SIDNEY HOWARD
694
the fourth, if there is any worrying to be done, let iae remind you that it's Christina and not David who is going to have a baby. [MRS. P HELPS breaks off her playing in the middle of a phrase] I'm sorry if I've shocked you, but the truth
you've both shocked me. Robert. How have we shocked you? Hester. By not being a great deal more thrilled over Christina's baby. When I
said before, you've shocked that.
cited.
Mrs. Phelps. If you'll forgive any saying Hester, I'm not sure that an unborn baby is quite the most suitable subject so,
for
...
that's
[Coolly, MRS. PHELPS goes for the cof fee tray. Her eyes meet ROBERT'S, and there is no mistaking the intention of the look they give him. Then} with out a wordy she leaves ROBERT and HESTER alone together"!
is,
drank my cocktail to it before dinner, neither of you drank yours. When I wanted to talk about it during dinner, you both changed the subject. You haven't men tioned that baby since dinner, except once, and that was catty! YouVe known about that baby for over two hours and you aren't excited about it yet I Not what / call ex
me, and
Robert
[starting after her].
Mother!
.
.
.
Hester didn't mean. . . . Oh. . . . [He turns back to HESTER] Hester, how could you? Hester I don't know. . . But I don't care .
I did!
if
Robert. It doesn't make things any easier for me. Hester. Oh, Rob, dear, I am sorry! Robert. You've got Mother
all ruffled and have to smooth her down and have all kinds of explanations and everything. Really, it was too bad of you. Hester* I know. I lost my temper. You understand, don't you?
upset.
Now
we'll
.
.
.
Robert. I understand that you're a guest
Hester. I'm blessed if I see anything bad form about a baby Robert. No more does Mother after it's born. Hester. I can't wait for that, I love think
in Mother's house.
them. And wondering what be I mean, boy or girl. Why, we had bets up on my sister's baby for months before he was born. Mrs. Phelps. I'm not ashamed to be old-
Hester. I see. . . I'll apologize. Robert. That's up to you. Hester. I suppose she'll never forgive me. It isn't this, though. Robert. This? Hester. The scene I made. Robert. What do you mean? Hester. I don't know. . . Some mothers like the girls their sons marry. Robert. Doesn't that depend on the girls? Hester. Not entirely. Robert. You mustn't be unjust to Mother.
I
ing
about
they're going to
fashioned. Hester. You ought to be. This is going to be a very remarkable baby. There aren't
many born with such
parents.
And
I intend
to go right on talking about it with anyone who'll listen to me, Christina doesn't mind. She's just as interested as I am. Pve al
ready
made her promise
to
have
my
sister's
obstetrician.
Mrs. Phelps. Really, Hester f Hester. I'd go to the ends of the earth for that man. Christina's baby has put me in a very maternal frame of mind. Mrs. Phelps. Maternal! Hester. What I say is: I'm as good as married, I might as well make the best of my opportunities to get used to the idea. Because I intend to have as many babies as possible.
Mrs, Phelps {glancing at Robert]. Is that you're marrying Rob, Hester? Hester. What better reason could I have? I'm sorry if IVe shocked you, but, as I
why
you understand? Oh,
Hester. Is that all
Rob! Robert. I'm sorry, Hester. But, for the moment, I'm thinking of Mother. .
.
Hester. Rob, I'm a little tired of hearing about your mother. [Suddenly peni tent againl Oh, I didn't mean to say that! I didn't mean it a bit! I'm sorry, Rob. , Now I'm apologizing to you. I>on't you hear me? Robert. Yes, I hear you. What then? Hester. Oh, what difference does it make? I'm not marrying your mother. I'm marry ing you. And I love you, Rob! I love you! .
.
.
.
Robert. Yes, my dear. Hester. I'll never be bad again. Robert. I'm willing to take your word for
it.
Hester. You'd better be.
angry with me, Rob!
Oh, you are
THE SILVER CORD Robert. No. Fm not. Hester. You're a queer one. Robert. Think so? How? Hester. As a lover. I've never seen an other like you. Robert. Haven't you? I A thought strikes him] Tell me something, Hester. Hester. Robert. Hester.
what?
Fm
swer.
Robert. I'm not asking for their names. . . Hester. Oh, I shouldn't mind that the truth is ... I don't know . . . Robert. You must. Hester. I don't really. I used to think .
that one of my . oh, quite often beaux was coming to the point . . but . Robert. Yes? Hester. But none of them ever did. Robert. That surprises me. Why not? Hester. I don't think it was entirely lack of allure. Rob. Robert. Of course it wasn't Hester. I think it was because I always .
.
.
.
.
.
.
I
laughed. Robert, You didn't laugh at me. Hester. You looked foolish enough, now that I think of it. Robert. Yes. I daresay. ... So I was the only one. Hester. Say the only one I didn't laugh unde at, please. You make me sound so sirable.
Robert. I didn't ter
mean
to. Tell
me, Hes
...
Hester. Anything.
Robert. Have you thought what it will mean to be my wife? Hester. very pleasant life. Robert. For you? Hester. I certainly hope so. Robert. I don't know that I quite share
A
your enthusiasm for children. Hester.
You
Robert.
They
will.
don't exactly help a eareer,
you know.
Have you got
a career? Robert. I fully intend to have one. Hester. I'm glad to hear it. Hester.
much
talent as
has,
Hester.
What kind
of talent?
Robert. I haven't decided. I can draw pretty well. I'm not a bad musician. I might decide to compose. I might even write. I've often thought of it. And children, you .
Robert. Lovers. Hester. Oh, Robert, what a thing to say to a lady! Robert. You know what I mean. not quite sure I want to an Hester.
.
Robert. I've got just as
Dave
see Hester. I don't
What? Have you had many?
Many
695
.
.
know much about careers, but Lincoln had children and adored 'em, and if you can do half as well as he did
my
Robert. Then preferences aren't to be considered? Hester. You just leave things to me. If we're poor, I'll cook and scrub floors. Ill bring up our children. I'll take care of you whether we live in New York or Kam chatka. This business is up to me, Rob.
Don't let Robert
it
worry you. only wanted to make sure you understood my point of view. {.crushed}. I
Hester. If I don't, I shall, so let's cut this short.
[She goes a little huffily to the window, ROBERT watching her uneasily] Hello! Robert. What is it? Hester. There goes your mother down the road. Robert {joining her]. So it is! What can
she be doing? Hester. She's fetching her darling David in out of the cold. I knew she would.
Robert. Hester, would you mind not speaking that way of Mother? Hester. Can't she leave them alone for
a minute? Robert. She's the worrying kind. Hester. Oh, rotl Robert. Evidently you're bent on making things as difficult as possible for me.
you feel that. IA long irritable pause]
Hester. I'm sorry
Robert. Hester? Hester. Yes?
Robert. Have you thought any more about our honeymoon? Hester. Didn't we decide to go abroad? Robert. Abroad's a pretty general term. You were to think where you wanted to be taken. Hester. I left that to you. Robert. You said you "didn't Hester. I doa't.
care."
SIDNEY HOWARD
696 Robert.
Nor where we
live after
.
.
.
Hester. So
nor
you talked
this over with
your
mother?
how. Hester. I don't ... I don't ... I want to
Robert. Isn't that natural? Hester. Is your mother the third? Robert. Wouldn't she be? Hester. Yes, I suppose she would. I think you might tell me what else she
with you. {.Suddenly warming] What's the use of this, Rob? Robert. We've never talked seriously about our marriage before. Hester. What is there to say about it? Robert. A great deal. Hester. I don't agree. Marriages are things of feeling. They'd better not be live
.
had to
say.
