The Power of Darkness : If A Claw Is Caught The Bird Is Lost; A Drama in Five Acts

Notes
It is customary to place a dying person under the icón. One or more icóns hang in the hut of each Orthodox peasant. Peasant weddings are usually in autumn. They are forbidden in Lent, and soon after Easter the peasants become too busy to marry till harvest is over. A formal request for forgiveness is customary among Russians, but it is often no mere formality. Nikíta's first reply is evasive; his second reply, “God will forgive you,” is the correct one sanctioned by custom. Loud public wailing of this kind is customary, and considered indispensable, among the peasants. Where not otherwise mentioned in the stage directions, it is always the winter half of the hut that is referred to as “the hut... (From : Gutenberg.org.)

Act 5
Scene 1. In front of scene a stack-stand, to the left a thrashing ground, to the right a barn. The barn doors are open. Straw is strewn about in the doorway. The hut with yard and out-buildings is seen in the background, whence proceed sounds of singing and of a tambourine. Two Girls are walking past the barn towards the hut. FIRST GIRL. There, you see we've managed to pass without so much as getting our boots dirty! But to come by the street is terribly muddy! [Stop and wipe their boots on the straw. First Girl looks at the straw and sees something] What's that? SECOND GIRL [looks where the straw lies and sees some one] It's Mítritch, their laborer. Just look how drunk he is! FIRST GIRL. Why, I thought he didn't drink. SECOND GIRL. It seems he didn't, until it was going around. FIRST GIRL. Just see! He must have come to fetch some straw. Look! he's got a rope in his hand, and... (From : Gutenberg.org.)

Act 4
Autumn. Evening. The moon is shining. The stage represents the interior of courtyard. The scenery at the back shows, in the middle, the back porch of the hut. To the right the winter half of the hut and the gate; to the left the summer half and the cellar. To the right of the stage is a shed. The sound of tipsy voices and shouts are heard from the hut. Second Neighbor Woman comes out of the hut and beckons to First Neighbor Woman. SECOND NEIGHBOR. How's it Akoulína has not shown herself? FIRST NEIGHBOR. Why hasn't she shown herself? She'd have been glad to; but she's too ill, you know. The suitor's relatives have come, and want to see the girl; and she, my dear, she's lying in the cold hut and can't come out, poor thing! SECOND NEIGHBOR. But how's that? FIRST NEIGHBOR. They say she's been bewitched by an evil eye! She's got pains in the stomach! SECOND NEIGHBOR. You don't say so? FIRST NEIG... (From : Gutenberg.org.)

Act 3
The same hut. Winter. Nine months have passed since Act II. Anísya, plainly dressed, sits before a loom weaving. Naan is on the oven. MÍTRITCH [an old laborer, enters, and slowly takes off his outdoor things] Oh Lord, have mercy! Well, hasn't the master come home yet? ANÍSYA. What? MÍTRITCH. Nikíta isn't back from town, is he? ANÍSYA. No. MÍTRITCH. Must have been on the spree. Oh Lord! ANÍSYA. Have you finished in the stackyard? MÍTRITCH. What d'you think? Got it all as it should be, and covered everything with straw! I don't like doing things by halves! Oh Lord! holy Nicholas! [Picks at the corns on his hands] But it's time he was back. ANÍSYA. What need has he to hurry? He's got money. Merry-making with that girl, I daresay … MÍTRITCH. Why shouldn't one make merry if one h... (From : Gutenberg.org.)

Act 2
The scene represents the village street. To the left the outside of Peter's hut, built of logs, with a porch in the middle; to the right of the hut the gates and a corner of the yard buildings. Anísya is beating hemp in the street near the corner of the yard. Six months have elapsed since the First Act. ANÍSYA [stops and listens] Mumbling something again. He's probably got off the stove. Akoulína enters, carrying two pails on a yoke. ANÍSYA. He's calling. You go and see what he wants, kicking up such a row. AKOULÍNA. Why don't you go? ANÍSYA. Go, I tell you! [Exit Akoulína into hut] He's bothering me to death. Won't let out where the money is, and that's all about it. He was out in the passage the other day. He must have been hiding it there. Now, I don't know myself where it is. Thank goodness he's afraid of parting with it, so that at least... (From : Gutenberg.org.)

The Act takes place in autumn in a large village. The Scene represents Peter's roomy hut. Peter is sitting on a wooden bench, mending a horse-collar. Anísya and Akoulína are spinning, and singing a part-song. PETER [looking out of the window] The horses have got loose again. If we don't look out they'll be killing the colt. Nikíta! Hey, Nikíta! Is the fellow deaf? [Listens. To the women] Shut up, one can't hear anything. NIKÍTA [from outside] What? PETER. Drive the horses in. NIKÍTA. We'll drive 'em in. All in good time. PETER [shaking his head] Ah, these laborers! If I were well, I'd not keep one on no account. There's nothing but bother with 'em. [Rises and sits down again] Nikíta!… ... (From : Gutenberg.org.)

PETER IGNÁTITCH. A well-to-do peasant, 42 years old, married for the second time, and sickly. ANÍSYA. His wife, 32 years old, fond of dress. AKOULÍNA. Peter's daughter by his first marriage, 16 years old, hard of hearing, mentally undeveloped. NAAN (ANNA PETRÓVNA). His daughter by his second marriage, 10 years old. NIKÍTA. Their laborer, 26 years old, fond of dress. AKÍM. Nikíta's father, 50 years old, a plain-looking, God-fearing peasant. MATRYÓNA. His wife and Nikíta's mother, 50 years old. MARÍNA. An orphan girl, 22 years old. MARTHA. Peter's sister. MÍTRITCH. An old laborer, ex-soldier. SIMON. Marína's husband. BRIDEGROOM. Engaged to Akoulína. IV&... (From : Gutenberg.org.)