The Project Gutenberg eBook of The Flutter of the Goldleaf, and Other Plays This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: The Flutter of the Goldleaf, and Other Plays Author: Olive Tilford Dargan Frederick Peterson Release date: December 23, 2006 [eBook #20172] Language: English Credits: Produced by David Garcia and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Kentuckiana Digital Library) *** START OF THE PROJECT GUTENBERG EBOOK THE FLUTTER OF THE GOLDLEAF, AND OTHER PLAYS *** Produced by David Garcia and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Kentuckiana Digital Library) THE FLUTTER OF THE GOLDLEAF AND OTHER PLAYS BY OLIVE TILFORD DARGAN AND FREDERICK PETERSON NEW YORK CHARLES SCRIBNER'S SONS 1922 COPYRIGHT, 1922, BY CHARLES SCRIBNER'S SONS PRINTED AT THE SCRIBNER PRESS NEW YORK, U. S. A. CONTENTS PAGE THE FLUTTER OF THE GOLDLEAF 1 BY OLIVE TILFORD DARGAN AND FREDERICK PETERSON THE JOURNEY 49 BY OLIVE TILFORD DARGAN EVERYCHILD 75 BY FREDERICK PETERSON AND OLIVE TILFORD DARGAN TWO DOCTORS AT AKRAGAS 103 BY FREDERICK PETERSON THE FLUTTER OF THE GOLDLEAF A PLAY IN ONE ACT BY Olive Tilford Dargan AND Frederick Peterson CHARACTERS PHILO WARNER, _a student_ HIRAM WARNER, _his father, the village grocer_ MARY ANN WARNER, _his mother_ DR. BELLOWS, _the village physician_ DR. SEYMOUR, _a city specialist_ REBA SLOAN, _a neighbor's daughter_ THE FLUTTER OF THE GOLDLEAF SCENE: _Laboratory in the attic of the Warner cottage. At right, toward rear, entrance from down-stairs. A rude partition, left, with door in centre. Window centre rear. Large kitchen table loaded with apparatus. Shelves, similarly loaded, against wall near table, right. Wires strung about. A rude couch, bench, and several wooden chairs._ _Time, about 8 p.m. Lamp burns on table._ MRS. WARNER _comes up-stairs, puts her head inside the room nervously, then enters and looks about._ _Mrs. W._ Such a mess! And the doctors will be here in half an hour! (_Tries to get busy but seems bothered. Crosses to table and looks at a little machine that stands upon it._) _That's_ what's driving my boy crazy! If I only dared to smash it! The right sort of a mother would do just that! (_Looks at machine with dire meditation._) _Warner_ (_without, roaring up the stairs_) Mary Ann! _Mrs. W._ (_jumps_) Yes, Hiram! _Warner_ (_entering_) Where's Philo? _Mrs. W._ In the orchard. I watched my chance, and thought I'd redd up a little. He won't let me touch anything when he's here. _Warner_ Just about lives up here, don't he? _Mrs. W._ Day and night now, since he's been too sick to go to the store. And I can't have Dr. Bellows bring in that specialist from New York with things lookin' as if a woman had never come up the stairs. (_Dusting and rattling._) _Warner_ Philo's not onto what the doctors are after, is he? _Mrs. W._ He thinks they're coming to look at his machine mostly--and see what's keepin' him awake nights. But maybe he knows. He's awful sharp. _Warner_ Sharp? Wish he knew enough to sell eggs and bacon. He's ruinin' my business. Weighs a pound of coffee as if he was asleep. I can see customers watchin' him out o' the tail o' their eye. They're gettin' _afraid_ of him! Mary Ann, the boy's going to be a shame to us. He's crazy! _Mrs. W._ Don't you call _my_ boy crazy. I won't hear it, Hiram. _Warner_ No, you'll wait till the whole village tells you! They're all talkin' now! _Mrs. W._ It's none o' their business! _Warner_ It'll be their business if he flies up and hurts somebody. _Mrs. W._ Philo wouldn't hurt anything alive. He got mad at me once for killin' a spider. _Warner_ (_scornfully_) Showed his sense there, didn't he? _Mrs. W._ If Philo's queer it's not from my side of the house. You know what your mother was like--wanderin' round nights starin' at the stars with that old spy-glass Captain Barker gave her. _Warner_ She was a good mother, all the same. _Mrs. W._ Couldn't cook at all. Your father only kept alive by eating at the neighbors occasionally--and as for sewing and mending, you children went in rags till your Aunt Sary came to live with you. _Warner_ Mother thought a heap of us, though. I remember how she cried because I wouldn't go to school and went into the grocery business. And she cried a lot more when I married you. I couldn't understand her--_then_.... _Mrs. W._ Humph! She'd been shut up fast enough if your father hadn't been the softest-hearted man alive. _Warner_ Maybe the boy does take after her, but he's worse'n she ever was. _Mrs. W._ She didn't have any books--or college education--to turn her head. _Warner_ Nothing to read but the _Weekly Mirror_. It was a good paper, though, all about crops and stock, and what the country people were doing, and a love story on the inside page. Father subscribed on her account. She told him her mind had to have _something_ to work on. But she didn't take to the paper, and he had to read it himself to get his money's worth. _Mrs. W._ A good thing she didn't have a library to get at like Philo. All those books he brought home didn't do him any good. He began to get queer about the time he was reading that set of Sir Humphry Davy's Complete Works, with so much about electrics and the stars, and that sort of stuff. If we could only get him to quit this studyin' and stay out-o'-doors.... _Warner_ S'pose we clear out this hole--burn the books, and get rid of all these confounded wires and jars and fixings. I don't believe he saves a penny of the wages I give him for helpin' to ruin me. All he makes goes for this truck. We'll clear it out. _Mrs. W._ I've thought of that, but we oughtn't to go too far. They're his anyhow, and I'm afraid---- _Warner_ Well, I'm not afraid! And I'll begin with this devil! (_Pauses over machine. Starts suddenly._) What's that? He's coming! _Mrs. W._ (_listening_) It's only Alice going to her room. _Warner_ Perhaps we'd better see what the specialist says first. _Mrs. W._ I know Dr. Bellows wants us to send Philo away. But I'm against that, first and last. _Warner_ You wouldn't be if you'd listen to Bellows awhile. You know what he told me when I met him this morning? "Why, Warner," he says, "I never go to see the boy without taking a pair of handcuffs in my pocket. It's the quiet ones that go the wildest when they do break out." _Mrs. W._ Oh, Hiram, it's not going to be so bad as that. Don't let him set you against your own flesh and blood. Just let me manage awhile. He needs to get stirred up about something--get his mind off this. I wish I hadn't stopped those letters he was getting from Reba Sloan when she went off to school two years ago. _Warner_ But you said you'd rather see him dead than married to Sloan's girl. _Mrs. W._ I meant it, too! But seeing your child dead is not so bad as seeing him crazy--and if Reba can save him---- _Warner_ How in thunder---- _Mrs. W._ She's a taking girl, Hiram--since she got back. If Philo gets his mind fixed on _her_, she'll soon have him forgettin' this. Why,--you remember for three months before we were married you couldn't think o' nothing but me. _Warner_ Good Lord! Is that so, Mary Ann? _Mrs. W._ I had to hurry up the weddin' to save your business. You were letting Jabe McKenny take all your trade right under your nose. _Warner_ Sakes 'a' mighty! If I could come out of a spell like that, there's some hope for our poor chap. _Mrs. W._ That's what I'm telling you! _Warner_ But Reba's father--you going to have old fiddler Sloan in the family? _Mrs. W._ He's come into some money now, and any gentleman can take an interest in music. _Warner_ And the mother was that foreign woman. _Mrs. W._ But she's dead. It's just as well Philo won't have a mother-in-law. _Warner_ Reba'll have one, all right. If Philo stays queer it'll be hard on the girl, won't it? _Mrs. W._ He'll not stay queer. If he gets that girl in his head there won't be room for anything else--for a while anyway. He'll be worse'n you ever was. You let me manage it, Hiram. (PHILO _is heard coming up the stairs. They listen in silence until he enters. He is talking, not quite audibly, to himself, and doesn't see them. Goes to table and stands by machine._) _Philo_ Here--at last--I have caught the word ... the word of the stars. _Mrs. W._ Philo! _Philo_ (_looking up_) Mother!... Father!... (_In alarm._) You haven't touched anything here? _Mrs. W._ No, my son. I've just put the place to rights a bit. Dr. Seymour is coming, you know. _Philo_ Yes. (_Walks the floor, meditating._) _Warner_ You must come out of this dream, Philo. _Philo_ It is not a dream! I am the only being in the world who is awake! _Mrs. W._ My son! _Philo_ Man sleeps--like the rocks, trees, hills--while all around him, out of the unseen, beating on blind eyes, deaf ears, numbed brain, sweep the winds of eternity, the ether waves, the signals from the deeps of space! _Warner_ Hey, diddle, diddle! _Philo_ Sleep-walkers all--the people in the streets, the shops--the mad people with their heaps of gold! _Mrs. W._ Now don't work yourself up, Philo, with the doctor coming. You want to tell him about your machine. _Philo_ Yes. He is a great man. He has studied these things. I will talk to him. He will not laugh. _Warner_ Mary Ann, don't you think we'd better bring up some cider? It'll look more hospitable like. _Mrs. W._ That city doctor won't care anything about cider. _Warner_ My cider's good enough for anybody! And Dr. Bellows'll be sure to ask for it. _Mrs. W._ Well, wait till he does. (_Looks uneasily about room._) Don't you think, son, that if you're going to take to having visitors here I'd better move some furniture up? You could have the haircloth sofa--the springs are broke anyway--and Alice says she don't want the wax flowers in the parlor any more. They're turnin' yellow, but you wouldn't notice it up here. _Philo_ (_clinching his hands_) Do what you like, mother, only don't take anything _out_. If anything happened to my work I believe I'd go crazy! (_The parents look at each other._) _Warner_ Thought your work was tendin' the store. _Philo_ Brother Will is more help there than I am, father. _Warner_ You're right about that. Will's got a head on. _Mrs. W._ You'd better go down, Hiram, and meet the doctors. _Warner_ Alice'll show them up. _Mrs. W._ Where's that strange smell comin' from? Do you work in the other room, too, Philo? (_Goes in, left._) _Philo_ Father ... I'm sorry about the store ... I wish I could tell you ... but what's the use? You won't believe! (_Re-enter_ MRS. W.) _Mrs. W._ Gracious! I couldn't breathe in there! Got to clear _something_ out before Reba comes up here. She'd have no respect for my housekeeping. _Philo_ Reba? _Mrs. W._ Reba Sloan. She's been asking if she couldn't come. She's just wild to see your machine. _Philo_ Don't you ever let her up here, mother! _Mrs. W._ But she asked me, Philo--and a neighbor's daughter, you know---- _Philo_ I thought she was away from home. _Mrs. W._ Been back a month--walks all about right under your eyes. You ought to be _civil_, Philo. _Philo_ I want to see Dr. Seymour. I should like to have him know what I'm doing. But if you're going to turn the whole village in here, I'll bar the door, that's all. _Mrs. W._ My son, if you'd only interest yourself a little---- _Philo_ I'm not interested in anything nearer than thirty-five million miles! _Warner_ What did I tell you, Mary Ann? _Mrs. W._ I hear the doctors! Now, Philo, if you can't talk sense, don't say _anything_. (_Enter_ SEYMOUR _and_ BELLOWS.) _Bellows_ Good evening, Warner. How d' do, Mrs. Warner! My friend, Dr. Seymour. _Warner and Mrs. W._ How do you do, sir! _Bellows_ Philo, I've brought Dr. Seymour around to have a talk with you. He's down from New York for a day or two. Been sleeping any better? _Philo_ Too much. I need all my time. I'm very glad to see you, Dr. Seymour. (_All take seats._) _Mrs. W._ I hope you'll excuse the looks of the room, doctor. _Seymour_ It looks very interesting indeed to me, Mrs. Warner. The workshop of a student, and a busy one. (_To_ PHILO.) You've been working too hard, I see. _Philo_ I'm tired, perhaps, but I am well. When a man makes a momentous discovery he is apt to be overwrought. He may not eat or sleep well for a time. He may even appear to be strange or mad. (MRS. W. _coughs suddenly._) _Mrs. W._ I'm afraid that's not a comfortable chair, Dr. Seymour. _Seymour_ Quite comfortable, Mrs. Warner. _Mrs. W._ (_rapidly_) Philo is my oldest boy, and I never could keep him away from books. Will, my second son, is as steady in the store as his father himself, and Johnny is just fine on the wagon. As for Alice, there's not a neater all-round girl to be found anywhere. They're healthy, sensible children, every one of 'em, and don't care what's inside any book in the world--but Philo was just bent on going to college---- _Seymour_ A very natural bent for an ambitious boy. _Bellows_ Tell us about the discovery, Philo, my lad. _Philo_ (_rising and walking slowly up and down the room_) I think I will. It will be another experiment. I know what the effect will be on Dr. Bellows. He is an old friend of mine--but you, sir, are a stranger. I should like to try your mind and see if you are awake or asleep. (BELLOWS _winks toward_ SEYMOUR, _who takes no notice, but gives_ PHILO _careful attention._) _Seymour_ I hope I shall not disappoint you. _Philo_ I believe we have some points of view in common, for your profession needs to take note of many problems connected with both evolution and electricity. I have been a reader of general science for many years. The fact that on the earth we have had a slow evolution from a monad to a man contains a promise of further development of man into--let us say an angel. _Bellows_ Not very soon, I guess. _Philo_ (_sharply_) Hardly in your day, doctor. You needn't worry about the fashion in wing-feathers. _Seymour_ Go on, Mr. Warner. _Philo_ In others of the many millions of globes about us in space, a similar evolution is going on, and in some the evolution is less advanced than in ours, in others incomparably more advanced. _Seymour_ We may admit that. (BELLOWS _looks to_ WARNER _for sympathy, and shakes his head._) _Philo_ We have reached a stage when we have begun to peer out into the stellar depths and question them. We are beginning to master the light and the lightning, to measure the vastness of space, to weigh the suns, to determine the elements that comprise them, to talk and send messages thousands of miles without wires. Each year uncovers new wonders, infinitely minute, infinitely great. _Seymour_ True,--all true. _Philo_ (_becoming more repressed and tensely excited as he goes on_) The dreams of the alchemists are being realized. That machine yonder detects the waves from a millionth of a millionth of a milligramme of radium. _Seymour_ What! _Philo_ I have invented a tuned electroscope that would be destroyed by such waves, so sensitive as to react only to waves from an inconceivable distance, beyond thirty-five million miles. _Seymour_ (_trying to take it in_) Thirty-five million miles! _Philo_ (_with great tension_) Three weeks ago I made this instrument, and ever since then, at regular intervals, there have been rhythmic flutterings of the goldleaf, regular repetitions, as if it were knocking at the door of earth from the eternal silences. I have watched it--the same measured fluttering--two beats--then three--then two--then four and a pause! It is a studied measure! It has meaning! When I first noticed it--the faint flutter of the goldleaf--and knew that any waves from a nearer point than thirty-five million miles would utterly destroy so delicate an instrument--my hair stood on end. I have watched it three weeks--alone--and you ask me why I do not sleep!... Look! (_The doctors spring up electrified, and stare at the instrument._) _Philo_ There it is again! Two beats--then three--then two--then four--now it is over! (SEYMOUR _continues to stare at the instrument._ BELLOWS _subsides into a chair, looking foolish._) _Seymour_ (_to himself_) Impossible!... (_To_ PHILO.) What was it you were saying? What did you see? _Philo_ I saw what you saw--signals from a distance farther than the distance of the nearest planet to our earth. _Seymour_ (_shaken_) But I saw nothing. At least a slight movement in anything so sensitive might be due to many causes.... _Philo_ Yes! It is always the old story. Truths must be hammered into humanity! Branded in with flame, or driven in with sword and bullet! _Bellows_ (_starting up alarmed_) Hadn't we better be going, doctor? _Philo_ Oh, no! Wait till you've talked me over. Decide whether I'm mad or not! If I'm a menace to the community! If I must be locked up! My father and mother are waiting to know. Don't go! Finish your work! (_Rushes into room, left._) _Bellows_ (_triumphantly to_ SEYMOUR) Well? (SEYMOUR _hesitates, looks at the father and mother, then at_ BELLOWS, _and takes out his match-case._) _Bellows_ (_making a conquest of the obvious_) Warner, a little of that fine cider of yours would just finish off our chat. _Warner_ Nothing better! (_Starting out, whispers to_ MRS. W.) Where's grandma's silver pitcher? _Mrs. W._ I'll get _that_. (_They go down-stairs._) _Bellows_ (_laughing_) She never lets him go to the cellar by himself. _Seymour_ Not a drinker, is he? _Bellows_ Oh, no! The pattern of a deacon. But she keeps her hand on. (SEYMOUR _lights a cigar thinkingly._) _Bellows_ No use to go over this case. It's clear enough. We'll have our cider--it's worth waiting for--then go to my office and fix up the commitment papers. _Seymour_ (_rubbing his hand slowly over his forehead_) To talk with such a patient sometimes bewilders the brain. He seemed so clear in his utterance--so rational---- _Bellows_ Funny, wasn't he? I almost believed it myself for a minute. _Seymour_ It might be true. _Bellows_ Hey? _Seymour_ Perhaps we are all somnambulists moving about in this dream-world we call practical life. Behind this tough matter that takes so many shapes and colors, what strange secrets are hidden, just beginning to reach our dull senses--X-rays, radium emanations, wireless waves. _Bellows_ Oh, they're natural enough now. Common sense has adopted them. _Seymour_ Yes, we are easily satisfied. Give a mystery a name and that's enough for the most of us. But here and there are minds that must explore further; and if they discover something beyond the comprehension of us who stay behind, we call them mad. _Bellows_ Well, none of your mind-puzzles for me. Give me something clear cut, like typhoid, or measles, an amputation, or new babies, something I can fix my eyes on. You can take care of the madmen--except when they're in my own village. I'm not going to have a boy like Philo gibbering around ready to break out wild any time. _Seymour_ It's true he may be led into frenzy, or even self-destruction, but it will be from overwork and loneliness. I must have a talk with the parents---- _Bellows_ What do you expect _them_ to do? They're asking us for help. And _I'm_ willing to give it to them. (_Re-enter_ WARNER _and_ MRS. W. _He carries pitcher, she carries tray with glasses._) _Seymour_ (_to_ BELLOWS) We'll see. As I say, the boy has been losing sleep, and giving his mind no rest. _Mrs. W._ (_holding tray while_ WARNER _pours cider_) Just what I say, doctor. He's studied himself sick. _Seymour_ You must get him out of here, Mrs. Warner. (_Sipping cider._) Excellent, indeed! _Mrs. W._ I'm doing my best. _Warner_ (_to_ BELLOWS, _who has drained his glass_) You're at home, doctor. Just help yourself. (_He does._) _Seymour_ What is his age? _Mrs. W._ Twenty. He went early to college. _Seymour_ (_musingly_) The usual age. Twenty. (_Sighs._) The age of visions and enchantments. "The thoughts of youth are long, long thoughts." _Bellows_ What are you saying, doctor? _Seymour_ Just thinking. It's a healthy family, isn't it? _Mrs. W._ I should say! Why, Will and Johnny and Alice---- _Bellows_ Best sort. The thoroughbreds of the town. Temperate, thriving, regular at church. Warner here was once county supervisor. (_Clapping him on shoulder._) Never had a better one. _Seymour_ (_to_ WARNER) And your parents? _Warner_ Father was a sound, practical man. Stood flat-footed, I may say. _Seymour_ And your mother? _Mrs. W._ Law me, Hiram Warner thinks there was never anybody in the world like his mother. And there never _was_! _Seymour_ That's good to build on. It is clear that your boy is ill, and the burden of his knowledge, whether truth or delusion, is far too great for him to bear. If you could interest him for even a brief time in ordinary life--(_smiling_) miracles that are too common to be disturbing--throw him with young people---- _Bellows_ You don't mean you won't sign the commitment papers! _Seymour_ Just that. I shall not sign them. _Mrs. W._ (_gratefully_) Oh, doctor! _Bellows_ After what you saw here with your own eyes? He's completely gone off! _Seymour_ The boy may be right. Under this tiny consciousness of ours lie vast fields of subconscious intelligence as yet unexplored. Beyond our earth are still greater mysteries, unimaginable, unthinkable. _Bellows_ (_in disgust_) And I counted on your common sense! _Seymour_ Common sense is itself too frail and uncertain a thing to be a criterion of sanity. The common sense of yesterday is to-day's folly, and our present common sense will be the madness of to-morrow. _Bellows_ Well, I'll be--I'll wait for you down-stairs, doctor. (_Exit._) _Seymour_ The lad ought not to be in there alone. (_Goes to door._) Philo, my boy! (PHILO _comes out. He is extremely pale, his black hair pushed from his forehead, and his eyes burning, but his manner is calm._) _Philo_ Well, am I a free man? _Seymour_ You are free, Philo. _Philo_ (_perfunctorily_) Thank you, doctor. _Seymour_ But you must have rest from this work. These subjects are too overwhelming for a sane brain to carry without harm. This attic is gloomy and the atmosphere unhealthy. You must have a complete change. _Philo_ I see. That is your answer to my discovery. (_Turns suddenly to_ WARNER.) And what do you think of it, father? _Warner_ I don't seem to get hold of it, somehow, Philo. (_Crosses to machine and stares at it._) What's the good, anyhow? They're too far away. 