Robert. It was all wise and kind. You may be as hard as you like on me, but you mustn't be hard on poor splendid lonely
Mother. Hester
talked about. Robert. Real marriages can stand dis cussion Hester. Rob! Robert. What? Hester. That wasn't nice. Robert. Wasn't it? Hester [suddenly frightened]. What's the matter, Rob? I'll talk as seriously as you I going to please. Do I love you? Yes. make you a good wife? I hope so, though I am only twenty and may make mistakes.
You know,
Are you going to be happy with me? I hope but you'll have to answer it for
Robert.
else?
She sees through people, you
Through me?
Hester.
What is it you're trying to say? Robert. If only we could be sure! Hester [stunned]. So that's itl Robert. Are you so sure you want to
want
that,
all right.
.
Rob, .
.
it's all
I'll
set
right. It's perfectly free. . . . Don't
you
Only you've got to say so. You've got to. ... Answer me, Rob. Do you want to be rid of me? [There is a pause. ROBERT cannot hold her gaze, and his eyes fall. She takes the blow] I guess that's answer enough. [She draws a little back from him and pulls the en gagement ring from her finger] Here's your worry.
marry me?
How can I be now? Robert. Marriage is such a serious thing. Hester.
You
don't realize how serious. Hester. Don't I? Robert. No. . . . I hope you won't think harshly of me. . . And, mind you, I haven't said I wanted to break things off. ... I .
.
.
.
.
ring.
Rob!
Robert. Hester Don't do anything you'll be sorry for afterwards! Don't, please! I can't take it yet! Hester [without any sign of emotion, dropping the ring on a table]. I shall have an easier time of it, if you keep away from me. I want to save my face ... if I can. Robert. Hester, please! I
me
out.
Hester. I've heard enough, thank you I Robert. I'm only trying to look at this . . thing Hester. Seriously.
!
Robert. She thought, as I must say I do, that we didn't love each other quite enough to ... At least, she thought we ought to think very carefully before we ... Hester [gripping his two arms with all her strength, and stopping him]. If you really want to be free ... if you really
Hester.
Robert. No. You've got to hear
meaning
know.
Robert. I can't answer it. Hester. Why can't you? Robert. Because I'm not sure of it. Hester. Aren't you, Rob? Robert. These things are better faced be fore than after.
.
What
Hester.
yourself.
.
my
said "lonely".
Robert. Perhaps I did. But Mother didn't. she never talks about herself. Hester. I see. What else did she say about us? Robert. Well, you haven't been very in terested in planning our future. She notices such things.
that, too,
Hester. Please,
under her breath]. So
t
You
Hester.
Am
only want
[savage
she's lonely, tool Robert. You will twist
!
.
... I know. . Robert. Because, after all, the happiness of three people is affected by it. Hester. Three? Robert. As Mother said, before dinner, .
.
j
Hester. All right, if you won't go, I will. Robert. I'm sorry. Of course I'll go.
THE SILVER CORD Hester.
And
[He gpes
the ring, and has just got to the HESTEB breaks into furi
pockets it, door when
ROBERT
same time, blows
the
like
up
matic spirits] Mrs. Phelps [speaking at the same time, in unfeigned wonderment to DAVID]. Really, I do wonder at what happens to girls nowadays! When I was Hester's age, I danced less and saved a little of my
Her sobs rack
ous, hysterical sobbing. her and seem, at the strike
her sobs. effort, -gradually overcomes ROBERT returns with a tumbler partly aro filled with a milky solution of
take your ring with you.
to the table, picks
to
of
a
whip] Robert. For God's sake, Hester. . . [She drops into a chair and sits, staring straight before her, shaken by her sobs of outraged jury and wretched .
strength for self-control. Robert [speaking through]. Here, Dave.
Take
Mother! Christina! Come here! Hester . [CHRISTINA appears in the door. MRS. PHELPS follows her. DAVID appears. ROBERT returns to HESTER] .
it. ROBERT goes again. DA VID gives the tumbler to CHRISTINA] Christina. Good Can you drink this now,
.
Can't you pull yourself together? [She motions him away] Christina. What's the matter? Robert. It's Hester. Can't you stop her? Mrs. Phelps. Good heavens, Robin! What's wrong with the child? . . Robert. She's . upset you see, I .
just
.
.
.
.
.
you know
Mrs. Phelps. I see!
.
.
.
.
.
She's taking
.
it
badly.
[HESTER'S sobs only increase] Hester. I'm Christina
all right.
.
.
.
J
can't
...
I
please . . . Christina. Open a window, Dave. . . Haven't you any smelling salts in the house, .
.
.
.
.
.
Mrs. Phelps? [MRS. PHELPS goes for them where she left
!
-
Hester?
them
Hester. Tell
at
Rob
to go away! Christina. Never
some aromatic
teatime] to go away! Tell
Rob
spirits,
my
I
salts.
Christina [peremptorily]. Hester! holds the salts for HESTER to smell].
[She
Now,
stop it! Stop it, do you hear me? Hester. I'm trying to stop. If you'd only Take me send these awful people out away, Christina! Take me back to New York! I've got to get away from here. I I can't I I can't can't face them I
,
!
!
Now, stop
it!
David [coming forward from a window]. Here's some snow in my handkerchief. it on her wrists and temples.
[She applies
it.
all
.
relax.
David. What on earth brought it on? Mrs. Phelps [shrugging her shoulders]. Rob and she must have had a falling out. Rob! He's David. No ordinary one. That's funny. gone. Mrs. Phelps. He'd naturally be distressed. Hester. I'm really all right, now, Chris and frightfully ashamed. . . . tina Mrs. Phelps. You'd better see how Rob none too stout. is, Dave. His nerves are Such scenes aren't good for him. Hester [in a high, strained voice]. No, isn't that so, Mrs. Phelps? Mrs. Phelps. Did you speak to me, Hes 1
.
.
.
.
.
.
.
.
ter?
with
my
Take the smelling love.
mind! And I'm
won't hurt me. you'd go, David. right!
It
Christina. Yes,
in a
Rob
God, Christina! never mind, Hester.
Christina. Now, You'll go to pieces again. Hester. But I've got to all
salts to
... Oh
Dave, do.
... I'll
I wish
come up
jiffy.
Mrs. Phelps. When Hester's quieted down. [To DAVID] We'd better both go and see how Rob is. [She starts to go] Hester. Mrs. Phelps. There's something I want to ask you before we part. Mrs. Phelps. To-morrow, my dear girl.
Rub
Dave. HESTEB, by dint of great
Christina. Thanks,
I'm
Christina.
Drink [HESTER drinks it] There, now. That's better. Just sit still and this.
Hester.
... Get me one of you! Hurry [ROBERT goes]
mind Rob
up! Mrs. Phelps. Here are
Christina.
Thank you,
Hester.
right now. It was only ... Christina. Never mind what it was.
.
Christina. Hester, stop it! .
this.
[DAVID takes
ness"]
was
697
Hester. There isn't going to be any to morrow. Mrs. Phelps. What?
SIDNEY HOWARD
698 Hester.
Rob has
meat, Mrs. Phelps. Christina
just
ing of your happiness as well as his
broken our engage-
own and
mine.
