Alexander Onisímovich Ablesímov. (1742-1783.)
Ablesímov was a frequent contributor to several periodical publications; his contributions present no special interest, but he gained a great reputation by his comic opera The Miller, which, though it is an imitation of a foreign original, was the first play to introduce a popular element, taken directly from the life of the people. The public hailed this comedy as a new departure; it was given to crowded houses twenty-seven times in succession, and a number of imitations appeared with the same element of sorcery and country life for their background.
THE MILLER
ACT I
The stage represents on one side a forest, with small villages in the distant hills, and on the other a mill, and nearby a waggon with sacks. In front of it is a tree.
SCENE 1
Miller (alone. He is planing a board and sings, only the song is without words and music. Then he says): What song is that?... Oh, yes: “How our night from midnight” ... that’s it ... (he begins to sing that tune, continuing his work).
How our night from midnight,
From midnight to white day ...
What a downpour it has been, and now it has stopped! (He sings again, and continues his song.)
’Twas at the dawn, the early one,
At the fall of the shining moon....
How it did blow! I declare, it did blow; why, it almost tore my mill down. I would have been left with nothing. It has done some damage,—thanks to the Lord, not much damage. Did I say not much damage? Well, I have enough to do to fix it up. (Putting the level to the board.) It’ll come out all right, and all will go well again. (Advancing towards the orchestra.) I have to laugh every time I think of it; they say that a mill cannot exist without a wizard, and that a miller isn’t just a man like anybody else: he is on speaking terms with the house-spirit, and the house-spirits live in their mills like devils ... ha, ha, ha, ha! What bosh! Am I not a miller through and through? I was born, brought up, and have grown old in the mill, and yet I have never laid my eyes on a house-spirit. Now, to tell the gospel truth, it’s just this: if you are a shrewd fellow and a good hand at cheating, that sorcery business is a good thing.... Let them prattle what they please, but we earn our bread by our profession.
Who by cheating makes a living,
Him at once all call a gipsy,
And you gain through gipsy dealings
The reputation of a wizard.
Even in that way the witches
Make a living by deception.
There’s a big lot of these rascals:
Some of them bespeak the water,
Others turn the sieve for people,
And through such tricks make a living!
Just like me, sinful man!...
SCENE 2. FILIMÓN AND THE FORMER
Miller (noticing him). Ah! I am getting a guest. I’ll earn a penny this day. (To Filimón.) Godspeed, young man!
Filimón. My respects, old man.
Miller. Whence come you, whither tend you?
Filimón. Not farther than my business takes me.
Miller. Of your own will, or by compulsion?
Filimón. I am looking for horses: my roan and grey have gotten away from me; they are fine horses, such fine horses. (Aside.) He is a fortune-teller: I’ll try my fortune with him. (To the Miller.) Say, old man, I want to ask you——
Miller. What is it you want? As you please, I am at your service.
Filimón. That’s good! And I’ll pay you for it. Tell me my fortune: shall I find my horses?
Miller. Shall you find your horses?
Filimón. That’s it, old man. I am very anxious to find out about them.
Miller. Now, how about that; is there going to be anything? (Stretches out his hand to him.)
Filimón. First tell me, old man, and then we’ll see.
Miller (turns away from him, and angrily begins a song):
Tell the fortune:
As the guess is,
So is the pay.
Filimón. But, old man, I expect to pay you.
Miller.
’Tis with a promise
As with a chair:
If you sit and do not eat,
Then your belly is not full.
Filimón. Believe me, I am not lying to you.
Miller.
If it’s so,
All this talking is in vain;
Take out your purse,
Don’t talk uselessly,
Count out the money.
(Puts out his hand, and looks in his eyes.)
Filimón. Well, I don’t care: I’ll give you some money in advance.
Miller. Only this?
Filimón. It will do for the present; what more do you want?
Miller (aside). You won’t get off with less than half a rouble.
Filimón. What are you going to tell me now?
Miller. What is it now, early in the morning?
Filimón. Not very late yet, the sun has not yet set behind the woods.
Miller. Turn three times around, towards the sun.
Filimón. What for?
Miller. That’s what I need in my sorcery. Do as you are told!
Filimón. To please you, I’ll turn around. (Turns around once.)
Miller. Once more, towards the sun.
Filimón (turning around). Here it is, and towards the sun.
Miller. Now stand against this tree. (Filimón is about to start for the tree, but the Miller says): No, no, stop! Have you a kerchief?
Filimón (taking out his handkerchief). Here it is.
Miller. Close your eyes tight, and tie your kerchief over them. That’s all right! Now listen: you must stand quiet, and don’t move from the spot, nor speak a word to anyone, while I go and see the elder.
Filimón (does all the Miller commands him to do). But suppose someone should come and ask me why I am standing there, and why my eyes are tied up?
Miller. Not a word to anybody; but you may grumble to yourself.
Filimón. May I sing a song?
Miller. You will frighten all. No, you must not.
Filimón (aside). What is it all going to be?
Miller. Stand still and don’t move!