'Twouldn't help business. (PHILO _gives a queer laugh._ WARNER _opens door._) _Warner_ I'll see you down-stairs, doctor. (_Exit._) _Philo_ (_turning to_ MRS. W.) And you, mother? _Mrs. W._ (_bustling up and gathering tray and glasses_) I've got to set my bread. (_Crosses to machine and stares at it, holding tray._) What'll we come to if folks in the stars begin pesterin'? We've got enough to 'tend to right here. (_Goes out muttering._) Got to set my bread. (SEYMOUR _and_ PHILO _look at each other and smile._) _Seymour_ Won't you come down, Philo? _Philo_ No. It's livelier for me up here. More to think about. But don't worry about me, doctor. I know this is the end. If I can't convince you, then all the world must think it hallucination. _Seymour_ I'm not unconvinced. I simply don't know. And I'm deeply interested. But you can't stand it, Philo. Get out of this. Be young. This is for older heads. You'll have plenty of time. Get out--do anything. Fall in love--fall in love--that will give you mysteries enough for a while. Yes, I mean it--and don't forget, my dear boy, that you've interested me. (_Shakes hands with_ PHILO _and goes down._ PHILO _listens until he has reached the foot of the stairs._) _Philo_ The heavens open--the suns speak--and he is--interested! (_Closes door._) Alone!... Fall in love! Light the candle and put out the stars!... (_Returns to his instrument._) ... It is still. (_Steps are heard on the stairs, then a knock at the door. He crosses softly to door and shoots the bolt._) _Voice_ (_without_) It's Reba, Philo! Won't you let me in? (_He is silent, and steps retreat._) _Philo_ (_crossing to centre_) Reba! That folly's done with, thank God!... (_Begins walking._) Seymour.... I didn't know how much I was hoping from him.... It is hard, hard to go on alone. But I _must_! I can't turn back from that call. When a child cries we turn, and listen, and help. And this--_this_ is the voice of a world! (_A knock is heard at door._) _Voice of_ WARNER Philo! _Philo_ Buzz, buzz, old bee! _Voice_ Come down, son! _Philo_ Please leave me alone, father. I can't bear anything more to-night. (_A pause, and_ WARNER _goes down._) _Philo_ (_coming to table_) I will work--work--work! (_Busies his hands._) Not a voice to help me--not a smile of hope--not a touch of sympathy. (_Sits still and despairing._) ... Perhaps the time is not ripe for larger knowledge. Nature and the Divinity that guides her must protect their new evolving creatures. A too sudden revelation and they might perish from sheer wonder.... Yes, truth must come softened, as a dream, to the man child's brain. Its naked light would sere and blind him forever.... But to me it has been given to see--to hear--and keep sane in the light. Oh, from what planet is the call? From what one of the hundred million spheres? How many centuries has it been sent outward to the deaf, the dumb, and the blind? And what is the word? Is it Hail? Help? Hope?... Or is it an answer? An answer to some signal of mine? How shall I know?... How shall I know? (_There is a noise outside the window._ PHILO _does not look up._ REBA _appears and leaps lightly through the windows. Advances centre. Her dress is of clinging black, relieved by a floating scarf of cloudy white. She has a mass of blonde hair, and all the charms properly belonging to her age, which is eighteen._) _Reba_ Philo! _Philo_ (_turning_) Reba! _Reba_ Don't be angry. _Philo_ How did you get here? _Reba_ The window. Don't you remember--you showed me how to climb up once--with a ladder--the tree--and the shed roof? Oh, the things you've forgotten, Philo! (_He goes to door and unbolts it._) _Philo_ You must go down, Reba. (_She does not move._) What will mother say? _Reba_ (_laughing_) She held the ladder for me. _Philo_ Mother? _Reba_ You've frightened her so. You mustn't bolt the door again. She's afraid you'll do something dreadful. _Philo_ You were not afraid to come. _Reba_ I like to take risks. Life's dull in this village. _Philo_ How you've changed, Reba! _Reba_ It's taken you long enough to find it out. I've been back a month. _Philo_ You'd better go down. I'm very busy, and I've had a long interruption this evening. _Reba_ I'm going to interrupt some more. Dr. Seymour says it's good for you. _Philo_ (_angrily_) Dr. Seymour knows you've come? _Reba_ Yes. He said you might like the surprise. Don't you like it, Philo? (_Comes near him._ PHILO _turns away and busies himself about the table and shelves as if he meant to ignore her utterly._ REBA _watches him, then goes to window and takes a large apple from the ledge. Comes back._) _Reba_ I brought you an apple--such a love of an apple. There's a whole summer of sunsets in it. I climbed the tree myself. _Philo_ (_not looking_) Thank you; I don't eat. _Reba_ Don't eat! Well, there it is! (_Throws it on the table. He jumps to protect his instrument._) You can _lick_ it when you're hungry! (_He sits down and begins to work. She walks to other side of table and picks up a book._) _Reba_ Oh! Our old "Swiss Family Robinson"! The very one we read together! With our names in it! You've kept it all the time! (_Hugging it._) Dear old book! (_Turns the leaves._) Why--the leaves are half gone! _Philo_ They're handy for cleaning my wires. (_She throws the book down, and stands uncertain._) _Philo_ Going, Reba? Good night! _Reba_ No, I'm not going. This is my last chance. You'll bar the window to-morrow. _Philo_ (_determinedly_) Yes, I will. (_He bends closely over his work. She lies across the table opposite, watching his movements intently. He fumbles for a tool._) _Reba_ The little one? Here it is! (_Hands him a small wire tool. He stares at her face so near his own, then takes the instrument and works confusedly. Jumps up and tries to reach a jar on one of the shelves._ REBA _leaps onto a chair, takes the jar and hands it down. He stares, and takes jar._) _Reba_ (_as he returns to table_) Ugh! These jars are so dirty, Philo. May I wash them for you? _Philo_ Heavens, no! _Reba_ Oh, _that_ makes you sit up! (_Hums a little, leaps down and begins to move the things on the table._) I'll make the table tidy for you, Philo. _Philo_ (_grabbing her hands_) Stop! _Reba_ (_sings, swinging his hands across the table_) "All around the mulberry bush----" _Philo_ Let go! _Reba_ Why, you're holding _me_! (_He drops her hands and goes to window, as if intending flight. She becomes subtle._) _Reba_ Dr. Seymour says you've done something wonderful, Philo. Won't you show me your machine? _Philo_ No. _Reba_ But I _care_! I care more than anybody! I _want_ you to be great. I could sit by you all my life just watching you being great. (PHILO _smiles. She twirls over to him._) And I don't _like_ to be still, either. _Philo_ But suppose people began to laugh at you as they do at me? _Reba_ I wouldn't care. Show me the machine, Philo. (_Takes his arm and they move back to table._) _Philo_ There it is. _Reba_ (_hovering over it_) This is it. (_Throwing her head back._) Tell me about it. _Philo_ Reba--your throat is--so white. _Reba_ (_bending suddenly over machine_) There's something moving. _Philo_ So white. _Reba_ Two--one--two, three---- (PHILO _goes to door and flings it open._) _Philo_ Reba, go down! (_She crosses to door, shuts it, and stands with her back against it._) _Reba_ Not till we've had a talk, Philo. I've a right to it after what you said two years ago--when I went away to school. Have you forgotten it? Shall I tell you what you said? _Philo_ No! _Reba_ You said you loved me, Philo. And I believed it for two years. When I came back you were silent. I've tried to make you speak--I've got in your way--I've done everything nice girls don't do--because--I love you as much as you love _that_! (_Waves her hand toward the machine._) _Philo_ Don't say it. It can't be true. No woman could love so much as that. (_Goes back to table._) _Reba_ (_following him_) I don't ask you to love me. But let me come here and sit by you sometimes. I could be happy then--though I don't _like_ to be still. I was going to a dance to-night. _Philo_ A dance! _Reba_ But I knew you were up here alone--and I had heard--oh, my dear!--that they were going to send you away. I couldn't bear it. I _had_ to come. Oh, Philo, they shall not send you away! Dr. Seymour says all you need is a new interest. _Philo_ To dance, perhaps! _Reba_ Well--why not? It is fun. We were to be in fancy dress, and I was going as Night. See--(_waving her scarf_) this is my cloud--and my hair is the moon! I washed it to-day so it would be fluffy. Just see how soft it is! _Philo_ (_touching her hair_) How fine! Will you give me a lock, Reba? _Reba_ Oh, yes! Where are your scissors? Here! (_Takes scissors from table._) You cut it, Philo. (_He takes scissors._) Anywhere. It's curly at the neck and temples. _Philo_ (_cutting lock_) I don't want a curl. (_Puts hair carefully in table drawer._) I'm making a new machine and I need long hairs for some of the parts. _Reba_ (_raging_) You sha'n't have it! You sha'n't! (_Tries to open drawer. They struggle. She gets her arms about his neck._) _Philo_ (_pushing her off_) Your throat---- (_Kisses it. She clings to him, and he sits down, holding her on his knee._) _Reba_ I knew! I knew! Oh, Philo, you _haven't_ forgotten! You remember--everything! _Philo_ Everything! _Reba_ That day we went fishing and---- _Philo_ (_laughing_) Forgot the tackle! _Reba_ And that last evening in the orchard, when you said---- _Philo_ I love you! _Reba_ Oh, you look just as you did then--so happy! I nearly died when I came home and saw the change in your face. It seemed to shut me out, like a great iron door. Philo.... You won't forget again? _Philo_ Never! _Reba_ And I may come every day? _Philo_ Every day! _Reba_ I'll help you, Philo. I'll give you all my hair. (_Lays her head on his shoulder._) And I'll let you work and not think of me at all. You can live with your stars---- _Philo_ (_kissing her_) There are no stars! _Reba_ (_laughing_) I'll never be jealous again! (_Gets up._) Come! Let's see what the dinky thing is doing! (_Goes to table._ PHILO _watches her, slowly repeating her name._) _Reba_ What a little thing it is! And--there _is_ something fluttering! (PHILO _crosses, still seeing nothing but the girl._) _Reba_ See--I'm trying to count--two--three---- (_He looks down, and becomes transfixed._) _Philo_ Oh, my God! They've changed the signal!... Look, Reba! Count the beats! Count for me! Count! _Reba_ (_confused_) Two--three--no, four---- _Philo_ Can't you _count_? Get away! (_Pushes her aside._) Two--three--four--three-- They have _changed_ it! Oh, I must answer! _Reba_ Philo---- _Philo_ Go down! _Reba_ (_clinging to him_) I won't--I won't---- _Philo_ (_putting her in a chair_) Sit there, then. And for God's sake be still! (_Returns to machine and counts under his breath._) It is true--it is true--and I am not ready! I am dumb, like all the world! I cannot let them know! (_Walks the floor, muttering_) But I will--I must. (_Crosses to window._) I must do it!