IC-NRLF WISCONSIN PLAYS SECOND SERIES WISCONSIN PLAYS FIRST SERIES Containing: THE NEIGHBORS by ZONA GALE IN HOSPITAL by THOMAS H. DICKINSON GLORY OF THE MORNING by WILLIAM ELLERY LEONARD Price $1.25 net WISCONSIN PLAYS SECOND SERIES ORIGINAL ONE-ACT PLAYS FROM THE REPERTORY OF THE WISCONSIN DRAMATIC SOCIETY S. MARSHALL ILSLEY LAURA SHERRY HOWARD MUMFORD JONES THORNTON OILMAN WITH AN INTRODUCTION BY ZONA GALE NEW YORK :: B. W. HUEBSCH :; MCMXVIII COPYRIGHT, 1918, BY B. W. HUEBSCH PRINTED IN U. S. A. INTRODUCTION The Wisconsin Plays are written by Middle- West men and women and produced by the Wis consin Players. The Wisconsin Players, a group of non-pro fessional actors under the direction of Mrs. Laura Sherry, are now in their seventh season. When they are at home, they occupy a charming old Eng lish basement house downtown in Milwaukee, called the Playhouse, with four floors for activi ties. In the basement is the Playhouse tea room, decorated in the new manner by artists among the members of the organisation. On the main floor is the workshop theatre, and here, in addition to the plays done by the members of the society, have been played translations from the French, Ger man, Russian, Italian, Swedish and Norwegian, with English, Irish and Scottish plays. Not only are the plays produced by members of the society, but the stage settings, costumes and posters are de signed and executed by the members. Here, 950879 INTRODUCTION every month comes some one from outside to lec ture on the present moment in drama, poetry, prose, music or the pictorial arts. On the second floor is the Playhouse reading room, a large room with an open fire. On the third floor is the ball room. Weekly dancing classes assemble for in struction in technic and direction in naturalistic work, and the hall is always open for rehearsal and practice. In order not to neglect the possibilities of the larger theatre, the society makes occasional pro ductions in one of the Milwaukee theatres. The last production was "A Midsummer Night s Dream," given with new interpretation of colour and lighting and dancing, with ballets which were a part of the Dream, and interrupted nothing. Another of the notable large productions was "The Marriage of Sobeide," a Persian play trans lated from the German by one of the members, and produced with accessories of lighting and hanging, and a cyclorama, but with almost no properties. The best plays both from the work shop and the larger theatre are taken on tour to other cities. The players reach out into the municipality and the state, offering a place where the precious talent wasted in most communities may at least INTRODUCTION have a chance of expression and hearing. The membership is open to all interested in the experi ment, either as artists or as members of the au dience. In fine, the Wisconsin Players are working sim ply and naturally with local material. Burlesque, the insincere, they are trying to eliminate. Their hope is to express the character, the quality of their people and their people s work not to force them and their work to established methods. Mr. Hiram Kelly Moderwell wrote of them in the Boston Transcript, on their recent New York en gagement at the Neighborhood Playhouse, that "this particular band of seekers has discovered and developed a really fresh and original talent among its writers, for the observation and tran scription of the characteristics of the Middle Western life. More, by giving the freest rein to these writers, it has encouraged them to work with such freedom that they have achieved a dramatic style quite their own." They have wanted to accomplish in some measure that which Mr. Ru dolph Block in the New York Tribune said that they had accomplished: "Acting sufficiently un professional to achieve the illusion of life which the sharp edges of the trained actor are successful in keeping at arm s length." INTRODUCTION All these hopes are still formulating among the Players, and no one knows better than they how much is to be accomplished. ZONA GALE. March, 1918. THE FEAST OF THE HOLY INNOCENTS BY S. MARSHALL ILSLEY PAGE l ON THE PIER BY LAURA SHERRY PAGE 53 THE SHADOW BY HOWARD MUMFORD JONES PAGE 83 WE LIVE AGAIN BY THORNTON OILMAN PAGE 137 THE FEAST OF THE HOLY INNOCENTS BY S. MARSHALL ILSLEY PERSONS OF THE PLAY CORNELIA MiLK,] tW maiden ladies who have seen bet- ELECTA MILK, $ ter days The y are livin g in Mille ^ j Wis. MRS. OBERLY, the blacksmith s wife JENNIE, her daughter MRS. OMAN, formerly of Millet. She married and went to live in the city THE FEAST OF THE HOLY INNOCENTS TIME : A winter afternoon of a recent year. SCENE: A little old fashioned parlour, neat and comfortable but showing age. There are a few pieces of old mahogany but most of the furni ture is plain and inexpensive. There is a small case of old books. A door to the right leads to the street. Another door to the left and back leads to the kitchen. CORNELIA, a maiden lady past forty, simply dressed, is sitting by the table putting fresh lace on a black silk waist. ELECTA, her sister, a year or two younger, is in a rocking chair darn ing stockings. MRS. OBERLY, the blacksmith s wife, is on the sofa. She is a heavy, middle aged woman and wears a shawl and hat. MRS. OBERLY [Rising heavily.} Well, I must be going home along. 6 WISCONSIN PLAYS CORNELIA [Her needle flying.] Don t hurry, Mrs. Oberly, do sit awhile. ELECTA Sister and I don t get out much in winter. MRS. OBERLY I just stopped in to say good-bye. CORNELIA Oh ... we forgot to tell you . . . ELECTA We ve about decided not to go. MRS. OBERLY [Surprised.} Not going? Do tell! CORNELIA You see, it s so soon after Christmas. MRS. OBERLY [Sitting again} For land s sake, I thought it was all settled! ELECTA Not settled, we are never sure beforehand. FEAST OF THE HOLY INNOCENTS 7 CORNELIA You never can tell what may happen. MRS. OBERLY After those grand invitations, and the weather so mild . . . CORNELIA Yes, we never shall see another bishop conse crated. ELECTA We have seen four come and go in this diocese. CORNELIA But this man s young, and he ll outlast us. MRS. OBERLY Well, well, I am surprised, such great church ladies as you be! I says to John, I says, there wouldn t be no Tiscopal church here if twarn t for them Milk sisters. CORNELIA Now, Mrs. Oberly . . . MRS. OBERLY True as I m sittin here, all Millet knows it. I warn t born Tiscopal, but seein as it s the only 8 WISCONSIN PLAYS church here I ll do my share, and when it comes to finding delicate ladies like you be, down on your hands and knees scrubbin the church floor, I says, you d a better call on Joan Oberly first; scrubbin is more in my line. CORNELIA Sister, do you hear her? ELECTA But you don t understand, Mrs. Oberly, we wanted to do it. It was only the altar steps. CORNELIA There is so little we can do. MRS. OBERLY Little ! Fixin that tree for the Sunday School all by yourselves, and climbin on that rickety church ladder ! I m thankful neither of you broke your hip. ELECTA Don t suggest it : as if every time sister gets up on a chair . . . CORNELIA It s you who will climb on chairs to reach down the jelly. FEAST OF THE HOLY INNOCENTS 9 MRS. OBERLY Excuse me, but I says to John, I says, if ever there was saints on earth the Milk sisters are them. ELECTA Now, now, now . . . CORNELIA Not saints ! MRS. OBERLY I d like to know, spending all your money on those young ones, and not havin a trip to town to see the makin of this new bishop 4 ? ELECTA You ask your husband about our being saints. CORNELIA I guess John will tell you . . . MRS. OBERLY [Rising.} Well, I must allow, husband did say. . . . There I won t repeat home talk. CORNELIA Now, Mrs. Oberly ! ELECTA Exciting our curiosity. . . . 10 WISCONSIN PLAYS MRS. OBERLY Well, he did say as how he knew the Milk girls before I did. . . . CORNELIA Yes? ELECTA Well, what else did he say 4 ? MRS. OBERLY It s time for me to be goin home along. ELECTA Goodness, if I don t smell that sponge-cake! [She rises and hurries out. MRS. OBERLY I was goin to remark, if there warn t something in the oven. CORNELIA Just like Lecta, she always forgets her oven. If she would only leave sponge-cake alone when eggs are high. I never say anything, for with her deli cate digestion if there is any one thing she craves . . . MRS. OBERLY Next to currant jelly there is nothing so un- FEAST OF THE HOLY INNOCENTS 11 certain as sponge-cake, and a sponge-cake that don t rise . . . CORNELIA Oh well, the cat will eat it, with plenty of cream. [ELECT A returns. ELECTA Burnt to a crisp! CORNELIA The full rule 4 ? ELECTA A dozen eggs. Oh, if there only were a man in the house to say something ! CORNELIA My dear, before company! ELECTA I mean it! Of all the . . . mm m ... oh! MRS. OBERLY Just what John said, "Electa Milk had the old Nick in her when she was a girl." . . . Excuse me, I forgot ! ELECTA Don t apologise, John knows. The other day when I went into his shop with our tongs to mend, 12 WISCONSIN PLAYS and overheard some . . . well pretty strong lan guage . . . MRS. OBERLY He was that mortified ! But, he said, when it comes to shoeing a colt . . . ELECTA Exactly! I told him there were times when even a lady would be glad of a man s tongue. CORNELIA Be careful, dear, if you say too much Mrs. Oberly will think . . . ELECTA Oh that burnt cake Excuse me I must open the kitchen window. [She goes out. CORNELIA [Calling after her.} Do be careful of draughts with your throat. [To MRS. OBERLY.] Sister is so impulsive, she is like a child. I have to watch her. MRS. OBERLY John and I was saying how two such lovely ladies as you be ... how you ever missed out with the boys? FEAST OF THE HOLY INNOCENTS 13 CORNELIA [Alarmed.] Oh, Mrs. Oberly! Somehow we had each other . . . and father. MRS. OBERLY Both so lively like. . . . CORNELIA My sister had chances enough, she was much sought after. There was one young man in par ticular. ... he wrote beautiful poetry . . . MRS. OBERLY He up and died on her 4 ? That kind usually does. CORNELIA [Vaguely.] No ... no ... you d be sur prised if I told you who it was. He s president of a bank in Lakeport now. MRS. OBERLY You don t mean . . . ? I believe it was Charles Oman. CORNELIA I mentioned no names. MRS. OBERLY His folks lived near here. And he off and mar ried another girl. That s the city of it. 14 WISCONSIN PLAYS CORNELIA Please never mention it, Mrs. Oberly. MRS. OBERLY Well, I must say, I m thankful I hain t got to raise my children in the city. All the tempta tions one reads about in the paper. . . . CORNELIA Yes. MRS. OBERLY As bad for girls as boys. Ladies at their lunch parties drinking these ere cocktails. . . . CORNELIA So they say. MRS. OBERLY And a smoking cigarettes. . . . CORNELIA Dear, dear . . . MRS. OBERLY And playin* cards for money. I suppose you seen the Sunday paper? CORNELIA I haven t had time to glance at a paper since be fore Christmas. FEAST OF THE HOLY INNOCENTS 15 MRS. OBERLY [Lowering her voice discreetly.} That French lady actor coming to Lakeport. . . . CORNELIA [With sudden interest.} You don t mean Bernhardt*? MRS. OBERLY That s just who. In plays it made me blush to read about. CORNELIA Aren t you mistaken, the paper said last week she was coming to Chicago*? [She begins to turn over the papers on the table. MRS. OBERLY Yes, but she was to come to Madison first, and the theatre burned, so she is goin to Milwaukee to-morrow. CORNELIA Dear, dear, and we have never seen her ! MRS. OBERLY You don t mean you d go ! >, CORNELIA No danger, we never shall have a chance. 16 WISCONSIN PLAYS MRS. OBERLY I guess if you ever read the stories "Camilly" and "Lay Toscay" of all the . . . ! I tell you, I got rid of that supplement before Mr. Oberly or the children got a hold of the paper. CORNELIA Really? MRS. OBERLY We have temptations enough in this country without bringin in more from a foreign land. CORNELIA I can t imagine what Electa did with the Sun day paper, it usually lies here until we read it. MRS. OBERLY Well, I wouldn t a mentioned the subject, but I thought you might like to burn that paper if your sister hadn t seen it. [ELECTA enters on the last. There is a meaningful silence. CORNELIA [Tensely.] Yes, I do think it is mild for this time of year. MRS. OBERLY [Casually.] Well I must be going home along. FEAST OF THE HOLY INNOCENTS 17 CORNELIA [Looking out of the window.} If there isn t the mail man already. . . . [She picks up a shawl. ELECTA Now, Corny, with your neuralgia. . . . CORNELIA I d like to know if you haven t a throat. . . . ELECTA Now don t stop and talk, no matter if it is mild. [CORNELIA goes out. ELECTA Sister is so impulsive, I have to watch her like a child. She looks to be stronger, but she has always been the delicate one. Like mother, so sensitive . . . the least thing. . . . MRS. OBERLY Well, if that s the mail man . . . [She starts. ELECTA Oh, just a minute. What was it you were saying about the Sunday paper? i8 WISCONSIN PLAYS MRS. OBERLY {Vaguely.} Did I mention the paper? Oh yes, I guess I did say how there didn t seem to be anything in it this week. ELECTA Exactly. I burned ours by mistake. In case Sister asks to borrow yours, you might say yours was gone too. MRS. OBERLY You read it, bout them plays? ELECTA I glanced it over; I didn t exactly read it ... MRS. OBERLY I guess you felt as I did. ELECTA [Seeing her sister returning.} Sh . . . we won t say any more. [CORNELIA enters.} Do come in again soon. MRS. OBERLY I feel terrible about your not goin to the conse cration, all on account of that Christmas tree for our young ones. It ain t right. [She shows em- FEAST OF THE HOLY INNOCENTS 19 barr ass merit. } I suppose if John was to lend you a little something . . . just by way of a loan. . . . CORNELIA Oh, Mrs. Oberly, we couldn t think of it. ELECTA We have quite decided, we can t afford it. MRS. OBERLY Well, good afternoon. CORNELIA Good afternoon, Mrs. Oberly. ELECTA Good afternoon, Mrs. Oberly. [CORNELIA shows her out. ELECTA takes up the paper that has just come. There is a little pause after CORNELIA returns. CORNELIA \Pretends to take up her sewing .] Do you re alise, Electa, that to-morrow is the sixtieth anni versary of father and mother s wedding? < ELECTA Goodness, don t remind me, the way time flies. 20 WISCONSIN PLAYS CORNELIA That isn t the right spirit our parents dia mond wedding it is only proper we should cele brate it. ELECTA They never made anything of it when they were alive. CORNELIA All the more reason why we should do some thing, and besides, it is the Feast of the Holy In nocents. ELECTA I never heard of that before. CORNELIA The idea! It has always been in the Prayer Book in black and white. ELECTA You need not pretend you knew any more about it than I did until those invitations for the con secration came. CORNELIA Well now we do know about it we ought not let it pass, and to miss the consecration would be well almost a sin. FEAST OF THE HOLY INNOCENTS 21 ELECTA Cornelia Milk, it was you yourself decided . . . CORNELIA I never decide anything, I always leave it to you. But I must say, if we miss this we never shall see another, and it will be a wonderful serv ice in the cathedral, with candles, vestments, and everything. , ELECTA But when it come to choosing between a tree for the children or going in town to the consecra tion . . . CORNELIA We chose the tree, of course, but now that is over we can change our minds, rise to the occa sion, and make a sacrifice. ELECTA Oh, sacrifice, I wish you would tell me one thing more we could sacrifice ! CORNELIA , I won t get a dress this year, that s all. ELECTA The idea, you haven t a dress fit to be seen. I 22 WISCONSIN PLAYS might get on without one, perhaps, I don t wear my things so hard as you do. CORNELIA I ll wear calico. ELECTA Don t be flighty. We owe it to our position to appear like ladies even if we starve. CORNELIA Then we ll sell another lot along the road. ELECTA There will be precious little left for us if we sell another lot. CORNELIA I don t believe in hoarding at our age, any more than Carnegie. ELECTA We can t sell a lot this afternoon. CORNELIA We ll borrow money from Mr. Oberly, and give him a mortgage. ELECTA Cornelia, if you keep on tempting me! [She gets up.} I won t hear you. FEAST OF THE HOLY INNOCENTS 23 [The telephone rings three short and two long. CORNELIA Was that our ring 4 ? You had better see any way. ELECTA [At the telephone, aside.