Not
What about your loneliness? Mrs. Phelps. This is contemptible of you Christina. Really, Hester, this can't do Hester.
really!
Hester,
[staggered].
what do
!
you mean? Hester. I mean what I say. Rob's just broken our engagement. [CHRISTINA motions to DAVE to go. He
any good! Hester. that she
I'm going to make her admit
made Rob
.
.
.
Mrs. Phelps [exploding]. Very
obeys] Mrs. Phelps. I'm immensely distressed, of
since
you
insist!
break with you.
course.
well, then,
my
I did advise
Do you want
to
son to
know
Hester [shaking her head doggedly]. He talked it all over with you before dinner. He told me that much, so it won't do you the least bit of good to pretend to be sur
why?
prised.
Mrs. Phelps. Because he came to me to say that you neither love him nor make . any pretense of loving him Hester. Rob said that? Mrs. Phelps. He even said that you must have misconstrued his friendship and that . he never wanted to marry you Hester. No! Mrs. Phelps. And I told him to risk any thing . . . anything, rather than such an
Mrs. Phelps. Aren't you forgetting your self, Hester?
You made him do
Hester.
you make him do
it.
Why
did
Mrs. Phelps? [CHRISTINA, amazed, draws back to ob serve the pair of them] Mrs. Phelps [with perfect dignity]. I don't intend to stand here, Hester, and allow any hysterical girl to be rude to me. Hester [driving on querulously]. I'm not it,
being rude! All I want to know is why you talked Eob into jilting me. Will you an swer me, please?
Mrs. Phelps. Such things may be pain ful, my dear girl, but they're far less pain ful before than after. Hester. He quoted that much. Christina. What's the good of this, Hes
Hester. Yes!
Mrs. Phelps. Because of your indifference. Hester. Oh!
make her
tell
Mrs. Phelps. But, Hester! Really! This absurd Hester. YouVe got to ! You've got to ex
is
appalling marriage Hester. I don't believe a word of it! Mrs. Phelps. You may believe it or not! .
!
Mrs. Phelps. I had nothing to do with Robin's change of heart. Hester. You must have had, Mrs. Phelps, and I'm demanding an explanation of why
you talked Rob into
.
.
.
Mrs. Phelps. Isn't it enough that he found out in time that you weren't the wife for
him? Hester.
That
isn't
the truth!
Christina. Hester, darling!
Hester.
Can you
tell
me
said that the happiness of three people was at stake?
He must have been
.
you had
really
Mrs. Phelps. Willingly. Hester. Do you believe I took advantage of Rob, Christina? Christina. Of course not! Mrs. Phelps. So you take her side, Chris tina!
Christina.
I
don't
believe
that,
Mrs.
Phelps.
Mrs. Phelps [realizing that she has gone too far]. No? Well, perhaps Christina. Whatever Robert can't believe that he said . .
Mrs.
.
.
.
may
think, I
.
[frightened]. Perhaps he quite that, in so many words . . but he . certainly meant Hester. I'm going. I'm going now. Right
Phelps
didn't say .
.
.
this minute.
Mrs. Phelps. There's a train at nine in the morning. It gets you to New York at twelve. I shall have the car for you at eight-thirty.
what he meant
when he
Mrs. Phelps.
.
Christina, tylrs. Phelps, better let me handle this.
I
plain
.
.
ter?
Hester. I'm only trying to me why she did it.
.
.
think
Hester. May I have the car now, please, Mrs. Phelps? Mrs. Phelps. There's no train to-night. Hester. It doesn't matter. I won't stay
THE SILVER CORD here.
Not another minute.
go to the
I'll
hotel in town.
Mrs. Phelps. You'll do nothing of the
You
see
if
told
pearances Hester. Appearances are your concern. Yours and Rob's. I'm going to the hotel. I don't care what people sayl I don't care about anything. I won't stay here! Mrs. Phelps. Can't you talk to her, Chris . f or all our sakes! tina? Surely you see . Hester. If you won't let me have the car, I'll call a taxi. . . . [She plunges to !
.
wards the telephone] Mrs. Phelps. I forbid you! Hester [.seizing the instrument']. I want What is the num . a taxi ... a taxi. Locust . ber? ... Well, give it to me. 4000? Give me Locust 40001 [MRS. PHELPS hesitates an instant, then, with terrible coolness, steps for .
,
.
.
ward and jerks the telephone cord from the wall. Except for a startled exclamation, very low, from CHRIS TINA, there is not a sound. HESTER hangs up the receiver and sets down the dead instrument] Mrs. Phelps [after an interminable si lence"!
You are the only person in the who has ever forced me to do an un
.
dignified thing. I shall
not forget
it.
[She
goes nobly] Hester [weakly, turning to CHRISTINA]. Christina, it isn't true what she said. . He did. . . He did want to marry me! Really, he did! He did! Christina. Of course he did, darling! Hester. I won't stay! I won't stay under that woman's roof! .
.
.
Christina. Hester, darling! Hester. I'll walk to town!
still
love him.
.
Christina, I'll walk . . . Christina. You can't, at night! It wouldn't be safe!
Hester. I don't care
!
.
.
me
go,
time
of
Let
this
I won't stay
Christina. There! There! You'll
!
come
to
bed now, won't you! Hester. I'll
No! No!
walk to town.
to
come with
make me walk Think what I you before dinner! Do you want to
Do you want
to
make me walk
that
all
Hester [awed by
way
in the cold?
Oh, your baby! I didn't mean to forget your baby! Oh, Christina, you mustn't stay, either! This is a dreadful house You've got to get your baby away from this house, Christina! Awful things happen here! this].
!
Christina. Hester, darling! Won't you please be sensible and come up to bed? Hester [speaking at the same time, as
her nerves begin to go again]. Awful things, see if you don't Christina. . . You'll come away! You'll seel ... She'll do the same thing to you that she's done to me. .
You'll see!
You'll seel
SCENE
Two
The curtain
rises again, as soon as pos DAVID'S little bedroom, un touched since the day when DAVID went away to Harvard and scorned to take his prep school trophies and souvenirs with him. The furniture is rather more than sim ple. The bed is single. There is a dresser. There are only a couple of chairs. The cur tains at the single window have been freshly laundered and put back in their old state by MRS. PHELPS in a spirit of maternal sible,
(upon
archeology. Insignificant loving cups, at tennis, stand about the dresser.
won
No pen
nants, no banners. There might be some tennis racquets, golf sticks, crossed skis, a pair of snow-shoes, class photographs and framed diplomas. There must also be a
important reproduction of Velasquez' Balthazar Carlos on horseback, se lected by MRS. PHELPS as DAVID'S favorite Old Master. A final touch is DAVID'S baby
fairly
Don
Christina. Don't, Hester! Hester. That wasn't true, what she said! Christina. Of course not!
Hester. I
me
with you? Think, Hester!
I don't! Mrs. Phelps. You've got to think of ap
Hester.
world
Christina. You'll force
you, Hester. I can't let you go alone. Hester. I won't stay another minute! Christina.
sort!
699
I can't! I'd rather die!
pillow.
