MOTHER NATURE : PROGRESS
MOTHER NATURE
PROGRESS
TWO BELGIAN PLAYS
BY
GUSTAVE VANZYPE
TRANSLATED WITH AN
INTRODUCTION BY
BARRETT H. CLARK
BOSTON
LITTLE, BROWN, AND COMPANY
1917
Copyright, 1917,
BY LITTLE, BROWN, AND COMPANY.
All rights reserved
Published October, 1917
TYPOGRAPHY BY THE PLIMPTON PRESS, NORWOOD, MASS., U.S.A.
PRINTED BY S. j. PAKKHLLL & CO., BOSTON, MASS., U.S.A.
PREFACE
GUSTAVE VANZYPE AND THE MODERN
BELGIAN DRAMA
IT is only natural that the dramatic products of a
nation should be known abroad by its most strik-
ing examples. It was fitting that the modern French
drama should first be introduced to English readers
through translations of Cyrano de Bergerac. In the
realm of modern Belgian drama, Maeterlinck has stood
until recent times as the sole representative. But no
one would maintain that Rostand and Maeterlinck are
typical dramatists of then- respective nations; they
are rather outstanding exceptions. Cyrano and
L'Aiglon and Chantecler are products of the Romantic
school; Pelleas et Melisande, L'Intruse, and L'Oiseau
bleu, are dramatic and poetic embodiments of Maeter-
linck's mystical philosophy. Interesting and beautiful
as such plays are, they afford us no adequate idea of
the day-to-day theater of the countries from which
they come. If we wish to know the true French theater,
we must turn to the plays of Lavedan, Capus, Lemaitre,
Donnay; if we would know of the contemporary drama
in Belgium, we must turn to Paul Spaak, Fernand Crom-
melynck, and above all, to Gustave Vanzype.
The plays of Maeterlinck are already well known,
and the dramatic poems of Verhaeren have begun to
2082461
vi PREFACE
be talked about if not appreciated, but the relation of
these works to the Belgian stage, as distinct from
Belgian literature and Belgian thought, has scarcely
been touched upon. The reason, as I have already
intimated, is not difficult to find: we have, naturally
enough, sought only the important and the significant
in what Belgium had to offer. But there is another
sort of significance which must be taken into account:
the significance of the great mass, the average. Our
critical treatment of literature and art tends to adopt
scientific methods; the process has its advantages, for
in the last analysis the art of no country can be judged
solely by its most striking products. The plays of
Maeterlinck are, on the whole, not successful as drama;
the dramatic poems of Verhaeren have little claim
upon our consideration as acting plays: these are the
striking products of Belgian drama if by this we
mean every similar work cast in the "dramatic" mold.
Have the Belgians then no plays? The two plays here
translated will, it is hoped, prove that they have. Both
were produced in Belgium by Belgian actors, accepted
by the limited public interested in indigenous work,
and praised by Belgian critics.
Gustave Vanzype has not inaptly been called the
Curel of the Belgian stage. Such sobriquets are com-
mon among Belgian authors, but their application
hardly ever results in anything but confusion. Van-
zype's mind is somewhat akin to that of the author of
Les Fossiles; both dramatists are interested rather in
the curious and the unusual in human psychology
than the normal; both have a touch of the morbid, but
beyond this the comparison should not be allowed to
PREFACE vii
extend. Curel has no message, he is not a writer of
thesis plays; he is at bottom an aristocrat; Vanzype
believes that dramatists ought to use the stage as a
pulpit. Curel takes an individual case and makes of
it an interesting story, sometimes a deep study in
human character; Vanzype attempts to generalize, to
draw conclusions which may affect the morals and the
intellect of mankind. In his article on CurePs La
nouvelle Idole, he says: "I believe that the stage is a
pulpit, and that the dramatist, whether he wills it or
not exercises an influence over his audience; he has
no right to neglect or leave to chance the source of
that influence, and allow it to spread at random.
He has the right to expose everything, but he ought to
give his opinion, indicate his approbation or disap-
probation of whatever happens. And if, in order to
flatter, please, or amuse, the dramatist refuses to ac-
cept the role of preacher and commentator, if he makes
evil attractive, or ridicules virtue and beauty, he
transforms a great and powerful art into a despicable
and dangerous trade. . . . He must keep within the
domain of the everlastingly great ideas and concep-
tions." It is, I think, worth while to quote a few
further extracts from Vanzype's own critical utter-
ances, because they form a sort of declaration of faith
and express not only this particular dramatist's ideals,
but the aspirations of a group of playwrights and critics
whose aim was to create a national Belgian drama,
distinct from the ordinary importations from Paris.
In his criticism of Le Renouveau du theatre, which
appeared in 1897, Vanzype writes (in the Revue de
Belgique) :
viii PREFACE
"You must first make yourself understood, assemble
your audience, and speak the language it understands.
This is far more worth while than speaking a more
elevated language in the middle of the desert. . . .
"The public has a right to come to the theater for
amusement, to throw off all the cares imposed upon it
by the preoccupations and cares of life. The whole
art of the dramatist consists in introducing an idea
or ideas into the events he sets forth. . . .
"But the true power, the true genius, of the drama-
tist is in not formulating general ideas. Genius in
this high form of art is altogether a matter of sugges-
tion, mental suggestion, so to speak. The human
event set forth must be presented with such grandeur
and largeness of effect that the succession of events
which go to make it up, and the characters which
determine these events, form a gradual ascent, a logical
sequence, which will set forth the idea without having
it definitely spoken by the actor: the conclusion must
stand forth self-evident. During the play, the auditor
must be dominated by the play, become a part of it,
and he must be made to think and feel with the author
at the drop of the final curtain. He must not think
and analyze for himself until afterward, because while
the play is being acted before his eyes, he has no time
to consider. A play is not a book which you may keep
and open at will, and think over. In a play the pages
are not turned by the reader: they pass, and he cannot
stop them. This is why the dramatist must not set
forth any complicated idea; he must be simple and
clear, for it is imperative that the audience understand
immediately.
PREFACE ix
"If the dramatist refuses to submit to this condition,
without which a play fails to accomplish its purpose, if
he thus refuses to write for the audience which is the
sole excuse for the existence of the dramatic form, why
does he write plays? Why not simply write books? . . .
"I firmly believe that the theater needs new blood,
and I regret . . . that we have to go to Paris for what
we do get. . . .
"What we are interested in is the true play, written
by the artist. Our drama needs renovation, doubtless,
but not as to form unless we attempt to make
clearer and more concise; we need new and fresh ideas.
Let us avoid everything but the rapid exposition of
action and keep only what movement and action are
absolutely required to force the spectator to reflect. . . .
"The only works of art that survive are those in
which the artist has been able to magnify the common
things in life, the ideas, sensations, and facts which
are common to all ages. If he has been able to do this
in all simplicity, and call forth all the power and beauty
in them, without additional comment, he has succeeded.
This genuine artist has made the spectator his own
critic and commentator. . . .
"We must therefore return to tradition, the sane
and healthy tradition of the theater. We are forced
to it inevitably, because we need no new forms. It
is the function of a good play to do this: present
characters in action which is proper and fitting to their
interests and intelligence, and thereby interest and
arouse emotion in the audience. But these characters
must be so set forth and then- acts so combined and
unified and conducted, that their story shall stand
PREFACE
forth as a sort of lesson, not as a result of definitely
stated ideas and precepts, but unconsciously, as it
were, and spontaneously. This sort of play will differ
from the play of the past only in subject-matter,
which must be such as to interest the audience of the
present time."
In Vanzype's appreciative criticism of Curel's La
nouvelle Idole, above quoted, he proclaims the right of
the dramatist to preach. The excerpts from the other
article prove that Vanzype's ideas are not quite so
narrow as they may at first have seemed. He believes
that a play may or rather must contain an idea, but
on the condition that that idea is not palpably dem-
onstrated. At the very end of his Curel article he
says: "Before the audience will consent to listen to
ideas in the theater, it insists on seeing human beings
like itself, struggling against the problems of life. . . .
It is not enough in the theater to express an idea, it
must rather be made to develop out of an event or a
situation; the audience will not accept an abstract
idea until it has been proven by experience."
True to his faith, Vanzype has expressed great ideas
and conceptions in his best plays, but as the dramatist
must, he has expressed them in specific terms. At
times he generalizes, and becomes a sort of preacher,
but at his best, as in Les fitapes and La Souveraine, he
allows his audience to draw its own conclusions.
At first sight La Souveraine (here translated as
Mother Nature) belongs to the already too numerous
class of plays with an idea; it is, however, one of those
plays in which the idea takes shape afterward. As
with Brieux's La Robe Rouge, the audience becomes so
PREFACE xi
interested in the story and the characters that the
central idea is not driven home until after the close of
the play. A comparison of La Souveraine with a play
like Damaged Goods will at once reveal the difference
between a frank thesis play and a play with an idea.
Brieux wrote his tract to state certain facts, to educate
a certain portion of his public, and to call to the at-
tention of the government the necessity for legal re-
form. In order to do this, he was forced to interpolate
long discourses in his first act, and to sacrifice almost
the whole of the last. As a play, Damaged Goods is a
failure; its effect on public education and legal reform
is another matter. In La Souveraine, Vanzype has
no definite lesson to set forth: he is content to allow
his characters to work out their destiny in an interest-
ing story. He may justly be criticized, however, for
some exaggeration in the character of Olivier. As
with Paul Leglay in Les titapes (Progress) we cannot
help feeling that the dramatist has forced a note in
making Olivier too rigid, in order to secure a more
striking contrast with Renee. The dramatist was, of
course, interested in Renee 's story, and Olivier is after
all only a subsidiary figure, a foil; but wherever any
artist exaggerates in one part of his work, the rest
must in some degree suffer. Similarly, in Les fitapes,
Paul is made a little too rigid, and Madeleine a trifle
too stubborn.
Vanzype's indebtedness to Frangois de Curel is ap-
parent in most of his work, though Les Liens is not a
little reminiscent of Ghosts. His ideas are thoroughly
modern, he sees struggles in the daily Life of the middle
classes which are eminently fitted for dramatic presen-
xii PREFACE
tation, but behind the petty struggles of doctors and
scientists and artists, we are made to feel the presence
of the eternal struggles.
The obvious shortcomings of the two plays in this
volume detract very little from their dramatic effect.
There is a grandeur of conception, a sweep, an under-
current of passion and throbbing life which are truly
representative of the rather somber but vital character
of the Belgians.
CONTENTS
PAGE
GUSTAVE VANZYPE AND THE MODERN BELGIAN
DRAMA v
MOTHER NATURE (La Souveraine) 1
PROGRESS (Les Etapes) 83
MOTHER NATURE
(La Souveraine)
A COMEDY IN THREE ACTS
La Souveraine was first produced at the Theatre
Moliere, Brussels, in 1899
A WORD
I believe that a good play needs no preface, that it is
sufficient in itself to express thoughts completely.
It is not my intention to comment on La Souveraine
in this place; either the idea stands out clearly and
comment is rendered superfluous, or else it is not clear,
in which case the play is not worth a preface.
But I wish to explain myself on one point, because I
would clear up a misunderstanding created perhaps
by those who did not like the play. There are some who
insisted that Olivier was a satire on the artist, the
true artist. This is quite absurd. He who writes in
Belgium, especially for the theater, where he can hope
for nothing except the satisfaction of having created,
and of having at great cost deserved the esteem of
the very small public interested in good things, and
especially when he is so fortunate as to find so dis-
interested a manager as M. Munie and such devoted
artists as those of the company of the Theatre Moliere
such a one, I say, is inspired by the ambition to be
an artist himself, and he would never think of poking
fun at his brother-workers who are inspired by the
very same ambition.
But if he feels the profoundest respect for the real
artist, on the other hand he suffers and is irritated at
the noisy racket of certain false esthetes, who think
that a season box at fashionable concerts, the possession
2
A WORD 3
of a few objects of art, and chatter about some obscure
poet or forgotten painter entitle them to the position
and dignity of an artist. He is well aware of the evil
and danger of these sterile cynics, who smile disdainfully
at all that bears fruit, and at sincere work of any sort.
He knows that the public which listens to them, having
nothing better to do with its time, often allows itself
to be intimidated and influenced, to the detriment of
every conscientious and dignified effort of true artists.
When the follies and absurdities and f utility of such
charlatans are exposed in public, there is no harm done
to the real artists; these are rather defended against
their worst enemies.
This was what I wished incidentally to do in this
play; incidentally, only because I have tried to do
more than merely satirize. But this was the only
point I wished to explain; I have nothing to add to the
whole play, which must, good or bad, stand on its own
merits.
GUSTAVE VANZTPB
March 29, 1899.
Persons in the play:
OLIVIER
MERYAC
HEURTOUX, Renee's father
DARCHI, Olivier's father
RENEE
BLANCHE, Olivier's sister
KLARY
MADAME HEURTOUX
A MAID
The scene is the drawing-room in Olivier's home, pre-
sumably in a large city of Belgium. The time is the
present.
MOTHER NATURE
ACT I
The scene is a drawing-room used as a study. At the
back is a large French window, with heavy curtains drawn
halfway across. There are entrances right and left.
To the left is a piano. Various small pieces of furniture
of stained wood, English style. Pictures around the
walls, plaster casts of Gothic sculpture, and engravings.
The general effect is a strange one, for the decorator has
evidently sought after novelty.
Renee and Mme. Heurtoux are present as the curtain
rises.
RENEE
It's a sad confession, mother. I don't know whether
I have courage to tell you.
MME. HEURTOUX
But I asked you. And to whom else would you
confess if not to your mother? How long has this
been going on?
RENEE
Always.
MME. HEURTOUX
Always? But the first days, Renee?
RENEE
They were no different from now.
5
MOTHER NATURE
MME. HEUKTOUX
What!
RENEE
I didn't understand then. In spite of all my con-
fusion I felt instinctively that there was something
else. I didn't know.
MME. HEURTOUX
But just after your marriage ? The first few days ?
RENEE
Even during the first few days, during the moments
which other women remember, moments of tender-
ness, passion, intoxication, he was cold and calm,
insultingly calm!
MME. HEURTOUX
Has he always been that way?
RENEE
Always.
MME. HEURTOUX
Did you never talk to him, try to bring him closer
to you?
RENEE
Oh, yes, after I came to see that that was the only
possible way he could love me.
MME. HEURTOUX
What did he say ?
RENEE
He advanced theories and gave me long lectures on
reason which he never forgets, even when he
kisses me!
MME. HEURTOUX
Does he try to justify himself?
MOTHER NATURE
RENEE
He talked of all sorts of principles. He thinks
I'm ridiculous. He gets impatient with me, and
sometimes even angry. (She hides her face in her
hands) If he'd only left me ! Oh, mother, how
can I tell you ?
MME. HEURTOUX (going to Renee and taking her hands,
then, ill at ease, says hesitatingly)
Come, dearie, now you see is Olivier still
your husband?
RENEE
When he is I feel so degraded and ashamed.
I'm ashamed because every time I hope my love
will change him. But no . Oh, mother, I'm so
humiliated, so disgusted!
MME. HEURTOUX
Poor child! But you mustn't give up hope
RENEE
What hope? That he will change? That all at
once he will become another man, and love his wife
in a simple way, without thought and reason and
all that? Impossible!
MME. HEURTOUX
Perhaps you'll have the consolation of some
one else to love, some one who will fill your life
RENEE (burying her face again in her hands)
Dearest mamma, that's just what he doesn't want!
I'm desperate. Oh, if I had a child, if I could even
hope to have one, I'd be resigned to having my
early dreams go as they have gone. The child could
give me all the happiness and tenderness that I
MOTHER NATURE
miss now. But I can't even look forward to that.
That is why I can't forget now. He's wounded
me I can't get over it; he himself couldn't make
everything all right again. I can't even be the wife
I want to be, that I would have been if he hadn't
crushed all the good instincts out of me with his
scepticism, his talk, and his everlasting analysis.
You understand how revolting it all is, don't you,
mother?
MME. HEURTQTTX
Of course I understand, dear, but you see, I 'm always
afraid of misunderstanding things nowadays. It's
all so different from what it was in my day: when
I was a young woman, people did less discussing and
reasoning. Of course, we were afraid of having too
many children
RENEE
Yes, but you had them first! And you didn't force
young girls into marriage. I 'm so miserable, mother!
If I had only a child ! Perhaps I should have
understood, afterward. A tender and pure little
life would have brightened my own.
MME. HEURTOUX
But Olivier still loves you ?
RENEE
He does not love me. He does nothing but talk and
talk and try to prove that love is the result of a
pathological predisposition. He talks about atavism
and neurosis! He doesn't love me. He analyses
love too much to know how to love.
MME. HEURTOUX
He is at least intelligent?
MOTHER NATURE 9
RENEE
He has a brain, but that's not the same thing, mother.
It 's a matter of pride with him to have only a brain,
and to stifle everything else that makes a man: love,
passion, the sweet and holy follies, sublimely un-
reasonable the things that make you happy.
He's just a brain. There are many others like him
nowadays.
MME. HEURTOUX
You frighten me, Renee. Don't you love your
husband any more?
RENEE
It makes no difference to him whether I do nor not.
If he found out I didn't care for him, he would
deliver a long-winded lecture on the psychology
of my case.
MME. HEURTOUX
What things you say! Surely you're exaggerating!
RENEE
Not at all. You don't know him.
MME. HEURTOUX
You seem almost to hate him.
RENEE
I don't hate him. But everything about him dis-
gusts me: everything he does and says strikes at
what is best in me. His detestable intellect crushes
everything good and beautiful in life, everything
you have taught me to respect, everything that I
feel is true even life itself.
MME. HEURTOUX (after a pause)
Renee, look at me. You aren't in love with any one
else?
10 MOTHER NATURE
RENEE (looking her mother straight in the eyes)
No, mother.
MME. HEUBTOUX (surprised)
Indeed? You don't even protest?
RENEE
I don't love any one at least, any one I can name,
any one I know. But I do love, as I did when I was
a young girl and dreamed of the future, of a husband
who would not consider me with his brain alone,
but one who would reason and love with his heart
and his passions a man, a real man ! But I give
you my word, I am not in love with any one. In
spite of all my unhappiness, I am a faithful wife.
MME. HEURTOUX
You must continue to be that, Renee; you must be
brave and do your duty to the end. Who knows,
everything passes away and is forgotten? If your
husband
RENEE (bitterly)
Poor mother! Sh, here he comes. If he heard
you talking about courage and duty, he would make
fun of you and ask you for definitions.
\_Enter Olivier, followed by Darchi and Heurtoux.
OLIVIER
In your day! Your day! Of course, my dear
father-in-law, in your day people didn't think as
they do now. Ideas have gone
HEURTOUX
Forward or backward?
DARCHI
Why, forward! Humanity never goes back. Prog-
ress
MOTHER NATURE 11
OLIVIER (interrupting)
To adhere to the ideas of your youth is, I repeat,
a deplorable thing.
HEURTOUX
Well, I'm old
OLIVIER
So is my father. He is as old as you.
DARCHI
Nonsense, I'm fifty years younger!
OLIVIER (to Heurtoux)
True. He has been able to discard the sentimentality
that clung round him. He has disciplined his mind
and adopted the strict methods of modern analysis,
which submits everything to the acid test of reason.
It is our aim to act with discernment, to escape the
ready-made notions which are not under the control
of our intellects, and the absurd consequences of
giving in to the passions. We bring each thought
and act to the tribunal of dispassionate judgment,
and base our deductions on the foundation of modern
science and philosophy. We deny the intangible.
Nietszche
DARCHI
There's a master mind for you!
MME. HEURTOUX
Have you read him, Monsieur Darchi? Explain his
theory. I'm deeply interested.
DARCHI (embarrassed)
I know his theories very well oh, yes. Olivier often
talks about him. But the whole thing is rather
MOTHER NATURE
complicated. You ought to have some preliminary
preparation if I am going to explain him to you.
