^ P^W^^>5'W ' ^''''^^ J LIBRARY OF THE University of California. Class H-~j%i MONA MONA An Opera in Three Acts The Poem by BRIAN HOOKER The Music by HORATIO PARKER )» ) •> ■^ New York Dodd, Mead and Company 1911 Copyright, igii By Brian Hooker All rights reserved Published September^ lau C < • 9 C « ARGUMENT In the days of the Roman rule in Britain, Quintus, the son of the Roman Governor by a British captive, has grown up as one of his mother's people, known to them as Gwynn; has won place and power among them as a Bard, making their peace with Rome; and is to wed Mona, the foster-child of Enya and Arth and last of the blood of Boadicea. But a great re- bellion has brewed in Britain under Caradoc, their chief Bard and Gloom, the Druid, foster-brother of Mona, She by birthright and by old signs and prophecies is foretold their leader; and thereto she has been bred up hating Rome and dreaming of great deeds. This Gwynn with- stands in vain ; and lest he lose Mona and all his power, is driven to swear fellowship in their con- spiracy. Even so, for urging peace he is dis- owned and cast off by them and by her. Nevertheless, he follows her as she journeys V 223131 ARGUMENT about the land arousing revolt; holding back the Roman garrisons from seizing her, and secretly; saving her life and the life of the rebellion many times. For this he is blamed by The Governor, his father; but answers that through Mona he will yet keep the tribes from war. The Gov- ernor lays all upon him, promising to spare the Britons if they bide harmless, but if they strike, to crush them without mercy. Gwynn there- fore, meeting Mona upon the eve of the battle, so moves her love for him that she is from then utterly his own. And in that triumph he begins to tell her of his plans for peace. But she, not hearing him out, and barely understanding that he is a Roman, cries for help and calls in the Britons upon him. Yet even so she will not betray him, and lies to save his life. They make him prisoner, and led by Mona and the Bards, rush forth against the Roman town. The fight is crushed. Arth falls, and Gloom- is hurt to death saving Mona against her will. Gwynn, escaping in the turmoil of defeat, comes upon them and tries to stay further harm, telling VI ARGUMENT ^Mona of his parentage and beseeching her aid. But she, having taken him for a traitor, takes him now for a liar; and deeming all their woe his doing and her fault for having saved his life, she slays him with her own hand. Then pres- ently come The Governor and his soldiers; and Monaj before she is led away captive, learns how Gwynn spoke the truth, and how by yielding up her high deeds womanly for love's sake she might have compassed all her endeavor. Vll THE PERSONS MoNA, — princess of Britain. Enya, — her foster-mother. Arth, — husband of Enya; a British tribesman. Gloom, — their son ; a Druid. NiAL, — a changeling. Caradoc, — the chief Bard of Britain. The Roman Governor of Britain. QuiNTus, — his son; known among the Britons as GWYNN. Roman soldiers; Britons, both men and women. The Place is Southwestern Britain; The Time is about the end of the first century a.d., during the earlier years of the Roman occupa- tion. The story, however, is not historical, but wholly fictitious; nor has any attempt been made to secure historical or archaeological precision at the expense of human vividness. ACT THE FIRST Jrth's Hut. Morning in Midsummer, ACT I The scene represents Arth's hut in the forests of southwestern Britain: a rough, sombre interior, so arranged as to appear smaller than the actual di- mensions of the stage. Walls and roof are of unhewn logs; the floor is of earth, strewn with rushes and the skins of beasts. Other skins and vari- ous clumsy implements hang upon the walls and from {he rafters; but there are no warlike weapons to be seen. The rear wall {which is the front of the hut) slants up stage from * right to left, so that the left side of the set * Right and Left mean throughout the right and left of a person on the stage, facing the audience; Above and Beloiv mean away from and toward the footlights. MONA is considerably deeper than the right, and the left wall clearly visible to the audience. Rather * below the centre of this left wall is a large hearth of rough stones, on which a fire is dying down to flickering flames and red embers; the faint wreaths of smoke from it rising through an opening in the roof overhead. Midway along the rear wall is a large door- way, framed with axe-hewn timbers; and on the lintel across the top of this doorway appears the Sign of the Unspeakable Name /\\ burned deeply into the wood, and large enough to be clearly seen, indicating that a Druid has his dwelling here. Curtains of skins, drawn back from the doorway, show the sunlit sum- mer forest without; the light from which, pouring inward through the *See note on page i. 2 MONA doorway, makes a moving brightness down the centre of the stage. The right wall is a clay-and-osier partition, pierced near its upper end by a smaller doorway covered with a skin curtain, which leads into a dark inner room. A rude oaken bench stands diagonally above and to the right of the fireplace; bunks or settles are built out from the rear wall on either side of the door and from the right wall below the doorway there. To the left of this last, and as far down as possible, is a clumsy table with benches above and below it; and to the left of this again, at the edge of the lighted space, a low oaken stool. The light appears to come wholly from the fire and through the door^ way from the forest without; so that, although the whole stage is light enough to be clearly seen, and the cen- 3 MONA tral portion light enough to distinguish facial expression, the general effect is that of gloom and shadow; deepening around the walls, reddened by the glow of the fire to the left, and con^ trasting with the brilliant sunshine of the green forest outside. As the curtain rises, MoNA is sitting on the stool, bent forward and gazing across into the fire, her white profile, the flame of coppery hair that falls hack along her shoulders, and the gold rings about her brow and right arm thrown into relief against the pale grey of her loose robe, Gwynn, in the green robes of an Ovate, or scholar-bard, stands in the centre of the stage, a little above her. NiAL, in ragged deerskins with a wreath of flowers around his head, lies half asleep upon a bearskin before the fire, his hack toward them and his head up 4 MONA stage. Above the table, Enya, in dull brown, is busy removing horns, -platters, etc., from the table to the inner room and to their places upon the wall. This action continues for some minutes; but at the curtain-rise she is motionless by the rear wall, her hack to the audience. So that MoNA and GwYNN, both by their positions in the light and by the coloring of their costumes, are made emphatic in the centre of the opening picture. GwYNN Not long now, till the end ! MoNA Until the end. . . GWYNN Not long until the end of all my doubt, Not long until the end of all thy fear — 5 MONA Kisses half-willing, half-reluctant arms, And eyes that shirk their promise. I have made peace, And brought down rest over this angry land Whose trouble was thy trouble . . . Now I make Mine own all I have known so long for mine, All thy dear heart hath given. MONA [{still without moving) Have I all To give thee, Gwynn ? [Enya has come down to the table; she pauses there, watching MoNA closely, Gwynn Still the old fear 1 6 MONA MONA (with more animation y turning to him) Not fear . . . Only . . . these many days I have not heard Thy voice, nor seen thine eyes . . . and the old dreams Press closer, and thy face fades, lost among A sea of raging faces, and a forest Of white swords; and thy voice, murmur- ing joy, Blows down a wind of war-cries . . . What hath held thee So long and far away? GWYNN Only the need Of making all things ready for our love. Enya {to GwYNN, sharply) Hast thou made the bride ready to be won? 7 MONA GWYNN It is this house : there Is a shadow here. MONA {touching her breastj There is a shadow here, Gwynn. [Enya starts, and moves forward as if about to speak; hut as Gwynn goes on without noticing, she re- strains herself. Gwynn Now I build A house for us twain In the forest here, Where sunlights laugh through moving leaves all day, And the sweet blossoms brighten ; where all night Earth breathes joy and the moon makes mystery Of silvern glamour — 8 MONA MONA (heavily and sadly) Thou shalt never build That house, Gwynn. GWYNN What new change — ? Enya Trouble her not — There is more in her than thy love can know. Gwynn Therefore I love her. MONA Dear, I am not changed — That IS our trouble, that I cannot change — I cannot be like other women, loved And loving, happy. I was never so ; Only, because of thy dear looks, I dreamed Of love and thee a little — being young 9 MONA And thrilled with May, a woman, feeling hands Of little children touch me in the daric, Unborn, crying to me to mother them. . . I dreamed of them and thee. Waking, I know That I am set apart. l^She rises, and comes down a step, NiAL st'irSy and turns , half raising himself to watch them, GWYNN What fancy — MoNA Dear, No fancy. Look — \^he lays her hand upon the bosom of her gown, as if to draw it away from her throat. Enya springs forward in violent protest. ID MONA Enya Thou shalt not show him 1 No I MONA Look! \_She draws the dress from her breast, and shows there the sign /\\ red against the white skin like a brand or a birthmark. Enya wrings her hands. Gwynn starts back to the left side of the lighted space, so that the centre of the stage, up to the doorway, is left open. NiAL is on his feet, curious and wondering. All glance instinctively from MoNA to the mark above the door. Gwynn The Name I II MONA MONA God's great Name. Enya '(^to GwynnX Better for thee Not to have known. GWYNN The Name that none may speak . . « Mona, what means this? MONA I was born therewith. I cannot read its meaning ; but I know Some great adventure waits for me, since God Hath set His seal upon me. How shall I Tarry for love? NiAL [(with a child^s curiosityy I cannot understand . . ^ What IS this great thing Mona has to do 12 MONA That hinders loving? Does God write his name On them that shall not love? I have It not . . . I cannot love, because I have no soul. MONA I dare not love until my soul is free. GWYNN Thou art free! How should this great task divide Thy fate and mine asunder? Being one We shall be stronger for all good. . . Dear love, What hinders the fulfilment of our dream? MONA I have had other dreams. GWYNN Love, thou hast been Alone and listless, and the warm youth pent 13 MONA Within thee, frustrate, like new wine that works Close-covered, vapors up these visions. Come With me, take life, and leave them ! Come with me Out of the shadows, out of the aimless days And empty nights — find thou humanity And God shall find thee greatness ! MONA Listen, Gwynn — And thou. Mother, in dream-lore deeply wise — Three nights together have I dreamed this dream : [NiAL has already settled back, un- comprehending, in his place by the fire; Enya seats herself upon the bench below the table, and Gwynn, a little later, on the right end of the bench above the 14 MONA fire. Only MoNA is left stand- ing and within the lighted space. I walked upon a windy beach between Dark forest and dim sea. Low-swollen clouds, Heavy with storm, gloomed overhead and hung Bellying against the tree-tops. Close ashore Towered one huge wave, curving over me As a serpent curves to strike, crested with cloud And foam, the hollow gulf beneath alive With tremulous lights and angry glints of green. High overhead looming: so that I seemed To walk in a long cavern roofed with cloud And walled with foam and forest. And I bare Upon my breast a naked sword, close held As a mother holds her child. So when the surge 15 MONA Poised to plunge down upon me, I thrust forth The sword, shaking it seaward, and the sea Bent backward and forebore. Meseemed one stood Beside me, veiled in a white shroud, whose face I could not see, that strove to snatch away My sword. Therefore I smote and slew him. Then The surge plunged, and the clouds burst, and the trees Fell, thunder-rent, and whelmed me. And I woke Trembling, and seeming still to see the sword And the grim cloud and the green surge. And now Three nights together have I dreamed this dream. i6 MONA GWYNN (on his feet, but still in the shadow) And the dream thrice beholden prophe- sies ! — I wonder ... [He breaks off, pondering, MoNA turns to Enya. MONA Mother . . ? Enya Dreaming of the sea Foretells great happenings; dreaming of a sword, Struggle . . . but then the forest, and the cloud, And the white figure with no face . . . Nay, child, I cannot tell. I cannot read this dream. 