} No it isn t for us. [She listens, and then hangs up.] It was Mrs. Oberly telling Mrs. Ashbridge we aren t going to the consecration of the bishop. CORNELIA Oh, passing the word around, is she? Explain ing why, I suppose, as if that tree or their young ones . . . ELECTA [Fiercely.] If they dared to offer us help . . . I ... I won t stand it! Oh I m willing to go, if you are so set on it. CORNELIA I m not set. You are the one to decide. I only thought there is more than one reason why we should go now. I see the annual bargain sale is advertised at Baxter and Baxter s : if we got our new dresses there most likely we should save the cost of the trip to town. 24 WISCONSIN PLAYS ELECTA Perhaps, but I wouldn t dare go to one of those bargain sales. Why, only the other day I read of a woman crushed to death at one in Cleveland, or somewhere. CORNELIA I wouldn t be so afraid of being killed as I would of getting the wrong thing in the excite ment. I never can think when I am excited, and they won t let you exchange a thing. ELECTA Exactly . . . much better to deal with home merchants, we always did like to bring things home, and talk them over, before we decide, that s half the fun of shopping. CORNELIA I leave it to you. ELECTA Anyway, you d get so tired most likely it would end in pneumonia. CORNELIA The idea, I m not half so liable to things as you are. The least thing gives you a cold. FEAST OF THE HOLY INNOCENTS 25 ELECTA Now, Corny, dear, you know how imprudent you are. You re just like mother, so sensi tive. . . . CORNELIA I m not half so sensitive as you are, if I didn t look out for you at every turn . . . ELECTA Very well then, we won t argue, let us settle it, we won t go. CORNELIA Just as you say, but when you think of the consecration, and that it is the Feast of the Holy Innocents, and father and mother s wedding anni versary, and everything else, it does seem . . . ELECTA We can read about them all in the papers. CORNELIA Yes, I thought when we got our rural delivery, and could have a daily paper almost as soon as the people in town. I thought we should feel almost as if we lived there; but I declare, the more we read about what is going on the more 26 WISCONSIN PLAYS tantalising it is. I sometimes wish we never saw a paper. [The telephone rings again, several long and short. ELECTA Is that ours? CORNELIA I d better see. [Takes down receiver. Aside.] Same old story. . . . [Hangs up.] Mrs. Oberly telling Mrs. Linkum now . . . how we are giv ing up our trip . . . such saints. . . . ! ELECTA Saints ! No, that is too much ! CORNELIA Well then? ELECTA As if they could understand our position. When I think of what father was, and all the ad vantages he had. CORNELIA Precisely! If he had ever dreamed of his daughters being cooped up in a little country vil lage all their lives. . . . ELECTA Don t blame poor father. FEAST OF THE HOLY INNOCENTS 27 CORNELIA I am not blaming him, I am proud of him. It wasn t every one went to Europe in those days, and learned French as he did in Paris. ELECTA If he hadn t put all his money into land just here! CORNELIA It wasn t his fault Millet didn t grow into a big city. No one could tell in those days which were going to be the large cities. I ve been crazy to go to Paris all my life ! [She finds an old encyclopedia in the book case. As she opens it various autumn leaves fall out. ELECTA Paris, who wouldn t like to see Paris! CORNELIA [Reading.} "Paris. The history of Paris be gins with the Commentaries of Julius Caesar, wherein he speaks of Lutetia. Strabo calls it Lu- cotocia, Ptolemy Lucoticia, and the Emperor Ju lian Louchetia ..." [She sighs and stops read ing.} That doesn t suggest Paris at all. 28 WISCONSIN PLAYS ELECTA I think of a gay, brilliant place. CORNELIA Of course . . . the opera. ELECTA And concerts. ... I adore music. CORNELIA The beautiful palaces . . . with statues stand ing around. . . . ELECTA The galleries of paintings . . . don t you ache to see ... to see a really famous painting? CORNELIA I d like to eat out of doors at a little table with lamps in the trees. ELECTA And to see the people . . . hundreds of people you don t know . . . one might have an adven ture. . . . CORNELIA And here we sit! ELECTA Shut in. FEAST OF THE HOLY INNOCENTS 29 CORNELIA And life passing away ELECTA Passed away! {Telephone jingles again. CORNELIA You needn t listen, it will be the same old story. Every one in the village must know it by this time. ELECTA Let them talk. ... I ve decided to go. CORNELIA Sister! ELECTA Yes, I ve thought it out. We ll borrow the money as Mrs. Oberly offered and I ll telephone in to Lizzie Oman, and see if she will let us visit her for the night. We can t afford a hotel. CORNELIA Electa Milk, are you willing to stay at Charles Oman s house*? ELECTA I? You may not like to go, Cornelia. 30 WISCONSIN PLAYS CORNELIA It was you he was in love with. ELECTA No, I always said it was you. CORNELIA Those poems were to you. ELECTA We never were sure. CORNELIA Well, I am sure, he never proposed to me. ELECTA He never proposed to me. CORNELIA Now, Electa, if you think you can deceive me ... ELECTA Well, anyway, we can t deceive ourselves as to when it all happened. Let me think . . . it was . . . CORNELIA Twenty-five . . . FEAST OF THE HOLY INNOCENTS 31 ELECTA Thirty years ago. CORNELIA No matter, if you feel you can go to his house ... I don t. ELECTA Lizzie has asked us more than once, and we have been there to lunch. [She takes up the tel ephone.} I want long distance. . . . Milwau kee. . . . Yes. CORNELIA Electa, long-distance is fifty cents ! ELECTA I can t help it. ... No, I ll hold the line. [Aside.] If she rings us up they ll all be on the line listening. CORNELIA Sister, I think you are hasty, deciding things in this off-hand way. We ought to talk it over first, and be sure. ELECTA Mrs. Charles Oman s residence. Yes. Is this Mrs. Oman s residence? She s out? Dear, dear! Oh, Louise, is that you? Is your mother 32 WISCONSIN PLAYS out? This is Miss Milk of Millet. No, not Miller. Miss Milk, MILK, you know, what cows give. Yes. What . . . She is? Com ing here? Now isn t that a coincidence! Yes . . . yes . . . yes . . . good-bye. [Hangs up.} Of all things, I should say it was the hand of Providence. Lizzie Oman came out to Beasely to-day to old Mrs. Park s funeral, you know the Parks are her cousins, and Louise says she is coming over here before she returns to town. CORNELIA Dear me, and your sponge cake burned, we haven t a thing but bread in the house. ELECTA I ll run right over to the store. [She begins to get her cloak. CORNELIA I oughtn t to let you go with your throat. . . . ELECTA I d like to know if I d let you run any risks with your neuralgia. CORNELIA Don t get ginger snaps. FEAST OF THE HOLY INNOCENTS 33 ELECTA I ll get some of those lovely wafers in a tin box. We can t spare expense at a time like this. CORNELIA Now don t be impulsive, and decide in a hurry. I really ought to go with you. Look over everything Mrs. Gunn has first, there may be some new cracker they are having in the city. I wish I knew just what they have at their teas. ELEGTA Olives, or a little cream cheese*? CORNELIA I ll make some marmalade sandwiches. I read about them in the paper. [The telephone jin gles again. She addresses it without going to it this time.] Oh yes, tell them we are not go ing, tell them we are such saints, take up a sub scription for us! [To her Sister.] Do be care ful of the steps, they are slippery, if you were to fall and break your hip. ELECTA [As she goes out.] If she has some of her own head cheese, or do you think sardines ? [She goes out. 34 WISCONSIN PLAYS CORNELIA [Calling after her.} No, no, they are so old fashioned. . . . Don t hurry. ... I didn t say hurry, I said don t hurry. ... No matter. [She comes forward.} Mercy, she will be sure to fall. I never should have let her go alone. [She picks up the paper eagerly^ and scans it, then turns to the telephone.} Mamie, I want long-distance again . . . yes, I know it is fifty cents, it s horrid of the company to have such a charge ... I want the Milwaukee Opera House . . . yes . . . line s busy. . . . Hello, is that the Opera Housed Can I have two seats, no I mean three, for Thursday evening? Yes, Ca- mille. . . . How much? . . . Oh, have you any for $1.50? Not any $2.00 either, only $2.50 in the sixth row . . . goodness . . . wait a minute . . . yes I ll take them. . . . Miss Milk ... no not Miller, Milk . . . not Mick, Milk, MILK, you know what cows give. . . . No, not Crosby, cows give, didn t you ever hear of cows? Yes, Milk. . . . Can t you keep them longer than that? . . . We can t get to town before ten thirty. . . . Well, send them to Mr. Charles Oman s bank, he ll be responsible for them. ... Be sure now. . . . [She hangs FEAST OF THE HOLY INNOCENTS 35 up and breathes in hard excitement. There is a knock at the door. She lets in a middle aged lady handsomely dressed. She is MRS. OMAN.] Lizzie Oman, of all things ! MRS. OMAN I thought I d surprise you. Isn t your sister here? CORNELIA She ll be back directly. MRS. OMAN I came out to old Mrs. Park s funeral. CORNELIA Yes, so we heard. MRS. OMAN You did? How in the world CORNELIA We just telephoned to your house. MRS. OMAN To tell me that you were coming in to the consecration of the new bishop! I knew you would be sure to, such good church women as you are, it couldn t happen without you. Now 36 WISCONSIN PLAYS I want you to come in with me this afternoon, and stay over Sunday at least. CORNELIA Impossible ! MRS. OMAN Nonsense. Toss something into a suit-case, I ll lend you anything you forget. I ve a car riage to take you to the station. CORNELIA There is so much to see to. ... MRS. OMAN Not a word. I ll run over to see Mrs. Ash- bridge, and leave you to get ready. I ll be back in twenty minutes. [ELECTA enters, her hands full of packages , which she tries to conceal. MRS. OMAN kisses her. ELECTA Lizzie Oman MRS. OMAN It s all arranged, you are coming with me to-day. FEAST OF THE HOLY INNOCENTS 37 ELECTA To-day 4 ? Impossible! You must have tea. . . . MRS. OMAN [Hurrying off.] No time for tea. I ll be back soon. [She makes her exit. ELECTA Did you ever ! CORNELIA Just like Lizzie, she always was a whirlwind. That s the way she married Charles Oman. If you hadn t been so deliberate. . . . ELECTA Cornelia Milk, it was you never could or would decide anything. CORNELIA I will decide now. [She begins to tie up her head. ELECTA You re crazy, you haven t packed yet. CORNELIA We have got to have some money first. I m going right over to John Oberly s. . . . 38 WISCONSIN PLAYS ELECTA Get ten dollars ... no, twenty. CORNELIA Of course. I put my black silk in the valise this morning in case anything happened, so I haven t much packing to do. ELECTA And I packed the hand bag, but I didn t say anything, for I thought you would be so disap pointed in case nothing happened. There now, do be careful, don t hurry, you will be sure to slip, you are so impulsive. [CORNELIA hurries off. ELECTA [At the telephone.] Mamie, I wish you would hurry please and give me long-distance, Milwau kee. ... I want the Opera House. . . . No, I will hold the line. ... Is this the Opera House? . . . Well, I want three of your best seats for to morrow afternoon for Bernhardt. . . . Yes, "La Tosca." . . . What, only box seats for three dol lars? Well, yes, all right, three. . . . For Miss Milk, of Millet. What? Do I want them sent to Oman s bank? What made you think of that? FEAST OF THE HOLY INNOCENTS 39 . . . You can t keep them? Very well, but don t let him pay for them, charge them to me. Yes, plain Milk, you know milk, cream, butter, eggs, . . . what cows give. Now don t fail to send the best you have left. [She leaves the telephone, and hurries to gather up her packages. ^CORNELIA enters with JENNIE OBERLY, a fresh-faced girl of twelve. CORNELIA Here s Jennie to see about everything while we are gone. John will bring the money over before we go. [While they are talking CORNELIA brings in an old- fashioned valise and is busy packing things she has brought in from the bed room. ELECTA Now, Jennie, you know how to run the base burner? JENNIE Yes m, it s like ours. CORNELIA And you must feed Petkins. 40 WISCONSIN PLAYS JENNIE Oh, yes m. ELECTA But don t you give him meat. [She gets her hand bag and begins to pack also. CORNELIA He d be happier to stay right here at night. ELECTA You must give him all the cream he will miss us so. CORNELIA And, Jennie dear ... in case ... in case anything happens to us. ... ELECTA [Protesting.} Sister! CORNELIA We must think of every contingency before go ing on a journey. JENNIE [Cheerfully.} If you fell and broke your hip. . . . FEAST OF THE HOLY INNOCENTS 41 CORNELIA No, I mean, in case anything happened and we didn t come back, then, you are to have Petkins. JENNIE Oh, Miss Corny ! ELECTA Yes, and I trust you, Jennie, to be very kind to him. JENNIE Oh, Miss Lecty ! CORNELIA And Jennie, we shall be gone over Sunday. I hope you will learn your Bible lesson just the same. ELECTA We ll hear you when we get back. CORNELIA [Shutting the valise.] There, that is done. ELECTA [Solemnly.] Sister, there is still time to change our minds, are you sure we are doing the right thing to go 4 ? 42 WISCONSIN PLAYS JENNIE [Aghast.] Not go now? ELECTA There, Jennie, you run back to mother. JENNIE Mother, she says she don t blame you for changing your minds, any lady likes to change her mind; but father, he says, that last time you took back the dress to Beasely, he says. . . . CORNELIA Now, Jennie. . . . JENNIE He says, if you ladies had been married you couldn t a changed your minds so easy, that s what he says. CORNELIA Now, Jennie, it isn t good manners to talk about your elders. ELECTA Nor to talk about marriage to unmarried la dies. CORNELIA Run along now, that s a good girl, and remem ber to keep the stove going, and to feed the cat. FEAST OF THE HOLY INNOCENTS 43 ELECTA And learn your Bible lesson. We ll put the key under the mat. [They show JENNIE out. ELECTA Now we mustn t be hasty, Corny. . . . It s for you to decide. CORNELIA Because I am older you want to put all the re sponsibility on me. ELECTA Quietly, quietly, there is no need of getting ex cited. John hasn t brought the money yet. You must remember if we sell another lot it will put their back yard and all their Monday wash right where we can see it from our front door. Of course it is a church function, something we shall want to remember for the rest of our lives but still . . . CORNELIA Very well, if you are afraid to go we ll give it up. [There is a knock at the door and MRS. OMAN enters. 44 WISCONSIN PLAYS MRS. OMAN Well are you all ready? Mr. Oberly met me at the gate and asked me to give you this. [She holds out an envelope to CORNELIA. ELECTA Lizzie dear, we are not sure . . . CORNELIA You see Electa has a very delicate throat . . . ELECTA Oh, it isn t my throat half so much as sister s neuralgia. MRS. OMAN Not another word. Put on your hats. You may never see another consecration. CORNELIA Just like a man, taking vows for life. ELECTA As if one could ever be sure. MRS. OMAN There is a nice orchestral concert on Friday, you must hear that. FEAST OF THE HOLY INNOCENTS 45 CORNELIA We love music. ELECTA And out here there is not much music, except of course, sacred music. CORNELIA And graphaphones, we have heard some beauti ful records. MRS. OMAN And Saturday afternoon there is a card party at the club. CORNELIA So we saw by the paper. MRS. OMAN Fancy your noticing what we are doing in town. ELECTA Why not 1 ? We get our paper almost as soon as you do in the city. CORNELIA We always read all the society news, it s the only*way we can take part. ELECTA It is so interesting. I don t suppose the ladies really do play for money as they say they do. 46 WISCONSIN PLAYS MRS. OMAN You wouldn t have to see them. Perhaps two or three tables of the gay set in the back room might be playing for money. CORNELIA Dear me, I d like to see ladies gambling, just once . . . ELECTA Be careful dear, Lizzie might think . . . CORNELIA I would, and I d like to try it myself to see what it felt like. ELECTA Sister! you are too impulsive! [Apologizing. ,] You see our lives are so quiet. MRS. OMAN Of course . . . CORNELIA Yes, and I d like to see a lady smoking a ciga rette. MRS. OMAN You wicked creature. I must think of some friend who indulges. I wish there^was a play at FEAST OF THE HOLY INNOCENTS 47 the theatre you would enjoy. If it were only last week, "The Old Homestead" was playing. You would have loved it, all about the country. And the week before, "Mrs. Wiggs" was here, such a sweet wholesome piece: CORNELIA [Mildly.] Really? MRS. OMAN Of course Bernhardt is coming to-morrow, in some of her awful French plays, you wouldn t care for those, I suppose*? ELECTA I don t know . . . perhaps not . . . CORNELIA She is famous. ELECTA You didn t think of going yourself? MRS. OMAN Mr. Oman refused to take me. Not that we aren t old enough to stand anything, but he doesn t want daughter to go; and besides, he likes to be amused at the theatre and he hates those dread ful, sensational pieces and in a foreign tongue. 