--think of nothing else--nothing! I shall not sleep till it is done!... But they will call me mad--lock me up before I have finished, God, before I have finished! _Reba_ Philo, listen! _Philo_ It's the world's way ... to beat the spirit down ... the eager spirit, superbly sane, daring to pierce the barriers between heaven and earth! _Reba_ I'll not sit here! (_She sits nevertheless._) _Philo_ Oh, Truth-driven martyrs, seers of visions, prophets of the old world and the new, born out of your time to suffer by fire, by sword, and prison bars! _Reba_ (_cooingly_) Dear Philo! _Philo_ I too shall join you! Forerunners of the waking spirit of the world! (REBA _gets before him as he walks. Completely absorbed, he puts her aside, absently but gently, as if she were a kitten he did not wish to hurt._) _Philo_ I must finish it--I must--before they beat me down! (_Pauses by machine._) There is no one but me to do it. If I fail they may have to wait another million years--out there--working, waiting. (_Resumes walk._) I shall not fail. I have gone too far. God will take my part now. Be it His own eternal sign, I will answer it! _Reba_ I'll make you see me! (_Runs to table, leaps upon it and begins a dance among the wires and bottles. He is stunned for a moment, then rushes to her, seizes her waist with both hands, lifts her up, and flings her to a chair._) _Philo_ Sit there, you dragon-fly! Or I'll crush you! (_Goes to window, as if for breath and air. Recovers poise._) Let them think me mad. Up here I shall work it out. And I shall not be alone. Earth will not hear me, but the heavens will listen. (_Holds his hands toward the stars._) My only friends! _Reba_ Crush me! (_She steals up to the table, seizes a large book, and brings it down with utter destruction upon his machine._ PHILO _turns and sees. They face each other. She shrinks, terrified._) Don't, Philo! (_Kneels, throwing back her head, showing the long line of her throat._) Forgive me! It was driving you mad! I wanted to save you! Don't look like that! Forgive me, Philo! _Philo_ Your throat--is--so white! (_Seizes and chokes her. As he seizes her she gives a cry of terror._ WARNER, MRS. W., SEYMOUR, _and_ BELLOWS _rush up the stairs and enter._ PHILO _takes his hands from the girl's throat and stands apart. She lies motionless._) _Warner_ (_roaring_) You've managed, Mary Ann! _Bellows_ (_excitedly_) Who's right, now, Seymour? (SEYMOUR _bends over_ REBA, _listening for her heart-beat._) _Warner_ (_choking_) A hanging in the family! _Mrs. W._ Is she--dead? _Seymour_ No. It is chiefly fear. (_Works over her body._) _Philo_ (_to himself_) Poor little bird! Poor little bird! _Bellows_ (_taking a pair of handcuffs from his pocket and offering them to_ WARNER) Better clap these on him. We're none of us safe. _Philo_ Handcuffs, doctor? I'll make no trouble. (_Holds out his hands and_ BELLOWS _fastens handcuffs._) _Bellows_ It's for your own good, Philo. _Seymour_ Our mistake--our mistake! Poor boy! _Bellows_ Poor _girl_, I should say! _Seymour_ (_lifting_ REBA) I'll take her down-stairs. (_Carries her to door._) I shall need you, Mrs. Warner. (MRS. W. _follows, weeping and looking back at_ PHILO.) _Philo_ I'm all right, mother. _Mrs. W._ _All right._ Oh, God help him! (_Exit._) _Bellows_ Clean mad! _Philo_ (_crosses, and looks down on the wreck of his machine_) Silent ... but I have heard! The divine whisper has reached me! _Bellows_ That's still on his mind, you see. Better leave him up here till morning. Seymour and I will fix up the papers and take him off to-morrow. I'm sorry, Philo, but you know it's for the best. _Philo_ I'll make no trouble. Don't worry, doctor. _Bellows_ (_to himself, going_) Lord, he's cool! (_Advising_ WARNER, _in cautiously lowered tone._) That's the way with the worst of them. (_Exit._) _Warner_ Want me to stay with you, Philo? _Philo_ No, father. _Warner_ (_relieved_) Good night, son. (_At door._) Mother'll send up some blankets. (_Exit._) _Philo_ Blankets!... (CURTAIN) THE JOURNEY BY OLIVE TILFORD DARGAN CHARACTERS PRINCESS WONG FE, _bride of Yu Tai Shun_ SO SIU, _her friend_ PRINCE CHING MAKURO, _of Japan_ YU TAI SHUN, _of all nations_ THE JOURNEY SCENE: _Room in a farmhouse above Siangtan, where the Siang flows among hills. The rear of room has wide exit to a porch, beyond which show the tops of pear and peach trees in full bloom. Steps lead down to the orchard, and the orchard slopes to the river._ WONG FE _and_ SO SIU _present._ _Wong Fe_ My lily So Siu, has not the dishonorable color left my wretched cheeks? Is not my face like the dough before it goes into the oven? _So Siu_ Oh, my golden Fe, pearls in the dawn are no fairer! _Wong Fe_ But these cow-girl's tatters! Would not my gown of meadow-green mist with the peach-gold underrobe make me less haggard? _So Siu_ When your lord, Yu Tai Shun, returns from the hills he will say---- _Wong Fe_ Oh, what will he say? _So Siu_ That the fairies have been your friends. They wove for you this robe of rose-leaves, and threw over you a gray cloud from the Witch's Mountain. (WONG FE _trips gaily, then with sudden surrender begins to weep._) _So Siu_ Have no shame, beloved of miserable So Siu. Water must follow the fire. I am only a maid, but I know that when the honeymoon is without tears two pigs have married. Ah, wet my sleeve, my dear one, and not thine that will lie on the neck of the golden lord, Yu Tai Shun. _Wong Fe_ When I awoke this morning the sunlight was on my pillow, but Yu Tai Shun was gone. All day I have not seen his face. And now the last swallow has left the sky. _So Siu_ Why did Prince Ching and the young Japanese choose this day to be guests of Yu Tai Shun? It is sad for the wife when the friends of her lord find her alone. Yu Tai Shun will beat his doorstep for not calling him. _Wong Fe_ He will! Prince Ching is almost his father. May his age climb as the hills, always nearer the sky! _So Siu_ Indeed, you would be sitting alone in a cloud of sighs, not fast wedded to the bringer of dawn, Yu Tai Shun, if Prince Ching had not won his way to your brothers, the mighty princes, Wong Li and Wong Sen. _Wong Fe_ I kiss his honorable dust! He shall live with my ancestors! And Makuro, the young Japanese, I shall love him too, for he is most dear to Yu Tai Shun. Do they still sit in the orchard? _So Siu_ They have not moved, nor paused in their talking. Do you not hear? Like bees that cannot choose their flower. It may be that they have brought news to Yu Tai Shun, and his gloom will pass. _Wong Fe_ No, I feel it was their coming, like a far cloud, that shadowed him. Oh, my So Siu, it will be darker now! _So Siu_ I have sent tea and cakes to the orchard. _Wong Fe_ It shall not be dark. Do not the fairies of the sun weave a white world out of the threads of midnight? I will pray to them. We must be merry, my lily So Siu. _So Siu_ And why not? _Wong Fe_ I shall dance to-night before Yu Tai Shun. (_Tripping._) Is it not good to have feet? My honorable and glorious mamma weeps when I dance, but it is because she was born too soon and they crippled her beloved feet. _So Siu_ How glad I am that the old world is gone when only the painted flower-girls could do the happy things! _Wong Fe_ And it was my own lord, Yu Tai Shun, who made the earth new again! (_She listens, suddenly still._) _So Siu_ He is here! _Wong Fe_ My darling So Siu.... _So Siu_ I go! (_Darts from room, right._) _Wong Fe_ I would be dancing, but I cannot move. There are anchors of fear on my toes. (_Enter_ YU TAI SHUN, _left. He is dressed in gray flannels, of American pattern._) _Shun_ (_stopping before_ WONG FE) I left a witch-cloud on the hills, and it has dropped down before me. (_She courtesies to the floor. He snatches her up._) _Shun_ No! I want my Western bride to-night. _Wong Fe_ But this is a Chinese orchard, and it is springtime. Let me worship a little. _Shun_ Never, my mountain bird! (_Draws her to the steps, where they sit._) _Wong Fe_ You are weary, beloved? _Shun_ Not now. I have my rest. To-morrow you shall go with me. _Wong Fe_ Up the mountain? _Shun_ I will show you where I dropped the storm in my heart. _Wong Fe_ (_timidly_) Will it come again, Yu Tai Shun? _Shun_ Nothing can wake it again. _Wong Fe_ Then indeed I am your bride! _Shun_ Heart of my body art thou, Wong Fe! (_Holds her to his breast a moment, looking distantly out. Suddenly sees his friends approaching._) _Shun_ We have guests? _Wong Fe_ (_quickly springing up_) Forgive me! Your friends are here. Prince Ching, and Makuro, from Japan. _Shun_ Makuro? (_He throws up his right hand. In a moment_ PRINCE CHING _and_ Makuro _are seen advancing from the orchard_.) _Wong Fe_ They have had my welcome. I leave you. (_Crosses to right, reluctantly._) _Shun_ Return to us soon, my gold of the morning. (_She goes out_. CHING _and the Japanese enter._) _Ching_ We have waited, Yu Tai Shun. We knew that the setting sun would turn a bridegroom home. _Makuro_ Master! _Shun_ My friend! What brings you to China? _Makuro_ (_with steady gaze_) You know. I have come for you. _Shun_ (_stubbornly, as if chidden_) My work is done. China is free. _Ching_ Her slavery is only beginning. You may hide your body but you cannot bury your mind under peach-blossoms. _Shun_ The republic is established. _Ching_ But not a democracy. _Shun_ My work is done. Twenty years have I given to the cause of the people. Now until I die I will toil and sing in the fields of my fathers. (_They have gradually come to centre of room, which servants have lighted_. WONG FE _silently returns, but at a sign from_ CHING _she retreats and remains by wall, right, participating in the scene that follows, though_ YU TAI SHUN _and_ MAKURO _are unaware of her presence._) _Makuro_ Do you remember when I stood here once before, Yu Tai Shun? _Shun_ Can you ask me that, Makuro? _Makuro_ Why not, when you seem to have forgotten all that passed between us? I went from that meeting with an imperishable fire in my heart. I return, and the light that kindled mine is dark. We stood here, and the words you spoke were brighter than the lamps of Siangtan that we looked down upon. Shall I repeat them, Yu Tai Shun? (_Shun is silent._) _Ching_ I would hear them, Makuro. _Makuro_ The master said: "Forty centuries has China been content to plough, to sow, to reap, and with her harvest support one-quarter of the human lives on our planet. Drudgery has been her lot, frugality her virtue. Only so had she lease of breath. Now she is to unlock her mines, build ships, and roads of commerce, and with the magic of machinery set her people free. If that magic is owned by a few, there will be no