DAVID stands in his pajamas and socks, about to enter upon the last stages of his preparations to retire for the night. The room has been strewn with clothing dur ing the preliminary stages. Now he is in the ambulatory state of mind. A series of crosses and circumnavigations produces sev eral empty packs of cigarettes from several pockets, corners of the suitcase, etc. This frustration brings
on
baffled scratching* oj
SIDNEY
700
the head and legs. Then he gives up the cigarette problem, turns again to the suit case, spills several dirty shirts and finally, apparently from the very bottom, extracts slippers, a tooth brush, and some tooth-paste. He sheds the socks, dons the slippers and dressing-gown, and sallies forth with brush and paste to do up his teeth in the bathroom. He goes by the door which gives on the hall at the
a dressing-gown, a pair of
head of the
stairs.
After he has been gone a few seconds, a tiny scratching sound is heard on the other side of the other door to the room and that is opened from without. We see the scratcher at work, conveying the impression that a wee mousie wants to come in. The wee mousie is none other than MRS. PHELPS, all smiles in her best negligee, the most effective garment she wears in the course of the entire play, carrying a large
eiderdown comfort.
The smile fades a little when she dis covers that the room is empty. Then its untidiness catches het eye and she shakes her head reprovingly, as who should say: "What creatures these big boys are!" She goes to work at once, true mother that she loves her work is, to pick things up. She and puts her whole heart into it. The trou sers are neatly hung over the back of the chair, the coat and waistcoat hung over them. The shirts, socks, and underwear are folded and laid chastely on the seat. One or two of the garments receive devout ma ternal kisses and hugs. Then she goes to the bed, lifts off the suitcase, pushes it un derneath, adjusts the eiderdown, smooths the pillow and kisses that. Last, all smiles again, she sits, carefully disposing her laces and ribbons, to await DAVTO'S return. She
yearns for
DAVID smile,
it,
and she has not long to wait. His mother's beaming
returns.
as he
opens the door, arouses his
sentimentality. It is ill-concealed by intensified, the hour, his costume, and recent events. He hesitates in the doorway."]
usual distaste for
filial
now and very
Mrs. Phelps. Why do you look so star tled? It's only Mother!
David
Hello, Mother! Mrs. Phelps. I came in- to ask if you needed anything and . . , David. Not a thing, thanks. Mrs. Phelps. And to warn you against [laconically'].
HOWARD opening the window in this weather. Oh,
and I brought you that extra cover. I've been picking up after you, tool David [looking gloomily about]. You needn't have troubled. MBS. PHELPS. It took me back to the old days when I used to tuck you up inthat same little bed David [as a strong hint]. Yeah. . I'm just turning in, Mother. Mrs. Phelps [regardless] And then sit in this very chair and talk over all my problems with you. I feel that I must talk to my big boy tonight. ... I must get .
.
.
.
.
,
my Dave
acquainted with
David
.
.
again.
an even stronger hint]. We're not exactly strangers, are we? And besides, it's
[as
getting late.
Mrs. Phelps [even more persistent]. It was always in these late hours that we had our talks in the old days when we were still comrades. Oh, are those days gone forever? Don't you remember how we used to play that we had an imaginary king dom where we were king and queen? David [moribund]. Did we? I wish Chris 'ud
come
up.
Mrs. Phelps [with a frown and speaking quickly]. Have you noticed, Dave, boy, that your room is just as you left it? I've
made
a
little
tains, the
shrine of
same
.
it.
The same
cur-
.
.
David [breaking
in]. I
suppose Chris
is
trying to get Hester quiet? Mrs. Phelps. I suppose so. ... And every day I dusted in here myself and every night I prayed in here for ... still
David [a little too dryly for ners]. Thanks.
good man
Mrs. Phelps [reproachfully]. Oh, David, can't get that horrid scene downstairs out of your mind! David. No. Mrs. Phelps. Try I need my big boy so Because I'm facing the gravest problem of my life, Dave. And you've got to help me.
you
!
!
David. What is Mrs. Phelps. Is
it? it
true that I'm of no
more use to my two sons? David. Whatever put such an idea your head? Mrs. Phelps.
You
in
did.
David [shocked]. I? Mrs.
Phelps
really glad to see
[nodding]. You weren't me this afternoon.
THE SILVER CORD David [in all sincerity]. I was. ... I was delighted! Mrs. Phelps [bravely stopping him}. Not glad as I was to see you. I noticed, Dave And that made me wonder whether this scientific age because it is a scientific age, Dave isn't making more than one boy forget that the bond between mother and . son is the strongest bond on earth. !
.
.
his
.
David [not quite sure
of the superla Well, it's certainly strong. Mrs. Phelps. Do you realize how sinful any boy would be to want to loosen it? David. Sure I realize that! Mrs. Phelps. I see so many poor mothers, no less deserving of love and loyalty than I, neglected and discarded by their chil dren, set aside for other interests. tive"!.
David. What interests? . Mrs. Phelps. All kinds of things. . Wives. David [shying]. Nonsense, Mother! Mrs. Phelps. The Chinese never set any .
.
.
.
relationship
above their
filial
piety.
They'd
be the greatest people on earth if only they'd stop smoking opium. David. You haven't any kick, have you? I mean: Hob and I haven't let you down? Mrs. Phelps. Not yet, Dave. But, you know the old saying? David. What old saying? Mrs. Phelps. That a boy's mother is his best friend.
David. Oh I Bet I do! Mrs. Phelps. Do you think of your mother as your best friend? David. None better, certainly. Mrs. Phelps. None better! Hm! You can say, though, that you haven't entirely outgrown me? David. Of course I haven't! Why, I'd hate to have you think that just because I'm a grown man, I ... Mrs. Phelps. No son is ever a grown man to his mother! [There is a knock at the door] Who can that be at this hour? David. I hope it's Chris. [He starts jor the door]
Mrs. Phelps
[freezing
suddenly as she
Dave! David Uurning]. What?
rises].
Mrs. Phelps. Wait. ... I mustn't in Good-night. ... David [calling out]. Just a minute! [To
trude.
.
.
.
mother, politely]
truding .
.
You
wouldn't be in
!
Mrs.
But
Not on
Phelps.
you,
I
know.
.
David. Not on Chris either! Mrs. Phelps. I know best. Kiss
.
.
701
me good
night.
David. Good-night, Mother. [He kisses her cheek] Mrs. Phelps [giving him a quick hug]. God bless my big boy! [She goes as she came. DAVID'S look t as he watches her door close behind hert is baffled. He goes quickly to the other door. ROBEET is standing out side]
David. For Pete's sake, Rob! I thought
it
you walk in? Robert. I thought Mother was in here. David. She was. She just went to bed. Robert [entering]. She must have thought it was Chris, too! David. How do you mean? was Chris!
.
.
,
Why
didn't
Robert. I shouldn't rush things if I were you. David. Maybe you're right. Women are too deep for me. Robert. I came in for a smoke. I had to talk to you. I've been sitting in my room wondering what you think of all this. David [.finding and lighting a cigarette]. I don't think much, and that's the truth Robert. Good God, Dave, can't you be a little easier on me? Didn't you ever feel any doubts when you were engaged? Were you always so sure of Christina that you . . David. The first time I asked Chris to marry me, she made it perfectly clear that, as far as she was concerned, I was to con sider myself dripping wet. After that I was too damn scared I wouldn't get her to think whether she loved me or not. Robert [darkly]. And I never had one comfortable moment from the time Hester accepted me. David. Oh, being in love's like everything else. You've got to put some guts in it. Robert [with bitter anger]. You think I !
