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