48 WISCONSIN PLAYS CORNELIA I suppose men do. ELECTA We wondered . . . MRS. OMAN You don t mean you would like to see her? CORNELIA You see our father used to tell us a great deal about Paris. ELECTA He went there in 1847. CORNELIA When Louis Philippe was king. ELECTA And we have longed to go there all our lives. CORNELIA And we thought to see one of these plays would be something like going. ELECTA In a way it would be quite instructive. CORNELIA But of course if Mr. Oman feels so strongly about it . FEAST OF THE HOLY INNOCENTS 49 ELECTA As your guests we mustn t do anything . . . MRS. OMAN Goodness, we re old enough and I m dying to go ... CORNELIA No one need know. ELECTA You can t understand, but we sometimes feel as if ... well . . . something a little spicy might liven us up a bit. MRS. OMAN Not another word. We ll go if I can get seats so late. I must telephone before we start for the train. [ The sisters exchange glances. CORNELIA Oh, no, not now. ELECTA Let us decide tomorrow. MRS. OMAN It may be too late then. 50 WISCONSIN PLAYS CORNELIA Let us go to the consecration first. ELECTA Yes, that is the important thing. That is what we are really going for. CORNELIA Then if we feel in the mood for a little . . . well . . . diversion . . . ELECTA We will take our chances. We never like to decide things ahead. CORNELIA One never can tell what may happen. MRS. OMAN Just as you say, but if we are going to get the 5 :2O we must be off. [Starts to the door. CORNELIA Sister listen to me, we are not going on my de cision. It was you that decided. I will take no responsibility. ELECTA Nor I, I left it entirely to you. FEAST OF THE HOLY INNOCENTS 51 MRS. OMAN Are you coming? CORNELIA Then we each go of our own free will*? MRS. OMAN Come. CORNELIA & ELECTA [ They speak together and go out slowly. ] Yes we are coming. ON THE PIER BY LAURA SHERRY PERSONS OF THE PLAY RICHARD, a boy JESSICA, a girl ON THE PIER TIME: The present. A Spring midnight. SCENE: A pier in the river. A quivering spot of water is revealed where the moonlight touches the river. A pier is etched into the shadow. A crude board walk crosses at right angles in front of the pier. Short piles break the line at inter vals on the edge of the walk. On the right is an impromptu bridge connecting the walk with the more solid ground of the bank. IS! ear the pier is a rough bench, a board thrown across two of the piles. It is about midnight in the Spring of the year. There is a sound of the gentle lap ping of waves on the pier. The pier is empty. JESSICA enters over the bridge and walks out onto the pier. She remains a moment standing look ing over the water, then she sits on the edge of the pier still facing the water. RICHARD [Enters from the left. He walks slowly with his head bowed. He hesitates then hurries im- 57 58 WISCONSIN PLAYS pulsively out onto the pier. JESSICA looks up. He faces her.] You what are you doing here? JESSICA And you [Finishes his thought for him, im itating his melodramatic manner. \ At this time of night alone ! Cut out the melodrama. RICHARD {Intensely. ] I never expected to see you again. JESSICA [Laughs.] I never thought about it. RICHARD You remember me? JESSICA Of course. I couldn t forget a friend like you who had done me such a good turn. Are you still in that office? RICHARD No. JESSICA It s queer isn t it that we should meet again RICHARD And here ON THE PIER 59 JESSICA You were a good pal that day, all right, to me a stranger. RICHARD Someway you didn t seem like a stranger to me. It felt like I had known you always. JESSICA I trusted you too right away instead of your employer. RICHARD That man is a beast. JESSICA I came from the country in answer to his ad vertisement. I was so hopeful. It all seemed so easy. RICHARD Yes that s what he does, advertises in the country papers. He figures that country girls are easier than city girls. How have things gone with you? What has happened since I saw you*? Did you get a job? JESSICA Which question will I answer first? t 60 WISCONSIN PLAYS RICHARD [Suddenly apprehensive. ] Why are you here *? JESSICA [Nervously.] Why are you here? RICHARD [Bows his head despondently.} It s no use. I ve tried to keep square with myself. I tell you it s no use. JESSICA [Stimulated by an interest outside herself.] Come, things can t be so bad as that, they never are. RICHARD They are worse. JESSICA Why you are nothing but a kid. RICHARD [Walks away from her.} I m a failure. I m not good for anything. JESSICA Oh rot! You have your whole life ahead of you. You re nothing but a kid. You re too young to be discouraged. ON THE PIER 61 RICHARD I can t help it. JESSICA [Follows him to the walk in front of the pier. He has seated himself on one of the piles. She sits on the edge of the pier.} What happened? Don t you like your job? Doesn t your employer treat you well ? RICHARD After you left the office that day JESSICA Yes RICHARD Well the manager fired me for putting you on. JESSICA [Despondently.} Oh I m sorry. I seem to be a regular hoodoo. RICHARD It wasn t your fault. I was going to chuck it anyway. JESSICA Haven t you been able to get anything else to do? 62 WISCONSIN PLAYS RICHARD That was my first job. He didn t give me a recommendation of course. JESSICA So you had to start all over again? RICHARD Yes, but I ve had several chances since. JESSICA Then it isn t so bad is it? RICHARD One was in the office of a politician. He wasn t honest either. JESSICA And so you quit him too, silly kid. You can t make over the world in a day. RICHARD I couldn t stand it. It was it was rotten. JESSICA But surely there are plenty of honest people to work for. RICHARD Oh yes, I got other jobs, but I didn t make good in them. ON THE PIER 63 JESSICA Why not? RICHARD I wasn t trained for them. JESSICA Well, you just have to keep looking until you find something you are fitted for. RICHARD I ve looked and looked God how I ve looked ! I ve worn out my shoes looking, but I haven t found anything. JESSICA Is your home in New York? RICHARD Yes. JESSICA You arc lucky to have a home and some one to look after you while you are hunting a job. Can t your father help you? RICHARD No. Mother has taken care of me ever since I was born. ... I never had a father damn him. 64 WISCONSIN PLAYS JESSICA Oh RICHARD [Is silent an instant then.} Mother went two weeks ago. I guess she worried herself out. [Sits on one of the piles. JESSICA Oh how cruel. RICHARD But she never minded my leaving the jobs, or not making good. She always understood. JESSICA Of course RICHARD [Sighs heavily.] It s been terrible without her JESSICA She always understood RICHARD I I tried to dig in a ditch. I boasted to my employer when I left him that I was going to dig in a ditch. I told him it wasn t such dirty work. [He rises and tries to straighten up. ON THE PIER 65 JESSICA [Laughs.] You dig in a ditch! RICHARD It wasn t funny. I couldn t do it. I wasn t any good, I didn t have the strength and the boss after swearing at me all day told me to get out and not come back. JESSICA That was hard luck. RICHARD [Staggers.] It was to-day that I worked in a ditch and I m all in JESSICA Poor kid, have you had your supper? RICHARD [Sits on pile.} No I JESSICA Your mother always got the supper RICHARD I I can t sit here I guess I ll have to lie down a minute. 66 WISCONSIN PLAYS JESSICA [She helps him to lie on the walk.] Let me help you there, you ll be all right soon. [She sits on the pile. RICHARD Tell me tell me why are you here? JESSICA I ve learned a good many things since that ex perience in your manager s office. RICHARD I suppose it s been pretty bad sometimes. JESSICA Pretty bad. RICHARD Of course you tried again. JESSICA Again and again, New York seems full of girls who just got in ahead of me. And then in some of the offices the men were like your employer. I grew discouraged. I began to suspect every body. The people in the city are so different from the ones I ve known in the country. ON THE PIER 67 RICHARD It must have been hard. JESSICA Yes and I wasn t so sure of myself either. Some way I didn t feel so sure as I did when I left home. RICHARD What have you been doing? JESSICA I ve been running away from everything. I ran from your manager and other men. [She rises and walks away from him.} I was a weak coward. I wouldn t face anything. At last I be came a housemaid. RICHARD ./ A housemaid ! JESSICA Yes rather a come down wasn t it when I was so ambitious? I couldn t stand the loneliness so I ran to this pier. You don t know how dread ful it is sitting in a skylight bedroom four flights up or in a basement kitchen with not even a win dow that looks out on anything. 68 WISCONSIN PLAYS RICHARD It s hard for a girl. JESSICA Oh no harder for a girl than a boy but RICHARD Girls are weaker than boys. JESSICA [Turns and sits on edge of "pier.] No we re not. I m just as strong as you are. RICHARD Somebody ought to take care of you and love you decently. JESSICA I can take care of myself and get along with out love better than you can. RICHARD What are you here for? What are you going to do? JESSICA I was trying to make up my mind to jump in but then so were you. ON THE PIER 69 RICHARD [Sits up in horror.} You why you are too beautiful. There is everything in the world for you to live for. I won t let you do it. JESSICA [ Laughing. ] After you are drowned, how can you prevent me*? RICHARD I ll stay here and prevent you. I m not going to do what I said. I hadn t fully made up my mind anyway. JESSICA Oh, you are just here to try to RICHARD For the same reason you are, to try to make my self do it. JESSICA Then we re quits. There s no difference be tween us. RICHARD I m stronger than you are. JESSICA You were running away too. ?o WISCONSIN PLAYS RICHARD I ve changed my mind. JESSICA That s like a woman. RICHARD I don t care. JESSICA [Laughs.] Why should you? RICHARD I m not going to run away now. JESSICA Neither am I I m going back with you. [She crosses over to him and slips her arm around him to help him up. RICHARD Will you marry me? JESSICA What for? RICHARD Because I love you. JESSICA That s what they all told me, the first thing, ON THE PIER 71 just like you. But they didn t ask me to marry them. Gee it sounds country. RICHARD But I love you and want to do the right thing. JESSICA Oh, that s all right. It doesn t make any dif ference, really. Perhaps we ll be friends and we may be able to help each other. RICHARD I don t understand JESSICA Neither do I RICHARD My mother JESSICA Never mind your mother. I can t help liking you. Maybe it s because you are weak, maybe it s because . . . Have you any money*? RICHARD [Immediately wilts.} No I haven t a cent. JESSICA Well I have. I ve been saving my wages for 72 WISCONSIN PLAYS weeks. No one to do things with so what was the use of spending money. Just wait a minute. [She draws from her pocket a small roll of bills. ,] My wages! RICHARD Gee I haven t seen so much money as that JESSICA It makes you feel sort of weak doesn t it. Well it will buy food. Come along. [As they start he staggers again. RICHARD No I can t go any further. I guess I m going to faint. JESSICA Here, sit here. [She kelps him to the rough bench on the right.} Say, you need something to eat. You re weak from work and hunger. RICHARD Oh, I don t think I can go back I don t feel equal to anything. JESSICA You ll be all right. You must be. What s the use of giving in so easy*? ON THE PIER 73 RICHARD You talk that way now. You felt different a few minutes ago. JESSICA I came here to end it all it made me think and then you came and it changed things RICHARD Really, how*? Do you care*? JESSICA You seem worth saving. I didn t seem worth saving. RICHARD You are you are and I am going to save you I [He rises in his enthusiasm but falls back weakly.] Oh I m no good. I can t do it. JESSICA Yes you can you have don t you see you have saved me. RICHARD You you re wonderful but what s the use of trying what s the use of living? You can t live in New York; they won t let you. What else is there? 74 WISCONSIN PLAYS JESSICA There is everything. Look look at the lights of the city. Isn t it magnificent? Isn t it great? I love New York. RICHARD It s a cruel city. It killed my mother. It will kill me and you and everybody decent JESSICA Perhaps but I love it RICHARD It s wicked. It s hell, I tell you. I hate it. I can t go back [Weakly.] it killed my mother, it will kill me it JESSICA Lord, I ve felt that way often enough, and then I ve had a sort of longing for home for Wau- wauzeke, Wisconsin. It s in the Kickapoo val ley, Wauwauzeke is. It s a friendly valley. . . . We might both of us run away and go to Wau wauzeke. RICHARD How would we ever get there ? It s a long way to Wisconsin. ON THE PIER 75 JESSICA My wages RICHARD Yes they look big when you haven t had a square meal for several days, but we can t live on those wages forever. JESSICA Nobody said we had to. You re hungry and it makes you ugly. Come, where s that strength you were boasting about? I can teach a coun try school if we get desperate. [She makes a wry face. RICHARD I can clerk in a country store. Ugh ! JESSICA There s a man out there who owns a store. He offered me a job as book-keeper before I left. But I was bound to go to the city and go on the stage and do something decorative. I thought if I once got here it would be easy enough. For they all said that I was just born for the stage. RICHARD They who ?6 WISCONSIN PLAYS JESSICA The people in our church. RICHARD Your church JESSICA Yes, we always gave our shows in the church. RICHARD What a queer place. Say was that store keeper in love with JESSICA [Laughs.] No he wasn t in love with me. He is just one of those simple people who are fool enough to love everybody. RICHARD It sounds good. JESSICA It is good it s honest. Wauwauzeke doesn t shine and dazzle like New York, its street lamps smoke. RICHARD That sounds sort of dismal. When you left I suppose you were feeling pretty sorry for Wau wauzeke. ON THE PIER 77 JESSICA I was, and they ve gone on living just the same, clean decent lives and contented and happy. RICHARD Without ever thinking they were any better than anybody else. JESSICA They don t know how lucky they are. RICHARD Let s go. JESSICA If we were in Wauwauzeke, we d be in bed and sound asleep by nine o clock and all the lights out. RICHARD Except the smoky street lamps. JESSICA It s nearly midnight now and just look at New York. RICHARD No signs of sleep there. JESSICA No it s alive, alive every minute of night and 78 WISCONSIN PLAYS day. That s what I like about it. I like to live in a place where people are doing things. RICHARD And Wauwauzeke is dead JESSICA Worse than that, it s alive, but not kicking. Most of the people don t know that they are buried alive, a few know it but haven t the strength to dig out. RICHARD And you dug out? JESSICA Yes did you ever lie awake at night and try to imagine how it would feel to be buried alive? RICHARD Oh yes horrible JESSICA Well Wauwauzeke is like that. RICHARD Ugh, I d rather stay here. JESSICA And take a chance, so would I. ON THE PIER 79 RICHARD There must be chances in such a big city. JESSICA There are. We ve got to get after them, that s all. We ve got to take jobs we re fitted for and not try to do things we re not fitted for. RICHARD Like going on the stage JESSICA And digging in ditches RICHARD We ll make a fresh start. JESSICA On another tack. RICHARD Yes together. JESSICA Together. How do you feel? Can you move along again? [She helps him up, they start to go. She supports him.] We ll get some supper and then you ll be all right. 8o WISCONSIN PLAYS RICHARD {With pride.} I ll be just as strong as you are. JESSICA Stronger. RICHARD You re great! JESSICA Thanks. We ll go to Childs and get a square meal and then find lodgings. RICHARD And to-morrow JESSICA We re young and strong. There s some one in that city looking for us. RICHARD It s lucky you ve got your wages. God if they d let a fellow earn them honest it s no use I tell you it s no use and I d feel poor letting you spend your wages on me. {Sinks back onto the bench. JESSICA Now don t begin that again. Some day you may have to spend yours on me. ON THE PIER 81 RICHARD I would if I could ever get any. God, if they d let a fellow earn them honest It s no use noth ing s no use. JESSICA Brace up. There s nothing to worry about. [Lifts him to his feet with effort.] If we don t make good, we can always go to Wauwauzeke. RICHARD Never. Wauwauzeke Christ to be alive and buried. In New York you know you re alive all right even though you suffer like hell. [He catches the spirit of the city.} It s great to be alive. I ll earn a living some way or they can send my corpse to Wauwauzeke. JESSICA Good, that sounds better. Say, isn t it swell me treating you to a supper at Childs at midnight? RICHARD And staking me for a night s lodging. This is living ! JESSICA We couldn t do it in Wauwauzeke. It wouldn t be respectable. What is your name 4 ? 