freedom, but a slavery whose agony no man can tell. Every owner will be a monarch greater than the Son of Heaven to whom we bowed. We cannot shut them out by war. We can do it solely by making China a true democracy where the people themselves own the magic tools and the great ways to the markets. To do this is the work of all who love Freedom, and I know no other goddess." Were these your words, Yu Tai Shun? _Shun_ Yes ... my words. _Makuro_ That was five years ago. From all parts of the earth come powers fulfilling your fear. Leagued with our own purblind princes and dwellers in the dusk, they hover over China, waiting for war and bribery to dismember her. And you say your work is done. Yu Tai Shun, where have you buried my master? _Ching_ In the heart of the Princess Wong Fe. _Shun_ (_rallying_) May we not be too stern in our judgment of the lords of steam and iron? Lei Kung Sang and the British minister of the So-nan mineral beds have built houses for the people. _Ching_ And have taken their land. Men who plucked their own fruit, and took food from their own gardens, now cannot eat until they have torn new treasure out of the earth for the kind Briton and the good Lei Kung Sang. _Shun_ Their days of work were always long and weary. _Ching_ But they toiled as free men in the sun, and as free men sang from the river-boats when the moon rose. In America, where there is still much land and few people, there are places where children go down into the mines and never see the sun except on the day they call "holy." How will it be with China's four hundred millions, when there are not even waste places where those who would flee may gather? For even her great untilled spaces are being covered by the foreign hand. _Makuro_ Slavery will be born again with depths the ancients never knew. _Shun_ But the spirit of brotherhood is growing. _Makuro_ Power has no brothers! It was you who taught me that, Yu Tai Shun. _Shun_ Do you forget that we built our republic with the aid of these same princes of power? _Ching_ We forget nothing. They let us beat down the throne because they could not use it--a rigid tradition--but the republic--_they_ are the republic! _Shun_ Can we not trust a little? In our greatest need, alien hands have reached out to help us. And we have true hearts among our Chinese lords. Not all have joined with the invader to herd the people into slave-yards. Pei Chen-Ping and Sa Yi are most liberal. You, Prince Ching, and those you gather to you, have hearts like the rising sun. And the noble princes of the house of Wong--have they not given me my bride? _Ching_ Ay, when your sighs had blown around the world for seven years, they yielded her. You were a power to be checked, and they set a woman in your path. _Shun_ No! _Ching_ It was a Japanese from the Fushun collieries, a Russian prince of the Northern railways, a French buyer of Yunnan copper, a British ship-baron of Hongkong, and the Chinese owners of the unworked gold veins of Szechuan, who went to the brothers of Wong Fe and said: "Give Yu Tai Shun his bride." _Shun_ It was you who spoke for me! _Ching_ You had no father, and in my heart you were my son. I spoke for you because I believed in you. I did not think that any bribe could lure you from us. Yours was a soul that we thought would be a torch to every nation of earth. And you choose to go out like a candle in the breath of a woman. (YU TAI SHUN _is bowed and silent._ MAKURO _touches his sleeve._) _Makuro_ Come with us, master. _Ching_ In half an hour the boat will stop at the orchard pier for Makuro. He starts for Japan. It is there you are needed. _Makuro_ I come from our friends with their summons. Japan's oligarchy of traders, with every means known to power--school, religion, racial pride and hate--is fostering the spirit of war. All the seeds of the jungle are being deliberately sown once more in men's hearts. They are preparing Japan to hold the largest share of an industrially broken China and weld her millions into one instrument of hate against the West. _Shun_ A pigmy's dream! _Ching_ A dream that will come true if our giants continue to sleep. _Makuro_ It is the menace of America that Japan holds before her people till their hearts roll with fear, their brains grow sick with rage. America, who has insulted us with exclusion--who has snatched an island chain from our Eastern waters, and shot, starved, imprisoned thousands ignorant enough and brave enough to resist her. _That_ is the America my people are taught to believe in. But you know a different America, where people love honor and hate war--whose religion is love thy neighbor as thyself. Come, teach them of that America! You are known in a million homes of Japan. You have taught us to love you, and where we love, we listen. _Shun_ (_with great effort_) I cannot go. If I part from Wong Fe the blood will leave my veins and flow back to her. _Makuro_ Then take her with you. _Shun_ You know what this journey means. _Ching_ Yes, you must go free. With such a weight you would be useless. I will take Wong Fe to her brothers. _Shun_ I shall hold her forever! _Ching_ You think joy can last so long? (_To_ MAKURO, _shrugging._) A boy yet! _Shun_ In Japan you have my young scholar, Onoto. All my knowledge I have given him. In his heart is my purpose, his eyes hold my vision. _Makuro_ Onoto! _Shun_ His years are younger, his flame will leap higher. I am only one who fails you. In every nation our numbers are growing. Do not fear for humanity. Our brothers are everywhere. _Makuro_ You say Onoto? _Shun_ He has the gift of the shining word--the word that draws the heart as a full moon at sea draws the eye. I can turn my back on the world and rob it of nothing, for I have given it Onoto. _Ching_ How long have you been chirping here like a cricket under a leaf, with no news from the roadside? _Shun_ It is three weeks to-day since I brought Wong Fe to the door of my fathers. _Ching_ Three weeks! On the very day of your joy Onoto was thrown into prison. _Shun_ They would not dare! _Makuro_ They did dare. _Shun_ In prison--Onoto! _Makuro_ No, he is not now in prison. _Shun_ Free? _Makuro_ The enmity of the powers was bitter. Everywhere he was sowing the seed of peace. In many a house the ancestral sword was broken at his bidding. _Shun_ But he is free? _Makuro_ Yesterday (_glances out at the stars_), at this hour, he was shot. _Shun_ (_slowly comprehending_) Then I have been twenty-four hours dead. (_He steps uncertainly out to the little porch. They gaze at the floor, respecting his grief_. WONG FE _makes a motion to follow him._ CHING _stops her with a gesture, and she shrinks back._ YU TAI SHUN _re-enters._) _Shun_ Your mercy, friends. (_Crosses left, to exit._) _Ching_ You will go with us now? _Shun_ (_turns and hurls the word_) No! (_An instant of silence follows his exit, then_ WONG FE _comes forward._) _Wong Fe_ Peace to your hearts, honorable friends of Yu Tai Shun! He will depart with you. _Ching_ Not yet. We must wait. Invisible chains cannot be broken. But they will disunite of themselves. Then he will come. _Wong Fe_ I will send him with you to-night. _Ching_ _You_ send him? _Wong Fe_ Do you think I will divide his life so that the two halves can bear no fruit? That I will wait until he hates me for that ruin? _Ching_ (_with laughter_) Hates you, oh princess! _Wong Fe_ Wait till I must glean in his heart behind a spent passion?--like a poor widow in the track of a grain-cart? _Ching_ The coral of your lips will defeat their command, Wong Fe. Near you he is a dry fagot seized by a flame. _Wong Fe_ I tell you he will go! Wait in the orchard until you hear the first whistle of the boat. Then come for him. He will be ready. Go, honorable friends! He is returning. _Ching_ It is useless. Your words may bite like winter, but his eyes will see only the Spring morning. _Wong Fe_ Go, I beg you, go! (_They pass out down the steps of porch._ WONG FE _hurries to a small table, opens a lacquered box and takes from it a stiletto, which she hides in the folds of her sleeve. She is dancing as_ YU TAI SHUN _enters, and sings as she dances._) The thousand odors of Spring Are the thousand arms of love. They find thee in the valleys, On the crest of the hills they reach thee; Till Spring bear no fragrance Thou canst not escape them, The thousand arms of love! The orchard pool is a pillow, A pillow for the twin lotus, And the wings of the flying geese Are warm in the air of heaven; They drop to the shadowy lake-sedge, For sweet looks the earth from the roads of the sky, And in heaven are no cool grasses. Ever listening Are the leaves of the slim dryanda, Whose heart is the harp of the Spring-wind. A dryanda-tree is my lover, And my thoughts are the leaves that listen. Autumn, Autumn, touch not my leaf-thoughts! Cast them not down when the pool is grey, And the teal no more sail two and two With their breasts above one shadow. _Shun_ Come to me, Wong Fe! I feel that you have blown through my door like a rose petal, and will drift away again, leaving me not a footprint to kiss. _Wong Fe_ Neither in life nor in death shall I leave you, my lord. Though I seem to die, and these graces that please you fall to earth like willow-blossoms, it is not I that will lie on the sand. _Shun_ Why do you speak of death, Wong Fe? _Wong Fe_ Because I am so happy. The sages say that we can have no fairer fortune than to die in our happiest moment. _Shun_ Do not speak of death. The word blisters the air, though your lips be as two drops of June rain. _Wong Fe_ But how sweet to die when I am fairest in your eyes! Every year, at this time, you would walk down the peach-flower lanes and recall the glow of my cheek. Oh, Heaven, let me not be a faded wife in the blooming time of the year! _Shun_ Thy soul, Wong Fe, is the flower of my worship. _Wong Fe_ And death would give my soul wholly to you. I should be near you always. Then morning would not call you to the peaks, leaving me behind in the tear-dew. _Shun_ To-morrow we shall go together. Your shadow will be with mine on the rocks, and under the fir-trees we shall forget the valley. _Wong Fe_ And the world? Oh, my lord, there are distances farther than the peaks of Siang, and they will call you from me. It cannot be that you who have known all lands will be content with one. I would see the strange people you have made your brothers, would listen to their dreams, and read the future with their hearts. There are dangers you would not let my body share--I do not ask that--but my soul, you could forbid it nothing. _Shun_ What have you heard? What has Makuro said to you? _Wong Fe_ What should he say but that the cakes were good, and the tea had the flavor of the fields of Hunan? _Shun_ We must join our friends. Where do they wait? _Wong Fe_ They listen for the boat that will stop at the foot of the orchard. Why do they go? Old friends should not be so brief in greeting. Could they not stay one night? _Shun_ No--no. (_Sits down_.) They must