Isn't that so, Olivier?
OLIVIER
Of course.
HEURTOUX (to Renee)
Do you know why Olivier tells me all these interesting
things? Because I refuse to grant that a husband
has the right to deceive his wife! (Smiling) Now
you're warned !
RENEE
I know what he thinks about that.
HEURTOUX (still smiling)
Aren't you worried?
OLIVIER (seated at his desk, turning the pages of a book)
Renee knows I am master of my passions. It is my
aim to be a strong man. Now, the strong man can
be strong only after freeing himself from the bondage
of his senses, his passions. But just because I am
freeing myself, I can see that others are still slaves.
Those who have succeeded ought to be free to dis-
pose of their persons as they see fit.
DARCHI
Certainly. You must look at it from the point of
view of the artist. Heavens and earth, my poor
Heurtoux, how out-of-date you are!
HEURTOUX
Perhaps I am. But you see, I can't make up my
mind, and never will, to abolish everything that has
brought me peace and happiness. I don't know
whether it's because I'm prejudiced or, as you say,
out-of-date, but I always held what were called in my
MOTHER NATURE 13
day liberal ideas, and I never had much respect for
the conventions. But there are some conventions
that are absolutely necessary, that are based on the
necessities of human society and the consideration
of one man for another. Conjugal fidelity or if
you prefer, the fidelity of one lover to the other, is
one of them. A man and a woman who love each
other are naturally jealous, and even when they
don't love each other or if one of them ceases to love
the other, it seems to me a beautiful thing for them
to remain faithful; it spares pain and wounded
pride. Of course, you call that rank sentiment
OLIVIER
Yes, because among intelligent people, people who
use their reason, there is no such thing as jealousy
and that sort of pride. Those things are mere
words.
DARCHI
They've gone out of fashion long ago!
RENEE
They are as old as the world, because they express
sentiments and passions whose very existence you
complain of. But the things themselves have not
changed since man was first created, since the first
human being said "I love you!" to the other, and his
mate naturally asked, "For always?" I prefer
that. It makes the function of love a noble and
beautiful act, and not a base instinct.
DARCHI (laughing}
"For always!" Ha! ha, For always! Poor little
Renee!
14 MOTHER NATURE
OLIVIEB
The same delusion, the same mistake! You try to
impose an unnecessary yoke on the man. Why?
HEURTOUX
To spare others' pain.
OLIVIER
That is not his affair. Let them defend themselves,
together with their absurd sentimentality.
HEURTOUX
My dear Olivier, if I didn't know you, I would think
you quite ferocious.
OLIVIER (disdainfully)
Not at all; I am simply a reasonable human being,
and I have great respect for logic. You don't
understand me, you cannot understand me, because
you are not ready to look at these things dispassion-
ately, and analyze them on the basis of the great
scientific and philosophical facts of which you are
quite ignorant.
HEURTOUX (good-naturedly)
That's true.
DARCHI
You see, old man, you must know!
HEURTOUX
I don't know, but I believe that there are certain
human relationships in which science and philosophy
count for nothing. I've been married for thirty
years, I've made my wife happy, brought up
children
OLIVIER (interrupting)
Who are needlessly suffering because you have devel-
oped their emotions your daughter, for instance.
MOTHER NATURE 15
HETJRTOUX (seriously)
Suffering? Renee, have you anything to complain
of? Were you ever unhappy through any fault of
mine?
RENEE
I am happy, and I am glad to be what you made me,
father. If I suffer sometimes, it is not your fault.
I am proud that I can suffer that way.
HEURTOUX (anxiously)
But you do suffer? Why? Aren't you happy ?
OLIVIER (indifferently)
I really didn't know
RENEE
It makes no difference, father. I meant I suffer
once in a while, the way every one does. You mustn't
worry about it.
MME. HEURTOUX (taking Renee's hand)
Brave girl!
OLIVIER
I don't think Renee knows what she's talking about.
Very often she is upset and worried, and
HEURTOUX (conciliatory)
She is very sensitive, Olivier. You must take that
into account. I don't think you'd be capable of
wounding her intentionally, but
RENEE
Please, father!
DARCHI
Now, now, let's not have a family quarrel! Tears
and all that! Octave Feuillet nonsense! I'm going!
HEURTOUX
Be serious, Darchi.
16 MOTHER NATURE
DARCHI
Never! It's too stupid.
HEUBTOUX
Isn't it only natural that I should consider my
daughter's happiness? Of course, I have confidence
in your son
DARCHI
My dear fellow, do you imagine a boy like Olivier,
a keen observer and psychologist, doesn't know how
to handle women? My son!
MME. HEURTOUX
We are not discussing "women"; this concerns
Renee.
RENEE
Father! Mother! This is all very painful to me.
Please don't worry about what I just said. I was
speaking generalities.
OLIVIER
It was wrong of you, my dear, especially before
your highly emotional and excitable parents.
[Blanche opens the door.
BLANCHE
May I come in ?
RENEE
Surely.
[Enter Blanche, followed by Andre and Heryac, who
wears hunting clothes.
BLANCHE
Here we are! How are you? We've brought your
cousin Meryac. We just happened to meet him,
but he didn't want to come.
MOTHER NATURE 17
ANDRE
He didn't think he looked beautiful enough.
MERYAC (to Renee)
I beg your pardon, Madame, these clothes I've
been hunting.
RENEE
But this is the country, Monsieur Meryac, and we
are neighbors.
OLIVIER
What a singular passion !
BLANCHE
What?
OLIVIER
Hunting.
MERYAC
It is not a passion with me. But I love movement
and outdoors. Hunting serves as a good pretext
for riding up hill and down dale. I delude myself
into thinking I have a definite end in view.
OLIVIER
Can't you ' satisfy your desire without actually
hunting?
MERYAC
I hardly hunt at all, only, as I told you, I like to have
an object in view. I need it. When I have a little
leisure time from business and go even for a walk,
I must have some destination.
OLIVIER
Action mania!
MERYAC (smiling)
The desire for action, yes !
18 MOTHER NATURE
BLANCHE (to Olivier)
You all look so serious. What were you discussing,
Monsieur Brother?
OLIVIER
A very involved matter. You wouldn't understand.
HEURTOUX
I think she would understand very easily.
ANDRE (to Olivier)
Would I?
OLIVIER
No.
BLANCHE
Unfortunately, because every one should understand
in the family.
HEURTOUX (to Meryac, who now stands by Renee)
You were speaking of your factory. I 'm very much
interested. Shall we go into the garden? I want
to ask you something.
\_They go out, Renee following them with her eyes.
DARCHI (to Blanche)
You talk like a middle-class housewife. When
you're dealing with a great intellect like your
brother's, a man engaged in such deep thinking,
isn't it only natural that the points discussed should
reach a level to which no woman's mind can attain?
BLANCHE
Oh? You're very gallant. Andre always explains
when I don't understand, and I always see. And
Andre is no fool. We "raise each other," as it were,
to that "level" you were speaking of. And when
we get there, we don't talk, we are glad enough
merely to feel, like good middle-class people which
MOTHER NATURE 19
we are. But with the two children, I haven't much
time for the "heights." I bring up my children
which is more important.
ANDRE (who has meantime seated himself, rises and
goes to another chair)
And just as "elevated."
RENEE
How are they?
ANDRE
Bab had an attack of tonsilitis. We were very
much upset.
MME. HEURTOUX
Poor little dear!
RENEE
Is he better now?
BLANCHE
He's well. Otherwise, you may be sure we shouldn't
be here.
OLIVIER (nervously)
Of course, of course.
DARCHI
Never have a moment's peace with those messy
youngsters!
BLANCHE
Papa, don't you philosophize! You know you adore
them.
DARCHI
There they are! I don't dislike them, but I could
easily dispense with them.
ANDRE (who shifts to another chair)
You yourself didn't dispense with children! (Point-
ing to his wife) There's the proof. Thank you.
20 MOTHER NATURE
DARCHI
I wasn't thinking of you at the time. No, I didn't
dispense with children, because when I married there
were still prejudices. But if I had my life to live
over again
BLANCHE
You would follow Olivier's example, and not be
in any hurry. He isn't in a hurry about anything
at all. We're waiting for his book. What is it
called ?
OLIVIER (piqued)
What?
DARCHI (respectfully)
Cogitations.
BLANCHE
Illustrated?
OLIVIER
A complete book needs no illustrations.
ANDRE
That's not the same title you gave us a short while
ago?
OLIVIER
It's not the same book.
ANDRE
What about the other?
OLIVIER
I'm not going to write it. I wasn't satisfied.
BLANCHE
Well, try to finish this one.
OLIVIER
It makes no difference if I don't. I write in order
to think.
MOTHER NATURE 21
BLANCHE
How funny! I thought people wrote after they had
thought.
MME. HEURTOUX
How unkind of you, Blanche!
OLIVIER (disdainfully)
I am used to my sister. She doesn't bother me. (To
Andre, who has just left his chair again) What on
earth are you doing?
ANDRE
I 'm tired, and I 'm trying to rest.
OLIVIER
Then sit still!
ANDRE
I 'd like to, only I can't find a chair
OLIVIER
You have plenty to choose from.
ANDRE
I see that, but not one of them seems made to sit in.
They're pretty, and interesting, but every one of
them's damned uncomfortable. What I want is a
vulgar, simple, old-fashioned armchair, with nothing
artistic about it, where I can rest my arms and legs
and neck. Have you anything of that sort in your
house ?
MME. HEURTOUX
Come with me, Andre. I '11 find you one hi the gar-
den.
[Olivier shrugs his shoulders.
ANDRE (to Mme. Heurtoux)
You're my salvation!
MOTHER NATURE
MME. HEURTOUX (to the others)
Are you coming?
[She goes out with Andre.
OLIVIER
I want a breath of air. I've been overworking this
morning.
DARCHI
What have you been doing?
OLIVIER
Thinking about the second chapter of my book.
DARCHI
I '11 come with you.
BLANCHE
Good! Renee and I can have a little chat together.
DARCHI (as he leaves)
Don't tire yourself.
[The men go out.
BLANCHE (going to Renee and taking her hands')
My dear Renee! How sad you look! What's the
matter?
RENEE
I'm not oh, nothing only a little nervous.
BLANCHE
Why don't you tell me? I know you're suffering.
I love you dearly, and I feel I'm much more your
sister than his.
RENEE
Whose ?
BLANCHE
Your husband's. It's funny, perhaps it's terrible,
but I've felt that ever since you were engaged. I
MOTHER NATURE 23
feel more a member of your family than his. I'm
so little like him.
RENEE
That's true. You're so good, Blanche dear. And
you know I love you, too. I always like to have you
here. You seem to bring some of my past life with
you, and my childhood a breath of healthy sunny
air into this house. You are a sort of living happi-
ness; your life is what I dreamed of when I was just
awakening to life. You carry around with you all
sorts of love, and joy, the pride of motherhood, of duty
gladly done, and a realization of happy responsi-
bilities. I imagine your hah* is full of warm caresses
and your cheeks bright with children's kisses.
BLANCHE
Renee, you are suffering!
RENEE
No, no, I'm not. But I can't help feeling this way
when I see you so happy, and simple, and pure, and
good. I'm romantic, I suppose, but I can't help
being thrilled when I see in you the realization of
all the dreams I dreamed when I was a girl of fifteen.
Like all girls, I closed my eyes and dreamed of
marriage; I closed them partly from embarrassment
and partly in order to see more clearly my husband
and myself, as I imagined we would be. In that
dream we were what you and Andre really are:
two happy children, very much in love, but our love
was tempered with a sort of dignity; and we looked at
life and resolved to be supremely happy, and love each
other always, and smiled at the thought of having a
24 MOTHER NATURE
family of two, three, four I didn't stop to count, but
I could see little curly heads ! Oh, you are my
dream, the dream I used to blush for then, but now
BLANCHE
You regret! Poor Renee! Olivier is a poor substi-
tute for the husband of your dreams, isn't he?
RENEE (trying to control herself)
I don't say that; I'm not complaining of Olivier.
BLANCHE
I am so sorry for you, Renee. I see how much you
are suffering. And I know Olivier too well not to
realize that your dream which is the ideal of
every decent, normal girl was doomed from the
beginning. I know him: he is not bad, nor is he
good. He's dried up in his formulas; he has regu-
lated his instincts by rules physiological and
psychological rules. He always thinks of people
as cases and problems, and that has killed all the
humanity in him. He has only one object in life;
to prove that everything accomplished by mankind
before he was born is absurd. He believes he has
reached a very high stage of development, but he
merely lives an extremely false sort of life, made up
of absurd desires and ridiculous ambitions. He is
one of those who only complicate existence and de-
spise its simplicity because they can't understand it.
RENEE
Blanche, you are a severe judge!
BLANCHE
I tell you this because I know you see him as I do.
It's not altogether his fault: papa was too enthusi-
MOTHER NATURE 25
astic about Olivier's great progress as a young man,
and he very soon became a follower instead of a guide.
Poor papa, he's developed a temperament, and he
merely echoes and exaggerates whatever Olivier
says, and conceals as he would something vile what-
ever there is in him of tenderness and feeling or
else makes a joke of it. Fortunately, I know he is
hiding his real feelings, and I love them. Poor
Renee! You're so full of the joy of life, and so
sensitive ! You must be very unhappy.
RENEE
I am.
BLANCHE
Won't you confide in me a little? Dearest. I
want to be able to console you.
RENEE
How can you console me ? I 'm not the sort of person
who can be consoled. I have simply made a mistake :
I married unwisely, and I must accept the conse-
quences. I thought that a man like Olivier an
artist, at least an instinctive artist would be
more sensitive, better than other men; it must have
been his ideas and his way of talking that attracted
me. But that soon wore off. Now I must try to
resign myself. It's too bad, though, because resig-
nation is not in my make-up. I have a keen sense
of duty, but I'm constantly afraid that the nervous-
ness that keeps me up to the mark, and which is
only the result of my pride, will some day lead me
to break away and do something I might regret.
(She stops a moment, then, mastering herself) But
26 MOTHER NATURE
I mil control myself, don't worry, Blanche dear.
You are so good to me, and I'm very grateful for
your frankness and your love, even though you
can't do anything to help me. I 've tried everything
with Olivier, and as for myself, there's nothing left.
Kiss me! (They kiss. Andre's voice is heard in the
garden: "Blanchette, where are you, Blanchette?"
There, go to your husband in the garden. He's
bored when you aren't with him. How you love each
other! Go on! I'll not come with you. I must
calm down a little.
BLANCHE
All right. See you soon. (She goes out, saying)
Here I am! Here I am!
[Renee goes and looks at herself in the mirror, then
drops, as if in a dream, into a chair. After a short
interval, enter Meryac. Renee does not notice him.
He makes a few steps toward her before she is aware
of his presence. He looks at her.
MERYAC
Madame!
RENEE
You, Monsieur?
MERYAC
Have you forgiven me?
RENEE
There is nothing to forgive. It isn't your fault that
you love me. But I do think you might have spared
me by saying nothing about it. I hope you realize
you had nothing to gain?
MOTHER NATURE 27
MERYAC
I love you so deeply, so passionately, that I couldn't
help telling you.
RENEE (dreamily)
You love me
MERYAC
Ever since I came here and saw you for the first
time. You were there at the piano, playing Grieg's
Solveig's Lied. You remember . The picture is
as vivid as it was then.
RENEE
You ought never to have spoken.
MERYAC
That was out of the question. When you are in
love, you can't control yourself. The person who
can reason at such a time can't really be in love.
At least, I can't imagine such self-control. I feel;
I am excited; I listen to my heart-beats and not the
voice of reason. I confess I'm impulsive: I'm the
blind agent of forces that may be a bit confused,
but I feel that they are at base absolutely right.
They drive me to love or to hate. It may be pure
instinct, but there's something right in it all the
same. I have more confidence in it than in the
hypothetical deductions of logic. Try to reason and
you find you can reach diametrically opposite con-
clusions on the same point, depending on where you
start. The blind forces / give in to drive me in one
direction, toward one thing and one alone. That is
why I love you, that is what has told me you are
unhappy
28 MOTHER NATURE
RENEE
What do you know about it?
MERYAC
I don't know, but I feel. That was what drove
me to tell you I loved you. I wouldn't have
said a word if I had felt you were happy. My
instinct would have told me to hold my tongue.
I am ready to do anything for you, carry you off
in my arms, without stopping to consider right
or wrong. I love you, I adore you, because
because well, because I love you ! (Renee has
meanwhile risen. She looks fixedly at Meryac, and
is deeply stirred. There is a pause) How you look
at me!
RENEE
I never heard any one talk that way !
MERYAC
You see? Your husband doesn't love you, and you
aren't happy. I felt sure. If I hadn't, I swear I
would never have spoken a word. I would have had
courage. I would have left you to him
RENEE
You will, my poor friend. I tell you once for
all, I hold nothing against you, and I even con-
fess you have made me happy, because you have
given me a new and a fresh emotion. Even though
I might have allowed you to continue, even though
I am unhappy because my husband doesn't love
me as I once hoped I would be loved in spite
of all that, I refuse to do anything I might after-
ward regret.
MOTHER NATURE 29
MERYAC
But you have the right !
RENEE (interrupting him)
That same confused power you spoke of a moment
ago tells me I should be very wrong to give in; it
tells me to try to find happiness with my husband
and to struggle till the last shred of hope is gone.
MERYAC
And then?
RENEE
Then if I know I have failed then I don't
know. But I must hope. Now leave me, please.
They might think it strange we should be alone
together for so long. Leave me. (She offers him
her hand) Good-bye.
MERYAC (holding her hand in his)
You don't object to my coming here again?
RENEE
No. That would mean I was afraid of myself.
MERYAC
Good-bye.
[He walks slowly away, and out. Renee then goes
quickly to the window. Meryac is seen on the terrace
outside the windows at the back. Renee watches him
for some moments, then goes to the piano and, under
an evident strain, begins to play. Enter Olivier.
OLIVIER
Is that Grieg?
RENEE
Yes: Solveig's Lied.
MOTHER NATURE
OLIVIER
Have you been here all the time? They were looking
for you in the garden.
[He sits at his desk, takes up a magazine and begins
reading.
RENEE (after a pause)
Olivier!
OLIVIER (without looking up)
What is it?
RENEE
Have they gone?
OLIVIER
They went for a walk.
[He continues reading.
RENEE (going to the desk and sitting down near her
husband)
Olivier!
OLIVIER
What is it, my dear?
RENEE
Don't read now.
OLIVIER
When can I read? I was constantly interrupted
this morning; first your father and mother
RENEE
Mother?
OLIVIER
Yes, your mother, who was complaining to me about
you.
MOTHER NATURE 31
RENEE (suddenly)
Don't you think it more worth while to talk about
me than to read?
OLIVIER
I know very well I shall never be able to convince
you that your happiness which is, after all, a
purely fictitious thing depends entirely on your-
self. You see, you must learn to analyze a little,
and form a conception of life in general and marriage
in particular which shall come a little nearer to the
actual facts. You mustn't give way to the muddled
confusions of a raving romantic. Are you unhappy ?
Are you sure that the very fact of your mentioning
it does not in advance constitute its refutation?
RENEE
Is that all you have to tell me? Don't you love me
any more?
OLIVIER
Of course I do, of course. I merely object to your
boarding-school girl's notions. I don't want love
to take the place of reason and upset the rational
arrangement of our existence.
RENEE (slowly, as she recalls Meryac's words)
The person who can reason isn't really in love.
OLIVIER (going to her)
I do love you. Come, now (smiling), forget every-
thing, Renee. How beautiful you are! I love you
now, dear, I love you deeply. (He takes her hand,
then her arm) You're not very reasonable, but that is
what makes you so tempting. And you always get
what you want, don't you? I do love you. That's
MOTHER NATURE
what you want, isn't it? (Renee allows herself to be
embraced) You are just as I want you to be. You
are my own darling wife. Don't think, just love
me. You are so lovely !
