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