go. _Wong Fe_ (_laying her hand on his shoulder_) What voice dost thou hear, and wilt not answer? _Shun_ Nothing--nothing. _Wong Fe_ You will not long be deaf between the beating of our two hearts. You will hear and go. That is why I long for the death-fairy to come in my hour of happiness. You have joined with strong men to lift a heavy yoke from the world. My smiles cannot feed your spirit. Go with your friends. Let the whistle of the boat part us. _Shun_ The cassia-tree may draw itself from earth, and walk on feet of roots through the world, but I cannot divide my days from yours, for you are myself, Wong Fe. _Wong Fe_ (_resigned_) I believe you, my lord. We shall not part. But what joy it would be to die now in your presence, while the love-cup is full! Oh, I could not meet death alone! You know the poor ghost in the song who died in the absence of her lover? She is always pleading to be allowed to die again when his arms may be around her. So would my ghost go wailing if I lost your kiss in death. (_Touches his cheek_.) Is that a tear, Yu Tai Shun? I torture you because I am so happy! You shall laugh, my prince! I know a new game we shall play. Little So Siu taught it to me to-day. She says it is an American game. We call it "Guess behind you!" You turn your back--like that--and you must tell me what I am doing. When you miss three times, then I shall tell you what you must pay. Now--what is it I do? _Shun_ You throw me a kiss. _Wong Fe_ So I do! And now, my soul's light? (_Takes stiletto from her sleeve. The whistle of the boat is heard. He turns. She hides stiletto._) _Shun_ Our friends are going. _Wong Fe_ But wait--there is time. You must guess once more! Oh, you are slow as ten turns of a river! There! (_Turns his head with her hands, then snatches the stiletto, stabs herself and falls. He turns, kneels dazedly, and takes her in his arms as she dies._ CHING _and_ MAKURO _enter._) _Ching_ The boat-- (_Stops in consternation._) _Makuro_ (_softly_) Master, I did not ask this price. _Shun_ (_rising_) It is paid. (CURTAIN) EVERYCHILD A PLAY OR PAGEANT BY FREDERICK PETERSON AND OLIVE TILFORD DARGAN DRAMATIS PERSONÆ _Scene I. The Garden of Joy_ Cho-Cho The Clown Everychild Mother, Father, and dancing children _Scene II. Sweat-shop_ Father, Mother, three children, Everychild _Scene III. The Farmstead_ Jim the Father, Mary the Mother, Billie, Tom, and Rosie, their children. Cho-Cho and Everychild _Scene IV. The Coal-mine_ Joe, Jack, Bert--three old miners and two boys _Final Scene. Same as first scene_ Cho-Cho, Everychild, Mother, Father. Old group of children and new group with Everychild PROLOGUE BY CHO-CHO Good people! This is the Play of Everychild With Cho-Cho As Author and Manager. The play has defects-- It has good points-- And bad points-- Like the world itself-- Like life! Perhaps the author of the world Is something like me, A little grotesque, A little whimsical, Serious often, Sometimes all the more serious Seen through a Fool's words With cap and jingle of bells. In this droll world There are lots of children Who are the children of fools-- Like me. Good people! I bespeak your patience With Everychild Daughter of a Clown. SCENE I: _Stage dark as curtain rises. Moderate starlight and quiet music of cradle-song type. Little fairies come out dancing in the darkness with firefly lamps and sing the following cradle song:_ Some one is sleeping Out in the dark Where fireflies glimmer Spark upon spark. Some little stranger Come from afar Under the glory Of moon and of star. Deep in the blossoms That drift as they fall Some one is sleeping And stirs not at all. Sleep, little stranger! The night is near gone; Sleep, little stranger, But dream of the dawn! _The dim light reveals a dark figure lying on the mosses at the foot of an old tree. As the light grows gradually stronger the dark object begins to move, to slowly take off one after another of black coverings, revealing a little girl of nine or ten years, dressed in white. She rubs her eyes, looks about wonderingly, and slowly rises to a standing position. Meanwhile the earth grows more luminous and roseate. The birds have begun to twitter now and then before the dawn, and their notes increase in number and variety with the approach of morning. The growing light reveals an orchard of old apple-trees near at hand in full bloom, with petals falling, and hills and mountains lifting and towering upward higher and higher into the blue distance. A path leads from the orchard up the near hills and toward the heights. The music has grown louder, and is sweet and tender, interspersed with bird notes. A number of children, girls and boys, come out and sing and dance under the blossoms of the apple-trees. They sing the children's song:_ We are of the sunrise Flower-breath and dew, Travelling wider circles Of blue beyond the blue, Seeking strength of spirit, Happiness and joy-- Heritage decreed for Every girl and boy. Music of the moonbeams And the orchard rain, Music of the meadows Waving with the grain, Mountains in the sunlight, Colors of the flowers, Trailing cloud and shadow-- All of these are ours. We are of the sunrise Flower-breath and dew, Travelling wider circles Of blue beyond the blue. _The little girl in the foreground looks with wonder and delight at the entrancing spectacle. She has her side to the audience. She raises her arms, listens, rubs her eyes, smiles with joy. She touches the grass, the flowers, the trees, picks up and smells the falling apple-blossoms. She begins to dance like the other children. One of them sees her and runs toward her with arms outstretched. The newcomer touches her hair and her hands. They smile at each other. The little girl leads the stranger toward the others and has her join in the dance. The dancing is in the Greek manner. They play with a light, large, bubble-like balloon._ _Little Girl_ What is your name? _Stranger_ I do not understand. _Little Girl_ Oh, of course, I forgot. I will lead you to some one who will give you a name. (_A man and woman have come slowly through the orchard and seated themselves on a bench under an apple-tree. Two or three of the children lead the stranger up to them._) _Stranger_ (_feeling of the hair and gown of the woman_) Who are you? _Woman_ (_smiling_) I am your mother. _Stranger_ (_feeling of the hair and face and garments of the man_) Who are you? _Man_ I am your father. _Stranger_ What place is this? They told me somewhere--but I have forgotten--that I should die _there_ which is being born _here_ and come to the earth. _Mother_ Yes, this is our world, and I shall give you a name. I shall name you Everychild. _Everychild_ Is it always and everywhere so beautiful? _Mother_ No, but it should be so, and some day it will be so. _Father_ It is a dream we have. _Mother_ It will be even more beautiful than this, for we shall go higher, and climb those Morning Mountains. The flowers of the Spirit grow there. _Everychild_ And we shall gather them? _Father_ Yes, Everychild. Come now, and bring all the others with you. We will take that path yonder to the hills. _Mother_ No, wait! They are not all here. There are some missing. They must all come. _Father_ It will be so long to wait. Let us go with these. _Mother_ (_laying her hand on_ EVERYCHILD'S _head_) Have we not named her Everychild? _Father_ Yes. She must go down and find all who have lost their way. Perhaps some have awakened in the wrong place and are wandering about in the dark jungle of the world. We will wait here till they come. _Mother_ Go, Everychild. Find them and bring them all back with you. Take this lamp. (_Hands her a rose-colored lamp, etc._) _Father_ Our lamp? _Mother_ Our love! _Father_ Take it, Everychild. With this lamp you can find the lost children and bring them all back with you. _Mother_ We will wait for them no matter how long. (EVERYCHILD _starts down along a path leading off the stage to the right--the music and singing continue through the whole scene._ CHO-CHO _appears, right, for a moment and points her path to her saying: "This way, Everychild."_) (CURTAIN FALLS) CURTAIN _rises revealing_ SCENE II: _A squalid room in a city tenement, a miserable stove, a bedraggled bed. Right, a table at which a poorly dressed man and woman are working fast and feverishly. Three children of about four, eight, and ten years sit on a bench, left, sewing as fast as they can, looking tired, depressed, weary. It is evening, the room poorly lit. Noises from the street, street calls, rumbling of vehicles, honk of autos, etc., etc._ _The Younger Child_ Ma, can I go to bed? I am so tired and hungry. _Mother_ It ain't ten yet. It will be only a few minutes more. The boss is coming early in the morning and we must have the work ready. Now you be still and keep working. You don't know what a good home you got. Ain't she got a good home, John? _Father_ You bet she got a good home, and if you all work now we get the good coffee and bread in the morning and perhaps in a couple a weeks we all go to the movies. _Oldest Child_ Gee, I like to see that fairy play what we see once. (_Bell strikes ten._) _Mother_ Now, go right to bed, children. It is ten o'clock. (_Takes light and goes with husband into room right. Children undress and scramble into one bed._) (_Street noises all discontinue, back of room opens out on to the orchard and the music of first scene is heard with dancing children._ EVERYCHILD _comes into the room with her rosy lamp. The three children sit up in bed and rub their eyes._ EVERYCHILD _glides all about the room and looks at the squalid place in dismay, then goes up and smiles at the children._) _Everychild_ You are some of the lost children. How did you get in here? Come with me. I will give you some better clothes and you can dance and sing with all of them. (_They get out of bed and she leads them in wonder and joy out into the orchard._) (CURTAIN FALLS) SCENE III: _Plain interior of a farmer's kitchen with farmer's wife busy over stove, and kitchen table set for lunch for two. Adjacent room, left, small bedroom in which lies a pallid thin child in bed with dishes and bottles on little bedside table. Very little light. Curtains to a single window down. Farmer in overalls comes in, looking hot and tired. He throws hat on chair, says "Hullo, Mary, dinner ready?" and proceeds to wash hands and face in a basin on a stool. Then sits down at the table._ _Mary_ (_bringing food from stove and sitting down opposite_) Here we are, Jim. Guess you're ready for something. It takes a man to sprout a patch o' locusts, and you had breakfast by lamplight. _Jim_ Some o' them roots seemed as long as from here to the barn. _Mary_ But you'll have the best pasture in the county next year. _Jim_ What's the good? We rationed our beef steers the way that government chap taught us, and our pigs, and our sheep, and who got the profit? _Mary_ A lot more documents came from the government to-day--all about _pigs_. And we haven't got a decent house to live in! If we could only build on that pretty bit of high ground I've had picked out for three years, Rosie would quit havin' these sick spells. _Jim_ How is she, mother? _Mary_ I b'lieve she's a little better. Jim, have you got any money left from sellin' the car? _Jim_ You know we had to pay the interest at the bank first of all, and the rest went for fertilizer. _Mary_ I miss the car more on Rosie's account than mine. She's been cryin' for a ride this morning. I didn't know what to say. And I had to promise her she could go to the picnic if she got well. That'll mean a pretty dress, and hat and shoes. _Jim_ I don't know where you'll get 'em then. _Mary_ Looks like we ought to be able to give our children a little pleasure. There's poor Billie and Tom don't more'n get home from school an' lay their books down till they have to go to hoein' and pullin' weeds. I don't blame Billie a bit for runnin' away and goin' fishin' last Saturday. _Jim_ I don't either, though I had to whip him for it. I can't do without his work and get through. _Mary_ Get through? When did we ever get through anyhow? Look at this, Jim. (_Picks up paper and points to paragraph._) Beef steers sold to-day in Chicago at nine cents a pound. It cost us fourteen cents to raise ours, and we're countin' on makin' things easier by raisin' more next year. And see here, it says _beef_ went _up_ in the Eastern market four cents. _Jim_ Steers down, beef up! Robbin' both ways. (_Enter_ BILLIE _and_ TOM _with schoolbooks, which they throw down, shouting: "We got a half-holiday!"