RENEE (suddenly tearing herself from him)
No, no, no! Yes, I do want to be your wife, I wish
it with all my heart and soul, but I want to be alto-
gether your wife or else not at all. I 've suffered
too long from your selfish and calculating love.
I was on the point of giving in once more, but I
saved myself. No, no, I refuse to be merely your
pleasure. I want to love you, but not be a passive
instrument. Yes, I want to be loved, but I want to
be a woman, a whole woman a mother! Other-
wise no, no, no ! That is too sickening, too dis-
gusting! Your selfish and cowardly love has no
beautiful purpose; you forget the true end of love,
that's beautiful even when you don't think of it.
But never to think of it, to avoid it, to decide to
have no children, whose presence would purify and
help us No, no, I can't and I won't.
OLIVIER
Really, this is becoming a mania with you. I have
told you
RENEE
You have told me! And you gave me cold, selfish
and cowardly reasons, and false science. You were
afraid.
OLIVIER
I have already told you that I feel I have no right
to impose upon another human being the obligation
MOTHER NATURE 33
to live and to suffer. That right is really not a
right at all, and only unthinking people assume it.
I am not one of them. Whenever I see children,
I can't suppress a feeling of horror toward those who
dared bring them into the world, and impose upon
them, as the result of a mere caprice, the great task
of life.
RENEE
And when I see children, I think of their smiles and
laughter.
OLIVIER
Pure selfishness!
RENEE
Selfishness! My happiness is the happiness of mak-
ing them glad, of giving up my life for that purpose,
showing them the happiness and beauty of life,
preparing them for existence, and returning to them
the joy and tenderness they give me. You call the
love of parents for their children selfishness! You
don't believe in it. You are simply afraid to assume
the responsibility. That is all your reasoning amounts
to. I want the joys of a mother as well as of a wife.
I want to live a whole life; no woman has done that
unless she knows the joy of motherhood.
OLIVIER (going to her)
Come, now, Renee, don't get so excited.
RENEE (close to him)
Don't touch me! I shan't be weak again. I've
often given in because I loved you and was carried
away at the moment. But I tell you, in my love for
you there is also a mother's love. I want to have
34 MOTHER NATURE
children. If your love won't give them to me, I don't
want your love!
OLIVIER
This is ridiculous. Really, my dear, you must be
out of your senses.
RENEE
Take care, Olivier, you must protect me against my
thoughts, against my dreams.
OLIVIER
How do you mean?
RENEE
By understanding them, and by consenting to live
without so much reasoning and analysis. Just live
and be happy. (Again, as she remembers Meryac's
words, and repeating them) Without stopping to
consider right or wrong!
OLIVIER (taking up his magazine again)
Poor Renee, you 're nervous, that's what's the matter
with you. I must work now. I 've begun a chapter
on Integral Logic.
RENEE
Be careful, Olivier!
OLIVIER
What about?
RENEE
About me!
CURTAIN
MOTHER NATURE 35
ACT II
The scene is the same. Olivier is seated at his desk.
Klary, in a long and ample gown, with a fillet round her
hair, stands leaning on the back of a chair, in a studied pose.
KLARY
Dear Master, yes, I dream of that: a Flemish in-
terior, dirty whitewashed walls, and furniture of
white wood. And just a few Japanese vases here and
there. Human souls seem larger against a simple
background. And to recite poetry there in a
murmur, a whisper, so softly that you can scarcely
distinguish whether it be a human voice that pro-
fanes it or no ah! I'd love it. I was thinking
about it only yesterday as I stood before a Primitive
in the gallery. A masterpiece!
OLIVIER
Of whom?
KLARY
Unknown. That made it infinitely more beautiful.
Don't you feel somehow that a picture by an Un-
known is nobler, more mysterious, more captivating,
more beautiful, than one by a well-known artist?
OLIVIER
Neatly phrased. May I use it?
KLARY
Why stultify our thoughts by writing them down,
by submitting them to such degrading labor? Yes,
the so-called Masters, with their celebrated works
so soiled by the admiration of the mob, no longer
36 MOTHER NATURE
possess for me the magic of great art. I must have
the mystery of things whose story is hidden in the
obscure past, lost, or considered unimportant. Their
very humility stirs me. Oh, that little Primitive!
OLIVIER
Where is it?
KLARY
Behind the door in the large Van Eyck room.
OLIVIER
I know: a Virgin; marble floor, little trees, a tower
in the background
KLARY
That's it. What lovely marble!
OLIVIER
But that's a Snellaert.
KLARY
A Snellaert ! Why did you tell me ? Now the mys-
tery is gone! That was the most beautiful thing
about it. You are too cruel.
OLIVIER
How is your St. George progressing?
KLARY
I scraped it out.
OLIVIER
Why?
KLARY
It was too definite, too clear. I like only sketches,
vague outlines, indeterminate colors, so I scraped it.
The St. George began to look like a human being
awfully commonplace. I'm beginning an Orpheus,
but my Orpheus is without the love-motive
MOTHER NATURE 37
OLIVIER
You are a true artist. The man who marries you
will be lucky.
KLARY
When one devotes oneself to art, one never marries.
The artist ought to experience every impression,
and always seek new ones. (Looking at him) Now
you, for instance, are not where you belong: your
existence is commonplace in the extreme. You
spend your life with ordinary people, because you are
married, and faithful to your wife. All your impres-
sions are on a dead level.
OLIVIER
What do you know about it?
KLARY
Oh I am just supposing.
OLIVIER
I want to prove how wrong you are.
[He goes to her and kisses her.
KLARY (coldly)
There's nothing so much about a kiss! Do you
think so? Does Lohengrin ever kiss Elsa?
OLIVIER (nonplussed)
Alas, I've not seen the Grail!
KLARY
You should try to behave as if you had.
OLIVIER (solemnly)
You are right. One must detach himself, live a
spiritual life, nourished by reflection. But I am
nearer that sort of life than you imagine. You see,
38 MOTHER NATURE
I need help and encouragement, some one with whom
I can commune and exchange ideas, and dream
dreams, and tell of my contempt for life
\_Enter the Maid with a cup of bouillon.
MAID
Monsieur's bouillon.
OLIVIER (slightly annoyed}
What is it?
MAID
The bouillon Monsieur ordered for four o'clock. It's
four now, Monsieur.
OLIVIER
Very well.
\_The Maid puts the cup on a small table and goes out.
KLARY
Doesn't your wife understand you?
OLIVIER
The only things my wife ever attaches any importance
to are the current notions of sentimentality. She
knows nothing of my aspirations as an artist, of my
dream of a perfect intellectual life inspired solely
by reason and ideas, and detached from all the
pettinesses of existence and the baser appetites.
KLARY
You should never have married.
OLIVIER
How was I to know? I thought I was planning my
life very well. Some day I shall write a book about
the pains of existence, of the sufferings one must
undergo merely to live. It's so debasing. (He
mechanically reaches for the bouillon, which he swallows
MOTHER NATURE 39
at a gulp) I beg your pardon. I always take it at
four. I 'm a little tired and overworked.
KLARY
I take peptone. I detest meals. Whenever I eat,
I feel the vulgarity of material things to my very
finger-tips. I don't dare take up a brush or touch
the piano.
{Enter Darchi.
DARCHI
Ah, little Lilian! How are you?
KLARY
I 'm alive, and therefore ailing.
DARCHI
That's not polite to us. Were you discussing art
with my son?
OLIVIER
Oh, yes. You've returned early. Is the concert
over?
DARCHI
No. I was disgusted. Just think you'd never
guess they played Gounod! I escaped.
KLARY
Do you still care for concerts? I never go. The
only music I understand or like is my own impro-
visation. And then to have to listen to music in
company with a whole mob of people! Perish the
thought!
DARCHI
You're rather severe. But we aren't a "whole mob
of people." I hope we don't inspire you with the
same disgust?
40 MOTHER NATURE
OLIVIER
I think she is right.
DARCHI
So do I, so do I. That goes without saying. Sensi-
tive and delicate temperaments like ours suffer
through contact with the impressionable mob of
vulgarians. I'm disgusted with myself for going to
that concert. (To Klary) All the more so as I
have lost so much time with you. It 's such a pleas-
ure to find a woman of your stamp, so intelligent
and independent. You have no silly prejudices,
you're not romantic and sentimental. You are
strange, fascinating, novel: you are a real product
of the age. You belong almost to to-morrow.
OLIVIER
You see, papa's in love with you!
[Enter Renee and Blanche, left.
RENEE (to Olivier, as she catches sight of Klary)
I beg your pardon. I thought you were alone!
(Distantly) Mademoiselle !
KLARY (familiarly)
How do 'ye do, Madame?
RENEE
Very well, thank you.
OLIVIER (to Klary)
I should like you to meet my sister, Madame Loviat.
(To Blanche) Mademoiselle Klary Lilian, the painter.
[Renee goes out. Olivier is annoyed.
BLANCHE
Ah, it was Mademoiselle who exhibited The Appa-
rition?
MOTHER NATURE 41
KLARY (pleased)
Yes, Madame. Do you remember it?
BLANCHE
Yes. Very pretty, though I was never quite able to
distinguish what was in the midst of the iris. Was
it a man or a woman?
KLARY (with a disdainful smile)
An apparition, Madame.
BLANCHE
Of course. The color was attractive. Bab insisted
it was the Virgin. (Smiling) Bab is my eldest
five years old. He paints, too water-color land-
scapes. They're very nice. But when both children
start painting!
KLARY
Have you two, Madame?
DARCHI
I am twice a grandfather I blush to admit!
KLARY (to Blanche)
I'm sorry for you.
BLANCHE
You're sorry for me! Why? I'm delighted. It's
the most natural thing in the world. Don't you
like children?
KLARY
Very much: they're nice other people's.
BLANCHE
Wouldn't you like to have two some day?
KLARY
I '11 never have any.
42 MOTHER NATURE
BLANCHE
I beg your pardon, but are you Mademoiselle Klary
Lilian? Mademoiselle?
KLARY
Certainly, Madame.
BLANCHE
Then let me tell you, Mademoiselle, I think it's
rather terrible to be so sure!
OLIVIER
Now, Blanche there's a misunderstanding. You
don't see!
BLANCHE
No, I don't see!
DARCHl
Blanche, you make me blush.
KLARY
Dear Master, I'll leave you. We'll continue our
study another time. (Bowing) Madame! Mon-
sieur Darchi!
OLIVIER
I am sorry my sister is rather abrupt and frank
BLANCHE
Thank you!
DARCHI
Let me show you the way, Mademoiselle.
[Darchi goes out with Klary.
BLANCHE
Nice people you are receiving!
OLIVIER
She is a very superior woman.
MOTHER NATURE 43
BLANCHE
Superior to whom?
OLIVIER
To the others.
BLANCHE
You're very amusing.
OLIVIER
She is an artist.
BLANCHE
I have my doubts.
OLIVIER (with a shrug)
Much you know about it!
[Reenter Darchi.
BLANCHE
How do you know? At all events, I think a woman
artist ought to have a fair share of womanliness.
She ought to have taste and delicacy. I don't see
very much taste in that dirty eccentric gown of hers,
that was kept together with pins I saw them !
and her mussy hair tied up like the hair of a Botticelli
angel. I see nothing delicate in a young girl's
saying that she never intends to have children.
That's not frankness, it's downright cynicism. If
women artists can't remain women, I think we'd
much better have ordinary women with grace,
modesty, and simple loving qualities like Renee
for instance and a fig for all your temperament
and refinement!
DARCHI
You're a little fool.
44 MOTHER NATURE
OLIVIER
You are hopelessly middle-class, and naturally you
typify the middle-class attitude.
BLANCHE
Very well, I do belong to the middle class and so
do you, all of you. But you know, there is a way of
being a decent woman, a wife and mother, and an
artist, whether one is an aristocrat, a member of the
middle or the lowest class, and that way is to preserve
some of the true womanly attributes. An artist is
a more sensitive and impressionable being than other
people, isn't he? It is his business to interpret and
exalt the beautiful feelings. Now, a woman has two
great feelings beautiful feelings: first, love in and
for itself, and then, mother's love. I am madly
in love with my husband and I adore my two children.
Therefore, I am a truer artist than Mademoiselle
Lilian; or, at any rate, I am superior to her because
I find beauty in doing my duty and playing my
natural role.
OLIVIER
Good God, what nonsense!
DARCHI
Strange what broad ideas your brother and I have,
and how narrow you are !
BLANCHE
See here, papa, you're always trying to make people
forget that you were once a stove-manufacturer a
decent and honorable thing to be but I want to tell
you, you've become more middle-class than ever.
You pretend to tastes that you haven't got; you
MOTHER NATURE 45
pose as something you are not; and you show your
"intellectual" wares as others display their goods.
Your brothers make a show with the good towns-
people by piling up money; you try to make a show
in your way. It's the same sort of vanity, and
it's a thing that's as far from a really superior man
as I can imagine. Now, don't be angry. You're
a good man and I love you. I can't say as much for
Olivier.
OLIVIER
As if I cared!
BLANCHE
I know you don't care about anything. Oh, I Ve
quite forgotten little Bab hi the garden. (To
Darchi) He wanted you. I think you promised
to build something for him Grandpa! Are you
coming?
DARCHI
Very well. Only you are a bit sharp. You don't
understand
[They go out. Olivier walks nervously up and down.
He stops in front of his desk, lights a cigarette, and
then continues pacing the room. Enter Renee, right.
OLIVIER
Renee, your behavior just now was inexcusable.
RENEE
I asked you not to receive that woman any more.
OLIVIER
You neglected, however, to give me any good reason
for refusing to do so.
46 MOTHER NATURE
RENEE
I think you have no right to see women here whom
I refuse to receive.
OLIVIER
Please, Renee, let's not have another useless argu-
ment. I refuse to give up so much good energy trying
to convince you that you are inspired by absurd
prejudices. I've suffered enough from them already.
RENEE
As I suffered from many other things. During the
past month ever since our last painful discussion
on the same subject, which I don't even want to
remind you of I 've been trying to forget all the
dreams of my girlhood. Of course, I mustn't allow
anything of your outrageous treatment toward me
to be seen by any one.
OLIVIER
But I can't emulate your way of living. I must live
with the people of my own circle.
RENEE
It seems to me your circle ought to be your family,
your own fireside, and I myself.
OLIVIER
No : it is the people with whom I can discuss matters
that interest me, stimulate me, develop my intel-
lectual life.
RENEE
That is, every one except me.
OLIVIER
Is it my fault if nothing I do interests you? If you
persistently refuse even to try to share my interests,
MOTHER NATURE 47
to make the slightest effort to rise above the petty
trivialities of the household?
RENEE
Do you call love and tenderness petty trivialities?
I have tried to understand your aspirations, but
I Ve not found one to take the place of love.
OLIVIER
Real love is a communion of ideas.
RENEE
Your ideas and your words are as cold as ice.
OLIVIER
As the ideas and words of any intelligent and strong
man ought to be. You see, the woman you spoke of,
and with whom I enjoy a purely intellectual relation-
ship, understands and loves those ideas and words.
However, our last discussion only proved how deep
our misunderstanding was, and how impossible it
was to bridge the gap.
RENEE (proudly)
I shouldn't think of forgetting that !
OLIVIER
And as I require the companionship of intellectual
people for the sake of my own development, I simply
must
RENEE
No, you must not, unless you want to outrage every
feeling in me. I won't stand it. My intelligence
I know you don't think I have any !
OLIVIER
Yes, I do, but you were never taught how to behave
48 MOTHER NATURE
RENEE
I tell you, my intelligence and my dignity refuse to
bear it another instant.
[Enter Heurtoux.
HEURTOUX
What is it, Renee? You're so excited!
RENEE
It's you, father? I'm glad you've come.
HEURTOUX
Why? What's the trouble?
RENEE
I 'm terribly unhappy.
HEURTOUX
Renee !
OLIVIER
Let her speak.
RENEE
I'm a total stranger to my husband. He refuses to
allow me to share his life with him. He says he
belongs to a different race, and insists on receiving
a woman here whom I refuse to recognize.
OLIVIER
Jealousy, you see.
RENEE
Jealousy, no ! I am not jealous, but I won't be made
ridiculous. It's my pride and my dignity. You
don't know that side of me. It's coming to the
surface now.
HEURTOUX
Renee, please try to be calm. Olivier, she's right.
What about this other woman?
MOTHER NATURE 49
OLIVIER
A painter. I talk to her about my work.
HEURTOUX
What work?
OLIVIER
I can't explain it to you: you don't understand
HEURTOUX
Because I see no evidence of your work. It's
very strange. You talk about it to every one,
and they waste your time, the time you could be
spending on doing it. You've been married two
years, and you've never got beyond talking about
your books.
OLIVIER
My dear Monsieur, this is becoming absurd. Kindly
allow me to do my own work in my own way. I tell
you once for all, you will never understand.
HEURTOUX
I 've done a good share of work in my day.
OLIVIER
Your idea of work is a very narrow one. But when
a man really respects ideas and realizes the vast
importance of expression, he knows what infinite
pains are required to put the ideas into definite shape.
When I think, I work, and if the results of that work
have not as yet become definitely formulated, they
are none the less gradually accumulating, and will
some day find a place in a book that will be unique
of its kind, and worthy to be given to the world,
Even dreams are preparation for the book. Granted
50 MOTHER NATURE
that the dreams are never used as material, the good
work will not have been in vain. But you don't
see this, so
HEURTOUX
Don't worry: I see. And I understand it so well
that in spite of my inferiority as a human being
with human emotions, I think it's all nonsense.
When you work for and by yourself, and when you
dream that's not work; real work is useful work.
OLIVIER
Useful to whom?
HEURTOUX
To everybody.
OLIVIER
Ah, real work then is what you've done all your life:
manufacturing cloth and selling grain?
HEURTOUX
Not necessarily. You must contribute something
useful for everybody, either materially as I have
done or add to the beauty of the world as
you ought to do.
OLIVIER
I don't believe in the world; I don't even believe
in the necessity of life sufficiently, that is, to make
the effort. I didn't accept the duty.
HEURTOUX
You've got to accept it. And with the duty goes
the right. Your right is the right to live.
OLIVIER
I didn't ask for it. I did not give myself life.
MOTHER NATURE 51
HEURTOUX
You take very good care to preserve it. You accept
the right but refuse to perform the duty.
OLIVIER
You 're becoming very eloquent, Monsieur Heurtoux,
for a a
HEURTOUX
Former manufacturer, eh? No, I'm not eloquent,
I am simply telling you a few ideas of my own.
The average man like me has very decided notions
on the subject. You share in the results of other
people's labor my own, the baker's, your maid's,
that of the composer of the melody you are now
whistling . You have contracted a debt. You
don't realize it, and that is why you are making
Renee unhappy. You see, there are certain duties
that go together; work, love, parenthood; they are
all contributions to life, and they are natural duties;
you are bound to them merely because you exist,
because you cling to life
OLIVIER
Who says I cling to life?
HEURTOUX
Your very conduct: everything you do. Why,
that empty bouillon cup on the table! The life you
received you must pay for. That is why we must
work for the necessities of life, that is why we are
endowed with instincts to love, and to beget children.
These are like the mysterious laws of compensation
and equilibrium in nature. Those who haven't
these instincts and who fail to understand the duties
are natural monstrosities. You smile
52 MOTHER NATURE
OLIVIER
Yes, a little. The "mysterious laws" of nature
always make me smile. I refuse to allow myself to
be influenced by instinct. I do not submit to nature :
I analyse it.
