THE POWER OF DARKNESS. Act I.
Matryóna gives Anísya the powders.

ANÍSYA. [taking the powder] O-oh, my poor head! Could I have ever thought of such a thing if my life were not a very hell?

MATRYÓNA. You'll not forget that ruble? I promised to take it to the old man. He's had some trouble, too.

ANÍSYA. Of course? [Ges to her box and hides the powders].

MATRYÓNA. And now, my jewel, keep it as close as you can, so that no one should find it out. Heaven defend that it should happen, but if any one notices it, tell 'em it's for the black-beetles. [Takes the ruble] It's also used for beetles. [Stops short].

Enter Akím, who crosses himself in front of the icón, and then Peter, who sits down.

PETER. Well then, how's it to be, Daddy Akím?

AKÍM. As it's best, Peter Ignátitch, as it's best … I mean—as it's best. 'Cos why? I'm afeared of what d'you call 'ems, some tomfoolery, you know. I'd like to, what d'you call it … to start, you know, start the lad honest, I mean. But supposing you'd rather, what d'you call it, we might, I mean, what's name? As it's best …

PETER. All right. All right. Sit down and let's talk it over. [Akím sits down] Well then, what's it all about? You want him to marry?

MATRYÓNA. As to marrying, he might bide a while, Peter Ignátitch. You know our poverty, Peter Ignátitch. What's he to marry on? We've hardly enough to eat ourselves. How can he marry then?…

PETER. You must consider what will be best.

MATRYÓNA. Where's the hurry for him to get married? Marriage is not that sort of thing, it's not like ripe raspberries that drop off if not picked in time.

PETER. If he were to get married, 'twould be a good thing in a way.

AKÍM. We'd like to … what d'you call it? 'Cos why, you see. I've what d'you call it … a job. I mean, I've found a paying job in town, you know.

MATRYÓNA. And a fine job too—cleaning out cesspools. The other day when he came home, I could do nothing but spew and spew. Faugh!

AKÍM. It's true, at first it does seem what d'you call it … knocks one clean over, you know,—the smell, I mean. But one gets used to it, and then it's nothing, no worse than malt grain, and then it's, what d'you call it, … pays, pays, I mean. And as to the smell being, what d'you call it, it's not for the likes of us to complain. And one changes one's clothes. So we'd like to take what's his name … Nikíta I mean, home. Let him manage things at home while I, what d'you call it,—earn something in town.

PETER. You want to keep your son at home? Yes, that would be well: but how about the money he has had in advance?

AKÍM. That's it, that's it! It's just as you say, Ignátitch, it's just what d'you call it. 'Cos why? If you go into service, it's as good as if you had sold yourself, they say. That will be all right. I mean he may stay and serve his time, only he must, what d'you call it, get married. I mean—so: you let him off for a little while, that he may, what d'you call it?

PETER. Yes, we could manage that.

MATRYÓNA. Ah, but it's not yet settled between ourselves, Peter Ignátitch. I'll speak to you as I would before God, and you may judge between my old man and me. He goes on harping on that marriage. But just ask—who it is he wants him to marry. If it were a girl of the right sort now— I am not my child's enemy, but the wench is not honest.

AKÍM. No, that's wrong! Wrong, I say. 'Cos why? She, that same girl—it's my son as has offended, offended the girl I mean.

PETER. How offended?

AKÍM. That's how. She's what d'you call it, with him, with my son, Nikíta. With Nikíta, what d'you call it, I mean.

MATRYÓNA. You wait a bit, my tongue runs smoother—let me tell it. You know, this lad of ours lived at the railway before he came to you. There was a girl there as kept dangling after him. A girl of no account, you know, her name's Marína. She used to cook for the men. So now this same girl accuses our son, Nikíta, that he, so to say, deceived her.

PETER. Well, there's nothing good in that.

MATRYÓNA. But she's no honest girl herself; she runs after the fellows like a common slut.

AKÍM. There you are again, old woman, and it's not at all what d'you call it, it's all not what d'you call it, I mean …

MATRYÓNA. There now, that's all the sense one gets from my old owl—“what d'you call it, what d'you call it,” and he doesn't know himself what he means. Peter Ignátitch, don't listen to me, but go yourself and ask any one you like about the girl, everybody will say the same. She's just a homeless good-for-nothing.

PETER. You know, Daddy Akím, if that's how things are, there's no reason for him to marry her. A daughter-in-law's not like a shoe, you can't kick her off.

AKÍM [excitedly] It's false, old woman, it's what d'you call it, false; I mean, about the girl; false! 'Cos why? The lass is a good lass, a very good lass, you know. I'm sorry, sorry for the lassie, I mean.