_) _Billie_ The big boys are goin' to play ball. Dad, can't we go watch 'em? (MARY _and_ JIM _look at each other._) We ain't seen a ball game this year, and we want to learn to play. They're makin' a little boys' team at school. _Mary_ Daddy's workin' awfully hard to-day. He needs you bad to pile brush for him. _Jim_ You can't go to-day, boys. Next time---- _Billie_ (_hopeless_) Oh, next time! It's always next time. _Mary_ Wash up now, and you can have a hot dinner. (_They wash listlessly._) _Jim_ Mary, I think you'd better telephone for the doctor to come and have a look at Rosie. _Mary_ (_hesitating_) I did--this morning. He said he didn't have time to come out to-day. _Jim_ Dr. Lowden? _Mary_ Guess he's tired o' comin' for nothing. You can't blame him. (JIM _hangs his head. A knock at the door._ JIM _rises and opens it._ CHO-CHO _enters giggling and grimacing while the farmer and his wife are speechless with amazement._) _Cho-Cho_ You sent for a doctor? _Jim_ Yes--but--you--ain't--no doctor. _Cho-Cho_ No, I--ain't--no--doctor (_mimicking_), but my daughter is a doctor and here she is now. (_Enter_ EVERYCHILD _disguised as a doctor, with a long black cape hiding her white dress, a pair of goggles over her eyes, a long white beard, a white wig, a man's hat on, a little black bag in her hands._) _Jim_ (_tearing his hair distractedly_) You say that little old man is your daughter and a doctor? _Cho-Cho_ That's right--but a new kind of doctor. This is a Health doctor, not a Disease doctor. Present treatment for Health--absent treatment for absence of Health. (_Ha--ha--hee--hee!_) I'll leave the doctor here. (_Goes out._) _Everychild_ Well, well, where is the patient? (_Putting hat on chair._) _Jim_ I must be crazy, but I never seen a doctor like you. You ain't no doctor. _Everychild_ Oh, yes I am. I'm a children's specialist. Is she in that room? (_Goes to door and opens it_--_draws back a little._) Whew! No air. Lift up that curtain and open the window! (JIM _does it, rather aghast._) You must show me where you keep your pigs. Don't they get light and air on a day like this? (_Goes toward bed as_ ROSIE _rises up in bed and stares with a smile at the little doctor_.) So this is the little patient. Well! Well! (_Lifts up and looks at the bottles._) Take these and throw them out. (_Hands them to_ MARY, _who takes them out and returns._) My! My! Pork and potatoes and candy! Of all things! I'll have to make out a diet list later. (_Feels pulse--listens to her chest._) I think the trouble with you is bad food, bad air, and no light. The trouble is not enough agricultural pamphlets on human live stock, not enough government millions spent on the real thing. Now get up, Rose! Let me see you stand. There, that's good. Now a comb and brush--we'll help this hair a little. _Mary_ (_handing_ EVERYCHILD _a comb and brush_) My hands are so full of work---- _Everychild_ (_arranging_ ROSIE'S _hair_) Yes, that's better. Now, father, a glass of milk! (JIM _goes into kitchen._) And mother, open that bag, please. (_While_ MARY _opens bag._ JIM _returns with glass of milk, which_ ROSIE _drinks._) _Mary_ Oh, my! (_Takes out pretty dress, stockings and slippers, which she lifts up, looks at delightedly, and carries to the doctor._) _Rosie_ Oh, mother! You did get them! (EVERYCHILD _works fast, slips the gown on the patient with the stockings and slippers, while_ ROSIE _smiles happily, though dazed by the splendor of it._) _Rosie_ Are you going to take me to the picnic? _Everychild_ Indeed I am! A picnic that will never be over! _Rosie_ Are we going to ride? Have we got our car back? _Everychild_ Better than that. _Rosie_ What is it? _Everychild_ You'll see. Maybe you'll dance out of the window. _Mary_ Are you going to take her away? _Everychild_ Yes, I shall keep her with me until she is well. Then she will return to you. (_Takes out of the bag the rosy lamp and waves it. Throws aside her cap and pulls off goggles, wig, and beard. The back wall moves away, revealing the first scene with the same strains of music and the dancing children in the orchard._ EVERYCHILD _leads_ ROSIE _out to join them._ BILLIE _and_ TOM _move after them calling: "Let us go with you! Take us with you!"_) _Rosie_ Oh, please take Billie and Tom! _Everychild_ Yes, I want them, too. Come along, boys! (_They shout and run after_ ROSIE _and_ EVERYCHILD.) _Mary_ Oh, Jim, is this a dream? Or am I awake at last? _Jim_ (_putting his hand to his head, dazedly_) Perhaps this is what it ought to be for all the children of the world. (CURTAIN FALLS) SCENE IV: _Interior of a coal-mine, lit only by lamps on the heads of three men and two boys, about twelve and fourteen years, the men busy at work getting the coal down with picks, the boys shovelling coal into a car. They work a few minutes. Distant muffled sound of a steam-whistle. They immediately drop tools and go to corner and pick up each a can, paper bag, or small basket, and sit down to eat._ _One Man_ Lunch-time. It feels good to rest half an hour in this bloomin' hole. (_Takes a drink from a bottle he brings from his pocket and hands to another._) Have a swig, Jack? _Jack_ Don't care if I do. (_Takes a swallow._) I'll bring some next time, Joe. _Joe_ (_passing bottle to the other_) Here, Bert, it helps. Take some and give a swallow to the boys. _Bert_ I'll take some and thank you, but I guess the boys are better off without it. _Jack_ How long you worked here, Bert? _Bert_ Nigh on fifteen years, and a devil's job it is. I wanted to be a sailor, but I got into this, and it paid pretty good, and then I got tangled up with a family and just stayed on the job. But it's no place to spend a life. (_Coughs._) _Joe_ I been here 'bout as long as you, Bert. I ran away from the big woods where my father was a lumberman. Thought I'd see the world, and just got stuck here and never could make up my mind to get away. See the world, eh! All I ever seed was de inside of it. If I had my way to do over again, I think I'd take to the tall timber up dere on top. (_Meantime the two boys, while eating with one hand out of their cans, have been whispering and playing knuckle-bones with pieces of coal, a little way from and behind the men. Suddenly they stop, look around at each other and listen, for they hear the fairy dance music of the first scene, which is not heard by these older men, who go on talking._) _First Boy_ Dey's havin' parade up dere. _Second Boy_ Dat ain't band music, you mutt. (FIRST BOY _begins to sway as if in time with the music._) _Second Boy_ Wot's the matter? _First Boy_ (_sheepish_) Nuthin'. (_Tries to keep still. They both listen._) Did yer ever dance, Buck? _Second Boy_ Naw. (_Listens._) But I bet I could! _First Boy_ I had a dream onct. I dremp I's in an orchard, an' they's blooms floatin' round. I could smell 'em! _Second Boy_ You's nutty. You can't smell in a dream. (_They listen, and finally yield to the music, swaying their bodies, moving their arms, and beginning to dance as the music goes on._) _Jack_ I've been here fourteen years, since I was a boy. It ain't a place for a man. It's too black. You get black outside and inside. Why, they say your lungs get black from breathing this dust. And your soul gets black. The place for an honest man to work is out in the white light, on your ocean or in your woods, or on the roads and railways, and in the big buildings. This kind of work is work with punishment added to it. A little of it would be all right for men who go wrong, or for some as needs discipline. Then some day they'll get machines to do the rest. Ah--there's the whistle. Come on, boys, to work again! (_A whistle sounds and all start to work as before._) (CURTAIN FALLS) FINAL SCENE: _Curtain rises on final scene. Same as first, with music as before, and with the mother and father and children among the apple-trees._ CHO-CHO _appears, right, and says: "Here they come!"