17 MONA GWYNN God mocks us with a future half fore- known. MONA {dropping hack into her seat, and brooding there, her face resting upon her hands) Nial, dost thou never dream ? NiAL Always, I think — Or never. Night by night, and day by day . . . It must be all true, or else all a dream. MONA {still pondering) I alone between surge and forest . . . Gwynn, What if the sea be — Rome ! i8 MONA GWYNN (startled and uneasy) Rome? — MoNA The black flood That whelms our miserable land 1 \_Js GwYNN ^5 about to protest, Arth strides in at the central doorway — a lean, powerful old man with a bristle of grey hair and beard; bare-armed and bare- kneed, clad roughly in skins. He advances to the centre of the stage, and hurls a short Roman sword, unsheathed, at Mona's feet. Arth Here, child, I bring thee a child's plaything ! [The women have risen in surprise, 19 MONA and NiAL also is upon his feet, peering curiously at the sword, GwYNN remains up left, in the shadow, MONA Father I Enya Arth . . . [MONA has picked up the sword and is examining it. Suddenly she raises a drawn face of dreadful wonder, MONA It is the sword I dreamed of in my dream I GWYNN The sword of Rome . . ! MONA Father, whence came this ? 20 MONA Arth (his primness in sharp contrast with her wonder) One That was a Roman soldier gave it me Yonder . . . These Romans are a weakly breed I Enya Thou art a swordless man — it is unlawful For thee to fight, or to bear weapons . . . Arth Bah! I had no weapon — [He makes the action of strangling an enemy. Only these bare hands Of an old man. Enya Blood ! Blood ! Ever more blood ! 21 MONA Arth {disregarding her terror, and looking lit- erally at his hands) Only a little, bitten from his lips In dying. Enya Thou hast roused the wolf I Oh, now We shall endure vengeance! Now, when our sleep Was safe, and our days free — Arth Free I Hear the woman I Ay, free like dogs, free to the lash and the chain, Licking the Wolf's feet lest we die •— new stripes Over old scars, one shame alike to sting Surrender and rebellion, — tribute wrung Out of dry hunger, swords taken away 22 MONA From free hands, our shrines desolate, our Bards Forbidden worship, our kings dead, our women Shared with our lords — all men with blood in them Hating the Wolf anew with each new day, Eating and drinking hatred! [GwYNN has listened with growin^^ displeasure, sharing neither Enya's terror nor Arth's rage. He now comes down, facing the furious old man with calm au- thority. GwYNN Thou art a fool, Arth. Blood will follow this. Arth {noticing him for the first time, scornfully) Gwynn ... the man of peace I What dost thou here? 23 MONA GWYNN What I have ever done — Guarded this house from trouble. Thou hast broke The peace, wantonly slain a Roman. Fool, What hope hath Britain save In Rome's goodwill ? Arth Rome's goodwill! The embrace of the soft scourge I Kisses of the kindly spur I A fire's friend- ship, A wolf's love I [MoNA has been standing bright-eyed, the sword unconsciously clasped across her bosom, as a mother, holds her child. As Arth -finishes, she springs forward in a frenzy before the others, waV" 24 MONA ing the sword at arm^s length, and shouting. MONA Britam, old Britain 1 Ruin to Rome ! Enya {catching the infection, with shrill fury\ Ruin to Rome! GWYNN Be still, women 1 [Their hysteria wilts before his con- fidence. He turns, facing Arth, and pointing steadily to the Sign above the doorway. By that Sign, I bid thee, peace. Now . . . thou hast slain a man — Go bury him. [Their eyes fight. Arth bows his head. 25 MONA Arth I will go bury him. [He goes out, slowly, into the forest, MoNA crosses to Gwynn, and slides her left arm about his neck, the sword hanging loose in her right hand. MONA Thou art a man, Gwynn. . . NiAL I cannot understand — .What had he done, the Roman, wherefore Arth Should slay him? MONA ^{turning sharply) Robbed us of our freedom. 26 MONA NiAL Nay, Are we not free to breathe sweet breath, and sing Under the sun, and laugh beside the fire, And wonder at the world? MONA (to GwYNN, examining the initials ^ S. P. Q. R. upon the hilt of the sword) What mean these runes Here graven? GWYNN Senate and Roman People. MONA {swinging the sword) See How light It is I Even I have strength enough 27 MONA To wield this. How can such women's weapons meet The long sword and the British axe? GWYNN Not so — IHe takes the weapon from her, and illustrates his words with the easy precision of a trained man: at frst quietly, then with increasing enthusiasm, until at the last he is vividly possessed by his pa- triotism, Rome never strikes. . . Thus — thrusting . . . The point kills Quietly. . . The edge wastes power. First the spears, Hurled all together, bite and bend — then down Swings the long legion, every man In turn Guarded and guarding, shield by shield, and sword 28 MONA By sword, closing the ranks above the slain — The third line ready with new spears — not men But one steel wall of manhood — eagles borne Forward, and trumpets clamoring vic- tory — Men die; but the living legion marches on Conquering. Romans perish — Rome abides. Drinking the virtue of her dead strong sons. Imperial, immortal! Enya {sourly, with half-suspiciony Man of peace, Thou knowest our enemies' warfare over- well I 29 MONA GWYNN I am a Bard. . . It is my work to learn. . . MONA (eagerly) Hast thou fought with them? GwYNN I have fought . . . with them — Before I was a Bard, I fought with them. MONA To have stood at sword's point with the very wolf . . 1 iTo have pierced flesh, and seen blood flow ... to have slain Romans • — ■ and now, to love Rome I GVi^YNN Now I love thee, And dream of peace. [MoNA turns listlessly away, and 30 MONA seats herself upon the stool, her head in her hands. Enya is above the table, and NiAL back in his place by the fire, while GwYNN Stands at the left of the lighted space, above the fire: so that the picture as well as the mood of the opening scene are reproduced. MONA I have had other dreams : Fire, and a sound of battle, and a storm Of hungry swords . . . our towns made strong once more. Our shrines made holy as of old. . . \_She rises nervously, and paces to and fro across the lower edge of the light like a caged creature, hen hands clasped over the mark on her. breast, 31 MONA Great God, What have I done with all this life of mine To make life worthier? What have I done — What can I do? NiAL {innocently, with the air of having found the answer) Thou art very beautiful. MONA Beautiful! Will my beauty break the chain ? — If I might make thereof a charm, to snare The leader of our enemies — and then, While he leaned down and loved me, strike one stroke Into his wolf-heart, and leave Britain free. . . I dream this ; who shall make it more than dream? 32 MONA [GwYNN, Standing motionless with the sword in his hand, has un- consciously stiffened into atten- tion, the sword held vertically at his side, MoNA turns upon him suddenly, — Give me the sword. GwYNN Wherefore? MONA Give me the sword! Thou art like a Roman soldier, standing so — It is mine. Give it me ! \_She advances, and tries to take it from him. He resists; then, see- ing that she is in earnest, lets go. Their position, at this instant, is exactly that of the previous line: " Thou art a man, Gwynn," on 33 MONA p, 26. But in snatching the \sword, MoNA has drawn its edge across Gwynn's hare right arm* She starts back to his right, drop- ping the sword, and catching his right hand: so that Gwynn's bleeding arm is outstretched in the centre of the stage, Enya and NiAL, at the same instant, spring forward and down stage to right and left, horrified at the omen. All this happens at once and in a moment, Mona — Gwynn I [At the moment of her cry, Gloom enters through the central door- way, releasing the leather curtain so that it falls behind him, cut- ting of the sunlight. The stage light darkens and reddens to fire- 34 MONA light; and all eyes are turned upon Gloom standing motionless before the doorway in the white robes of a Druid, his arms stretched outward and upward, and his long white staff held ver- tically in his right hand. His black hair is crowned with oak- leaves, and his black beard flows down over his breast. After an instant, he brings his arms down, stretching them outward and downward, the staff still held ver- tically; then folds them inward upon his breast, so that the staff, held between his hands which are clasped at his throat, forms with his forearms the Sign of the Unspeakable Name, Then he comes down to Gwynn's left and just below him; picks up the sword, and looks from it to 35 MONA Gwynn's bleeding arm, speaking with a solemn relish at once prophetic and malicious. GWYNN {as Gloom enters) It IS naught, . . Gloom By that same blade it Is thy doom to die. MONA Gloom . . ! GwYNN {facing Gloom)' I shall not be slain by prophecies, Nor by ill-will. {^Ignoring him, Gloom passes the sword to MoNA, who takes it mechanically, and speaks to Enya. 36 MONA Gloom Mother, take Mona hence. Tell her. . . Thou knowest all she needs to know. . . [Js Enya and MONA go out by the doorway to the right, Gwynn steps back below the table; and Gloom, crossing up to the cen- tral door, draws back the curtain and calls through. Let the Bard enter, Father. [Arth appears in the doorway, usher- ing in Caradoc. He is very old, with a skin like wrinkled ivory, and hair and beard like spun glass; his costume is simi- lar to those of Gwynn and Gloom, but deep blue in color. All his movements are deliberate and impressive; and he has an old saint's air of dreamy optimism. 37 MONA The others hear themselves to* ward him with reverence. He stands a moment under the door- way, going through the same rit- ual as Gloom had done, hut with greater dignity and meaning, Arth and Gloom fall hack to right and left of the door. NiAL remains far to the left, he- low the fireplace; he takes no part in the ensuing scene, nor do the others notice his presence more than they would the pres- ence of an animal, GWYNN '{as Caradoc enters) Caradoc . . I Caradoc The peace of the Great Name upon this house And all that dwell therein I 38 MONA All And with thee, peace. Caradoc (coming down to the centre of the stage) Now let there be an oath between us. GWYNN Nay, I swear no blind oaths. What does Cara- doc Here? What is this that Mona needs to know? [In answer, 'Caradoc throws hack his gown. Gloom and Arth do likewise, showing that each is girt with a great sword. To- gether the three blades are drawn and held aloft, Caradoc's ver- tically, the other two slanting in toward its uplifted point, 39 MONA Caradoc The peace is broken: we have blessed the steel. Gloom (as the swords are sheathed again) Thou shalt know all, being made one with us. GWYNN (bitterly) This Is thy doing, Gloom. Thou hast un- done Britain, and all our labor. Arth Bah 1 He loves Rome overwell, prating of peace, peace, peace — Put thou no trust In him. ' 40 MONA Gloom ( triumphantly y If a man swear An oath, and bind his honor with a bond, He shall not break his word. GWYNN Have we not sworn An oath to keep the peace of the Great Name? I swear no oath to drown this land in war. Caradoc There is no peace that is not won by war. [GwYNN still hesitates. He must either swear disloyalty to Rome, or give up Mona, his influence €imong the Britons, and perhaps his life. To the others, of course, he appears merely driven from his known position as a peacemaker ; and in this Gloom 41 MONA takes pleasure. After a moment Caradoc adds gravely: Being a Bard, thou art made one with us. Arth Being a Briton, thou art one with us ! Gloom Mona herself shall make thee one with us. [GwYNN still wafers, and Arth's temper gives way. Arth Enough I Art thou a Roman? GWYNN {howing his