82 WISCONSIN PLAYS RICHARD Richard. JESSICA Richard. My name s Jessie in Wauwauzeke, Jessica in New York. RICHARD Jessie s a nice name. JESSICA Take care, there s a loose board, don t fall, it s dark but if we once get over this bridge we ll be all right. [They go off towards the city. THE SHADOW AN ARABESQUE BY HOWARD MUMFORD JONES TO JAMES FINCH ROYSTER THE SHADOW ELISOR THE EMPEROR HARLEQUIN OISILLE HELENE THE SHADOW A forest in October. The hard maples which make up the wood blend in the distance until their trunks melt into a single violet cloud. Their foliage is golden, with a mellow and evanescent glory that fills the stage like the memory of dead kings. The floor of the forest is carpeted with fallen leaves which rustle aud ibly if anyone walks through them; from time to time a leaf detaches itself from a branch and falls to the ground where its brethren bestir themselves to receive it with a sigh. The stage itself represents a clearing in the forest. To the right and back there rises out of the de caying leaves a moss-covered stone platform that once supported an altar probably to a woodland god, but all the gods are dead now and it does not matter. Enough of the altar remains, however, to form with an old log a weather-worn rustic seat. To the left a single large maple lifts its trunk heavenward from 87 88 WISCONSIN PLAYS the midst of the clearing. A faint smell of decay. On the seat to the right there sits a man. That is^ he is a man unless the midnight splendours of the wood, the long black shadows of the trees, and the memories and flowers of the forest have not united to form an eidolon in the semblance of humanity. Man or shadow, he is long and tall and thin, dressed entirely in black (except for his white stock) in the costume of 1830. His hair is iron-grey; his face is worn, with two deep wrinkles across the high white forehead, and two more on either side of the mouth. The eyes are large and dark and sombre, except when they light up with a sudden baffling light. In repose the face is sad, save that it wears ha bitually a mood of light mockery, of cynicism so profound it can afford to be gentle. Almost he seems to leer. He is leaning forward as he sits, his chin supported by one white hand, gaz ing ahead of him at nothing. For a long time nothing happens, so that those for whom this play is not intended believe that something has gone wrong. But in the mean time the action has commenced. Bit by bit THE SHADOW 89 the voluptuous silence has sunk into your heart. The odours and hints of dying beauty have begun to trouble you with their eerie sadness. The little leaves fall, very far apart, speaking slowly some secret matter as they fall. A faint breeze stirs the branches. The man or shadow let us call him THE SHADOW listens abstractedly. He sighs gen tly and straightens up. After a moment he turns Ms head curiously to the left. A girl enters from behind the big tree. She is slender and pretty and thoughtful. Her name is OISILLE. She wears a light blue robe, and no hat. She walks slowly from behind the tree to the centre of the clearing; apparently she never sees THE SHADOW though he smiles and nods his head ever so slightly. OISILLE pauses and looks wistfully back into the forest. OISILLE [To herself.} I wonder . . . [THE SHADOW shakes his head secretly. OISILLE [Half-aloud and argumentatively.} I wonder. . . . They told me it would be wonderful, but it 90 WISCONSIN PLAYS would not last. That is what the old woman in the forest said, and the others, too. . . . But he is so handsome and brave ! [She turns irresolutely and wanders over to the tree, on the trunk of which she puts her hand. There is a rustle in the leaves to the right, and OISILLE and THE SHADOW turn their heads inquiringly. [From the right comes a little dumpy man in a torn, white toga that is edged with two purple stripes. It is a very poor toga, in deed, ragged and muddy in places, but it seems to afford him a vast amount of satis- faction. On his head there is a gilt crown. His face is round and rather vulgar, with little staring eyes; his hands are freckled and red, and he gesticulates awkwardly when he talks. His manner is grandilo quent and a little crazy, and yet he can be humble, too. He is at once funny and sad, though never without a certain dig nity. He is THE EMPEROR. THE EMPEROR [Without offence.] Hallo! OISILLE Oh! THE SHADOW 91 THE EMPEROR [Anxiously.] Have you seen any of my sol diers? OISILLE No, I do not think I have seen soldiers of any kind. Are you looking for them? THE EMPEROR [Sits down on the edge of the plat f or m, with out noticing THE SHADOW who watches him keenly, and wipes his brow with a convenient sleeve.} Yes. They are part of my army, you know. [A little pompously.} But perhaps you do not know. I am an emperor, a king. Do you know what that is? OISILLE [Smiling.} I think I do. THE EMPEROR [With a vaguely explanatory gesture.} I -I rule, you know. I sit on a throne and people bow before they talk to me. At least, they used to bow. But I find that an emperor is no good with out soldiers, and mine are always disappearing. [Anxiously.} Do you suppose it is the pay? 92 WISCONSIN PLAYS OISILLE How much do you pay them? THE EMPEROR [Beckoning her.] Come here. What is your name? OISILLE [Approaching him.} My name is Oisille. THE EMPEROR Oisille. O yes. Bend down your head, Oi sille. [In a stage whisper.} The truth is in the matter of pay, you know I can t find my treasurer, either. [Aloud, as OISILLE straightens up.} It s a great secret. You are not to tell. OISILLE No. THE EMPEROR He went away about a year ago. Of course he had the money for the imperial army at the time, so you see THE SHADOW [ Who has been listening with a faint, mocking smile, suddenly Jeans down and speaks softly in THE EMPEROR S ear.} Where are your majesty s dominions? THE SHADOW 93 THE EMPEROR [Looking sharply at OISILLE.] Eh? Did you say something*? OISILLE No your majesty. THE EMPEROR [Complacently.] That is right. Always say "your majesty," my dear. I thought you asked me where my dominions lay. The truth is that I am not at present residing in the ancestral palace. I I prefer an open life. My castle is just now in the hands of another temporarily, only tempo rarily. You understand. I am engaged in a field expedition with the imperial troops ! THE SHADOW [As before.} And what is the name of your majesty s realm? THE EMPEROR [Petulantly, to OISILLE.] I wish you would speak louder. [He gets to his feet and speaks grandiloquently.] My country is the land east of the sun and west of the moon, and my title is [vacantly] what is my title? 94 WISCONSIN PLAYS THE SHADOW [Softly.} Emperor of the Seven Stars? THE EMPEROR [Majestically.} I am His Majesty the Em peror of the Seven Stars ! [Kindly.] And now that you know who I am, don t be the least afraid of me. Tell me, Oisille, what are you doing here all alone? OISILLE [Sadly turning away.] Ah, your majesty, I am waiting. THE EMPEROR Waiting? Ah yes. For a young man, no doubt. OISILLE [Surprised.] How did you know? THE EMPEROR [Complacently.] Experience, my dear, is a great teacher. In my experience, young women especially young women of your beauty [bow ing fantastically] are always waiting. For young men. In my own dominions [Mysteriously. THE SHADOW 95 OISILLE [In a burst of confidence.} O I do not know what to do! Elisor promised to meet me here, and and he has not come! Elisor is [embar rassed] is [THE SHADOW smiles his customary smile, THE EMPEROR Elisor is the young man, my dear. He is de layed. By important business. As a young man I was often similarly delayed. My wife the late empress OISILLE I do not fear. He will come. But O I do not know whether I want him to come ! How shall I know? How shall I know? [THE EMPEROR frowns and scratches his ear sympathetically. OISILLE Tell me, tell me, you are old. What is this thing called love? Last night Elisor told me he loved me. It was in the garden. [Dreamily.] We stood by the white wall above the ghostly sea, and I watched a sail as it floated away into the star-dust of the night. And there were lilies, and 96 WISCONSIN PLAYS roses in the moon. The air was heavy with the scent of the roses. And on Elisor s lips there lay a moonbeam and and he kissed me while we stood there above the sea. [Passionately.] O how shall I know? How shall I know? Tell me, what is love 1 ? [THE SHADOW turns with evident enjoyment of the situation to THE EMPEROR. THE EMPEROR [Perplexed.} Well, my dear, I should say that love is is an attraction between the sexes, or rather not merely that, of course. Love is well, my wife the late empress used to say that love was OISILLE [Eagerly.] Yes she must have known she loved you. THE EMPEROR [ Uneasily.} W-e-11 at least she said she did. She used to say that love was was [in a charac teristic burst] was a terribly uncertain thing, my dear. [THE SHADOW bursts into a peal of silent laughter. OISILLE walks away, wringing her hands. THE SHADOW 97 A MAN S VOICE [Sings.} The long way and the white way, And the shadows are long and broad ! Through wind and weather we ride together, And never an inn on the road ! THE EMPEROR [Starting up.} Eh ? Perhaps that is your young man, my dear. [He bows majestically. ] Permit me. I will retire. And if I may sug gest OISILLE Yes? THE EMPEROR It is essential in such matters to remember that young men will be [after a judicious pause] young men. I have observed, even in my castle. Their nature is [He wags a finger mysteriously in OISILLE S face, folds his toga over one arm and walks magnificen tly left. [A young man enters from the left at the back. This is ELISOR. Simple and straightforward. He is ruddy of face, 98 WISCONSIN PLAYS square of shoulder and strong of limb. ELISOR is dressed in a brown hunting cos tume, -with a brown hat (of course there is a feather in it) on the back of his curly brown hair. He stops, stares at THE EM PEROR, and bursts into a hearty laugh. OISILLE [Running to him. ] Elisor ! ELISOR Ha-ha-ha ! Who in the world is that? OISILLE [Hurriedly. ] I do not know, I do not know. It does not matter. O Elisor ! [She is in his arms where she ought to be. ELISOR [Tenderly.] Oisille! [He tilts her head back and kisses her. OISILLE [Who has been clinging to him passionately, shudders a little and breaks away with a convul sive gesture.} No, no! ... Do not kiss me, do not kiss me. We must not. THE SHADOW 99 ELISOR [Confronted by the inexplicableness of girls, patiently.} We must not what 4 ? And why? OISILLE [ With her back to him, facing the stone plat form.} We must not / must not. Last night by the white wall above the sea No, no ... ELISOR [Anxiously.} Why? What is wrong? Don t you love me any more? OISILLE [Partly turning.} Yes no yes. I love you ! I love you ! ELISOR [Going to her.} Then everything is all right. Kiss me ! How pretty you are ! OISILLE [Avoiding him, passionately.} No, no! It is not right. It should be wonderful, and now ELISOR [Hurt.} But I do not see [THE SHADOW who has been listening, sadly ioo WISCONSIN PLAYS shakes his head and sighs ruefully as one who has seen many lovers and heard the same story many times. OISILLE [Tragically, her eyes big and wide.} You do not sec ... you do not see ! ELISOR [Simply.} I love you you love me. What is there else *? OISILLE [Almost inaudibly.} Last night ... in the white garden . . . when you kissed me, it was as if I heard clarions far away. And great battle ments shone, all of rose, and there were men and women on them, going up and down. And you and I ELISOR [Breathlessly.} Yes, yes. OISILLE And you and I O Elisor ! It was like an or gan at twilight in the green woods. But today [She stands staring. ELISOR [Simply.} To-day don t you love me? THE SHADOW 101 OISILLE Yes, but [quite simply} when you kissed me, there were no clarions. [THE SHADOW hides his face in his hands. ELISOR [Honestly puzzled. ] But I do not understand. What has that to do with us? OISILLE [Incredulously.] O don t you see? ELISOR [Stubbornly.] I see nothing. Either you love me, or you do not. OISILLE [Kindly.] No, Elisor, that is not it. We must we must what must we do? [ELISOR stands looking at her. OISILLE We must find out what love is. ELISOR [Desperately and out of patience.] But I know what love is. [THE SHADOW looks up sharply. 102 WISCONSIN PLAYS OISILLE What is love 9 ELISOR Love is it is when you love some one as I love you, it is O I can not say it, but I know, I know! OISILLE You see ! we do not know. We must find out, THE SHADQW [Half-rising, in terror.] No, no, no ! OISILLE [Turning, puzzled.] Did you hear some one*? ELISOR [Listening.] No, I do not think so. . . . But, Oisille, I I [He gives up the struggle for expression with an odd little gesture of pain. OISILLE [Patiently. ] What is it, Elisor ? ELISOR I do not understand all this. Last night you loved me you kissed me by the white wall over THE SHADOW 103 the sea. And to-day [bewildered] everything is different, and you will not kiss me. But truly [naively] Oisille, I truly love you very much. OISILLE [Smiles wanly.] Listen to me, Elisor. It is true I kissed you last night and that I love you [Repulsing him.] No, no! But to-day, as you say, everything is different. That is what troubles me. To-day there is no moon. Before you kiss me again, I must know what love is, and where the sound of the clarions has gone, and why it is that to-day there came no glory across the sea. We must know what this thing is which men call love that changes so. We must ask people who are wiser than we, in order that that we may act wisely, too. ELISOR [Dolefully.] Very well. . . . [Stubbornly.] But nevertheless I know. . . . OISILLE [Wisely.] No. We have seen that you could not tell me. We must find out. Let us search. ELISOR [Mechanically.] Let us search 4 ? 104 WISCONSIN PLAYS OISILLE Yes, we must find out what love is. I will go to the old woman I met in the forest when I came this way. She is very old and wise and she will surely know. When she has told me, I will re turn. . . . And you, Elisor, you must promise to wait for me meanwhile. ELISOR Are you really going? [Piteously.] Won t you kiss me before you go? OISILLE [Bravely.] No, Elisor, it would not be right. . . . I will come back very soon. . . . But you have not promised. You will wait for me? ELISOR [Dully.} Yes. . . . I will wait for you. [ A slight pause. OISILLE Good-bye, Elisor. ELISOR Good-bye. [OISILLE goes out left. [ELISOR stands watching her, then sinks mis erably upon the stone platform and buries THE SHADOW 105 his face in his hands. THE SHADOW, who has been unobtrusively following the dia log, stoops over him and is about to place his hand on ELISOR S shoulder when he thinks better of it. Is it because his Touch would change- the boy? At any rate he shakes his head mournfully and does not speak. ELISOR sits huddled there for a long time while THE SHADOW watches him. [There is a great rustling of the leaves at the back of the stage. THE SHADOW looks around. A HARLEQUIN dances in from the back, kicking the golden leaves about him in a whorl. He stops his gyrations only upon sight of ELISOR, at whom he stands staring while you look at him. [Surely there is no need to describe HARLE QUIN. In the costume he is wearing now, he has whirled through a thousand dances, and a thousand times kissed the tips of white fingers, silvered by the moon.. Long ago under his grotesque garments his heart was broken as a lute-string snaps, so that only a weary, jarring echo, like the fra grance of old wine, stirs in it now. And io6 WISCONSIN PLAYS his voice, which has sung a thousand chan sons, is not so young as it was; sometimes it quavers on the high notes, and at the corners of his black mask you can see little knots of fine wrinkles about his eyes. Still he is a very good Harlequin as Harle quins go in this life, with his green and white suit, his bladder with which he strikes fantastically at the shadows, and the leaf that somehow clings in all his gyrations to his tight black cap. By and by he speaks. HARLEQUIN I say! [ELISOR looks up slowly. HARLEQUIN Who are you? And what s the matter 4 ? [He gives a skip or two, shaking his bladder as he does so. ELISOR I am Elisor. It is Oisille she -has gone away. HARLEQUIN Well what of that? THE SHADOW 107 ELISOR You don t understand. Oisille is the I love Oisille, and she has gone away. HARLEQUIN [Dismissing the matter. } Oh. . . . Go after her then. [He whirls himself about the stage^ and stops. ELISOR Shall I? ... No, I have promised to wait for her. HARLEQUIN [S far ing.] Promise? What is a promise 1 ? I have made a thousand promises, and yet here I am. ELISOR No, I will stay here. If I were to follow her she would not like it. HARLEQUIN Pray, what difference does that make? ELISOR Surely you would not want me to disobey Oisille. io8 WISCONSIN PLAYS HARLEQUIN [Playing with his bladder.] All I say is, it s none of my business. But if my sweetheart does not let me do as I please, I very soon find someone else. ELISOR [Astounded.] Find someone else ! HARLEQUIN Yes. Get someone else. That is what I al ways do. ... There are many girls. When one proves unreasonable try another. ELISOR [Horror-stricken.] Never, never, never! HARLEQUIN [Dancing with his own shadow\ cheerfully] Very well, then don t. But that is what / always do. [He sings.] Pierrot, le bon, . . . II faut qitil s en ira, Parceque la Columbine est morte. . . . Ugh ! I do not like that song ! ELISOR Have you ever been in love? THE SHADOW 109 HARLEQUIN [Laughing.] Have I ever been in love? Well, I should think I have. About a thousand times. I am Harlequin. I am always in love. ELISOR [Pondering the matter.} Always in love? Do you mean that you love different people? HARLEQUIN [Staring. ] Well, I should hope so ! [Proudly.] I have already kissed one hundred and thirty-two girls not to speak of the married women ! ELISOR But but I thought that one fell in love with only one person, and that it lasted forever. HARLEQUIN [Scornfully.] Only the very young think that! [When he sees ELISOR S face he stops his antics to argue the case.} My dear fellow, I once thought as you seem to think, but I very soon be came wiser. Eventually one grows tired. Then it is better to part at once, and without regret, and to look elsewhere on both sides. Besides, what does it matter whose lips you kiss, provided they no WISCONSIN PLAYS are sweet, or whether the eyes are blue or brown, if only the face is pretty? At least, that s my idea! [He whirls off again. ELISOR Oh. . . . You say you are wiser now. HARLEQUIN [Breathlessly.] Of course I am wiser! ELISOR [Awkwardly.