.
haven't got any guts. You want to make me look like a callous cad! All right, I'll be t. cad. I don't care what people think about
me But !
if
I'll tell
I'm going to
you one thing I'm damned you turn Mother
let
me! David. Robert.
Do
what?
You heard me!
!
SIDNEY HOWARD
702
My
David.
God, haven't you outgrown
that old stuff yet?
know from experience what to when you and Mother get together.
Robert. I expect
I used to listen at that door, night after and night, night after night, while you Mother sat in here and talked me over. Then I'd watch for the change in her
David. I don't think it's your place to be too sorry. Robert. Let's drop it, Mother. Mrs. Phelps. No. IVe got to know what's on Dave's mind. My whole life may hang on it. What is it, Dave? [Carefully sound ing] If Robin's not to blame, perhaps I
am?
next morning at breakfast when I hadn't used slept a wink all night. The way you to own the earth at those breakfasts! Well, if you try any of that old stuff to-night, 111 lose the only prop I've got left. David. Isn't it about time you let go of Mother's apron-strings? Robert. You would say that! You don't realize that I'm desperate. David. Desperate, hell! You're crazy! . Mother's gone to bed and [The wee mowie scratches at the door
Robert {horrified"]. Mother David. What's the use of getting BO worked up over nothing? Mrs. Phelps. Nothing 1 Can you say "nothing" after what we were talking about a few minutes ago?
again! "What's that?
please?
.
Mrs, Phelps lenieringl.
It's
.
only Mother.
Are you two beaux quarreling? Jealous, jealous Robin! What's the matter? David. Nothing. Mrs, Phelps. A fia-e man is a frank man, David! Do you think I didn't hear every word you said? Surely you must know that Hester wasn't worthy of your brother? David. Wasn't she? Well, let's not talk
any more about
it.
Mrs. Phelps. Oh, but we must. For all our sakes, we must clear the air. I have always taken the stand that my boys could do absolutely no wrong, and that is the proper stand for a mother to take. Didn't I always side with you in your school scrapes? Even against the masters? Even when you were clearly in the wrong? Of course, I did! And I shall not permit one word of criticism against jour brother now. Loyalty, Dave! Loyalty! about it! David.
we
said
,
Come, nowl But .
.
if
Tell
Mother
all
you overheard every word
I
Mrs. Phelps. "Overheard," David? Am I given to eavesdropping? David. I didn't say so. Mrs. Phelps. I simply want to make sure I didn't miss anything while I was in my bath.
David. I don't misunderstand him. I'm eorry for Hester, that's all. Robert, We're all sorry for Hester.
1
David [cornered]. I only think
.
.
,
Mrs. Phelps. What? David. Well, that youVe both handed Hester a somewhat dirty deal. And Chris must think so, too! Mrs. Phelps [.wary]. Indeed 1 And how, David. Well, it cornea of what Chris calls "mythologizing" Mrs. Phelps [frightened]. Does Chris tina discuss our family affairs already? David. No. It's one of her old ideas about people in general. You mythologize Rob into a little tin god. Rob thinks he is a little tin god. Along comes Hester and falls in love with the real Rob. She never heard of your little tin god Rob. She doesn't de liver the incense and tom-toms. That makes you and Rob sore, and the whole works goes to hell. That's mythologizing. Believe
me, it can make plenty of trouble. Mrs. Phelps [relieved that the criticism is so general]. If that's all I'm to blame don't know that I can object. Ex pecting the best of everyone is, at least, a fox, I
worthy fault. Still, if I may venture an older woman's opinion on one of Christina's ideas?
God
David. I wish to
I hadn't started
this.
Mrs. Phelps. So do tell
me what
I.
Christina
But perhaps you'll would say to the
true reason for Robin's break with Hester? David. What is the true reason? Mrs. Phelps. Do you want to tell him,
Robin? Robert
linspvredl. I
broke with Hester
because of an ideal, the ideal of woman kind Mother gave us both by being the great woman that she is. / knew / couldn't
be happy with any of her.
woman who
fell
short
THE SILVER CORD Mrs.
Phelps.
"dirty" deal now,
What becomes
of
your
David?
703
David [speaking through her door]. But Won't you let mean anything. me explain? ... I didn't know what I wa&
I didn't
David. But I'm not going against that ideal, Mother. That's another thing. Robert. You couldn't have troubled much about it when you married 1 Mrs. Phelps. You shouldn't have said that, Robin. I haven't had Christina's ad vantages. I wasn't given a German educa
[There
He
sulks.
lights
Robert [frightened"!. Good-night, Mother. Mrs. Phelps. You may come into my room later, if you like, I may need you to . comfort me after [She waves her hand. He leaves. She has never taken her eyes off DAVID. When the door closes behind ROB .
.
ERT, she speaks] David, in this moment,
when your brother most needed your loyalty, you have hurt me more than I have ever been hurt in my life before, even by your father. David. I never meant to hurt you. Mrs. Phelps [working it up]. You have been wicked, David! Wicked! Wicked! and
I
David, How? Mrs. Phelps. You have shown me too clearly that what I most dreaded has al ready come to pass! David. What, Mother? Mrs. Phelps. You have loosened the bond between us. You have discarded me. David [horrified] But I haven't done any such thing! Mrs. Phelps. Don't say any more! Act upon your treachery, if you will, but don't, please, don't say another thing. Remember! .
kicks
his
his
off
and
slippers aside.
He
dressing-gown
and flounces into snatching up a book or maga a
cigarette
bed, zine en route. Just as he is settled,
mother's door opens again very Mas. PHELPS presents a tearstained face to view and comes in] his
slowly.
Mrs. Phelps. Smoking in bed, Dave boy?
David
have,
heart! Dr. McClintock tells me I may go at any moment. [After a pause} Good-night, Robin.
locked.
is
swearing softly under his breath. Then, manfully, he takes refuge in
David. Now, don't take this out on Chris, Mother. Mrs. Phelps. I think I know a little of a mother's duty toward her daughter-in-law. Good-night, Robin. I must talk with your brother alone, now. And before you quarrel again, stop to think that you are all I
my
He rattles the He comes away,
no answer.
is
door. It
throws
about
.
talking about!
tion.
you two, and try to consider me. It isn't much to ask and it won't be for long. You both know what the doctors think
.
.
up].
[starting
Mrs. Phelps.
don't get up. to in the old days. David [sitting up]. .
mean
.
.
Mother,
didn't
I
.
.
.
Eh?
only Mother. ... No, Let me sit here as I used
It's
Mrs. Phelps. Never mind. I was wrong to be hurt. David. But you had me all wrong. I mean . You and I ... We're just the Believe me, same as we always were. we are. Why, if anything came to spoil things between us ... Mrs. Phelps [having conquered the first .
.
.
.
.
objective].
say!
Now
.
.
.
That's what I wanted talk to
you
to
me
about Christina. aback without knowing
David [taken why]. Huh? Mrs. Phelps. Give me your hand in mine and tell me all about her.
David [obeying rather is
reluctantly].
What
there to tell?
Mrs. Phelps. Well, for one thing,
tell
you think she's going to like me! David [warmly]. She does already! Mrs. Phelps. Doesn't think I'm an fashioned frump?
me old-
David. I should say not! How could she? Mrs. Phelps. She's such a modern young lady. So lovely, but so very up-to-date. You must tell me everything I can do to win her to me. And I'll do it. Though I'm afraid
Dave. David [amused]. Afraid
of her,
"The brave man does
it
with a sword,
The coward with a word!" [And she sweeps after
herl
out,
slamming
Tier
door
of Chris.