MATRYÓNA. It's an old saying: “For the wide world old Miriam grieves, and at home without bread her children she leaves.” He's sorry for the girl, but not sorry for his own son! Sling her round your neck and carry her about with you! That's enough of such empty cackle!

AKÍM. No, it's not empty.

MATRYÓNA. There, don't interrupt, let me have my say.

AKÍM [interrupts] No, not empty! I mean, you twist things your own way, about the lass or about yourself. Twist them, I mean, to make it better for yourself; but God, what d'you call it, turns them His way. That's how it is.

MATRYÓNA. Eh! One only wears out one's tongue with you.

AKÍM. The lass is hard-working and spruce, and keeps everything round herself … what d'you call it. And in our poverty, you know, it's a pair of hands, I mean; and the wedding needn't cost much. But the chief thing's the offense, the offense to the lass, and she's a what d'you call it, an orphan, you know; that's what she is, and there's the offense.

MATRYÓNA. Eh! they'll all tell you a tale of that sort …

ANÍSYA. Daddy Akím, you'd better listen to us women; we can tell you a thing or two.

AKÍM. And God, how about God? Isn't she a human being, the lass? A what d'you call it,—also a human being I mean, before God. And how do you look at it?

MATRYÓNA. Eh!… started off again?…

PETER. Wait a bit, Daddy Akím. One can't believe all these girls say, either. The lad's alive, and not far away; send for him, and find out straight from him if it's true. He won't wish to lose his soul. Go and call the fellow, [Anísya rises] and tell him his father wants him. [Exit Anísya].

MATRYÓNA. That's right, dear friend; you've cleared the way clean, as with water. Yes, let the lad speak for himself. Nowadays, you know, they'll not let you force a son to marry; one must first of all ask the lad. He'll never consent to marry her and disgrace himself, not for all the world. To my thinking, it's best he should go on living with you and serving you as his master. And we need not take him home for the summer either; we can hire a help. If you would only give us ten rubles now, we'll let him stay on.

PETER. All in good time. First let us settle one thing before we start another.

AKÍM. You see, Peter Ignátitch, I speak. 'Cos why? you know how it happens. We try to fix things up as seems best for ourselves, you know; and as to God, we what d'you call it, we forget Him. We think it's best so, turn it our own way, and lo! we've got into a fix, you know. We think it will be best, I mean; and lo! it turns out much worse—without God, I mean.

PETER. Of course one must not forget God.

AKÍM. It turns out worse! But when it's the right way—God's way—it what d'you call it, it gives one joy; seems pleasant, I mean. So I reckon, you see, get him, the lad, I mean, get him to marry her, to keep him from sin, I mean, and let him what d'you call it at home, as it's lawful, I mean, while I go and get the job in town. The work is of the right sort—it's payin', I mean. And in God's sight it's what d'you call it—it's best, I mean. Ain't she an orphan? Here, for example, a year ago some fellows went and took timber from the steward,—thought they'd do the steward, you know. Yes, they did the steward, but they couldn't what d'you call it—do God, I mean. Well, and so …

Enter Nikíta and Naan.

NIKÍTA. You called me? [Sits down and takes out his tobacco-pouch].

PETER [in a low, reproachful voice] What are you thinking about—have you no manners? Your father is going to speak to you, and you sit down and fool about with tobacco. Come, get up!

Nikíta rises, leans carelessly with his elbow on the table, and smiles.

AKÍM. It seems there's a complaint, you know, about you, Nikíta—a complaint, I mean, a complaint.

NIKÍTA. Who's been complaining?

AKÍM. Complaining? It's a maid, an orphan maid, complaining, I mean. It's her, you know—a complaint against you, from Marína, I mean.

NIKÍTA [laughs] Well, that's a good one. What's the complaint? And who's told you—she herself?

AKÍM. It's I am asking you, and you must now, what d'you call it, give me an answer. Have you got mixed up with the lass, I mean—mixed up, you know?

NIKÍTA. I don't know what you mean. What's up?

AKÍM. Foolin', I mean, what d'you call it? foolin'. Have you been foolin' with her, I mean?

NIKÍTA. Never mind what's been! Of course one does have some fun with a cook now and then to while away the time. One plays the concertina and gets her to dance. What of that?

PETER. Don't shuffle, Nikíta, but answer your father straight out.

AKÍM [solemnly] You can hide it from men but not from God, Nikíta. You, what d'you call it—think, I mean, and don't tell lies. She's an orphan; so, you see, any one is free to insult her. An orphan, you see. So you should say what's rightest.

