do. Why, you can't even +see your own nose properly, yet you have the brazenness to say you +understand. Go. You are a foolish boy, that's what you are. + +SAVVA + +And you are wise? + +KING HEROD + +I am wise. My sorrow has made me so. It is a great sorrow. There is +none greater on earth. I killed my son with my own hand. Not the hand +you are looking at, but the one which isn't here. + +SAVVA + +Where is it? + +KING HEROD + +I burnt it. I held it in the stove and let it burn up to my elbow. + +SAVVA + +Did that relieve you? + +KING HEROD + +No. Fire cannot destroy my grief. It burns with a heat that is greater +than fire. + +SAVVA + +Fire, brother, destroys everything. + +KING HEROD + +No, young man, fire is weak. Spit on it and it is quenched. + +SAVVA + +What fire? It is possible to kindle such a conflagration that an ocean +of water will not quench it. + +KING HEROD + +No, boy. Every fire goes out when its time comes. My grief is great, +so great that when I look around me I say to myself: Good heavens, +what has become of everything else that's large and great? Where has +it all gone to? The forest is small, the house is small, the mountain +is small, the whole earth is small, a mere poppy seed. You have to +walk cautiously and look out, lest you reach the end and drop off. + +FAT MONK _(pleased)_ + +Fine, King Herod, you are going it strong. + +KING HEROD + +Even the sun does not rise for me. For others it rises, but for me +it doesn't. Others don't see the darkness by day, but I see it. It +penetrates the light like dust. At first I seem to see a sort of +light, but then--good heavens, the sky is dark, the earth is dark, all +is like soot. Yonder is something vague and misty. I can't even make +out what it is. Is it a human being, is it a bush? My grief is +great, immense! _(Grows pensive)_ If I cried, who would hear me? If I +shouted, who would respond? + +FAT MONK _(to the Gray Monk)_ + +The dogs in the village might. + +KING HEROD _(shaking his head)_ + +O you people! You are looking at me as at a monstrosity--at my hair, +my chains--because I killed my son and because I am like King Herod; +but my soul you see not, and my grief you know not. You are as blind +as earthworms. You wouldn't know if you were struck with a beam on the +head. Say, you pot-belly, what are you shaking your paunch, for? + +SAVVA + +Why--the way he talks to you! + +FAT MONK _(reassuringly)_ + +It's nothing. He treats us all like that. He upbraids us all. + +KING HEROD + +Yes, and I will continue to upbraid. Fellows like you are not fit +to serve God. What you ought to do is to sit in a drinkshop amusing +Satan. The devils use your belly to go sleigh-riding on at night. + +FAT MONK _(good-naturedly)_ + +Well, well, God be with you. You had better speak about yourself; +stick to that. + +KING HEROD _(to Savva)_ + +You see? He wants to feast on my agony. Go ahead, feast all you want. + +GRAY MONK + +My, what a scold you are. Where do you get your vocabulary? He once +told the Father Superior that if God were not immortal he, the Father +Superior, would long ago have sold him piece by piece. But we tolerate +him. He can do no harm in a monastery. + +FAT MONK + +He attracts people. Many come here for his sake. And what difference +does it make to us? God sees our purity. Isn't that so, King Herod? + +KING HEROD + +Oh, shut up, you old dotard. Look at him; he can scarcely move his +legs, old Harry with the evil eye. Keeps three women in the village; +one is not enough for him. _(The monks laugh good-naturedly)_ You see, +you see? Whew! Look at their brazen, shameless eyes! Might as well +spit on them! + +SAVVA + +Why do you come here? + +KING HEROD + +Not for them. Listen, young man. Have you a grief? + +SAVVA + +Perhaps I have. Why? + +KING HEROD + +Then listen to me. When you are in sorrow, when you are suffering, +don't go to people. If you have a friend, don't go to him. It's more +than you'll be able to stand. Better go to the wolves in the forest. +They'll make short work of it, devour you at once, and there will be +the end of it. I have seen many evil things, but I have never seen +anything worse than man. No, never! They say men are created in His +image, in His likeness. Why, you skunks, you have no image. If you had +one, the tiniest excuse for one, you would crawl away on all fours and +hide somewhere from sheer shame. You damned skunks! Laugh at them, cry +before them, shout, at them. It doesn't make any difference. They +go on licking their chops. King Herod--Damned skunks! And when King +Herod--not I, but the real one with a golden crown--killed your +children, where were you--hey? + +FAT MONK + +We weren't even in the world then, man. + +KING HEROD + +Then there were others like you. He killed. You accepted it. That's +all. I have asked many the question: "What would you have done?" +"Nothing," they always reply. "If he killed, what could be done about +it?" Fine creatures! Haven't the manliness to stand up even for their +children. They are worse than dogs, damn them! + +FAT MONK + +And what would you have done? + +KING HEROD + +I? I should have wrung his neck from off his royal gold crown--the +confounded brute! + +GRAY MONK + +It says in the scripture: "Render unto Caesar the things that are +Caesar's, and to God the things that are God's." + +FAT MONK + +That is to say, don't interfere with other people's business. Do you +understand? + +KING HEROD _(to Savva in despair)_ + +Just listen, listen to what they are saying. + +SAVVA + +I hear what they are saying. + +KING HEROD + +Just you wait, my precious! You'll get what's coming to you, and +mighty quick. The devil will come and hurl you into the fiery pit. To +hell, to gehenna, with you! How your fat will melt and run! Do you get +the smell, monk? + +FAT MONK + +That's from the refectory. + +KING HEROD + +You are on the run, fast as your feet can carry you! Ah! but where to? +Everywhere is hell, everywhere is fire. You refused to hearken unto +me, my pet; now you shall hearken unto the fire. Won't I be glad, +won't I rejoice! I'll take off my chains so that I can catch them and +present them to the devil--first one, then the other. Here, take him. +And the howl they'll set up, and the weeping and lamentation. "I am +not guilty." Not guilty? Who, then, is--who? To gehenna with you! +Burn, you damned hypocrites, until the second Advent. And then we'll +build a new fire, then we'll build a new fire. + +GRAY MONK + +Isn't it time for us to go, Father Kirill? + +FAT MONK + +Yes, we had better be moving along. It's getting dark, and it's time +to retire. + +KING HEROD + +Aha! You don't like to hear the truth. It isn't pleasant, is it? + +FAT MONK + +Hee-hee, brother, talk is cheap. A barking dog doesn't bite. Scold +away, scold away. We are listening. God in heaven will decide who is +to go to hell and who elsewhere. "The meek, shall inherit the earth," +says the Gospel. Good-bye, young gentlemen. + +GRAY MONK _(to King Herod)_ + +Let me give you a piece of advice, however. Talk, but don't talk too +much. Don't go too far. We are only tolerating you because you are +a pitiful creature and because you are foolish. But if you give your +tongue too free a rein, we can stop it, you know. Yes, indeed. + +KING HEROD + +All right, try--try to stop me. + +FAT MONK + +What's the use, Father Vissarion? Let him talk. It doesn't do any +harm. Listen, listen, young gentlemen. He is an interesting fellow. +Good night. + +_[They go. The Fat Monk is heard laughing heartily._ + +KING HEROD _(to Savva)_ + +Fine specimens. I can't stand them. + +SAVVA + +I like you, uncle. + +KING HEROD + +Do you? So you don't like their kind either? + +SAVVA + +No, I don't. + +KING HEROD + +Well, I'll sit down for a while. My legs are swollen. Have you got a +cigarette? + +SAVVA _(handing him a cigarette)_ + +Do you smoke? + +KING HEROD + +Sometimes. Excuse me for having talked to you the way I did before. +You are a good fellow. But why did you lie and say you understood? No +one can understand it. Who is this with you? + +SAVVA + +Oh, he just happened along. + +KING HEROD + +Well, brother, feeling bad, down in the mouth? + +SPERANSKY + +Yes, I feel blue. + +KING HEROD + +Keep still, keep still, I don't want to listen. You are suffering? +Keep still. I am a man too, brother, so I don't understand. I'll +insult you if you don't look out. _(Throws away the cigarette)_ No, +I can't. As long as I keep standing or walking I manage somehow. The +moment I sit down, it's hell. Oh! Ow-w! _(Writhing in agony)_ I simply +can't catch my breath. Oh, God, do you see my torture? Eh? Well, well, +it's nothing. It's gone. Oh! Ow-w! + +_[The sky has become overcast with clouds. It turns dark quickly. Now +and then there are flashes of lightning._ + +SAVVA _(quietly)_ + +One must try to stifle one's grief, old man. Fight it. Say to yourself +firmly and resolutely: "I don't want it." And it will cease to be. You +seem to be a good, strong man. + +KING HEROD + +No, friend, my grief is such that even death won't remove it. What is +death? It is little, insignificant, and my grief is great. No, death +won't end my grief. There was Cain. Even when he died, his sorrow +remained. + +SPERANSKY + +The dead do not grieve. They are serene. They know the truth. + +KING HEROD + +But they don't tell it to anybody. What's the good of such truth? Here +am I alive, and yet I know the truth. Here am I with my sorrow. You +see what it is--there is no greater on earth. And yet if God spoke to +me and said, "Yeremey, I will give you the whole earth if you give me +your grief," I wouldn't give it away. I will not give it away, friend. +It is sweeter to me than honey; it is stronger than the strongest +drink. Through it I have learned the truth. + +SAVVA + +God? + +KING HEROD + +Christ--that's the one! He alone can understand the sorrow that is +in me. He sees and understands. "Yes, Yeremey, I see how you suffer." +That's all. "I see." And I answer Him: "Yes, O Lord, behold my +sorrow!" That's all. No more is necessary. + +SAVVA + +What you value in Christ is His suffering for the people, is that it? + +KING HEROD + +You mean his crucifixion? No, brother, that suffering was a trifle. +They crucified Him--what did that matter? The important point was that +thereby He came to know the truth. As long as He walked the earth, He +was--well--a man, rather a good man--talking here and there about this +and that. When He met someone, He would talk to him about this and +that, teach him, and tell him a few good things to put him on the +right track. But when these same fellows carried Him off to the cross +and went at Him with knouts, whips, and lashes, then His eyes were +opened. "Aha!" He said, "so that's what it is!" And He prayed: +"I cannot endure such suffering. I thought it would be a simple +crucifixion; but, O Father in Heaven, what is this?" And the Father +said to Him: "Never mind, never mind, Son! Know the truth, know what +it is." And from then on, He fell to sorrowing, and has been sorrowing +to this day. + +SAVVA + +Sorrowing? + +KING HEROD + +Yes, friend, he is sorrowing. _(Pause. Lightning)_ + +SPERANSKY + +It looks like rain, and I am without rubbers and umbrella. + +KING HEROD + +And everywhere, wheresoever I go, wheresoever I turn, I see before +me His pure visage. "Do you understand my suffering, O Lord?" "I +understand, Yeremey, I understand everything. Go your way in peace." +I am to Him like a transparent crystal with a tear inside. "You +understand, Lord?" "I understand, Yeremey." "Well, and I understand +you too." So we live together. He with me, I with Him. I am sorry +for Him also. When I die, I will transmit my sorrow to Him. "Take it, +Lord." + +SAVVA + +But after all, you are not quite right in running down the people +the way you do. There are some good men also--very few--but there are +some. Otherwise it wouldn't be of any use to live. + +KING HEROD + +No, friend, there are none. I don't want to fool you--there are none. +You know, it was they who christened me with the name of King Herod. + +SAVVA + +Who? + +KING HEROD + +Why, your people. There is no beast more cruel than man. I killed +my boy, so I am King Herod to them. Damn them, it never enters their +minds how terrible it is for me to be burdened with such a nick-name. +Herod! If they only called me so out of spite! But not at all. + +SAVVA + +What is your real name? + +KING HEROD + +Yeremey. That's my name--Yeremey. But they call me Herod, carefully +adding King, so that there may be no mistake. Look, there comes +another monk, a plague on him. Say, did you ever see His countenance? + +SAVVA + +I did. + +KING HEROD + +And did you see His eyes? No? Then look, try to see them--Where is he +off to, the bat? To the village to his women. + +KONDRATY _(enters)_ + +Peace be with you, honest folks. Good evening, Savva. To what lucky +chance do I owe this meeting? + +KING HEROD + +Look, monk, the devil's tail is sticking out of your pocket. + +KONDRATY + +It isn't the devil's tail, it's a radish. You're very clever, but you +didn't hit it right that time. + +KING HEROD _(spitting in disgust)_ + +I can't bear to look at them. They turn my stomach. Good-bye, friend. +Remember what I told you. When you are in sorrow, don't go to people. + +SAVVA + +All right, uncle, I understand. + +KING HEROD + +Rather go to the forest to the wolves. _(Goes out; his voice is heard +out of the darkness)_ Oh, Lord, do you see? + +KONDRATY + +A narrow-minded fool. Killed his son and puts on airs. You can't get +by him. He won't let you alone. It's something to be proud of, isn't +it, to have killed one's own son? A great thing. + +SPERANSKY _(with a sigh)_ + +No, Father Kondraty, you are mistaken. He is a happy man. If his son +were brought to life this moment, he would instantly kill him. He +wouldn't give him five minutes to live. But of course when he dies, +he'll know the truth. + +KONDRATY + +That's what I said, you fool. If it were a cat he killed, he might +have some reason to be proud--but his own son! What are you thinking +about, Savva Yegorovich? + +SAVVA + +I am waiting. I should like to know how soon this gentleman will go. +The devil brought him, I think. Now, here comes someone else. _(Peers +into the darkness)_ + +LIPA _(approaching. She stops and hesitates)_ + +Is that you, Savva? + +SAVVA + +Yes, and is that you? What do you want? I don't like people to follow +me everywhere I go, sister. + +LIPA + +The gate to this place is open. Everybody has a right to come in. Mr. +Speransky, Tony has been asking for you. He wants the seminarist, he +says. + +SAVVA + +There, go together--a jolly pair. Good-bye, sir, good-bye. + +SPERANSKY + +Good-bye. I hope I'll see you soon again, Mr. Savva, and have another +talk. + +SAVVA + +No, don't try, please. Abandon the hope. Good-bye. + +LIPA + +How rude you are, Savva. Come, Mr. Speransky. They have business of +their own to attend to. + +SPERANSKY + +Still I haven't given up hope. Good-bye. _(Goes out)_ + +SAVVA + +Just grabbed me and stuck--the devil take him! + +KONDRATY _(laughing)_ + +Yes, he is a sticker from the word go. If he likes you, you +can't shake him off. He'll follow you everywhere. We call him the +"shadow"--partly, I suppose, because he is so thin. He has taken a +fancy to you, so you'll have a time of it. He'll stick to you like a +leech. + +SAVVA + +I am not in the habit of wasting a lot of words. I'll give him the +slip without much ceremony. + +KONDRATY + +They have, even tried beating him, but it doesn't do any good. He is +known here for miles around. He is a character. + +_[A pause. Lightning. Every now and then is heard the roll of distant +thunder._ + +SAVVA + +Why did you tell me to meet you here in this public place where +everyone may come? They fell on me like a swarm of fleas--monks and +all sorts of imbeciles. I'd rather have spoken to you in the woods, +where we could be let alone. + +KONDRATY + +I did it to escape suspicion. If I went with you to the woods they'd +say: "What has a God-fearing man like Kondraty got to do with such a +fellow?" I hope you pardon! "Why is he so thick with him?" I purposely +timed my coming so that they'd see us together with others. + +SAVVA _(looking fixedly at him)_ + +Well? + +KONDRATY _(turning away his eyes and shrugging his shoulders)_ I +can't. + +SAVVA + +You are afraid? + +KONDRATY + +To tell the truth, I am. + +SAVVA + +You're no good, old chap. + +KONDRATY + +Perhaps not. You have a right to draw your own conclusions. _(Pause)_ + +SAVVA + +But what are you afraid of, you booby? The machine is not dangerous. +It won't hurt you. All you have to do is to put it in the right place, +set it off, and then you can go to the village to your mistresses. + +KONDRATY + +That's not the point. + +SAVVA + +What then? Are you afraid of being caught? But I told you, if anything +should happen, I'll take the guilt on myself. Don't you believe me? + +KONDRATY + +Why, of course I believe you. + +SAVVA + +What then? Do you fear God? + +KONDRATY + +Yes, I do. + +SAVVA + +But you don't believe in God--you believe in the devil. + +KONDRATY + +Who knows? Maybe some day I'll suddenly discover that He does exist. +In that case, Mr. Savva, I thank you, but I'd rather not. Why should +I? I live a nice, quiet existence. Of course, it's all a humbug, +an imposition. But what business is it of mine? The people want to +believe--let them. It wasn't I who invented God. + +SAVVA + +Look here. You know I could have done it myself. All I need have done +was to take a bomb and throw it into the procession. That's all. +But that would mean the killing of many people, which at the present +juncture would serve no useful purpose. I therefore ask you to do it. +If you refuse, then the blood will rest on you. You understand? + +KONDRATY + +Why on me? I am not going to throw the bomb. And then, what have I got +to do with them--I mean the people that get killed? What concern are +they of mine? There are plenty of people in the world. You can't kill +them all, no matter how many bombs you throw. + +SAVVA + +Aren't you sorry for them? + +KONDRATY + +If I were to be sorry for everybody, I should have no sympathy left +for myself. + +SAVVA + +That's right. You are a bright man. You have a good mind. I have +already told you so. And yet you hesitate. You are clever, and yet you +are afraid to smash a piece of wood. + +KONDRATY + +If it is nothing but a piece of wood, then why go to so much trouble +about it? The point is, it is not a piece of wood, it is an image. + +SAVVA + +For me it is a piece of wood. For the people it is a sacred object. +That is why I want to destroy it. Imagine how they'll open their +mouths and stare. Ah, brother, if you were not a coward, I would tell +you some things. + +KONDRATY + +Go ahead and talk. It's no sin to listen. I am not a coward either. I +am simply careful. + +SAVVA + +This would only be the beginning, brother. + +KONDRATY + +A good beginning, I won't deny it. And what will be the end? + +SAVVA + +The earth stripped naked, a _tabula rasa_, do you understand? And on +this naked earth, naked man, naked as his mother bore him. No breeches +on him, no orders, no pockets, nothing. Imagine men without pockets. +Queer, isn't it? Yes indeed, brother, the ikon is only the beginning. + +KONDRATY + +Oh, they'll make new ones. + +SAVVA + +But they won't be the same as before. And they'll never forget this +much--that dynamite is mightier than their God, and that man is +mightier than dynamite. Look at them; see them yonder praying and +kneeling, not daring to raise their heads and look you straight in the +face, mean slaves that they are! Then comes a real man, and smash goes +the whole humbug. Done for! + +KONDRATY + +Really! + +SAVVA + +And when a dozen of their idols have gone the same way, the slaves +will begin to understand that the kingdom of their God is at an end, +and that the kingdom of man has come. Lots of them will drop from +sheer terror. Some will lose their wits, and others will throw +themselves into the fire. They'll say that Antichrist has come. Think +of it, Kondraty! + +KONDRATY + +And aren't you sorry for them? + +SAVVA + +Sorry for them? Why, they built a prison for me, and I am to be sorry +for them. They put me in a torture chamber, and I am to be sorry for +them. Bah! + +KONDRATY + +Who are you to be above pity? + +SAVVA + +I? I am a man who have been born. And having been born, I began to +look about. I saw churches and penitentiaries. I saw universities and +houses of prostitution. I saw factories and picture galleries. I saw +palaces and filthy dens. I calculated the number of prisons there are +to each gallery, and I resolved that the whole edifice must go, the +whole of it must be overturned, annihilated. And we are going to do +it. Our day of reckoning has come. It is time. + +KONDRATY + +Who are "we"? + +SAVVA + +I, you Kondraty, and others. + +KONDRATY + +The people are stupid. They won't understand. + +SAVVA + +When the conflagration rages all around them, they will understand. +Fire is a good teacher, old boy. Have you ever heard of Raphael? + +KONDRATY + +No, I haven't. + +SAVVA + +Well, when we are through with God, we'll go for fellows like him. +There are lots of them--Titian, Shakespeare, Byron. We'll make a nice +pile of the whole lot and pour oil over it. Then we'll burn their +cities. + +KONDRATY + +Now, now you are joking. How is that possible? How can you burn the +cities? + +SAVVA + +No, why should I be joking? All the cities. Look here, what are their +cities? Graves, stone graves. And if you don't stop those fools, if +you let them go on making more, they will cover the whole earth with +stone, and then all will suffocate--all. + +KONDRATY + +The poor people will have a hard time of it. + +SAVVA + +All will be poor then. What is it that makes a man rich? His having +a house and money, and the fact that he has surrounded himself with a +fence. But when there are no houses, no money, and no fences-- + +KONDRATY + +That's so. And there won't be any legal papers either, no stocks, no +bonds, no title-deeds. They will all have been burnt up. + +SAVVA + +No, there will be no legal papers. It's work then--you'll have to go +to work even if you are a nobleman. + +KONDRATY _(laughing)_ + +It's funny. All will be naked as when coming out of a bath. + +SAVVA + +Are you a peasant, Kondraty? + +KONDRATY + +Yes, I am a peasant, sure enough. + +SAVVA + +I am a peasant also. We have nothing to lose, brother. We can't fare +worse than we do now. + +KONDRATY + +How could it be worse? But a great many people will perish, Mr. +Tropinin. + +SAVVA + +It makes no difference. There'll be enough left. It is the +good-for-nothings that will perish, the fools to whom this life is +like a shell to a crab. Those who believe will perish, because their +faith will be taken away from them. Those who love the old will +perish, because everything will be taken away from them. The weak, +the sick, those who love quietness. There will be no quietness in the +world, brother. There will remain only the free and the brave, those +with young and eager souls and clear eyes that can embrace the whole +universe. + +KONDRATY + +Like yours? I am afraid of your eyes, Savva Yegorovich, especially in +the dark. + +SAVVA + +Yes, like mine. And emancipated from everything, naked, armed only +with their reason, they will deliberate; discuss, talk things over, +and build up a new life, a good life, Kondraty, where every man may +breathe freely. + +KONDRATY + +It's interesting. But men are sly creatures. Something of the old +will be left over. They'll hide it, or try some other trick, and then +behold! back they slide to the old again, everything just as it was, +just as of old. What then? + +SAVVA + +Just as of old? _(Gloomily)_ Then they will have to be wiped clean off +the face of the earth. Let there be no living human being on earth. +Enough of it! + +KONDRATY _(shaking his head)_ + +But-- + +SAVVA _(putting his hand on his shoulder)_ + +Believe me, monk, I have been in many cities and in many lands, +Nowhere did I see a free man. I saw only slaves. I saw the cages in +which they live, the beds on which they are born and die; I saw their +hatreds and their loves, their sins and their good works. And I saw +also their amusements, their pitiful attempts to bring dead joy back +to life again. And everything that I saw bore the stamp of stupidity +and unreason. He that is born wise turns stupid in their midst; he +that is born cheerful hangs himself from boredom and sticks out his +tongue at them. Amidst the flowers of the beautiful earth--you have +no idea how beautiful the earth is, monk--they have erected insane +asylums. And what are they doing with their children? I have never +yet seen parents that do not deserve capital punishment; first because +they begot children, and secondly because, having begot them, they did +not immediately commit suicide. + +KONDRATY + +Good heavens, how you talk! Hearing you, one hardly knows what to +think. + +SAVVA + +And how they lie, how they lie, monk! They don't kill the truth--no, +they kick her and bruise her daily, and smear her clean face with +their dirt and filth so that no one may recognize her, so that the +children may not love her, and so that she may have no refuge. In all +the world--yes, monk, in all the world--there is no place for truth. +_(Sinks into meditation. Pause)_ + +KONDRATY + +Is there no other way--without fire? It's terrible, Savva Yegorovich. +Consider what it means! It's the end of the world. + +SAVVA + +No, it can't be helped, partner. It must be. The end of the world must +come too. They were treated with medicine, and it did no good. They +were treated with iron, and it did no good. Now they must be treated +with fire--fire! + +_[Pause. Lightning flashes. The thunder has ceased. Somewhere outside +a watchman can be heard striking his iron rod._ + +KONDRATY + +And there'll be no drinkshops either? + +SAVVA _(pensively)_ + +No, nothing. + +KONDRATY + +They'll start drinkshops again all right. Can't get along without +them, you know. _(A prolonged pause)_ Ye-es. What are you thinking +about, Savva Yegorovich? + +SAVVA + +Nothing. _(Draws a light breath, cheerfully)_ Well, Kondraty, shall we +begin? + +KONDRATY _(swaying his head to and fro)_ + +It's a mighty hard problem you have put up to me. It's a poser. + +SAVVA + +Never mind, don't get shaky now. You are a sensible man; you know +it can't be helped; there is nothing else to do. Would I be doing it +myself, if it were not necessary? You can see that, can't you? + +KONDRATY _(heaving a sigh)_ + +Ye-es, hm! Why, Mr. Tropinin--why, my dear fellow--don't I know, don't +I understand it all? It's a rotten, cursed life! Ah, Mr. Savva, Mr. +Savva--look here. If I were to tell anyone that I am a good man, +they'd laugh and say: "What are you lying for, you drunkard?" Kondraty +a good man! It sounds like a joke even to myself. And yet I swear to +you, by God, I am a good man! I don't know how it happened the way it +did, why I am what I am now. I lived and lived, and suddenly! How it +came about, what the reason of it is, I don't know. + +SAVVA + +And you are still afraid? + +KONDRATY + +What am I now? I