Why?
Mrs. Phelps. She's so much cleverer than I am. She makes me realize that I'm just a timid old lady of the old school.
David [with nice indignation]. You old!
SIDNEY HOWARD
704
Mrs. Phelps [archly so brave about
it].
t
ami
Yes, I
David. Well, you and Chris are going to be the best friends ever. Mrs. Phelps. You are happy, aren't you? David. You bet I ami Mrs. Phelps. Really happy? David. Couldn't be happier Mrs. Phelps. I'm so glad And I thank God that when your hour struck it didn't strike falsely as it did for Robin. Because any one can see the difference between Christina and Hester. Of course, that's a little the difference between you and Rob. You know what I've always said. You are my son. Robert takes after his father. But you mustn't be impatient with Christina if she seems, at first, a little slow, a little resentful of our family. We've always been 1
I
so close,
we
three. She's
out of it, at first. David. Not Chris!
tle
bound
A
little
to feel a
jealous
.
lit .
.
Mrs. Phelps. Oh, come now, Dave! I'm sure she's perfect, but you mustn't try to tell me she isn't human. Young wives are sure to be a little bit possessive and exact selfish at first. ing and . . .
David. We needn't worry about that. Mrs. Phelps. No. ... At first I thought Christina was going to be hard and cold. I didn't expect her to have our sense of humor, and I don't believe she has much of that. But we've more than we need al ready. only she will learn to care for me as I care for her, we can be so happy, If
four of us together, can't we? David. You bet we can! Mrs. Phelps [dreamily]. Building; our houses in Phelps Manor. Deciding to put an Italian Villa here and a little bun [As DAVID grows restive] galow there. . all
.
.
.
.
I'm going to lecture you, now, for If, at first, Christina does
your own good.
seem a
exacting or unreasonable, par us, remember that she has to adjust herself to a whole new world here, a very different world from her friends little
ticularly
in
about
Omaha. And you must never be impa
tient with her. Because, if you are, I shall take her side against you. David. You are a great woman, Mother! Mrs. Phelps. You're the great one! How
many boys
and
their old associations their old ties!
all
all
David. Chris wouldn't try that! Mrs. Phelps. She might not want
But
to.
think things that aren't so and say things that aren't true. Morbid
jealous
girls
things.
David. Morbid things? Chris? Mrs. Phelps. Only you won't pay too much attention or take her too seriously. I know that, because you would no more let anyone strike at rne than I would let strike at you. David. But Chris wouldn't Mrs. Phelps. As I said to Christina this afternoon: "Christina," I said, "I cannot
anyone
.
allow
you
.
.
David!"
to sacrifice
David. Chris sacrifice me! How? Mrs. Phelps. Why, by taking you away from your magnificent opportunity here. David. Oh! Mrs. Phelps. Be master in your own house. Meet her selfishness with firmness, her her jealousy with fairness and her . exaggerations with a grain of salt. David. What exaggerations? Mrs. Phelps. Well, you know ... a girl .
.
.
.
.
... a young wife, like Christina might possibly make the mistake of ... well, of taking sides ... in what happened and without downstairs, for instance can see how . You fully understanding. . .
.
.
.
.
.
.
fatal that would be. ... But, if you face the facts always, Dave, boy, and nothing but the facts, your marriage will be a happy one. And, when you want advice, come to
your mother always. David. Thanks. Mrs. Phelps. Now, isn't your mother your
.
But the important thing for you, Dave boy, is a sense of proportion about your mar riage.
dermine loosen
of your age let their wives
un
friend?
best
David. You bet you are, Mrs. Phelps. How long it called
boy
me
that! Bless you,
Mummy! is
since you've dear, dear
my
!
,
[She leans over to seal her triumph with a kiss. CHRISTINA'S entrance follows so closely upon her knock that the picture is still undisturbed for her to see. She has changed her dress for a very simple negligee.
Her mood
is
dangerous] Christina. Oh, I beg your pardon! Mrs. Phelps [so sweetly, after the verybriefest pause]. Come in, Christina. I was only saying good-night to Dave. Nothing private You're one of the family now. You !
THE SILVER CORD must
come and go
feel free to
as
you
like
the house.
in
We
Mrs. Phelps. to
it,
can accustom ourselves
Dare?
can't we,
David. Yeah.
.
.
Why?
David. You.
Christina. I wondered, that's all. I to be kissed.
Thank you.
Christina.
705
.
Dave and
want
David. That's easy. [He takes her in his arms] Christina. Such a tired girl, Dave. . . . I want to be held on to and made much
I have got so used to sharing the same room, I came in here quite naturally, and , . . Mrs. Phelps. Here's your dressing-gown,
... I want to feel all safe and warm. ... I want you to tell me that you're in love with me and that you enjoy being in
Dave boy.
love with me.
Christina.
We
won't look while you
slip it
on.
[Confusedly DAVE gets out of bed and robes himself. CHKISTINA'S eyes meet his mother's. CHRISTINA'S eyes have the least flash of scorn in them; MKS, PHELPS', the least quaver of fear. In that glance, the two women agree on undying enmity] David. You can you can look now. Christina. Are you quite sure / may, Mrs. Phelps? Mrs. Phelps. Whatever else you may have taken from me, Christina, you canned take from me the joy of feeling my son here, once more, in his old room, beside me. Christina [marking up the first score] I haven't meant to take anything from you, Mrs. Phelps. Mrs. Phelps [so sweetly again]. You know .
.
.
1
.
.
.
was only joking. [She is routed, though] [The two women kiss] Good-night. Don't keep Dave up too late. He's very tired. [She pats DAVE, as she passes him on her way to the door] You must be tired, I
How
is Hester, now? too, Christina. Christina. Quite all right, thank you.
Mrs. Phelps. Thank you! [She blows a kiss to DAVH> from the door and goes. CHEISTINA stands mo tionless. DAVU> reaches for a cigarette] David. You look pretty Btern, Chris. Christina. Do I? David You've been a brick. Christina. Thanks. David. Hester is all right, isn't she? Christina. I Yes, poor youngster! shouldn't be surprised if she were really in luck, Dave. David. You may be right. But it isn't exactly up to
[He lights him up]
me
to say so, is it?
his cigarette.
Dave. David. Yes? Christina. Christina.
Whom
Her eyes burn
of,
it's
matters.
.
.
.
.
.
Dave? David [hugging
please,
her]. Darling! haven't kissed me yet. David [complying, a trifle absent-mind edly]. There! Christina [as she draws back from him]. That isn't what I call making love in a big way. David [repeating the kiss with more en
You
Christina.
ergy]. Is that better? Christina. There's still something lacking. . . What's the matter? There's nobodj watching us. David. That's a funny thing to say. Christina. You take me right back to my first beau in Germany. He never got very far, either. All the English he knew was "water closet." David. Chris Shame on you ! Christina. Shame on you, making me take to low jokes to amuse you. ... I love you. David. Darling, darling, Chris I Christina. I love you! I love you I [For a moment she clings to Jiim wildly] I hate being so far from you to-night, Dave. 'Way off there at the other end of the .
!
hall!
David. I'm none too pleased myself.
She naturally wanted you near
Christina.
her!