RENEE
Stop! Nature will take her revenge on you. You
spend your time dissecting the unnatural, abnormal
sensations and ideas of what you call your circle,
who know nothing of nature. You shut yourselves
into a stuffy little room like this, where the sun you
so much fear never penetrates. (She goes to the
window at the back and opens it, pushing back the
curtains. The sunlight floods the room. Trees and
grass, and a lovely landscape, are seen in the distance)
Can you analyse that? Can you dissect the thrilling
sensations inspired by nature? No, you must feel
them and be led and dominated by them. You
must submit to all-powerful nature, to the great and
overmastering force of life. I have my pride, as you
have yours. I can understand your feeling of revolt
against everything that man has made and con-
trived, but when you revolt against Mother Nature,
your struggle must end in failure. At base, I think
you understand this, only you are afraid to look facts
in the face; you draw the curtains! But you are
playing a losing game. Nature comes to you all the
same, and sooner or later she will be avenged. So far
as you are concerned, your day is not far off.
OLIVIER
You, too, Renee, are waxing eloquent. You don't
have to get so excited to show me the beauty of a
MOTHER NATURE 53
little landscape a charming Corot, which I confess
I admire.
RENEE
See, you can't admire nature except at secondhand.
You admire Corots, Rousseaus, and Monets, but not
nature, because you think of other things when you
see her.
OLIVIER
My dear, you're becoming rather tiresome. Have you
anything more to say? Or you, Monsieur Heurtoux?
HEURTOUX
No, I'm looking at the landscape, which your cur-
tains were hiding. I 'm looking at Bab in the garden;
Darchi is carrying him on his shoulders because he
doesn't think any one is looking. Yes, I do think
we belong to different races, but I wonder if the real
intellectual, the true artist, is you who talk about the
"great forces," or I, the old manufacturer, upon whom
those forces are brought to bear, even tnough I can't
analyse them.
OLIVIER
No, we are not the same, and therefore we can never
understand each other. Now let us bring this dis-
cussion to a close. My education and culture have
opened up too wide a gulf between us.
RENEE
I have not finished yet. I want to ask you a simple
question, and I beg you to think well before you
answer. A great deal will depend on that answer,
more than you imagine. Are you willing to refuse
to receive that woman any more?
54 MOTHER NATURE
OLIVIER
My dear, I see no reason why I should give in to your
whim.
RENEE
Very well.
OLIVIER (going to the door)
Good-bye, Monsieur Heurtoux. We'll meet again
when you calm down a little, and perhaps you
aren't so much inclined to philosophize.
{Olivier goes out. Renee falls into a chair.
RENEE
I I want fresh air. Please open the windows.
(Heurtoux opens the windows wide. The sun is setting.
The stage is gradually becoming darker) Now it's all
over!
HEURTOUX
What do you mean?
RENEE
I mean, I feel I am absolutely free now.
HEURTOUX
But, Renee, you are a married woman!
RENEE
Marriage has made me unhappy. It disgusts me,
and I '11 have nothing more to do with it.
HEURTOUX
Renee !
RENEE (rising)
Father, you don't know what I have gone through.
You don't know what our marriage has been!
MOTHER NATURE 55
HEURTOUX
Yes, I do know. Your mother told me. (Renee
hides her face. Heurtoux goes to her) Poor child!
I like you better that way ashamed, even before
your father. I like to see a woman blush for some
things. Poor dear child, I know how unhappy
you are. Perhaps it's my fault for allowing you
to marry him.
RENEE
You mustn't blame yourself, father.
HEURTOUX
But I do. I am sorry for my short-sightedness.
How many fathers there are like me who have lived
decent lives as husbands and fathers, and yet seem
to think a husband for then* daughter must be dif-
ferent from what they are! They are taken in by
the fine manners of a gentleman. Poor Renee, I
ought to have found you a husband like myself
(with a smile) or as I used to be. Nothing very bril-
liant, but a good solid fellow, not over-subtle, but full
of the love of life, with good strength and courage; a
man of strong convictions, relying maybe a little too
much on his emotions, but finding in them, because
they are healthy, the pledge for a well-balanced
and common-sense existence. You want a man nearer
to nature, not so refined, but healthier and gentler,
who loves you with less philosophy and more passion
the way I loved your mother (Renee rises as she
listens to her father, and looks out the window) and
gives you children, fine healthy youngsters, like Bab.
Aren't you listening, Renee?
56 MOTHER NATURE
RENEE
Yes, yes, father, but I was looking. See, outdoors
everything is echoing your words: the breeze, the
rustling of the leaves, Bab's voice
HEURTOUX
So you see, Renee, I am right hi blaming myself.
[Enter Darchi, at the back.
DARCHI
The window open ! What are you doing?
RENEE
We were talking. Isn't Bab with you?
DARCHI
Meryac relieved me. The moment he appears on
the scene, Bab forgets every one else. (To Heurtoux)
You old emotional and impressionable Daddy, will
you play a game of billiards with me? Olivier's
not here : he's gone for a walk.
RENEE
Oh!
DARCHI
Yes. (To Heurtoux) Are you coming?
HEURTOUX
Yes, and I want to talk to you about something.
DARCHI
You're going to lecture me, are you? If so, I'll run
away.
HEURTOUX
See you soon, Renee. Kiss me.
[Renee offers her forehead, and Heurtoux kisses it.
MOTHER NATURE 57
DARCHI
Very touching family scene!
[Heurtoux and Darchi go out. The stage has become
quite dark. Renee goes slowly to the window, sits
down, and gazes out. Andre and Blanche enter a
moment later.
BLANCHE
What do you want?
ANDRE
I want you to kiss me.
[He kisses her face and neck.
BLANCHE
What is the matter? The idea!
ANDRE (kissing her again)
This is my answer to your father's statement that no
love can survive five years' married life. I can't
discuss, and my lips refuse to argue except this
way.
BLANCHE
I think they're most eloquent!
ANDRE
Do you?
BLANCHE (offering her lips)
You see ? I want more arguments. (Andre kisses
her again) Then you still love me?
ANDRE
Dear little Blanchette!
BLANCHE
Very much?
ANDRE
Very much.
58 MOTHER NATURE
BLANCHE
As much as at first?
ANDRE
More.
BLANCHE
But you said then it was impossible to love me more ?
ANDRE
I thought so at the time, but I didn't imagine you
could become more adorable than you were then.
I was mistaken. I know you so much better now.
BLANCHE
You do indeed!
ANDRE (with his arm around her waist)
And you are my own wife
BLANCHE
Of course I am, you dear!
ANDRE
And yet I can never know you too well. I love you,
I love you so much
BLANCHE
Stop! You mustn't profane my brother's office,
the psychologist's sanctuary. Aren't you glad you
aren't like him? If I had that kind of a husband,
I 'd have deceived him long ago.
ANDRE
Now I'm warned. But I don't want to be like him,
so there's no danger.
BLANCHE
Then we're not old married people?
ANDRE
Do you think we are?
MOTHER NATURE 59
BLANCHE
And we're not going to be?
ANDRE
Never even at eighty. We'll always be bride and
groom. Let me kiss you again. (Renee rises. They
turn) Sh! There's some one! Let's run!
[They escape, without having seen Renee.
RENEE
How happy they are !
[She leans against the watt near the door. Singing
is heard outside. Meryac's figure is distinguished
passing on the terrace. On catching sight of Renee,
he stops short, then enters.
MERYAC
Are you alone?
RENEE
I was watching the sun set.
MERYAC
And I have been looking for you. Your husband
has gone out. Your father and father-in-law are
talking on the road. Andre and his wife have dis-
appeared somewhere, and your mother is with Bab.
I haven't seen you for some days. Are you trying
to avoid me?
RENEE
No.
MERYAC
I wanted so much to see you!
RENEE
But you 're so busy. Your factory, your minting
Weren't you out hunting this gorgeous day?
60 MOTHER NATURE
MERYAC
No. I don't think I'll do any more hunting at all.
RENEE (seated, as she looks off into the distance)
Why not?
MERYAC
I feel sick about it, almost remorseful. Something
happened it was really of no consequence a
hunter would laugh at me.
RENEE
What was it?
MERYAC
Nothing, and yet it upset me, and brought tears to
my eyes. It was three days ago. You remember
how beautiful it was, how the sun bathed the whole
countryside as it does to-day. Well, I started
off with my dog. I was entranced with the soft
summer air and intoxicated with the bright sunlight.
I walked along oblivious of everything, in a dream
the one I always dream, and which I dare not tell
you I had forgotten all about hunting and lost
sight of the dog. All at once I heard something
run through the underbrush. I looked up, and
twenty paces away I saw the dog madly pursuing
a little gray mass. I don't know why I didn't raise
my gun as I usually do, but somehow I was frightened
and stunned. I called to the dog: "Frac! Frac,
come here!" But the dog was too intent on his
prey, and when I finally reached him, after a hot
chase, he had already mangled the little gray mass.
It was a young hare. I watched its last agony, and
felt as if I were an accomplice to a murder. Strange,
MOTHER NATURE 61
it wasn't the first time I'd seen an animal die; often
I finished the work myself. I have always been so
excited by the shooting that I never thought of the
animal itself. But this time I felt the whole death
agony as I saw the helpless little body palpitate
in the clover. Everything danced before my eyes;
I thought that all nature was trembling at the
death of the little hare. You see, there's nothing
extraordinary in this stupid little tale. But I don't
think I'll hunt again. I don't think I'd dare look
another living creature in the face. You have made
me feel that way.
RENEE
i?
MERYAC
Yes, you. Ever since I saw you and loved you, I
have felt a greater responsibility toward all life and
a love for all creatures. When I think of you and
I always think of you! all nature surges up in me,
the whole of life. It intoxicates me.
RENEE
I have felt that, too! I know the feeling. When I
was a child, and when I was still a young girl, I used
to have hallucinations they were wonderfully
beautiful and I seemed to see the great hosts of
life; they meant power and mystery to me. When
you came here a few minutes ago, I felt so confused
and troubled
MERYAC *
Troubled? Have you been suffering again?
RENEE
No.
62 MOTHER NATURE
MERYAC
Yes, you have. I can't bear to have you suffer.
It's all the more intolerable in the presence of the
supreme happiness of nature, that seems to cry
aloud to us to thrill and be our true selves. You are
so full of life, of passion, youth.
[The sound of women's voices singing is heard more
distinctly than before.
RENEE
It is wonderful! This beautiful evening! You and
I can't be reasonable now. Let us go.
MERYAC
Are you afraid?
RENEE (tense)
Yes. And I do suffer. You are right: I am young,
I love life. I feel those things you spoke of. Every-
thing draws us together; the birds' wings, the singing,
the laughing children. I understand the mysterious
language of nature, but I am afraid of what it will
tell me. I am afraid of myself. I'm so lonely!
And I am afraid of you ! Let's go, let's go !
MERYAC (close by her)
Renee, you mustn't be afraid. You give me joy and
confidence. Remember, you have the right to love,
to give yourself freely. Nature calls you! Listen
to the singing and the children ! I love you, Renee,
I love you!
[He takes her in his arms.
RENEE (freeing herself from his embrace)
No, dear, no. Please ! Pity me ! I feel so weak
I ! I'm not keeping anything from you, and I
tell you I'm deeply troubled, because my pride has
MOTHER NATURE 63
been hurt: I feel my will-power deserting me.
Aren't you satisfied? You have felt my heart beat,
and you have brought me to the verge of giving
myself to you. I love you. You knew it already
I don't mind admitting it. But I beg you, because
I love you and because I want us to be worthy of
each other, please go leave me
MERYAC
Renee, you told me you understood the language of
nature! Isn't nature giving us to each other now?
RENEE
I do understand it
MERYAC
Not as I do. I must have you I want you!
RENEE
And I want you, but more still, I want to resist.
I implore you, save me from myself. Yes, I too feel
drawn to you, irresistibly. I am young, I have been
sad and lonely, and I want to live I must live.
And I love you oh, so much! Ever since you
first told me you loved me, I 've been struggling hard
with myself. I know it's no use now. I will be yours,
I must be yours, because I love you, and I want to
love you. But I don't want to do anything I should
regret. Not here. I don't want my happiness to
spring from defeat. I want it to be victory! Later
to-morrow, perhaps then without regret, with-
out remorse! Not to-day. Pity me. I love you,
I am yours but not now. Not now.
[She turns from him in tears. The singing outside
is heard coming nearer and nearer.
CURTAIN
64 MOTHER NATURE
ACT III
The scene is the same. Heurtoux, Mme. Heurtoux,
and Darchi are present.
DABCHI
But it's not my fault. Anyway, I am sure you
exaggerate.
HEURTOUX
Of course, it's not your fault, my dear Darchi. But
it's high time you began to look facts in the face.
I tell you, we are not exaggerating.
MME. HEURTOUX
Unfortunately! If Renee doesn't seem more des-
perate, it's her pride. She sees you agree with Oli-
vier in everything, and she refuses to show anything.
But she is suffering. She can't stand the strain
very much longer. I'm afraid it will tell on her.
HEURTOUX
That's what I said. That scene about little Lilian
the other day was a fearful shock. It showed how
serious the matter is becoming. I don't see any way
out of it. Renee's excitement worried me as much
as Olivier's indifference.
DARCHI
What do you want me to do? I'm not used to
handling these sentimental affairs. But why the
devil does Renee make such a fuss over Klary? The
little girl is amusing that's all.
HEURTOUX
Too amusing!
MOTHER NATURE 65
DAKCHI
Grant even that Olivier is wrong. Grant it. What
else has Renee to complain of? These griefs of hers
are rather vague, it seems to me, a matter of impres-
sions
MME. HEURTOUX
My dear friend, a woman's whole happiness is a
matter of impressions. Probably the greatest lack
in Renee's married life is impressions. You can't
leave a young wife of twenty-five in the sort of moral
desert in which Olivier leaves Renee. Renee is by
nature lively, affectionate, tender. He maintains
he must have quiet for his intellectual development
much good it does him and he says she disturbs
him. He neglects her, that's what he does, and re-
fuses her everything she has a right to expect. You
think her griefs are vague, and that she has nothing
in particular to complain of. I tell you, she is right
when she declares she is not getting out of marriage
what she had a perfect right to expect. She's not
a real wife in any sense of the word: she can't hope
to be a mother.
DARCHI
Ridiculous sentimental feminine notions! A man
and his wife can't always love as they did when they
were engaged!
MME. HEURTOUX
Good Heavens, my dear Darchi, you surely don't
expect me, an old woman, to tell you how a husband
ought to love his wife; how he can go about it to
make her forget certain disagreeable things and be
66 MOTHER NATURE
happy! I was once a young wife myself, and I can
tell you our married life wasn't a bit like Renee's
and Olivier 's. (To her husband) Isn't that so,
dear? (Heurtoux makes no answer, only he lightly
kisses her hair) And I rather think your own wasn't
either, for that matter!
DARCHI
We belong to another generation.
HEURTOUX
There are some things that never change from one
generation to another, old man. Men and women
love each other nowadays as they did in the past
that is, when they really love.
MME. HEURTOUX
I knew your wife, Darchi, and I know she was very
happy don't deny it! And I know, too, that you
let her have the upper hand with you.
DARCHI
Come, now, I
MME. HEURTOUX
Yes, yes, yes. You were very much in love with her.
And you had children.
DARCHI
Who've given me any amount of trouble.
MME. HEURTOUX
Whom you love all the same, and who have given
you great happiness. Why, your behavior at this
very moment is only the result of your admiration
for Olivier. And look at Blanche, who has given
you grandchildren, to whom you are a model grand-
daddy when no one is looking!
MOTHER NATURE 67
DARCHI
I haven't a heart of stone, of course
MME. HEURTOUX
Then try to appear what you really are. You have
good, simple, healthy feelings which you try your
best to conceal and stifle, in order to ape your son.
It reminds me of the way you hide your comfortable
old Voltaire armchair in your bedroom, while you
pretend to like those nasty little English things you
can't sit down on!
DARCHI
Who told you that?
MME. HEURTOUX
Blanche. You see, we know you. There's no use
trying to make us believe you are an advanced mod-
ern, that you've done away with all human feelings,
and so on. We won't believe you.
HEURTOUX
You understand, Darchi, this is a very serious
matter. Our girl is threatened with great unhap-
piness. And it's high time you did something.
DARCHI (nervously)
I?
HEURTOUX
Yes, you. You are the only one who can say certain
things to Olivier. We couldn't. I tried yesterday,
but it was useless. You could say things to him
without hurting his pride.
DARCHI
I? My dear friends, I don't think so. I really
am in earnest I haven't been so serious for a long
68 MOTHER NATURE
time. What you tell me about Renee troubles me,
I confess. I know I deserve a severe scolding.
It's partly my own fault.
MME. HEURTOUX
No one is blaming you.
DARCHI
I think I ought to blame myself. You have changed
me. I haven't really thought about myself for years.
But how could it be helped? I had such confidence
in Olivier's intellect. I couldn't foresee all this
trouble.
HEURTOUX
But if you step in now
DARCHI
Believe me, I want to help. But I'm sure Olivier
wouldn't listen to me. You see, he's so used to
having me agree with him in everything. He knows
so much more than I do, and he argues better.
I've become the obedient son, and he the father.
Why, he'd laugh in my face respectfully of course!
Still, he'd laugh. And he'd say all sorts of fine-
sounding things, and I'd understand about half
of them. Of course, my answers would be ridicu-
lous. And besides, I'm afraid he would use my
own arguments against me.
HEURTOUX
You are in a bad way, Darchi!
DARCHI
It's not easy being the father of a superior man!
I'm nothing but a retired manufacturer. How can
I answer clever arguments? How can I confess my
MOTHER NATURE 69
ignorance? It would be too humiliating. I'd hare
to pretend to be superior in my own way. That's
the simplest method, but it has its drawbacks. I
feel that mote keenly now than ever before. It
hurts me to have to confess this to you. I can't
help you at all.
HEURTOUX
Well, try, at least.
DARCHI
I'll try, but I haven't much hope. I'll see him at
once. (He goes toward Heurtoux) You don't blame
me, do you, Heurtoux?
HEURTOUX (grasping his hand)
Of course not. I feel sorry for you, as I do for our-
selves.
DARCHI (as he goes out)
I'll try.
MME. HEURTOUX
Poor fellow!
HEURTOUX
He's beginning to see the light.
MME. HEURTOUX
He at least has Blanche. While we I'm so afraid
for Renee!
HEURTOUX
Darchi is not the only one who blames himself.
MME. HEURTOUX
What do you mean ?
HEURTOUX
I mean I blame myself, too, for what has happened.
It's somewhat my own fault.
70 MOTHER NATURE
MME. HEURTOUX
How do you mean, your own fault?
HEURTOUX
I ought to have known better than to give her such a
husband he was too different. That's the usual
mistake of fathers like me. If we have no money
to give our daughters, we many them off to rich
men, deceiving them meanwhile as to the state of our
finances. If we have, then we look for a son-in-law
from the upper classes, and we find out when it's
too late that sincerity and hard work are the only
roads to intelligence and virtue. The girl is made
unhappy, and we are punished for our stupidity and
pride. The punishment may be a cruel one, but it
is none the less deserved.
MME. HEURTOUX
You're right. We were mistaken. And yet you and
I, dear, knew how to be happy, and we loved each
other. We were happy, I think, because we never
tried to find out the why and how of it all. Hap-
piness comes when you don't think too much about it.
I only hope Renee won't do anything rash. I'm
so afraid
HEURTOUX
But Renee has a very strict sense of duty.
MME. HEURTOUX
Still, I'm afraid. I know her. The way she keeps
things to herself why, the strain must be terrible.
Her strength and patience must be nearly at an end.
And she is young and romantic, you know. She is
honest and upright, of course, but she belongs to
MOTHER NATURE 71
her own generation, and if she knows her duties,
she also knows her rights. I'm very much worried.
When I saw her a few moments ago she was almost
too calm! Especially after the scene yesterday.
[Enter Renee.
RENEE
Have you seen Blanche, mother?
MME. HEURTOUX
Not long ago. She must be somewhere in the house.
Come here, Renee, we want to talk with you.
RENEE
What is it, mother?
MME. HEURTOUX
We want to know what's the matter. You are so
changed. Have you had an explanation with your
husband? Is everything better now?