am neither a candle for God nor a poker for the +devil. Sometimes when I think matters over--ah, Mr. Savva, do +you think I have no conscience? Don't I understand? I understand +everything but--I am not really afraid of the devil either. I am just +playing the fool. The devil--nonsense! If you were in the place of +us in there, you would understand. Not long ago, when I was drunk, I +cried: "Get out, devil--out of my way--am a desperate man!" I don't +care for anything. I don't care if I die. I am ready. You have worked +at me, Mr. Savva, until I have grown quite soft. _(Wipes his eyes with +his sleeves)_ + +SAVVA + +Why should you die? I don't want to die either. We are going to live +for some time to come, we are. How old are you? + +KONDRATY + +Forty-two. + +SAVVA + +Just the right age. + +KONDRATY + +I am sorry for the ikon. They say it appeared miraculously in the +river, and that's how it came to be here. + +SAVVA + +Nonsense. Don't waste your feelings. It's supposed to be a +wonder-working ikon and hasn't one miracle to its credit. Why, it +makes one feel like a fool just to say it. + +KONDRATY + +They say it has been replaced by the devil, so that it isn't the real +one. + +SAVVA + +So much the better. And yet you crack your heads in front of it and +fool the people about it. There is no use wasting words, my friend. +It's agreed then. + +KONDRATY + +You have to go now. The gate will soon be closed. And all of a +sudden-- + +SAVVA + +What "all of a sudden"? + +KONDRATY + +And all of a sudden I'll be going to the ikon, and it will strike me +down with lightning and thunder. Won't it? + +SAVVA _(laughing)_ + +Don't be afraid. It won't strike you. That's what everybody thinks. +They are all afraid they'll be struck by lightning and thunder. But it +won't happen. Believe me, a man may blow up the ikon and no lightning +will strike him. Do you need money? + +KONDRATY + +Have you got any? + +SAVVA + +I have. + +KONDRATY _(suspiciously)_ + +Where did you get it? + +SAVVA + +What business is that of yours? Suppose I killed a rich man, or cut +somebody's throat--are you going to report me to the police? + +KONDRATY _(reassured)_ + +What are you thinking of, Savva Yegorovich? That's your concern. As to +your offer, of course, money always comes in handy. It will enable me +to leave the monastery. I'll tell you in confidence, I have long been +nursing a scheme--it's my dream--to settle somewhere along the road +and start an inn. I like company. I am a talkative chap myself. I know +I'll succeed. It doesn't hurt a host to have a drink now and then. The +guests like it. With a jolly host you'll spend every penny you have, +and your pants besides, and you won't notice it. I know by personal +experience. + +SAVVA + +Why not? You can start an inn if you want to. + +KONDRATY + +And besides, I am still in the full vigor of manhood. Instead of +sinning here, I'd rather get legally married. + +SAVVA + +Don't forget to invite me to the wedding. I'll act as your godfather. + +KONDRATY + +You are too young. As to the money--when shall it be, before or after? + +SAVVA + +Judas got his before. + +KONDRATY _(offended)_ + +There now, when you should be doing your best to persuade me, you call +me Judas. It isn't pleasant. The idea of calling a living man Judas! + +SAVVA + +Judas was a fool. He hanged himself. You are going to start an inn. + +KONDRATY + +Again? If that's what you think of me-- + +SAVVA _(slapping his shoulders)_ + +Well, well, uncle, don't you see I'm joking? Judas betrayed a man, and +you are not going to betray anything but lumber. Is that right, old +man? _Speransky and Tony appear, the latter walking very unsteadily._ + +KONDRATY + +There--brought by the devil! With us carrying on this kind of +conversation, and they-- + +SAVVA + +It's agreed then? + +KONDRATY + +Oh, you're too much for me. + +SPERANSKY _(bowing)_ + +Good evening once more, Mr. Savva Tropinin. Mr. Anthony and myself +have just been at the other end, in the cemetery. A woman was buried +there to-day, so we wanted to have a look. + +SAVVA + +To see if she hadn't crawled out of her grave? What are you dragging +him along with you for? Tony, go to bed, you can't stand on your feet. + +TONY + +I won't go. + +SPERANSKY + +Tony is very excited to-day. He sees all kinds of faces. + +SAVVA + +Funny faces? + +TONY + +Yes, funny. What else can you expect? _(Sadly)_ Your face, Savva, is +very, very funny. + +SAVVA + +All right, go along with you! Take him home. What are you dragging him +about with you for? + +SPERANSKY + +Good-bye. Come along, Mr. Anthony. + +_[Speransky goes out. Tony follows him, looking back at Savva, and +stumbling as he goes along. They disappear in the dark._ + +KONDRATY + +It's time for us also to be going. Have you got that money at hand? + +SAVVA + +Yes, I have. Now listen. Sunday is the feast-day. You are to take the +machine Saturday morning and plant it at night at half past eleven, +four days from now. I'll show you how to do it and everything else +that's necessary. Four days more. I am sick of staying in this place. + +KONDRATY + +And suppose I betray you? + +SAVVA _(darkly)_ + +Then I'd kill you. + +KONDRATY + +Good heavens! + +SAVVA + +Now I am going to kill you if you merely try to back out. You know too +much, brother. + +KONDRATY + +You are joking. + +SAVVA + +Maybe I am joking. I am such a jolly fellow. I like to laugh. + +KONDRATY + +When you first came here, you were gay. Tell me, Mr. Savva _(looking +around cautiously)_, did you ever kill a man, a real live man? + +SAVVA + +I did. I cut the throat of that rich business man I told you about. + +KONDRATY _(waving his hand)_ + +Now I see that you are joking. Well, good-bye, I am going. Don't you +hang around here either. The gate will soon be closed. Oh, my--I am +never afraid--but just as soon as I begin to think of the hall, it's +awful. There are shadows there now. Good night. + +SAVVA + +Good night. + +_[Kondraty disappears in the dark. Lightning. Savva remains leaning +on the railing to stare at the white tombstones that are momentarily +revealed by the flashes of lightning._ + +SAVVA _(to the graves)_ + +Well, you dead ones, are you going to turn over in your graves or not? +For some reason I don't feel very cheerful--oh, ye dead--I don't feel +the least bit cheerful. _(Lightning)_ + +CURTAIN + + + + +THE THIRD ACT + + +_A festively decorated room with three windows to the street. One +window is open, but the curtain is drawn. An open door, painted dark, +leads into the room seen in the first act. + +It is night and dark. Through the windows can be heard the continuous +tramp of the pilgrims on their way to the monastery for the next day's +celebration. Some are barefoot; some wear boots or bast shoes. Their +steps are quick and eager, or slow and weary. They walk singly or in +groups of two or three, the majority in silence, though now and then +suppressed, indistinct talking may be heard. Starting from somewhere +far off to the left, the sound of the footsteps and the talking, +muffled at first, approaches and grows louder, until at times it seems +to fill the whole room. Then it dies away in the distance again. +The impression is that of some tremendous movement, elemental and +irrepressible. + +At the table, lighted only by a flickering stump of a tallow candle, +sit Speransky and Tony. The latter is very drunk. Cucumbers, herring, +and bottles of whiskey are on the table. The rest of the room is +entirely dark. Occasionally the wind blows the white curtain at the +window and sets the candle flame tossing. + +Tony and Speransky talk in whispers. A prolonged pause follows the +rise of the curtain._ + +TONY _(bending over to Speransky, mysteriously)_ + +So you say it is possible we do not exist, eh? + +SPERANSKY _(in the same manner)_ + +As I have already stated, it is doubtful, extremely doubtful. There is +very good reason to suppose that we really do not exist--that we don't +exist at all. + +TONY + +And you are not, and I am not. + +SPERANSKY + +And you are not, and I am not. No one is. _(Pause)_ + +TONY _(looking around, mysteriously)_ + +Where are we then? + +SPERANSKY + +We? + +TONY + +Yes, we. + +SPERANSKY + +That's something no one can tell. No one knows, Anthony. + +TONY + +No one? + +SPERANSKY + +No one. + +TONY _(glancing around)_ + +Doesn't Savva know? + +SPERANSKY + +No, Savva doesn't know either. + +TONY + +Savva knows everything. + +SPERANSKY + +But even he doesn't know that. + +TONY _(threatening with his finger)_ + +Keep still, keep still! _(Both look around and are silent)_ + +TONY _(mysteriously)_ + +Where are they going, eh? + +SPERANSKY + +To the elevation of the ikon. To-morrow is a feast-day--the day of +raising the ikon. + +TONY + +No, I mean where are they really going--really--don't you understand? + +SPERANSKY + +I do. It isn't known. No one knows, Anthony. + +TONY + +Hush! _(Makes a funny grimace, closes his mouth with his hand and +leans on it)_ + +SPERANSKY _(in a whisper)_ + +What's the matter? + +TONY + +Keep quiet, keep quiet. Listen. _(Both are listening)_ + +TONY _(in whisper)_ + +Those are faces. + +SPERANSKY + +Yes? + +TONY + +It's faces that are going. A lot of faces--can't you see them? + +SPERANSKY _(staring)_ + +No, I can't. + +TONY + +But I can. There they are, laughing. Why aren't you laughing, eh? + +SPERANSKY + +I feel very despondent. + +TONY + +Laugh. You must laugh. Everybody is laughing. Hush, hush! _(Pause)_ +Listen, nobody exists, nobody--do you understand? There is no God, +there is no man, there are no animals. Here is the table--it doesn't +exist. Here is the candle--it doesn't exist. The only things that +exist are faces--you understand? Keep quiet, keep quiet. I am very +much afraid. + +SPERANSKY + +What are you afraid of? + +TONY _(bending near to Speransky)_ + +That I'll die of laughter. + +SPERANSKY + +Really? + +TONY _(shaking his head affirmatively)_ + +Yes, that I'll die of laughter. I am afraid that some day I'll catch +sight of a face which will send me off roaring with laughter; and I'll +roar and roar until I die. Keep quiet. I know. + +SPERANSKY + +You never laugh + +TONY + +I am always laughing, but you don't see it. It's nothing. The only +thing I am afraid is that I'll die. I'll come across a face one of +these days which will start me off in a fit of laughter, and I'll +laugh and laugh and laugh and won't be able to stop. Yes, it's coming, +it's coming. _(Wipes his chest and neck)_ + +SPERANSKY + +The dead know everything. + +TONY _(mysteriously, with awe)_ + +I am afraid of Savva's face. It's a very funny face. One could die +laughing over it. The point is that you can't stop laughing--that's +the principal thing. You laugh and laugh and laugh. Is there nobody +here? + +SPERANSKY + +Apparently no. + +TONY + +Keep quiet, keep quiet, I know. Keep quiet. _(Pause; the tramp of the +pilgrim's footsteps grows louder, as if they were walking in the very +room itself)_ Are they going? + +SPERANSKY + +Yes, they are going. _(Pause)_ + +TONY + +I like you. Sing me that song of yours. I'll listen. + +SPERANSKY + +With your permission, Anthony. _(Sings in an undertone, almost in a +whisper, a dismal, long-drawn-out tune somewhat resembling a litany)_ + + Life's a sham, 'tis false, untrue, + Death alone is true, aye, true. + +_(With increasing caution and pedantry, shaking his finger as if +imparting a secret)_ + + All things tumble, vanish, break, + Death is sure to overtake + Outcast, tramp, and tiniest fly + Unperceived by naked eye. + +TONY + +What? + +SPERANSKY + + Unperceived by naked eye, + Wheedling, coaxing, courting, wooing, + Death weds all to their undoing + And the myth of life is ended. + +That's all, Anthony. + +TONY + +Keep still, keep still. You have sung your song--now keep quiet. + +_[Lipa enters, opens the window, removes the flowers, and looks out +into the street. Then she lights the lamp._ + +TONY + +Who is it? Is that you, Lipa? Lipa, eh, Lipa, where are they going? + +LIPA + +They are coming here for the feast-day. You had better go to bed, +Tony, or father will see you and scold you. + +SPERANSKY + +Big crowds, aren't they? + +LIPA + +Yes. But it's so dark, you can't see. Why are you so pale, Mr. +Speransky? It is positively painful to look at you. + +SPERANSKY + +That's how I feel, Miss Lipa. + +_[A cautious knock is heard at the window._ + +LIPA _(opening the window)_ + +Who is there? + +TONY _(to Speransky)_ + +Keep quiet, keep quiet. + +KING FRIAR _(thrusting his smiling face through the window)_ Is Savva +Yegorovich in? I wanted to ask him to come with me to the woods. + +LIPA + +No. Aren't you ashamed of yourself, Vassya? To-morrow is a big +feast-day in your monastery and you-- + +YOUNG FRIAR _(smiling)_ + +There are plenty of people in the monastery without me. Please tell +Mr. Savva that I have gone to the ravine to catch fireflies. Ask him +to call out: "Ho, ho!" + +LIPA + +What do you want fireflies for? + +YOUNG FRIAR + +Why, to scare the monks with. I'll put two fireflies next to each +other like eyes, and they'll think it's, the devil. Tell him, please, +to call: "Ho, ho, ho!" _(He disappears in the darkness)_ + +LIPA _(shouting after him)_ + +He can't come to-day. _(To Speransky)_ Gone already--ran off. + +SPERANSKY + +They buried three in the cemetery to-day, Miss Olympiada. + +LIPA + +Have you seen Savva? + +SPERANSKY + +No, I am sorry to say I haven't. I say, they buried three people +to-day. One old man--perhaps you knew him--Peter Khvorostov? + +LIPA + +Yes, I knew him. So he's dead? + +SPERANSKY + +Yes, and two children. The women wept a great deal. + +LIPA + +What did they die of? + +SPERANSKY + +I am sorry, but I don't know. It didn't interest me. Some children's +disease, I suppose. When children die, Miss Olympiada, they turn all +blue and look as if they wanted to cry. The faces of grown people are +tranquil, but children's faces are not. Why is that so? + +LIPA + +I don't know--I've never noticed it. + +SPERANSKY + +It's a very interesting phenomenon. + +LIPA + +There's father now. I told you to go to bed. Now I've got to listen to +your brawling. I'll get out. + +_(Exit. Enter Yegor Tropinin)_ + +YEGOR + +Who lighted the lamp? + +SPERANSKY + +Good evening, Mr. Tropinin. + +YEGOR + +Good evening. Who lighted the lamp? + +SPERANSKY + +Miss Olympiada. + +YEGOR _(blowing it out)_ + +Learned it from Savva. _(To Tony)_ And you, what's the matter with +you? How long, how long, for Christ's sake? How long am I to stand all +this from you, you good-for-nothing loafers? Eh? Where did you get the +whiskey, eh? + +TONY + +At the bar. + +YEGOR + +It wasn't put there for you, was it? + +TONY + +You have a very funny face, father. + +YEGOR + +Give me the whiskey. + +TONY + +I won't. + +YEGOR + +Give here! + +TONY + +I won't. + +YEGOR _(slaps his face)_ + +Give it to me, I say. + +TONY _(falls on the sofa, still holding on to the bottle)_ + +I won't. + +YEGOR _(sitting down, calmly)_ + +All right, swill until you bust, devil. What was I saying? That fool +put it out of my head. Oh yes, the pilgrims are going, it strong this +time. It's been a bad year for the crops. That's another reason, I +suppose. There's no grub, they have nothing to eat, and so they'll +pray. If God listened to every fool's prayer, we'd have a fine time of +it. If he listened to every fool, what chance would the wise man have? +A fool remains a fool. That's why he is called a fool. + +SPERANSKY + +That's correct. + +YEGOR + +I should say it is correct. Father Parfeny is a smart man. He +flim-flams them all right. He put up a new coffin--did you hear that? +The old one has all been eaten away by the pilgrims, so he put a new +one into its place. It was old, so he put a new one instead. They'll +eat that one away. No matter what you give them--Tony, are you +drinking again? + +TONY + +I am. + +YEGOR + +I am! I am! I'll hand you out another one in a moment and we'll see +what you say then. + +_[Enter Savva, looking very gay and lively. He stoops less than usual, +talks rapidly, and looks sharp and straight, but his gaze does not +rest long on the same person or object._ + +SAVVA + +Ah, the philosophers! Father! A worthy assemblage. Why do you keep +it so dark here, like some hell-hole with a lot of rats in it? A +philosopher has to have light. The dark is good only for going through +people's pockets. Where is the lamp? Oh, here it is. _(He lights the +lamp)_ + +YEGOR _(ironically)_ + +Perhaps you'll open the windows too? + +SAVVA + +Quite right. I'll open the windows also. _(Opens them)_ My, how they +keep pouring in! + +SPERANSKY + +A whole army. + +SAVVA + +And all of them will die in time and acquire peace. And then they'll +know the truth, for it never comes except in the society of worms. +Have I got the essence of your optimistic philosophy down right, my +thin, lean friend? + +SPERANSKY _(with a sigh)_ + +You are always joking. + +SAVVA. + +And you are always moping. Look here now. What with the poor, scanty +fare the deacon's wife doles out to you and your constant grieving, +you will soon die, and then your face will assume an expression of +perfect peace. A peaked nose, and all around, stretching in every +direction, a vast expanse of peace. Can't you get some comfort out +of that? Isn't it a consolation to you? Think of it, a tiny island of +nose lapped in an ocean of peace. + +SPERANSKY _(dejectedly)_ + +You are still joking. + +SAVVA + +The idea! Who would joke about death? No, when you die, I'll follow +your funeral and proclaim to all: "Behold, here is a man who has come +to know the truth." Oh no, I'll rather hang you up as a banner of +truth. And, the more your skin and flesh decompose and crumble, the +more will the truth come out. It will be a most instructive object +lesson, highly educative. Tony, why are you staring at me? + +TONY _(sadly)_ + +You have a very funny face. + +YEGOR + +What are they talking about? + +SAVVA + +Father, what's the matter with your face? Have you sooted it? It looks +as black as Satan's. + +YEGOR _(quickly putting his hand to his face)_ + +Where? + +SPERANSKY + +They are just making fun. There is nothing on your face, Mr. Tropinin. + +YEGOR + +The fool! Satan? You are Satan yourself, God forgive me! + +SAVVA _(making a terrible face and holding up his fingers in the shape +of horns)_ I am the devil. + +YEGOR + +By God, you are the very devil himself! + +SAVVA _(glancing round the room)_ + +Isn't the devil going to get any dinner to-day? I have had all I want +of sinners. I am surfeited with them. I should like to have something +more appetizing now. + +YEGOR + +Where were you knocking about at the regular dinner hour? You'll have +to do without dinner now. + +SAVVA + +I was with the children, father, with the children. They told me +stories. They tell stories splendidly, and they were all about devils, +witches, and the dead--your specialty, philosopher. They trembled with +fear as they told them. That's why we stayed so long. They were afraid +to go home. Misha was the only one who wasn't scared. He is a brick. +He's afraid of nothing. + +SPERANSKY _(indifferently)_ + +What of it? He'll die too. + +SAVVA + +My dear sir, don't be so funereal. You are like an undertakers' trust. +Don't be forever croaking: "Die, die, die." Here, take my father, +for instance. He'll soon die; but look at his face, how pleasant and +cheerful it is. + +YEGOR + +Satan! You're the devil incarnate! + +SPERANSKY + +But since we don't know-- + +SAVVA + +My good friend, life is such an interesting business. You +understand--life. Come, let's have a game of jackstones to-morrow. +I'll provide the jacks, first-class jacks. _(Enter Lipa, unnoticed)_ +And then you should take gymnastic exercises. I mean it seriously. See +how sunken your chest is. You'll choke of consumption in a year or so. +The deaconess will be glad, but it will create consternation among +the dead. Seriously now. I have taken gymnastic exercises. Look. _(He +lifts a heavy chair easily by the leg)_ There, you see! + +LIPA _(laughing aloud)_ + +Ha, ha, ha! + +SAVVA _(putting the chair down, with a touch of embarrassment)_ + +What's the matter? I didn't know you were here. + +LIPA + +You, ought to join the circus as an acrobat. + +SAVVA _(glumly)_ + +Don't talk nonsense. + +LIPA + +Are you offended? + +SAVVA _(suddenly bursting into a good-natured, merry laugh)_ Oh, a +trifle! All right, the circus, why not? We'll both join it, Speransky +and I. Not as acrobats though, but as clowns. How about it? Can you +swallow hot junk? No? Well, I'll teach you. As for you, Lipa, won't +you please let me have something to eat? I haven't had anything since +this morning. + +YEGOR + +A regular Satan, a regular Satan! Hasn't had anything to eat! Who has +ever heard of eating at this hour of the night? Who has ever seen such +a thing? + +SAVVA + +I'll give you a chance to see it now. It's very interesting. Wait, +I'll teach you also how to swallow hot junk. I'll make you an expert. +You'll be a wonder. + +YEGOR + +Me? Fool, you can't teach me anything any more. Tony, give me the +whiskey. + +TONY + +I won't. + +YEGOR + +The devil take you all! Brought up and fed a lot of--_(Exit)_ + +LIPA _(handing him milk and dark bread)_ + +You seem to be happy to-night? + +SAVVA + +Yes, I am, and you are happy too. + +LIPA _(laughing)_ + +I am. + +SAVVA + +And I am happy. _(He drinks the milk with avidity; the footsteps in +the street grow louder, filing the room with their sound, and then die +away again)_ What a treading and a tramping! + +LIPA _(looking out of the window)_ + +The weather will be fine to-morrow. As long as I can remember the sun +has always been shining brightly that way. + +SAVVA + +Hm, yes. That's good. + +LIPA + +And when they carry the ikon, it sparkles all over with the precious +stones like fire. Only His face remains gloomy. All the gems don't +give him any pleasure. He is sad and gloomy like the people's woe. + +SAVVA _(coolly)_ + +Hm, yes. Is that so? + +LIPA + +Just think how many tears have fallen upon Him, how many sighs and +groans He has heard! That alone is enough to make the ikon holy for +all who love and sympathize with the people and understand their soul. +Why, they have nobody except Christ, all those unfortunate, miserable +people. When I was a little girl, I was always waiting for a miracle-- + +SAVVA + +It would be interesting. + +LIPA + +But now I understand that He Himself is waiting for a miracle from +the people. He is waiting for the people to stop fighting, hating, and +destroying each other. + +SAVVA + +Well, what of it? + +LIPA _(fixing her gaze upon him)_ + +Nothing. To-morrow you'll see for yourself when they carry Him in the +procession. You'll see what effect the mere consciousness that He is +there with them has upon them, how it transforms them, what it does +to them. The whole year round they live a dog's life, in filth, +quarrelling with each other, suffering. On that day all the ugliness +seems to vanish. It is an awful and a joyous day when suddenly you +cast away from yourself all that is superfluous and when you feel so +clearly your nearness to all the unfortunates that are and ever were, +and your nearness to God. + +SAVVA _(abruptly)_ + +What time is it? + +SPERANSKY + +The clock has just struck a quarter past eleven, if I am not mistaken. + +LIPA + +It's still early. + +SAVVA + +Early for what? + +LIPA + +Nothing. It's still early, that's all. + +SAVVA _(suspiciously)_ + +What do you mean? + +LIPA _(defiantly)_ + +What I mean. + +SAVVA + +Why did you say it's still early? + +LIPA _(paling)_ + +Because it's only a little after eleven; but when it's twelve-- + +SAVVA _(jumping up and going to her quickly; fixing her with his +stare, he speaks slowly, pronouncing every word separately and +distinctly)_ So? Is that it? When it's twelve--_(He turns to Speransky +without removing his eyes from Lipa)_ Listen, you go home. + +LIPA _(frightened)_ + +No, stay, Mr. Speransky. Please stay, I beg you. + +SAVVA + +If you don't go at once, I'll throw you out of the window. Well? + +SPERANSKY + +Excuse me, I never had the faintest idea--I was here with Mr. Anthony +Tropinin. I am going instantly. Where is my hat? I put it here +somewhere-- + +SAVVA + +There's your hat. _(Throws it to him)_ + +LIPA _(feebly)_ + +Stay here awhile longer, Mr. Speransky. Sit down. + +SPERANSKY + +No, it's late. I must go to bed. Good night, Miss Olympiada. Good +night, Mr. Tropinin. Your brother is asleep already, I believe. You +ought to take him to bed. I'm going, I'm going. _(Exit)_ + +SAVVA _(speaking in a quiet, calm tone; his movements are heavy and +slow, as if his body had suddenly stiffened)_ You know it? + +LIPA + +I do. + +SAVVA + +You know all? + +LIPA + +All. + +SAVVA + +Did the monk tell you? + +LIPA + +He did. + +SAVVA + +Well? + +LIPA _(drawing back a little, and raising her hand for +protection)_-Well, nothing will happen. There'll be no blowing up. You +understand, Savva, there'll be no explosion. + +_[Pause. Footsteps are heard in the street, and indistinct talking. +Savva turns around. Stooping more than usually, he takes a turn around +the room with peculiar slowness._ + +SAVVA + +Well? + +LIPA + +Then you had better believe me, brother. Believe me. + +SAVVA + +Yes? + +LIPA + +Why that was--I don't know what it was--it was a piece of madness. +Think it over. + +SAVVA + +Is it really true? + +LIPA + +Yes, it's true. It's all over. You can't help it any more. There is +nothing for you to do. + +SAVVA + +Tell me how it happened. _(Sits down deliberately, his eyes fixed on +Lipa)_ + +LIPA + +I guessed a little something long ago--that day when you spoke to +me--only I didn't know exactly what it was. And I saw the little +machine too. I have another key to the trunk. + +SAVVA + +Evidently you have been cut out for a spy. Go on! + +LIPA + +I am not afraid of insults. + +SAVVA + +Never mind, never mind--go on. + +LIPA + +Then I saw that you had frequent talks with that fellow--Kondraty. +Yesterday I looked in the trunk again, and the machine wasn't there. +So I understood. + +SAVVA + +You say you have another key? + +LIPA + +Yes. The trunk is mine, you know. Well, and to-day-- + +SAVVA + +When to-day? + +LIPA + +Toward evening--I couldn't find Kondraty anywhere--I told him that I +knew all. He got very much frightened and told me the rest. + +SAVVA + +A worthy pair--spy and traitor. + +LIPA + +If you are going to insult me, I won't say another word. + +SAVVA + +Never mind, never mind--go on. + +LIPA + +He was going to tell the Father Superior, but I didn't let him. I +didn't want to ruin you. + +SAVVA + +No? + +LIPA + +When it was, all over, I understood what a crazy scheme it was--so +crazy that I simply can't think of it as real. It must have been a +nightmare. It's quite impossible. And I began to feel sorry for you-- + +SAVVA + +Yes. + +LIPA + +I am sorry for you now too. _(With tears)_ Savva, darling, you are my +brother. I have rocked your cradle. My dear angel, what idea is this +you have got into your mind? Why, it's terrible--it's madness. I +understand how hard it must be for you to see how people live, and so +you have resolved on a desperate deed. You have always been good and +kind, and so I can understand