head) I will swear. Caradoc Then let there be an oath between us. l^He drives his staff into the fire, caus- ing it to blaze up. Then cere- monially draws forth a burning 42 MONA brand, which he elevates before the sign on the lintel, saying: Now, By the three circles round the Oak, whose names Are Death and Life and Godhead . . . by the signs Of Earth and Air and Fire . . ; and by the power Of the Great Name, . . . which made and maketh all. . . Our hearts are sealed forever to this trust ; Our lips are sealed until the work be done. [At the pauses, he presents the brand in turn to Gloom, Arth, and Gwynn; each touches the fire, and carries his hand to breast and lips; then Caradoc breaks the brand in three, laying one fragment upon the earth, throw- ing another into the air, and re- turning the third to the fire. 43 MONA All By the Great Name ; By Earth and Air and Fire. Caradoc The Gorsedd is made ready. IHe seats himself upon the bench above the pre, Arth and Gloom upon those to right and left of the doorway. Gwynn remains standing, near the table. Gwynn Caradoc, Thou art old, having seen generations, wise With love and sight and sorrow. Thou hast seen Boadicea, and the bloody fall Of that great uprising, and many wars Since then, lesser but not less vain. Say thou How Britain shall fight Rome I 44 MONA Caradoc Thou shalt know all — • It is true, Gwynn, that all our wars were vain. They were but partial. Rome is Rome. Till now Britain was never Britain. Here a tribe And there a province fought and fell. Even she, The Old Queen, led only West Britain. Now, Mount, shore, and plain, wild wood and wanton town, Rise every man together, on one day. Gwynn It is no matter. Say that Britain means Britain for once — Rome is the world. Besides, What surety have ye that all tribes will rise Together? This has all failed many times ! 45 MONA Some will rise, others wait to learn how those Fare, and so all perish. Rome is Rome, one, Unconquerable, eternal! Arth Bah ! That fear Crawls in our young men's blood. They have sucked it in From weak, soft breasts. A Roman is a man, Boy, not a god. Are we men? Caradoc We are more : We are the living will of the Great Name, Foredoomed, ordained, prophesied. We have found That leader long foretold who shall stamp down The Wolf, and save Britain — that leader sought 46 MONA Through many years and tears, whom all shall trust Even as a babe its mother, and obey As a young maid her love. GWYNN I have heard . . . but where Shall ye bring up one man all will receive For the one prophesied? Where learned he war And how to lead men? Who, but his own folk That knew his childhood shall say: " What, our boy The foretold hero?" And sneer, and spread their scorn Till many doubt? Where find ye such a man? Caradoc No man. 47 MONA GWYNN {logically triumphantj What god, then? Gloom Nor no god. We found A woman. GWYNN Woman. . ! Gloom (confirming with some pleasure Gwynn's horrified anticipation) Mona. Gwynn By God's name. No ! Ye shall not make her your sacrifice ! {to Arth) Thine own child — - Arth Nay, no child of mine. 48 MONA Caradoc Myself Did bring her hither twenty years ago, To be reared up in secret. She is the child Of Arvirax and Gerna, very blood Of the Old Queen, who, dying, told of her. GWYNN She IS herself, were she the very Queen Herself, reborn! Ye shall not blast her joy For a dream, and a dead woman's proph- ecy, And a fool's hasty blood-lust, and a war Vain, lost before beginning, worthless if won — Ye shall not drown her in your surge of blood! \_He raises his arms in the Sign, turn- ing toward the doorway, and looking from Gloom to Cara- doc. 49 MONA Is this the peace ye blessed this house withal? IThe others have risen. Caradoc comes forward, facing him, his staff held before his breast, Caradoc There is no peace that is not won by war. [^Then as Gwynn is about to protest further, he adds, pointing to the doorway. We are thine elders, Gwynn. Be silent now. [He nods to Arth, glancing toward the door on the right; and NiAL, obedient to Arth's gesture, goes out through it. There is a short pause. Then MoNA enters alone, tall and pale, great-eyed with inspiration; dressed, like Gloom, in the white Druidic Robes, and with the sword still 50 MONA in her hand. She comes for- ward slowly, and kneels before Caradoc in the centre of the stage. Gwynn is to the right, below the table, Arth above and to the right, Gloom below and to the left. Caradoc {laying hands upon her head, quietly) The peace of the Great Name upon thee, and the power Dwell with thee. *. . MONA {rising, tense with exultation) It Is all so wonderful. I to fulfil old prophecies. . . {glancing toward Arth)' I not Thy daughter, but a daughter of strange names In an old tale. . . 51 MONA I to save Britain . . . Strange As birth. Caradoc Show me the sign, child. [^She draws the robe away from her breast. The stage picture is the same, with different persons, as when she first showed it to GWYNN. Twenty years Past, I beheld that sign, and saved the child For Britain. MONA Strange as love. . . Caradoc .With God*s great Name Sealed — MoNA Strange as death. 52 MONA Caradoc Hear now the words of the Bard I (formally) Boadlcea, dying, left her pledge (For dying eyes look through the veils of time) That one sprung of her seed should lead this land In its great need against the Roman. Thee, Last of her line, by that sign on thy breast, And by Bard's insight, I receive and de- clare For the one prophesied. Thee the Great Name Shall guide where many thousand fighting men Moulded under thy faith to one strong arm, Follow, to save Britain! 53 MONA MONA If I were sure . . . [^She stands r'lgidy gazing before her into infinity, as one who sees a ^vision; her soul balancing be- tween sainthood and humanity. Arth, up right y looks on with frowning impatience, and Cara- DOC, further down and to the left, patiently and with confi- dence, GwYNN and Gloom, to MoNA*s right and left and a lit- tle below her, watch tensely for the critical moment; it is they who are fighting for her. Gloom Arc not thy dreams fulfilled of other lives, — Memorable of old wars ? 54 MONA MONA How couldst thou know? — Surely my dreams remember! {half to herself) The sea, Rome. . . The forest, Britain. . . The sword, war. . I GWYNN Remember Also the veiled, white figure with no face — God mocks us with a future half fore- known ! {His tone softens, and he comes close to her, taking her passive hand. She looks past his eyes. Thou art a woman, Mona. To be great. First be a woman. 55 MONA MONA {leaning toward him a little ^ hut still not meeting his eyes) I have had other dreams, Of mating and of motherhood — not great, But very dear. . . {still gently, hut hardening herself hy an effort) Ah, Gwynn, I cannot be Only a woman ! Gloom {venomously, catching at his opportunity)^ Nor a pretty toy For lover's lips to lap — Gwynn {furiously, taking a step forward as if to strike him) Gloom ! — 56 MONA Arth {sharply) Enough words I Dost thou accept thy task? MONA \waveringly^ almost in a whisper) What shall I do . . ? [The tide of inspiration flows over, her. She throws herself erect, seeming to grow physically larger in her excitement, her face glo- rious, her arms thrown outward and upward, the sword shining in her hand. Her words are no longer a wail of hesitation, hut a superb demand for use, what shall i do? Caradoc The soul speaks ! Child and Queen, Cornel 57 MONA MONA Yea, I cornel Let the ravens follow me — They shall be filled! Yea, let the wolves howl I Fire, — Fire, and a sound of battle, and the whole Manhood of Britain raging down to hurl The wolf-born Roman back into the sea ; — Our towns made strong once more, our wasted shrines Made holy, Druid and Bard called forth again From lurking In forgotten dens, to fare Once more In honor over a free land. Singing and teaching freedom I [She is beside herself, Gwynn springs forward in an agony of desperate authority, pinions her arms, and by main force brings her to face him at arm's length. 58 MONA GWYNN Mona I Come down Out of that frenzy. Mona . . . Look at me! This Is I, Gwynn, a man, flesh and blood, I Whose lips and eyes thou lovest. . . IThe fire fades out of her under his eyes. She relaxes, and her head droops. Now I — I say, Thou shalt not murder all we are, to feed A fever and a folly. [^He releases her, and steps hack. Love or war — Choose 1 Caradoc {slowly and gravely) Ay, choose well. 59 MONA Gloom Vision or dream, that boy Or Britain, lust or glory — GWYNN Let her be ! Thou art fain to madden her with words. Gloom And thou Art fain to eat her soul for thy desire, To keep her wholly for thy pleasure ; and so, Holding her merry body in thine arms. To laugh at Britain I [His profanation turns the struggle. Under the sting of it, MoNA leaps hack into her martyrdom* GwYNN is beaten. MONA Britain, old Britain, Ho I \^The others join in the cry. She 60 MONA turns upon GwYNN with hitter finality. I will not hear thy voice nor see thine eyes For evermore I [As GwYNN turns away from her to- ward the door, Arth advances upon him, with clutching hands. GwYNN stops above centre, fac- ing him. Arth Let me kill . . I Caradoc Nay, we shed No blood in Gorsedd. If a man swear an oath, He shall not break his word. [They stand silent and motionless, while GwYNN draws back the curtain, letting in a momentary flood of pure sunlight, passes out slowly into the bright forest, and 6i MONA is gone. The curtain falls he^ hind him across the light. Gloom For evermore, Thou shalt not see his face I [MoNA stands motionless , with bowed head, down centre, the sword clasped across her bosom, Car- ADOC crosses to her and kneels at her feet, drawing his sword and raising it aloft, Arth and Gloom, to right and left, Arth above her and Gloom below, do likewise. All Hall, Child and Queen! . . MoNA {still in an inspiration) Fire . . . and a sound of battle, . . and a dream Reborn out of old years, and a new song, 62 MONA Terrible with the joy of angry men Gaining and guarding freedom — {^The tension snaps. She drops her arms and wilts as if under a vio- lent blow; turns half toward the door, and takes a step as though to follow, — Gwynn ! Ah, Gwynn ! For evermore, I shall not see his face. . . \_The sword falls from her hand. She turns from the door again, buries her face in her hands, and shakes with sobbing, like a child. The others have risen at her first giving way, and stand trans- fixed, their swords still raised aloft. [The CURTAIN delays for a moment, to let the picture strike home; then falls quickly. END OF ACT FIRST 63 ACT THE SECOND The Cromlech in the Forest. A Month Later, Evening. ACT II The scene represents a Cromlech^ or Druidic open-air temple in the forest; so placed that its centre is in the cen" tre of the stage, about ten feet above the footlights. At this point rises a huge oak-tree, venerable with mistle- toe and streaming moss; whose branches, spreading out on either side, extend the whole width of the pro- scenium, just under the arch. Imme- diately in front of the tree is a rude altar, composed of a single block of stone roughly rectangular in shape, about three feet high and four long. On its front is hewn the Sign /j\ of the Name; and those branches of the tree which reach out toward the audience seem curiously to repeat this 67 MONA pgure, bending downward and out- ward in three diverging lines. Be- hind the tree is a semicircular wall of large rough stones, whose diameter is a little less than the width of the stage. Directly behind the tree is an opening in this wall y six or eight feet wide; and the semicircle ends on each side about the same distance above the curtain, so as to give the impression of similar openings there — as if the other half of the circle were out in the audience. This wall is crumbling and irregular, nowhere more than four feet high: so that one looks over and through it, seeing beyond it and some distance hack the huge standing stones of the outer circle, separated by about twice. their own width; and between and be- yond these again, green and mysteri- ous forest as far as the eye can reach. Even now, the structure appears old 68 MONA and neglected; the forest is creeping in between the stones of the outer cir- cle, and the space between it and the wall is dotted with bushes and young saplings. One or two of the great stones have fallen; the inner wall is crumbling here and there, and a few loose stones are lying about within; and the ground there is uneven, and covered with deep moss. Upon the altar are the charred remains of a small pre, some time extinct; and the moss thereabout is trodden as by many feet. The light is that of a clear summer evening just after sunset and before dusk. Striking slantwise across the scene from left to right, it marks the points of the compass {south being up stage) and the hour of the day. During the act, it grows darker so gradually that the advancing night is 69 MONA noticeable only as called attention to by the actors. And the end of the act takes place in bright moonlight. As the curtain rises, NiAL is seen within the inner circle, dancing with his shadow; at first to left of the altar, afterwards over the whole open space. NiAL {still dancing) Brother am I to all the trees, and child Of the warm-sweet earth and the merry sun — And all the birds and blossoms and wild things Of the forest, they are my brothers too. . . [A bird begins to sing and flutter among the branches above him. He holds up his arms. Come dance With NIal, my brother I 70 MONA [ The bird lights on his hand. They are not afraid — ■ They know I have no soul. [Dancing again, the bird fluttering about him. Is It not brave To breathe sweet breath, and sing under the sun, And laugh beside the fire, and have no soul? [He pauses, to the right of the tree, in a kind of dreaminess which is his nearest approach to thought. Mona and Gloom and Gwynn — all my wise friends. Surely their souls torment them. They have strange Hot joys called Love and Hate and Fear, wherewith To burn themselves. . . I cannot under- stand. . . [Dancing again. 