RENEE
No, we've had no explanation. There will be no
more explanations, unless
MME. HEURTOUX
What is the matter, dear? Look at me straight
in the face. (Renee looks steadfastly at her mother)
You're so changed since yesterday. It almost
seems as if your trouble had been wiped away.
There is a look of joy, of victory, in your eyes
RENEE
I'm just calm, mother, that's all. And I have per-
fect control over my feelings. I 'm not worrying any
more. I've made an important decision. I see
everything clearly now. I've found my will-power
again.
72 MOTHER NATURE
MME. HEURTOUX
A decision? What?
RENEE
Mother, please don't make me tell you now. You
will know soon.
MME. HEURTOUX
What is it ? Renee, are you hiding anything from me ?
From your father and mother? That's not right.
RENEE
Yes, it is. You see, I'm afraid you'll both object.
You made me a decent girl, and you've given me
feelings. You yourselves have given me the example,
only your notions of decency and uprightness are a
little different from mine; they belong to different
times. I do respect you, and I admire your principles,
but I think I have the right not to agree with you
on certain matters. I imagine you wouldn't approve
of what I have decided to do. But nothing can
prevent me
HEURTOUX
Not even your father and mother, Renee?
RENEE
No, not even you. I love you both dearly, and I
should feel terribly hurt if I did something you
disapproved of, but I feel that this is a matter con-
cerning my whole future happiness. I shall soon
be very happy, and so will you.
MME. HEURTOUX
Don't you see how your attitude, your silence and
calmness, have hurt us already? If you behave this
way, it must be a very serious matter. Your decision
MOTHER NATURE 73
must be irrevocable? You you aren't forgetting
your duties, are you, Renee?
RENEE
What duties?
MME. HEURTOUX
As a wife, my child. ^
RENEE
As a wife? I am not a wife, as you know only too
well.
HEURTOUX
Your duties as a woman, then.
RENEE
I am not even a woman! At least, so far I haven't
lived the life of a real woman. What I want now is
the duties of a woman!
HEURTOUX
What are you going to do, Renee? See how upset
your mother is. She is afraid for you, and for us.
Tell us what you've decided to do. We'll try to
understand and help you, if we possibly can.
RENEE
Forgive me, father and you too, mother. I'm
going to hurt you, I know, but I can't help it; it's
inevitable, and it's absolutely necessary. That's
the only sorrow I have in all my happiness. But I
must tell you if not to-day, then to-morrow.
MME. HEURTOUX (crying)
Renee!
RENEE
I only want you to understand, and not blame me.
You spoke of my duties as a woman. My duty as
MOTHER NATURE
a woman is to give all my love and be faithful to the
man who loves me. Olivier does not love me.
HEURTOUX
He is your husband!
RENEE
Do you insist that I sacrifice my whole life for
that reason? For the sake of a convention? Would
you ask me to drag out my life to the end, with-
out hope? You can't ask me to do that! You
wouldn't want me to! To live alone without love,
me a woman of twenty-five
MME. HEURTOUX
You are cruel, Renee. You say you would be alone.
What about us?
RENEE
You know I love you, mother. I respect you,
and I adore you. I want to be like you, when I
am your age. I want to look back on my life and
think of it with pride, and know I have deserved my
happiness. What I admire and love in you is what
your life has been how quiet and strong ! your
sense of duty accomplished. I know what you
have been when I see father kiss your white hair,
and when I think that I am part of your love for
each other. That is why I want to be like you, to
the end of my life.
MME. HEURTOUX
My dear child, what are you going to do? It's a
terrible thing that you can't realize your dreams,
unless you do wrong by leaving your husband and
going to some one else
MOTHER NATURE 75
RENEE
That's what I want!
HEUBTOUX
And forget us!
RENEE
I shan't forget you. I know that you suffer as I
do more, perhaps. I want a different life from
now on. But I promise, you will find happiness in
my happiness. I make you cry now, but soon I
shall make you laugh with me. You will be happy,
as you were when I was a child. That is the only
real joy parents have children but think how
wonderful it is! I want that joy too, mother!
You must promise to stand by me, and take care of
me. Promise; I need your support.
MME. HEURTOUX (in tears)
Poor darling! Do you think we'd give you up?
What would our life be without you now?
RENEE
What mine would be twenty years from now, if I
failed to do what I have decided to!
HEURTOUX
But tell us
[Enter Olivier.
RENEE (with dignity and strength)
Now I '11 tell you, mother ! I have asked my husband
to be present and hear my decision.
OLIVIER
Good setting! Really effective! What does it all
mean?
76 MOTHER NATURE
RENEE
I '11 tell you. You remember, a month ago I told you
to take care, and defend me against myself? You
shrugged your shoulders. And you remember,
yesterday, after I had warned you of the importance
I would attach to your answer, I asked you whether
you would refuse to see that woman whose presence
here is an insult to me? You refused. A month
ago I still hoped I might be able to bring you closer
to me and make you at least behave as other men
do. At that time I had no intention of doing what
I have now decided on, and your answer was what
urged me to take the step.
OLIVIER (coldly)
What step?
RENEE
I am going away.
MME. HEURTOUX
Going away, Renee?
HEURTOUX
What!
RENEE
I say, I am going away. Please let me finish, father.
OLIVIER (disdainfully)
So you are going away? See where your silly roman-
tic ideas are taking you! My dear, do you know
you have no right to do that unless you are divorced
from me, and also that that divorce must first be
obtained ? You will find it difficult to prove anything
against me.
MOTHER NATURE 77
RENEE
I know that. But I have no intention of getting a
divorce at present. That will come later. I am
simply going away. If I stayed to discuss and argue,
I should continue to be a slave, and that I refuse to
be. I refuse too, to ask you for my right to live and
love. I am taking that right now. So you see,
you must free me some day. Then I shall marry
and become the sort of wife you refused to let me be.
That is why I am leaving.
OLIVIER (as before)
May I know where you are going?
RENEE
No, but I shall tell you what I am going to do.
OLIVIER
And what pray may that be?
RENEE
This evening I shall belong to the man I love.
MME. HEURTOUX
What are you saying! My dear child!
HEURTOUX
You don't know what you're saying!
OLIVIER
Stop it ! This is my affair ! This evening, you say ?
Are you quite sure this evening will be the first
time?
RENEE
What I am doing now ought to speak for the past,
I think. I am warning you, you see, because I can't
bear to lie to you or conceal anything. Because
I'm not guilty. I feel sure I am acting within my
78 MOTHER NATURE
rights. I've submitted too long, waited too long
for you to understand and love me as I wanted to be
loved, as I have a right to be loved, and as I
once loved you! I loved you with every illusion
of first love. But when I began to lose hope,
and when I saw that you would never really be my
husband, I thought that at least you would give me
a child some day the child I so longed for, that
would have purified our passion and given me some-
thing to live for, and make our useless home some-
thing beautiful and worthy. But you refused! If
I can't get that sort of love and Me from you, I don't
want to live. I crave it with my heart, with my
senses and now I am going where I can get it.
I am going away deliberately; I know perfectly
well what I am doing: I am going to give myself to
a man who will give me what I want. I go joyfully,
because I shall take what belongs to me by right.
What I want above everything else on earth is a child
that will make me a better woman, obedient to the
law of life that you so heartily despise !
OLIVIER
That will do! Really, this is ridiculous. You
seem to forget that this is a wrong and an outrage
against me! You're not the one to argue with
There's some one else to reckon with! It must
be Meryac, eh?
RENEE
Yes.
OLIVIER
Good ! I ought to have suspected it. Do you think
for an instant I '11 allow you to go off that way, just
MOTHER NATURE 79
because you want full liberty for your love affairs?
I know very well that this isn 't the first time
RENEE
You lie!
OLIVIER
That's enough!
RENEE
I am not afraid of you. I am going to do what I
said I would. How can you stop me? Supposing
you do to-day, what about to-morrow? You can't
lock me up.
OLIVIER
I'll settle that with your lover.
RENEE
I hardly think so. He won't risk his life fighting
you. Your life is useless, his belongs to me.
OLTVTER
Oh, he's a coward, then!
RENEE
Do you dare speak of cowardice? You make me
smile. You are afraid of life; you are afraid to
assume its duties and responsibilities.
HEURTOUX
Renee, calm yourself. Think of us!
OLIVIER
Why, it's all your fault. See where those damned
sentimental notions are leading her! Thrown her
into the arms of the first good-looking male she
meets. I ought to have known that a woman brought
up by such parents was not the wife for an artist.
I could never hope to bring her up to my level
80 MOTHER NATURE
HEURTOUX
If you had been a real artist, I don't think things
would have come to this pass. I don't approve of
what Renee is doing, but I advise you not to call
yourself an artist. All you do is to muddle everything
up with words; every impression you receive is from
a book or a picture; your eyes can't bear direct
sunlight; you deform and pervert nature by your
everlasting analysis; you deny the great laws of
life and try to formulate rules for love itself. Do
you really think you are the artist? Is it not rather
Renee ? She gives herself up maybe a little too
readily to the marvelous beauty of life; she lets
nature breathe the sweetness of life into her veins;
she allows her healthy instincts free play. She thrills
with life, and laughs and cries at God's handiwork,
which you try to analyse and describe and formulate.
You never feel a true emotion, or shed a tear
Look at you now, for instance! I repeat, I don't
approve of Renee, but I understand!
OLIVIER
Let's cut this discussion short. Let her go. After
all, I shall be freer than she. And, besides, my pride
wouldn't allow me to hold her by force. After
everything she just said, I don't want to see her
again. I leave her to the animal who wants her.
Perhaps I'll have a little peace and quiet now.
I've wasted too much time and energy on an igno-
rant and unsympathetic woman.
[He goes out.
RENEE (excitedly)
I'm free now! (She goes to her parents, with tears
MOTHER NATURE 81
in her eyes} Don't cry, father! Mother, don't
blame me! And don't be sad. I'm going to be so
happy! Look out there, see the country, and the
sky, and the sunlight! They are all calling to me.
Everything is waiting for me. You taught me to
love those things, didn't you ? I belong to them, I 'm
part of them, because I am a woman, a human
being. And I 'm going to be everything that a woman
should be! Don't cry, mother!
HEURTOUX
Well, I don't think
RENEE
Don't argue with me, father! Let me go now.
I feel I must obey the highest of all laws!
CURTAIN
PROGRESS
(Les Stapes)
A PLAY IN THREE ACTS
Les Etapes was first performed at the Theatre du Pare,
Brussels, in 1907.
Persons in the play :
DOCTOR THERAT
DOCTOR LEGLAY, his son-in-law
VANNAIRE
EDMOND, Leglay's son
A Man Patient
A Servant
MADELEINE, Therat's daughter
MADAME THERAT
A Woman Patient
The scene is in two different rooms in Therat's home,
presumably in a large Belgian city. The time is the
present.
PROGRESS
ACT I
Doctor Leglay's consulting office. This room connects
with the drawing-room by a large doorway, which is
open. The furnishings are severe: bookcases, a desk,
and a table with surgical instruments. As the curtain
rises, Doctor Therat is seated, his wife facing him.
Leglay and Vannaire are nearby.
MME. THERAT (to her husband)
You must rest; you may, now that Paul is working
with you.
VANNAIRE
Your wife is right: you must rest.
THERAT
I don't intend to let Paul do all the work by himself.
LEGLAY
You know I am quite ready to do that, master.
THERAT
I know, and I thank you. But it would not be right;
it wouldn't be fitting.
MME. THERAT (interrupting)
No, it wouldn't be right or fitting if Paul were an
ordinary assistant or a total stranger; but your
son-in-law, practically your son!
LEGLAY
Of course. But I should be only too glad if I were
able
85
86 PROGRESS
THERAT
For my part, I should be sorry. (To Leglay) You
ought to understand. You cannot forsake science
after having devoted your life to it. It yields us
such glorious returns. Only this morning I operated
on a woman a poor creature, she would have
interested you, Vannaire: splendid case for a novel-
ist. She was a young mother, abandoned death
staring her in the face, and the possibility of leaving
a helpless orphan. (He rises, and speaks proudly}
I saved her. That gives me more joy, a juster reason
to be proud than anything else; it gives me more
genuine pleasure than I could have from any amount
of rest. At such times we love our profession
passionately when we work, secretly, to preserve
a spark of life in a being we do not know, who was
the day before merely indifferent to us, a human
being from whom we had absolutely nothing to expect.
That being pays us nothing, and perhaps will never
suspect the danger from which we have saved him.
At a time like that we do not sell our power: we make
a present of it. Our only fee is the satisfaction of
realizing what we have accomplished.
VANNAIRE
That must be splendid the finest sort of work!
MME. THERAT
But you mustn't kill yourself with work. A time
comes when you have given all you have to give,
and work is over.
THERAT
Work is never over: does death rest?
PROGRESS 87
MME. THERAT
But you surely have a right to think a little of your-
self! (Bitterly) The finest sort of work! It's the
most thankless sort of work! There is Therat,
after forty years of the hardest sort of work he's
not rich!
THERAT (quietly)
We do not need wealth, Nannie. We live comfort-
ably.
MME. THERAT
Or if you'd had the glory you deserved for all your
work and your discoveries ! (With a touch of
bitterness) Except for your connection with the
Academy of Medicine why, a tenor is better
rewarded! It's all a grand swindle!
THERAT
What of it? The scientist does not labor for him-
self, his reputation, or his fortune. He works for
the best that is in him, to add his mite to the
store of human knowledge that has been handed
down to him by those who have gone before. He
gives himself to the great nameless masses of mankind,
whom he does not know. It is a crime if he refuses
to relieve suffering that is, if he is able. We
ask nothing from the unknown man who falls, and
whom we must help. We do not think of the
energy we spend in helping him; we go to work in-
stinctively, because the sight of evil which can be
cured is intolerable to us. (With a change in manner,
he says playfully) Then, what do you expect of me?
Do I seem old and decrepit? Never fear, Nanine,
88 PROGRESS
never fear; I am not so old! Come, now, see whether
everything is in order in my office. It is nearly
time for the consultation. Are you going to stay,
Vannaire?
VANNAIRE
Only a moment.
THERAT
Shall we see you this evening?
VANNAIRE
Yes.
THERAT
You won't need me, Leglay, will you? You don't
anticipate any complication?
LEGLAY
I don't think so no, I hardly think so.
THERAT
See you later.
[Therat goes out with his wife.
LEGLAY
Did you hear? He gives me advice on how to con-
duct myself! The scientist's personality matters
nothing; his desire for glory is nothing in com-
parison with the accomplishment of his mission.
He doesn't work for himself, but for mankind. He
must seek the truth, and trouble his mind about
nothing else. I look up to Therat as my master;
he gave me his daughter; I admire him as a scientist
and love him as a father. I admire his enthusiasm,
and his high sense of duty. He has given me respect,
a sense of fidelity toward my work, and I have acted
according to his ideals. But Therat is mistaken:
PROGRESS 89
the very nobility of his passion has led him to formu-
late and apply laws which are too rigid and narrow.
Can I blind myself to reason, can I give the lie
to that very science which he has taught me, to my
conscience, which he has so jealously guarded?
Well, it is the same thing over again: who ever dis-
covered a truth that did not contain in it somewhere
an error? Was there ever a genius so perfect that he
could escape correction at the hands of posterity?
VANNAIRE
Yes, yes, I know. From my own experience, I know,
because I am not a genius.
LEGLAY
You? But you are famous. Your novels ?
VANNAIRE
Famous and disillusioned. You still have that
beautiful faith which gives happiness to others, and
torture to you who possess it. I am afraid the same
disillusion will come to you later on.
LEGLAY
Very well, if it is a necessary preparation for the
future.
VANNAIRE
Unfortunately, it spoils the present. No one but
a fool enjoys fame. If you are not a fool, then you
will be saddened by the thought that you can foresee,
almost to the minute, when your fame will vanish.
But that makes little difference. You cannot choose
your destiny. For my part, I took up writing, be-
cause I always believed that thoughts, however slight,
were far too serious and too sacred to be formulated
90 PROGRESS
without a great deal of reflection. A serious word,
spoken without premeditation, is an evil action.
LEGLAY
Every one respects and admires you.
VANNAIRE
At fifty I have acquired a certain notoriety, thanks
to twenty-five years of ceaseless labor, of feverish
effort, directed toward the expression of moral
beauty which I believed, and still believe, capable
of some little inspiration to the souls of my fellow
men. I spent those twenty-five years in poverty,
consistently refusing to write useless or harmful
books, the sort that would have afforded me quick
and easy success. I was looked down upon by the
successful, and at last, scarcely had I managed to
gain a little respect for my work, Vhen the younger
generation, whom I loved and in whom I had great
hopes, treated me as a ridiculous enemy. They
gave me no respite, not even a few years between
the hostility of the older and the younger gene-
rations in which to experience the joy of having
revealed even a little beauty and given aid to human-
ity. They might at least wait until we are dead
before demolishing our statues.
LEGLAY
It was cruel of them, I admit. But has one the right
not to be? I have often tortured myself with the
same question. I love Therat, I admire his work,
I should like nothing better than to see him end his
days in glory a glory which he deserves. But
I know, I am positive, you see, that he is mistaken
- [PROGRESS 91
VANNAIRE
Can't you wait until he is no longer with us? Until
Madeleine no longer stands between you both?
LEGLAY
Do you think I have the right, in order to spare those
who are dear to me and for my own peace of mind,
to keep silent, and thereby condemn people who
might otherwise live?
VANNAIRE (slowly)
Are you sure you are right?
LEGLAY (excitedly)
Am I sure? I am as sure of the truth as if I held it
here, tight in my hand, just as I hold the lives of
people it will save!
VANNAIRE (thoughtfully, as he looks straight at Leglay)
Therat spoke to me with just that confidence, thirty
years ago.
LEGLAY
I know. He thought he was right, but he was over-
confident. He thought he knew the whole truth.
VANNAIRE
And now you think you do.
LEGLAY
My truth is the result of his error, which I have
studied. But what difference does it make? I
believe! When a man believes, he must proclaim
his belief from the house-tops. I feel I must sow
my knowledge everywhere among men. It will
bear fruit. If I kept it to myself, it would become
sterile and die.
92 PROGRESS
VANNAIRE
But if the germ itself is an error?
LEGLAY
Every error needs only to be confronted by the truth,
and it will be corrected. But to keep the truth to
yourself, and say nothing about the error, is the act
of an accomplice. And besides, one can benefit
mankind by dragging an error to light and destroying
it. But I tell you, I am sure! There is no possible
room for doubt. What I maintain is based upon all
the laws of life. If I could only explain
VANNAIRE
No, no, Leglay. I am not a scientist, and I shouldn't
understand. And then I might be obliged to
agree with you. I probably should. And that would
seem a little like betraying an old friend. I feel
certain I should take sides with you, and that would
mean that I should be false to my generation, which
admires Therat
LEGLAY
No more than I do. Why can't we change our ideas,
and cast aside our errors? Why can we not turn
over a new leaf, improve ourselves, carry on the work
we have begun?
VANNAIRE
Impossible, my friend. The men who make it pos-
sible for others to reach the goal of beauty and truth
which they themselves have discovered, are incap-
able of making that beauty and truth triumph.
Their passion was too jealous to allow the rest.
A man never notices the gradual aging of a woman
PROGRESS 93
whom he loves; he does not wish to have her
young again, for he has grown old along with her,
and can no longer supply any but the comparatively
small demands she makes upon him.
LEGLAY
And for that reason the young must be energetic;
if they are not, they stagnate.
VANNAIRE
Of course, of course. I don't blame you, Leglay.
But I am sorry for Therat, and for you, and for Made-
leine. You are facing a terrific struggle. I did
what you asked of me; I took chances and just
mentioned certain books, certain articles touching
upon methods opposed to his own. He was at
once deeply agitated, and became almost severe;
he was bitter, and lost his temper when he spoke
of the younger men, their self-sufficiency, their
prejudice, their lack of disinterestedness. He be-
haved exactly as I thought he would. It was quite
impossible to argue with him.