you. Don't you think it's hard for me to +see this life? Don't you think I suffer myself? Give me your hand. + +SAVVA _(pushing her hand away)_ + +He told you he would go to the Superior? + +LIPA + +But I didn't let him. + +SAVVA + +Has he got the machine? + +LIPA + +He'll give it back to you to-morrow. He was afraid to give it to me. +Savva dear, don't look at me like that. I know it's unpleasant for +you, but you have a lot of common sense. You can't help seeing that +what you wanted to do was an absurdity, a piece of lunacy, a vagary +that can come to one only in one's dreams at night. Don't I understand +that life is hard? Am I not suffering from it myself? I understand +even your comrades, the anarchists. It's not right to kill anybody; +but still I understand them. They kill the bad. + +SAVVA + +They are not my comrades. I have no comrades. + +LIPA + +Aren't you an anarchist? + +SAVVA + +No. + +LIPA + +What are you then? + +TONY _(raising his head)_ + +They are going, they are going. Do you hear? + +SAVVA _(quietly, but ominously)_ + +They are going. + +LIPA + +There, you see. Who is going? Think of it. It's human misery that's +going. And you wanted to take away from them their last hope, their +last consolation. And to what purpose? In the name of what? In the +name of some wild, ghastly dream about a "naked earth." _(Peers with +terror into the darkness of the room)_ A naked earth! It's terrible +to think of it. A naked earth! How could a man, a human being, ever +conceive such an idea? A naked earth! Nothing, nothing! Everything +laid bare, everything annihilated. Everything that people worked for +through all the years; everything they have created with so much toil, +with so much pain. Unhappy people! There is among you a man who says +that all this must be burned, must be consumed with fire. + +SAVVA + +You remember my words to perfection. + +LIPA + +You awakened me, Savva. When you told me all that, my eyes were +suddenly opened, and I began to love everything. Do you understand? I +began to love it all. These walls--formerly I didn't notice them; +now I am sorry for them--so sorry, I could cry. And the books and +everything--each brick, each piece of wood to which man has applied +his labor. Let's admit that it's poor stuff. Who says it's good? But +that's why I love it--for its defects, its imperfections, its crooked +lines, its unfulfilled hopes. For the labor and the tears. And all who +hear you talking, Savva, will feel as I do, and will begin to love all +that is old and dear and human. + +SAVVA + +I have nothing to do with you. + +LIPA + +Nothing to do with us? With whom then have you to do? No, Savva, you +don't love anyone. You love only yourself and your dreams. He who +loves men will not take away from them all they have. He will not +regard his own wishes more than their lives. Destroy everything! +Destroy Golgotha! Consider: _(with terror)_ destroy Golgotha! The +brightest, the most glorious hope that ever was on earth! All right, +you don't believe in Christ. But if you have a single drop of nobility +in your nature, you must respect and honor His noble memory. He was +also unhappy. He was crucified--crucified, Savva. You are silent? Have +you nothing to say? + +SAVVA + +Nothing. + +LIPA + +I thought--I thought--if you succeeded in carrying out your plot--I +thought I'd kill you--that I'd poison you like some noxious beast. + +SAVVA + +And if I don't succeed-- + +LIPA + +You are still hoping? + +SAVVA + +And if I don't succeed, I'll kill you. + +LIPA _(advancing a step toward him)_ + +Kill me! Kill me! Give me a chance to suffer for the sake of Christ. +For the sake of Christ and for the sake of the people. + +SAVVA + +Yes. I'll kill you. + +LIPA + +Do you suppose I didn't think of it? Do you suppose I didn't think of +it? Oh, Lord, to suffer for Thee! Is there higher happiness than that? + +SAVVA _(with a contemptuous gesture, pointing at Lipa)_ + +And that's a human being! That's one counted among the best! That's +the kind in which they take pride! Ah me, how poor you are in good +people! + +LIPA + +Insult! Mock! That's the way it has always been. They have always +heaped insults upon us before they killed us. + +SAVVA + +No, I don't mean to insult you. How can I insult you? You are simply +a silly woman. There have been many such in the past. There are many +such to-day. You are simply a foolish, insignificant creature. You are +even innocent, like all insignificant persons. And if I mean to kill +you, there is no reason to be proud of it. Don't think you are an +object specially worthy of my indignation. No, it would merely make +matters a little easier for me. When I was chopping wood, and the axe +in my raised arm struck the threshold instead of the log of wood, the +jar was not so hard as if someone had arrested the motion of my arm. A +raised hand must fall on something. + +LIPA + +And to think that this beast is my brother! + +SAVVA + +Whose cradle you rocked and whose diapers you changed. Yes. But to me +it doesn't seem in the least strange that you are my sister, or that +this bundle there is my brother. No, Tony! They are going. _(Tony +turns his head and stares stupidly without making any answer)_ And it +doesn't seem in the least strange to me that any insignificant chit +and piece of nothingness calling itself my brother or my sister should +go to the chemist's and buy a nickel's worth of arsenic on finding out +who I am. You see, they have even attempted to poison me. The girl who +left me tried to do it, but she lost her nerve. The point is that my +sisters and brothers, among other things, have the characteristic of +being cowards. + +LIPA + +I would have done it. + +SAVVA + +I don't doubt it. You are a little hysterical, and hysterical people +are determined, unless they happen to burst into tears first. + +LIPA + +I hysterical? All right, have it your way, have it your way. And who +are you, Savva? + +SAVVA + +That doesn't interest me. + +LIPA + +They are going, they are going. And they will find what they need. And +that is the work of an hysterical woman. Do you hear how many of them +there are? And if they found out--if I were to open the window +this minute and cry out: "This man here has tried to destroy your +Christ"--If you want it, I'll do it this instant. You need only say +so. Shall I? _(She takes a step toward the window in a frenzy of rage)_ +Shall I? + +SAVVA + +Yes, it's a good way of escaping the crown of thorns. Go ahead, shout. +But look out, don't knock Tony down. + +LIPA _(turning back)_ + +I am sorry for you. You are beaten, and one doesn't like to kick a +man who is down. But remember, remember, Savva, there are thousands, +thousands of them coming in, and each one is your death! + +SAVVA _(smiling)_ + +The tramp of death. + +LIPA + +Remember that each one of these would consider himself happy in +killing you, in crushing you like a reptile. Each one of these is your +death. Why, they beat a simple thief to death, a horse thief. What +would they not do to you! You who wanted to steal their God. + +SAVVA + +Quite true. That's property too. + +LIPA + +You still have the brazenness to joke? Who gave you the right to do +such a thing? Who gave you power over people? How dare you meddle with +what to them is right? How dare you interfere with their life? + +SAVVA + +Who gave me the right? You gave it to me. Who gave me the power? You +gave it to me. And I will cling to it with grim determination. Try +to take it from me. You gave it to me--you with your malice, your +ignorance, your stupidity! You with your wretched impotence! Right! +Power! They have turned the earth into a sewer, an outrage, an abode +of slaves. They worry each other, they torture each other, and they +ask: "Who dares to take us by the throat?" I! Do you understand? I! +_(Rises)_ + +LIPA + +You are a mere man like everybody else. + +SAVVA + +I am the avenger! Behind me follow in pursuit all those whom you +stifled and crushed. Ah, they have been pursuing their wicked trade in +all quietness, thinking that no one would discover them--thinking +that they would get away with it in the end. They have been lying, +grovelling, and sneaking. They have been cringing and abusing +themselves before their altars and their impotent God, saying: "There +is nothing to be afraid of--we are among ourselves." Then comes a man +who says: "An accounting--I want an accounting! What have you done? +Out with it. Give me an accounting. Go on now! Don't try to cheat, for +I know you. I demand an account for each and every single item. I +will not condone a single drop of blood, I will not absolve you from a +single tear." + +LIPA + +But to destroy all. Think of it! + +SAVVA + +What could you do with them? What would _you_ do? Try to persuade the +oxen to turn away from their bovine path? Catch each one by his horns +and pull him away? Would you put on a frock-coat and read a lecture? +Haven't they had plenty to teach them? As if words and thoughts had +any significance to them! Thought--pure, unhappy thought! They have +perverted it. They have taught it to cheat and defraud. They have made +it a saleable commodity to be bought at auction in the market. No, +sister, life is short and I am not going to waste it in arguments +with oxen. The way to deal with them is by fire. That's what they +require--fire! Let them remember long the day on which Savva Tropinin +came to the earth! + +LIPA + +But what do you want? What do you want? + +SAVVA + +What do I want? To free the earth, to free mankind, to sweep the +whole two-legged, chattering tribe out of existence. Man--the man of +to-day--is wise. He has come to his senses. He is ripe for liberty. +But the past eats away his soul like a canker. It imprisons him within +the iron circle of things already accomplished, within the iron circle +of facts. I want to demolish the facts--that's what I want to +do: demolish all facts! To sweep away all the accumulated +rubbish--literature, art, God. They have perverted mankind. They have +immortalized stupidity. I want to do away with everything behind man, +so that there is nothing to see when he looks back. I want to take him +by the scruff of his neck and turn his face toward the future. + +LIPA + +Look here, Savva. You are not immortal, and the two-legged animal has +arms also. + +SAVVA + +Do you think I don't know that every one of these stupid asses would +be glad to kill me? But it won't happen, it won't happen. The time has +come for my arrival, and I have arrived. Prepare yourselves. The time +has come. You little insignificant thing there--you thought that by +stealing one little possibility away from me you could rob me of all? +Oh no--I am as rich as ever. + +LIPA + +I am your sister, but oh! how glad I am that you are not immortal. + +SAVVA + +I see that you are a thoroughgoing anarchist. They too think that all +is done if one man is killed. But if they kill me, hang me, break me +on the wheel, there will come another purer than I. Where there's an +itch, there is always somebody to scratch it! Yes, sister! If not I, +then someone else, and _(clenching his fist)_ it will fare ill with +your world. + +LIPA + +You are a terrible man. I thought you would be crushed by your +failure, but you are like Satan. The fall has only made you blacker. + +SAVVA + +Yes, Lipa, only a sparrow can fly straight up from the ground. A +large bird must descend to adjust and spread its wings for its upward +flight. + +LIPA + +Aren't you sorry for the children? Think of the number of children +that will have to perish. + +SAVVA + +What children? Oh yes, Misha. _(Tenderly)_ Misha is a fine boy, +that's true. When he grows up, he will show you no mercy. Yes, the +children--You are beginning to be afraid of them, and you have good +reason for it. Never mind. It's true that I love children. _(With +pride)_ And they love me. But they don't care for you. + +LIPA + +I don't play jackstones with them. + +SAVVA + +How silly you are, sister. But I like to play with them. + +LIPA + +Then go ahead and play. + +SAVVA + +Well, I _will_ play. + +LIPA + +When you talk like that I have the feeling once more that it has all +been a dream--all that we were saying just now. Is it really true that +you want to kill me? + +SAVVA + +Yes, if it must be done. But perhaps it won't be necessary. + +LIPA + +You are joking! + +SAVVA + +Every one of you will have it that I am joking. You keep constantly +telling me so. You seem to have utterly lost the sense for what is +serious. + +LIPA + +No, it's not a dream. They are going. + +SAVVA + +Yes, they are going. _(Both listen)_ + +LIPA + +You still seem to believe. What do you believe? + +SAVVA + +I believe in my destiny. _(The hour begins to strike in the belfry of +the monastery)_ Twelve. + +LIPA _(counting)_ + +Seven--eight--and to think that this is the hour when it should have +happened--the very idea of it--_(A muffled report as of a powerful +explosion is heard)_ What was that? + +SAVVA + +Yes, what was it? + +_[Both rush to the window, waking Tony, who moves his head sleepily. +The tread of the footsteps in the street stops momentarily. Then +all begin to run. Frightened cries are heard, weeping, loud, abrupt +ejaculations of "What's the matter?" "Oh, Lord!" "Fire, fire!" "No, +something has fallen down!" "Let's run!" The word "monastery" is +frequently heard._ + +TONY + +They are running! Where are they running to? Why is nobody here? + +PELAGUEYA _(entering the room, half dressed)_ + +Oh, Lord! Oh, heavens! Is it possible the monastery is on fire! Good +gracious! Heavens! And you here, you drunken sot! You monster! + +TONY + +Oho! They are running? Faces, mugs, eh? + +_[The bell begins to toll the alarm. Then the strokes follow each +other in more rapid succession; hasty, disquieting, uneven, they blend +with the noise of the street and seem to creep through the window._ + +PELAGUEYA _(crying)_ + +Good God, I don't know where to turn. + +_[She runs out. The cries in the street grow louder. Someone yells +in one prolonged note "Oh-oh-oh!" until the sound is drowned in the +general noise, excitement, and ringing._ + +LIPA _(moving away from the window, very pale, stupefied)_ What does +it mean? It cannot be. It is impossible. Tony, Tony, get up. Tony, +brother, what does it mean? Tony! + +TONY _(reassuringly)_ + +It's nothing. They are all faces. + +SAVVA _(leaving the window, calm and stern, but also pale)_ Well, +sister? + +LIPA _(flinging herself about the room)_ + +I want to run with the rest. I'll run. Where is my scarf? Where is my +scarf? My God, My God! Where is my scarf? + +SAVVA + +Your scarf? There it is. But I won't give it to you. Sit down; you +have nothing to do there. + +LIPA + +Let me have it. + +SAVVA + +No, sit down, sit down. It's too late now anyway. + +LIPA + +Too late? + +SAVVA + +Yes, too late. Don't you hear the noise the crowd is making and the +way they are running and pushing? + +LIPA + +I'll run, I'll run. + +SAVVA + +Keep still--sit down. _(Forces her to sit down)_ Tony, did you hear? +They've exploded God. + +TONY _(looking at Savva's face in terror)_ + +Savva, don't make me laugh. Turn your face away. + +_[Savva smiles and walks around the room with buoyant step, without +his usual stoop._ + +LIPA _(faintly)_ + +Savva. + +SAVVA + +What is it? Speak louder. + +LIPA + +Is it, really true? + +SAVVA + +It's true. + +LIPA + +And doesn't He really exist? + +SAVVA + +He does not. + +_[Lipa begins to cry, at first low, then more and more loudly. The +sound of the ringing bells and the noise of the crowd continue to +swell. The rolling and clatter of wagons is also heard._ + +SAVVA + +They are running. My, how they are running! _(Lipa says something, but +her words are inaudible)_ Louder. I can't hear you. My, how they are +ringing. + +LIPA _(aloud)_ + +Kill, me, Savva. + +SAVVA + +Why? You'll die anyhow. + +LIPA + +I can't wait. I'll kill myself. + +SAVVA + +Go ahead, kill yourself, kill yourself quick! + +_[Lipa cries, burying her head in the armchair Tony, his face +distorted with fear, looks at Savva, holding both his hands in +readiness at his mouth. Loud peals of the bell. The disquieting sound +blends with the loud tone of Savva's speech._ + +SAVVA _(shouting)_ + +Ah! They are ringing. Ring on! Ring on! Soon the whole earth will +ring. I hear! I hear! I see your cities burning! I see the flames. I +hear the crackling. I see the houses tumbling on your heads. There +is no place to run to. No refuge! No refuge! Fire everywhere. The +churches are burning. The factories are burning. The boilers are +bursting. An end to all slavish toil! + +TONY _(trembling with fear)_ + +Savva, shut up, or I am going to laugh. + +SAVVA _(unheeding)_ + +The time has come! The time has come! Do you hear? The earth is +casting you out. There is no place for you on earth. No! He is coming! +I see him! He is coming, the free man! He is being born in the flames! +He himself is fire and resolution! An end to the earth of slaves! + +TONY + +Savva, shut up! + +SAVVA _(bending down to Tony)_ + +Be prepared! He is coming! Do you hear his tread? He is coming! He is +coming! + +CURTAIN + + + + +THE FOURTH ACT + + +_Near the monastery. A broad road crosses the stage obliquely. On the +far side of the road is the river, beyond which opens a wide prospect +of the surrounding country--meadows, woods, and villages, with the +crosses of the churches burning in the sun. In the distance, at the +right, where the mountain projects over a glistening bend of the +river, is seen a part of the walls and the towers of the monastery. On +the near side of the road is a hilly elevation covered with trampled +grass. It is between five and six in the morning. The sun is out. The +mist over the meadow is scattering slowly. + +Now and then a pilgrim or group of pilgrims may be seen hurrying by +on their way to the monastery. Wagons carrying cripples and other +monstrosities pass along the road. The noise of thousands may be +heard from the monastery. The crowd is evidently moved by some joyous +emotion. No individual voices are heard, but it is as if one could +feel the singing of the blind, the cries, and the quick, glad snatches +of conversation. The general effect is that of an elemental force. +The noise decreases at regular intervals, like a wave, and then the +singing of the blind becomes distinctly audible. + +Lipa and the Young Friar appear on the near side of the road: Lipa is +sitting on the hillock, dressed as she was the night before, but her +head is covered with a white scarf carelessly tied. She is exhausted +with joy and almost dropping off to sleep. The Friar stands near +her. On his face there is a troubled, vacant look. His movements are +irresolute and aimless. He tries to smile, but his smile is twisted +and pitiful. He is like a child who feels hurt without knowing the +cause._ + +LIPA _(untying her scarf)_ + +Heavens, but this is splendid! I should like to die here. I can't get +enough of it. Oh, it's splendid, it's splendid! + +FRIAR _(looking around)_ + +Yes, it is splendid. But I can't stand it in there. I can't. They push +and jostle and press and jam. They crushed the life out of one woman, +absolutely crushed her. She had a child with her. I couldn't look at +it. I--I'll go to the woods. + +LIPA + +How splendid! Oh, Lord! + +FRIAR _(looking dejectedly into the distance)_ + +I'll go to the woods. + +LIPA + +And to think that only yesterday everything was just as usual. There +was nothing of all this, no miracle, nothing. There was only Savva--I +can't believe it was yesterday. It seems to me a whole year has +passed, a century. Oh, Lord! + +FRIAR _(his face clouding)_ + +Why did he do it? Why? + +LIPA + +Can't you guess, Vassya? + +FRIAR _(waving his hand)_ + +I asked him to come to the woods with me. He should have come. + +LIPA + +Did he tell you anything? + +FRIAR _(waving his hand)_ + +He should have come. Yes, he should have come. + +LIPA + +Ah, Vassya, Vassya, on account of your woods you missed one of the +greatest events that ever happened--so great, in fact, that no man +remembers the like of it. Ah, Vassya, how can you be speaking about +anything else when right now, right here--right here--a miracle has +happened. Do you understand? A miracle! The very mention of it fills +one with awe. A miracle! Oh, God! Where were you, Vassya, when the +explosion occurred? In the woods? + +FRIAR + +Yes, in the woods. I didn't hear the explosion. I only heard the +ringing of the alarm bell. + +LIPA + +Well? + +FRIAR + +Nothing. I ran back and found the gate open and everybody crying like +mad. And the ikon-- + +LIPA + +Well, well? Did you see? + +FRIAR + +Yes, it was in the same place as before. And all around--_(Growing +animated)_ You know the iron grating over there--you know it, don't +you? It was twisted like a rope. It's funny to look at. It looks like +something soft. I touched it, and it wasn't soft, of course. What +power! It must have been something tremendous. + +LIPA + +Well, and what about the ikon--the ikon? + +FRIAR + +What about it? Nothing. It's there in its place, and our people are +praying to it. + +LIPA + +Oh, Lord! And the glass is whole too? + +FRIAR + +The glass is whole too. + +LIPA + +That's what they told me, but I can't believe it yet. Forgive me, O +Lord! Well, what are they doing? They are overjoyed, I suppose. + +FRIAR + +Yes, they are overjoyed. They act as if they were drunk. You can't +make out what they are saying. A miracle, a miracle. Father Kirill +keeps grunting like a pig "Oui, oui, oui." They put cold compresses on +his head. He is fat, and he may pass out any moment. No, I can't stand +it here. Come, let us go. I'll take you home, Miss Olympiada. + +LIPA + +No, Vassya dear, I'll go in there. + +FRIAR + +Don't go, for heaven's sake. They'll crush you, as they did that +woman. They are all like drunk. They are carrying on and shouting like +mad, with their eyes wide open. Listen. Can't you hear them? + +LIPA + +You are still a boy, Vassya. You don't understand. Why, it's a +miracle. All their lives these people have been waiting for a miracle. +Perhaps they had already begun to despair, and now--O Lord! It's +enough to make you mad with joy. Yesterday, when I heard the cry of "a +miracle," I thought: "No, it's impossible. How could it happen?" But +then I saw them crying, crossing themselves, and going down on their +knees. And the ringing of the alarm bell stopped. + +FRIAR + +Oh, it was Afanassy who rang. He's terribly strong, a regular giant. + +LIPA + +And the only thing heard was "A miracle, a miracle!" No one spoke, and +yet one kept hearing "A miracle, a miracle," as if the whole earth +had become articulate. And even now, when I close my eyes, I hear +"A miracle, a miracle!" _(She closes her eyes and listens with an +ecstatic smile)_ How splendid! + +FRIAR + +I am sorry for Mr. Savva. Listen to the noise they are making. + +LIPA + +Oh, don't talk about him. He'll have to answer to God. Are they going +to sing "Christ is arisen" instead of the usual hymn when they carry +the ikon in the procession to-day? Vassya, do you hear? I am asking +you a question. + +FRIAR + +Yes, they say that they are. Go home, Miss Olympiada, won't you? + +LIPA + +You can go, if you like. + +FRIAR + +But how can I leave you alone? They'll come tearing down here soon. +For heaven's sake, there is Mr. Savva! + +_[Savva comes in hatless. His face is dark and stormy. There are lines +under his eyes. He looks sideways with a steady stare. Frequently he +glances around and seems to be listening to something. His gait is +heavy, but quick. Noticing Lipa and the Friar, he turns and walks +toward them. At his approach Lipa rises and turns away._ + +SAVVA + +Have you seen Kondraty? + +FRIAR + +No, he is in the monastery. + +_[Savva remains standing in silence. The noise in the monastery has +subsided and the sad, pitiful singing of the blind is heard._ + +FRIAR + +Mr. Savva. + +SAVVA + +Have you got a cigarette? + +FRIAR + +No, I don't smoke. _(Plaintively)_ Come to the woods, Mr. Savva. +_(Savva remains immovable and silent)_ They'll kill you, Mr. Tropinin. +Come to the woods--please come! _(Savva looks fixedly at him, then +silently turns and walks away)_ Mr. Tropinin, on my word you had +better come with me to the woods. + +LIPA + +Leave him alone. He is like Cain. He can't find a place on the earth. +Everybody is rejoicing, and he-- + +FRIAR + +His face is black. I am sorry for him. + +LIPA + +He is black all through. You had better keep away from him, Vassya. +You don't know whom you are pitying. You are too young. I am his +sister. I love him, but if he is killed, it will be a benefit to the +whole world. You don't know what he wanted to do. The very thought of +it is terrible. He is a madman, Vassya, a fearful lunatic. Or else he +is--I don't know what. + +FRIAR _(waving his hand)_ + +You needn't tell me all that. I know. Of course I know. Don't I see? +But I am sorry for him all the same, and I am disgusted too. Why did +he do it? Why? What stupid things people will do! Oh, my! + +LIPA + +I have only one hope--that he has understood at last. But if-- + +FRIAR + +Well, what's the "if"? + +LIPA + +Oh, nothing, but--When he came here, it was as if a cloud had passed +across the sun. + +FRIAR + +There you go also! You should be happy--Why don't you rejoice? Don't +be "iffing" and "butting." + +_[A crowd begins to collect gradually. Two wagons with cripples stop +on the road. A paralytic has been sitting for some time under a tree, +crying and blowing his nose and wiping it with his sleeve. A Man in +Peasant Overcoat appears from the direction of the monastery._ + +MAN IN OVERCOAT _(officiously)_ + +We must get the cripples over to Him, to the ikon--we must get them +over there. What's the matter, women, are you asleep? Come on, move +along. You'll get your rest over there. What's the matter with you, +gran'pa? Why aren't you moving along? You ought to be there with your +legs. Go on, old man, go on. + +PARALYTIC _(crying)_ + +I can't walk. + +MAN IN OVERCOAT _(fussily)_ + +Oh, that's it? That's what's the matter with you, eh? Come, I'll give +you a lift. Get up. + +PARALYTIC + +I can't. + +PASSER-BY + +Won't his legs work? What you want to do is to put him on his feet, +and then he'll hop away by himself. Isn't that right, old man? + +MAN IN OVERCOAT + +You take hold of him on that side, and I'll take this one. Well, old +man, get a move on you. You won't have to suffer long now. + +PASSER-BY + +There he goes hop, hop. That's right. Go it, go it, old man, and you +won't get left. _(He goes away)_ + +FRIAR _(smiling happily)_ + +They started him going all right. Clever, isn't it? He is galloping +away at a great rate too. Good-bye, old gran'pa. + +LIPA _(crying)_ + +Lord! Lord! + +FRIAR _(pained)_ + +What's the matter? Don't cry, for pity's sake. What are you crying +for? There is no cause for crying. + +LIPA + +No cause do you say, Vassya? I am crying for joy. Why aren't you glad, +Vassya? Don't you believe in the miracle? + +FRIAR + +Yes, I do. But I can't bear to see all this. They all behave like +drunks, and shout and make a noise. You can't understand what they are +talking about. They crushed that woman. _(With pain and