71 MONA Nay, I had rather have my playfellow To dance with. He must be my brother too, For the earth and the sunshine made him. Brother, come. Dance with NIal ! Leap with NIal ! Ho I [^Pausing again, before the altar. Perhaps He IS my soul ... I wonder . . . and perhaps Their souls are in their shadows; . . for their shadows Gleam in the dark with strange bright colors — green, Purple, and crimson; . . but my shadow Is gray, And In the dark I have no shadow at all. . . Perhaps all souls arc shadows. . . Nay, come dance With me, my soul I [He is still dancing, to left of the, aU 72 MONA tar, when The Governor, at the head of a few Ught-armed Roman soldiers, enters up stage. They push rapidly through the trees and into the inner circle. The Governor {as they enter) Seize him . . I But slay him not — [The Soldiers come down left and surround NiAL, who makes no attempt to escape. The Gov- ernor comes down to right of the tree and below it — a sol- dierly, vigorous man of fifty, thin-lipped and quick-eyed, the black hair under his helmet just beginning to be threaded with gray; his manner alert without hurry and decisive without pom- posity; dangerous and efficient because free from all doubts. 73 MONA NiAL How red your shadows are . . I What would ye have Of Nial? The Governor Come hither. Stand there. [Nial comes down beside the altar, {to the soldiers) Guard him. [ They close in around NiAL with lev- eled spears, NiAL remains ab- solutely unconcerned. So. . . {Rapidly examining the altar and the ground about it. Footprints ! A whole tribe hath been gath- ered here — Women, too. . . Ashes I Ay, a sacrifice. . . [Finding a spearhead Spears ! 74 MONA (to Nial) Listen, thou I What hath befallen here? Nial Nothing. I have been dancing with my soul. The Governor Answer me! Who met here? How many ? Whence And why came they ? Nial Gloom says I may not know. The Governor Who IS Gloom, then? Nial My brother. They are all My brothers. They have souls, and they are wise. They say that ye are wolves that eat this land; 75 MONA Therefore, they say, ye shall all surely die — But how and when. Gloom says I may not know. . . (curiously\ What IS It like to die ? The Governor (grimly, but without angery Thou shalt soon learn — A sword, there I [/f Soldier draws his sword, and pre^ sents it at Nial's throat,, NiAL remains utterly unimpressed. Answer now I NiAL I cannot answer — Gloom says I may not know. [Looking naively at the sword, and reaching out to touch it, as a child might do. That sword Is like 76 MONA The sword that Mona dreamed of In her dream. . . The Governor Bind him ! . . A bowstring round his tem- ples, now — Silence him I [NiAL, still unresisting and uncomprC' hending, is bound and gagged, A bowstring is knotted about his forehead, and a stick thrust through it to twist, GwYNN ev ters suddenly from the right, GWYNN Father! — Hold! [The Governor turns to him with the same matter-of-course formal- ity as if the meeting had been ex- pected and ordinary. GwYNN kneels before him, and The Gov- ernor lays a hand upon his head. 11 MONA The Governor Quintus, my son, I bless thee. GWYNN (rising, to the soldiers)] Let him go — unbind him ! [They obey without waiting for any confirmation of the order. GwYNN turns to explain. Nay, Father, he would not speak : he Is one from whom, Unborn, earth-daemons reft the soul away — The harmless, empty body of a man. NiAL Gwynn, I give thanks; they would have done me harm. . . Surely these are not wolves — the wolves are all My brothers. 78 MONA GWYNN Nial — [NiAL seats himself up to left of the tree, interested hut quite out of the scene. The Soldiers draw up in a rigid line at the left end of the wall. My father, ask of me. \^He throws off his green robe, disclos- ing beneath it the white tunic, breastplate, and short sword of a centurion, I am a Roman soldier, and thy son. The Governor Therefore I came here. Majiy tongues have said Thou wert a Briton, and mine enemy. GWYNN Dost thou believe this, father? 79 MONA The Governor Quintus, no. I believe no dishonor of my blood By hearsay. Answer therefore. This whole land Which late lay more at peace than ever, now Hums like a hive in swarm. Over the length And breadth of Britain, every camp and town Sends in the same tale — gatherings by night, Forbidden sacrifices In old shrines, Forging of weapons, Druids preaching war. And here and there some lonely Roman slain Out in the forest. Southward, our own towns Return seditious rumors. What hast thou To say of this? 80 MONA GWYNN It is all true. The Governor I have heard Of one going about among the tribes To rouse revolt — a woman, beautiful — Her thou hast guarded and defended, held Our garrisons from taking her, and left Her free to stir up trouble at her will — What of this? GWYNN X^s before, without the least shame or embarrassment, meeting his father^ s look fairly. It Is true ... I love her. The Governor [Not shocked, nor as a mentor, but as one who hears quietly the con- firming of a shameful suspicion. 8i MONA Boy, Man's honor Rath no subtler enemy Than longing for a woman. GWYNN She Is more, Father — she Is their queen, even as though Boadlcea came on earth again, Whom they believe and follow ; (emphatically) Winning her, I win at once all Britain. The Governor Take her, then! I took thy mother captive even so. . . She, lying by my side, saved many lives. GwYNN (with premature triumph) Mona and I together shall save all — Yet wherein should her body profit me But if I win her will? 82 MONA The Governor {impatiently practical) Play not with words — A woman's heart is In her body, Boy — I had thought thee more a man ! Enough ! Meanwhile, What of this war? GWYNN There was to have been war ; There shall be peace. The Governor Their plans, then — ? GWYNN I have sworn Not to betray — The Governor (losing patience) Betray ! Canst thou betray Enemies? 83 MONA (with infinite scorn) An oath to a Barbarian . . 1 GWYNN An oath to their god, that Is my god, too. The Governor Gods ! In these times, we make new gods each day! There Is but one god for a man — his name Is Duty. Speak ! GWYNN Father, If a man swear, He shall not break his word. . . . [The Governor's patience gives out altogether; he motions to The Soldiers, who spring forward. Nay, hear me. . . [He stretches out his arms. The Governor hesitates an instant, then stops The Soldiers with a gesture, and paces frowningly to 84 MONA and fro before the altar while GwYNN continues; showing no sign of relenting, or even of being impressed. All These years of peace are mine — my work. I went Among my mother's people, owned their god, Became their Bard, knew them and . . . honored them — Do men love legions, or confide In foes? They hate Rome; I have healed that hatred. Now, Where the old scars ache shall we stab again Till the whole body perish? True, our arms Will crush them down. How long will they He still? Hearts, not swords, make our Roman prov- inces I — 85 MONA Let peace make one conquest that shall en- dure! The Governor {pausing) Words again! When a sullen-snarling hound Slinks close behind thy heel, dost thou de- lay For parley? Strike the first blow, and be done! GWYNN These are no curs, to snarl and lick the lash — These are they whom great Caesar could not quell ! [The Governor faces him, im- pressed for the first time. GwYNN goes on with the au- thority and confidence of his ideal, 86 MONA My way or thine — One peace or many wars — Choose! Art thou general, or governor? The Governor Thou hast failed thy duty; wilt thou teach me mine? GV^YNN (steadily) Truth spoken by a traitor still is true. The Governor [With a gesture of almost weary im- patience. Words again! Show me deeds. How shall we try Thy truth? GWYNN I said there was to have been war ; I say there shall be peace. 87 MONA The Governor Then prove thyself ! — {^He pauses, for a moment of judg- ment; then delivers his ultimatum with deliberate emphasis. See now : I hold these dogs in my two hands, And if they move, I break them. {with a gesture) Thou hast said They will obey thee ; prove it. Hold their hands From bloodshed, and I pardon them. Let one Drop of blood flow, and I will drown their vain Rebellion in a surge of death, burn out Conspiracy with fire, and crucify False hopes on every tree in the forest 1 {more slowly and calmly) Now, 88 MONA Save them. Thou art their fate. All hangs on thee. Let them He still and live, or strike and die I I have spoken. GWYNN It is well ; I ask no more — tet them He still and live, or strike and die! — Mona and I shall hold them harmless. The Governor {with a last suspicion, looking keenly into Gwynn's eyes) Boy, Thou hast thy mother's blood. . . If I could think Thy double garment held a double heart — GWYNN {not theatrically, hut very quietly) Two garments, father, but one heart within ; 89 MONA Two nations, and one blood. . . Nay, I confess That I have let the weight of my great love Hang round the neck of duty. . . Now I pray tEee Trust me ... or trust me never. IHe kneels, as at first. The Gov- ernor, with the first gentle emotion he has shown, repeats the gesture of blessing. The Governor Be It so — I trust thee then ... my son ! [GwYNN rises, and they grip hands. If thy faith fail, Let me die ! GWYNN The dusk falls. . . Ye are too few For safety. I will guide you to the town. \During the preceding scene, it has been growing darker so gradu- 90 MONA ally, that only now does one real- ize that it is twilight. The Gov- ernor, motioning The Sol- diers to follow, goes out centre, GwYNN walking by his side. NiAL, rising, follows them with his eyes until they disappear among the trees. When he can no longer hear them, he turns and comes slowly down. NiAL Red shadows, and the souls of angry men. . . It must be all true, or else all a dream! [He lies down at full length before the altar , gazing into the dusk. The moon is just rising, shown by the direction of the stage light changing and the shadows fall- ing from right to left; and her light increases as gradually as 91 MONA the daylight has waned, until by the time of Arth^s entrance it is full moonlight. Night, and cool winds. . . How still the forest Is, Now they are gone! My brothers are asleep Already. . . Only the hushed owl drifts by, Silently as a winged shadow. . . And there The quick bat flutters past, a messenger To wake the Little People — Nial knows I Now the small voices under all the leaves Are telling secrets. . . {^As Nial pauses, Mona and Gloom enter slowly from the right. MoNA is still in her white robe, with a spear and a short byrny over which the sword is girt from her shoulder; but she has neither helmet nor shield. 