You know, Daddy Akím, if that's how things are, there's no reason for him to marry her. A daughter-in-law's not like a shoe, you can't kick her off. AKÍM (excitedly) It's false, old woman, it's what d'you call it, false; I mean, about the girl; false! 'Cos why? The lass is a good lass, a very good lass, you know. I'm sorry, sorry for the lassie, I mean. MATRYÓNA. It's an old saying: "For the wide world old Miriam grieves, and at home without bread her children she leaves." He's sorry for the girl, but not sorry for his own son! Sling her round your neck and carry her about with you! That's enough of such empty cackle! AKÍM. No, it's not empty. MATRYÓNA. There, don't interrupt, let me have my say. AKÍM (interrupts) No, not empty! I mean, you twist things your own way, about the lass or about yourself. Twist them, I mean, to make it better for yourself; but God, what d'you call it, turns them His way. That's how it is. MATRYÓNA. Eh! One only wears out one's tongue with you. AKÍM. The lass is hard-working and spruce, and keeps everything round herself... what d'you call it. And in our poverty, you know, it's a pair of hands, I mean; and the wedding needn't cost much. But the chief thing's the offence, the offence to the lass, and she's a what d'you call it, an orphan, you know; that's what she is, and there's the offence. MATRYÓNA. Eh! they'll all tell you a tale of that sort... ANÍSYA. Daddy Akím, you'd better listen to us women; we can tell you a thing or two. AKÍM. And God, how about God? Isn't she a human being, the lass? A what d'you call it,--also a human being I mean, before God. And how do you look at it? MATRYÓNA. Eh!... started off again?...

Peter Monologue from The Power of Darkness

Rehearse Peter's monologue