The Power of Darkness by Leo Tolstoy (best reads of all time .TXT) đ
Description
The Power of Darkness is a five-act drama that follows the downfall of the peasants AnĂsya and NikĂta as they succumb to a series of sordid temptations, from adultery and drunkenness to outright murder. Written in 1886 but suppressed by censors until 1902, the play is a realist portrayal of some of the darkest elements of Russian peasant life. Similar to some other late Tolstoy works, like Resurrection, the playâs psychological exploration of human depravity is accompanied by a sharp social critique of the Russian Empire and its role in perpetuating poverty and ignorance among its lowest and most marginalized classes.
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- Author: Leo Tolstoy
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By
Leo Tolstoy.
Translated by
Louise Maude and Aylmer Maude.
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Dramatis PersonaePeter IgnĂĄtitch. A well-to-do peasant, fourty-two years old, married for the second time, and sickly
AnĂsya. His wife, thirty-two years old, fond of dress
AkoulĂna. Peterâs daughter by his first marriage, sixteen years old, hard of hearing, mentally undeveloped
Nan (Anna PetrĂłvna). His daughter by his second marriage, ten years old
NikĂta. Their labourer, twenty-five years old, fond of dress
AkĂm. NikĂtaâs father, fifty years old, a plain-looking, God-fearing peasant
MatryĂłna. His wife and NikĂtaâs mother, fifty years old
MarĂna. An orphan girl, twenty-two years old
Martha. Peterâs sister
MĂtritch. An old labourer, ex-soldier
Simon. MarĂnaâs husband
Bridegroom. Engaged to AkoulĂna
IvĂĄn. His father
A neighbour
First girl
Second girl
Police officer
Driver
Best man
Matchmaker
Village elder
Visitors, women, girls, and people come to see the wedding
N.B.â âThe âovenâ mentioned is the usual large, brick, Russian baking-oven. The top of it outside is flat, so that more than one person can lie on it.
The Power of Darkness Or, If a Claw Is Caught the Bird Is Lost Act IThe Act takes place in autumn in a large village. The Scene represents Peterâs roomy hut. Peter is sitting on a wooden bench, mending a horse-collar. AnĂsya and AkoulĂna are spinning, and singing a part-song.
Peter Looking out of the window. The horses have got loose again. If we donât look out theyâll be killing the colt. NikĂta! Hey, NikĂta! Is the fellow deaf? Listens. To the women. Shut up, one canât hear anything. NikĂta From outside. What? Peter Drive the horses in. NikĂta Weâll drive âem in. All in good time. Peter Shaking his head. Ah, these labourers! If I were well, Iâd not keep one on no account. Thereâs nothing but bother with âem. Rises and sits down again. NikĂta!â ââ ⊠Itâs no good shouting. One of youâd better go. Go, AkoĂșl, drive âem in. AkoulĂna What? The horses? Peter What else? AkoulĂna All right. Exit. Peter Ah, but heâs a loafer, that ladâ ââ ⊠no good at all. Wonât stir a finger if he can help it. AnĂsya Youâre so mighty brisk yourself. When youâre not sprawling on the top of the oven youâre squatting on the bench. To goad others to work is all youâre fit for. Peter If one werenât to goad you on a bit, oneâd have no roof left over oneâs head before the yearâs out. Oh what people! AnĂsya You go shoving a dozen jobs on to oneâs shoulders, and then do nothing but scold. Itâs easy to lie on the oven and give orders. Peter Sighing. Oh, if âtwere not for this sickness thatâs got hold of me, Iâd not keep him on another day. AkoulĂna Off the scene. Gee up, gee, woo. A colt neighs, the stamping of horsesâ feet and the creaking of the gate are heard. Peter Bragging, thatâs what heâs good at. Iâd like to sack him, I would indeed. AnĂsya Mimicking him. âLike to sack him.â You buckle to yourself, and then talk. AkoulĂna Enters. Itâs all I could do to drive âem in. That piebald always willâ ââ ⊠Peter And whereâs NikĂta? AkoulĂna Whereâs NikĂta? Why, standing out there in the street. Peter Whatâs he standing there for? AkoulĂna Whatâs he standing there for? He stands there jabbering. Peter One canât get any sense out of her! Whoâs he jabbering with? AkoulĂna Does not hear. Eh, what? Peter waves her off. She sits down to her spinning. Nan Running in to her mother. NikĂtaâs father and mother have come. Theyâre going to take him away. Itâs true! AnĂsya Nonsense! Nan Yes. Blest if theyâre not! Laughing. I was just going by, and NikĂta, he says, âGoodbye, Anna PetrĂłvna,â he says, âyou must come and dance at my wedding. Iâm leaving you,â he says, and laughs. AnĂsya To her husband. There now. Much he cares. You see, he wants to leave of himself. âSack himâ indeed! Peter Well, let him go. Just as if I couldnât find somebody else. AnĂsya And what about the money heâs had in advance? Nan stands listening at the door for awhile, and then exit. Peter Frowning. The money? Well, he can work it off in summer, anyhow. AnĂsya Well, of course youâll be glad if he goes and youâve not got to feed him. Itâs only me asâll have to work like a horse all the winter. That lass of yours isnât over fond of work either. And youâll be lying up on the oven. I know you. Peter Whatâs the good of wearing out oneâs tongue before one has the hang of the matter? AnĂsya The yardâs full of cattle. Youâve not sold the cow, and have kept all the sheep for the winter: feeding and watering âem alone takes all oneâs time, and you want to sack the labourer. But I
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