_ EVERYCHILD _enters, right, bringing with her a number of children, who follow her and then scatter under the trees._ _Everychild_ Oh, mother, I went everywhere, and we've brought all who could come! But there were some in holes in the ground that I couldn't reach, though we danced and danced, and called and called. They were too far down. And there were some ill and crippled, in hospitals, that couldn't walk, and some hidden away in great buildings called factories--and some in tenements, where there was no sun, and no green grass to walk on. Mother, what shall we do? It was so hard to leave them. Won't you go back with me, and help me? _Mother_ Yes, Everychild. We must all go. Not one must be left down there. _Father_ Yes, we cannot go on up the Morning Mountains until they come. _Mother_ We will start at once, all of us, down through the highways and valleys and cities of the world, and bring them here. Come, children, let us go. (_They gather about her and start down, right, singing as they go._ CHO-CHO _lingers behind for a few moments and pronounces an epilogue._) EPILOGUE Not all here yet-- But they must come To this sunshine-- To these mountains-- To these birds and trees-- To the music-- To the Land of Health, The Land of Happiness-- They may be gay _there_-- Sometimes-- Sometimes-- But _that_ is a fool's Paradise-- My old Kingdom-- And I must lead them up To this new land Of hope and joy. (CURTAIN FALLS) TWO DOCTORS AT AKRAGAS BY FREDERICK PETERSON CHARACTERS AKRON EMPEDOCLES PANTHEIA TWO DOCTORS AT AKRAGAS [_Atlantic Monthly_, 1911.] _Akron_ She has been dead these thirty days. _Empedocles_ How say you, thirty days! and there is no feature of corruption? _Akron_ None. She has the marble signature of death writ in her whole fair frame. She lies upon her ivory bed, robed in the soft stuffs of Tyre, as if new-cut from Pentelikon by Phidias, or spread upon the wood by the magic brush of Zeuxis, seeming as much alive as this, no more, no less. There is no beat of heart nor slightest heave of breast. _Empedocles_ And have you made the tests of death? _Akron_ There is no bleeding to the prick, nor film of breath upon the bronze mirror. They have had the best of the faculty in Akragas, Gela, and Syracuse, all save you; and I am sent by the dazed parents to beseech you to leave for a time the affairs of state and the great problems of philosophy, to essay your ancient skill in this strange mystery of life in death and death in life. _Empedocles_ I will go with you. Where lies the house? _Akron_ Down yonder street of statues, past the Agora, and hard by the new temple that is building to Olympian Zeus. It is the new house of yellow sandstone, three stories in height, with the carved balconies and wrought brazen doors. Pantheia is her name. I lead the way. _Empedocles_ The streets are full to-day and dazzling with color. So many carpets hang from the windows, and so many banners are flying! So many white-horsed chariots, and such concourses of dark slaves from every land in the long African crescent of the midland sea, from the pillars of Hercules to ferocious Carthage and beyond to the confines of Egypt and Phoenicia! Ah, I remember now! It is a gala day--the expected visit of Pindar. I am to dine with him to-morrow at the Trireme. We moderns are doing more to celebrate his coming than our fathers did for Æschylus when he was here. I was very young then, but I remember running with the other boys after him just to touch his soft gown and look into his noble face. _Akron_ I have several rolls of his plays, that I keep with some new papyri of Pindar arrived by the last galley from Corinth, in the iron chest inside my office door, along with some less worthy bags of gold of Tarshish and coinage of Athens, Sybaris, Panormos, and Syracuse. Ah, here is the door! It is ajar, and if you will go into the courtyard by the fountain and seat yourself under the palm-trees and azaleas on yon bench, by the statue of the nymph, I will go up to announce your coming. _Empedocles_ All is still save for the far, faint step of Akron on the stair, and the still fainter murmur from the streets. The very goldfish in the fountain do not stir, and the long line of slaves against the marble wall, save for their branded foreheads, might be gaunt caryatides hewn in Egyptian wood or carved in ebony and amber. That gaudy tropic bird scarce ruffles a feather. What is the difference between life and death? A voice, a call, some sudden strange or familiar message on old paths, to the consciousness that lies under that apparent unconsciousness, will waken all these semblances of inanimation into new life of arms and fins and wings. Let me try her thus! My grandfather was a pupil of Pythagoras who had seen many such death-semblances among the peoples of the white sacred mountains of far India. Ha! Akron beckons. I must follow him. _Akron_ Enter yon doorway where the white figure lies resplendent with jewels that gleam in the morning sun. _Empedocles_ The arm drawn downward by the heavy golden bracelet is cold, yet soft and yielding like a sleep. The face has the natural ease of slumber, and not the rigid artificiality of death. 'Tis true there is no pulse, no beat of heart nor stir of breath, yet neither is there the sombre grotesqueness of the last pose. But the difference between life and death is here so small that it is incommensurable, the point of the mathematicians only. I shall hold this little hand in mine, and, with a hand upon her forehead, call her by name; for, you know, Akron, one's name has a power beyond every other word to reach the closed ears of the imprisoned soul. Pantheia! Pantheia! Pantheia! It is dawn. Your father calls you. Your mother calls you. And I call you and command you. Open your eyes and behold the sun! _Akron_ A miracle, oh, Zeus! The eyelids tremble like flower-petals under the wind of heaven. Was that a sigh or the swish of wings? Oh, wonder of wonders! she breathes--she whispers! _Pantheia_ Where am I? Is this death? Some one called my name. That is the pictured ceiling of my own room. Surely that is Zaldu, my pet slave, with big drops on her black face.... And father, mother, kneeling either side. And who are you with rapt face and star-deep eyes, thick hair with Delphic wreaths, and in purple gown and golden girdle? Are you a god? _Empedocles_ Be tranquil, child, I am no god, only a physician come to heal you. You have been ill and sleeping a long time. _Pantheia_ Yes, I feel weakness, hunger, and thirst. I remember now that I was well, when suddenly a strange thought came to me on my pillow. I thought that I was dead. This took such possession of me that it shut out every other thought, and being able to think only that one thought, I must have been dead. It seemed but a moment's time when the spell of the thought was broken by an alien deep voice from the void of nothing about me, calling me by name, calling me to wake and see the day. With that came floods of my own old thoughts, like molten streams from Ætna, that were rigid as granite before the word was given that loosed them. _Empedocles_ Did you not see new things or new lands or old dead faces, for you have been gone a month? I am curious to know. _Pantheia_ How passing strange! No, I saw neither darkness nor light. I heard no sounds, nor was conscious of any silence. I must have had just the one thought that I was dead, but I lost consciousness of that thought. I remember saying good night to Zaldu, and I handed her the quaint doll from Egypt and bade her care for it. Then the thought seized me, and I knew no more. My thoughts which had always run so freely before, like a plashing brook, must have suddenly frozen, as the amber-trader from the Baltic told me one day the rivers do in his far northern home. Oh, sir, are you going so soon? _Empedocles_ Yes, child. You must take nourishment now, and talk no more. But I am coming again to see you, for I have many earnest questions still to put regarding this singular adventure. _Akron_ Let me walk with you. I will close the great door. Already the gay streets are silent, and the people crowd this way, whispering awe-struck together of the deed of wonder you have done this day. You have called back the dead to life, and they make obeisance to you as you pass, as if you were in truth a son of the immortals. Your name will go down the ages linked with the miracle of Pantheia. You are immortal. _Empedocles_ Nay, 'tis not so strange as that, and yet 'tis stranger. _Akron_ I would know your meaning better. _Empedocles_ The power of a thought, that is the real wonder! We just begin to have glimpses of the effects of the mind upon the body. To me, Akron, the faculty has set too great store upon herbs and bitter drafts, and cutting with the knife. I would fain have the soul acknowledged more, our therapy built on the dual mechanism of mind and substance. For if an idea can lead to the apparent death of the whole body, so might other ideas bring about the apparent death of a part of the body, like, for example, a paralysis of the members, or of the senses of sight, feeling, hearing; and in truth I have seen such things. Or a thought might give rise to a pain, or to a feeling of general illness, or to a feeling of local disorder in some internal organ; and I feel sure I have likewise met with such instances. And if an idea may produce such ailments, then a contrary idea implanted by the physician may heal them. I believe this to be the secret of many of the marvels we see at the temples and shrines of Æsculapius and of the cures made by the touch of seers and kings. But this teaching goes much deeper and further. If we could in the schools implant in our youth ideas which were strong enough, we should be able to make of them all, each in proportion to his belief in himself and his ambition, great men, great generals, thinkers, poets, a new race of heroes in all lines of human endeavor, who should be able by their united strength of idea and ideal finally to people the world with gods. I have among my slaves, who work as vintners and olive-gatherers, a physician of Thrace, as also a philosopher of the island of Rhodes, a member of the Pythagorean League. These I bought not long ago from the Etruscan pirates. Every evening I have them come to me on the roof after the evening meal, and there under the quiet of the stars we discuss life and death, the soul and immortality, and all the burning problems of order, harmony, and number in the universe. What surprises me is that this Thracian should be so in advance of the physicians of Hellas, for he holds as I do that the mind should be first considered in the treatment of most disorders of the body, because of its tremendous power to force the healing processes, and because sometimes it actually induces disease and death. And we have talked together of the incalculable value of faith and enthusiasm so applied in the education of the child, this new kind of gardening in the budding soul of mankind, and of what new and august races might thereby come to repeople this rather unsatisfactory globe. I am minded to free these slaves, indeed all my slaves, and I have the intention of devoting the most of a considerable fortune, both inherited and amassed by me, to the spread of these doctrines and to the public weal, particularly in the matter of planting in the souls of our youth, not the mere ability to read and write Greek and do sums in arithmetic, but the seeds of noble ideas that shall make this Trinacria of ours a still more wonderful human garden than it has been as a granary for the world's practical needs. From this sea-centre we send our freighted galleys to Gades in the West, Carthage in the South, Tyre in the East, and to the red-bearded foresters of the Far North. I would still send on these same routes this food, but also better food than this, stuff that should kindle and feed intellectual fires in all the remote places of the earth. *** END OF THE PROJECT GUTENBERG EBOOK THE FLUTTER OF THE GOLDLEAF, AND OTHER PLAYS *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works. • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws. The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate. While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg™ electronic works Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support. Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org. This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.