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