disgust)_ They +squeezed the life out of her. Oh, Lord, I simply can't! And the whole +business. Father Kirill keeps grunting "Oui, oui, oui." _(Laughs +sadly)_ Why is he grunting? + +LIPA _(sternly)_ + +You learned that from Savva. + +FRIAR + +No, I didn't. Tell me, why is he grunting? _(Laughs sadly)_ Why? + +_[Yegor Tropinin enters dressed in holiday attire, his beard and hair +combed. He looks extremely solemn and stern._ + +YEGOR + +Why are you here, eh? And in that kind of dress? You're a fine sight. + +LIPA + +I had no time to get dressed. + +YEGOR + +But you found time to get here. What you have no business to do you +have time for, but what you should do you have no time for. Go home +and get dressed. It isn't proper. Who has ever seen such a thing? + +LIPA + +Oh, papa! + +YEGOR + +There is nothing to "oh" about. It's all right, papa is papa, but you +see I am properly dressed. I dressed and then went out. That's the +right way to do. Yes. It's a pleasure to look at myself sideways. I +dressed as was proper, yes. On a day like this you ought to give a +hand at the counter. Tony has disappeared, and Polya can't do all the +work herself. You needn't be making such a face now. + +MERCHANT _(passing by)_ + +Congratulate you on the miracle, Mr. Tropinin! + +YEGOR + +Thank you, brother, the same to you. Wait, I'll go with you. You are a +goose, Olympiada. You have always been a goose, and you have remained +a goose to this day. + +MERCHANT + +You'll have a fine trade now. + +YEGOR + +If it please the Lord! Why are you so late? Have you been sleeping? +You keep sleeping, all of you, all the time. _(They go out)_ + +FRIAR + +I scattered all the fireflies I caught on the road when I ran last +night. And now the crowd has trampled them down. I wish I had left +them in the woods. Listen to the way they are shouting. I wonder +what's the matter. They must have squeezed somebody to death again. + +LIPA _(closing her eyes)_ + +When you talk, Vassya, your words seem to pass by me. I hear and I +don't hear. I think I should like to stay this way all my life without +moving from the spot. I should like to remain forever with my +eyes shut, listening to what is going on within me. Oh, Lord! What +happiness! Do you understand, Vassya? + +FRIAR + +Yes, I understand. + +LIPA + +No. Do you understand what it is that has happened to-day? Why, it +means that God has said--God Himself has said: "Wait and do not fear. +You are miserable. Never mind, it's nothing, it's only temporary. You +must wait. Nothing has to be destroyed. You must work and wait." Oh, +it will come, Vassya, it will come. I feel it now, I know it. + +FRIAR + +What will come? + +LIPA + +Life, Vassya, real life will come. Oh, mercy! I still feel like crying +for joy. Don't be afraid. + +_[Speransky and Tony enter, the latter very gloomy, glancing sideways +and sighing. In a queer way he sometimes recalls Savva his gait and +look._ + +SPERANSKY + +Good morning, Miss Olympiada. Good morning, Vassya. What an +extraordinary event, if we are to believe what people say. + +LIPA + +Believe, Mr. Speransky, believe. + +SPERANSKY + +You judge in a very simple offhand manner. If, however, you take into +consideration the fact that it is highly probable that nothing exists, +that even we ourselves do not exist-- + +TONY + +Keep quiet. + +SPERANSKY + +Why? There is no miracle for me, Miss Olympiada. If at this moment, +for example, everything on this earth were suddenly to be suspended in +the air, I shouldn't regard it as a miracle. + +LIPA + +As what then? You're a very peculiar man. + +SPERANSKY + +I should look on it simply as a change. It was first one thing and +then it became another. If you wish, I'll admit that for me the very +fact that things are as they are is in itself a miracle. All are glad +and rejoicing but I sit and think: "Time is blinking his eyes now, and +there is a change. The old people are dead, and in their places appear +the young. And they are apparently glad and rejoicing too." + +TONY + +Where is Savva? + +LIPA + +Why do you want him? + +SPERANSKY + +He has been looking for Mr. Savva ever so long. We have looked +everywhere, but have not been able to find him. + +FRIAR + +He was here awhile ago. + +TONY + +Where did he go? + +FRIAR + +To the monastery, I think. + +TONY _(pulling Speransky)_ + +Come. + +SPERANSKY + +Good-bye, Miss Olympiada. How they are shouting over there! The time +will come when they will all be silent. _(They go off)_ + +FRIAR _(disturbed)_ + +Why are they looking for Mr. Savva? + +LIPA + +I don't know. + +FRIAR + +I don't like that seminarist. Always nosing about where there are dead +around. What does he want? He is a dreadfully disagreeable fellow. +Never misses a funeral. He smells death miles away. + +LIPA + +He is an unhappy creature. + +FRIAR + +Unhappy? Why is he unhappy? Even the dogs in the village are afraid +of him. You don't believe it? It's so, upon my word! They bark at him, +and then slink away behind the gate. + +LIPA + +What does all this matter anyway, Vassya? It's of no account, mere +trifles. To-day they are going to sing: "Christ is arisen from the +dead. Death has conquered death." Do you understand? "Death has +conquered death." + +FRIAR + +I understand. I understand. But why does he say "All will become +silent" and that sort of stuff? I don't like it, I don't like it. +They have crushed a woman to death--perhaps others too. _(Shaking his +head)_ I don't like it. In the woods everything is so quiet and nice, +and here--I'd prefer that no miracle had happened. I'd rather have +things nice and pleasant. What's the use of it? What's the use of the +miracle? There is no need of a miracle. + +LIPA + +What are you talking about, Vassya? + +FRIAR + +Savva Tropinin! The idea. It shouldn't have been done. There was no +need of it. He said he'd go with me to the woods and then--I liked him +a lot, but now I am afraid of him. Why did he do it? Why? My, what a +fearful crowd! More cripples coming, and more and more. + +LIPA + +What is the matter, Vassya? What are you so excited about? + +FRIAR + +Everything was so nice and fine. Oh, my! Why _don't_ you go home, Miss +Olympiada? Do go, please. You have seen all there is to be seen. It's +enough. What can you gain by staying here? Come, I'll go with you. Oh, +God, there comes Mr. Savva again! + +LIPA + +Where? + +FRIAR + +There he is. For heaven's sake! + +SAVVA _(enters and sits down)_ + +Has Kondraty been here? + +FRIAR + +No, Mr. Savva. + +_[Pause. Again the piteous singing of the blind can be heard._ + +SAVVA + +Got a cigarette, Vassya? + +FRIAR + +No, I haven't. I don't smoke. + +LIPA _(harshly)_ + +What are you waiting for, Savva? Go away. You are not wanted here. +Look at yourself. You are a terrible sight. Your face is black. + +SAVVA + +I didn't sleep all last night. That's why it's black. + +LIPA + +What are you waiting for? + +SAVVA + +For an explanation. + +LIPA + +You don't believe in the miracle? + +SAVVA _(smiling)_ + +Vassya, do you believe in the miracle? + +FRIAR + +Yes, of course I do, Mr. Savva. + +SAVVA + +Wait. You'll find out. What are they doing down there? They have +already crushed three to death. + +FRIAR Three? + +SAVVA + +And they'll kill many more. And they all keep shouting: "A miracle, +a miracle!" At last it has come. They have got what they have been +waiting for at last. + +LIPA + +And it's you, Savva, who gave them the miracle. It's you who are to be +thanked for it. + +SAVVA _(gloomily)_ + +Well, Vassya, the monks are glad, aren't they? Tell me, don't be +afraid. + +FRIAR + +They are very glad, Mr. Savva. They are crying. + +SAVVA _(looking at him)_ + +_Crying?_ Why are they crying? + +FRIAR + +I don't know. I suppose for joy. Father Kirill grunts like a pig "Oui, +oui, oui." They all act as if they were drunk. + +SAVVA _(rising, agitated)_ + +As if they were drunk? What does that mean? Perhaps they really are +drunk. + +FRIAR + +Oh no, Mr. Tropinin. It's all on account of the miracle. They are mad +with joy. Father Kirill keeps grunting "Oui, oui, oui." He vows that +if he remains alive he'll swear off liquor and live as a hermit. + +SAVVA _(eyeing him)_ + +Well? + +FRIAR + +That's all. + +SAVVA + +What do they say? + +FRIAR + +They say they'll do penance and stop sinning. They hug each other and +behave as if they were drunk. + +SAVVA _(walking up and down, stroking his forehead with his hand)_ +Yes, hm. So that's the way! Yes. + +LIPA _(following him with her eyes)_ + +Go away from here, Savva. You are not wanted here. + +SAVVA + +What? + +LIPA _(reluctantly)_ + +They may recognize you and then--Why don't you put on a hat at least? +You look like-- + +FRIAR + +Yes, go--please go--dear Mr. Savva. Why, they--why, they might kill +you! + +SAVVA _(in a sudden outburst of anger)_ + +Leave me alone! No one will kill me. It's bosh! _(Pause. Sits down)_ +I wish I could get a drink of water or something. I am very thirsty. +Isn't there a pool or something of the kind around here? + +FRIAR _(looking in terror at Savva)_ + +No, it's all dried up. + +SAVVA _(frowning)_ + +Sorry. + +FRIAR + +Oh, that woman there has a jug of water. _(Gleefully)_ I'll go and ask +her for it. _(Runs)_ + +LIPA + +You ought not to have that water. Go away from here, Savva, go away. +Look what gladness there is all around you. Everybody, everything +rejoices. The earth is glad. The sun is glad. You are the only one who +is not--you alone. I still can't forget that you are my brother. Go. +But wherever you go, bear with you the memory of this day always. +Remember that the same fate awaits you everywhere. The earth will not +surrender her God to you; the people will not surrender to you that +whereby they live and breathe. Yesterday I still feared you. To-day +I regard you with pity. You are pitiful, Savva! Go! Why are you +laughing? + +SAVVA _(smiling)_ + +Isn't it a little premature, sister, for you to be delivering my +funeral oration? + +LIPA + +Aren't you frightened yet? + +SAVVA + +Why should I be frightened? At your tricks and jugglery? I am used to +the lies and frauds, Lipa. You can't frighten me with them. I still +have a lot of stupid confidence left. It will help. It will come in +handy the next time. + +LIPA + +Savva! + +FRIAR _(bringing the jug of water)_ + +I had the hardest time getting it from her. She was like flint. She +said she needed it herself. She was a hard case. + +SAVVA + +Thank you, boy. _(Drinks with avidity)_ Fine! _(Drinks the last drop)_ +That was fine water. Take it back and tell the woman her water was +fine and that there is none like it in all the world. + +FRIAR _(merrily)_ + +All right, I'll tell her. _(Goes off)_ + +LIPA _(in a whisper)_ + +You are the enemy of the human race. + +SAVVA _(smacking his lips)_ + +Very well, very well. Just wait. We'll hear what Kondraty has to say. +The blackguard! I'll give it to him! + +LIPA _(with emphasis, but still in a whisper as before)_ + +You are the enemy of the human race! You are the enemy of the human +race! + +SAVVA + +Louder! No one hears you. It's a spicy bit of information. + +LIPA + +Go away from here. + +_[The Friar returns._ + +SAVVA _(looking into the distance with narrowed eyes)_ + +It's nice out there, isn't it, Vassya? Whose woods are they? +Vazykin's? Have I ever been there with you? + +FRIAR _(gleefully)_ + +Yes, they're Vazykin's. I was there yesterday, Mr. Savva. I caught a +whole handful of fireflies, but as I ran--_(He grows sorrowful at the +memory)_ My, how they are shouting! What are they up to anyway? Did +you say they killed three, Mr. Tropinin? Was that what you said? + +SAVVA _(coolly)_ + +Yes, three. + +FRIAR + +What are they pushing and jostling for anyhow? He'll be carried in the +procession and they can all see Him. + +SAVVA + +When will they carry Him? + +FRIAR _(looking up)_ + +It won't be long now. + +LIPA + +They'll sing "Christ is Arisen" to-day. + +SAVVA _(smiling)_ + +Is that so? Didn't I arrange a feast-day for them though? + +_[Tony and Speransky appear._ + +FRIAR + +Are these fellows here too? For goodness' sake, what do they want? +What are they looking for? I don't like it. Mr. Tropinin, come; let's +go away from here. + +SAVVA + +Why? + +FRIAR + +They are coming this way, Speransky-- + +SAVVA + +Aha! The "Tramp of Death" is approaching. + +_[Lipa looks at him in astonishment. The Friar presses his hand to his +bosom in a state of agitation._ + +FRIAR _(plaintively)_ + +What are you saying? Oh, God! Why did you say that? You mustn't do it. +This is no tramp of death, nothing of the kind. + +SAVVA + +It's a kind of story he has written--Good morning, good morning. What +can I do for you? + +SPERANSKY + +Mr. Anthony Tropinin is looking for you, Mr. Savva. + +SAVVA + +What do you want? + +TONY _(very sadly, hiding a little behind Speransky)_ + +Nothing. + +FRIAR _(listening attentively and then speaking with passion)_ What +are you running around for then, and whom are you hunting? If you want +nothing, do nothing. But you are running around and hunting, hunting. +It isn't nice, I tell you! + +TONY _(after a passing glance at the Friar he fixes his gaze on +Savva)_ Savva. + +SAVVA _(irritated)_ + +What do you want? + +_[Tony makes no answer, but hides behind Speransky, looking over his +shoulder. In the course of what follows he keeps steadily looking at +Savva. His lips and eyebrows twitch, and at times he presses both his +hands hard against his mouth._ + +SPERANSKY + +The crowd is in a state of great agitation, Miss Olympiada. They broke +the old gate opening on the other side of the woods and rushed in. The +Father Superior came out and asked them to behave. They shout so +you can't hear anything at all. Many are rolling on the ground in +convulsions. I suppose they are sick. It's very strange, quite unusual +in fact. + +LIPA + +Will they carry Him out soon? I must go. _(Rises)_ + +SPERANSKY + +They say it'll be soon now. One wagon with cripples in it was +upset--cripples without hands or feet. They are lying on the ground +crying. It's all so strange. + +FRIAR + +What? Did you see it yourself? + +_[Kondraty appears on the road coming from the monastery. He is +walking in the company of two pilgrims, who are listening attentively +to him. Catching sight of Savva, Kondraty says something to his +companions, who remain standing where they are while he goes up to +Savva._ + +SAVVA + +Aha! + +KONDRATY _(clean, spruce, beaming)_ + +Good morning, Miss Olympiada. Good morning to you too, Mr. Savva +Tropinin. + +SAVVA + +Good morning, good morning. You have come after all? You were not +afraid? + +KONDRATY _(calmly)_ + +Why should I be afraid? You won't kill me, I suppose, and if you +should, it would be sweet to die at your hands. + +SAVVA + +What bravery! And how clean you are! You are positively painful to +look at. You didn't make quite so smart an appearance when you lay +wallowing in the puddle. You were a little the worse for the mud, and +so on. + +KONDRATY _(shrugging his shoulders and speaking with dignity)_ It's +no use recalling that incident now. It's quite out of place. Mr. +Tropinin, it's time for you to have done with your spite and malice, +high time. + +SAVVA + +Well? + +KONDRATY + +That's all. There is no "well" about it. You have had your shot. Be +satisfied. + +SAVVA + +Are congratulations upon the miracle in order? + +KONDRATY + +Yes, Mr. Tropinin, upon the miracle--the miracle, indeed. _(He weeps +with a bland air, wiping his face with his handkerchief)_ God granted +that I should live to see the day. + +SAVVA _(rising and advancing a step toward the monk; peremptorily)_ +Enough now! Stop your hocus-pocus. You have played your trick. Now +stop, or I'll knock all that jugglery out of you. Do you hear? + +FRIAR + +Mr. Savva, good Mr. Savva, please don't. + +KONDRATY _(drawing back a little)_ + +Not so loud, not so loud. We are not in the forest where you can kill +rich merchants and get away with it. There are people here. + +SAVVA _(lowering his voice)_ + +Well, tell me all about it. Come on. + +KONDRATY + +What's the use of going away? I can tell you everything right here. I +have no secrets. It's you who have secrets. I am all here. + +SAVVA + +You'll lie if you tell it here. + +KONDRATY _(heatedly, with tears)_ + +Shame, Mr. Tropinin! Shame! Shame! Why do you insult me? Is it because +you saw me lying in the puddle? It's a sin, a shame! + +SAVVA _(perplexed)_ + +What's the matter with you? + +KONDRATY + +Do you think I am going to lie on a day like this? Miss Olympiada, +you at least ought to know--Good God! Good God! Why, Christ has just +arisen! Do you understand? + +_[The crowd increases. Some cast glances at the group with the two +monks before they pass on._ + +LIPA _(excitedly)_ + +Father Kondraty-- + +KONDRATY _(beating his breast)_ + +Do you understand? I have lived all my life like a scoundrel, so why, +why did God do this with me? Do you understand, Miss Olympiada? Do you +understand? Eh? + +SAVVA _(perplexed)_ + +Talk sense. Stop blubbering. + +KONDRATY _(waving his hand)_ + +I am not angry with you. I bear you no grudge. Who are you that I +should bear any resentment against you? + +SAVVA + +Talk sense. + +KONDRATY + +I'll tell Miss Olympiada. I won't speak to you. You knew me as a +drunkard, Miss Olympiada, a mean, worthless creature. Now listen. _(To +Speransky)_ And you, young man, may listen also. It will teach you a +lesson. It will show you how God works His will unseen. + +LIPA + +I see, Father Kondraty. Forgive me. + +KONDRATY + +God will forgive you. Who am I to forgive you? So that's the way it +was, Miss Olympiada. I followed your advice and went to the Father +Superior with the infernal machine. It was indeed an infernal machine! +And I told him everything, just the way I felt, with a perfect candor +and purity of heart. + +SPERANSKY _(guessing)_ + +Is that how it happened? What a remarkable event! + +FRIAR _(quietly)_ + +Keep quiet. What are you butting in for? + +KONDRATY + +Ye-es. The Father Superior turned pale. "You scamp," he said, "do you +know with whom you have had dealings?" "I do," I said, trembling all +over. Well, they called together the whole brotherhood and discussed +the matter in secret. And then the Father Superior said to me: "It's +this way, Kondraty," he said. "God has chosen you as the instrument +of His sacred will. Yes. _(Weeps)_ God has chosen you as the +instrument--" + +LIPA + +Well? Go on. + +KONDRATY + +Ye-es, hm. "Go," he said, "and put down the machine as you were told +to do, and set it going according to the directions. Carry out the +devil's plot in full. I and the other brothers will sing a hymn +quietly as we carry the ikon away. Yes, that's what we'll do. We'll +carry the ikon away. And thus the devil will be made a fool of." + +SAVVA + +Ah! + +LIPA _(astonished)_ + +But, Father Kondraty, how can that be? + +_[Savva laughs heartily._ + +KONDRATY + +Patience, patience, Miss Olympiada. "And when," said the Father +Superior, "the devil's plot shall have been carried out, then we'll +put the ikon--the dear, precious ikon--back in His place." Well, I +won't attempt to describe the scene that took place when we carried +the ikon away. It's beyond my power. The brothers sobbed and wept. +Not one of them was able to sing. The little candles burned with tiny +little flames. And then when we carried Him out to the gate, and when +we began to think and remembered--who is now in His sacred place--we +lay around the ikon, our faces on the ground, and cried and wept +bitter, bitter tears, tears of pity and contrition. "O Thou, our own, +our precious idol, have mercy on us, return to Thy place." _(Lipa +cries; the Friar wipes his eyes with his fist)_ And then--bang! went +the machine, and the sulphurous smoke spread all around so that it was +impossible to breathe. _(In a whisper)_ And then many beheld the devil +in the smoke, and they were so terrified that they lost consciousness. +It was horrible! And then, as we carried Him back, all of one accord, +as though we had agreed beforehand, began to sing "Christ is arisen." +That's how it happened. + +SAVVA + +You hear, Lipa? But what's the matter with you? Why are you all +crying? + +FRIAR + +It makes one feel so sorry, Mr. Savva. + +SAVVA + +Why, they fooled you, they played a trick on you. Or else you are all +lying, lying with your tears. + +_[Kondraty makes a gesture of indifference._ + +LIPA _(shaking her head, weeping)_ + +No, Savva, you don't understand. Oh, Lord! Oh, Lord! + +KONDRATY + +You have no God, that's the reason you don't understand; You have only +reason, and pride, and malice. That's why you don't understand. +Ah, Mr. Savva, you wanted to ruin me too. And I tell you as a +Christian--it would have been better if you had never been born. + +SAVVA + +Oh, fiddlesticks! Whom do you think you can hoodwink? Do you think I +have turned blind? + +KONDRATY _(turning away with a wave of his hand)_ + +You can shout as much as you like. + +FRIAR + +Mr. Savva, you mustn't shout, you mustn't. We have already attracted +the attention of the crowd. They are looking at us. + +SAVVA _(laying his hand on Kondraty's shoulder and speaking in a +low voice)_ Look here, I understand. Of course, in the presence of +people--but you understand, don't you, Kondraty? You are a clever +man, a very bright man. You understand that all this is nonsense. Just +consider, brother, consider a moment. Didn't they carry the ikon away? +Then where is the miracle? + +KONDRATY _(twisting himself free from Savva's grasp, shaking his +head and speaking aloud)_ Then you don't understand? No, you don't +understand. What of it? + +SAVVA _(in a whisper)_ + +Listen, remember our talk. + +KONDRATY _(aloud)_ + +Don't whisper to me. I have nothing to hide from anybody. How do you +think miracles happen anyhow? Say, you are a smart man too, and yet +you can't comprehend a simple matter like this. Why, it's all your +work, all your doing, isn't it? You gave me the machine. You planned +the explosion. Your orders have been carried out. And yet the ikon +is untouched; it's whole. That's all I have to say. It's the plain, +simple statement of fact. Yet you come here with your arguments and +try to get away from those facts by mere reasoning. + +LIPA _(looking around in a paroxysm of excitement)_ + +How simple it is! And how terrible! O Lord, O Lord! And to think that +it was I who did it, I, with my own hands! O my God! _(She falls on +her knees, turning her eyes toward heaven)_ + +SAVVA _(looking at her savagely, then at Kondraty)_ + +Well! + +KONDRATY _(drawing back in fright)_ + +Why are you staying here? Why haven't you left already? + +SAVVA _(shouting)_ + +What a ---- fool you are! + +KONDRATY _(paling)_ + +Lower, lower, I say. Don't talk like that, or I'll shout. + +SAVVA _(turning quickly toward Speransky)_ + +What are you staring at with your mouth wide open? You are a +philosopher. You, you are a philosopher. Can you understand the +stupidity of these people? They think it's a miracle. _(Laughs)_ They +think it's a miracle. + +SPERANSKY _(stepping back)_ + +Excuse me, Mr. Tropinin, but from their point of view--I don't know. + +SAVVA + +You don't know? + +SPERANSKY + +Who does know? _(Cries out, in despair)_ The dead alone, Mr. Savva, +the dead alone. + +KONDRATY + +Ah! You are cornered--Antichrist! + +LIPA _(in terror)_ + +Antichrist? + +_[Hearing the cry, the two pilgrims who were with Kondraty approach. +They are gradually joined by others, among whom is the Man in Peasant +Overcoat._ + +FIRST PILGRIM + +What is it, father? Has he revealed himself? + +KONDRATY + +Look at him, look at him! + +SAVVA + +Vassya, you dear, fine boy--Vassya, what is the matter with them? Hear +what they are saying. Hear the nonsense they are talking. You good, +nice boy! + +FRIAR _(drawing back)_ + +Mr. Savva, don't, don't. Go away from here. Leave this place. + +SAVVA + +Vassya, Vassya, you, you-- + +FRIAR _(crying)_ + +But I don't know. I don't know anything. I am afraid. + +LIPA _(ecstatically)_ + +Antichrist! Antichrist! + +SECOND PILGRIM + +Hear! Hear! + +KONDRATY + +Ah! You are cornered. Here is your money--take it! It has burned holes +in my pockets, your accursed money. Here, take it, take it, you brood +of Antichrist! _(Throws the money at him)_ + +SAVVA _(raising his fist as if to deal a blow)_ I'll teach you-- + +FIRST PILGRIM + +Boys, don't be afraid. Here boys, here! + +SAVVA _(pressing his head between his hands)_ + +Oh, it hurts, it hurts! Darkness is closing in. + +KONDRATY + +It's beginning to get you, is it? That's right, that's right. + +LIPA + +Antichrist! + +TONY _(shouting)_ + +Savva, Savva! + +SAVVA _(sinking for a moment into profound, terrible meditation; then +he straightens himself suddenly and seems to grow in stature; he cries +out with a wild joy as if speaking above the heads of all to reach +somebody far off)_ I am right! Therefore I am right! It was all +necessary! All! All! _(He stands as if petrified in an upward-striving +posture)_ + +KONDRATY + +Boys, it's he who did it. That's the fellow. + +MAN IN OVERCOAT _(pushing himself forward, officiously)_ + +What's the matter, boys? Aha! He is caught! Which one? This one? Come +on with you! _(Takes hold of Savva by the sleeve)_ + +SAVVA _(shaking him off with such violence that the man falls down)_ +Get away from me! + +VOICES + +Don't let him go! + +KONDRATY + +Hold him! + +FRIAR _(crying)_ + +Run, Mr. Savva, run. + +_[During the following scene Lipa prays. Speransky looks on with keen +curiosity, while Tony stares over his shoulder. All the voices become +blended into one raging, frightened, savage roar._ + +CROWD + +Get at him from that side! Yes, go yourself! You have a stick! Oh, +hang it, there isn't a single stone around! Hold him, hold him, he'll +escape! + +MAN IN OVERCOAT _(getting to his feet again and assuming the +leadership)_ Surround him, boys, surround him! Block the way to the +river! Don't let him run away! Well, now, get a move on you! + +CROWD + +Go yourself--I've tried once! Push that way! Get hold of him! Grab +him! Aha! + +KONDRATY _(shouting at the top of his voice)_ + +Beat him! Beat the Antichrist! Beat him! + +SAVVA _(the danger brings him back to his senses. He looks around, +takes in the path to the river with a quick glance, and gray as dust +with rage, he makes for it with a single abrupt movement)_ Get out of +the way, you monsters! + +CROWD + +He is getting away! He is getting away! Hold him! Boys, he is getting +away! He is getting away! + +_[As Savva advances, the crowd falls back in a semicircle, tumbling +against one another. Kondraty begins to make the sign of the cross at +Savva and continues to do so throughout the remaining scene._ + +SAVVA _(advancing)_ + +Get out of the way! Get out of the way! So you're scared now, you +dogs? You've pulled in your tails? Get out of the way! Go on! + +CROWD + +He is getting away. + +_[King Herod issues from the crowd, and plants himself in front of +Savva so as to obstruct his way. There is a terrible look on his face. +Savva comes up close to him and stops._ + +SAVVA + +Well? + +_[A brief pause. The conversation is carried on in a sort of +undertone, almost calmly._ + +KING HEROD + +Is that you? + +SAVVA + +Is that you? Let me go. + +KING HEROD + +A man? + +SAVVA + +Yes, let me go. + +KING HEROD + +Did you want the Saviour? Christ? + +SAVVA + +They fooled you. + +KING HEROD + +People may fool, Christ never. What's your name? + +SAVVA + +Savva. Get out of my way, I tell you. + +KING HEROD + +Surrender Thy servant Savva. Hold! + +_[He strikes a heavy, swinging blow with his left fist whence Savva +did not expect an attack. Savva sinks on one knee. The crowd rushes at +him and tramples him down._ + +CROWD + +Beat him! Aha! So! He is turning back! Beat him! + +FRIAR + +What does this mean? Oh! Oh! Oh! _(He clutches his head with both +hands, cries, and runs away)_ + +SAVVA _(fighting desperately, he appears for a moment looking fierce +and terrible)_ Let go--Ho-o-o! _(He sinks back again)_ + +CROWD + +That's the way. One, two--Ah! Strike! Got him? Not yet! Got him? What +are you waiting for? Strike! Done! + +A VOICE + +He's still moving. + +CROWD + +Strike! + +MAN IN OVERCOAT + +Peter, got a knife? Finish him with your knife. Cut his throat. + +PETER + +No, I'd rather do it with my heel. One! Two! + +KONDRATY _(cursing him)_ + +Lord Jesus Christ! Lord Jesus Christ! + +_[Loud cries are heard from the background: "They are carrying Him! +They are carrying Him!" The mob begins to disperse and thins out +quickly._ + +CROWD + +They are carrying Him! Yes, it's enough. It's done. No, let me at +him--once more. There! I gave him one good one in his face. They are +carrying Him! They are carrying Him! + +KING HEROD + +Enough, enough. A grand feast for you, you accursed beasts! + +CROWD + +I tell you, they are carrying Him! Lie there, you! Oh my, am I going +to be late? Enough now. Are you sorry for him, eh? Is it _your_ head? +One more! Come on! + +_[They run away so that Savva's mangled body becomes visible._ + +MAN IN OVERCOAT + +It ought to be taken away from here. It isn't right to leave it here +on the road. It's dirty. Boys! Say, boys! + +_[He goes off following the rest, but is met by the procession pouring +in upon the stage. There is a great din and humming of talk. Speransky +and Tony approach the body cautiously, bend over it on their knees, +one on each side, and stare at it eagerly._ + +SPERANSKY + +Dead! His eyes are gone. + +TONY + +Shut up! _(He bursts into a groaning laugh, pressing his hands hard to +his mouth)_ + +SPERANSKY + +But his face is calm. Look, Mr. Anthony. It's because now he knows the +truth. + +TONY + +Shut up! _(Bursts out laughing)_ What a funny face he has! + +_[He laughs behind his hand. Then his laugh bursts through his +fingers, so to speak, grows in intensity, becomes irresistible, and +passes into a whine. The crowd begins to fill the stage, concealing +the body, Speransky, and Tony. The bells are rung in the monastery as +at Easter, and at the same time the singing of thousands of voices is +heard._ + +CROWD + +"Christ is risen from the dead. He has conquered death with death and +given life to those lain in their graves. Christ--" + +LIPA _(flinging herself into the crowd)_ + +"Christ is risen!" + +_[The crowd continues to pour in, filling the entire stage. Gaping +mouths and round, wide-open eyes are seen everywhere. Shrill shrieks +are uttered by the crazed epileptics. A momentary outcry is heard:_ +"Somebody crushed!" _Tony's laughter dies away somewhere. The +triumphant hymn rises, spreads, passes into a titanic roar that drowns +every other sound. The bells continue to ring._ + +CROWD _(shouting at their utmost power)_ + +"Christ is risen from the dead. He has conquered death with death and +given life to those lain in their graves. Christ is risen--" + +CURTAIN + + + + +THE LIFE OF MAN + +(ZHIZN CHELOVIEKA) + + +A PLAY IN FIVE SCENES WITH A PROLOGUE + +1906 + + +TO THE BRIGHT +MEMORY OF MY FRIEND, MY WIFE + +I DEDICATE THIS COMPOSITION + +THE LAST + +ON WHICH WE WORKED TOGETHER + + + + +PERSONS + + +Someone in Gray called He + +Man + +His Wife + +Man's + Father + Relatives + Neighbors + Friends + Enemies + Guests + +Servants + +Musicians + +Physicians + +A Bartender + +Drunkards + +Old Women + + + + +PROLOGUE--_Someone in Gray called He, speaking of the Life of Man_ + +SCENE I--_The Birth of Man and the Mother's Travail_ + +SCENE II--_Love and Poverty_ + +SCENE III--_Wealth. Man's Ball_ + +SCENE IV--_Man's Misfortune_ + +SCENE V--_The Death of Man_ + + + + +THE LIFE OF MAN + +PROLOGUE + +SOMEONE IN GRAY CALLED HE, SPEAKING OF THE LIFE OF MAN + + +_A large, rectangular space resembling a room without doors or windows +and quite empty. Everything is gray, monocolored, drab--the watts +gray, and the ceiling, and the floor. A feeble, even light enters from +some invisible source. It too is gray, monotonous, spectral, producing +neither lights nor shadows. + +Someone in Gray moves noiselessly away from the wall, close against +which He has been standing. He wears a broad, gray, formless smock, +vaguely outlining the contours of His body; and a hat of the same +gray throws the upper part of His face into heavy shadow. His eyes +are invisible. All that is seen are His cheekbones, His nose, and His +chin, which is massive, heavy, and blunt, as if hewn out of rock. His +lips are pressed tight together. Raising His head slightly, He begins +to speak in a firm, cold, unemotional, unimpassioned voice, like +a reader hired by the hour reading the Book of Fate with brutal +indifference._ + +SOMEONE IN GRAY + +Look and listen, you who have come here to laugh and be amused. There +will pass before you the whole life of Man, from his dark beginning to +his dark ending. Previously non-existant, mysteriously hidden in the +infiniteness of time, neither feeling nor thinking and known to no +one, he will mysteriously break through the prison of non-being and +with a cry announce the beginning of his brief life. In the night of +non-existence a light will go up, kindled by an unseen hand. It is the +life of Man. Behold the flame--it is the life of Man. + +Being born, he will take the form and the name of Man, and in all +things will become like other men already living. And their hard lot +will be his lot, and his hard lot will be the lot of all human beings. +Inexorably impelled by time, he will, with inavertible necessity, pass +through all the stages of human life, from the bottom to the top, from +the top to the bottom. Limited in vision, he will never see the next +step which his unsteady foot, poised in the air, is in the very act of +taking. Limited in knowledge, he will never know what the coming day +will bring, or the coming hour, or the coming minute. In his unseeing +blindness, troubled by premonitions, agitated by hope and fear, he +will submissively complete the iron-traced circle foreordained. + +Behold him a happy youth. See how brightly the candle burns. From +boundless stretches of space the icy wind blows, circling, careering, +and tossing the flame. In vain. Bright and clear the candle burns. Yet +the wax is dwindling, consumed by the fire. Yet the wax is dwindling. + +Behold him a happy husband and father. But see how strangely dim and +faint the candle burns, as if the yellowing flame were wrinkling, as +if it were shivering with cold and were creeping into concealment. The +wax is melting, consumed by the fire. The wax is melting. + +Behold him, an old man, ill and feeble. The stages of life are already +ended. In their stead nothing but a black void. Yet he drags on with +palsied limbs. The flame, now turned blue, bends to the ground and +crawls along, trembling and falling, trembling and falling. Then it +goes out quietly. + +Thus Man will die. Coming from the night, he will return to the night +and go out, leaving no trace behind. He will pass into the infinity of +time, neither thinking nor feeling, and known to no one. And I, whom +all call He, shall remain the faithful companion of Man throughout +his life, on all his pathways. Unseen by him, I shall be constantly +at hand when he wakes and when he sleeps, when he prays and when he +curses. In his hours of joy, when his spirit, free and bold, rises +aloft; in his hours of grief and despair, when his soul clouds over +with mortal pain and sorrow, and the blood congeals in his heart; in +the hours of victory and defeat; in the hours of great strife with the +immutable, I shall be with him--I shall be with him. + +And you who have come here to be amused, you who are consecrated to +death, look and listen. There will pass before you, like a distant +phantom echo, the fleet-moving life of Man with its sorrows and its +joys. + +_[Someone in Gray turns silent. The light goes out, and He and the +gray, empty room are enveloped in darkness._ + + + + +THE FIRST SCENE + +THE BIRTH OF MAN AND THE MOTHER'S TRAVAIL + + +_Profound darkness; not a stir. Like a swarm of mice in hiding, the +gray silhouettes of Old Women in strange headgear are dimly discerned; +also vaguely the outline of a large, lofty room. The Old Women carry +on a conversation in low, mocking voices._ + +OLD WOMEN'S CONVERSATIONS + +--I wonder whether it'll be a boy or a girl. + +--What difference does it make to you? + +--I like boys. + +--I like girls. They always sit at home waiting till you call on them. + +--Do you like to go visiting? + +_[The Old Women titter._ + +--He knows. + +--He knows. _(Silence)_ + +--Our friend would like to have a girl. She says boys are so restless +and venturesome and are always seeking danger. Even when they are +little, they like to climb tall trees and bathe in deep water. They +often fall, and they drown. And when they get to be men, they make +wars and kill one another. + +--She thinks girls don't drown. I have seen many girls drowned. They +look like all drowned people, wet and green. + +--She thinks girls don't get killed by stones thrown at them. + +--Poor woman, she has such a hard time giving birth to her child. +We have been sitting here sixteen hours, and she is still crying. At +first she cried out loud. Her screams pierced our ears. Then she cried +more quietly, and now she is only moaning. + +--The doctor says she'll die. + +--No, the doctor says the child will die and she will live. + +--Why do they bear children? It is so painful. + +--And why do they die? It is still more painful. + +_[The Old Women laugh suppressedly._ + +--Yes, they bear children and die. + +--And bear children again. + +_[They laugh. A subdued cry of the suffering woman is heard._ + +--Beginning again. + +--She's recovered her voice. That's good. + +--That's good. + +--Poor husband. He's lost his head completely. You ought to see him. +He's a sight. At first he was glad his wife was pregnant and said +he wanted a boy. He thinks his son will be a cabinet minister or a +general. Now he doesn't want anything, neither a boy nor a girl. He +just goes about grieving and crying. + +--Every time she is seized with pain he begins to labor, too, and gets +red in the face. + +--He was sent to the chemist's shop for medicine, and he hung about +there for two hours without being able to remember what he was sent +for. He returned without it. + +_[The Old Women titter. The cries grow louder and die away. Silence._ + +--What's the matter with her? Maybe she has died already. + +--No. If she had, we'd hear crying, and the doctor would come running +and begin to talk nonsense. They'd bring her husband out in a faint, +and we'd have to work over him. No, she's not dead. + +--Then what are we sitting here for? + +--Ask Him. What do we know? + +--He won't tell. + +--He won't tell. He never tells anything. + +--He orders us about as he pleases, gets us out of bed, and makes us +watch; and then it turns out that our coming wasn't even needed. + +--We came of our own accord, didn't we? We must tell the truth. There, +she's screaming again. + +--Haven't you had as much of it as you want? + +--Are you satisfied? + +--I keep my mouth shut and wait. + +--You're an angel. + +_[They laugh. The cries grow louder._ + +--Listen to her. What fearful pain she must be suffering. Have you any +idea of what the pain is like? It's as if your insides were being torn +to pieces. + +--We all have borne children. + +--It's just as if she were not herself. I don't recognize our friend's +voice. It's naturally so soft and gentle. + +--Her screaming is more like the roar of a wild beast. + +--You feel the night in it. + +--You feel the boundless black forest and hopelessness and terror. + +--You feel solitude and grief. There are other people with her. Why +can't you hear other voices beside that savage, dismal wail? + +--They are talking, but you can't hear them. Have you ever noticed how +solitary man's cries are? Any number of men will talk, and you won't +hear them. But let one human being cry, and it seems as if the others +were all silent, listening. + +--I once heard a man scream who had been run over by a Carriage and +had his leg crushed. The street was full of people. Yet he seemed to +be the only one there. + +--But this is more terrible. + +--Say rather it is louder. + +--I should say it is more prolonged. + +--No, it's more terrible. You feel death in it. + +--You had a feeling of death then, too. In fact, the man did die. + +--Don't dispute. It's all the same to you. + +_[Silence. Cries._ + +--How strange man's crying is! When you yourself are ill and cry, +you don't notice how strange it is. I can't imagine the mouth that +produces such sounds. Can it be a woman's mouth? I can't imagine it. + +--It's as if it got twisted and crooked. + +--As if the sound issued from some depth. Now it's like the cry of +someone drowning. Listen, she's choking. + +--A heavy person is sitting on her chest. + +--Someone is choking her. + +_[The crying ceases._ + +--At last she has quieted down. You get tired of crying. It's +monotonous and not beautiful. + +--You're looking for beauty here too, are you? + +_[The Old Women titter._ + +--Hush! Is He here? + +--I don't know. + +--He seems to be. + +--He doesn't like laughing. + +--They say He laughs Himself. + +--Whoever heard Him laugh? You are simply repeating hearsay. So many +lies are told about Him. + +--He hears us. Let us be serious. + +_[They laugh quietly._ + +--After all, I'd like to know whether it'll be a boy or a girl. + +--I admit, it's interesting to know whom you'll have to deal with. + +--I wish it died before it was born. + +--What a kind creature you are. + +--No better than you. + +--I hope it turns out to be a general. + +_[They laugh._ + +--You are too merry. I don't like it. + +--And you are too sad. I don't like that. + +--Don't wrangle. Don't wrangle. We are all both sad and merry. Let +each be what she pleases. _(Silence)_ + +--When they are born, they are so funny. Babies are very funny. + +--And self-satisfied. + +--And very exacting, I don't like them. They begin to cry at once and +make demands, as if they expected everything to be ready for them. +Even before looking, they know there is a breast and milk, and demand +them. Then they demand to be put to sleep and rocked and dandled and +patted on their red backs. I like them better when they die. Then +they're less exacting. They stretch out of themselves and don't ask to +be rocked. + +--No, they are very funny. I like to wash them when they are born. + +--I like to wash them when they are dead. + +--Don't dispute. Don't dispute. Each will have her way. One will wash +the child when it is born, another when it dies. + +--But why do they think they have a right to make demands the moment +they are born? I don't like it. They don't _think_ they have. It's +their stomachs that make the demands. + +--They're forever demanding. + +--But their demands are never granted. + +_[The Old Women laugh. The cries begin again._ + +--She is screaming again. + +--Animals give birth to their offspring more easily. + +--And they die more easily, and live more easily; I have a cat. You +ought to see how fat and happy she is. + +--I have a dog, and I tell him every day: "You are going to die." His +only reply is to show his teeth and to wag his tail gayly. + +--But they are animals. + +--And these are human beings. + +_[They laugh._ + +--Now she'll either die or be delivered. I feel that the whole remnant +of her strength is in that wail. + +--Eyes wide open. + +--Cold perspiration on her forehead. + +_[They listen._ + +--She is giving birth to the child. + +--No, she is dying. + +_[The cries cease._ + +--I tell you-- + +SOMEONE IN GRAY _(speaks in a resonant, powerful voice)_ + +Silence! Man is born. + +_[Almost simultaneously with His announcement the crying of an infant +is heard and the candle in His hand lights. A tall candle. It burns +hesitatingly and feebly. Gradually the flame grows stronger. The +corner in which Someone in Gray stands motionless is always darker +than the other corners, and the yellow flame illumines His blunt chin, +His tightly closed lips, and His massive, bony face. The upper part +of His face is concealed by His cap. He is somewhat taller than an +ordinary man. + +He puts the long, thick candle in an antique candlestick. His hand +comes into relief against the green bronze. It is gray, firm, with +long, thin fingers. + +Gradually the room grows brighter. The figures of five hunch-backed +Old Women emerge from the gloom, and the room becomes visible. It +is rectangular, with high, smooth, monotonously colored walls. Two +curtainless windows in the background and two on the right. The night +glooms through them. Straight, high-backed chairs against the walls._ + +THE OLD WOMEN _(talking rapidly)_ + +--Hear them running about. They're coming here. + +--How bright it is! Let's go. + +--Look, the candle is tall and bright. + +--Let's go, let's go. Quick! + +--But we'll come back. We'll come back. + +_[They laugh quietly, mockingly, and disappear into the dusk with odd, +zigzagging movements. As they leave, the light grows brighter, but +still it remains dim, lifeless, and cold. The corner in which Someone +in Gray stands motionless with the burning candle is darker than the +others. + +Enter the Doctor in a white uniform, and Man's Father, whose face +wears an expression of extreme exhaustion and joy. There are lines +under his eyes; his cheeks are sunken and his hair is dishevelled; he +is very negligently dressed. The Doctor looks very learned._ + +DOCTOR + +Up to the very last moment I didn't know whether your wife would pull +through or not. I used all the means at the disposal of medical skill +and science. But science can do very little unless nature helps too; +I was really excited. My pulse is still going hard. Though I have +assisted at so many births, yet I can't rid myself of a sense of +uneasiness. But you are not listening to me, sir. + +MAN'S FATHER + +I'm listening, but I can't hear. Her screams are still ringing in my +ears, and it's hard for me to pull myself together. Poor woman, how +she suffered! I was a fool, I was stupid and wanted to have children. +But hereafter I will renounce. It is criminal. + +DOCTOR + +You will call me again when your next child comes. + +FATHER + +No, never. I'm ashamed to admit it, but just now I hate the child for +which she suffered so. I didn't even see him. What sort of a boy is +he? + +DOCTOR + +He's a well-fed, strong little youngster, and if I'm not mistaken he +resembles you. + +FATHER + +Me? Fine! Now I'm beginning to love him. I always wanted a boy to look +like me. Did you see--his nose is like mine, isn't it? + +DOCTOR + +Yes, his nose and eyes. + +FATHER + +His eyes too? Ah, that's good. I'll raise your fee. + +DOCTOR + +You'll have to pay me for using the instruments also. + +FATHER _(turning to the corner where He stands motionless)_ + +God, I thank Thee for having granted my wish and given me a son who +resembles me. I thank Thee for preserving my wife from death, and +bringing my child into the world alive. I pray Thee that he may grow +up big, healthy, and strong; that he may be wise and honest, and that +he may never cause us grief, but be a constant joy to his mother and +me. If Thou wilt do this, I will always believe in Thee and go to +church. + +_[Enter Relatives, six in number. An elderly woman, uncommonly +stout, with a double chin and small, proud eyes and an air of extreme +haughtiness and self-importance. An elderly man, her husband, very +tall and uncommonly thin, so that his coat hangs loosely on his +body; a short goatee, long, smooth hair, as if wet, reaching to his +shoulders; eye-glasses; has a frightened; yet pedantic expression; +a low black silk hat in his hand. A young girl, their daughter, with +naively upturned nose, blinking eyes, and open mouth. A weazened +woman, with contracted features and a sour expression, in her hand +a handkerchief, with which she frequently wipes her mouth; Two young +men, looking absolutely alike, with extremely high collars that +stretch their necks; glossy hair; a hesitating, embarrassed +expression. The characteristics of each of the Relatives is +exaggerated in the extreme._ + +ELDERLY LADY + +Let me congratulate you on the birth of your son, dear brother. +_(Kisses him)_ + +ELDERLY MAN + +My dear brother, I heartily congratulate you on the birth of your son, +to which you have been looking forward so long. _(Kisses him)_ + +THE REST + +We congratulate you, dear uncle, on the birth of your son. + +_[They kiss him. Exit the Doctor._ + +MAN'S FATHER _(greatly moved)_ + +Thank you! Thank you! You are all very good, very nice, dear people, +and I love you very much. I had my doubts beforehand thought that you, +dear sister, were a little too much rapt up in yourself and your own +worth and importance; and that you, dear brother, were somewhat too +pedantic. The rest of you I thought were too cold to me, and came here +only for the sake of the dinners. Now I see I was mistaken. I'm very +happy. I get a son who resembles me, and then all at once I see myself +surrounded by so many good people who love me. _(They kiss)_ + +GIRL + +Uncle dear, what are you going to call your son? I hope you'll give +him a lovely, poetic name. So much depends on a man's name. + +ELDERLY LADY + +I should advise a simple, solid name. Men with nice names are usually +frivolous and rarely successful. + +ELDERLY MAN + +It seems to me, brother, you should name your son after some older +relative. Keeping the same names in the family tends to preserve and +strengthen the line. + +FATHER + +Yes, my wife and I have already discussed the subject, but have not +been able to reach a decision. You see, there are so many new things +to think of when a child comes, so many new problems to solve which +never arose before. + +ELDERLY LADY + +It fills up your life. + +ELDERLY MAN + +It gives life a beautiful purpose. By properly educating a child, +preventing it from making the mistakes which we had to pay for so +dearly, and strengthening its mind with our own rich experiences, we +produce a better man and advance slowly but surely toward the final +goal of existence, which is perfection. + +FATHER + +You are quite right, brother. When I was little I loved to torture +animals. That developed cruelty in me. I won't allow my son to +torture animals. Even after I had grown up I often made mistakes in my +friendships and love. I chose friends who were unworthy and women who +were faithless. I'll explain to my son-- + +DOCTOR _(enters and says aloud)_ + +Your wife is feeling very bad. She wants to see you. + +FATHER + +Oh, my God! _(He and the Doctor leave)_ + +_[The Relatives seat themselves in a semicircle. Solemn silence for a +time. Someone in Gray stands motionless in the corner, His stony face +turned toward them._ + +RELATIVES' CONVERSATION + +--Do you think, dear, she may die? + +--No, I don't think so. She is a very impatient woman and makes too +much of her pains. All women bear children and none of them die. I +have borne six children. + +--But the way she screamed, mamma? + +--Yes, her face was purple from screaming. I noticed it. + +--Not from screaming, but from laboring. You don't understand about +these things. My face got purple too, but I didn't scream. + +--Not long ago an acquaintance of mine, the civil engineer's wife, +gave birth to a child, and she scarcely made a sound. + +--I know. There's no need for my brother to be so upset. One must be +firm and take things calmly. And I'm afraid, too, he'll introduce a +lot of his fantastic notions in the bringing up of his children and +indulge their every whim. + +--He's a very weak character. He has little enough money, and yet he +lends it to people who don't deserve to be trusted. + +--Do you know how much the child's layette cost? + +--Don't talk to me of it! It gets on my nerves, my brother's +extravagance does. I often quarrel with him because he's so +improvident. + +--They say a stork brings babies. What sort of a stork is it? + +_[The young men burst out laughing._ + +--Don't talk nonsense. I gave birth to five children right in your +presence, and I'm no stork, thank the Lord. + +_[The young men burst our laughing again. The Elderly Woman eyes them +long and sternly._ + +--It's only a superstition. Children are born in an absolutely natural +way, firmly established by science. They've moved to new quarters now. + +--Who? + +--The engineer and his wife. Their old place was chilly and damp. They +complained to the landlord several times, but he paid no attention. + +--I think it's better to live in a small place that's warm than in a +large place that's damp. You are liable to catch your death of cold +and rheumatism if you live in a damp house. + +--I have a friend, too, who lives in a very damp house. And I too. +Very damp. + +--There are so many damp places nowadays. + +--Tell me, please--I've been wanting to ask you a long time--how do +you remove a grease stain from light-colored material? + +--Woollen? + +--No, silk. + +_[The child's crying is heard behind the scene._ + +--Take a piece of ice and rub it on the spot hard. Then take a hot +iron and press the spot. + +--No? Fancy, how simple! I heard benzine was better. + +--No, benzine is good for dark material. For light goods ice is +better. + +--I wonder whether smoking is allowed here. Somehow at never occurred +to me before whether one may or may not smoke where there is a +new-born baby. + +--It never occurred to me either. How strange! I know it isn't proper +to smoke at funerals, but here-- + +--Nonsense! Of course you may smoke. + +--Smoking is a bad habit just the same. You are still a very young man +and ought to take good care of your health. There are many occasions +in life when good health is highly essential. + +--But smoking stimulates. + +--Believe me, it's a very unhealthy stimulant. When I was young and +reckless, I was also guilty of using, or rather abusing, tobacco-- + +--Mamma, listen to him crying. My, how he's crying! Does he want milk, +mamma? + +_[The young men burst out laughing. The Elderly Woman looks at them +sternly._ + +CURTAIN + + + + +THE SECOND SCENE + +LOVE AND POVERTY + + +_The entire place is filled with a warm, bright light. A large, very +poor room, high walls, the color of old rose, covered here and there +with beautiful, fantastic, roughly drawn designs. To the right are +two lofty windows, eight panes in each, with the darkness of night +glooming through them. Two poor beds, two chairs, and