} Then I will ask you. Tell me, when you you kiss, how does it feel ? HARLEQUIN [Patronizingly.} How does it feel? Why, it feels very jolly, to be sure! Haven t you ever kissed a girl ? ELISOR But the first time and after that. Was it like clarions blowing, and a great organ, and a glory on the sea? HARLEQUIN [Shuddering.} The first time! Ah, why do you speak of such things ! [Bitterly.} The first time! I I do not know. It was so long ago. I have forgotten. THE SHADOW 111 ELISOR But the clarions now. Do you hear them blowing far away whenever you kiss*? HARLEQUIN [Vacantly.] No I have never heard any such instruments, [politely] except possibly the first time, and that, as I say, I have forgotten. I daresay some people may hear such things, though it sounds extremely foolish. ELISOR [Thoughtfully.] No clarions. . . . But you say that in love you are very wise 6 ? HARLEQUIN [Recovering his former gaiety.] I should think so ! Think of it ! A hundred and thirty- two girls already. At a low estimate, that s at least a thousand, three hundred and twenty kisses, and I am still comparatively young. And that doesn t count in the married ones, either. Love? I know all there is to know on the subject. ELISOR [Timidly.] Tell me, then, what is love? [HARLEQUIN does not answer except by a 112 WISCONSIN PLAYS great peal of laughter, after which he darts again about the stage. ELISOR [To himself.} A hundred and thirty-two . . . and no clarions. Oh! Oh! . . . [Rising.} I must tell Oisille. I am going to find Oisille. . . . HARLEQUIN Humph ! Is she pretty^ [ELISOR does not hear him, however , for he has rushed away to the left. HARLEQUIN If she is pretty, I might myself be interested. [He amuses himself by scattering the leaves about. THE SHADOW [Suddenly emerging from the obscurity at the back of the plat f or m, whither he retired when HARLEQUIN came in. ] Harlequin ! HARLEQUIN [Stopping short and wheeling to face THE SHADOW.] Eh? THE SHADOW [Quietly.} Haven t we met before*? THE SHADOW 113 HARLEQUIN [His face turns white, his bladder falls from his nerveless hand, and he seems suddenly to shrink, so that his clothes are too large for him.] You? . . . You? . . . [ With a shriek he flings up both his arms and flees into the woods at the right. [THE SHADOW descends from the platform and picks up HARLEQUIN S bladder which he carries in his hands as he wanders un certainly about the stage. Once he ap pears to follow ELISOR as if to call him back, but he changes his mind. By and by he returns to his seat. [A woman enters slowly from the right. She is old enough to be peering wistfully into the distance where for her youth and love have vanished forever, and yet young enough not to have attained the bitter wis dom of the old., Her hair was golden, and is now a bit untidy; it is arranged in a knot at the back of her head. Her face which was in the old days stately and superb, is drawn and a little fretful; and her hands unconsciously clasp themselves from time to time in the patient manner of those who 114 WISCONSIN PLAYS have ceased to protest. Whenever she catches herself in this posture, she hur riedly unclasps them again. She is clothed in a long, black gown, high-gir dled, with a suggestion of the antique that sets off the faded splendour of her face. Her name is HELENE. [THE SHADOW, as soon as he sees her, rises and bows very respectfully. HELENE You? . . . what are you doing here 1 ? THE SHADOW I? Watching the world go by as always. HELENE [With a little, bitter laugh.] The world? Here? [She indicates with a gesture the unprom ising woods, then sighs and speaks half to herself .] And yet I suppose, even here. . . . But why? [To THE SHADOW.] The truth is, my friend, I am not exactly pleased to see you. THE SHADOW [Deprecatingly.[ O madame! You are cruel ! THE SHADOW 115 HELENE It is, however, the truth. [She walks slowly away from him, then turns. ~\ Surely we can be frank. . . . Wherever I go, it seems to me, there you have gone before me. You began by coming uninvited to my wedding, and you called persist ently at my house ever after. And everywhere at entertainments, at balls, at dinners, at the op era it is you, eternally you. Moreover, you are not the most entertaining man in the world. [THE SHADOW gestures in protest. ] Now to-day when the mood is upon me to be alone, and I come to these woods, behold here are you the ubiqui tous, the incessant, the diabolical you. O it is indelicate positively indelicate! And [child ishly} I wanted so much to be alone and dream. THE SHADOW [After a silence, half -aloud.] To dream . . . ah, ah! . . . At our ages we can not afford to dream. . . . HELENE [Almost crying.] Now it is you who are cruel. . . . Tell me, why do you haunt me 4 ? What are you doing here 4 ? What do you want in this silent ii6 WISCONSIN PLAYS forest that is or should be peopled only by shadows and the memories of old days? THE SHADOW [ Wearily.] Shadows I am myself a shadow, I think, and you seem to remember me very well. [He changes his tone and settles back in his seat.} But come. We must not quarrel. ... I have been amusing myself. HELENE And how"? THE SHADOW [Laughing.} Ah, all our old friends come here. To-day there came that old fool who calls himself an emperor and [watching her closely} Harlequin [HELENE winces ever so little} Also two young idiots who imagine themselves in love with each other. The girl is Oisille, I be lieve, and the boy, Elisor. I have been vastly en tertained. The boy promised to wait here for her, but about ten minutes ago, he rushed off. HELENE And I suppose you have Oh is there nothing with which you do not meddle? THE SHADOW 117 THE SHADOW [Perceptibly hurt.} But I have done nothing, Helene, absolutely nothing. I have merely looked on. HELENE [Sardonically.] I understand. In my own case that was sufficient. THE SHADOW [Reproachfully.} How can you, my friend 4 ? You know very well HELENE [Wearily. "\ Yes, I know I know too many things very well. THE SHADOW You shall judge for yourself. Here is the young lady now. [OISILLE enters from the left. HELENE turns. THE SHADOW melts into the back ground. OISILLE Elisor! Elisor! . . . [She stares about her.] Where is Elisor ? . . . O he is not gone ! HELENE Elisor^ And who is Elisor*? M 8 WISCONSIN PLAYS OISILLE Elisor is O say he is here ! Say he is here ! HELENE I have seen no one by that name. OISILLE [Weeping.} No, no . . . Do not say it . . . do not say it. O he promised, and now he is gone. Oh, oh. . . . HELENE [Soothing her.} Who is Elisor, and what did he promise, and what is it you are so troubled about? OISILLE [Not heeding her.} It is what the old woman said, and I would not believe her. ... I said he would be here . . . and now he is gone ! [THE SHADOW sighs audibly, with almost a humorous tone. HELENE [Glances quickly up at him. then turns to OISILLE and puts a hand on her shoulder.} I do not understand. What is the matter? OISILLE The old woman in the forest. , Elisor was THE SHADOW 119 to wait for me. ... I asked her what love is, and she would not tell me. She only smiled strangely, and shook her head. HELENE [Encouragingly.} And when you came back? OISILLE [Shaking her head and walking away.] No that is not it. It is that I knew the truth all this time and would not believe it. THE SHADOW [Approaching nearer and speaking softly to HELENE.] You see! I have done nothing. HELENE [Rapidly.} It is sufficient that you were here. [She turns again to OISILLE. OISILLE [Staring miserably before her.} For when she would not tell and smiled so strangely, I grew angry with her and I said oh ... oh ! I said I did not need her wisdom, and that I knew already what love was, and that Elisor loved me. [ With a swift look at HELENE.] That was what Elisor said, too. ... It is strange. . . . Then she 120 WISCONSIN PLAYS laughed a laugh that was stranger than her smile and when I asked her what she meant by laughing so, she bade me go back and find Elisor : she said he would not be here when I came and that I would then know what love is. But I was very proud and ran back to prove that she was wrong, and now now. . . . Why could not Elisor have waited for me? [She turns aivay toward the tree. THE SHADOW resumes his old seat, smiling his peculiar smile. HELENE fays no atten tion to him. HELENE Elisor is then your lover? . . . Why did you leave him? OISILLE I have told you. I went to find out what love is, that we might do nothing unwisely, he and I. HELENE You went away? Of your own accord? That was very foolish. OISILLE [Turning to her, wide-eyed.} What do you mean? He promised he would wait for me. THE SHADOW 121 HELENE Yes, I know. That is what my own lover told me once. . . . But it was nevertheless foolish very foolish. . . . [THE SHADOW chuckles and becomes in stantly grave ^HELENE turns to him. OISILLE But why*? HELENE One should never leave one s lover even for a moment. OISILLE How do you know*? [HELENE is silent. THE SHADOW [Leaning forward, softly to HELENE.] Why, my friend, do you not answer the young woman ? OISILLE You have been in love? HELENE Yes. . . . [reluctantly.} Many times. OISILLE Many times? 122 WISCONSIN PLAYS THE SHADOW [Echoing the phrase like a broken bell.} Many times. . . . he ! he ! he ! OISILLE [Looking frightened. ] But Elisor told me that he loved only me, and that he would always love me. HELENE Yes. Doubtless it was moonlight too. Doubt less there was a scent of roses in the air. OISILLE [More and more frightened.} How do you know*? How do you know*? HELENE [Heedless.} Doubtless also he told you that he had never kissed any one else and then he kissed you. I know. OISILLE [Suddenly, with a great light in her eyes, and the cry of one facing the truth.} The old woman would not tell me, but you will know. What is this thing called love? THE SHADOW 123 HELENE [As she speaks becomes more and more impas sioned and bitter.] My child, it is something bet ter left alone. It is a strange delusion that seizes upon us from time to time, to the delicate sound of flutes and the scent of flowers and the hot per fumes of kisses that are forgotten by day. It is a nothing that nevertheless scars the soul. It is a great weariness masked as a great delight. [Pas sionately. ] Look at me. ... I have paid dearly with my innocence for experience. I have known men. [OISILLE shrinks away, frightened.} And each in his turn promised to wait for me here or at some other place, and each in his turn was either late in arriving or never came at all. Look at me! I am what love is ... a great joy that fades in the morning to bitterness, and hunger, and regret. Oh . . . [Turning to THE SHADOW and speaking fiercely} this is what you have made of me! I came to this wood of many memories to dream that the world is other than it is, and that it was not morning to dream of my lovers . . . Harlequin, if you must know, and this is what you have caused me to see this ! [She in dicates OISILLE who has sunk down on the stone platform at THE SHADOW S feet.} The same 124 WISCONSIN PLAYS story, the same disillusionment, and the same re gret ! Can you not take your presence elsewhere? Must we spend all our lives under your shadow? Must everything be corroded because you are near? Do you always rust the heart? [HELENE stands accusingly. By and by her arm sinks wearily to her side, her hands fold themselves together and her head falls upon her breast. THE SHADOW has sunk into his seat, staring at her. A long silence. Then he rouses himself, half rises, and begins to speak. THE SHADOW You are unfair. I am only a ... [ELISOR comes in at the left hurriedly, and stops short. ELISOR Oisille! [HELENE turns and walks slowly to the right of the platform. OISILLE looks up, then springs to her feet, her back to THE SHADOW. OISILLE [As ELISOR advances.} Do not come near me! THE SHADOW 125 ELISOR [Stopping short.} But I I did not mean to go away. I went to find you. [OISILLE slowly shakes her head. Her eyes are very clear. THE SHADOW [To HELENE.] You have said too much. HELENE No! ELISOR Oisille! OISILLE [Quietly.] Where have you been this while? ELISOR I I have been looking for you. [He catches the look in OISILLE S eye.} Truly, I have. A Harlequin came while you were gone . . . HELENE [Sharply.] Where did he go? ELISOR I do not know. But afterwards I saw him run ning away, very much frightened, and sobbing. [To OISILLE.] Who is that? 126 WISCONSIN PLAYS OISILLE I do not know. It does not matter. Why did you go away? ELISOR I have told you. ... A Harlequin came who had been in love a great number of times . . . HELENE Ah! THE SHADOW [To HELENE.] It was I who sent him away. ELISOR And he told me what love is, and and you were quite wrong about the clarions and the rest. OISILLE [Eagerly.] Why was I wrong? ELISOR The Harlequin said he had kissed a great num ber of girls, and he had never experienced any such happening except, perhaps, the first time, and that he had forgotten. HELENE [Going up to OISILLE.] What clarions does he mean*? THE SHADOW 127 OISILLE [Vaguely.] Last night ... in the garden . . . Elisor kissed me ... HELENE [Piteously.] Oh ! [She turns back again. THE SHADOW [Mockingly.] At our ages it is unwise to dream. OISILLE [With her former directness.} And you have been looking for me all this time? ELISOR Yes except [confusedly} that is, I met with that funny old man who calls himself an emperor, anc [ I I stopped to talk with him. But [naively} it was only a very little while. OISILLE [Sadly.} And you promised . . . ELISOR I know I remembered just now and hurried back. ... I am sorry. OISILLE Only just now? [She murmurs this. 128 WISCONSIN PLAYS ELISOR I am sorry. [OISILLE is silent. ELISOR [In a desperate effort.] Did you find her. . . . And will you kiss me now? OISILLE I found the old woman, but she would not tell me what I wished to know. ELISOR Then you won t kiss me? OISILLE No not now, or ever. ELISOR Never? OISILLE No. I have learned now what love is. ELISOR Did the old woman tell you? OISILLE No. THE SHADOW 129 ELISOR Was it this woman ^ OISILLE No. You have told me what it is yourself. ELISOR [Bewildered.] But you said you said that I could not tell you. OISILLE That is true. But the old woman said that you would not be waiting here when I returned and that then I would know what love is. ELISOR \Eliptic all y.\ But I went to find you! OISILLE Yes. [Quietly scornful."] After you had stopped to talk with your emperor. You have only now come back. [ELISOR hangs his head. HELENE [Much moved.} You had better forgive him and forget all that I said. OISILLE No, it is not that. 130 WISCONSIN PLAYS ELISOR Then then you don t love me any more? OISILLE It is not that, either. [Silence ELISOR [A great light breaks upon him.} I know. It is the clarions. . . . But what can I do? I heard none. And the Harlequin said the same thing. He heard none either. [There is a faint jingle of spears to the right. OISILLE [Simply, turning so that she faces both HELENE and ELISOR. To HELENE.] You have told me what the others would not tell. It is because of the clarions and the glory on the sea that I am sending him away. And because I love him very much. But I will have nothing that is not high and noble and brave and because I will not have love that is only the sound of flutes and a memory in the morning, and because I would not degrade him or myself, I will send him away. [To ELISOR.] You do not love me. [He makes a gesture of protest.} No, I do not mean that. THE SHADOW 131 You do not love me as you ought. I have grown very wise. I know now what love is: it is being alone. . . . You you had better go away. . . . [The jangle of spears grows louder , and THE EMPEROR comes in at the left followed by two or three ragged and scarecrow soldiers as mad as himself. THE EMPEROR [Rushing up to OISILLE.] My dear lady! The imperial army! I have found them actu ally found them. They were wandering in the forest. OISILLE {Smiles wanly, then takes refuge in HELENE S arms. THE EMPEROR [Not at all nonplussed.} And my young friend, Elisor. I am charmed. I am on my way to the royal castle east of the sun. Will you not accompany me? I shall be delighted! ELISOR [Speaking slowly.} I do not understand all this. ... I see only that you do not love me any more. . . . However, you are wiser than I. And I broke my promise, too. ... I will go 132 WISCONSIN PLAYS away, Oisille with this gentleman [indicating THE EMPEROR]. Perhaps there will be a place for me in his castle. THE EMPEROR [Whispering anxiously.} Have you any money ? ELISOR [Smiling and shaking his head.} None at all. THE EMPEROR [With a magnificent gesture.} It does not matter. I will make you treasurer. In place of the deceased. ELISOR [Advancing to OISILLE.] Goodbye. Will you not kiss me this time? OISILLE [Leaving HELEN E.] Yes. [She lifts her face; he kisses her. ELISOR [As he turns, catching sight of THE SHADOW, apparently for the first time.