92 MONA MONA Niall Art thou alone? NiAL My sister . . ! IHe rises, and stands looking at her wonderingly. Thou art very beautiful And very far away — Gloom Nial, what news? NiAL The Little People will be out; the bat Has just gone — Gloom {impatiently) Where Is Arth? NiAL I know not. 93 MONA Gloom Go And seek him. [NiAL goes out left, Gloom turns abruptly to MoNA, who is stand- ing with bowed head before the altar. We have little space to dream. Our war begins at midnight — before then, Sacrifice and sword-giving. Hast thou kept The tallies ? MONA Here. . . \She hands him square wooden bars carved with runic signs. He seats himself on the rock, right, reading them and making addi- tions with his knife. Gloom Twelve myriad fighting men I 94 MONA Rome has not half so many souls alive In Britain ! So our work ends — to-night, war — To-morrow, victory I MONA {turning from the altar ^ slowly) If we ourselves Fall not. . . Gloom Dost thou fear failure? MONA \_Moving slowly away from him, to left of altar. Nay, not fear — Only ... all hangs on us. {pausing) If yonder town Fall to-night, then from hill to hill our fires 95 MONA Shall flash the tidings, till all Britain flares Into one blaze ere dawn. But ... If we fail, How then? \turning toward him) Were it not better all should strike At one forechosen hour, waiting no sign? Gloom What matter? We but prove our faith. [He thrusts the tallies into his girdle, and rises. Nay, more — Thou art here ; Thou, the old Queen's soul reborn Our leader and our strength. What fight can fail Where thou art? All the hope of Britain waits Thee, and thee only 1 96 MONA MONA I to fight with men. . . To pierce flesh . . . and see blood flow . . . IShe is standing below him and to left, her head hent, her spear held slantwise across her body by the incongruous gesture of clasping her hands at her breast. Gloom {at his full height, magnificently) Thou to save And conquer I {advancing, in an ecstasy) Have no fear — thy womanhood And the beauty of thee shall burn before them, fair And terrible, a sweet white flame of war, A light from old years, and a wonderful death. And a dream plunging down eternity To change the world. 97 MONA [He is close before her, aflame with an ardor which he struggles to color with patriotism. This at first she does not, and then will not, see, MONA {impulsively) Gloom, thou art glorious . . ! If I were sure — Gloom Thou and I throned above Rejoicing freedom — Thou and I one power — MONA Brother and sister — Gloom Priest and prophetess, — One soul to be remembered when our bones Blossom together — 98 MONA MONA Let my work not fail — I ask no more. Take thou the glory. l^She draws back from him. He throws off the mask. Gloom Child, How have I any glory but in thee ? How have I borne thy beauty? How en- dured These long dry years of brotherhood — \^He stretches his arms to her. She springs hack, turning so that the light falls upon her face, a frozen majesty in every line of her. MONA Gloom, Gloom, I am not woman, but a sword ; not flesh. But steel. Who but thine own self taught me this? 99 MONA Gloom It is true. . . [He draws hack, conquered as much by reason as by her greater faith, NiAL enters, from the left, fol- lowed by Enya and Arth. NiAL They are here, under the moon ; Their souls reach forth before them. Enya {embracing MoNA, with half -hysterical motherliness) My little one That loved me. . ! \_They move across to the altar, then draw apart: MoNA stand- ing at the right lower corner of the altar, Enya a little above the altar, to left of the tree. Gloom and Arth are below 100 » . ' . » ». monA them, to right and left, NiAL remains near the left end of the inner wall, Arth Gloom, how have ye fared? Gloom We count Twelve myriad fighting men. Arth And the time? Gloom To-morrow. We ourselves move at midnight on the town. Arth {drunk with hate, brandishing his spear, and shouting) Ourselves first? I grow young again! lOI MONA Ha, wolves That feast and frolic yonder, sweet with -oil And glad with garlands — It shall not be long, Not long, now, till the end! MONA {^Before the altar, facing forward, her arms upraised, her face tense with inspiration. Until the end. . I Enya {taking a step toward her, timidly) Child, art thou that same child that pushed my breast With baby hands, and walled? Thou art glorified — There Is a light about thee, and a power — 102 MONA MONA {rigid, her arms at her sides, looking into infinity ) I have remembered old years, and seen men Fall down and worship me. Enya Did they believe — . All those wild folk — ? MONA {half to herself) It is as if these trees Bowed themselves down before me — as if the sea Obeyed me — yet not me, but what I am. . . A vision of swift journeyings by day, Glimmering forests, windy crags, lone moors Immeasurable where birds cry, and gray sands 103 MONA Thunderous with the ever-changing sea — Torches and shouts, wild gatherings by- night, And firelit circles of astonished eyes. Men falling on their faces, oaths and prayers. . . Strange as a dream's fulfilment of a dream ! I have heard voices in the dark, and seen Visions of kings forgotten, bidding me Go forward, and be strong, and have no fear — I have dreamed of the White World, and God's love Bathing me like sweet flame. . . Arth Enough of dreams ! Come, let us feast before the battle. Come! The time passes. 104 MONA MONA I have no need thereof. Leave me here for a little while, to pray. Enya Is there no danger? — Arth Nay, with Nial at hand No harm can fall. Come, then. . . IHe leads the way out to the left. Enya hesitates, then follows. Gloom, going out last, pauses to took hack at MoNA standing to right of the altar and just be- low it. Gloom (slowly) Foredoomed, ordained, Prophesied. . . [He goes out. In the quietness, NiAL suddenly lifts his head and listens to something in the forest. 105 MONA NiAL Mona — Hark. . . MONA {hearing nothing) What IS It, Nial? NiAL The Little People — They are calling me. . . MONA Go to them. [He goes out, up stage, Mona leans her spear against the tree; moves to the front of the altar, draws the sword, and lays it thereupon; then kneels before it, facing up stage. Night and day, deed and dream, sight And vision — all one faith, all one de- sire — Britain. . . 1 06 MONA [A pause, Gwynn enters quietly from the right. He stands a moment watching her, just inside the circle, Gwynn \to himself y softly) God help me now. [^Another pause, Mona gradually becomes aware of his presence, and rises, facing him, her right hand on the sword, her left at her throat. When she speaks, her voice is tense and hollow, hut unfaltering, MONA What dost thou here? Gwynn What I have ever done. Mona Thou art faithless. Go I 107 MONA [/^ is the same tone and manner that crushed Gloom a little while since; but this is not Gloom. He goes on quite evenly. GWYNN Why? Dost thou fear to look upon me, lest Thine heart change? MONA {stung out of her heroics, and struggling for self-possession) Fear! {scornfully) I will not see thy face. Get hence I GwYNN {advancing upon her, while she shrinks away, the sword clasped to her breast) Cry out then. Is one traitor's life io8 MONA So great a matter? Thou that art to slay Thousands ere dawn, canst thou not see me die? MONA {desperately) Go from me! GWYNN {still nearer) True, thou hast loved me. True, thine heart Cries out for me — What matter ? Thou art not flesh But steel. Summon thy swords I MONA {recovering herself and rising into a mar- tyrdom; facing him calmly, with the al- most pitying tone of one who will not stoop to anger) Gwynn, presently I must fight. Peradventure I must die. 109 MONA Canst thou not hush that little fleshly wail Called love, and leave me here with God? GWYNN Canst thouf MONA {with quiet finality , her hands pointing to the sign upon her breast) I bear the Sign here of a greater thing. Whereto I am reborn. I am not myself, But Britain. (^turning away to the altar as if he were not there) Go now. GwYNN Therefore I am here : There is yet time to save Britain and thee. . . — Now all things take one answer ! [He takes her suddenly in his arms. She turns, writhing away from no MONA him, her body bent backward, and her head falling against his shoulder. Even at first, she can' not struggle with her full strength; and presently, as her- self overpowers her, she grows more quiet, and at last quite still. Struggle now — Call to thy friends. . . Look ! Thou and I alone In the whole great world, under the dim sky, And the night's arms around us. . . MONA Let me go — GWYNN Night, and earth yearning upward to the moon, And the shadows calling to us, and the winds III MONA Dizzy with sweet, and the summer's huge heart, slow Throbbing around us. . . Thou and I close, close. . . MONA (with closed eyes) Be still — I will not hear thee. . . GWYNN Night, and thou Near me amid the moonbeams, beautiful — • A lily on the gloom of a dim lake. Thy golden heart wide open to the wind, A freshness and a fragrance glimmering up Out of cool depths — A wild bird with glad eyes — ' A mystery beyond all dreaming dear. Holier than the hope of pleasing God, More to be hungered after than lost youth, — Lips and arms, life and glory, mine, mine, mine — 112 MONA \^He stops suddenly, releasing her. She falls back a step below and to right of him, and stands half- stunned, her hands over her eyes, GwYNN catches the sword from the altar, and holds out the hilt to her, speaking with a sudden jarring sharpness. Take thy sword. I shall die by that same blade. So be It. Strike now. [Her hands drop. She gazes at him blindly a moment; then the flood breaks, MONA Gwynn. . . Ah, come to me I \She stretches forth her arms to him. He flings away the sword; they hold each other, 113 MONA GWYNN Mona. . ! ^A short pause. He draws her down beside him on the rock, she half reclining below him and lower down, her head resting against his knee; he bending over her. Night, and thou near me in the warm gloom. . . And on thy lips a faintness and a flame — I All the vain sorrow forgotten — all our dreams New born, sweet with surrender — won- derful, Holy . . . Mona There is a cloud over the moon — I cannot see thy face. . . Only thine arms Around me like strong sleep. . . Only thy voice — 114 MONA And all our children laughing in thine eyes . . I And it is good for me to put away Weariness, and the fever of high deeds, And the dry hunger. . . Now earth sinks and swims Falling, and the great river of joy flows down, — Inevitable, tender, luminous, — And whelms me, and I float under the moon Quietly, toward the foam-bright sea ... Down, down. Where the glimmering shores grow faint, and darkness Buries the sky, and the stars drown, and the deep Rises over me, and I dream. . . How soft Thy hair is, Gwynn. . . Far off In the dead void. Torches flare, and I hear a murmuring 115 MONA Of old wars, and fierce multitudes that howl For me to lead them, wailing women, prayers. And clanging swords and shrieking prophe- cies — All dull and ugly like some old ill dream. — Ah, let me not remember. . I GWYNN Dear, I bid thee Remember, and rejoice in all. This night Thou hast saved Britain. MONA Britain. . . Let me go I {^The spell is broken. She shakes herself free and stands, dazed, between the rock and the altar, GwYNN, also on his feet, and not realizing the change in her, goes on confidently. What have I done ? ii6 MONA GWYNN I would not speak till now — I would not buy thy heart for promises — Now it is finished I I must have thee first Made queen over all Britain, then all mine, Now all for peace. " Let them lie still and live, Or strike, and die! " Mona, hear me — we two Shall join in one firm love Britain and Rome Forever I Mona Gwynn. . . I cannot see thy face. . . It is all dark. . . Gwynn {too full of his triumph to realize that she hardly hears him) Dost thou need proof? What held The Roman garrisons from taking thee? 117 MONA Child, thou hadst been a prisoner twenty times But for me. MONA \harshly and dully) What hast thou to do with Rome ? GWYNN Not less than thou with Britain. My one voice Answers for Rome here — MONA What hast thou to do With