LEGLAY
Oh! (A pause) Would he discuss any points at all?
VANNAIRE
Oh, yes, only I didn't understand very much of what
he said: therapeutics, and so on; it was all too
far from the field of a poor cynical psychologist.
Have you spoken to Madeleine yet?
LEGLAY
Yes.
VANNAIRE
Well?
94 PROGRESS
LEGLAY
She was as upset as he, and as firm in her ideas.
VANNAIRE
She defends her father.
LEGLAY
Whom, by the way, I am not attacking; I am
merely trying to complete the work he has begun.
Unfortunately, she understands something of that
work. If she were absolutely ignorant, she would
stand between her affection for her father and her
love for me, and her love for me she adores me
would win out. But she knows a little, and she
agrees with her father. Women cling to what they
know with the more egotistical tenacity, because
they so rarely know. If my Madeleine knew nothing,
she would blindly believe in the ability of the man
she loves!
VANNAIRE
If she had been that sort of woman, you would not
have loved her.
LEGLAY
That's probably true. And yet her very intelli-
gence and culture now rise up and form a barrier
between us.
[Enter a Servant.
SERVANT
Monsieur, the gentleman who comes every Tues-
day is here.
LEGLAY (quickly)
He's here? Show him in at once. (The servant goes
out, and Leglay loalks toward the large door) Excuse
PROGRESS 95
me, please, Vannaire. Please stay; I shan't be long
not more than a moment. (He goes into the
drawing-room, and returns shortly after with a man,
whom he leads to the window) How are you ?
THE PATIENT
I'm better, Doctor; I'm sure I'm better. There's
less irritation.
LEGLAY
The cough?
THE PATIENT
Not so bad.
LEGLAY (joyfully)
Good! Healthy color in the cheeks, too. I was
anxious to know at once. Now, will you wait a
few moments for me? (He conducts the Patient back
into the adjoining room} I '11 ask you to come in again
shortly, and we'll fix you up. Good. Just a few
minutes, eh? And then we'll
[Leglay closes the door as soon as the Patient leaves.
LEGLAY
You see my situation now. That man came to me
with a bad case of tubercular ulcer. He is still ill,
but vastly improved since I took hold of him. I
am delighted to see signs of life again in his eyes.
But I must hide him this man whose life I am
saving from my father-in-law; I must be careful
not to refer to him, because Therat must not take
my patient from me. He mustn't touch him;
I want to take care of him myself. If Therat knew,
he might decide that an operation was necessary,
and he would be acting from noble and disinterested
96 PROGRESS
motives. Now, such an operation would not kill
the patient, and it would undoubtedly remove the
cause of his suffering, but it would be disastrous
all the same, because it might easily give cause to
other evils, not so easily remedied. So you see I
must treat my man in secret. I am continually
afraid that my father-in-law will catch sight of him.
Of course, this one patient is nothing: there are
others, whom he does know of. Every day they
come with the fullest confidence and ask us to
save their lives. I can't choose my own means,
I must take anything that comes to hand that
might help them. Even now there are patients
waiting. Now is when they come. At this hour
every day I suffer agonies; every time the bell
rings it is like an appeal to my conscience, my
tortured conscience.
VANNAIRE
You are not doing wrong.
LEGLAY
I am not doing all the good I might. (After a
pause, passing his hand over his brow) Well, I shall
see whether there is still some way of doing my
duty, and allowing those who are dear to me to live
in peace. It is a very difficult matter.
[As he speaks, he fills a syringe with a fluid and lays it
on the desk.
VANNAIRE
Good-by, Leglay. I '11 see you later.
LEGLAY
Good-by, and thank you.
PROGRESS 97
VANNAIRE
I 'm afraid I haven 't given you much encouragement.
LEGLAY
That was not your fault. Your good- will is enough;
you might have been against me, you know. You
are an old friend of Therat's, and you might have
thought
VANNAIRE
I think nothing. I only know that you are both very
firm in your convictions, and I have no idea which
of you is right. But it would be only natural that
you should formulate your truth after Therat had
made a practical application of his. I am just
trying to break the shock. Good day.
LEGLAY (accompanying him to the door)
Thank you once more. To-night, then.
VANNAIRE
Yes.
\_He goes out. Leglay goes impatiently to the door of
the drawing-room, opens it, but starts back in surprise
as Therat appears, followed by the Patient.
LEGLAY
Oh, it's you!
THERAT
Yes, I have just examined Monsieur. (To the
Patient) Come back to-morrow.
LEGLAY (in consternation)
But I was going to
THERAT (with authority)
He will return to-morrow. (To the Patient) We
shall take care of you.
[He rings.
98 PROGRESS
LEGLAY (calmly}
Very well. Will you come back to-morrow ? (Leglay
conducts the Patient to the door) To-morrow, then.
THE PATIENT
Yes, Doctor. (Fearfully) You don't think it will
be necessary to ?
LEGLAY
Don't worry. Everything is all right. We shall
continue the treatment.
[The Patient goes out. Leglay returns to Therat,
scrutinizing him but saying nothing.
THERAT (calmly)
We shall operate on that man the day after to-morrow.
LEGLAY
Master!
THERAT (impassively)
Yes?
LEGLAY
But but it is not necessary.
THERAT
Tubercular ulcer: it is necessary. How could you
have failed to notice it? He must be operated upon
at once.
LEGLAY (resolutely)
I promise to cure him without the operation.
THERAT (picking up the syringe and flinging it away)
With that?
LEGLAY
With that and other things.
THERAT
First of all, what's in that thing?
PROGRESS 99
LEGLAY
A composition I've been experimenting with.
THERAT
And of which you have told me nothing.
LEGLAY
I was afraid you wouldn't believe in it.
THERAT
And why did you never mention this man to me?
He told me you had been treating him for the past
three months?
LEGLAY
I thought you would consider an operation necessary.
THERAT
Ah ? You are right. As a matter of fact, I think it is.
He must be operated upon immediately.
LEGLAY
Please let me treat him. I am sure of what I am
doing.
THERAT (proudly)
And what about me? You think I am not sure?
When you learn your mistake, it will be too late.
LEGLAY
I am not making a mistake. I have cured many
others the same way.
THERAT
Without taking me into your confidence, of course!
You seem to forget that you are working for me,
and are responsible to me. I tell you there is
danger, grave and imminent danger, unless we
operate, and operate we will.
100 PROGRESS
LEGLAY
Impossible.
THERAT (angrily)
What!
LEGLAY
Please, master father, listen to me: I shouldn't
think of opposing my will to yours. If I thought
your help was indispensable, I should have brought
this patient to you, in all humility. But an oper-
ation is not necessary: there is another way of curing
him. He is improving already.
THERAT
But you know it's not a dangerous operation?
LEGLAY
No operation is without danger.
THERAT (bitterly)
I see: you've been reading some new dissertation.
I really think you belong to the opposition.
LEGLAY
Against you? No. You know very well I don't.
I am just one of those who wish to supplement your
work, and with all due respect complete your experi-
ments.
THERAT
Destroy, rather! I am defending my methods and
ideas. I have arrived at my beliefs only after an
enormous amount of work. That man will be oper-
ated upon because I judge an operation necessary.
LEGLAY
No, no, no. I won't have it. He is mine, do you
understand, mine ! His life has been in my hands for
PROGRESS 101
the past three months; little by little, I have built
him up, strengthened him, made him a new man.
For three months I have watched anxiously over
him, and seen him revive. Three months ago you
might have had a right to decide: his life was his
own to dispose of. But to-day it belongs to me as
well, because of what I have added to it since I
first took him. You may not touch him, you have
no right to cut into the living flesh which I have built
up. I can't allow you to, and I won't! It isn't
my pride, it is my instinct that forces me to do this.
(In a low determined tone) You know that instinct
of preservation in all of us: it seems to stretch
forth arms, and clutch at others
THERAT (troubled)
But what are you afraid of ? Did you ever know an
operation of this sort to prove fatal?
LEGLAY
Fatal, no. But I have seen what is just as serious
more serious
THERAT
Really?
LEGLAY
Yes. Do you remember that woman, the one you
operated on two days before my wedding?
THERAT
She is still alive, is she not?
LEGLAY
Yes, she is alive. But I watched her case, because even
at that time I had begun to doubt. She is condemned
to live a wounded, mutilated creature, half-dead.
102 PROGRESS
THERAT
Without me she would have died.
LEGLAY
No: we should have cured her.
THERAT
Cured her? (Sarcastically) You, perhaps?
LEGLAY
With your help, if you had consented to assist me;
or without it, if you had allowed me a free hand.
THERAT
How much time would you have required?
LEGLAY
I don't know it makes little difference. But I
would have restored life to a whole creature. Now
she is atrophied, joyless, without ambition, a mother
without strength and energy.
THERAT (troubled)
Do you think that was my fault? You were present
with me. I did not touch a single organ that was
indispensable.
LEGLAY
What do we know about that? Merely because we
don't know the function of an organ, and are unable
to determine what it is used for, we conclude, most
unwarrantably, that it is useless. And in the name
of a science that is still only feeling its way, that is
full of mystery, which is every day subject to modifi-
cation of some sort, we commit irreparable blunders,
cut away some part of the human mechanism
which is not superfluous, because nature has created
it. We don't know why it is there: therefore it is
PROGRESS 103
good for nothing! We are like peasants who burn
a Titian because we know nothing of art.
THERAT
There is a lesson there, to be sure.
LEGLAY
No, no. Excuse me, if I am too excited. I am afraid,
I tell you, and I frankly confess the agony I feel.
I don't mean to offend you, I want only to tell you
that I am afraid: for mankind, for you, for your
reputation
THERAT
Which you now wish to shatter you whom I made
what you are a scientist, and my own son!
LEGLAY
But I am trying to save your reputation. Oh, I
want so much to convince you! You know how
much I admire you. I don't want you to risk
damaging the reputation you have worked so hard
to earn merely by obstinacy. And besides, I
have no right to think of you, or myself.
THERAT
Yourself, perhaps! I am fifty years old; I have
behind me thirty years of work and experience,
and I am in a way your father. My pride, my
name and Madeleine's, too ought to be sacred
to you.
LEGLAY
You taught me to believe that as individuals we did
not exist, that we did not work for ourselves, but
for all mankind. In the struggles with my conscience,
when I think of you, your face disappears and I
104 PROGRESS
seem to see other faces, innumerable faces, stretching
far off into the distance into the future; and
men, women, children rise up, suffering, afraid,
begging for help. And I tremble
THERAT (triumphantly)
You tremble? Send them to me!
LEGLAY
No.
THERAT
Send them to me ! And don't worry. Let me bring
comfort and assurance to your multitudes, by
showing them my assurance. I have about me a
whole legion of human beings men and women
who came tottering to me, more dead than alive.
I have kept off death with the clean, sharp edge of
my knife, held tight in my hand. Let me show
your restless multitude men who would have been
dead twenty years ago but for my help. I can look
upon them with pride and calm assurance. I have
re-created them, made them over, by the sure
skill of my hand, the quickness and accuracy of my
eye. Show that to your multitude, and tell it that
my hand is still sure and my mind clear. You need
no longer be afraid!
[_Enter Madeleine.
Ah, Madeleine, it's you? Come
[Madeleine looks anxiously at the two men.
LEGLAY (nervously)
Madeleine!
MADELEINE
What is it?
PROGRESS 105
LEGLAY
Don't stay here !
THERAT
You must stay by all means. She must hear what
you think of her father, and what you intend to do.
She will judge!
LEGLAY
Please be calm! Madeleine, you know what I think
of your father. I am only asking him to listen to
me, as a teacher listens to the respectful objections
of his pupil. His work deserves the greatest admi-
ration, but I believe that in certain cases, there is
another way of proceeding
THERAT
A better way, eh? How modest of you! You have
been able to discover in a few years what thirty
years of research and work have not revealed to me!
(To Madeleine) You hear?
MADELEINE
Father, you must not get so excited.
LEGLAY
I have benefited by your work. Your knowledge
helped me, reenforced me. Thanks to you, I began
where you had left off. You accomplished one
stage in the evolution. You made your researches
in your own field, and discovered all there was to
discover. I have looked elsewhere: I have
noticed that life has infinite resources, that it has
furnished us weapons with which to fight disease;
a whole mass of defenders which we must call upon
for aid. Now, this serum
106 . PROGRESS
THERAT
Will not restore a" single organ or replace a decayed
tissue!
LEGLAY
It will arrest the course of the disease without taking
anything from the system.
THERAT
Always?
LEGLAY
Often. But when there is the least possibility, you
must
THERAT
So you're advising me! I see. I see that you, my
son, are trying to throw me, my thoughts, my work,
my discoveries, into the scrap-heap and with the
very weapons I have trained you to use! Very
well, I can't prevent you. I suppose it's only
natural for the young to crowd the old out of the
way. You want room
LEGLAY
Oh, master!
MADELEINE
Father, you don't think ? Paul may be mistaken
LEGLAY (sadly)
I am not mistaken.
THERAT
I can defend myself, I can prove I'm not yet ready
to be laid on the shelf. And I don't need help,
not even yours. The ungrateful future is just a little
too much in a hurry.
[Madeleine sinks into a chair.
PROGRESS 107
LEGLAY
If you were willing to discuss the matter calmly,
I should be glad to tell
THERAT
We shall discuss it when you know as much as I do.
LEGLAY (discouraged)
Then we shall never discuss it. The younger and
the older generations can never sincerely, peacefully,
compare then* convictions, their discoveries, and
their consciences. The older will always say to the
younger, after having taught him all he knew: "You
are too young, you don't know "
THERAT
And the other insinuates: "You are too old, and
you no longer know." Nor is it the younger who
suffers.
LEGLAY
Master, you don't doubt my good faith, do you?
I believe sincerely in what I maintain. I believe
that if you modified your methods, restricted the
application of them hi a simple way, science and
mankind would gain immeasurably. And you sin-
cerely believe that I ought to be silent, for your sake,
for the sake of my future.
THERAT
For my sake! I ask nothing of you. I maintain
that you are presumptuous, and that your presump-
tion blinds you. I am ready to defend my science
against your theories. That is all.
LEGLAY
So we are ?
108 PROGRESS
THERAT
Adversaries, yes. You wished it.
MADELEINE (rising)
Oh!
LEGLAY
And we ?
THERAT
Shall separate of course.
MADELEINE (terrified)
Father! Father!
[She falls into the chair again, her face buried in her
hands.
LEGLAY (Booking at his wife)
Madeleine?
THERAT (with an effort)
Madeleine! She will tell you.
\_He goes toward the door.
LEGLAY (taking a step toward him}
Master, won't you ?
THERAT (turning to him coldly)
What?
LEGLAY (after a moment's hesitation)
Very well.
{Therat goes out. For a few moments Leglay and
Madeleine say nothing.
MADELEINE (crying)
Why did you tell him?
LEGLAY
I had to.
MADELEINE
You promised me you would wait.
PROGRESS 109
LEGLAY
I did wait. I have been waiting for months, as you
know, and I've been tortured. And I would have
continued to wait, but your father happened to see
one of my patients, and insisted that I should act
on his advice. I couldn't allow that. It would
not be right.
MADELEINE
Is it any more right to drive him to despair, and
make his last years bitter? You honor him, you
love him or at least you did?
LEGLAY
I still love him, and I admire him, too.
MADELEINE
When you love people, you believe as they do, and
don't make them suffer.
LEGLAY
There are duties that are above respect and above
affection.
MADELEINE
Toward whom? Toward people you don't know.
You are sacrificing my father for total strangers,
sacrificing me, too
LEGLAY
You, Madeleine? Don't say that! I have thought
of no one but you for ever so long. If it hadn't
been for you, and for the child you are going to bear,
I should have acted according to my conscience long
ago. That is the only reason why I have not gone
ahead: because you don't believe in me, because I
have not been able to convince you. I wanted to
110 PROGRESS
go on, with your approval, yours above all. You're
torturing me now
MADELEINE
I believe what my father has taught me. I believe
in his uprightness, and in his reputation as a scientist.
I grew up while he was making that reputation,
and it shaped my heart and my reason. Do you
ask me to forget all that? Forget how passionately,
how lovingly he guarded and watched over me, so
that a little of his glory might be reflected upon me ?
Now for the first time, you wish that glory to weigh
a little heavy on him, and you ask his daughter to
turn from him. I couldn't! I am too much afraid
of being ungrateful.
LEGLAY
Are you not rather afraid of being selfish? You
are not afraid to ask me to sacrifice not only the pride
but the very lives of hundreds, perhaps thousands,
for the peace of mind of those who are dear to you ?
MADELEINE
I ask nothing of them! I owe them nothing. My
father has already sacrificed too much to a world
that is of no interest to me v and of which I know
nothing. I care about the happiness of those to
whom I owe something.
LEGLAY (protesting)
Madeleine!
MADELEINE
I care nothing about the others. I don't need them.
LEGLAY (irritated)
Do you think so? Still, the moment anything goes
wrong, you are the first to appeal to science, that very
PROGRESS 111
science which has been so slow in its formation,
through centuries of human effort. Can you live
without taking into account your duties toward those
who are unknown to you? You can, of course, but
only if you blind yourself to all they have done, all
they have taught you. You can, but you will have
to live in a cave, clothe yourself hi the skins of beasts,
eat what I can kill, asking no help of me to bring
your child into the world, a child whom you cannot
teach to read because that is only done with the
aid of books, books written by men you don't know!
MADELEINE (crying)
Paul, you are brutal!
LEGLAY
What you say is abominable; it wounds me. It
does not sound as if it came from your generous
self from your intelligence : you can't really think
it. The truth is, you do not believe in me. You
don't hesitate a moment between what your father
says, and what I say.
MADELEINE
You forget that I, too, know
LEGLAY
You don't want to know anything except what your
father has taught you. You shut your eyes to every-
thing else.
MADELEINE
Yes, I know I am ignorant. This is not the first
time I have felt that you despised my intellect.
LEGLAY
You ignorant? Unfortunately, you are not.
112 PROGRESS
MADELEINE
You wish I were, in order that I might always agree
with you. A woman ought to be merely a com-
placent bedfellow and nothing else. Oh, yes. She
oughtn't to have ideas of her own; she ought never
to judge. She is created only to be loved, and to
follow her husband. That is your ideal!
LEGLAY
My ideal is was a love that should unite two
thoughts as intimately as
MADELEINE
As the one is willing to give in to the other!
LEGLAY
If that dream is impossible, if the brain is to be
considered more important than the heart, if intellect
insists upon rebelling against love
MADELEINE
Love! A fine sort of love that insists on submission
to everything, that would force me to be ungrateful!
LEGLAY
Madeleine, let's not say things we shall regret.
MADELEINE
Let us say what we think. Let us not be false to
our reason, and make believe that we love each other!
You love only my body.
LEGLAY
You say I don't love you! (He seizes her hands
violently) I don't love you? We don't love each
other? Madeleine, remember, think of those won-
derful days of madness, folly !
PROGRESS 113
MADELEINE
I won't! I don't want to remember them. That
was a time when instinct had the upper hand. For
the rest of our lives we ought to forget.
LEGLAY
No, they were beautiful days, which ought to make
us forget the cares of life, free us from the weight of
thoughts, and render us two irresponsible beings
serenely at one with each other.
MADELEINE (tearing herself away from him)
No, no! I don't want to think of that! It leads
to base weakness! I don't want to be a vile play-
thing, an instrument of unthinking pleasure! That
is not love! We don't think the same way, you and
I. We don't love each other any longer.
LEGLAY
You can't believe that!
MADELEINE
I certainly cannot love any one who insults a man
I admire and worship, who sacrifices everything to
foolish pride, possibly interest
LEGLAY
Madeleine, I forbid you!
MADELEINE
What! You can't forbid me anything.