a bare table, +on which stands a half-broken pitcher of water and a pretty bunch of +flowers. + +In the darkest corner stands Someone in Gray, the candle in His hand +now reduced by a third, but the flame still very bright, high, and +white. It throws a powerful light on His face and chin. + +Enter the Neighbors, dressed in light, gay dresses, their hands full +of flowers, grasses, and fresh branches of oak and birch. They run +about the room, scattering them. Their faces are merry, simple, and +good-natured._ + +NEIGHBORS' CONVERSATION + +--How poor they are! Look, they haven't even a single spare chair. + +--And no curtains in the windows. + +--And no pictures on the walls. + +--How poor they are! All they eat is hard bread. + +--And all they drink is water, cold water from the spring. + +--They don't own any clothes at all except what they have on. She +always goes about in her rosy dress with her neck bare, which makes +her look like a young girl. + +--And he wears his blouse and loose necktie, which makes him look like +an artist, and makes the dogs bark at him. + +--And makes all the respectable people disapprove of him. + +--Dogs hate the poor. I saw three dogs attack him yesterday. He +beat them off with a stick and shouted: "Don't you dare to touch my +trousers; they're my last pair!" And he laughed, and the dogs flung +themselves at him and showed their teeth and barked viciously. + +--I saw two respectable people, a lady and a gentleman, meet him on +the street to-day. They were terribly frightened and crossed to the +other side. "He'll ask for money," said the gentleman. "He'll kill +us," piped the lady. From the other side of the street they looked +back at him and held on to their pockets. He shook his head and +laughed. + +--He's such a jolly good fellow. + +--They're always laughing. + +--And singing. + +--It's he who sings. She dances. + +--In her rosy dress, with her little bare neck. + +--It does one good to look at them. They are so young and wholesome. + +--I am sorry for them. They're starving. Do you understand? They're +actually going without food. + +--Yes, it's true. They had more clothes and furniture, but they sold +every bit, and now they've nothing more to sell. + +--I know. She had such pretty earrings, and she sold them to buy +bread. + +--He had a beautiful black frock-coat, the one in which he was +married, and he sold that too. + +--The only thing they'll have left is their engagement rings. How poor +they are! + +--That's nothing. I was once young myself, and I know what it is. + +--What did you say, grandpa? + +--I said it's nothing, nothing at all. + +--Look, the mere thought of them makes grandpa want to sing. + +--And dance. + +_[They laugh._ + +--He is so kind. He made my boy a bow and arrow. + +--She cried with me when my daughter was ill. + +--He helped me mend the rickety fence. He's strong. + +--It's nice to have such good neighbors. Their youth warms our cold +old age. Their jolliness drives away our cares. + +--But their room is like a prison, it's so empty. + +--No, it's like a temple. It's so bright. + +--Look, they have flowers on the table, the flowers she picked on her +walk in the country in her rosy dress with her little bare neck. Here +are lilies-of-the-valley. The dew hasn't dried on them yet. + +--There is the burning campion. + +--And violets. + +--Don't touch; don't touch the flowers, girls. Her kisses are upon +them. Don't throw them on the floor, girls. Her breath is upon them. +Don't blow them away with your breath. Don't touch, don't touch the +flowers, girls. + +--He'll come and he'll see the flowers. + +--He'll take the kisses. + +--He'll drink her breath. + +--How poor they are! How happy they are! + +--Come, let's leave. + +--Haven't we brought our dear neighbors anything? + +--What a shame! + +--I brought a bottle of milk and a piece of white, sweet-smelling +bread. _(Puts them on the table)_ + +--I brought flowers. _(Scatters them)_ + +--We brought branches of oak and birch with green leaves. Let's put +them up around the walls. The room will look like cheerful green +woods. + +_[They decorate the room with the branches, concealing the dark +windows and covering the pinkish nakedness of the walls with leaves._ + +--I, brought a good cigar. It is a cheap one, but it's strong and +fragrant and will give pleasant dreams. + +--And I brought a ribbon, a red ribbon. It makes a very pretty fancy +bow for the hair. It's a present my sweetheart gave me; but I have so +many ribbons and she hasn't even one. + +--What did you bring, grandpa? Did you bring anything? + +--Nothing, nothing, except my cough. They don't want that, do they, +neighbor? + +--No more than they want my crutches. Hey, girls, who wants my +crutches? + +--Do you remember, neighbor? + +--Do _you_ remember, neighbor? + +--Come, let's go to sleep, neighbor. It's late already. _(They +sigh and leave, one coughing, the other knocking the floor with his +crutches)_ + +--Come, come! + +--May God give them happiness. They are such good neighbors. + +--God grant that they may always be healthy and merry and always love +each other. And may the hideous black cat never pass between them. + +--And may the good man find work. It's bad when a man is out of work. +_(They leave)_ + +_[Enter immediately the Wife of Man, very pretty, graceful, and +delicate, wearing flowers in her luxuriant hair which is hanging +loose. The expression on her face is very sad. She seats herself on +a chair, folds her hands in her lap, and speaks in a sad tone, turned +toward the audience._ + +MAN'S WIFE + +I've just returned from the city, where I went looking for I don't +know what. We are so poor, we have nothing, and it's very hard for us +to live. We need money, and I don't know how in the world to get it. +People won't give it to you for the asking, and I haven't the strength +to take it away from them. I was looking for work, but I can't get +work either. There are lots of people and little work, they say. I +looked on the ground as I walked to see if some rich person hadn't +lost his purse, but either nobody had lost one or somebody luckier +than I had already picked it up. I feel so sad. My husband will soon +come from his search for work, tired and hungry. What am I to give him +except my kisses? But you can't satisfy your hunger on kisses. I feel +so sad I could cry. + +I can go without eating for a long time and not feel it, but he can't. +He has a large body which demands food, and when he's gone a long time +without it, he gets pale, sick, and excited. He scolds me and then +begs me not to be angry at him. I never am angry at him, because I +love him dearly. It only makes me feel so sad. + +My husband is a very talented architect. I even think he's a genius. +He was left an orphan when a mere boy, and after his parents' death +his relatives supported him for some time; but as he was always of +an independent nature, sharp in his talk and prone to make unpleasant +remarks, and as he showed them no gratitude, they dropped him. +He continued to study, nevertheless, supporting himself by giving +lessons, and so made his way through college. He often went hungry, +my poor husband. Now he is art architect and draws plans of beautiful +buildings, but no one wants to buy them, and many stupid persons make +fun of them even. To make one's way in the world one must have either +patrons or luck. He has neither. So he goes about looking for a +chance, and maybe with his eyes on the ground looking for money like +me. He is still very young and simple. Of course, some day fortune +will come to us, too. But when will it be? In the meantime it's very +hard to live. When we were married we had a little property, but we +soon spent it. We went to the theatre and ate candy. He still has +hopes, but I sometimes lose all hope and cry to myself. My heart +breaks when I think he'll be here soon and I have nothing to give him +again except my poor kisses. + +O God, be a kind, merciful Father to us. You have so much of +everything, bread and work and money. Your earth is so rich. She grows +corn and fruit in her fields, covers the meadows with flowers, and +yields gold and beautiful precious stones from her bowels. And your +sun has so much warmth, and your pensive stars have so much quiet joy. +Give us, I pray you, a little from your abundance, just a little, +as much as you give your birds. A little bread, so that my dear good +husband may not be hungry; a little warmth, so that he may not be +cold; and a little work, so that he may carry his beautiful head +erect. And please do not be angry with my husband because he swears so +and laughs, and even sings and makes me dance. He is so young and not +a bit staid or serious. + +Now, after I have prayed, I feel relieved and hopeful again. Why, +indeed, should God not grant one's request when one asks Him for it so +earnestly? I'll go and hunt a little to see if somebody hasn't dropped +a purse or a diamond. _(Exit)_ + +SOMEONE IN GRAY + +She knows not that her wish has already been fulfilled. She knows not +that this morning two men in a rich house were bending eagerly over +a sketch by Man and were delighted with it. They searched for Man the +whole day; wealth was looking for him as he was looking for wealth. +And to-morrow morning, after the neighbors have gone to work, an +automobile will stop in front of this house, and two men bending low +will enter the poor room and bring wealth and fame. But neither he nor +she knows it. Thus fortune will come to Man, and thus also it will go. + +_[Enter Man and his Wife. He has, a beautiful proud head, bright eyes, +a high forehead, dark eyebrows parting at the root of the nose like +two bold wrings, and wavy black hair carelessly tossed back. A low, +white, turndown collar reveals a well-formed neck and part of his +chest. He is light and quick in his movements, like a young animal._ + +MAN + +Nothing again. I'll lie down and remain in bed the whole day. Anyone +wanting me will have to come here. I can't go to him. I'll stay in bed +the whole of to-morrow too. + +WIFE + +Are you tired? + +MAN + +Yes, I'm tired and hungry. I could eat a whole ox, like the Homeric +hero, but I shall have to content myself with a piece of hard bread. +Don't you know that a man can't live all the time on bread alone? I +want to tear, bite, chew! + +WIFE + +I'm sorry for you, dear. + +MAN + +I'm sorry for myself, but that doesn't satisfy my hunger. I stood a +whole hour in front of a restaurant to-day, looking at the chickens, +pastry, and sausages, as people look at works of art. And then the +signs. They describe ham so well that you could eat sign and all. + +WIFE + +I like ham too. + +MAN + +Who doesn't like ham? How about lobster? Do you like lobster? + +WIFE + +Yes. + +MAN + +You should have seen the lobster I saw. It was a painted one, but +it was even more beautiful than a live one. Red like a cardinal, +majestic, stern. You could kneel down and do homage to it. I think I +could eat two such cardinals and a priest of a carp besides. + +WIFE _(sadly)_ + +You didn't see my flowers, did you? + +MAN + +Flowers? You can't eat flowers, can you? + +WIFE + +You don't love me. + +MAN _(kisses her)_ + +Excuse me, but really I'm so hungry. Look, my hands are trembling and +I haven't even the strength to throw a stone at a dog. + +WIFE _(kisses his hand)_ + +My poor husband! + +MAN + +Where do those leaves, on the floor come from? They smell so good. Is +that your work too? + +WIFE + +No, the neighbors must have done it. + +MAN + +Fine people our neighbors are. It's strange, there are so many good +people in the world, and yet a man can die of hunger. Why is it? + +WIFE + +You've turned so sad. Your face is growing pale. What is the matter? +Do you see anything? + +MAN + +Yes, as I was joking, the terrible image of poverty glided in front of +me and stopped there, in the corner. Do you see it? Arms stretched out +in complaint, a child abandoned in the woods, a praying voice, and the +stillness of a human desert. Help! No one hears. Help, I'm dying! +No one hears. Look, wife, look! See the dark, gloomy shadows there, +quivering and rising like black smoke from a long, terrible chimney +leading into hell. Look! And I'm in the midst of them! + +WIFE + +I'm afraid. I can't look in that dark corner. Did you see all that in +the street? + +MAN Yes, I saw it in the street, and soon it'll be that way with us. + +WIFE + +No, God will not permit it. + +MAN + +Then why does He permit it to happen to others? + +WIFE + +We're better than others. We are good people. We never offend Him. + +MAN + +You think so? I do a lot of swearing. + +WIFE + +You're not bad. + +MAN + +Yes, I am bad. When I walk along the street and see all the things +that don't belong to us, I feel as if I had tusks like a boar. Oh, how +much money I haven't got! Listen, my dear wife. I was walking in the +park to-day, that lovely park, where the paths are straight as arrows +and the beech-trees like kings wearing crowns-- + +WIFE + +And I was walking in the city streets. Shops everywhere, such +beautiful shops! + +MAN + +I saw men, beautifully dressed, carrying canes, and I thought: "I +haven't anything like that." + +WIFE + +I saw elegantly dressed women, wearing dainty shoes that make your +feet beautiful, and pretty hats from under which your eyes shine +impenetrably, and silk skirts that make such a mysterious rustle; and +I thought: "I haven't a good hat or a silk skirt." + +MAN + +A ruffian jostled me. I showed him my tusks, and he fled in disgrace +to hide himself in the crowd. + +WIFE + +A well-dressed lady jostled me, but I didn't even look at her, I felt +so embarrassed. + +MAN + +Men rode by on proud, fiery horses. And I have nothing like that. + +WIFE + +She had diamonds in her ears. You felt like kissing them. + +MAN + +Red and green automobiles glided past noiselessly like phantoms with +burning eyes, and people sat in them and laughed and looked lazily +from one side to the other. And I have nothing like it. + +And I have no diamonds, no emeralds, no pure white pearls. + +MAN + +I saw a fine restaurant on the Island. It was brightly illuminated, +like heaven, and they were eating there. Black-coated monsters carried +around butter and bread and wine and beer, and people ate and drank. +My little wife, I'm hungry! I want something to eat! + +WIFE + +Dearie, you're running around all the time, and that makes you still +hungrier. You'd better sit down. I'll kneel beside you, and you can +take a piece of paper and draw a beautiful, beautiful building. + +MAN + +My inspiration is also hungry. It draws nothing but edible landscapes. +My palaces are like portly cakes with fat stuffing, and my churches +like sausages. But I see tears in your eyes. What is it, my dear wife? + +WIFE + +I feel so miserable not to be able to help you. + +MAN + +You make me ashamed of myself. I am a strong man with a good mind; I +am able, talented, and healthy, and yet I can't do a thing. My dear +wife, my little fairy is crying, and I am not able to help her. A +woman's tears are her husband's disgrace, I am ashamed. + +WIFE + +But it isn't your fault that people don't appreciate you. + +MAN + +My ears are burning just as they used to when I was a boy and had had +them boxed. Why, you are hungry too, and I, egoist that I am, haven't +noticed it. It's mean of me. + +WIFE + +My dear, I don't feel hungry. + +MAN + +It's unfair, it's contemptible. That ruffian who jostled me was right. +He saw I was a fat pig and that's all, a boar with sharp tusks but a +stupid head. + +WIFE. + +If you are going to keep on reproaching yourself, I'll cry again. + +MAN + +Don't, don't. No tears! Tears in your eyes frighten me. I am afraid +of those shining crystal drops, as if some other, some terrible person +were shedding them, not you. I won't let you cry. We have nothing, we +are poor. But I'll tell you of what we are going to have. I will charm +you with a bright fairy tale, my queen. I will array you in dazzling +dreams as in roses! + +WIFE + +You mustn't be afraid. You are strong, you are a genius, you will +conquer. Your momentary despair will pass away, and divine inspiration +will again quicken your proud head. + +MAN _(assumes a challenging attitude and throws an oak leaf into the +corner where the Unknown stands, saying)_ Ho, you, whatever your name, +Fate, Devil, or Life, I fling my glove down before you, I challenge +you to combat! The poor in spirit bow before your enigmatic power. +Your stony face inspires them with fear; in your silence they hear +the approaching tread of misery and terrible ruin. But I am strong and +bold, and I challenge you to combat! Come on! Let the swords glitter, +the shields clang! Deal and receive blows so that the earth trembles! +Ho, come forth to battle! + +WIFE _(nestling up at his left, somewhat behind, speaking solemnly)_ +Bolder, my husband, still bolder! + +MAN + +To your evil-boding inaction I oppose my living, daring strength; to +your gloom my clear, resonant laugh! Ho, repel the blows! You have +a stone brow, devoid of reason. I will throw the glowing balls of my +sparkling thought at it. You have a stone heart, devoid of pity. Take +care, I will pour into it the poison of my rebellious outcries. The +dark cloud of your grim wrath overshadows the sun. We will light the +darkness with our swords. Ho, repel the blows! + +WIFE + +Bolder, still bolder, my proud knight! Your squire is behind you. + +MAN + +Victorious, I will sing songs which the whole world will reecho; +fallen under your blows, my only thought shall be to rise again and +rush into battle. There are weak spots in my armor, but when my red +blood is flowing, I will gather my last strength and cry: "You have +not conquered, evil Enemy of Man!" + +WIFE + +Bolder, my knight! I will wash your wounds with my tears. I will stop +the flow of your red blood with my kisses. + +MAN + +And dying on the field of battle as the brave die, with one cry I will +destroy your blind joy: "I have conquered!" I have conquered, O cruel +Enemy. Unto my last breath I did not recognize your power! + +WIFE + +Bolder, my knight, bolder! I will die beside you. + +MAN + +Ho, come forth to battle! Let the swords glitter, the shields clang! +Deal and receive blows to make the earth tremble! Ho, come forth! + +_[For some time Man and his Wife remain in the same posture; then they +turn around, facing each other, and kiss._ + +MAN + +That's the way we'll deal with life, my dear, won't we? Let it frown +like a blind owl in the sun--we'll compel it to smile. + +WIFE + +And to dance to our songs--so we will, we two. + +MAN + +We two. You're a good wife, you're my true friend, you're a brave +little woman, and as long as you are with me I fear nothing. Poverty, +what does it amount to? To-day we're poor, to-morrow rich. + +WIFE + +And what is hunger? To-day we are hungry, to-morrow satisfied. + +MAN + +Do you think so? It's quite possible. But I'll eat a lot. I shall need +so much to satisfy my hunger. Tell me, do you think this will prove +enough? In the, morning, tea or coffee or chocolate. You can have your +choice. It's free. Then a breakfast of three courses, then lunch, then +dinner, then-- + +WIFE + +More fruit. I like fruit. + +MAN + +Very well. I'll buy fruit by the barrel, direct from the wholesale +market. It's cheaper and fresher. Besides, we'll have our own garden. + +WIFE + +But we have no land. + +MAN + +I'll buy land. I've always wanted to have my own piece of land. By the +way, I'll build a house for us and design it too. Let the rascals see +what sort of an architect I am. + +WIFE + +I should like to live in Italy, close by the sea; in a white marble +villa in a grove of lemons and cypresses, with marble steps leading +straight down to the blue water. + +MAN + +I understand. That's all right. But I intend, besides, to build a +castle in the mountains of Norway. Below, the fjord; and above, on the +steep mountain, the castle. We have no paper. But look, I'll show it +to you on the wall here. Here is the fjord, you see? + +WIFE + +Yes, beautiful. + +MAN + +Here, sparkling blue water gently beating against the green grass; +here, beautiful cinnamon-colored stone; and there, in the recess, +where this spot is, a bit of blue sky and serene white clouds. + +WIFE + +Look, there is a white boat floating on the water--it looks like two +swans swimming side by side. + +MAN + +And up there rises the mountain. Bright and green below, it turns +gloomier and sterner as it ascends--rugged crags, dark shadows, fallen +boulders, and patches of clouds. + +WIFE + +Like a ruined castle. + +MAN + +And there, on that spot--the middle one--I'll build my royal castle. + +WIFE + +It's cold up there, and windy. + +MAN + +I'll have thick stone walls and large windows with all the panes made +out of a single piece of glass. At night, when the winter snowstorms +begin to rage and the fjord below to roar, we'll draw the curtains and +make a fire in the huge fireplace. It is such a tremendous fireplace +that it will hold a whole log. It will burn up a whole forest of +pines. + +WIFE + +How nice and warm. + +MAN + +And how quiet too, if you will please notice. Carpets covering the +whole, floor and lots of books will make it cosy and quietly lively. +And we'll be there, the two of us. The wind howling outside and we two +sitting before the fireplace on a white bear-skin rug. "Wouldn't you +like to have a look at what's doing outside?" you'll say. "All right!" +And we'll go to the largest window and draw aside the curtain. Good +heavens! What a sight! + +WIFE + +See the snow whirling. + +MAN + +Galloping like white horses, like myriads of frightened little +spirits, pale with fear and seeking safety in the night. And what a +howling and roaring! + +WIFE + +Oh, it's cold. I'm shivering. + +MAN + +Go back to the fireplace, quick! Hey there, fetch me grandfather's +goblet--not that one, the golden one from which the vikings drank. +Fill it up with sparkling wine--not that way--fill it to the brim with +the burning draught. Venison is roasting on the spit. Bring it here. +I'll eat some. Quick, or I'll eat you. I'm hungry as the devil. + +WIFE + +There, they have brought it. Now, go on. + +MAN + +Go on? I'll eat some, of course. What else do you expect? What are you +doing to my head, little wife? + +WIFE + +I am the goddess of fame. I have woven a crown of the oak leaves that +our neighbors scattered here, and I'm crowning you. It's Fame that +has come to you, the beautiful goddess Fame. _(Puts the wreath on his +head)_ + +MAN + +Yes, fame; loud, noisy fame. Look at the wall. Do you see this? It's +I, walking. And who is this next to me? Do you see? + +WIFE + +I. + +MAN + +Look, they are bowing to us; they are whispering about us; they are +pointing their fingers at us. There is a venerable old gentleman +saying with tears in his eyes: "Happy the land that has such +children!" See how pale this youth here has turned. Fame looked at him +and gave him a smile. That's after I built the People's House, which +is the pride of the whole country. + +WIFE + +You are my famous husband. The oak wreath suits you so well. A laurel +wreath would become you still better. + +MAN + +Look, look, there come the representatives of the city where I was +born. They bow to me and say: "Our city is proud of the honor--" + +WIFE + +Oh! + +MAN + +What is it? + +WIFE + +I found a bottle of milk. + +MAN + +Impossible! + +WIFE + +And bread, soft, sweet-smelling bread. And a cigar. + +MAN + +Impossible! You are mistaken. It's the dampness from that damned wall, +that's what it is. It isn't milk. + +WIFE + +But it is. + +MAN + +A cigar? Cigars don't grow on windows. They are sold for fortunes in +tobacco stores. It's a black stick, a piece of a branch, I'm sure. + +WIFE + +Look and see. I suppose our neighbors brought it. + +MAN + +Our neighbors? I tell you they're people--they're not human--they're +divine. But even if the devil himself brought it--quick, give it here, +my sweet little wife. + +_[Man's Wife seats herself on his knees, and so they eat. She breaks +off pieces of bread and puts them in his mouth. He feeds her the milk +from the bottle._ + +MAN + +Seems to be cream. + +WIFE + +No, it's milk. Chew better. You'll choke. + +MAN. + +Give me the crust. It's so brown. + +WIFE + +I told you, you'd choke. + +MAN + +No, it went down. I swallowed it. + +WIFE + +The milk is running down my chin and neck. Oh, it's tickling me. + +MAN. + +Lean over. I'll lick it off. We mustn't let a drop go to waste. + +WIFE + +You're a cunning one. + +MAN + +There! Quick work. All good things soon come to an end. This +bottle seems to have a double bottom. It looks so large. The glass +manufacturers are terrible cheats. + +_[He lights the cigar with the air of a man relaxing into beatific +repose. His Wife ties the red ribbon in her hair, looking at herself +in the dark pane of the window._ + +WIFE + +Don't you see? + +MAN + +I see everything. I see your ribbon, and I see, you want me to kiss +you on your dear little bare neck. + +WIFE. + +No, sir, I won't permit that. You've grown too forward of late anyway. +You take such liberties. Please go on smoking your cigar and leave my +neck-- + +MAN + +What, isn't your neck mine? I'll be jiggered! Why, it's an attack +on the sacred rights of property _(She runs away; he catches her and +kisses her)_ So, the property rights have been restored. Now, my +dear, we'll dance. Imagine that this is a magnificent, a luxurious, a +wonderful, a supernatural, ah exquisitely beautiful palace. + +WIFE + +Very well. I'm imagining it. + +MAN + +Imagine you're the queen of the ball. + +WIFE + +All right. It is imagined. + +MAN + +And that counts, marquises, and dukes come up and ask you to dance. +But you refuse. You choose that one--What's his name?