Rome? GWYNN I am Roman born — MONA Thou — Roman . . ? ii8 MONA Yea, GWYNN Moreover — MONA Help, Ho! GWYNN {utterly surprised)^ Mona — MONA '{frantically) Treason I Help, Hoi [She catches up the sword from the ground, and swings it at him, crying: By this same blade it is thy doom to die 1 [He catches her arm, and wrests the sword from her. As he does so, Arth rushes in centre followed by a shouting crowd of Britons 119 MONA with torches and spears; and from the left, a throng of Bards and Druids, led by Glck)M and Caradoc, pour in and across the stage. More and more keep pouring in, men and women, shouting and tossing their weap- ons. MoNA springs hack up stage and to the right to let them pass, pointing accusingly at GwYNN. Arth reaches him first, and strikes at him with his spear. Gloom attacking him from the left almost at the same instant. Arth \as he strikes) Ha, Gwynn the Peacemaker ! [GwYNN parries, and strikes him down with the hilt, 120 MONA Gloom (as he strikes) At last I [GwYNN, his hack against the rock, disarms him, and hurls him hack among the crowd. But by this time the crowd has reached him, and still others, rushing in right, attack him from behind. He is instantly surrounded, disarmed, pinned down upon the rock, and threatened by many weapons. MONA stands above and to the right of GwYNN, upon a rising ground that makes her clearly visible above the heads of the crowd; Arth and Gloom are upon their feet again, and push- ing forward, Arth to right of the tree and Gloom down stage to left of the altar; Caradoc is 121 MONA before the altar, and Enya up left, among the crowd. The stage is full of raging men, screaming women, and waving torches. Voices in the Crowd {as GwYNN is overpowered) Who is he? Enya Blood! Blood I MONA {pointing to Gwynn with the sword) He IS — {^The crowd suddenly quiets to listen; and in the momentary hush, Mona's rage looks upon itself. She could have killed Gwynn with her hands a moment since; hut now, in cold blood, she can' not hand him over to be torn in 122 MONA pieces. She raises her arms in the sign of the Name; her tone changes. He IS a Bard I \_The crowd hears hack from Gwynn, astonished and awed, Cara- DOC, Arth, and Gloom, break through the shrinking circle of them and wave them on. Gloom Heed her not ! Caradoc He is not one of us I Arth Kill I Kill! [The tumult rises afresh, Mona pushes forward in front of Gwynn, driving the Britons hack. 123 MONA MONA Hold off, On your lives I Back ! [She turns, facing the three leaders. Who am I . . ? Answer me I Who am I . . ? Caradoc The Queen I [A short pause. No one moves or questions her wilL She turns to the Britons who are holding GWYNN. MONA Bind him and lead him hence — Do him no hurt. . . [As GwYNN is swallowed up in the crowd, she turns hack to the others, once more an inspired Amazon, 124 MONA Give out the swords I Wait not For midnight — Call the warriors ! Gloom, Arth, Caradoc It Is not time — MONA I am the time — obey I Give out the swords ! Rouse the tribe! Sound the gathering I Bring hides, Fagots and ladders — Give each man a torch — To your work, Druids! Onward, by the Sign Of the Name! Britain, Old Britain! Ruin to Rome ! {^During these last lines, men have been hurrying about, bringing in torches, ladders, weapons, etc., until the stage is crowded and tumultuous with tossing lights and busy and disheveled figures, 125 MONA A fire is kindled on the altar, and Gloom and Caradoc take their places to right and left of it, and Druids and the Bards grouped behind them, filling the space immediately about the tree, MoNA stands upon the rock to the right, directing all; Arth and Enya up stage to the left of the tree; and the whole space above and around filled with confused preparation. As the Bards take their place they raise the following chant, the tribes- men joining in and brandishing their torches and weapons in time to it as they hurry about: Chorus I Out of the dim dens Under the mountains, 126 MONA Forth from the forest, Far from the fenlands — Summon the swordsmen, Waken the warriors, Gather the Druids To battle for Britain — (Long swords for old Britain — ) Ruin to Rome! [Three men come in left, hearing arm- •fills of long naked swords, which they lay before the altar, Mona descends from the rock, sheath- ing her sword, and places herself before it. As she sings, together with the Druids and Bards about the tree, the second stanza of the chant, she raises each sword in both hands high above her head, passes it from right to left in a circle around the fire, and hands it to Gloom or Caradoc, who present it to a Bard or Druid 127 MONA kneeling to receive it. As each receives his weapon, he rises and rushes out through the crowd, waving it aloft. MoNA, Gloom, Caradoc AND THE Priests II By the soul In the flame, By the death in the earth, By the life in the air — By the sound of the Name That no mortal may bear, Bringing ages to birth — For the freedom denied us, For the shame of the slave — Give swords to the swordless, Bright blades to the Bards, White death to the Druids — To guard us, to guide us, To slay and to save ! 128 MONA {With the singing of the third stanza, the tribesmen and their women begin to rush out and away into the forest in savage disorder , by twos and threes, still singing. The stage darkens gradually, as the torches more and more are carried away; and by the end of the stanza, only the altar-fire flickers against the moonlight, Arth follows the Britons. MoNA, Gloom, and Caradoc are still in their places by the altar; and a moment after Arth's exit, Gloom draws his own sword and starts after, mo- tioning the others on; Caradoc follows; MoNA, catching up her spear from beside the tree, fol- lows in turn, passing to turn with a triumphant gesture as she passes through the inner wall, 129 MONA Chorus III God Is grown hungry Watching our weakness — Hungry, beholding us Frail and faint-hearted. Slay we a sacrifice Therefore, to feed Him — Rouse the ravens, Waken the lean wolves. Onward for Britain! (Broad spears for Old Britain — ) Ruin to Rome! \_The flame on the altar dies down. Only Enya remains on the stage. She runs to the opening in the wall up stage and stands a mo- ment looking after the others, while the torches disappear and the sound of the singing grows fainter. Presently she reels down 130 MONA stage, wringing her hands, and throws herself full length upon her face before the altar, not sobbing but lying still. Chorus {outside, more and more faintly, but not slower) IV The sword, the defender, She is holy and human, She is white like a woman — And shapely and slender ; Demanding a master To wield her and bend her — Aflame for the focman, Athirst for the Roman — (Heart's blood of the Roman — ) Red life and disaster — Revenge, and surrender ! [The singing dies out in the distance. There remains only darkness and 131 MONA stillness, and the old woman ly- ing prone before the altar. The fire on the altar flickers and goes out, and Enya stirs a little, then lies still. Far away in the for- est, a wolf howls. Then a mo- ment of utter silence. And then the CURTAIN falls slowly. END OF ACT SECOND 132 ACT THE THIRD The edge of the forest, fronting the Roman Town. The same night; just before dawn. ACT III The scene represents a small plateau on the southern edge of the forest, front- ing the Roman Town, On the stage left, the edge of the forest extends di- <agonally back so that the left upper corner of the scene is hidden in thick woods, sloping upward to the left. The edge of this mass of trees, irreg- ular and diversified with hushes and fallen tree-trunks, indicates that the open space is a natural glade and not a clearing. To the rear is the irreg- ularly concave brow of a declivity at first sharp and steep {as shown by tree-tops just beyond its edge) then gradually sloping away across a shal- low valley of meadow-land a mile or so in width; and beyond, on the corre- 135 MONA sponding rise of ground across this valley, the Roman Town appears: its apparent height being five or six feet above the stage-level, so that it may easily he seen from all parts of the house. Beyond and on both sides, open rolling country extends to the horizon. On the stage right, a high and craggy mass of rocks extends out on to the stage, in the shape, roughly, of the corner of a square obliquely placed. The wooded top of this is only a few feet below the proscenium arch; from thence the rock descends in a cliff to about the height of a man, then breaks to the level in a mass of boulders and rubble. The cliff is more broken toward its lower end, more precipitous toward its upper; so that near the footlights it may be scaled. Above this cliff, and between it and the edge of the plateau, a broad 136 MONA pathway runs diagonally of to the right, sloping down the hillside, and evidently the way to the plain and so across to the Town, Near the pla- teau*s edge and about on a line with the foot of the cliffs to the right, lies a large fallen tree; and on the edge of the forest on the left is a seamed and broken boulder, lying half way up stage. The ground in the centre is fairly level and smooth, grass-grown and sloping a little upward at the edges. The whole effect is that of the mouth of a shallow gorge, open to the southward {upstage) and enclosed on the other three sides between rocky and wooded hills. In general appear- ance it is by far the most spacious of the three sets; and the only one in which the eye travels back into the ex- treme distance. At the beginning of the act, these 137 MONA details ctre invisible, for the time is about half after three in the morning of the same night as Act II; the moon has set, and there is not yet any sign of daybreak; the stage is as dark as is effectively possible — just light enough for the main outlines of the scene and actions of the characters to appear. The Roman Town is visible only by the tiny lights of the battle-fires on the walls and the moving sparks of torches all about, whose reflection glows dull red in the sky above it. And the roar of the battle is heard only as a faint, 'almost inaudible murmur. Day breaks very gradually during the act; and the end takes place in bril- liant sunlight, the brightest lighting of the entire play. As the CURTAIN rises, the stage is empty and dark. It is at once apparent that the scene is the mouth of a hill-gorge 138 MONA ending in a steep slope with a valley and more hills opposite. But no more is to be seen and the eye is led from darkness to the Roman Town in the distance, aglow with the dim light of its own battle. Presently Nial and Enya come through the trees on the left, Nial crosses to the foot of the rocks; Enya goes up left to the edge of the slope, Nial {as he enters) Here we can see, Mother. Enya The town still holds — I had hoped that red sky showed it all In flames. . . And still no sign I \^She turns and gazes a moment up over the cliffs to the right, as if for a signal, 139 MONA NiAL What are those tiny lights, Moving like fireflies in the darkness there? [Pointing toward the Town, Enya Torches. How still the forest is — no wind, Yet the trees move as if a storm were near . . . [/« the pause f the noise of distant bat- tle is just audible. And listen! . . a dull murmur, like the sea. . . \_She moves back to the edge, and stands rigid with suspense. Fire . . . and a sound of battle. Surely they Have had full time by this . . I How fares the night? 140 MONA NiAL {seated, unconcernedly, at the foot of the rocks) Not long now. In an hour it will be dawn. Enya {moving about the stage uncontrollably, with wild gestures) Many there be shall never see that dawn — God send our own be not among them . . . Yonder Beneath that red glow, swords are swung, and shouts Go up with groanings, and blood smokes and shines In the flare of the battle-fires, and strong men fall. And the press wavers — [The black bulk of a raven flaps out of the forest and close over her head. She starts and cringes 141 MONA away, terrified, as the creature turns and flies straight toward the Town, growing smaller against the sky. — What was that? NiAL {quite unmoved) A raven. . . Yet — It IS strange : [He rises, puzzled, and moves a little up stage, looking after it. He should not fly so soon, Before the sun is risen. . . Look! He flies Southward, against the light. . . How red It is I — As If all the battle had one angry soul. . . \_Casually, as he turns away ; a little surprised that Enya pays no at- tention. 