NIKÍTA. But what if I have nothing to say? I have told you everything—because there isn't anything to tell, that's flat! [Getting excited] She can go and say anything about me, same as if she was speaking of one as is dead. Why don't she say anything about Fédka Mikíshin? Besides, how's this, that one mayn't even have a bit of fun nowadays? And as for her, well, she's free to say anything she likes.

AKÍM. Ah, Nikíta, mind! A lie will out. Did anything happen?

NIKÍTA [aside] How he sticks to it; it's too bad. [To Akím] I tell you, I know nothing more. There's been nothing between us. [Angrily] By God! and may I never leave this spot [crosses himself] if I know anything about it. [Silence. Then still more excitedly] Why! have you been thinking of getting me to marry her? What do you mean by it?—it's a confounded shame. Besides, nowadays you've got no such rights as to force a fellow to marry. That's plain enough. Besides, haven't I sworn I know nothing about it?

MATRYÓNA [to her husband] There now, that's just like your silly pate, to believe all they tell you. He's gone and put the lad to shame all for nothing. The best thing is to let him live as he is living, with his master. His master will help us in our present need, and give us ten rubles, and when the time comes …

PETER. Well, Daddy Akím, how's it to be?

AKÍM [looks at his son, clicking his tongue disapprovingly] Mind, Nikíta, the tears of one that's been wronged never, what d'you call it—never fall beside the mark but always on, what's name—the head of the man as did the wrong. So mind, don't what d'you call it.

NIKÍTA [sits down] What's there to mind? mind yourself.

NAAN [aside] I must run and tell mother. [Exit].

MATRYÓNA [to Peter] That's always the way with this old mumbler of mine, Peter Ignátitch. Once he's got anything wedged in his pate there's no knocking it out. We've gone and troubled you all for nothing. The lad can go on living as he has been. Keep him; he's your servant.

PETER. Well, Daddy Akím, what do you say?

AKÍM. Why, the lad's his own master, if only he what d'you call it.… I only wish that, what d'you call it, I mean.

MATRYÓNA. You don't know yourself what you're jawing about. The lad himself has no wish to leave. Besides, what do we want with him at home? We can manage without him.

PETER. Only one thing, Daddy Akím—if you are thinking of taking him back in summer, I don't want him here for the winter. If he is to stay at all, it must be for the whole year.

MATRYÓNA. And it's for a year he'll bind himself. If we want help when the press of work comes, we can hire help, and the lad shall remain with you. Only give us ten rubles now.…

PETER. Well then, is it to be for another year?

AKÍM. [sighing] Yes, it seems, it what d'you call it … if it's so, I mean, it seems that it must be what d'you call it.

MATRYÓNA. For a year, counting from St. Dimítry's day. We know you'll pay him fair wages. But give us ten rubles now. Help us out of our difficulties. [Gets up and bows to Peter].

Enter Naan and Anísya. The latter sits down at one side.

PETER. Well, if that's settled we might step across to the inn and have a drink. Come, Daddy Akím, what do you say to a glass of vódka?

AKÍM. No, I never drink that sort of thing.

PETER. Well, you'll have some tea?

AKÍM. Ah, tea! yes, I do sin that way. Yes, tea's the thing.

PETER. And the women will also have some tea. Come. And you, Nikíta, go and drive the sheep in and clear away the straw.

NIKÍTA. All right. [Exeunt all but Nikíta. Nikíta lights a cigarette. It grows darker] Just see how they bother one. Want a fellow to tell 'em how he larks about with the wenches! It would take long to tell 'em all those stories—“Marry her,” he says. Marry them all! One would have a good lot of wives! And what need have I to marry? Am as good as married now! There's many a chap as envies me. Yet how strange it felt when I crossed myself before the icón. It was just as if some one shoved me. The whole web fell to pieces at once. They say it's frightening to swear what's not true. That's all humbug. It's all talk, that is. It's simple enough.

AKOULÍNA [enters with a rope, which she puts down. She takes off her outdoor things and goes into closet] You might at least have got a light.

NIKÍTA. What, to look at you? I can see you well enough without.

AKOULÍNA. Oh, bother you!

Naan enters and whispers to Nikíta.

NAAN. Nikíta, there's a person wants you. There is!

NIKÍTA. What person?

NAAN. Marína from the railway; she's out there, round the corner.

NIKÍTA. Nonsense!

NAAN. Blest if she isn't!

NIKÍTA. What does she want?

NAAN. She wants you to come out. She says, “I only want to say a word to Nikíta.” I began asking, but she won't tell, but only says, “Is it true he's leaving you?” And I say, “No, only his father wanted to take him away and get him to marry, but he won't, and is going to stay with us another year.” And she says, “For goodness' sake send him out to me. I must see him,” she says, “I must say a word to him somehow.” She's been waiting a long time. Why don't you go?