} Who is that? OISILLE Where? I see no one. THE SHADOW 133 ELISOR On the platform. OISILLE But there has been no one there. ELISOR But now. Look, it is Harlequin. OISILLE No ... no ! It is the old woman in the for est. ... I will not see her now, I can not see her. Good-bye ! Good-bye ! [She runs out^ left. ELISOR That is strange. It is not an old woman, it is Harlequin. When did he cornel HELENE He has been there all the time. ELISOR No, he was not there a moment ago. . . . But it is strange. She is mistaken, mistaken in this as in many other things. It is Harlequin. [To HELENE.] Will you not tell her [wistfully] that it is Harlequin? I should like her to know the truth for once. 134 WISCONSIN PLAYS HELENE But it is not ELISOR Ah! . . . You are wrong, too. Well, never mind. I dare say it makes no difference. . . . Good-bye, Harlequin. . . . [To HELENE.] And will you tell her that I I love her very much? THE EMPEROR [Bustling about.] Come! Come! It is a long journey. The imperial palace is very mag nificent. Though it is some distance away. And the army must be paid. From the imperial treas uries. Come! You will assume your position directly we arrive. If you please. [He places himself at the head of an army of vast propor tions and draws a magnificent, if visionary, sword. ] Forward ! [ The soldiers straggle after him to the right. ELISOR follows them. As he passes the platform THE SHADOW rises and stiffly gives him a military salute. ELISOR re turns it as stiffly. They go out. [THE SHADOW sinks back into his seat. Silence. THE SHADOW 135 HELENE Why did not you prevent this? THE SHADOW Why did not you? [Silence. HELENE Must it always happen this way? THE SHADOW Always. HELENE And you can not help yourself? THE SHADOW Ah, madame, I am only a shadow. [Silence. [HELENE walks thoughtfully to the left, -where she turns and speaks. HELENE Good-bye! [But THE SHADOW does not hear her. He has already assumed his former attitude, leaning forward with his chin supported by one white hand, gazing ahead of him at no tiling. He smiles slowly. [HELENE goes out. WISCONSIN PLAYS [A leaf falls. . . . A faint fcwwtef THE SHADOW sighs Very slowly, the curtain falls. WE LIVE AGAIN BY THORNTON GILMAN PERSONS OF THE PLAY PHILOS MRS. ALLEN DAVID LIZZIE STONE MATTIE BLACK PREACHER MRS. ROUNDTREE WARREN ELLA Dow BARNS MRS. BARNS WE LIVE AGAIN TIME: New Year s Eve. SCENE : A Middle Western town. MRS. ALLEN S living -room is disclosed. A door, left, gives entrance to her bedroom; another up stairs; another, rear, to the kitchen; right of rear centre to the wood room; above, right, the fifth door, to the out of doors. There are win dows. In one corner stands a heating stove and the dining table is in the other. A Brus sels lounge is against the wall. A bureau be tween the doors to the wood room and the kitchen, a few family pictures, a sewing ma chine, a sword of the Revolution, a hanging oil lamp, and a bracket lamp complete the furnish ing of the room. A watch meeting is in progress. Ten or a dozen chairs are arranged like pews in a church; these the PREACHER faces; between him and the stove is a small table on which is placed a silver com munion service. At the left of the centre of 141 142 WISCONSIN PLAYS the room the seven people of the congregation are kneeling before the PREACHER as they have received communion. All of the women are bonneted except MRS. ALLEN. The PREACHER pours from the chalice the re mainder of the wine into the cruet and the wine from the cruet into the bottle; then he spreads a cloth over the service. PREACHER Arise, dearly beloved, go in peace, and may the blessing of God go with you. [The communicants rise and return to their seats. PREACHER We are coming to the new year. The times are changed. The spirit that moved among our fath ers no longer guides the new and worldly genera tion. We, the faithful, are but a handful. Our Church is like an old gourd whose meat, having dried, rattles in the shell. Where are the people who do not fill our empty shell of a Church ? The spirit has dried away leaving only the dead that rattle. WARREN Amen. Amen. WE LIVE AGAIN 143 PREACHER [Becoming more violent.} We need awaken ing. We need to be embued with the Holy Ghost like our fathers, who attended full of faith and zeal upon the means of salvation. WARREN Amen. Amen. PREACHER But the spirit can be recalled to live with us again. If the few here to-night can go out from this watch meeting into the new year fired with the evangelical spirit, that will make us "instant in season, out of season, to preach the word, re prove, rebuke, exhort with all long suffering and doctrine," the new year will end with great addi tion to our number and strength of faith to every one. [During the last speech the town marshal comes in, and throwing back his coat waits for the end of the sermon. PREACHER Welcome, Brother Stone. We are glad you can be with us at the end of our watch. 144 WISCONSIN PLAYS STONE I came when I got the saloons shut up. [Moves along the aisle to a seat near the PREACHER. PREACHER I am going to give over the next few minutes to the brethren to tell how the fire was on them of old time. Will you say a word, Brother Warren ? WARREN [Rises slowly and clears his throat. He is an old man who speaks in a cracked voice and with feeble flourishes.] I remember back in York state when I was a boy going to watch meetin . Everybody d go fer miles around men and their wives, young men, young women. An children too, back there in that time, weren t too delicate and ignorant to know about religion and the way to get to Glory. Strong men weren t ashamed to testify about their knowledge of the wisdom of God. I can remember their prayers and "amens" as though twere yesterday. An the last ten min utes of meditation and silent prayer everybody felt the presence of the Holy Ghost. And the hand shaking when the meetin broke up at twelve. I tell you they weren t ashamed strong men and WE LIVE AGAIN 145 leading men to say to one another, "Is the Lord with you, Brother 4 ?" We ain t got that now. I say tain t the same. [He sits weakly and wipes his eyes with his hand. MATTIE BLACK [ Who has been nodding her approval of his words pipes shrilly.} Amen. PREACHER We want to get back to the old way. [After a silence when MATTIE BLACK rises suddenly.} Sister Black, God bless you. MATTIE BLACK That s the way I feel. I agree with Brother Warren. When I see the worldly way people carry on now days without no more heed than as if there weren t a God, I often wonder what the world ll come to. With people it s anything and everything before church duty, until sometimes I m afraid I ll live to see the world get punished for their sin. [Sits. PREACHER [STONE has risen.} Brother Stone. 146 WISCONSIN PLAYS STONE I was brought up in the fear of God and the law. People used to go to watch meeting, because they feared God, and the end of the year was a good time to think about their sins and start the new year with a clean heart and a renewal of faith. But the new generation don t do things that way. They change everything. They ll get punished for their sin. God ll smite em in his wrath. He ll smite em. [Sits. BARNS I just want to add to what the brethren Ve said by saying I think the way they do. [A long pause. PREACHER Has any one a word more ? [Another pause. PREACHER Sister Allen, have you nothing to MRS. ALLEN [A woman of 4.5 who has drunk life from a bitter cup but has kept sweetness of attitude. While the others agreed with the foregoing in various unconscious and characteristic ways, her quietness gave the impression of disapproval.} I WE LIVE AGAIN 147 said nothing, for I m not sure I m right when I disagree with everybody. PREACHER If you have fallen into a wrong way of think ing, we can help you to get back into the right one. MRS. ALLEN [She rises and begins to speak reluctantly^ but gathers force as she goes on.} I can t believe peo ple are bad. My dressmaking takes me where I can watch them live. They don t talk very much about God, but with them nothing matters beyond the great commandment, "Love thy neigh bour as thyself." And when people are living that commandment all the talking and shouting in the world wouldn t help. And a whole lot of em are fighting all kinds of things that pull em down and are doing the very best they can. Oh, I know, people are good and the world s getting bet ter every minute for their living in it. [Stands with shining eyes forgetting their antagonism to her opinion. WARREN D you mean the world is better fer people that get along without tending on the means of grace ? 148 WISCONSIN PLAYS MRS. ALLEN [Startled at the aggression of his tone.} Why, yes, I mean what we consider important maybe the Lord won t take into account if people only live up to that commandment. WARREN You re on unsafe ground. The devil argues that worldly way. MRS. ALLEN Oh no! I think PREACHER Sister Allen, I regret you are wandering away from the church. I ll come to you to-morrow and wrestle with you. You need help back into the way. [ When he has addressed her, she sits down, disappointed but not beaten. He turns to the others.} We must approach the new year peni tently and prayerfully. WARREN Amen. Amen. PREACHER There are but a few minutes in the old year. We will complete the watch together in medita- WE LIVE AGAIN 149 tion and silent prayer. Pray forgiveness of sin, bringing the erring to a true understanding, in crease to our number, and the returning of the wandering to the faith. [All look at MRS. ALLEN.] Let the wandering pray to be guided back into the path of right. [He kneels at the table and the congregation settle to their worship. WARREN [Having turned round and knelt. .] Oh God. Oh God. Have mercy. [Silence of some length once or twice broken by a bit of individual prayer spoken indis tinctly. [The door at the right swings slowly toward audience stops opens farther until it comes to a creak in the hinge. The woman who sits farthest from the stove draws her shawl more closely. The PREACHER looks up, but is unable to see any one. [A timid voice from the unseen woman in the door.] Can I come in"? PREACHER [All turn.\ All are welcome before the Lord. 150 WISCONSIN PLAYS [ A young woman enters staggering under the weight of a jive year old child. Her in adequate dress has the mark of the cheap urban castaway in contrast to the village women s smugness. She is unmistakably weak from hunger and exposure. Throughout, her sweetness of manner ap peals and saves from burlesque her misun derstanding of the preacher s metaphysical figure. She stops near the door uncertain. PREACHER Come in. All are welcome before the Lord. YOUNG WOMAN {Moving along the aisle. \ You Mr. Lord? PREACHER Don t you know the Lord, Jesus Christ*? YOUNG WOMAN Oh! Didn t know your name tall. Scuse me. [She skivers.] Ain t a saloon open. [The women gasp. STONE You won t go to the saloon, here, hussy. WE LIVE AGAIN 151 YOUNG WOMAN [Sweetly and timidly.} My name ain t hussy ; but Lizzie. STONE Humph ! PREACHER Well, Lizzie, you do very wrong to go to the saloon, when you might come to the worship of the Lord. LIZZIE No, sir. Tain t wrong to go to a saloon; it s warm there. MRS. BARNS Why! Why! MRS. ROUNDTREE Mercy ! MATTIE BLACK What talk! STONE Put her out. I ll give her a place at the lock up where she ll keep warm until she knows where to keep out of. 152 WISCONSIN PLAYS PREACHER Patience, Brother Stone! She may have been sent here to have her soul redeemed. WARREN Amen. STONE Doubt it. Know that loose kind. LIZZIE No, sir. I weren t sent here tall. I m hunt ing my man. [Sinks into a chair. MRS. ALLEN Poor thing. LIZZIE [Gathers all her strength to make her appeal.} Yo see I m from the city, and he lived out in the country somewheres. D you think I ll find him? STONE Crazy. PREACHER {Answering directly in spite of himself.} The country is large. WE LIVE AGAIN 153 LIZZIE I kno t. I m all done out carrying David. He s getting so heavy. WARREN Convert her, Brother. LIZZIE [Rousing.} Tain t wrong to go to the saloon ; it s warm there an mebbe they d gimme something to eat. PREACHER [Sternly rushing at the opening.} Do you live by bread alone ? WARREN Amen. Be instant in season. LIZZIE Oh no, sir. Sometimes I wash dishes at a hotel, an 1 I get meat [proudly} left-overs, you know. MRS. ALLEN [ Who has been trying to control herself during the last few speeches.} But entirely out of sea son now. Mattie, let me out. [Pushes into the aisle. 154 WISCONSIN PLAYS STONE Better let her alone. Take my opinion for it. MATTIE BLACK [Catching at MRS. ALLEN S dress.] You know the kind of women that go to the saloon. MRS. ALLEN Yes. The women who can t find Christian charity and love anywhere else. MATTIE BLACK Oh! MRS. ALLEN [Peeping at the child as women will.] Why, the boy is asleep. LIZZIE Yes m. MRS. ALLEN How old is he? LIZZIE Five last summer. MRS. ALLEN He isn t very big for his age. LIZZIE No m. But he s awful heavy to carry. WE LIVE AGAIN 155 MRS. ALLEN He s a fine little chap though. LIZZIE Yes m. Like his paw. [The PREACHER goes and talks to STONE. MRS. ALLEN You thought your husband came out here*? LIZZIE Yes m, he come from the country, but you d never know d it to see him. Didn t like it, though I guess his folks was real swell. MRS. ALLEN And you don t know what became of him? LIZZIE No m. Yo see Davie was born at the Char ity. An I al ays thought he went back to his folks. I ken tell you he was a looker. D you think I ken find im? [Sinks back faint. MRS. ALLEN We ll see, dear. LIZZIE [Starting up nervously.} And yo don t think I m a bad un for going to a saloon? 156 WISCONSIN PLAYS MRS. ALLEN No, dear. I do not. MATTIE BLACK Hannah Allen, for shame. LIZZIE I ain t. [She closes her eyes and her head sinks. MRS. ALLEN No, I know, Lizzie. Let me put David here under the preacher s coat. [Takes the child , and LIZZIE settles to un consciousness. MATTIE BLACK Speaking plainly as a friend, after all we know your boy brought on you through the saloon, I d think you d be the last one to defend it. MRS. ALLEN I am. But will you tell me what my son has to do with this woman ^ MATTIE BLACK Nothing, far as I know. WE LIVE AGAIN 157 MRS. ALLEN Then, we won t talk about him. [Puts the child down. PREACHER [Leaving STONE.] Sister Allen, if this young woman goes out of the world and her soul is lost through your interfering, God will hold you to account in the last day. MRS. ALLEN [Straightening up to face him.} Funny, I was thinking of the last day. And then I ll be with the saloon keeper PREACHER I fear you will. MRS. ALLEN I ll be with the saloonkeeper who "fed her when she was anhungered." [Change of manner to putting the thing up to him.} If you and the saloonkeeper are judged by this, where will you be? PREACHER I m doing my duty; she needs salvation. 158 WISCONSIN PLAYS MRS. ALLEN She needs something to eat and to be got to bed, if you people will go away. PREACHER Sister Allen, do you know what you are saying? MRS. ALLEN Of course, why, she s worried nearly crazy over her husband deserting her, and all worn out and starving and nearly frozen walking And you you fools are tormenting her about her soul. PREACHER Her soul ought to be saved. [WARREN, STONE, and MATTIE speak in re sponse to PREACHER. WARREN Amen. STONE What you got to say to that*? MATTIE BLACK Amen. MRS. ALLEN Why can t you see? The poor little drudge s WE LIVE AGAIN 159 been worked to death ever since she was a baby and never s.had any time to have a soul. PREACHER May God have mercy on you. MRS. BARNS Oh! MATTIE BLACK No! MRS. ROUNDTREE Mercy. MRS. ALLEN Of course, you wouldn t understand. Won t you go away and let me get her to bed? PREACHER I will stay to redeem her soul. MRS. ALLEN Oh, for a saloonkeeper ! [She stands a minute thinking, then goes resolutely to the bureau rear centre, takes up a box of tea and the cruet of the com munion service. The PREACHER and the people watch her hypnotized. She goes to the stove and rinses the cruet with boiling water from the kettle. 160 WISCONSIN PLAYS PREACHER What are you doing with the vessels of com munion ? MRS. ALLEN Doing? That s the point. [ Then rinsing the cruet. ] Something must be done. [She opens the box and takes tea in her fingers. MATTIE BLACK [As the tea drops. ] Tea ! PREACHER You shan t give her tea out of the chalice. [Steps forward toward her. MRS. ALLEN unan- swering "pours the water over the tea. After a pause.] You don t intend to do it? MRS. ALLEN Why yes, I do. PREACHER I won t let you. [MRS. ALLEN looks at the cruet while waiting for the tea. Another pause.} I won t let you. Do you hear? MRS. ALLEN Perfectly. WE LIVE AGAIN 161 PREACHER [Screaming.] Do you know what you are do ing? MRS. ALLEN I am trying to keep my temper. PREACHER It s sacrilege sacrilege. [MRS. ALLEN picks up the cruet in a holder. STONE and WARREN speak, almost at once to egg the PREACHER on. STONE You must deal with her. WARREN Amen. PREACHER [Snatching at the spout. ] I ll stop you. MRS. ALLEN Be careful. You will burn your hands. [He draws back his burned hand and storms rear; she pours the tea.