142 MONA Mother, the Little People are all gone Under the hills. Our war drove them away; They cannot live where tfiere is hating. l^He seats himself as before. In the forest behind Enya a wolf howls, answered by another far away across the plain. She shrinks nervously toward NiAL. Enya Hush! — Listen . . . that sound there In the for- est. . . NiAL {unconcerned, as before) Wolves. . . {without rising) Yet — It Is strange ! They should not cry so late. After the setting of the moon. 143 MONA Enya (hysterically) And still, No tidings! Can the dogs hold out so long, Asleep, surprised, outnumbered. . . Will the fight Never be done. . ? How many, how many of us Whose hearts are struggling yonder watch and yearn Through the void, endless hush, feeling their faith Bleed away drop by drop and hour by hour! How many Roman women shall befoul Their proud hair, hating every sunny day For this night's sake . . . and the long nights to come. . , Surely we women are one sisterhood — Men make the nations! 144 MONA NiAL Mother, why do men, Seeking to live more gladly, fight and die? Enya Men die to slay as women die to bear, Wasting the life we sorrowed giving them To breed more sorrow. . . So they build their power, Binding our love to them with cords of pain. . . {breaking out again) Oh, I have waited many nights like this. While flesh I bore spilled blood that came of me, And the dawn brought the dead home! l^She drops, exhausted, at the foot of the boulder, to the left. The first suggestion of dawn appears: not light, but a tinge of green in the blackness of the shadows, and 145 MONA a slight pallor of the sky. The red light fades above the battle, and at intervals the voices of birds are heard in the silences. NiAL This Is more Than I can understand. . . Somehow It seems I should be wiser, seeing so much pain. . . Is Mona then a woman? [Enya does not heed, NiAL rises, crosses to her, and lays a hand on her shoulder, peering at her hid- den face with a child^s un tactful insistence. Mother, say ! — l^She does not move, and he turns away down left, groping for thought. She never gave life; she hath taken It. . . 146 MONA — And Gwynn, loving us all, and dream- ing peace, — Is he a man, the same as other men? IHe notices the change in the sky, and tries to interest her in that. Look I The light darkens. [Enya starts to her feet and crosses up centre, straining her eyes across the dusk. The stars fade. The dawn Is coming. . . There a bird wakes — listen I Enya God! — And still no tidings ! Oh, If Gloom would come — I [^There is a crash in the brushwood down the path. A moment later, a man appears, running wildly up the slope — not Gloom, hut a skin-clad Briton breathless, dis' 147 MONA heveled, and bloody, Enya rushes across to him and catches at his arm. Oh, what news of the battle? What news — [The man flings himself free without a word, and crosses down left, at a staggering run. Then seeing NiAL, he turns hack, and scram- bles up the rocks out of sight, NiAL Fear ! His terror trails behind him like a smoke — He IS mad-afraid. Enya Woe I Woe I [An older man, wounded, draws him- self up the path. She stops him. What tidings ? How Went the battle? [She clutches at his arm. 148 MONA The Old Man (breathlessly) Nay, I know not — Let me go — We were betrayed — They had been warned of us — The fight goes on still — Let me pass — Enya {clinging to him) Tell me, What of Gloom ? What of Arth ? The Old Man I know not — dead, Most like — they were among the fore- most — Enya Mona, The Queen, tell me of her — ? The Old Man I saw her last 149 MONA Mounting a ladder, her sword shining, her hair Blown backward in the torchlight -— Let me go, Woman ! — I have told all — [He breaks from her, and stumbles away into the forest, up left. All through the ensuing scene, scattered fugitives, men mostly, now and then a woman, scramble up the path, and hurry across and away either into the forest or up the rocks down right. In the pauses are heard the voices of awakening birds. Very slowly the sky pales to a dull flat gray, like the skin of a corpse; and the darkness fades into what is more a sickly weakening of night than any positive daybreak. It is light enough to distinguish facial expression; but there is no sign 150 MONA yet of sunrise, and the distance is still blank and misty. The greenish tinge of the light makes faces and foliage look unnat- urally colorless, NiAL He does not know — Mona shall save Britain; Gloom said sol was it Not all foretold? Enya Lost. . ! lost. . I [Gloom stumbles in among the fugi- tives, half dragging, half carry- ing MoNA. He can use only his left arm, for his right is broken near the shoulder, and he is wounded in the side. As he reaches the clear space, he re- leases Mona, who sinks dizzily upon the fallen tree up right, her. 151 MONA head droops forward almost be- tween her knees, and her arms reach limply outward and down- ward, the left against her left knee, the right hand, still grasp- ing her sword, almost touching the ground: so that the lines of her arms and of her hair falling straight down over her face, sug- gest the Sign of the Name, Her scabbard is gone, her byrny dented and broken, and her white robe stained with blood; but she is unwounded. Gloom totters a pace or two down stage and reels back against a sapling, his right arm hanging useless and his left hand pressed to his side, Enya runs to him and clings about his neck. Enya Gloom 1 152 MONA Gloom {fiinging her savagely away) OffI . . . My arm! - Hast thou no eyes, woman? Enya {lamenting , not protesting) My son . . . my son I Gloom Broken. Let be. It is all over. Enya Arth — Gloom Dead. Enya {softly) I knew It. . . 153 Thy father? — MONA Gloom They were awake, Under arms, waiting for us — their garri- son Swelled to an army, sentries on the plain. Fires ready on the walls — what could we do? One traitor is more strong than many swords — Our Gwynn did his work well I Enya {trying, with grotesque tenderness^ to quiet htm and lead him away) Child, thou art hurt — Come with me — let thy mother bind thy wounds — Nay, lean on me. . . Gloom {pushing her away, hut more gently than before) 154 MONA Let be. I have my death Already — Enya (hysterical again) All that remained to me — my son, My husband that was young with me — Gloom {with a savage gesture) Be still! Thou wilt have time enough for wailing. [MoNA raises herself wearily to a sit- ting position^ pushing back her hair, and looking dully and stead- ily before her. Her grief is sharply contrasted with Enya's hysterical and noisy lamentation. It is the quiet, stony pathos of a great nature crushed beyond the relief of complaint: she seems rather to wonder than to regret. 155 MONA Her manner is like the manner with which she received the rev- elation of her mission in Act I: a stroke of something too sudden and too great for her to under- stand, MONA Gloom, Why hast thou brought me here ? I might have died Yonder, and not known. Gloom Any place will serve To die in. MONA {rising, and coming down slowly between Enya and Gloom) They all trusted me — the women Waiting for love, and the sweet-eyed young men, 156 MONA The mothers, and the merry children — all Holding by me to make them happier — And I ... I trusted God. NiAL Nay, but He wrote A sign upon her, that she should not love, And therefore Rome should die and we be free — And It was all promised and prophesied, And thrice beholden In strange dreams. . . Is Rome Stronger than God, then? MONA Oh, the fault was mine — Some momentary deed unwisely done, Or left undone! I slept, and Britain fell — I dreamed, and all the blood of those glad boys Rushed out upon the ground — I smiled, and made 157 MONA The Sign of the Great Name a mock- ery . . . Gloom (sourly) Bah! Let us be honest! What has God to do? — Success IS all our virtue! Hear the truth — I sicken at all these holy melancholies — Thou hadst a vanity, and a girPs dream Of huge deeds and high services; for me, I had a lust for lordship, hated Rome, And hated more that sweet boy-lover of thine — His delicate heats and spirit-perfumes; then, I too loved thy bright body. Good I We strove, As others do, after our own desire — We failed. Well, we shall die. 158 MONA MONA {forcing herself still to believe in him) This Is thy pain Speaking. . . It is not like thyself — Enya Gloom, Gloom, Thou art a priest ! — Gloom I was, I am a man Now. Presently I shall be less. . . What, shamed At a soul's nakedness ? We dress ourselves In decencies of reason day by day. Till our own hearts hide from us, and we march On proudly, leading God. Oh, we believe Our brave words while we speak them! no desire For praise in Mona, nor In me for her — All was for Britain ! 159 MONA \_He sinks back, exhausted, on the rocks to the right, overcome by his own hitter violence and his increasing weakness, Enya rushes to him and raises his head, MoNA, sickened by his blasphemy and groping in her own conscience, stands motionless down centre, NiAL, as always utterly uncon- scious in the presence of emotion, crosses up left, looking up into the trees and out across the val- ley. The tops of the distant hills are touched with the first slant of sunlight, and the sky tinges with rose and saffron to- ward the southeast. On the stage, under the shade of the cliffs, there is plenty of light to see by, but the shadows are still purplish, and the colors vague and dull; there is no green in the 160 MONA foliage yet, nor blue in the sky, NiAL Mona, see — the dawn Is coming I All my brothers waken. [Gloom groans and stirs, MoNA turns to Enya, a new horror o/ self-distrust in her eyes. Mona Mother, What if he spoke truth ! What if I did all For myself, not for Britain. . . Enya Child, who doubts thee ? He knew not what he said. MONA He is a Bard. . . I see now : it was Gwynn . . . Gwynn. . . [ The sword clasped across her breast. There was my fall : i6i MONA I knew him faithless — and I loved him ; knew Him Roman-born — and saved him ; knew his death Meant life to Britain — -and I stayed to hear My own blind heart crying for him. God knows There was a moment when I gave up all — . All I was given life for, my whole use, Britain, and many hopes, and my great dream — Only to feel the glory of his arms Around me In the night, only to see His eyes between me and the stars, only To know I could not struggle I NiAL Is it wrong To love, then? MONA {to herself, softly)] 162 MONA One whose face I could not see Who strove to snatch away my sword. . . [GWYNN enters hurriedly down left in his Roman dress. At sight of them he pauses astonished, GWYNN Mona I — The fight Is done, then. — Art thou safe, Unharmed. . ? Gloom What dost thou here, traitor ? GwYNN {too much concerned with what is to he done to grow excited on his own account: speaking rapidly) My guards Fled with the rest. . . I am no traitor ; all This night's blood, If ye would have lis- tened to me 163 MONA I had saved. This ye know now. I am still In time to save your own. Gloom I will yet spoil Thy triumph ! — Give me that sword — [He staggers forward, trying to take the sword from MoNA; hut his strength fails in spite of fury, and he falls hack, half fainting, Enya and NiAL support him. MoNA turns upon Gwynn in a rage of scorn. MONA Roman, begone Among thy kindred ! — if perchance, even there Among that carrion brood, any endure Thy kinship unashamed I Thou save us! — who 164 MONA Would owe thee life? Look on thyself I False friend, False Bard, false lover. Thou hast done thy work — Leave it I God sickens to hear thee speak his name, And men take shame of thy humanity — Why dost thou stand there breeding new lies ? Go — Leave us clean air to die in 1 GWYNN {facing her) Be silent now . . I There is more shame to thee saying these things Than me to hear them. Look at me. . . Is this Falsehood? If there were any reason in thy rage, Could I endure to hear it — and from thee? 165 MONA Answer me. . . [Their eyes pght; hut he knows , and she is only certain. Hers fall first. GwYNN goes on slowly and emphatically. Hear one word now that clears all: The Governor of Britain is my own father — I am his son — dost thou hear? [None of them believes. MONA, see- ing instantly all that it would mean, sees also how clever a lie it might he; and her faith in GwYNN has heen hurt to deaths Enya doubts merely because it fits in with everything so per- fectly — a weak mind^s instinc- tive suspicion of finality. Gloom receives it with a sour howl of derision. i66 MONA Gloom Only the son Of the Governor? Only the son? Tell the whole truth 1 Say The Governor himself — the Emperor Come from Rome — hail, Caesar I Enya Nay, It may be. . . MONA {wearily, turning away from him) Gwynn, thou hast lied already many times — There is no need of other words. Gwynn My word Speaks for Rome. Giving it for peace, I bind The legions. Binding me, ye loosed them. Come With me now to my father, make an end 167 MONA Of this rebellion ere yet more be slain ; Give peace to Britain, and bind up her wounds. MONA (monotonouslyy The blood of all our slain cries out on thee, The tears of all our women fall on thee, The groans of all our captives answer thee, Till thy life answer for their lives undone I \_She stands looking blindly into space, the sword clasped to her breast, hearing nothing. GWYNN For their sake, wait no longer! Thou shalt learn If I speak truth — NiAL I cannot understand All this of truths and traitors ; but I know That Gwynn is good : I know that I i68 MONA Enya It may be. . . It may be. . . Gloom Nay, go kiss thy lover, girl! [MoNA does not seem to hear; and her next three lines are spoken as to herself. That which is rising up in her is the death of Gwynn ; hut the others^ each from his own point of view, mistake it for hes- itation, Gwynn Mona . . . come! MONA — One whose face I could not see. . . Gwynn Many shall die while we delay — Think not Of me; save thine own people! 