David. That's it. [His eyes fall beneath her steady gaze] mustn't talk so loud. We'll keep Mother awake. She can hear
We
every sound
we make.
Christina. Let her hearl It'll
David. That's no snap.
I've
way
David. I
do her good
I
to talk, Chris!
Excuse me. I didn't mean to been fearfully shaken up to
night.
do you love?
It's
just one of Mother's fool ideas. [He lowers his voice whenever he mentions his mother]
Christina. .
Because just loving isn't being in love that really Will you tell me all that,
enough, and
know you have.
SIDNEY HOWARD
706 Christina.
And I'm
David. Poor
I don't feel to talk.
like going to
Do
you mind? David.
Go
to
never come up against anything like this before, I've heard of it, but I've never met it. I don't know what to do about it. And it scares me. David. What does? Christina. I don't know how to tell you. [With sudden force] But I've got to tell you, Dave. Fve got to tell you. There are no two ways about that. David. What are you driving at? [But she changes her Christina. Well mind] May I ask you a question? Rather an intimate one? David. If you must! Christina. Being your wife, I thought I .
David. Perhaps you're right. [Then, un accountably, he shies] But what's the idea in getting so worked up about it? Christina. Because it matters so much that you and I . Dave . . . just now feel that way about each other and that we go on feeling that way and exclude every body, everybody else. Tell me you think so,
.
.
too? David. Sure, I think so. .[Then, again, he shies from her inner meaning] You're getting the worst habit of working yourself up over nothing! Christina. Do you realize, Dave, that the blackest sinner on earth is the man who breaks in on that feel or woman ing? Or tampers with it in any way? Or per .
Christina. Do you look on me as apart from all other women? I mean, do you think of all the women in the world and
me
quite, quite differently?
Do
you, Dave? David. I'll bite. Do I? Christina. Please answer me.
^mportant to me just now. David. Of course I do. ... important just
awfully
Why
is it BO
all
David. If you say Christina.
how I feel about men in the world.
Because that's what being in love must being properly and happily mar ried. Two people, a man and a woman, to gether by themselves, miles and miles from everybody, from everybody else, glancing around, now and then, at all the rest of mankind, at all the rest, Dave, and say ing: "Are you still there? And getting along all right? Sure there's nothing we can do to help?" David. Only we do help, don't we?
mean and
Christina.
Only
really if
we
feel that
way
about one another. Only by feeling that way. David. That's pretty deep! You do go off on the damnedest tacks Christina. Don't you see how that feeling between a man and a woman is what keeps !
Jife
going?
David.
Is it?
.
say he
so, I'll
is.
He!
Huh?
Christina. Never mind. . . . Your brother didn't feel that way about poor Hester,
did he? David.
Hob
Christina.
always was a funny egg.
Your mother
Tweet!
What
calls
him Robin!
does
the
Birdie
say?" David,
From all I can gather, Hester much of any way about him. Christina, I know better than that. .
now?
the other
.
.
didn't feel
Christina. Because that's
you and
.
verts it?
"Tweet! It's
.
.
.
David.
David. Shoot 1
.
.
might.
then think of
strong
3
it.
I've
Christina.
could be
else
enough?
Poor Hester! ... bed yet. I want
Christina.
What
Christina.
awfully tired.
girl!
.
.
my
hands for the past hour. I've learned an awful lot, Dave. About her, and from her. David. Look here, Chris. . Don't you get mixed up in this business, will you? Christina. I wonder if I'm not mixed up I've
had that
child
on
.
in
it
.
already,
David. Well, don't "take sides." Christina* I wonder if I can help taking sides.
David.
It's
none
of our business.
I wish I were sure of that. she again shifts her approach]
Christina. [Baffled,
Poor
little Hester goes tomorrow morning. long are we staying? David. Oh, I dunno.
How
A week? We can't do
Christina,
David.
less,
can we?
we? David. Don't you want to? Christina, Can't
[There is another pause before CHRIS TINA shakes her head. DAVID froums] You see wfcat comes of taking things so
THE SILVER CORD hard? I'm just as distressed over what's happened as you are. Maybe more. But I to run away. It certainly don't want wouldn't be right. Mother'd never under stand. I'd feel like a bum going off and leaving her in the lurch after this. Think what Rob's put her through today and what she'll have to go through with Hes ter's family and all her friends and every body else before she's done! Christina. She seems to be bearing up. David. You can't be sure with Mother. Christina. Can't you? David. She's so damned game. Christina. Is she? David. Can't you see that? And, any way, I've got to look around. Christina. What at? The houses in Phelps
Manor? David. I know how you feel, Chris, about Mother's helping hand. But I can't be throwing away opportunities, now, can I? With the baby coming? Christina Igravelyl.
you
can't.
David.
Neither can
How
Christina.
Forgotten
What
Christina.
all
about
my
op
opportunities?
My
. What are you crying for? Christina [hotly untruthful] I'm not cry .
ing.
You are! Christina. I can't help
David.
it. ... David. But what's the matter? Christina. It doesn't look as if I'm to have much of a show for my eight years of hard work, does it? David. Mother and I'll dope out some thing. I couldn't leave her now. You know
that.
And anyway,
my
shirts
I've got to stay till I washed. IVe only got two
left.
Christina.
Then we
David. You're apt to be impatient, Chris, and I'm afraid you're intolerant. Christina. Those are bad faults in a scientist.
David. They're bad faults in anybody.
me
. time, and Now, you just give you'll see how things straighten out. Christina. Aren't you satisfied with the .
.
way our meeting has come
off?
David. There's no use pretending it was ideal. I believe in facing the facts always. But don't you worry. Mother gets on my nerves sometimes. .You just have to re^ member what a hard life she's had. Christina. How has it been hard? David. Oh, lots of ways. father wasn't
My
much, you know.
David,
He
Christina.
you?
.
get
you and Mother together and to show Mother that a lady scientist mayn't be as bad as she sounds. Because you and Mother have just got to hit it off, you know. Christina. Have we?
know. You've neve*
I didn't
mentioned him.
appointment. David. Didn't Mother say she could scare up something for you here? Christina. She thought she might "scare up" a place where I could "putter around" and keep myself "happy and contented" when the "real doctors" weren't working. David. She didn't mean anything unkind, Chris. Just give Mother a chance and .
what you've seen tonight. Besides, the whole purpose of this visit was to bring
Christina.
I.
do you mean?
portunities, haven't
David.
No, Dave. Of course,
707
stay, of course.
David. And I must say, Chris, that I don't think you're quite playing ball to judge my home and my family entirely on
died
when
What was
I
was the
Women or drink? David. Nothing like that.
five.
matter with
him?
He
just didn't
amount to much. Christina.
Made a
lot of
money,
didn't
he? David. Lots. Christina.
And
left
your mother
rich..
What
other troubles has she had? David. Well, her health. Christina. It doesn't seem so bad, David. It is, though. Heart. And I wish I could tell you half of what she's gone through for R,ob and me. Christina. Go on and tell me. I'd like to hear,
David. I've heard her say she was born without a selfish hair in her head. Christina.
No!
David. And that's about true. Why, I've seen her nurse Rob through one thing after another when she'd admit to me that she was twice as sick as he was. I've seen her come in here from taking care of him and she'd be half fainting with her bad heart, but there'd be nothing doing when I'd beg her to get him a nurse. She said we were her job, and she just wouldn't give in. And the way she always took interest in every-
SIDNEY HOWARD
70g
we did. Why, when she used to come up to school, all the boys went just crazy about her. Christina. I'm sure they did. [But she inquiry into more significant channels'] How did your girl friends get on turns
-
!
till
met you.