} The wrath of the tea pot. PREACHER God, may thy wrath not fall on me. 7 ve 162 WISCONSIN PLAYS MRS. ALLEN [Going to LIZZIE.] Here, my dear. LIZZIE [Rousing.] Awww- Oh, I must dropped off. D you think I ken find J im? MRS. ALLEN We ll see. Here. Drink this PREACHER Blasphemy. The communion service. Blas phemy. MRS. ALLEN Well then that too. Drink this in memory of Him Who came to bring love to men. [Her eyes blaze at the preacher. [PREACHER, STONE, and WARREN speak al most at once. The orchestration of these speeches is almost a groan. PREACHER God be merciful ! WARREN Oh God! STONE She s gone beyond our prayers. WE LIVE AGAIN 163 MRS. ALLEN [Putting the cover on the box and giving LIZZIE bread from the table. ~\ That will put strength into you, won t it, dear? LIZZIE Yes m [Raising the chalice into the view of all.} Gee! Ain t it a pretty cup! [STONE rises angrily.} D you know, I dreamt I pretty near found him ? Don t you bel ieve I ken *? [The congregation is getting to its feet and preparing to leave. MRS. ALLEN We have broken up the meeting. Drink it all. MATTIE BLACK Hannah Allen, this will come back on you. MRS. ALLEN I shall reap what I sow. [She leads LIZZIE to the bedroom. [The PREACHER, with the basket , and STONE storm out; BARNS and his wife follow. MATTIE BLACK, MRS. ROUNDTREE, and ELLA Dow are seated putting on their overshoes; they stop and watch WARREN, 164 WISCONSIN PLAYS He rises. All the religious fire is gone. His movements are heavy with sorrow. He puts on his cap and shuffles along the aisle to the door. They are held by the broken old man, but cannot interpret what they see. ELLA is the first to come back to the present; she looks at the disorder of the door. ELLA I think I ought to stay and tidy up. MATTIE BLACK Well, then, I m not going I don t think we ought to leave that girl with Hannah. How are we to know how anything turns out? She might want Christian comfort. [Takes off her over shoes.} I want to know how that girl dies. MRS. ROUNDTREE [Timidly.] I m not going home alone. MATTIE BLACK I ll see the thing out. This chair belongs in the kitchen. [They move about carrying of some of the chairs and rearranging furniture, and MAT- WE LIVE AGAIN 165 TIE slams the hymn books together. MRS. ALLEN enters from the bedroom. MRS. ALLEN Thank you. You know where my chairs be long. Ella, will you go and get a doctor here 4 ? MATTIE BLACK Who s goin to pay for him, I d like to know*? [MRS. ALLEN smiles; goes to the bureau, takes a night gown from a drawer, hangs it over the back of a chair near the stove. ELLA goes out. MRS. ALLEN takes the sleeping DAVID from the chair near the stove, puts him on the lounge and covers him. MRS. ALLEN Poor little fellow, you ought to be undressed but I can t tend to you now. MATTIE BLACK He ain t likely to have a ma long. MRS. ALLEN No, she s pretty far gone. MATTIE BLACK Think she ll live through the night? i66 WISCONSIN PLAYS MRS. ALLEN Hard telling. She s weak as a cat, but not will ing to give up her hunt and go to bed. [Exit taking a chair with her. MATTIE BLACK [Who has watched MRS. ALLEN off.] She don t act a bit repentant. MRS. ROUNDTREE The way she talked made the cold shivers run up and down my back. [Enters ELLA. MATTIE BLACK [ELLA has gone to the night gown and is warm ing different parts of it. ] Pretty far gone *? ELLA Starved to the bone. MATTIE BLACK Did she ask for spirit al help? ELLA No. She babbled on about her man. Han nah s getting her quiet. WE LIVE AGAIN 167 MATTIE BLACK [After a moment of silence. \ She ll be taking up with evolution next. MRS. ROUNDTREE Mercy, I hope not. [MRS. ALLEN enters from the bedroom with a lamp which she places on the bureau and turns down. MRS. ALLEN [In answer to MATTIE BLACK S evident ques tion.] Maybe, she will sleep. MATTIE BLACK [Taking up a pile of hymn books.] Where do you want them put 1 ? MRS. ALLEN [Hesitates a moment; her face becomes cold; then indicating the table.} On the table. MATTIE BLACK Ain t you going to put them away*? MRS. ALLEN No. The preacher can take them away as he took the communion service. 168 WISCONSIN PLAYS MATTIE BLACK Well, but MRS. ALLEN [Firmly.] From now on, my religion will have to be without the paraphernalia of the church. MATTIE BLACK [Vehemently.] You ain t goin to leave the church ! MRS. ALLEN [Struggling and gasping.] Yes. [There is a sound of falling wood off stage. MRS. ROUNDTREE What was that? MRS. ALLEN The wood. MATTIE BLACK [Dropping the books.} I ll see. MRS. ALLEN No, I thank you, I can go. You have done a good deal. Sit down and watch David. [She takes the lamp from the bureau and WE LIVE AGAIN 169 goes into the wood room. Just as she is leaving, ELLA enters. ELLA Neither doctor s home. I left word MRS. ALLEN Watch them. I mean watch David. [She goes out. MATTIE BLACK I don t see what s got into Hannah Allen. [She sits near the lounge. MRS. ROUNDTREE I al ays thought of her as well grounded in the faith. MATTIE BLACK Ella, what do you think? Hannah Allen said that she was going to wash her hands of religion. ELLA [Incredulously.] No, she couldn t have said that. MATTIE BLACK Yes, she did, right here not two minutes ago. Did^t she, Miz Roundtree? i;o WISCONSIN PLAYS MRS. ROUNDTREE Not exactly that. She said [Moves away to a straight chair near the centre of the room. MATTIE BLACK Donno what else you could make of it. Donno what she means by getting out with the church anyhow. MRS. ROUNDTREE It ll be a blow to the church to lose her, we got to admit that. She was such a good worker. ELLA D you think she ll leave the church? MRS. ROUNDTREE I don t see how she can stay in. MATTIE BLACK [After the manner of gossip s analysis. ] Yes. She was al ays a good worker, but I wouldn t won der if the church would get along without people that want to leave. An I donno as the church wants them that talks her way. ELLA They d miss her help. WE LIVE AGAIN 171 MATTIE BLACK One d think the way her boy went to hell would be a warning to her. MRS. ROUNDTREE I don t believe she even knows where he is. MATTIE BLACK [She is very positive here.] Just tramping, I hear. He s nothing but a common tramp. ELLA [She hardly says this to the others.} Too bad. He was a nice looking boy. MATTIE BLACK I guess Marshal Stone d like to get a nice look at him. But d you know I never hear the mar shal talking about enforcing the law but I have to think of the cute way that young scapegrace, Allen, fooled Stone and got away. MRS. ROUNDTREE Marshal Stone told Roundtree he d never let him go if he got his hands on him again. ELLA Young Allen will go to prison for a long time if he gets caught. i?2 WISCONSIN PLAYS MATTIE BLACK No longer than he deserves. [Her tone and manner of the professional gossip reverse the force of the word "sorry"} I al ays did feel sorry for Hannah though, until I heard the way she talked and carried on to-night. MRS. ROUNDTREE Her talk gave me hot flashes and cold chills all over together. MATTIE BLACK I wonder what s become of her. ELLA Where dshego? MATTIE BLACK Went to find something that fell in the wood room. MRS. ROUNDTREE Well, I d think she d have found it by now. MATTIE BLACK [Losing interest.] Well, as I was saying, I don t believe she ll make a very good job trying to get along without the support of the church. {A rattle of the door knob. WE LIVE AGAIN 173 MATTIE BLACK Mercy, Miz Roundtree, what was you saying? [MRS. ALLEN enters white and much shaken. MRS. ROUNDTREE [After a moment s stare.] Did you find what fell? MRS. ALLEN [Trying to ignore the question and failing.] I want to thank you all for your help. I don t think there s anything more to do now, and you are all tired. MRS. ROUNDTREE I was thinking of going when you got back. [Rises. MATTIE BLACK Yes, I must be going, now t you re here; but what was the noise in the wood room that took you so long to find out about? MRS. ALLEN [Confused.} Oh, that? Why the cat was climbing on the wood. [Suspicion gathers in the faces of MATTIE and MRS ROUNDTREE. 174 WISCONSIN PLAYS MATTIE The cat ! Made a noise like that? What you talkin , Hannah Allen? MRS. ALLEN [After a pause.} The wood must ve just fallen. I was hunting for the cat. MATTIE BLACK [Snatching her shawl from a chair. \ I don t b lieve a word of it, Hannah Allen. You got into a queer way lately. Are you coming? [MATTIE and MRS. ROUNDTREE with set faces are now near the door. ELLA [Softly.} Good-night. I m sorry. [She follows the others out. MATTIE BLACK [To ELLA and MRS. ROUNDTREE as they go} Think I know a lie. [MRS. ALLEN moves to the door and locks it after them, pulls down the shades of the windows, then goes back to the wood room door and opens it. WE LIVE AGAIN 175 MRS. ALLEN [Collecting heiself.} Come in. [Enters her son, PHILOS; he answers MATTIE S description "Nothing but a common tramp" except that his over intelligent face marks him anything but com mon. She catches convulsively at him.} Oh, my boy! PHILOS [Flippantly as he moves away from her caress.} You better take a correspondence course in lying; your tech s poor. MRS. ALLEN Yes. I had a limited education. PHILOS Sorry can t stay long. But I got to blow before the old hens cackle it about that I m here. MRS. ALLEN You can t go without something to eat. PHILOS Thank you, lady. I never let an impulse of charity go to waste. [MRS. ALLEN goes toward the kitchen} My life work is to develop charity in the public, 176 WISCONSIN PLAYS MRS. ALLEN [Turning back.} Every night I think of how hard everything is for you. PHILOS [Cheerfully.} The world s dead ag in me and my kind. MRS. ALLEN I think of you without enough to eat and drink. PHILOS [Laughing but not unkindly J\ I m a philoso pher. They call me Philos. There s plenty of fool women to fill our bellies with eating; so that s all right. And there never was yet a man that could get enough to drink. MRS. ALLEN But sleeping out in the cold. PHILOS Lords of the road sleeping in the cold! Dead wrong again. While the good and industrious stay at home and freeze, we go to our winter homes in the sunny South. MRS. ALLEN But but WE LIVE AGAIN 17? PHILOS Now see here. Don t take it that way. I ve done things you re ashamed of before and after I left here. Why waste feeling over me? I m an outcast. I m not worth it. But don t think I get no enjoyment out of life on the road. MRS. ALLEN Do you keep well ? PHILOS As I hinted about drink fine as a pickle with a little pickling. I got to get out of here. Don t be long about that lunch. [ Warms himself at the stove and later moves to the table. ~\ What was that gang here for? Cottage prayer meeting 4 ? MRS. ALLEN [Moving about in the kitchen.} That to be gin with; then a poor girl stumbled in; we have her in bed in my room there. She ll drift off into eternity some time to-night. PHILOS How d she come here? MRS. ALLEN Wandered in hunting for her husband. 178 WISCONSIN PLAYS PHILOS He wasn t the apron string variety. MRS. ALLEN Deserted when the baby was born. PHILOS [With a shrug. \ Many a man deserted, be cause he couldn t keep step in the regular army. MRS. ALLEN Oh, I believe she was better off without him. PHILOS [Goes to the bureau.} The deserter often knows that. [He takes the lamp from the bureau and goes into the bedroom. MRS. ALLEN He left her with the child to support. He was a hero. [She goes to DAVID, and adjusts his covering. PHILOS comes from the bedroom. PHILOS [Softly.] I ll be damned. WE LIVE AGAIN 179 MRS. ALLEN What did you say ? PHILOS How d Lizzie come here? MRS. ALLEN I didn t hear what you said. PHILOS How d she come here 4 ? MRS. ALLEN Hunting for her husband and she wandered in here ready to die. [Returns to the kitchen. ] Babbled all the time about finding him I don t think she was herself, because she didn t seem to know more n her name, Lizzie, and David. PHILOS What? MRS. ALLEN David, her little boy. PHILOS Oh, I see. [Softly.] Her little boy. MRS. ALLEN He isn t very big for his age; don t s pose he ever had enough to eat. i8o WISCONSIN PLAYS PHILOS [Goes slowly to the lounge, stands looking at DAVID.] Well, little rooster. [Back to his care less manner.} Chickens come home to roost. MRS. ALLEN [Coming from the kitchen hunts for something on the bureau.} I ll always want to know David s last name. PHILOS [Moving away from DAVID and avoiding MRS. ALLEN.] You ll never find out his father. MRS. ALLEN There s no way to find out. PHILOS No. No way. You ll never know. MRS. ALLEN [Produces money from a dish on the bureau.} Here. [Goes to him.} A little late for Christ mas. PHILOS [Turns, looks dully at the money, then drops to flippancy. \ Can t be done. Not this time. You have more need for that than my kind. I WE LIVE AGAIN 181 was telling you we are different. [Turns as if drawn back to DAVID.] You pay. [Looking at DAVID.] You see you pay. [The tableau is held for a moment. A com manding knock on the door sends PHILOS flying to the wood room door. PHILOS I ll catch the freight at the crossing. Keep them busy. [MRS. ALLEN nods and follows him into the kitchen. The knock is repeated more em phatically. MRS. ALLEN Who are you? [She moves down to the rock ing chair in front of the stove and sets it rocking violently. STONE [ Without. ] Open the door ! MRS. ALLEN Not until I know who you are. STONE Open the door, or I ll break it in ! 182 WISCONSIN PLAYS MRS. ALLEN [Crossing.} Who are you, and what do you want at this time of night? STONE I am the marshal of the town, and I have a right to come in at any time of the night. MRS. ALLEN [Opening the door with caution.} Oh, come in. I live so near the street that drunken fellows try the door often. [STONE enters carrying a lan tern.} I didn t know you had to be out so late. STONE Humph! Agreeable, ain t you? [He looks hurriedly into the wood room, the kitchen, the bedroom. Crosses and meets MRS. ALLEN about the centre of the room. MRS. ALLEN Can you tell me what you want? STONE [Giving her a scornful glance crosses to win dows and throws up the shades. ] Honest people ain t ashamed to have a shade up, are they? WE LIVE AGAIN 183 MRS. ALLEN If you ask me, I d say "No." STONE Hannah Allen, where have you got that boy of yours hid? [MRS. ALLEN looks up at STONE, her lips move but utter no word; she hangs her head and turns away. STONE studies her a moment. STONE You know my duty to the law. MRS. ALLEN [In a voice almost inaudible for her agitation.} Yes. STONE I got to search your house. MRS. ALLEN I know. STONE Take the lamp. [She moves to the bureau slowly and reluctantly turns the lamp up and leads the way to the bedroom. \ That girl alive yet? 184 WISCONSIN PLAYS [He passes in; she stays in the living room holding the lamp. MRS. ALLEN Sleeping. STONE Lower the light. MRS. ALLEN Yes. STONE [Enters and leads the way to the wood room door and goes in. Returning.} Nobody there now. MRS. ALLEN [ With effort.} A little cold for a spare room, don t you think? STONE Humph! [Goes to the kitchen. Speaking within.} Going to have something to eat? MRS. ALLEN Yes. STONE [Returning.} Tain t for more n one anyhow. WE LIVE AGAIN 185 MRS. ALLEN No. [STONE opens the stair door. STONE Upstairs ? MRS. ALLEN Yes. [ They go upstairs. MATTIE BLACK [Enters, looks around the room.] Nobody here. [Hears STONE and MRS. ALLEN above.} Oh. [Crosses and peeks into the bedroom.] Breathing, yet. [Goes to her overshoes near the stove; picks them up.} No, I ll leave em and I ken come back again. [Drops the overshoes, lis tens. ] Here they come. [Crosses to the outer door and is passing out when STONE and MRS. ALLEN return. STONE There he goes. [Rushes after.} Halt or I ll shoot. [STONE returns with MATTIE BLACK by the collar. i86 WISCONSIN PLAYS MATTIE BLACK Don t you know who I am yet? STONE What re you prowling into people s houses for? MRS. ALLEN Oh, Mattie, I thought you went home. MATTIE BLACK I came back after my overshoes. MRS. ALLEN Did you leave them? STONE [To MATTIE.] He ain t here. MATTIE BLACK He was here. I know it. STONE [ With slow sarcasm. ] Did you talk with him ? MATTIE BLACK I don t have to be told everything. STONE He ain t here now. I looked all over. WE LIVE AGAIN 187 MATTIE BLACK I know another thing Hannah s be n making a ninny of you. He got away while she kept you here. STONE Hannah, would you do that? [A locomotive whistle is heard. MRS. ALLEN [Her control giving away.} That, too, for love. Oh, but he got away. STONE Hannah, you were a Christian once. MRS. ALLEN And a mother above all. MATTIE BLACK [Excitedly.] Maybe, you ken catch him yet! STONE The beggar ! [STONE and MATTIE exeunt. [MRS. ALLEN goes to DAVID and tucks the cover more closely, goes to the bureau, takes the lamp, enters the bedroom, comes back almost immediately, places the lamp i88 WISCONSIN PLAYS on the bureau, brings wood from the wood room, puts it in the stove, goes into the kitchen. ELLA [Entering breathless.] Hannah! Hannah! MRS. ALLEN [Coming from the kitchen.} Why, Ella! What is it? ELLA Mattie s gone to tell the marshal about about she thought you were talking to somebody in the wood room. MRS. ALLEN I know what she thought. ELLA I run back through the vacant lot to tell you, and there I come on a man on all fours terrible hurt. MRS. ALLEN [Dazed, passed her hand over her eyes.] You mean ELLA Yes. He tried to climb on the train at the crossin . An he fell off. WE LIVE AGAIN 189 MRS. ALLEN Oh [She catches a shawl from a nail on a door, and throws it over her head.] We can go through the back way. [ELLA follows MRS. ALLEN through the kitchen whose door is heard closing. The room is empty for a few seconds; then MATTIE S face is seen at the window. MATTIE BLACK [Entering.] Hannah! [She crosses to the bedroom, goes in and reappears immediately, looks into the kitchen.] No, she ain t here. He ain t far. [Runs outside again. [MRS. ALLEN and ELLA are heard helping PHILOS into the kitchen. MRS. ALLEN enters from the kitchen; gathers DAVID up from the lounge, crosses, turns the chair facing the stove and puts him in it, then moves the lounge to the centre of the room nearer the stove, goes back to wood room. MRS. ALLEN and ELLA support PHILOS and help him to the lounge. PHILOS Thank you. [Sinks on the lounge. 