LEGLAY
No, I don't want to, but you can't talk that way to
me. Think, think of what binds us together, think of
the child you are going to give me, of the hope and
confidence with which we created it. Madeleine,
don't let your pride destroy all our happiness. You
and I are sincere, loyal human beings. Suppose we
114 PROGRESS
don't agree ? Very well, but we have the same ideals ;
our eyes are lit by the same flame. Look (He
takes her hands and draws her toward him) Look
into my eyes; you see truth there I read it in
yours. Now you dare not tell me we no longer
love each other. My wife! You are my wife, you
will remain my wife; you aren't the sort of person
to whom memories mean nothing. Ours are so
profound, Madeleine, they raise us so far above our
thoughts, our foolish pride! Look at me. (Almost
unconsciously, Madeleine softens, and allows herself
to be drawn into his embrace) You aren't against
me, are you? You are not my enemy?
MADELEINE
But, father ?
LEGLAY
You are not against him, either. On the contrary,
you will be a link, a strong link between us, and
perhaps some day you will succeed in bringing us
together. You, Madeleine, are the future, you will
bring us the future. For the child's sake, the quarrels
of the past and the present must be forgotten. Every-
thing will quiet down, you will see. We do love
each other, don't we? You will stay with me?
Won't you ?
[Madeleine does not answer, but she softly responds
to his embrace. He is about to kiss her, when Madame
Therat appears in the doorway, in terror.
MME. THERAT
Madeleine! Paul!
MADELEINE
What is it?
PROGRESS 115
MME. THERAT
Your father!
MADELEINE
What is it?
MME. THERAT
He's ill fainted ! I don't know Come quick !
MADELEINE
Oh! (Turns to Paul) You see?
[They both rush to the door. At the same moment,
Therat appears, pale, gaunt, and proud.
THERAT
It's nothing, Nanine, nothing a little dizziness
nothing at all. (Looking at Leglay) I'm still hale
and hearty. Well, have you decided anything?
(Leglay does not reply. Therat turns to Madeleine,
sorrowfully) Madeleine, Madeleine!
MME. THERAT
What do you mean?
THERAT
Madeleine !
MADELEINE (going toward him, sobbing)
Father! Oh, father, I am with you, I am with you!
LEGLAY (crying out)
Madeleine !
[He stops himself with an effort.
THERAT
And you ?
LEGLAY (after a pause)
I? (Gazing for a long while at Madeleine) I I
have no longer the right to stay with you. I I am
going.
CURTAIN
116 PROGRESS
ACT II
The scene is the same. Madeleine and Vannaire are
present. Both have aged considerably, though Madeleine,
who is only thirty, possesses a sad yet striking beauty.
MADELEINE (seated)
Oh, it's to-day! Very well. I had forgotten.
You know, these visits are very painful to me.
VANNAIRE
But, Madeleine, what Leglay asked was the very
least of what he had a right to expect. Remember,
he is not separated from his wife and child by even
a divorce decree! Since the child was born seven
years ago he has come to see him only once a month.
MADELEINE
You know how painful it is to know he is in this
house, the house of my father, whom he has caused
to suffer.
VANNAIRE
You know very well he suffers, too. You must
admit he has been most dignified not to say
stoical. During this separation, which has lasted
nearly eight years, he might unconsciously have
come to hate you and gone to law: you know the
law gives him certain rights. Remember, he was not
guilty toward you. He lives in silence, away from
the child whom he has a right to take from you.
MADELEINE (quickly)
Oh
PROGRESS 117
VANNAIRE
He might; there's no doubt about that. He con-
sents to live away from that child and from a woman
who loves him.
MADELEINE
Please, Vannaire! You know I don't want to hear
such things. For the past eight years my father
has been suffering from a malady of which Paul is
the sole cause.
VANNAIRE
That was not Leglay's fault; it's the fault of the age,
of new scientific discoveries. Listen to me, my
dear Madeleine, I've been wanting to ask you this
question for some time. Suppose Leglay had said
nothing, in spite of his conviction which was
known to you could you have been absolutely
happy? Would you not have despised him in
a way?
MADELEINE
If I were positive that he knew the truth, but I
am not.
VANNAIRE
Madeleine, you must admit I assure you that at
my age, and I'm well on in years, I can't confess
without a little bitterness that you and my poor
friend Therat are the only ones who do not feel that
Leglay is right.
MADELEINE
I refuse to believe until my father tells me I must,
until he himself believes. I'll never forget the
cause of this illness that's killing him. You wonder
118 PROGRESS
at my firmness, but think, for the past eight years,
I have watched my father growing older, a victim
of the shock he received that day. If I were ever to
weaken toward my husband, I should have only
to look at my poor dear father. That gives me
renewed energy. Don't you see how he has aged
and suffered?
VANNAIRE
Oh, yes, yes. He is one of the victims of the cruel
and necessary progress of thought. But he is not
the only one: there is you yourself, the child, and
Leglay. Have you seen Leglay lately?
MADELEINE
Not for a long time. I never go out.
VANNAIRE
Neither does he except to visit his patients at the
hospital, where he is the head doctor. He shows
noble devotion.
MADELEINE
Like my father!
VANNAIRE
Like your father. And sometimes he goes to the
Academy of Medicine. He works and works, alone
and in sadness. He, too, has aged a great deal
MADELEINE
And I, too?
VANNAIRE
You are graver, more beautiful. That isn't " aging"
MADELEINE (with a vague smile)
Oh, you only say that !
PROGRESS 119
VANNAIRE
He is much older than you. You didn't know his
hair is almost white?
[Madeleine, surprised, raises her eyes questioningly
to Vannaire, then, without replying, drops her head
heavily. Enter Mme. Therat.
MME. THERAT
How are you, Vannaire?
VANNAIRE (going to Mme. Therat)
How are you ? And how is Therat ?
MME. THERAT (sadly)
Always the same: he says nothing. Ever since he
began sending patients to other doctors, he's scarcely
spoken a word, you know.
VANNAIRE
They say he suffers more since he stopped working.
MADELEINE
He has too much time to brood. Nothing ever
excites him any longer. There is nothing to take
his mind off the past nor my mind off it, either.
When he had his patients, he put into them his
doubts, his fears, his hopes. Then he confided in
me, and I feared and hoped with him. (Then,
pensively, as if speaking to herself) That was forget-
fulness, or the will to forget.
MME. THERAT (to Vannaire)
The child is the only one he speaks to now and you.
It seems you are the only one he can confide in.
VANNAIRE
Because I suffer as he does.
120 PROGRESS
MME. THERAT
He seems to live with only one thought. So long as
he had patients, and busied himself with them, it
kept life in him, or at least some appearance of life.
But since he's been idle, he says nothing, except to
refer to his ill-health, that began
VANNAIRE
Is he coming down-stairs?
MME. THERAT
I think so. But he hardly ever comes here, and then
only to see a patient, whom he sends to another
doctor. Another has just been announced.
VANNAIRE
Whom does he send them to?
MME. THERAT
I don't know; he never says. He doesn't tell you,
Madeleine, does he?
MADELEINE
Never.
VANNAIRE
Nor me.
{Enter Therat. He looks much older and his face is
thin and solemn.
THERAT
Oh, it's you, Vannaire. Why didn't you come up?
(To his wife} He hasn't come yet?
MME. THERAT
No.
MADELEINE
Father, I ought to warn you: M. Vannaire has
PROGRESS 121
reminded us that he is coming to-day you know:
to see the boy.
THERAT (impenetrably)
Ah!
MME. THERAT
Again ? So soon ? But it hasn't been a month since
his last visit?
MADELEINE
Yes it has, mother.
VANNAIRE
Exactly a month, Madame.
[T her at sits dowr\.
MME. THERAT
I'll see that the boy is ready. (To Madeleine)
Up-stairs, as usual?
MADELEINE
Of course, mother.
[Mme. Therat goes out.
VANNAIRE
Are you waiting for a patient?
THERAT
Yes. A few still come from time to time.
VANNAIRE
And you don't treat them yourself?
THERAT
I don't care to any longer.
VANNAIRE
Why not?
THERAT
I am too old. You don't write books any longer,
do you?
122 PROGRESS
VANNAIRE
Oh, yes, but I don't talk about it.
THERAT
You and I are old men we're played out. If I
were to treat patients, they would complain in a
week's time because they were not completely
cured, and go elsewhere to young doctors. I
prefer to send them away at once.
VANNAIRE
To whom?
THERAT
That depends: some to one, some to another
VANNAIRE
To doctors who believe in your methods?
THERAT (after a moment of hesitation looking at
him) Of course. You don't imagine ? What
time do you expect him?
VANNAIRE
Whom?
THERAT
Him!
VANNAIRE
Oh, Leglay? Soon, I think. He generally comes
about three.
THERAT
I see.
MADELEINE (going to him)
Poor father! I do make you suffer, don't I? It
doesn't do you any good to know that he comes here.
PROGRESS 123
VANNAIRE
Nonsense. It makes no difference to you, does it,
Therat? Madeleine is exaggerating.
{Therat says nothing, but puts his hand mechanically
to his heart. All three are silent for a moment, then
the bell rings.
MADELEINE (suddenly)
The bell!
[Therat looks closely at her.
VANNAIRE
Well?
MADELEINE
It's he!
VANNAIRE
Possibly.
\_She goes to the bay-window > Vannaire following.
Therat keeps his eyes fastened on her.
MADELEINE (in an undertone to Vannaire, as she listens)
You say his hair is white? (Both look out the window)
That's not he. It's the patient to see father. (To
Therat) We'll leave you.
[Madeleine and Vannaire go out. Enter a servant
a moment after, introducing the patient, a woman.
PATIENT
Doctor!
THERAT
Madame!
PATIENT
I should like you to -examine me. My throat has
been bothering me. I Ve tried a few simple remedies :
124 PROGRESS
gargled, inhaled, and so on, but the throat is only
worse. My tonsils
THERAT
Let me see (He takes a pallet and examines her
throat) Yes, yes, you ought to have come sooner.
PATIENT (nervously)
Is it very serious, Doctor?
THERAT
No, it's not very serious, but it is serious.
PATIENT
I shan't have to be operated on?
THERAT (after a pause)
Operated ? (With an effort) No no there's
no necessity. Of course, you didn 't know when you
came: I am not practising any longer?
PATIENT
Oh!
THERAT
No. The only thing I take is an exceptional case
now and then. You had better see another physician.
(With difficulty) You'd better go to to go
to Doctor Leglay Paul Leglay, Rue Blanche.
He will take good care of you; he is a very able
physician.
PATIENT
Doctor Leglay, Rue Blanche. You don't think
I '11 have to have an operation ?
THERAT
No, no, I'm sure you won't.
PATIENT
Thank you, Doctor.
PROGRESS 125
THERAT
Just one word: don't say it was I who sent you.
He is a little erratic touchy, and he might be
you understand? Pride physicians' pride!
PATIENT
Very well, Doctor, and thank you. You Ve given me
courage. I was afraid I might have to be operated
on. I was told you might want to
[Therat rings. He smiles a bitter smile. The servant
enters, and escorts the patient out of the room. Therat
returns slowly to his desk, throws down the pallet with
a petulant gesture, then sits down, putting his hands
over his eyes. Enter Mme. Therat.
MME. THERAT
Are you through?
THERAT
Oh, it 's you?
MME. THERAT
Is it over?
THERAT
Yes.
MME. THERAT
Do you feel well? You aren't tired?
THERAT
I 'm very well.
MME. THERAT
Did you send the patient away?
THERAT
Yes.
MME. THERAT
To whom?
126 PROGRESS
THERAT
To whom? To Doctor Blanche.
[He rises. Enter Madeleine and Vannaire. Made-
leine is agitated.
THERAT
Are you coming up, Vannaire? We'll have a chat.
VANNAIRE
Suppose we stay here?
MADELEINE
You know, father, he is upstairs, with the boy.
MME. THERAT
Has he come ? I didn't know. Are you sure ?
MADELEINE (feverishly)
I'm positive I saw him!
^T her at turns to her.
MME. THERAT
You saw him? How?
VANNAIRE
We met him just now on the stairs.
MADELEINE
I hadn't seen him for a long time. His hair is snow-
white.
THERAT
Then he's here?
MADELEINE
Yes.
THERAT (goes to her, takes her head between his hands,
and gazes into her eyes)
You look as if you were going to cry, Madeleine.
PROGRESS 127
MADELEINE (deeply moved)
No, no, father. I I 'm not crying
[Her words are checked by a violent sob.
MME. THERAT
What is the matter, Madeleine? What's wrong?
You're not crying for him, are you? Not for him?
THERAT
Poor child!
MADELEINE
No, no, father. I don't know why I 'm crying.
The boy up there and and this is the
first time I've seen him! (She rises and looks at her
father) No, not for him, not for him !
THERAT
Poor child!
MADELEINE
I I just need to cry. Please go, mother. I'm
going up to my room. I'll be all right.
MME. THERAT
I'll come with you.
MADELEINE
No, mother. Leave me to myself. Don 't worry.
[She goes out.
THERAT (falling into a chair)
My poor dear child!
[He puts his hand to his heart, and closes his eyes for
a moment.
MME. THERAT (going quickly to him)
Are you still suffering?
128 PROGRESS
THERAT
It's nothing. Dizziness. Madeleine is the one who
suffers.
MME. THERAT
Yes, and you, too. But you both suffer for the same
reason. It is his fault.
THERAT (severely)
Nanine ! Now
MME. THERAT
You're not going to defend him, are you? He
took from us everything that was worth having:
your reputation and our girl's happiness. He has
ruined OUT life. When you turn pale and put
your hand to your heart, I know you're thinking
of him! It's he and what he did just for his
own reputation!
THERAT
Nanine, you must not say such things.
MME. THERAT
What! Do you think he was right?
THERAT
No, I don't. (Pensively} No no. But I don't
think he acted from selfish motives. We must at
least give him his due. I believe he thought he was
acting in the interest of science and he was.
MME. THERAT
Science! Yes, ah, science ! It's never satisfied,
no matter how much one sacrifices to it.
THERAT
Nanine !
PROGRESS 129
MME. THERAT
Science demands too much; it has taken away my
happiness in life. I used to believe in it, when I was
young, even when it was taking you from me. I
saw it taking your youth from you, and mine from
me. I was thrilled when you talked about it, and
showed such splendid faith in it, when you told me
of the great happiness it would bring us some day.
I didn't rebel against it then. I was willing to grow
old before my time, and see you giving yourself
up to it. Science seemed to make you happy. And
I was proud of you. I believed you would be re-
warded with glory and a brilliant reputation. That
was your only recompense. And it was in the name
of science that that glory was stolen from you. It's
always that way. Science demands every sacrifice,
and gives nothing in return except perhaps a brief
make-believe glory that your own associates snatch
from you the moment they are able. That's the
way you get glory: steal it from some one else.
It seems you have to make science over again, unmake
it, and then make it over once more. If you have to
do that, then it doesn't exist!
THERAT (rising, then forcefully)
Nanine, don't say that!
MME. THERAT
I 've suffered too much through you and through
Madeleine. I've seen too much trickery. I know
too much about it
THERAT (with sharp authority)
Stop it! You insult us!
130 PROGRESS
VANNAIRE
My dear friend, please be calm. No one is respon-
sible
THERAT
And leave us !
MME. THERAT (nervously)
But you
THERAT (quietly)
Please go.
MME. THERAT
You don't blame me? I didn't mean to
THERAT (with a bitter smile)
No, no, you dear old wife. Not at all. Only, I
don 't like your very goodness, your love for Madeleine
and me to make you say things that are unjust and
untrue. Now I want to chat with Vannaire
quietly. Won't you leave us ?
MME. THERAT
Certainly. (She goes to the door) You're quite
sure you 're not ill ?
THERAT
No: I am very well.
[She goes out.
THERAT
Vannaire, I am simply terrified.
VANNAIRE
Why?
THERAT
I have just heard the only voice that has the power
to make me hesitate and doubt: the voice of igno-
rance, my own ignorance.
PROGRESS 131
VANNAIRE
My dear fellow, what are you saying ? Others believe
in you and admire you. You don't have to go out-
side this house: Madeleine, I
THERAT
You?
VANNAIRE
Yes, I.
THERAT
No, Vannaire. You think a great deal of me, you
know how devoted and disinterested my work has
been; you recognize my enthusiasm, but you don't
believe in me.
VANNAIRE
I believe in you as I believe in myself. I believe
that you and I have done our work conscientiously
and done it well.
THERAT
And that that work is now over.
VANNAIRE
Our function was to
THERAT
But are you sure Madeleine still believes in me?
She doesn 't doubt ?
VANNAIRE
I am positive.
THERAT
How?
VANNAIRE
She told me an hour ago.
132 PROGRESS
THERAT
Were you discussing me?
VANKAIRE
Yes.
THERAT
VANNAIRE (hesitating)
You
THERAT
And him!
VANNAIRE
Yes.
THERAT
What started you?
VANNAIRE
Why, his visits. She was upset, and I tried to soothe
her.
THERAT
You were defending him!
VANNAIRE
I was defending only his intentions, as you yourself
were.
THERAT
And what did she say?
VANNAIRE
At the end of our discussion she said, "When my
father says he is right, then and then only will I
believe."
THERAT (fearfully)
I? When I tell her?
PROGRESS 133
VANNAIRE
But she is sure you won't, because you are so sure
yourself. You are positive he is mistaken
THERAT (after a pause)
Vannaire, you noticed Madeleine's agitation a few
moments ago? You saw her cry. She loves him,
doesn't she?
VANNAIRE (embarrassed) )
Oh, I can't say.
THERAT
Be frank with me, Vannaire. You must. Made-
leine's unhappiness is a very serious matter. She
must not be allowed to suffer any longer on my
account. I ought to have seen things sooner, but
I was blind. It was just like a foolish old scientist
to forget love. We have no right to sacrifice the
lives of our children for the sake of a few months
for ourselves. She still loves him, Vannaire, still,
or once again
VANNAIRE
Yes, I think she has always loved him. She is the
sort of person who makes great efforts to stifle the
affections. She experiences the martyr's bitter joy
by suffering for her faith. You are her faith.
THERAT
And she suffers.
VANNAIRE
Yes.
THERAT
Why couldn't I have seen that? Why couldn't
I have foreseen it? It was inevitable. (A pause)
134 PROGRESS
Vannaire, bring her to me. I shall tell her myself
that Paul is right
VANNAIRE (astonished)
You '11 tell her that ? Why ?
THERAT (in a whisper)
Because it is the truth. I now see it.
VANNAIRE (nervously)
The the truth?
THERAT
You have known it for a long time. Go and bring
her. Please while I have the courage.
[Vannaire, deeply stirred, goes out. Therat sits motion-
less, staring at nothing. Madeleine enters after a few
moments.
MADELEINE
You wanted to see me, father?
THERAT
Yes, I want to say something to you. Did Vannaire
hint ?
MADELEINE
No.
THERAT
Come here, closer to me. Sit down here. (She sits
down near him) I find it very hard to tell you. I
can't speak very loud.
MADELEINE (nervously)
Father, what's the matter? Aren't you well?
THERAT
I have a confession to make, dear my little girl,
my Madeleine! What I have to say is painful, very
painful. You know how I love you, and you know
PROGRESS 135
I have always labored to make you happy. You
don't doubt that, do you? If you have suffered
through any fault of mine, it was only because I
did not know, I did not understand
MADELEINE
Oh, I know, father. I know how you love me!
THERAT
But what you don't and could not know is all you
have meant to me. You are my child, my own flesh
and blood, but you are something else besides. I
have enjoyed glory of a sort, Madeleine, but I never
cared for it except for your sake. You remember
my triumphs, and the flattering things that were
written about me, how I was made a leader among the
scientists. I have known every sort of adulation.
But never did any of it give me half the pleasure,
the pride and joy, as when I saw the first glimmerings
of admiration light up your little wondering eyes
when you began to understand things. From that
time on, all my pride was centered in you; I worked
to gain your approval, and only yours. Madeleine,
I never felt so proud as on that day when you were
little more than a child and understood very little
of what you were saying, and you came to me after
school and said: "Papa, they tell me you're a great
scientist."