--the one in +uniform--the prince. What's the matter? + +WIFE + +I don't like princes. + +MAN + +Indeed? Then whom do you like? + +WIFE + +Talented artists. + +MAN + +Very well. Here's one for you. Why, girl, what are you doing? Are you +flirting with the air? + +WIFE + +I am imagining. + +MAN + +All right. Imagine a wonderful orchestra. Here is the Turkish +drum--boom, boom, boom! _(He strikes his fist on the table as on a +drum)_ + +WIFE + +Why, dear, it's only in the circus that they attract crowds by beating +drums, but in a palace-- + +MAN + +Oh, hang it! Stop imagining that, then. Now imagine something else. +The violins are playing a melodious plaint; the flutes are singing +gently; the double bass drones like a beetle. + +_[Man sits down, still wearing his oak wreath, and strikes up a dance +tune, clapping his hands in accompaniment. The melody is the same as +in the next scene at Man's ball. The Wife dances. She is well-formed +and graceful._ + +MAN + +Oh, you darling! + +WIFE + +I am the queen of the ball. + +_[The song and dance grow ever jollier. Man rises slowly and begins +to dance lightly on the spot where he is standing; then he seizes his +Wife and dances with her. The oak wreath slips to one side. Someone +in Gray looks on indifferently, the candle burning brightly in his +petrified hand._ + +CURTAIN + + + + +THE THIRD SCENE + +A BALL AT MAN'S HOUSE + + +_The ball is in the drawing-room of Man's large mansion. It is a very +lofty, spacious, perfectly rectangular room. The floor is bright and +smooth. There is a certain irregularity about the room due to the +disproportionate size of the parts. Thus, the doors are very small +in proportion to the windows. This produces a strange, irritating +impression, as of something disharmonious, something lacking, and also +of something superfluous and adventitious. The whole is pervaded by a +chilly white, the monotony of which is broken only by a row of windows +in the rear wall. They are very high, reaching almost to the ceiling, +and dense with the blackness of night. Not one gleam, not a bright +spot shows in the blank spaces between the window frames. Man's wealth +shows in the abundance of gildings. There are gilded chairs, and +very wide gold frames enclose the pictures. These constitute the only +furniture as well as the only ornamentation. The lighting is from +three chandeliers shaped like tings, with a few electric lights placed +at a great distance apart. At the ceiling the light is bright, but +considerably less so below, so that the walls seem grayish. + +The ball is in full swing. The music is furnished by an orchestra +of three pieces. The musicians resemble closely their respective +instruments; the violinist, a violin--lean neck, small head, a shock +of hair brushed to one side, back somewhat bent, a handkerchief +correctly adjusted on his shoulder under the violin; the flute-player, +a flute--very, tall, with a thin, elongated face, and stiff, thin +legs, the bass-violinist, a double-bass--stumpy, round-shouldered, +lower part of his body very stout, wide trousers. The uncommon effort +with which the musicians play is painfully evident. They beat time, +swing their heads, and shake their bodies. The tune is the same +throughout the ball, a short polka in two musical phrases, producing a +jolly, hopping, extremely insipid effect. The three instruments do +not quite keep time with one another, producing a sort of queer +detachment, a vacant space, as it were, between them and the sounds +which they produce. + +Young men and girls are dancing dreamily. All are handsome, +distinguished-looking, with good figures. In contrast to the piercing +notes of the music, their dancing is smooth, noiseless, light. At +the first musical phrase, they circle around; at the second, they +gracefully part and join again. There is a slight mannerism in their +dancing. + +Along the walls, on the gilded chairs, sit the Guests, stiff and +constrained. They scarcely venture to move their heads. Their +conversation is also constrained. They do not whisper to one another; +they do not laugh, and they scarcely look at one another. They speak +abruptly, as if chopping out the words of a text. Their hands hanging +superciliously over their laps make their arms look as if they had +been broken at the wrists. The monotony of their faces is strongly +emphasized. Every face bears the same expression of self-satisfaction, +haughtiness, and inane respect for the wealth of Man. + +The dancing girls are all in white, the men in black. Some of the +Guests wear black, white, and brightly yellow? flowers. + +In the near corner, which is darker than the rest, Someone in Gray +called He stands motionless. The candle in his hand is reduced +two-thirds and burns with a strong, yellow light, casting a yellow +sheen on His stony face and chin._ + +THE GUESTS' CONVERSATION + +--It is a very great honor to be a guest at Man's ball. + +--You may add, it is an honor of which very few have been deemed +worthy. The whole city tried to get themselves invited, but only a +very few succeeded. My husband, my children, and I are quite proud of +the honor Man has showed us. + +--I am really sorry for those who were not able to get here. They +won't sleep the whole night from sheer envy, and to-morrow they'll say +nasty things about the ball and call it a bore. + +--They never saw such magnificence. + +--Or such wonderful wealth and luxury. + +--Or, I dare say, such charming, free and easy gayety. + +--If this isn't gay, I should like to know what is. + +--Oh, what's the use of talking? You can't convince people consumed by +jealousy. They'll tell us we didn't sit on gilded chairs, absolutely +not. + +--They'll say that the chairs were of the commonest sort, bought at +second hand. + +--That the illumination was not by electricity, but just by tallow +candles. + +--Say candle stumps. + +--Or dirty lamps. + +--They'll have the impudence to maintain that the mouldings in Man's +house are not gilded. + +--And that the broad picture frames are not made of gold. It seems to +me I can hear the very ring of it. + +--You can see its glitter. That's quite sufficient, I should think. + +--I have rarely had the pleasure of hearing such music. + +--It is divine harmony. It transports the soul to higher spheres. + +--I should think the music good enough, considering the money paid for +it. It is the best trio in the city. They play on the most important +and solemn occasions. + +--If you listen awhile, it compels your absolute attention. After a +ball at Man's, my children keep singing the tune a long time. + +--I sometimes think I hear it in the street. I look around--no +musicians, no music. + +--What I like especially in these musicians is the great effort they +make when they play. They know the price they're paid and don't want +to get the money for nothing. That's very decent of them. + +--It seems as if they became a part of their instruments, their +efforts are so great. + +--Or as if the instruments became part of them. + +--How rich! + +--How magnificent! + +--How brilliant! + +--How rich! + +_[For some time the two expressions, "How rich! How magnificent!" are +repeated from different parts of the room, uttered abruptly, like a +bark._ + +--Beside this ballroom there are fourteen other magnificent rooms in +Man's house. I have seen them all. The dining-room has such a huge +fireplace that you can put a whole log into it. There are magnificent +guest-rooms and a beautiful boudoir. A large bedroom, and over the +pillows on the beds--just fancy!--canopies! + +--Why, how wonderful! Canopies! + +--Did you hear? Canopies! + +--Permit me to continue. For their son, the little boy, they have a +beautiful bright room of golden yellow wood. It looks as if the sun +were shining into it all the time. + +--He is such a fine boy. He has curly hair that looks like the rays of +the sun. + +--That's true. When you look at him you wonder whether the sun has +risen. + +--And when you look at his eyes you think: "Autumn is, gone, and the +blue sky is here again." + +--Man loves his son madly. He bought him a pony for horseback riding, +a nice snow-white pony. My children-- + +--Pray, let me continue. Have I told you yet about the swimming-pool? + +--No. No. + +--A swimming-pool, a perfect marvel. + +--What, a swimming-pool! + +--Yes. And further on is Man's study, full of books, books, books. +They say he's a very learned man. + +--You can see it by the books. + +--I have seen his garden. + +--I haven't. + +--It was entrancing, I must say. Imagine an emerald-green lawn kept +beautifully mowed and trimmed at the edges. In the middle a path of +fine red sand. + +--Flowers--even palms. + +--Yes, even palms. And all the trees trimmed as carefully and +precisely as the lawn, some cut in the shape of pyramids, others +in the shape of green columns. There's a lovely fountain and little +plaster elves and deer scattered all around in the grass. + +--How rich! + +--How magnificent! + +--How brilliant! + +--How rich! + +--Man did me the honor of showing me his stables and barns. I had +to tell him how much I admired his horses and carriages. I was +particularly impressed by his motor car. + +--Think of it, he has seven servants; seven--a chef, a woman-cook, two +maids, gardeners-- + +--You forget the coachman and the chauffeur. + +--Yes, of course, the coachman and the chauffeur. + +--And they themselves do nothing at all. They are too fine. + +--You must admit, it is a great honor to have been invited to Man's +ball. + +--Don't you find the music somewhat monotonous? + +--No, I don't, and I'm surprised you do. Don't you see what kind of +musicians they are? + +--I should like to hear such music all my life. That's what I say. +There's something, in that music that stirs me. + +--Me too. + +--Me too. + +--It is a delicious sensation to abandon oneself to dreams of +happiness under the influence of this music! + +--To transport oneself in fancy to the astral spheres! + +--How fine! + +--How rich! + +--How magnificent! + +_[These phrases are repeated._ + +--I notice a stir at that door. Man and his Wife will soon pass +through the hall. + +--The musicians are working away for dear life. + +--There they are! + +--They're coming! Look, they're coming! + +_[Man, his Wife, his Friends, and his Enemies appear in the door on +the right, cross the room diagonally to the door on the left. The +dancers go on dancing, but part to make way for them. The musicians +play desperately loud and out of tune. Man has aged greatly. His long +hair and long beard are beginning to turn gray. But his face is manly +and handsome, and he walks with calm dignity and an air of coldness. +He looks straight ahead of him, as if not noticing those around him. +His Wife has also aged, but she is still beautiful and walks leaning +on his arm. She too seems not to notice the people around her, but +looks straight ahead, with a rather strange, almost fixed expression. +Both are richly dressed. + +His Friends follow directly behind Man. They resemble one another very +much--noble faces, high and candid foreheads, honest eyes. They walk +proudly, throwing out their chests, stepping firmly and confidently, +and looking, now to this side, now to that, with condescension and +slight disdain. They wear white roses in their buttonholes. + +Following them at a slight distance come Man's Enemies, also very much +resembling one another--mean, cunning faces; low, heavy foreheads; +long, ape-like arms. They walk uneasily, pushing, bending, and hiding +behind one another, and casting sharp, mean, envious, sidelong glances +from beneath lowered lids. Yellow roses appear in their buttonholes. +Thus they pass through the room, slowly and in perfect silence. The +sounds of the steps, the music, and the exclamations of the Guests +produce a sharply discordant noise._ + +GUESTS' CONVERSATION + +--There they are. There they are. What an honor! + +--How handsome he is! + +--What a manly face! + +--Look! Look! + +--He isn't looking at us! + +--He doesn't see us! + +--We are his guests! + +--What an honor! What an honor! + +--And his wife! Look! Look! + +--How beautiful she is! + +--How proud! + +--I tell you, just look at her diamonds! + +--Her pearls! Her pearls! + +--And her rubies! + +--How rich! What an honor! + +--Honor! Honor! Honor! + +_[The same phrases are repeated again._ + +--Here are Man's Friends! + +--Look, look, there are Man's Friends. + +--Noble faces! + +--Proud gait! + +--They shine with the reflected splendor of his fame. + +--How they love him! + +--How faithful they are to him! + +--What an honor to be one of Man's Friends! + +--They regard everything here as their own! + +--They're at home here! + +--What an honor! + +--Honor! Honor! Honor! + +_[Same phrases are repeated._ + +--And there are Man's Enemies! + +--Look, look, Man's Enemies! + +--They walk like whipped curs! + +--Man has subdued them! + +--He's put a muzzle on them! + +--They're wagging their tails! + +--They're sneaking behind one another. + +--They're pushing one another. + +--Ha-ha! Ha-ha! + +_[Everybody laughs._ + +--What mean faces! + +--What greedy looks! + +--Cowardly! + +--Malevolent! + +--They're afraid to look at us! + +--They feel we're at home! + +--Let's frighten them. + +--Man'll be thankful to us for it. + +--Ho-ho! + +_[They shout at Man's Enemies, mingling their shouts with laughter. +The Enemies huddle closer together and cast sharp, timid, sideward +glances._ + +--They're going! They're going! + +--What an honor! + +--They're going! + +--Ho-ho! Ha-ha! + +--They're gone! They're gone! They're gone! + +_[The procession disappears through the door on the left. A pause of +silence. The music plays less loudly, and the dancers begin gradually +to fill the hall._ + +--Where did they go? + +--I believe they went to the dining-room, where supper is being +served. + +--I suppose they'll soon invite us in. Do you see anybody looking for +us? + +--Yes, it's time for supper. If you eat too late, you can't sleep +well. + +--I always serve supper early. + +--A late supper lies heavy on your stomach. + +--And the music is still playing. + +--And they're still dancing. + +--I wonder they don't get tired. + +--How rich! + +--How magnificent! + +--Do you know for how many guests they have prepared the supper? + +--I didn't get a chance to count all the covers. The caterer came in, +and I had to get out. + +--Could they possibly have forgotten us? + +--Man is so proud, and we are so unimportant. + +--Don't say that. My husband says we do him an honor by accepting his +invitation. We are rich, too. + +--When you consider the reputation of his wife-- + +--Do you see anyone looking for us? Maybe he's looking for us in the +other rooms. + +--How rich! + +--If you are not careful with other people's money, it's easy to get +rich, I think. + +--Oh, now, it's only his enemies who say that. + +--Well, after all, there are some very respectable people among them. +I must admit that my husband-- + +--It is late, though. + +--It's clear there must be a mistake somewhere. I can't believe we've +simply been forgotten. + +--Evidently you know people and life very little if you think so. + +--I am surprised. We are rich enough ourselves. + +--It seems to me someone called us. + +--You're mistaken, no one called us. I don't understand it. To +be quite frank--why did we come to a house like this, with such a +reputation? One should be very careful of the friends one chooses. + +A LIVERIED LACKEY _(appears at the door)_ + +Man and his Wife beg the honored guests to step into the dining-room. + +GUESTS _(rising quickly)_ + +--What a livery! + +--He asked us to come in! + +--I said there must be a mistake somewhere. + +--Man is so good. I'm sure he hasn't had a chance to sit down at table +himself. + +--Didn't I say someone was looking for us? + +--What a livery! + +--They say the supper is grand. + +--Everything at Man's is done in a grand style. + +--What music! What an honor to be at Man's ball! + +--Let those envy us who-- + +--How grand! + +--How magnificent! + +--What an honor! + +_[They go out one after the other, repeating the last phrases. One +couple after the other stop dancing and follow the Guests in silence. +For some time a single couple remain circling on the floor, but they +too join the others at last. The musicians, however, continue to play, +making the same desperate effort. The lackey turns out the electric +lights, leaving only one light in the farthest chandelier. The figures +of the musicians are vaguely seen in the dim light, swaying to and +fro with their instruments. The outline of Someone in Gray is sharply +visible. The flame of the candle flickers, illuminating His stony face +and chin with a garish, yellow light. He turns around without raising +his head, walks slowly and calmly through the whole length of the +room, and disappears through the door through which Man passed out._ + +CURTAIN + + + + +THE FOURTH SCENE + +MAN'S MISFORTUNE + + +_A large, gloomy, quadrangular room, with dark watts, dark floor, and +dark ceiling. There are two high, curtainless windows with eight panes +in the rear watt, and between them a small, low door. Two similar +windows appear in the right wall. Night glooms through the windows, +and when the door opens, the same deep blackness of night stares into +the room. In general, however bright Man's rooms may be, the vast +darkness of the windows engulfs the light. + +On the left wall there is nothing but a small, low door leading to +the rest of the house. At the window on the right stands a broad sofa +covered with dark oilcloth. Man's desk is very simple and poor. On it +are seen a dimly burning, shaded lamp, a sheet of yellow paper with +a sketch drawn on it, and a lot of toys--little peaked cap, a wooden +horse without a tail, and a red, long-nosed clown with bells. Between +the windows there is an old dilapidated bookcase entirely empty. The +visible lines of dust left by the books show that they must have been +removed recently. The room has only one chair. + +In the darkest corner stands Someone in Gray called He. The candle in +his hand is now no longer than it is thick. The wax is running over a +little. The stump burns with a reddish, flickering light, and casts a +red sheen on His stony face and chin. + +The only remaining servant of Man, an Old Woman, is sitting on +the chair. She speaks in an even voice, addressing an imaginary +companion._ + +OLD WOMAN + +There! Man has slipped back into poverty. He had a lot of valuable +things, horses and carriages, and even an automobile. Now he has +nothing. Of all his servants I am the only one left. There are still +some good things in here and in two other rooms. There's the sofa and +the bookcase. But in the other twelve rooms there's not a thing. They +are dark and empty. Rats run around in them day and night and fight +and squeak. People are afraid, but I'm not. It's all the same to me. + +An iron sign has been hanging on the gate for ever so long, saying +the house is for sale. But no one wants to buy it. The sign's rusty +already, and the rain has worn the letters away. But no one comes to +buy the house. No one wants an old house. Yet maybe someone will buy +it. Then we'll be going to look for another place to live in. It'll +be a strange place. My mistress will begin to cry, and I dare say, the +old gentleman will too. But I won't. It's all the same to me. + +You wonder what's become of all his riches. I don't know. Maybe it +seems strange, but I've been living with other people all my life, +and many is the time I've seen money disappear, quietly running off +through some leak or other. That's the way it has happened to these +folks too. They had a lot, then it got to be a little, and then +nothing at all. People came and bought things. Then they stopped +coming. I once asked my mistress how it came about. She answered: +"People have stopped liking what they used to like; they have stopped +loving what they used to love." "How is that possible?" says I. "How +can people stop liking what they once liked?" She didn't answer and +fell to crying. But I didn't. It's all the same to me. It's all the +same to me. + +People say they are surprised at me. It's terrible, they say, to +live in this house; terrible to sit here at night with only the wind +whining in the chimney and the rats squeaking and scuffling. Maybe it +is terrible, I don't know; but I don't think about it. Why should I? +There they sit, the two of them, in their room, looking at each other +and listening to the whining of the wind; and I sit in the kitchen +alone and listen to the whining of the wind. Doesn't the same wind +whine in our ears? Young folks used to come to see their son, and they +would all laugh and sing and go through the empty rooms to chase the +rats. But nobody comes to me, and I sit alone, all alone. There's no +one to talk to, so I talk to myself, and it's all the same to me. + +I'm sure they had a hard enough time of it--no need of more ill luck. +But three days ago another misfortune happened to them. The young +gentleman went out walking, his hat cocked, his hair dressed in latest +fashion. And a bad man went and threw a stone at him from behind a +corner and broke his head like a nut. They brought him home, put him +to bed, and now he's dying in there. Maybe he'll recover and live--who +knows? The old lady and the old gentleman cried, and then they put all +the books on a wagon and sold them. With the money they hired a nurse, +bought medicines, and even grapes. So the books, too, were of some +good. But he doesn't eat the grapes. He doesn't even look at them. +They just lie there on the dish, just lie there. + +DOCTOR _(enters through the outer door; his face looks red and his +manner is uneasy)_ Can you tell me if I am in the right place? I'm +a doctor. I have many visits to pay, and I often make mistakes. I'm +called here and there and everywhere, and all the houses look alike +and the people in them are all sad. Have I struck the right place? + +OLD WOMAN + +I don't know. + +DOCTOR + +I'll consult my note-book. Is there a child here choking with a sore +throat? + +OLD WOMAN + +No. + +DOCTOR + +Is there a man here who suddenly went insane from poverty and attacked +his wife and two children with a hatchet? Four patients in all, I +suppose. + +OLD WOMAN + +No. + +DOCTOR + +Is there a girl here whose heart stopped beating? Don't lie, old +woman, I think she is here. + +OLD WOMAN + +No. + +DOCTOR + +Well, I believe you. You seem to speak the truth. Is there a young man +here whose head was broken by a stone and who is dying? + +OLD WOMAN + +Yes. Go through that door on the left, but don't go any farther. The +rats will eat you up! + +DOCTOR + +Very well. They keep ringing, ringing all the time, day and night. +Here it is, late at night. All the lights in the street are out, and I +am still on the run. Often I make a mistake and enter the wrong house. +Yes, old woman, I do. _(Exit through the door leading inside)_ + +OLD WOMAN + +One doctor has already treated him, but didn't cure him. Now there's +another, and I guess he won't cure him either. Well! Then their son +will die, and we'll remain alone in the house. I'll sit in the +kitchen and talk to myself, and they'll sit in there keeping quiet and +thinking. Another room vacated, another room for the rats to scuffle +in. Let them squeak and scuffle. It's all the same to me. It's all +the same to me. You ask me why that bad fellow threw the stone at our +young gentleman. I don't know--how could I know why people want to +kill each other? One threw a stone from behind a corner and ran away; +the other one fell in a heap and is now dying--that's all I know. They +say that our young gentleman was a fine chap, very brave, and very +kind to poor people. I don't know anything about it--it is all the +same to me. Whether they are good or bad, young or old, quick or dead, +it is all the same to me. It is all the same to me. + +As long as they pay, I'll stay with them; and when they stop paying, +I'll go to other people to do their housework, and finally I shall +stop altogether--when I get old, and my eyesight gets poor, so that +I can't tell salt from sugar. Then they'll turn me out and say: "Go +where you please. We'll hire another one." What of it? I'll go. It's +all the same to me. Here, there, or nowhere, it's all the same to me. +It's all the same to me. + +_[Enter Doctor, Man and his Wife. Both have aged greatly and are +completely gray. Man's long bristling hair and beard give his face +a leonine appearance. He walks slightly stooping, but holds his head +erect and looks sternly and resolutely from beneath his gray eyebrows. +When he looks at anything closely, he puts on large, silver-framed +eye-glasses._ + +DOCTOR + +Your son has fallen into a deep sleep. Don't wake him. It may bring on +a turn for the better. You go to sleep too. When one has a chance to +sleep one should grab it and not stay up talking. + +WIFE + +Thank you, doctor, it's been such a relief. Will you call to-morrow +again? + +DOCTOR + +Yes, to-morrow and the day after to-morrow. Old woman, you go to bed +too. It's late, it's time for all to go to bed. Is that the door to +leave by? I often make mistakes. + +_[He goes out. The Old Woman goes also. Man and his Wife are left +alone._ + +MAN + +Look, wife, I began to draw this while our son was still well. I +stopped at this line and thought I'd rest and resume the work later. +See what a simple, placid line it is, yet horrible to look at. It +may be the last line I shall have drawn in our boy's lifetime. What +malicious ignorance there is graven in its simplicity and placidity. + +WIFE + +Don't get excited, my dear. Don't think those evil thoughts. I believe +the doctor told the truth and our son will recover. + +MAN + +Aren't you excited too? Look at yourself in the mirror. You're as +white as your hair, my old friend. + +WIFE + +Of course, I am a little excited, but I'm convinced there's no danger. + +MAN + +Now, as always, you encourage me and fool me so sincerely, so +guilelessly. My poor squire, true guardian of my dulled sword, your +knight is a poor, broken-down man. He cannot hold a weapon in his +feeble hand. What do I see? Our son's toys. Who put them there? + +WIFE + +My dear, you put them there yourself long ago. Have you forgotten? You +said you found it easier to work with the child's innocent toys beside +you. + +MAN + +Yes, I had forgotten. But now it's terrible to look at them, as +terrible as it is for a convict to look at instruments of torture. If +the child dies, his toys will remain as a curse to the living. Wife, +wife, the sight of them is terrible to me! + +WIFE + +It was when we were still poor that we bought them. How touching it is +to look at them, those poor, dear toys! + +MAN + +I can't help it, I must take them in my hands. Here's the horse with +the tail torn off. Hop, hop, horsie! Where are you galloping off to? +I'm going far, far away, papa, to where the fields are and the green +woods. Take me along, horsie. Hop, hop, hop! Sit down, dear papa. And +there's the soldier's cap, the cheap cap I tried on myself in fun when +I bought it. Who are you? I'm a knight, papa. I'm the bravest, the +strongest knight. Where are you going, my little knight? I'm going to +kill the dragon, dear papa. I'm going to free the captives, papa. Go, +go, my little knight. _(The Wife cries)_ And there's our everlasting +clown, with his kind, stupid face. But how ragged he is, as if he +had come out of a hundred frays. Tinkle, friend, the way you used to +tinkle. What, you can't? Only one bell left, you say? Well, I'll throw +you on the floor. _(Throws down the toy)_ + +WIFE + +What are you doing? Remember how often our boy kissed his funny face. + +MAN + +Yes, that was wrong of me. Forgive me, friend, forgive me. _(He bends +down with difficulty and picks up the clown)_ Still laughing? Don't. +I'll put you away, out of sight. Don't be angry, I can't bear your +smile now. Go and laugh in a place where I can't see you. + +WIFE + +It breaks my heart to hear you speak like that. Believe me, our son +will get well. It wouldn't be just if the young were to die before the +old, would it? + +MAN + +Just? Where have you ever seen justice, wife? + +WIFE + +Please, dear husband, I beg you, kneel down beside me, and let us both +pray to God. + +MAN + +It's hard for an old man to bend his old knees. + +WIFE + +Bend them. You should--you must. + +MAN + +He will not hear me, He whose ear I've never troubled with either +praise or entreaty. You pray. You are the