169 MONA MONA — One who strove To snatch away my sword. . . NiAL There is a mist About thy face^ Gwynn — MONA — Therefore I smote. . , Gwynn Nay, then, I dare not tarry longer, even for thee — Guard her, Nial. \^He turns away up stage, toward the path. MoNA turns, and takes a step toward him, speaking me- chanically, in a dry voice: her tone and gesture are a ghastly parody of surrender, 170 MONA MONA Gwynn ... I am very weary. . . NiAL {springing forward, frightened for the first time in his life) Mona. . ! Great God ! . . thy shadow I [Gwynn turns back to her eagerly, and takes her in his arms. Her head droops forward upon his shoulder, and her left arm slips around his neck; her right hand, holding the sword, hangs at her side. The pose is precisely the same as when Gwynn was wounded ominously in Act I. Gwynn Love, now all is done And we may yet save all ! {She holds him close an instant, then 171 MONA suddenly brings the sword up with her free hand, and drives it into his throat. He falls, limp in her arms, dying. Enya What hast thou done — O Child, what hast thou done — I [The body of GwYNN slips from Mona's hold, and falls at her feet, just below the rock on the left. She stands over him with the sword. MONA I have proved myself. There lies my sacrifice. NiAL For evermore, Thou shalt not see his face. . . GWYNN Mona ... my father. 172 MONA [// slight struggle, and he is dead. There is a pause, through which are heard the joyous noises of the forest. The sunlight floods the valley, gleaming white upon the Roman Town, and strikes through the tree-tops from right to left. The stage itself is still in shadow, from the cliffs. Gloom gets to his feet, and totters over to where MoNA stands motionless above the body, gazing into space. Gloom Nay, Now I believe all I . . Let me look upon him. . . At least, he cannot triumph over me. . I I can die now. . . Oh, I shall follow him Through many lives until I find him — yea, 173 MONA Standing before the very face of God — And smite his smiling mouth ! [He turns back to his place, feebly. NiAL For evermore He cannot answer. Enya Let him be ; by this He has paid all. Gloom (turning upon her, as he is about to sink upon the rocks to the right, with a last outburst of logical anger) Paid ? By his death ? Ay, so — > Then for what evil must I pay with mine ? Which of us wrought this ruin, I or he — - My hate or his love, his peace or my war? How should we two deserve alike, whose hearts 174- MONA Opposed like East and West? The shame of one Honors the other — See now our reward : Both dead, both brought to shame, both overthrown — Behold, O God, thy justice ! \_He raises his arms above his head in a furious gesture that travesties the Sign of the Name, reels, and falls hack fainting upon the rocks, MoNA neither sees nor hears. As Enya is bending over Gloom, Nial comes down a lit- tle, looking curiously at a point in the air seven or eight feet above the body of Gwynn. Nial Mother, look — Is Gwynn quite dead? He is not far away. . . 175 MONA Enya {turns, startled and glances at the body, then speaks with the irritation of fright) Fool, have I not seen death enough to know — ? He IS mere earth, I tell thee — NiAL Look — his shadow- Shines in the air above him, like a mist Over the moon. . . See, close above us — there — Bound to his body with a golden chain. And shimmering like the wind above a fire — He seems to listen and to wait. . [The others, tense with horror, are gazing where he points, hut see- ing nothing. There is a short pause. The body of Gwynn lies just below the rock on the left, MoNA stand- 176 MONA ing above and a little to left of it. NiAL is up centre, Gloom lying hack against the rocks on the right, and Enya below and further to the right. In the hush, the rhythm of the Roman march, heard in Act II, begins to be heard: at first very softly, then gradually louder and nearer. Gloom Listen. . . MONA A murmur of many voices, like a storm Over the sea. . . Enya {crossing up centre, and looking over the cliff) The legions ! 177 MONA MONA — And a sound Of men marching to battle. . . l^She moves to the centre of the stage, looking up left, to the head of the path. NiAL goes up left. Gloom lies still upon the rocks. The Roman music grows louder and louder. Gloom Save yourselves — There is yet time. I wait here. Enya What have we To save? Nial There is a cloud over the dawn. . . MONA Forest and cloud and murmuring of the sea. . . 178 MONA .Surely my dreams remember. . . [^The sunlight, which has darkened while she spoke, clears; and the light striking over the cliffs, fills the whole stage with a blaze of direct sunlight. Enya I can see them Winding up the long pathway from the plain, A multitude of spears. [A Briton, with an arrow through him, runs up the path, stumbles down right, and falls dead at the foot of the rocks, just above the curtain. Gloom Welcome, wolves I l^The stage fills with Roman soldiers, entering by the path on the right. Most of them are legionaries in 179 MONA their panoply; a few archers. Gloom and Nial are surrounded and made prisoners at once, Enya retreats down ri^ht, as the soldiers press forward. MoNA remains left centre. Among the last, the Governor enters, and steps up right, Gwynn's body, from where he stands, is hidden by the boulder. The soldiers pay no attention to it; a corpse more or less does not concern them, MONA {as the soldiers march in) Now, The end comes. . . The Governor Guard that woman ! [MoNA is surrounded by soldiers. He looks from her to the others, 1 80 MONA Where is he Whom ye call Gwynn? NiAL Yonder — above himself. . . Gloom {relishingly) ' There is a Roman spy here. He is dead. The Governor Dead I — [Coming down centre, he sees the body. The soldiers turn the face upward. He stands looking. Gloom Past rewarding! The Governor It is he. . . {savagely) Who hath done This thing ? i8i MONA MONA It was I. The Governor Thou I A woman. . . MONA One That might have been a woman. The Governor {softly) Be thou sure Of paying for this blood. . . Gloom Since he has paid, What matter? He betrayed us. He is dead. Thou hast thy triumph. Eat it. The Governor (^with sudden fierceness) Dogs, ye have slain 182 MONA Your own last hope of mercy — the one soul Roman-born that had care for you. These years He hath made your peace with Rome, won back for you Old liberties, given you the strength to dream Of new conspiracy! But for his faith, I should have broken you between my hands In the beginning. Day by day, I spared The sword, watching your fools' rebellion boil Unpunished. He defended you; he died Striving to save your miserable lives From your own folly I I have said. \_His grief breaking through his anger. My son. . . My son. . I MONA {slowly, in a dry voice) Thy son! — Who art thou ? 183 MONA [The Governor, still gazing at Gwynn's face and fighting for self-control, pays no heed; it is the soldiers who answer in a fierce and gathering murmur. The Soldiers Governor Of Britain — Governor and lord for Rome I Enya O Child, what hast thou done? The Governor She shall have time To learn — \^A soldier gives him the sword, which has been taken from MoNA. He takes it mechanically , and stands still gazing at Gwynn's hody, 184 MONA MONA {to herself) So that was God's voice, after all! That weakness, that strange fear of Gwynn's glad eyes. That warm pain In my blood answering him, That little, foolish whisper in my heart All night long, that I put away from me, Smothering It with huge dreams I That was all God asked of me — only to drink my joy, Only to be a woman, only to cease — From struggling, rest so, and be drowsy- glad Like a child comforted ! It was too slight A service for great ends — too small, too sweet — Any one could have done so much! [JVith gradually increasing passion, turning to the others. Ah, Gloom 1 185 MONA And thou, Mother, in dream-lore deeply wise — Thou who hast known a child's lips on thy breast And life beginning in the dark . . . and thou, Nial, whose blind heart makes our wisdom vain — Could ye not tell me how great dreams pass by As a storm blows down the wind, while beauty grows Day by day out of a thousand littlenesses, As the rain swells the flood and fills the sea, Till all things take one answer? — [^Coming out of her inspiration — more quietly, awakening to the realities about her, I might have died Yonder, and not known. — See, how Earth holds up Her freshness to the summer, and the light i86 MONA Laughs over living green, and the birds are glad, And the sweet blossoms brighten In the sun. And all the bitter beauty of the day Makes merry with my sorrow — And I go To walk alive among dead hours, and see Pitiless faces and the mirth of men Whose eyes arc evil, and be fawned upon By strange hands ... for I cannot even keep My faith to him that died because of mc, Nor in a clean death lay my body down Beside his body. . . I must bear my time, Having done no good thing, remembering all — And there will be so many other days, So many other days. . . [She turns from Gwynn to The Gov- ernor, quietly. Give me the sword — It Is mine. . . [Misunderstanding her purpose, He 187 MONA steps hack, motioning to the sol- ^diers to restrain her. She looks him in the face almost with a smile. Dost thou think I can still fear? I loved him . . . and I killed him. . . Bear with me A little. [^She takes the sword, and kneels down by Gwynn's body, laying it across his breast. Take the sword now. It is thine. Thou hast done well for Britain. For myself, I have done only what I must have done, Being myself, holding by mine own sight And mine own blindness. I have sought beyond Love, and above beauty, turning away From God, to point what way the world should go. Scorning my life because I found it fair, i88 MONA Following the white fire of endeavor down Under the last horizon, where stars fail And the sea takes me, and the night ends all. And the brave deeds I was too brave to do Slumber, forgotten. . . [She lays her hands upon Gwynn's, bending over him. Love, I could not be A woman, loved and loving, nor endure Motherhood and the wise ordinary joys Of day by day. . . All that I had to give I gave thee. . . I have known thy heart . . . Farewell. [She bends down and kisses him on the forehead. Forgive. . . [She rises, and stands among the sol- diers. Do your will now. [ They hind her hands. 189 MONA I have had dreams — Only great dreams. . . A woman would have won. 190 30m-6,'14: i^fj"^ IB 3i7C3 2231 31