MADELEINE
Father, why are you telling me that?
THERAT
That you may know, and have a little pity
MADELEINE
Pity? I admire you as I always did.
136 PROGRESS
THERAT
Understand me, Madeleine. You must realize
what you have been for me. You must be the judge,
because it is you who will transmit memories of
tenderness and memories of pride to your children.
I have always thought of you as a sort of pledge to
the future. You were the visible, the marvelous
promise of to-morrow, the to-morrow of happiness
for which I struggled, to which all men ought to be
able to look forward, and be grateful at the same
time to those who have gone before them. When
you placed your confidence in me, Madeleine, I
read the whole future in your eyes, and as your
eyes reflected mine and you seemed to think the
same thoughts and have the same faith, I hoped
that some part of me would be passed on and
live, and a little of all my efforts be remembered
in the future.
MADELEINE
It will be, father!
THERAT
When I am with you I feel greater pride than with
any one else, because I love you most. Only when
people doubted my beliefs in your presence was I
so anxious to refute them and prove I was right.
I wanted to put a sacred mission in your hands.
And before you I feel more humiliated to confess a
mistake. I couldn't bear to see you even a little less
proud than I.
MADELEINE
But I am proud of you, father. You have no mis-
take to confess.
PROGRESS 137
THERAT (his head bowed)
Yes, yes, child
MADELEINE (quickly rising anxiously)
What mistake? What mistake?
THERAT (making a great effort)
During the last few months, you know, I have not
received any patients. I sent them to another
physician. Madeleine, I I have sent them to
to your husband!
MADELEINE
To Paul? Then ?
THERAT
Yes. I believe I believe that he is right.
MADELEINE
For months!
[She draws away toward the door, slowly.
THERAT
I confess it, child, because I want you to be happy,
I want you to live. But but you have no idea
what this confession has cost me. I want you to
feel just a little of your old pride in me. Be a little
tender toward your father. See I I'm
' crying. I am so sad
MADELEINE (at the door)
Yes, yes, father ! But (She goes out quickly,
as if she were walking on air) Paul ! Paul !
THERAT (rises and tries to take a step toward the door,
but falls)
Madeleine! My child!
MADELEINE (outside)
Paul!
CURTAIN
138 PROGRESS
ACT III
A simply furnished drawing-room. Therat is seated
in an armchair. He looks very old. Madeleine, whose
hair is beginning to turn grey, sits at a small table, uniting.
After a moment, enter Edmond Madeleine 's son.
EDMOND
Grandfather, I've come to say good-bye.
THERAT
Where are you going?
EDMOND
To class.
THERAT
What is it this afternoon?
EDMOND
The clinic.
THERAT
What professor?
EDMOND
Ferruel.
THERAT
Oh, yes. He's new, isn't he? They tell me he's
just published a book, an important book.
EDMOND
I don't know. But he's interesting. And the
course is fascinating.
MADELEINE (smiling)
You find them all fascinating.
PROGRESS 139
EDMOND
Yes I only wish there were more of them.
MADELEINE
So you enjoy them?
EDMOND
I'm mad about them!
MADELEINE
Do you hear that, father? You must have been
like that at twenty, weren't you?
THERAT
Yes. Oh, dear, yes. (After a pause, he says bitterly)
Poor boy!
EDMOND
Why, grandfather? Isn't it splendid to be so
enthusiastic? A doctor who isn't excited about his
subject would make a pretty poor shopkeeper.
MADELEINE
A doctor? But you're not a doctor yet.
EDMOND
I shall be in two years.
MADELEINE
Are you sure?
EDMOND
Absolutely. (To Theraf) But I've never seen any
one so enthusiastic as you!
[He sits down near Therat.
THERAT
Yes, I was, of course, I used to be. But I have
suffered a great deal as a result. (He puts his hand
to his heart) But I am not any longer.
140 PROGRESS
EDMOND
Nonsense!
THERAT
No: it is all too heart-breaking too deceptive.
And you must remember, the science I loved is now
an antiquated science, old like me. No, I'm not
enthusiastic now, and I no longer want to be.
EDMOND
Do you really believe that, grandfather? Then
why do you ask me questions every day about my
courses, and what I am taught ? Why do you explain
the things my teachers don't explain to me ? You 're
a wonderful teacher, and you are enthusiastic, grand-
father. You inspire me.
THERAT (raising his head with a smile which is full
of anguish)
Then I am still good for something?
MADELEINE
Father! The idea.
THERAT
Well, if I am, it's in spite of myself. I don't intend
any harm and it is harmful. I am afraid that
there will come a day when you will not forgive me:
the day you learn. Now you must run on to your
class, boy it is time
EDMOND
Good-bye, grandfather. I must be off. I'll come
back and tell you what we've done. Good-bye,
mother.
[He kisses Madeleine and goes out.
MADELEINE (going to Theraf)
Don't you need anything, father?
PROGRESS 141
THERAT
No, thank you.
MADELEINE
You're not suffering?
THERAT
Not very much, but you know I never feel very well.
MADELEINE
Doesn't Edmond tire you?
THERAT
Edmond? Why?
MADELEINE
He 's so exuberant.
THERAT
No, no, he's a distraction. Tell me: he said he'd
be a doctor in two years' time. He's determined,
is he? He wants to practise? Are you going to
let him?
MADELEINE
Naturally; you know very well
THERAT
But I always hoped
MADELEINE
Why? He's born to it. He loves science, and
apparently science loves him. Think, he will have
finished his studies at twenty-two. That's really
remarkable.
THERAT
Yes.
MADELEINE
And then, it's natural; he'll be a scientist, like his
grandfather and his father. He'll prove worthy of
them and their profession.
142 PROGRESS
THERAT
But his grandfather is nothing at all now.
MADELEINE
Don't say such cruel things. You know it's not
true. You know every one respects you, you know
how deeply Edmond admires you, and that his
ambition is to be like you.
THERAT
Yes, yes I know. But I am afraid. (He takes
her hand in his) You know, Madeleine, I don't
blame you, but one day the day I cried, and
you left me alone
MADELEINE
Father!
THERAT
I am not blaming you it was inevitable. I
often think of that day, and I am afraid the time will
come when science will take my grandson away from
me as it did my daughter. Some day Edmond will
learn that of everything I told him not a shred is
true. I shall be alone then.
MADELEINE
Father, please don't talk that way. Every one here
loves and respects you. Everywhere you are con-
sidered a great man.
THERAT
I hope I'll never see the day. But I don't think
I'll last -
[He puts his hand to his heart again. Enter Leglay.
LEGLAY
Has Edmond gone?
PROGRESS 143
MADELEINE
Yes.
LEGLAY (very respectfully to Therat)
Master, you haven't given your answer about the
Academy ?
THERAT
The Academy ?
LEGLAY
I told you: they asked me to insist on your coming.
They want to honor you in public. They haven't
seen you for twelve years, you know.
THERAT
They shall never see me.
MADELEINE
I think you're wrong, father
THERAT
No, I 'm right. I don't want to, and I am right.
No, what would be the use ?
\_Enter Vannaire.
VANNAIRE
I was told to come in, and I came. How are you,
Madeleine? Hello, Paul? How are you, Therat?
THERAT
Well, thanks.
VANNAIRE
Grand council, eh?
MADELEINE
We 're trying to persuade father to go to the Academy
of Medicine, where they want to see him again.
144 PROGRESS
THERAT
Exhume me! No, no. (He rises painfully) Van-
naire, give me your arm, will you? We'll have a
chat in the garden, and watch the dead leaves.
[Vannaire offers his arm to Therat, and the two go out.
LEGLAY (sadly)
The same old story!
MADELEINE
What do you mean?
LEGLAY
Always the same resentment.
MADELEINE
No, no, you mustn't say that. He's not resentful
toward you.
LEGLAY
But his silence, his obstinate silence
MADELEINE
It's not only when you are present: he was that way
even before you came back. He's often that way
with me, and he was with mother. He didn't blame
her for anything. Think how he grieved for her!
He talks only with Vannaire and Edmond per-
haps because they stand for the past and the future in
his mind, while you and I are the present. And he
suffers, you know. It's our fault.
[She sits dovm. A pause.
LEGLAY
Madeleine you, too
MADELEINE
It's the fault of his illness. Every time he puts his
hand to his heart, it is like a reproach. That is
PROGRESS 145
our fault. You yourself told me that with his power
of resistance, he would have lived a long time.
It's our fault
LEGLAY
No, it is not our fault; it was the fault of the facts
over which we had no control. Those facts crushed
him. They made us suffer, too. We weren't
selfish: we sacrificed ourselves. Remember that.
MADELEINE
Oh, I remember!
LEGLAY
Think of those eight terrible years, while I waited
for you. We were young, and we loved each other.
You never stopped loving me, did you?
MADELEINE
Oh, how I loved you!
LEGLAY
I spent days and nights in torture, when memories
and desires caused me fearful struggles with my
conscience. There were times when I was on the
point of throwing everything to the winds and
giving up every attempt to win you back. And
then I would return to my clinic or my laboratory,
ashamed. And I found in the anxious look of a
patient the power to carry out my sacrifice.
MADELEINE
Yes, we have suffered. For the sake of our pride,
wasn't it?
LEGLAY
Possibly, Madeleine. If neither you nor I had had
it, perhaps everything would have blown over, but
146 PROGRESS
it would have been shameful. Pride, yes, but it
was the pride that refuses to be happy at the price
of base compromise, the pride of suffering for some-
thing great for faith.
MADELEINE
Faith?
LEGLAY
Yes. The same faith was in us both.
MADELEINE
But we suffered because we thought differently.
LEGLAY
So it appeared. You believed in your father, didn't
you? Why?
MADELEINE
Because I loved and venerated him.
LEGLAY
You loved him because you saw in him the work of
a lifetime, devotion to mankind, the great unknown
masses; an unswerving ideal of happiness for others;
you saw in him a great, unselfish conscience, that
thought and acted for the good of others. You
admired your father, who refused to think of himself.
It was my ambition to be like him. We were both
urged on by the same sentiment. But he stood be-
tween and separated us, caused us untold suffering.
If it had not been for him, we should have been
just selfish lovers, happy, but with no true ideal
fleshly and of the earth. But the day we came
together again, we enjoyed something new, some-
thing grand, uplifting: the grave joy of deserved
and ennobled happiness. (Going to her and taking
her hand) You felt that, Madeleine, I know you did.
PROGRESS 147
MADELEINE (troubled)
I don't know
LEGLAY
I'm sure you did. Before we were separated, a sort
of shame made you turn your face in moments of
extreme passion. Now you feel that our love is
not merely a futile pleasure; you feel that within us
there is something more than ourselves. You look
at me and you see the whole world everything
that I struggle for. (They embrace) In this kiss there
is a touch of bitter remembrance : the fears and hopes
we have experienced prolong it, carry us beyond
and above ourselves. In you it is the whole world
I love, and its aspirations toward happiness, paid
for by suffering.
MADELEINE (putting her hands about his head and
drawing it towards her)
I see that in your eyes.
[They kiss again and look into each other's eyes. A
pause. Enter Therat, slowly, leaning on Vannaire's
arm.
VANNAIRE
Brrr! It's getting cold! It's more comfortable
indoors.
THERAT
Cold outside and sad!
[He sits down.
VANNAIRE
No, not sad. To-day we see the beautiful melancholy
splendor of autumn, but there's nothing sad about it.
148 PROGRESS
MADELEINE
Isn't it beautiful? The leaves are getting richer and
richer every hour.
THERAT
And more fragile and tremulous.
MADELEINE
They are never more beautiful.
THERAT
Yes to those who can hope to see them bloom
again! In a month's time the branches will be only
black lines against a livid sky. They are already
alone in the garden. (To Vannaire) That rose,
that last rose I showed you the petals, so withered
and faded! And the dead leaves look like flesh at
an autopsy. I remember that rose the day before
yesterday. It was radiant then; its color seemed to
affect the atmosphere. It stood so straight on its
stem that it seemed to exercise some sort of power
and be worthy of its high-sounding name: "Glory
of Dijon!" What is left? A little decayed matter,
which will become dust to-morrow; nothing of the
marvelous brilliancy that proudly shot its color into
the sunshine.
VANNAIRE
Now you're thinking of yourself. But something
does remain. In your memory there remains that
brilliancy.
THERAT
My memory will soon be dead.
VANNAIRE
It will exist in other memories. Other roses will
PROGRESS 149
bloom, and people will watch and examine them
more carefully because of the memory of the first.
What has once truly lived never dies; what has
been appreciated and understood, lives. Every
dead rose has, before it withered, impressed its color
on the soul of man. When, to-day, we try to think
of a delicate tint with which to adorn ourselves,
all the flowers in the world, all that have ever existed,
have their share in our choice; a combination and
modification of their tints goes to make the desired
shade, which gives us joy. Every flower has left
its streak of color; we do not always see them, but
we feel their influence, because those who have gone
before have seen them. No, Therat, nothing that
has once truly lived ever dies.
[A pause. All four are deep in thought. All at once
Therat, with a slight sigh, puts his hand to his heart.
Vannaire, Madeleine and Leglay dart toward him.
MADELEINE
Father, what's the matter? (Therat does not answer)
Father!
LEGLAY (feeling Therafs pulse)
Master!
\A long pause. Therafs head falls heavily against
the back of the chair. They all look anxiously at him.
THERAT (raising his head)
It's nothing not this time. I 'm I 'm still good ^
for (Looking at Leglay, who holds his wrist) How *
long do you think, Leglay?
LEGLAY (embarrassed)
Oh, there is no reason why
150 PROGRESS
THERAT
Come, come, you know as well as I do
LEGLAY
I see no alarming symptoms.
THERAT (speaking with difficulty)
Look, look at that hand. (He shows his hand) It
it's arter arteri help me: arteri
LEGLAY
Arteriosclerosis ?
THERAT
Withered! Yes. Already you see I don't
remem I can't think of the word. Isn't that a
symptom, Leglay ? That's a phenomenon of a
of a (With a gesture of profound despair) I don't
remember ! Of of aph !
LEGLAY
Aphasia? No, no. You're just a little tired and
dizzy.
THERAT
Leglay, in a month two months, at the outside, I
shall be dead.
MADELEINE (shocked)
Father!
VANNAIRE
Now, now, Therat, you only imagine
LEGLAY
You are mistaken.
THERAT
I am not mistaken. If I can't think of the words,
I know the facts. I know and I see. I can see
my heart and my arteries. I know they are used up,
PROGRESS 151
worn out, practically empty. The heart may be
good for another month, but no more
LEGLAY
I assure you, master, you're exaggerating. The
disease is not so far advanced.
THERAT (with authority)
You are mistaken. You don't know. You ought
to know. I'll let me explain: the hypo
hypos (irritably} Oh, I can't remember the word!
LEGLAY
Hyposy stole?
THERAT
Yes. (Therat looks intently at Leglay} Yes, but
I I see, you know what I am going to to tell
you. You know as well as I better, because you
know the words. I know things, and I realize that
my heart is atrophied. I know what will cause
my death, but I can't explain it. It would be better
to die as soon as possible. I'm not a scientist.
Leglay, tell me tell me the word hypo
LEGLAY
Hyposystole.
THERAT
Hy po sys tole. Hy po sys sys
No, I can't! It's all over!
VANNAIRE
Come, now, my dear Therat, this isn't anything.
You're just tired out
MADELEINE
Of course, father. Don't think about it any longer.
Rest, and don't wear yourself out.
152 PROGRESS
THERAT
It's all over! I don't remember! The words leave
me, one by one. I don't know anything. I I'm
dying
[Enter Edmond.
MADELEINE (surprised)
Home so soon?
EDMOND
Yes. I didn't wait till class was over.
MADELEINE
You're excited? What happened?
EDMOND
Oh Ferruel, the professor, spoke of father
LEGLAY
Of me?
EDMOND
Yes, and grandfather, too.
THERAT (rising)
Me?
LEGLAY
What did he say?
EDMOND
He spoke of your work your methods he
criticised them
[Therat listens breathlessly.
LEGLAY
But you are allowed to discuss questions in class?
You said something? What did you say? You
didn't let that pass ?
EDMOND (hesitating)
I said nothing at all.
PROGRESS 153
LEGLAY
What!
EDMOND
Because I had nothing to say.
[Therat, with renewed effort, stands up even straighter
than before.
LEGLAY (agitated)
Then do you think Ferruel is right, and I wrong?
Do you believe that? You didn't defend me?
EDMOND
You see in a way, he is right. He said
LEGLAY
What? And you pretend to judge? You must learn
first, or keep still!
VANNAIRE
Leglay, don't get excited.
MADELEINE
Paul!
THERAT (leaning on the arm of the chair)
Let him talk, Leglay. It's his turn now!
LEGLAY (in a whisper)
His turn !
THERAT
Tell us, son
EDMOND
It's this way: Ferruel cited examples proving that
certain curative methods are not always effective.
(To Leglay) You never denied that, did you? He
praised you highly, but he added that you were
wrong in applying your methods too rigorously.
154 PROGRESS
He thinks it's dangerous always to begin with
experimenting
LEGLAY
He doesn't know what he's talking about ! Of course,
Ferruel thinks I 'm becoming too prominent.
THERAT
Leglay, don't talk that way. I used to think the
same of you, and I was wrong. Go on, son, what
else did he say?
EDMOND
He says that there are positive means of knowing
certain cases where the therapeutic method is useless.
Then he talked at length about you, grandfather,
told about your methods of diagnosis, which he
thinks splendid
THERAT (looking proudly at Madeleine)
You see?
EDMOND
I couldn't say anything, because he was so respectful
to you both, and he admired you.
LEGLAY
Do you think so?
EDMOND
Yes, he said you'd both done splendid service in the
cause of science, only that you had both gone too far
hi the application of your ideas and the valuable
discoveries you had made. He says you complement
each other, and that the new science will take some-
thing from each of you as a starting point in the
search for a new method, and definite conclusions
PROGRESS 155
LEGLAY
Definite! Ferruel going to lay down definite con-
clusions ! You youngsters going to arrive at definite
conclusions!
YANNAIRE
Leglay, don't lose your temper. Your son is just as
you were at twenty. His convictions are just as
strong as yours were. Let him keep them. Perhaps
it's absurd, or unjust, but you know it is necessary.
THERAT (slowly, quietly, with an effort, but with passion)
Yes, yes, it is necessary, it is necessary, and just,
Vannaire. You must let him believe, because he is
going to search. Allow him to believe he will find
the ultimate, the definite conclusions, for without
that faith he would not seek them. Perhaps, per-
haps, Leglay, he will crush us, but it makes no differ-
ence. Leglay, come, give me your hand. I I
begin to understand; I can see things clearly now.
You were right, Leglay, not to give in to my selfish
pride; and Edmond is right in looking fairly and
squarely at your work and mine. Ferruel has a clear
vision and it it's always that way. One
after another, we work at the same task; even when
we seem to contradict each other, and disagree and
dispute, even when we are mistaken, we are leading
men toward the same goal. Each of us marks a
stage in progress. The future is never mistaken.
I did what it was necessary for me to do. You too,
Leglay. Madeleine's instinct was right when it
drove her toward you. It was right that she should
disagree; without that struggle, our labor would have
proved fruitless. (To Edmond) You, son, work
156 PROGRESS
on, and don't be afraid to attack what we have estab-
lished. Go on, your faith will always help you;
go
[He falls into his chair, exhausted, his eyes closed.
Every one goes toward him.
EDMOND (deeply stirred)
Go! Father, I don't
THERAT (opening his eyes again)
Yes, yes, you will go on if you think it necessary
and worth while. Promise me, promise me. You
know I haven't much longer to live. My mind is
clear now. I can see you going on, without turning
back, along the road we once trod. You are right.
Go on ahead
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