190 WISCONSIN PLAYS ELLA [To MRS. ALLEN.] The doctor ll be here for Lizzie. ,[MRS. ALLEN is putting a quilt over PHILOS. PHILOS No, I m past help. I ve seen many a fellow die; my time has come. MRS. ALLEN Oh. my boy. [MRS. ALLEN and ELLA take of his shoes. PHILOS Don t, mother. Pretty rough on you, but everybody ll be better off without me. STONE [Bolting in.] Mattie knew! PHILOS Miss Black would know. STONE [Fumbling in his pocket.} I will read the warrant for your arrest, Philos Allen. PHILOS Don t trouble; I know about it. WE LIVE AGAIN 191 MRS. ALLEN [To STONE.] Do you have to stay*? STONE Unless I take him to jail. MRS. ALLEN But he s dying. PHILOS Don t say it so; I m happy about it. STONE Got no proper feelings tall. MRS. ALLEN [To STONE.] I want him to myself here at home. STONE I swore he would never get away from me again. I won t chance his tricks. MRS. ALLEN But he s dying. STONE He belongs in jail. MRS. ALLEN Where do you belong 4 ? [She fries to control 192 WISCONSIN PLAYS herself. ] Oh I Excuse me. But now it s dif ferent. [Almost overcome by her agitation she paces the floor back of PHILOS. STONE I know my duty. MRS. ALLEN I ought not to have asked. PHILOS Stay as long as you like. I won t keep you long. STONE I will keep you as long as you live. PHILOS You re hospitable, Stone. I like you. STONE Don t want your liking. Don t want to hear about it. PHILOS Not an enemy? STONE [Proudly.] I am an enemy of all wrong doing. WE LIVE AGAIN 193 PHILOS I ve forgiven my enemies. STONE Do you mean I am to learn from you"? PHILOS I ve learned from many. STONE Humph ! [Stfs doggedly at the table. MATTIE BLACK [Enters.] You caught him! PHILOS "I was in prison and ye visited me." STONE [Starting from his chair.] No blasphemy, d you hear"? PHILOS I was only giving her a tip about the password at heaven s gate. MATTIE BLACK You re paying pretty dear for what you ve done. 194 WISCONSIN PLAYS PHILOS Oh, no. I never paid for anything in my life. ELLA You aren t comfortable that way. PHILOS [Kindly to her.] Won t matter long. ELLA I ll get a pillow. Lizzie don t need em both. [Exit ELLA. MATTIE BLACK [Her manner and words contradicting each other. \ I am sorry for you. PHILOS I return the compliment. MATTIE BLACK You pay pretty heavy for your sin. PHILOS Oh, no. Marshal Stone here, calls on me to make good for my wrongdoing. I die and get out of it. MATTIE BLACK We know sin is death; but a life is a good deal to pay for sin. WE LIVE AGAIN 195 PHILOS You are wrong. You never learned the bank ing business of life. The value of a life can be reckoned by the debts that other people owe to it. We all owe mother. I never made anything of my talents. No one owes anything to me. I owe everybody. I forfeit a worthless thing for my wrongdoing. Why ! A life is worth exactly what you make it. STONE Humph ! MATTIE BLACK What nonsense ! [Re-enters ELLA with pillow, goes to PHILOS, puts it under his head. PHILOS One name for philosophy. MATTIE BLACK I donno whether tis or not. I told you were here, because I thought it was my duty. PHILOS That s all right, Miss Black. Don t apologise. MATTIE BLACK I don t apologise for doing my duty. 196 WISCONSIN PLAYS PHILOS When we want to do a thing, we call it duty. Duty was ever my guiding star. MATTIE BLACK Flighty; what an awful thing when the wicked come down to punishment. ELLA {Rearranging the pillows. ~\ Is that better 4 ? PHILOS Thanks. MATTIE BLACK [Making for the door.} I ll get the preacher. PHILOS Don t. MATTIE BLACK I don t know what you mean. PHILOS Must he come? Mother? MRS. ALLEN [Controlling herself.] It is the custom. I suppose he feels it his duty. Oh, yes, let him come. WE LIVE AGAIN 197 STONE It s his duty to save souls. ELLA Can t I wash you a little? PHILOS Will you? [Exit ELLA to the kitchen. STONE Aren t you afraid to die? PHILOS No more than to live. STONE Hardened to sin. [ELLA returns from the kitchen with a basin, cloth, and towel and washes PHILOS S hands. [MRS. ALLEN, who has been pacing the floor, sits in the chair before PHILOS, takes the cloth from ELLA and washes his face. PHILOS And all my wrongdoing comes on you. You 198 WISCONSIN PLAYS have paid already and you will have to pay still more. [Enter MATTIE BLACK and the PREACHER. [MRS. ALLEN turns and sees the PREACHER. Repugnance comes over her. She rises and moves that when the PREACHER comes to PHILOS, he will not be near her. PREACHER [To PHILOS.] I come to offer you the comfort of the church. I hear you are dying. PHILOS Is that the most comfort you can offer 4 ? [MRS. ALLEN still has some faith in the mys teries of the church. She restrains her im pulse to defend her son. She withdraws to give the PREACHER a chance to redeem the soul of the dying man although she despises the agent. She goes to the rock ing chair near the stove and picking up DAVID, sits with her back to the au dience. She rocks more or less violently according to her agitation. PREACHER I call upon you to repent. WE LIVE AGAIN 199 PHILOS What good will it do? [ELLA carries away the basin to the kitchen. MATTIE BLACK moves to a seat. PREACHER Don t you want to enter the kingdom of heaven? PHILOS You offer to get me into heaven? PREACHER Repent and be saved. PHILOS Do you teach that? PREACHER I teach the truth. [Pause.] You are nearing the river; these are nearly your last moments on earth. Your New Year s dawn will be in an other world. Which shall it be: the world of continual misery, the world of perpetual torture, the world of endless fire, Hell ; or shall it be the world of good, the world of everlasting joy, the world where never ending pseans are sung, the world heaven? 200 WISCONSIN PLAYS PHILOS All I have to do is to repent? PREACHER That is all. Repent and come nearer to God. PHILOS Is that all ! [Silence. PREACHER [Solemnly.] Over on the other shore of the river you are to cross are some who are dear to you. PHILOS You are an advocate of heaven? PREACHER Well [MATTIE and STONE have not caught the scorn in the epithet. STONE rubs his hands anticipatingly. MATTIE nods her approval. PHILOS A lawyer in the Court of the Lord. PREACHER [Visibly swelling at a supposed compliment.} The name is altogether appropriate. WE LIVE AGAIN 201 PHILOS Do you know what I call your method of sal vation*? PREACHER The name is unimportant when a soul is re deemed. PHILOS [More vigorously and in unmistakable tones.} I call it spiritual bankruptcy. STONE [To PHILOS.] No blasphemy, d you hear? PREACHER He isn t rational. PHILOS / No, I m telling the truth. STONE [To the PREACHER.] He ain t so delirious as you think. [Standing over PHILOS.] You stop making light of religious things. [Retreats to his chair at the table. PHILOS I am the only one that is not making religion ridiculous. I broke my mother s heart. I de- 202 WISCONSIN PLAYS serted my wife. I sinned every sin pretty near, and the talents that were born in me I made over into bad. Now I m dying. PREACHER Your sin will meet its punishment, if you do not repent. PHILOS [His breath has given out for a moment and his eyes close, but he rallies his strength and struggles on.} Now you come to me and offer to have my sins struck off the books to let me off without punishment. Would repentance undo my waste and my wrongdoing? Would it bring back the girl I sent crazy to death*? Would it take one scar off my mother s heart for the sorrow I brought on her, would it make my little boy s life any easier? Why! If there is a lake that burneth, I belong there. What you offer is nothing but sneaking me of my spiritual debts nothing but spiritual bankruptcy. I ve got to pay. And I will pay. [Sinks back. MRS. ALLEN [Who has risen with DAVID in her arms crosses to the chair before the lounge.} Do you mean that? WE LIVE AGAIN 203 PHILOS [Weakly.] I knew you d understand. I don t want to get to heaven on a crooked repen tance. I want to pay my debts; I want to go to hell. [The PREACHER moves backward a step or two. PHILOS sinks back and lies motion less with his eyes closed. STONE Brazen it out. MRS. ALLEN {Sinking to the chair and letting DAVID slide to his feet between them.} Oh, my honest boy! PREACHER Are you going to abet this prodigal in his blas phemy *? MRS. ALLEN [Rising.] If it be blasphemy, I am. PREACHER One soul already to-night missed regeneration, because your mind was on things temporal; now you do this. You are as sinful as he. You will burn with him in hell. 204 WISCONSIN PLAYS MRS. ALLEN Do you never look beyond a man s words to his meaning 4 ? If he had taken your bribe of heaven, he would have died a coward. His re fusal is the repentance of a strong man. I glory in such a death. PREACHER The fires of hell will burn away your sinful thought. MRS. ALLEN Your efforts to-night have made redemption, heaven, and religion very cheap indeed. You tried to bully Lizzie, a poor thing that was too far gone to know what you were talking about, and now you attempt to terrorise a dying man with the fear of hell fire and bribe him with heaven. Do dying converts make the world any better to live in? Why don t you try to improve the liv ing, the strong, who have life before them? MATTIE BLACK You talk shameful. MRS. ALLEN [Sinking down.} Oh. How can I dispute now? WE LIVE AGAIN 205 PREACHER [ With a downward fling of his hand strides off as if giving the final word.} You are overcome in your blasphemy against the church by the pres ence of that innocent child. MATTIE BLACK We ought to have let Brother Stone take Lizzie and the boy to the lock-up as he wanted to; then she might have been redeemed. STONE [Growling.] The town will have to bury her anyhow. MRS. ALLEN [Rising and facing them.] It shall not. STONE How then? MRS. ALLEN I will do it. PREACHER Let the town do it. STONE Why not? MATTIE BLACK I d like to know! 206 WISCONSIN PLAYS MRS. ALLEN She came to me at the time of year when every body ought to be happy. Oh, she was the stranger within my gate. PREACHER You aren t in a sound state of mind. STONE You re crazy, Hannah Allen. MRS. ALLEN Perhaps. But I am thinking of poor little David. He can t grow up here to find out the town buried his mother. PREACHER What hurt will it do*? We ve planned to give him to some Christian family. MRS. ALLEN I will bury her. STONE [ With slow sarcasm. ] An who s going to bury you? [MATTIE shows her appreciation of his hu mour with a harsh laugh, WE LIVE AGAIN 207 MRS. ALLEN [Quick to parry his thrust with sweetness and trust in her reply.] No one for a long time yet. I am going to live, because work has been put into my hands to do. Part of Lizzie will live. MATTIE BLACK [Warning a friend of a fault, ,] Don t blas pheme again, Hannah. MRS. ALLEN [Quietly.] Part of Lizzie will live. PREACHER Our faith tells us that. MRS. ALLEN Part of her will live. [Silence. Then she points to DAVID.] There. There is part of her that will not die. Can t you understand 4 ? STONE What are you talking about"? MRS. ALLEN I am talking about David. STONE What about David? 208 WISCONSIN PLAYS MRS. ALLEN I will raise him. PREACHER You will raise him? MATTIE BLACK [Impatiently.] Hannah Allen! Raise a boy at your age. PREACHER No woman alone can raise a boy. MRS. ALLEN [Losing her temper for a moment.] I ll try. And if I spoil him, I ve seen many a man-raised boy that didn t turn out right. STONE He needs a man over him. PREACHER The boy must be raised in a Christian family. MRS. ALLEN One of you . . . *? PREACHER Let me find some Christian family. . . . WE LIVE AGAIN 209 MRS. ALLEN [Sinking to her knees , and taking DAVID in her arms wildly. Her back is toward PHI LOS.] No. No, David. I won t let a Christian family have you. PREACHER Hopeless. [Moving back to STONE.] We ll have to take legal steps to put the child under proper custodial care. STONE Crazy, Hannah Allen. You re crazy. MRS. ALLEN Christ would understand. [After a silence -, PHI LOS puts out his hand and touches his mother s shoulder. She turns to him so that she> DAVID and PHILOS form a group. PHILOS Do you want the boy, mother*? MRS. ALLEN I want some one to work for to live for. MATTIE BLACK She can t keep him. If he don t belong to any body, he s the property of the state. 210 WISCONSIN PLAYS PHILOS Come here, David. [DAVID does not move. MRS. ALLEN Won t you go to the man? PHILOS Won t you come to me? [DAVID is unmoved. PREACHER God gives children an instinct to tell good peo ple. [He comes forward and squats.] Come here, Davie, Davie. [DAVID draws back a step to PHILOS S arm. PHILOS You young rascal. STONE Mark my word. That boy will go to the devil. PHILOS I don t deny it. He has come to me already. STONE Humph ! [PHILOS lying with his eyes closed gathers WE LIVE AGAIN 211 strength to speak. MRS. ALLEN watches him. [The window at the right is thrown up. [A voice befuddled with drink.} A tune for New Year s. [A dance played on a violin begins the playing not of high quality. MATTIE BLACK Who s that 4 ? STONE The drunk at his fiddle. I ll stop him. [Starts down to the window. DAVID with a transfigured look moves away from the lounge and is slowly drawn by the music. PHILOS rouses and follows him with his eyes. MRS. ALLEN rises slowly and spell bound watches David, the others gape at him. PHILOS holds up his hand in protest to STONE. STONE stops. DAVID moves almost to the window. STONE [Shouting.} Stop it, stop it. [The dance ends suddenly in the middle of a phrase. STONE angrily flings DAVID 212 WISCONSIN PLAYS around and slams down the window; MRS. ALLEN rushes forward and snatches up DAVID. PHILOS You couldn t let me have my last dance. PREACHER The fiddles play all the way to hell. PHILOS {Hopefully.} Is the way long? PREACHER It is the downward path and broad. ELLA I believe anything broad would seem dangerous to you. PHILOS Are those tears, little chicken? They are. MRS. ALLEN {Getting him in her arms.} Listen, David. I have a violin that used to belong to this man s papa. And I am going to let you make music on it. Won t that be nice? WE LIVE AGAIN 213 PHILOS I hope you will never be sorry for it. STONE Hannah Allen, are you going to give that boy lessons on the fiddle^ MRS. ALLEN I am. PREACHER We, people of the church, cannot permit you to start that boy to hell. MATTIE BLACK We will see the law puts him under proper care. MRS. ALLEN You won t take David away from me ! PREACHER We feel responsible for his soul. MATTIE BLACK He don t belong to anybody; so the state will look to it that he s took proper care of. STONE You can t fly in the face of the law the way you 214 WISCONSIN PLAYS fly in the face of the church. The law will humble you. PHILOS You are a pretty lot to call Christians. STONE Don t you begin to blaspheme again! PHILOS I want you to let my mother alone. STONE ^ We know what we can do; we won t shrink our Christian duty for your commanding. PHILOS You can t be generous any of you? PREACHER Duty determines our course. We are going to give this boy to a Christian family. MATTIE BLACK You can t argue us out of it. PHILOS I won t try. Mother, you may keep David. MATTIE BLACK What? WE LIVE AGAIN 215 PHILOS [Having raised himself on his elbow turns his head slightly toward the door.} Ask Lizzie. [Raising his voice.} Lizzie! Lizzie! [A silence. [LizziE, in delirium, enters. LIZZIE [Passes her hand over her eyes.} I I dreamt I heard him. PHILOS You did, Lizzie. LIZZIE I heard him. I heard him. PHILOS Lizzie. LIZZIE [Discovers him and rushes to him.} My man ! [She sinks down; PHILOS puts one arm around her and pushes DAVID into his mother s keeping. PHILOS Mother, Lizzie and I want you to keep David. 216 WISCONSIN PLAYS MATTIE BLACK Well, I never. PHILOS I wanted to give the boy a chance ; I wanted his past to go no farther back than Lizzie. But I am his father. STONE His father? MATTIE BLACK You? PREACHER That accounts for much. PHILOS [Bitterly to the Christians.} Yes. You will make the little fellow live me down. [To DAVID his voice filled with sorrow at the injustice.} Oh, my boy, they will make you pay. MRS. ALLEN [Smiling through her tears at DAVID.] Oh, David, you are mine, mine. PHILOS And, boy, don t make a mess of your life. In this world we have to pay our debts. If we don t, WE LIVE AGAIN 217 somebody else must do it. Don t leave debts be hind you like me. MRS. ALLEN Why, I have something to live for! PHILOS Oh, my boy, make yourself all that I might have been and lots more. [Sinks back. PREACHER A wasted life. PHILOS No, not a wasted life. What might have been good in us will live and have a chance in the boy. MRS. ALLEN Oh, he will more than make up. MATTIE BLACK We got that to see yet. MRS. ALLEN [All her faith^ hope, and will in her voice.] You will see. STONE [Sarcasm.} We will. CURTAIN Wisconsin plays 919 7/8115 ser.2 950879 THE UNIVERSITY OF CALIFORNIA LIBRARY