NIKÍTA. Bother her! What should I go for?

NAAN. She says, “If he don't come, I'll go into the hut to him.” Blest if she didn't say she'd come in!

NIKÍTA. Not likely. She'll wait a bit and then go away.

NAAN. “Or is it,” she says, “that they want him to marry Akoulína?”

Reenter Akoulína, passing near Nikíta to take her distaff.

AKOULÍNA. Marry whom to Akoulína?

NAAN. Why, Nikíta.

AKOULÍNA. A likely thing! Who says it?

NIKÍTA [looks at her and laughs] It seems people do say it. Would you marry me, Akoulína?

AKOULÍNA. Who, you? Perhaps I might have afore, but I won't now.

NIKÍTA. And why not now?

AKOULÍNA. 'Cos you wouldn't love me.

NIKÍTA. Why not?

AKOULÍNA. 'Cos you'd be forbidden to. [Laughs].

NIKÍTA. Who'd forbid it?

AKOULÍNA. Who? My step-mother. She does nothing but grumble, and is always staring at you.

NIKÍTA [laughing] Just hear her! Ain't she cute?

AKOULÍNA. Who? Me? What's there to be cute about? Am I blind? She's been rowing and rowing at dad all day. The fat-muzzled witch! [Ges into closet].

NAAN [looking out of the window] Look, Nikíta, she's coming! I'm blest if she isn't! I'll go away. [Exit].

MARÍNA [enters] What are you doing with me?

NIKÍTA. Doing? I'm not doing anything.

MARÍNA. You mean to desert me.

NIKÍTA [gets up angrily] What does this look like, your coming here?

MARÍNA. Oh, Nikíta!

NIKÍTA. Well, you are strange! What have you come for?

MARÍNA. Nikíta!

NIKÍTA. That's my name. What do you want with Nikíta? Well, what next? Go away, I tell you!

MARÍNA. I see, you do want to throw me over.

NIKÍTA. Well, and what's there to remember? You yourself don't know. When you stood out there round the corner and sent Naan for me, and I didn't come, wasn't it plain enough that you're not wanted? It seems pretty simple. So there—go!

MARÍNA. Not wanted! So now I'm not wanted! I believed you when you said you would love me. And now that you've ruined me, I'm not wanted.

NIKÍTA. Where's the good of talking? This is quite improper. You've been telling tales to father. Now, do go away, will you?

MARÍNA. You know yourself I never loved any one but you. Whether you married me or not, I'd not have been angry. I've done you no wrong, then why have you left off caring for me? Why?

NIKÍTA. Where's the use of baying at the moon? You go away. Goodness me! what a duffer!

MARÍNA. It's not that you deceived me when you promised to marry me that hurts, but that you've left off loving. No, it's not that you've stopped loving me either, but that you've changed me for another, that's what hurts. I know who it is!

NIKÍTA [comes up to her viciously] Eh! what's the good of talking to the likes of you, that won't listen to reason? Be off, or you'll drive me to do something you'll be sorry for.

MARÍNA. What, will you strike me, then? Well then, strike me! What are you turning away for? Ah, Nikíta!

NIKÍTA. Supposing some one came in. Of course, it's quite improper. And what's the good of talking?

MARÍNA. So this is the end of it! What has been has flown. You want me to forget it? Well then, Nikíta, listen. I kept my maiden honor as the apple of my eye. You have ruined me for nothing, you have deceived me. You have no pity on a fatherless and motherless girl! [Weeping] You have deserted, you have killed me, but I bear you no malice. God forgive you! If you find a better one you'll forget me, if a worse one you'll remember me. Yes, you will remember, Nikíta! Good-bye, then, if it is to be. Oh, how I loved you! Good-bye for the last time. [Takes his head in her hands and tries to kiss him].

NIKÍTA [tossing his head back] I'm not going to talk with the likes of you. If you won't go away I will, and you may stay here by yourself.

MARÍNA [screams] You are a brute. [In the doorway] God will give you no joy. [Exit, crying].

AKOULÍNA [comes out of closet] You're a dog, Nikíta!

NIKÍTA. What's up?

AKOULÍNA. What a cry she gave! [Cries].

NIKÍTA. What's up with you?

AKOULÍNA. What's up? You've hurt her so. That's the way you'll hurt me also. You're a dog. [Exit into closet].

Silence.

NIKÍTA. Here's a fine muddle. I'm as sweet as honey on the lasses, but when a fellow's sinned with 'em it's a bad look-out!

Curtain.