mother. + +WIFE + +You pray--you are the father. If a father is not to pray for his son, +who is? To whom are you leaving him? Can one person tell the same +things in the same way as the two of us together? + +MAN + +Very well. Maybe eternal justice will answer the prayers of an old man +who bends his old knees. + +_[Both go down on their knees, their faces turned to the corner +where the Unknown stands motionless; their arms are folded over their +breasts while they pray._ + +THE MOTHER'S PRAYER + +God, I beg you, let my son live. I can understand only one thing, I +can say only one thing, only one thing--God, let my son live. I +have no other words, all is dark around me, everything is falling. +I understand nothing, and there's such a terror in my heart, O Lord, +that I can say only this one thing--God, let my son live! Let him +live! Forgive me for praying so poorly. But I cannot pray in any other +way. You understand, O Lord, I can't. Look at me! Just look at me! Do +you see? Do you see how my head shakes, do you see how my hands shake? +But what are my hands, O Lord! Have pity on him. He is so young--he +has a birthmark on his right hand. Let him live, even if only a little +while, a little while. He is so young, such a mere foolish child--he's +still fond of sweets. I bought him grapes. Pity--have pity! + +_[She weeps in a subdued way, covering her face with her hands. Man +speaks without looking at her._ + +THE FATHER'S PRAYER + +Here I am praying, you see. I've bent my old knees. I've prostrated +myself in the dust before you. I'm kissing the ground, do you see? +Maybe I have sometimes offended you. If so, forgive me, forgive me. It +is true, I was haughty, arrogant. I demanded and did not beg. Often I +condemned--forgive me. And if you wish, if this be your will, punish +me, but spare my son. Spare him, I beg you. Not for mercy, not for +pity do I pray you. I pray for justice. You are old, and I am old too. +You will understand more easily than I. Bad people wanted to kill +him, people who insult you by their deeds and defile your earth--bad, +heartless people, who throw stones from behind corners. From +behind corners, the scoundrels! Do not then, I pray you, permit the +fulfilment of this evil deed. Stay the blood, give back the life--give +back the life to my noble son! You took everything away from me, but +did I ever ask you like a beggar: "Give me back my wealth, give me +back my friends, give me back my talent"? No, never. I did not even +ask you for my talent, and you know what his talent means to a man. +It is more than life. I thought perhaps that's the way it ought to be, +and I bore everything, bore everything with pride. But now I ask +you on my knees, in the dust, kissing the earth: "Give back my son's +life." I kiss your earth! + +_[He rises. Someone called He listens indifferently to the father's +and mother's prayers._ + +WIFE + +I'm afraid your prayer was not humble enough. There was a certain tone +of pride in it. + +MAN + +No, no, my wife, I spoke well to Him, the way a man should speak. He +cannot love cringing flatterers better than brave, proud men who speak +the truth. No, wife, you cannot understand. Now I believe also and +feel reassured--in fact, I am happy. I feel that I too still signify +something to my boy, and it makes me glad. Go and see if he's asleep. +He needs a lot of good, hard sleep. + +_[The Wife goes out. Man, with a friendly look to the corner where +Someone in Gray stands, picks up the toy clown, plays with it, and +gives its red nose a quick kiss. At that instant his Wife enters and +Man speaks shamefacedly._ + +MAN + +I was begging his pardon. I insulted this fool. Well, how is our dear +boy? + +WIFE + +He is so pale. + +MAN + +That's nothing. It'll pass away. He lost a lot of blood. + +WIFE + +It makes me so sad to look at his poor shorn head. He had such +beautiful golden curls. + +MAN + +They had to be cut so that the wound could be washed. Never mind, +wife, his hair will grow again and be still finer. Did you keep what +was cut off? Be sure to keep it. His precious, blood is on it. + +WIFE + +Yes, I put it away in the chest, the last one left of all our wealth. + +MAN + +Don't worry about wealth. Just wait until our son begins to work. +He'll restore all we've lost. I feel well again, wife, and I firmly +believe in our future. Do you remember our poor little rosy room? The +good neighbors scattered oak leaves in it, and you made a wreath of +them and put it on my head and said I was a genius. + +WIFE + +I say so still. Other people have ceased to appreciate you, but not I. + +MAN + +No, my dear little wife, you're wrong. What genius creates outlives +the old dirty bundle of rags known as the body, whereas I am still +living, and my productions-- + +WIFE + +No, they're not dead and they never will die. Do you remember that +corner house you built ten years ago? Every evening at sunset you go +to look at it. Is there a more beautiful building in the whole city, +is there any with more depth to it? + +MAN + +Yes, I purposely built it so that the last rays of the setting sun +should fall upon it and set its windows aglow. When the whole city is +in darkness, my house is still taking leave of the sun. It was well +done, and perhaps it will survive me a little while at least. What do +you think? + +WIFE + +Of course, my friend. + +MAN + +The only thing that hurts, wife, is that the people have forgotten me +so soon. They might have remembered me a little longer, just a little +longer. + +WIFE + +They have forgotten what they knew, and ceased to love what they +loved. + +MAN + +They might have remembered me a little longer, a little longer. + +WIFE + +I saw a young artist near that house. He studied it carefully and made +a sketch of it in his sketchbook. + +MAN + +Ah, why didn't you tell me that before? It's highly significant, +highly significant. It means that my ideas are accepted and handed +down by others, and even if I am forgotten, my ideas will live. It is +tremendously significant. + +WIFE + +Yes, my dear, you are not forgotten. Do you remember the young man who +bowed so reverently to you on the street? + +MAN + +Yes, that's so, wife. He was a fine, very fine youth. He had such a +nice young face. It's good you reminded me of his bow. It has sent a +ray of brightness into my heart. But I feel sleepy. I must be tired. I +am old too, my dear little gray wife. Have you noticed it? + +WIFE + +You're just as handsome as ever. + +MAN + +And my eyes are bright? + +WIFE + +Yes, your eyes are bright. + +MAN + +And my hair is black as pitch? + +WIFE + +It's so white, so like snow that it's even more beautiful. + +MAN + +And no wrinkles? + +WIFE + +Yes, there are little wrinkles on your face, but-- + +MAN + +Of course, I know I'm a beauty. To-morrow I'll buy myself a uniform +and enter the light cavalry. Yes? _(His Wife laughs)_ + +WIFE + +There, you're joking too, as in olden times. But lie down here and +sleep a little. I'll go to look after our boy. Don't worry, I won't +leave him. I'll call you when he wakes. You don't care to kiss an old +wrinkled hand, do you? + +MAN _(kissing her hand)_ + +Go, you're the most beautiful woman I've ever known. + +WIFE + +And the wrinkles? + +MAN + +What wrinkles? I only see a dear, kind, good, sensible face. Nothing +else. Don't take offence at my stern tone. Go to the boy, watch him, +stay with him like a quiet shadow of gentleness and love. And if he is +disturbed in his sleep, sing him a song as you used to do. And put the +grapes nearer, so that he can reach them. + +_[The Wife goes out. Man lies down on the sofa, his head toward the +spot where Someone in Gray stands immobile, so that His hand almost +touches Man's gray, dishevelled hair. Man falls asleep quickly._ + +SOMEONE IN GRAY + +Man has fallen into a sound, sweet sleep, deceived by hope. His breath +is soft as a child's, his heart beats calmly and evenly, bringing +him relief. He knows not that in a few moments his son will die. In +mysterious dream-fancies a picture of impossible happiness arises +before him. + +It seems to him that he and his son are drifting in a white boat along +a beautiful, quiet stream. It seems to him that it is a glorious day, +and he sees the deep sky and the transparent crystal water. He hears +the rustling of the reeds as they part before the boat. It seems to +him that he is happy and glad. All his feelings betray him. + +Suddenly he is disturbed. The terrible truth has entered through the +thick veil of sleep and stung his thoughts. + +"Why is your golden hair cut so short, my boy? Why?" + +"I had a headache, papa, that's why." + +And deceived once more, he feels happy again, sees the deep sky, and +hears the rustling of the parting reeds. + +He knows not that his son is already dying. He hears not how, in a +last senseless hope, with a child's faith in the power of adults, his +son is calling him without words, with his heart: "Papa, papa, I am +dying! Hold me!" Man sleeps soundly and sweetly, and in the deceptive, +mysterious fancies there arises before him the picture of impossible +happiness. Awake, Man! Your son is dead. + +_[Man lifts his head, frightened, and rises._ + +MAN + +Ha! What is it? I thought I heard someone call me. + +_[At that moment many women behind the scenes burst into a wail--the +loud, long-drawn wail over the dead. The Wife enters, frightfully +pale._ + +MAN + +Dead? + +WIFE + +Yes, he is dead. + +MAN + +Did he call me? + +WIFE + +No, he never awoke. He didn't call anyone. He is dead--my son, my +dear, darling boy! + +_[She falls on her knees before Man and sobs, clasping his knees. Man +puts his hand on her hand and, turning to the corner where Someone in +Gray stands indifferently, speaks in a sobbing, but terrible voice._ + +MAN + +You insulted a woman, scoundrel! You killed a boy! _(His Wife sobs. +Man softly strokes her hair with his trembling hand)_ Don't cry, my +dear, don't cry. He will scoff at our tears, just as He scoffed at +our prayers. And you--I don't know who you are--God, Devil, Fate, or +Life--I curse you! + +_[Man speaks the following in a loud, powerful voice, one arm about +his wife as if to protect her, the other arm fiercely extended toward +the Unknown._ + +MAN'S CURSE + +I curse everything that you have given. I curse the day on which I was +born. I curse the day on which I shall die. I curse the whole of my +life, its joys and its sorrows. I curse myself. I curse my eyes, my +ears, my tongue. I curse my heart and my head, and I fling everything +back at your cruel face, a senseless Fate! Be accursed, be forever +accursed! With my curses I conquer you. What else can you do to +me? Hurl me to the ground, I will laugh and shout in your face: +"Be accursed!" Seal my mouth with the clamps of death, with my +last thought I will shout into your stupid ears: "Be accursed, be +accursed!" Take my body, tear at it like a dog, drag it into the +darkness--I am not in it. I have disappeared, but disappearing I shall +repeat: "Be accursed, be accursed!" Through the woman whom you have +insulted, through the boy whom you have killed, I convey to you the +curses of Man! + +_[He turns in silence, with fiercely uplifted hand. Someone in Gray +listens passively to the curses. The flame of the candle flickers as +if blown by the wind. Thus they stand for some time in tense silence +confronting each other, Man and Someone in Gray. The wailing behind +the scenes grows louder and more prolonged, passing into a doleful +chant._ + +CURTAIN + + + + +THE FIFTH SCENE + +THE DEATH OF MAN + + +_An uncertain, unsteady, blinking light, so dim that at first nothing +is distinguishable. When the eye grows accustomed to it, the following +scene becomes visible. + +A long, wide room with a very low ceiling and windowless. The entrance +is down a flight of steps from somewhere above. The walls are bare and +dirty and resemble the coarse, stained hide of some huge animal. Along +the entire back wall up to the stairs runs a, bar with a top of +smooth glass. This is covered with bottles full of differently colored +liquors that are arranged in regular rows. Behind a low table sits +the Bartender, immobile, with his hands folded across his paunch. His +white face is blotched with red. His head is bald, and he has a large, +reddish beard. He wears an expression of utter calm and indifference, +which he maintains throughout, never changing his seat or his +attitude. + +Drunkards, both men and women, sit at small tables on wooden stools. +Their number seems to be augmented by their shadows dancing on the +walls and ceiling. + +It is one endless monotony of repulsive ugliness and desolation. +The men's faces resemble masks with the various features +disproportionately magnified or reduced: big noses, or no noses at +all; eyes staring savagely, almost starting from their sockets, or +eyes narrowed to scarcely visible slits and points; huge Adam's apples +and tiny chins. Their hair is tangled, frowzy, dirty, covering half +the face on some of them. Despite their differences, a horrible +sameness is stamped upon their faces: a greenish, ghastly tinge of +decay and an expression that appears grotesque in some, gloomy and +stupidly timid in others. + +They are dressed in dull rags, with here a bony arm bared, there +a sharp knee, and there again a frightfully sunken chest. Some are +almost entirely naked. The women differ little from the men, except +that they are even uglier and more uncouth. All have trembling heads +and hands and walk with an uncertain step, as if on a slippery, or +hilly, or sliding surface. Their voices, too, are all alike, rough and +hoarse. They speak as uncertainly as they walk, as if their lips were +frozen and refused to obey. + +In the centre, at a separate table, sits Man, his gray, unkempt head +leaning on his arms. In this position he remains throughout the +scene, except during the one moment when he speaks. He is dressed very +poorly. + +In the corner stands Someone in Gray, with the candle burned nearly +to the end. The slender blue flame flickers, now bending, now striving +upward with its sharp little tongue. Its blue throws a ghastly glare +on His face and chin._ + +THE DRUNKARD'S CONVERSATION + +--Oh my! Oh my! + +--Look, everything is swaying so strangely. There's nothing to rest +your eyes on. + +--Everything is shaking as in a fever--the people, the chair, the +ceiling. + +--Everything is floating and rocking as on waves. + +--Do you hear a noise? I hear a kind of noise, as if an iron wheel +were rumbling, or stones falling from a mountain, large stones coming +down like rain. + +--It's the ringing in your ears. + +--It's the tingling of your blood. I feel my blood. It flows heavy +through my veins, thick, thick, black, smelling of rum. And when it +gets to my heart, it all falls down, and it's terrible. + +--It seems to me I see flashes of lightning. + +--I see huge, red woodpiles and people burning on them. It's +disgusting to smell the roasting flesh. + +--Dark shadows circle around the piles. They are drunk, the shadows +are. Hey, invite me! I'll dance with you. + +--Oh my! Oh my! + +--I am happy, too. Who will laugh with me? Nobody. So I'll laugh by +myself. _(He laughs)_ + +--A charming woman is kissing my lips. She smells of musk and her +teeth are like a crocodile's. She wants to bite me. Get away, you +dirty hussy! + +--I am not a dirty hussy. I am an old pregnant snake. I've been +watching a whole hour to see little snakes come out of my body below +and crawl around. Say, don't step on my little snakes. + +--Where are you going? + +--Who's walking there? Sit down. You make the whole house shake when +you walk. + +--I can't. I feel awful sitting down. + +--I too. When I am sitting I feel a horror running through my whole +body. + +--So do I. Let me go. + +_[Three or four Drunkards reel aimlessly about, getting tangled up In +the chairs._ + +--Look what it's doing. It's been jumping for two hours, trying to get +on my knee. It just misses by an inch. I drive it away and it comes +back again. + +--Black cockroaches are creeping under my skull and buzzing. + +--My brain is falling apart. I feel the gray matter separating. My +brain is like rotten cheese. It stinks. + +--There's some sort of a corpse here. I smell it. + +--Oh my! Oh my! + +--I'll sneak up to her to-night and cut her throat. + +--The blood will flow. It's flowing already. See how red it is. + +--I am constantly being followed by three men. They are calling me +into a dark corner of the vacant lot, and they want to kill me. They +are already at the door. + +--Who is walking on the walls and ceiling? + +--Good Lord! They have come to take me. + +--Who? + +--They. + +--My tongue is getting paralyzed. I'll cry. _(Cries)_ + +--My whole body is coming out. I'll soon be turned inside out, and +then I'll be all red. + +--Listen, listen. Ho! Somebody! A monster is going for me. He's +raising his hand. Help! Ho! + +--What is it? Help! A spider! + +--Help! + +_[For some time they shout "Help!" hoarsely._ + +--We are all drunkards. Let's call down all the people from above. +It's so disgusting up there. + +--No, don't. When I leave here and go out on the street, it rampages +and tears about like a wild beast and soon throws me off my, feet. + +--We've all come here. We drink rum and it gives us joy. + +--It gives us fright. I shiver the whole day from fright. + +--Fright is better than life. Who wants to return to life? + +--I don't. + +--I don't. I'd rather croak here. I don't want to live. + +--No one! + +--Oh my! Oh my! + +--Why does Man come here? He drinks little and just sits still. We +don't want him. + +--Let him go to his own house. He has a house of his own. + +--Fifteen rooms. + +--Don't touch him. He has no place to go to any more. + +--He has fifteen rooms. + +--They're empty. Only rats run around and fight in them. + +--And his wife. + +--He hasn't any. Seems she died. + +_[During this conversation and the following, Old Women in strange +headgear enter quietly and replace unnoticeably the Drunkards, who +quietly depart. The women mingle in the conversation, but in such a +way that no one notices it._ + +CONVERSATION OF DRUNKARDS AND OLD WOMEN + +--He'll soon die, too. He can scarcely drag himself along, he's so +weak. + +--He has fifteen rooms. + +--Listen to the beating of his heart. It's uneven and faint. It'll +soon stop beating altogether. + +--Hey, Man, give us an invitation to your house. You have fifteen +rooms. + +--It'll soon stop beating altogether, that old, sick, feeble heart of +Man! + +--He's asleep, the drunken fool. It's dreadful to sleep, and yet he +sleeps. He might die in his sleep. + +--Hey, there, wake him up! + +--Do you remember how it used to beat when it was young and strong? + +_[A low laugh is heard._ + +--Who's laughing? There are some here who have no business to be here. + +--It just seems so to you. We are all alone, only we drunkards. + +--I'll go out on the street and start a fight. I've been robbed. I'm +stark naked, and my skin is green. + +--Good evening. + +--The wheel is rumbling again. Oh, Lord, they'll crush me! Help! + +_[No one responds._ + +--Good evening. + +--Do you remember his birth? I believe you were there. + +--I must be dying. Good Lord! Good Lord! Who will carry me to the +grave? Who will bury me? I'll be lying like a dog on the street. +People will step over me, wagons will ride over me. They'll crush me. +Oh, my God! Oh, my God! _(Cries)_ + +--Permit me to congratulate you, my dear friend, on the birth of your +child. + +--I am positive there is a mistake here. For a circle to fall out of a +straight line is an absurdity. I'll demonstrate it on the spot. + +--You're right. + +--Oh my! Oh my! + +--It's only ignoramuses in mathematics who will permit it. I won't. I +won't permit it, do you hear? + +--Do you remember the rosy dress and the little bare neck? + +--And the flowers? The lilies-of-the-valley on which the dew never +dried, and the violets, and the green grass? + +--Don't touch, don't touch the flowers, girls. + +_[They utter a low and suppressed laugh._ + +--Oh my! Oh my! + +_[The drunkards have all gone. Their places are taken by the Old +Women. The light grows steady and very faint. The figure of the +Unknown is sharply outlined, and so is Man's gray head, on which a, +faint light falls from above._ + +OLD WOMEN'S CONVERSATION. + +--Good evening. + +--Good evening. What a splendid night! + +--Here we are together again. How are you feeling? + +--I cough a little. + +_[They laugh suppressedly._ + +--It won't take long now. He'll die soon. + +--Look at the candle. The flame is blue and thin and spreading +sideways. There's no more wax. It's only the wick that's burning. + +--It doesn't want to go out. + +--When did you ever see a flame that did want to go out? + +--Don't dispute, don't dispute. Whether it wants to go out, or doesn't +want to go out, time is flying. + +--Do you remember his motor car? He once almost ran me down. + +--And his fifteen rooms? + +--I was there a little while ago. The rats almost ate me up, and I +caught a cold in the draught. Someone had stolen the window frames, +and the wind was blowing through the whole house. + +--Did you try the bed in which his wife died? Isn't it soft and nice? + +--Yes, I went through all the rooms and let my fancy play a little. +They have such a pretty nursery. It's a pity the window frames are +knocked out there too, and the wind makes a racket with the litter on +the floor. And the child's bed too is so dear. Now the rats have made +their nest in it and breed their children there. + +--Such dear, naked little rats. + +_[They titter._ + +--And in his study the toys are lying on the table: a horse without a +tail, a soldier's cap, and a red-nosed clown. I played a little with +them. I put on the soldier's cap. It was very becoming to me. But +there's such a lot of dust on the things. I got all dirty. + +--But did you go into the drawing-room where the ball was given? It's +so gay there. + +--Yes, I did. Fancy what I saw. It was dark, the windows were broken, +and the wind was playing with the wall-paper-- + +--Making a sound as of music. + +--And in the darkness the guests were squatting on their knees at the +wall--and you should have seen how they looked! + +--We know. + +--And they barked: "How rich! How magnificent! How brilliant! How +rich!" + +--You're joking, of course. + +--Of course I'm joking. You know I have a funny disposition. + +--How rich! How magnificent! + +--How gay! + +_[They titter._ + +--Let's remind him of it! + +--How rich! How magnificent! + +--Do you remember how the music played at your ball? + +--He's going to die soon. + +--The dancers circled about, circled about, and the music played so +gently, so beautifully. They played this way. + +_[They make a semicircle about Man and hum the tune played by the +musicians at the ball._ + +--Let's get up a ball. It's so long since I've danced. + +--Imagine that this is a palace, a magnificent, an exquisitely +beautiful palace. + +--Call the musicians. Why, you can't have a ball without music. + +--Musicians! + +--You remember? + +_[They sing. At that instant the three musicians who played at +the ball come down the stairs. The one with the violin adjusts his +handkerchief on his shoulder with great precision, and all three begin +to play, making an exaggerated effort. But the notes are soft and +gentle as in a dream._ + +--There you have the ball. + +--How rich! How magnificent! + +--How brilliant! + +--You remember, don't you? + +_[Singing softly to the music, they begin to circle about Man, +imitating in a wild, monstrous fashion the movements of the girls in +the white dresses who danced at the ball. At the first musical phrase +they circle, at the second they join and part gracefully and quietly, +whispering_: + +--Do you remember? + +--You're going to die soon--do you remember? + +--Do you remember? + +--Do you remember? + +--You're going to die soon--do you remember? + +--Do you remember? + +_[The dance grows brisker, the movements sharper. Strange, whining +notes mingle into the singing of the Old Women. An equally strange +laugh passes around the circle of dancers, suppressed and quiet at +first. As each one glides past Man, she flings an abrupt whisper into +his ear_: + +--Do you remember? + +--Do you remember? + +--How gentle! How exquisite! + +--What balm to the soul! Do you remember? + +--You're going to die soon, you're going to die soon. + +--You're going to die soon-- + +--Do you remember? + +_[They circle more quickly, their movements growing still more abrupt. +Suddenly there is silence and they halt. The musicians grow rigid with +the instruments in their hands. The dancers remain fixed in the +game position in which they were when the silence fell. Man rises, +straightens himself, throws back his gray, beautiful, terribly +majestic head, and calls out in a surprisingly loud voice, full of +sorrow and wrath. After each short phrase a brief but profound pause +follows._ + +MAN + +Where is my squire? Where is my sword? Where is my shield? I am +disarmed! Come to me quick! Quick! Be accurs-- + +_[He sinks down on the chair and dies, his head falling backward. +At the same moment the candle flares up brightly and goes out. All +objects are buried in a dense twilight which seems to be descending +the stairs until it gradually covers everything. The face of dead +Man alone remains bright. Low, vague conversation, whisperings and +derisive mockery are heard from the Old Women._ + +SOMEONE IN GRAY + +Silence! Man has died! + +_[Profound silence. Then the same cold, indifferent voice repeats from +a remote depth, like an echo_: + +Silence! Man has died! + +_[Profound silence. The twilight thickens, but the mice-like figures +of the Old Women are still seen standing rigid. Presently they begin +to circle about the dead body mutely, quietly; then they begin to sing +softly, and the musicians begin to play. The gloom thickens, the music +and the song grow louder and louder, and the wild dance grows more +unrestrained, until finally it ceases to be a dance, the Old Women +merely whirling about the dead man arm in arm, stamping their feet, +screeching, and laughing a wild, prolonged laugh. Complete darkness +descends. Only the face of Man is still lighted up. Then this light +too is extinguished. Black impenetrable darkness prevails. + +In the darkness are heard the movements of the mad dancers, their +screeching and laughter, and the discordant, desperately loud sounds +of the music. Just when they have reached their highest pitch, all the +sounds and noises withdraw rapidly somewhere and die away. Stillness._ + +CURTAIN + + + + + + + + + + +End of Project Gutenberg's Savva and The Life of Man, by Leonid Andreyev + +*** END OF THIS PROJECT GUTENBERG EBOOK SAVVA AND THE LIFE OF MAN *** + +***** This file should be named 13147.txt or 13147.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/3/1/4/13147/ + +Produced by David Starner, and the Online +Distributed Proofreading Team. + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/old/13147.zip b/old/13147.zip Binary files differnew file mode 100644 index 0000000..187fe2c --- /dev/null +++ b/old/13147.zip |