I
[She smiles rather the name of the one your mother thought could wear my dress? David. Clara Judd? Christina. Weren't you sweet on Clara? David. I dunno. What made you ask Christina.
absently]
Darling!
What was
put into
in rather extraordinarily.
David.
something in the way your mother spoke of her this evening. It came back to me. Weren't you? David. Mother thought so. Christina. Used to pester you about Christina.
Just
Clara, didn't she?
David. She was afraid I was going to Clara. Christina. I
marry
see.
Anything wrong with
With Clara? No. Damn nice girl. You'll meet her. Christina. Then why didn't your mother want you to marry her? David. Thought I was too young. Christina. When was it? 1
Summer You
Christina.
being too young to and Robert's taking to And you had to be three wild women. thousand miles from home to fall in love That's enough with me! Never mind. of that! Now let me tell you something. Only you must promise not to get mad. David. I won't get mad. .
.
.
.
.
.
Christina. Promise? David. Promise, Christina [after a deep breath"]. Shirts or no shirts, we've got to get out of here tomorrow. David [as though she had stuck him with a pM. Now, Chris Haven't we been over all that? Christina. Yes. But not to the bottom of
it.
What more
is there to say? [with sudden violence}. That a defenseless, trusting, little girl has been cruelly treated! We've got to "take sides" with her, Dave! David. What's the matter with Hester's
Davi4.
Christina
make
We
is
owe
their it
business,
to
not
ourselves
to
our business.
it
David. I don't see Christina.
Why
it.
don't
see it?
you
What
after the war.
weren't so young, were
that?
You know Mother.
Christina. How about your brother? Did he used to fall in love a great deal? David. I don't know that I'd call it "in love."
Christina. Why not? David. It's the family skeleton. She was a chorus girl, my dear. She cost Mother twelve thousand berries. Christina.
ours! Christina.
have you put over your eyes that keeps you from seeing it? Do you dare answer
you?
That must have been
jolly!
David. Dare? What do you mean? Christina. "Face the facts," Dave! "Face the facts!"
David. Rot! You're making a mountain out of a mole-hill! Christina. Cruelty to children isn't a mole hill!
Hester's en that was ever
David. You're exaggerating isn't
gagement
the
first
I
broken. Christina.
Think how
V^as she the only one or were there others? David. There were plenty of others. Only
by whom
they didn't have lawyers. Christina. And then Hester? David. Right. Christina. Well, that's all very interest
be rid of Rob. any more use
ing.
does?
own family? This
ber? David,
David.
What
Christina. You're marry after the war
1
that?
David.
What are you trying to prove? An idea this affair of Hester's my head. And I must say, it fits
Christina.
the
with her? David. Oh, they loved her, too Mother used to give us dances here. Christina. Did she invite the girls you were in love with? David. I never fell in lovel Not really.
Not
David.
David.
it
was broken and
1
You
just said she I'll
grant
you
was
in luck to
that, I haven't
for Rob than you have. Christina. stands behind Ro^ I David. I don't know what you meai*.
Who
Christina. Don't
you?
,.,
THE SILVER CORD David. No. Christina. All right,
I'll tell
you.
David [quickly]. You needn't. you trying to pick a fight with me? .
Christina. On the contrary. I'm you to stand by me. [Her eyes
.
.
Are
him] David. I won't go away and leave Mother in the lurch. Christina. You see? You do know what I mean! David. I don't I'm just telling you I 1
Mother down. Christina. You'd rather stand by your mother than by the right, wouldn't you?
won't
let
David. Oh, the right! Christina. Isn't Hester the right? David [cornered again}. I can't help it if she is. I won't let Mother down. Christina. You'll let me down. David. Oh, Chris! It's late. Come on. Let's turn in. Christina. You'd rather stand by your mother than by me, wouldn't you? David. No, I wouldn't. I tell you Hes ter's none of our business.
admit
Christina. You'll
David.
What
this is?
is?
Who comes first Christina. This! . with you? Your mother or me? David. Now what's the good of putting .
things that way? Christina. That's
.
what things come
to!
your mother and I ever quarreled about to anything, if it ever came up to you choose between sticking by me and sticking by her, which would you stick by? David. I'd ... I'd try to do the right If
thing. . . . Christina.
That
isn't
an answer. That's
I'm trying to tell are, and you won't listen. even hear me.
behind
through it
all
this.
it
my
life
alone. It's
tonight.
I'm .
been
.
.
across queer rifts In your feeling for me, arid places in your heart. Such vast
like
my
perfect ones, too! I mean, you'll be lover one day, and the next, I'll find myself floundering in sand, and alone, and you nowhere to be seen. We've never been really married, Dave. Only now and then, for a little while at a time, between your retirements into your arid places. ... I used to wonder what you did there. At first, I
thought you did your work there. But you don't. Your work's in my part of your heart,
what there
is
my
of
part.
Then
I
decided the other was just No-Man's Land. And I thought: little by little, I'll encroach upon it and pour my love upon it, like water on the western desert, and make it flower here and bear fruit there. I thought: then he'll be all alive, all free and all him self; not partly dead and tied and blind; not partly some one else or nothing. You see, our marriage and your architecture were suffering from the same thing. They only worked a little of the time. I meant them both to work all the time. I meant you to work all the time and to win your way, all your way, Dave, to complete man hood. And that's a good deal farther than
you've got so
far.
.
.
Then we came
.
here,
happened with Hester and your brother, and you just stepped aside and did nothing about it You went to bed. You did worse than that. You retired into your I've shown private wastes and sat tight. you what you should do, and you won't see it. I've called to you to come out to me, and you won't come. So now I've discov ered what keeps you. Your mother keeps this
!
.
you. It
isn't
.
No-Man's Land
your mother's land. Arid,
You
mother's!
can't
I've
still
you what they
David. I can hear you. And a worse line of hooey I've never listened to in my life. Christina [gravely, but with steadily in creasing fervor]. Have you ever thought what it would be like to be trapped in a submarine in an accident? I've learned to
And
going through pretty awful to have to face
alone.
such things alone. No, don't interrupt me. I've got to get this off my chest. Ever since we've been married I've been coming
and
another evasion. David. But why ask such a question? Christina. Because I love you. Because I've got to find out if you love me. And I'm afraid . . . I'm afraid. . . . David. Why? Christina. Because you won't see the facts
night what that kind of panic would be like. I'm in that kind of a panic now, this min ute. I've been through the most awful ex perience of
asking corner
709
You
won't
.
at
sterile,
me
let
all.
It's
and your
get in there.
Worse than that, you wont let life get in That's what I'm there! Or she won't! afraid of, Dave: your mother's hold on you. And that's what's kept me from getHr"; .
.
.
anywhere with you, all these months. I've seen what she can do with Robert. And
SIDNEY HOWARD
710 what
she's
done to Hester. I
can't help
won
what she may not do with you and to me and to the baby. That's why I'm ask ing you to take a stand on this business of dering
Hester's, Dave. You'll never find the right any clearer than it is here. It's a kind of
me. Don't you see? What you decide about this is what you may, even , tually, be expected to decide about
test case for
.
.
about our marriage.
David [after a pause, with sullen Nol I'm damned if I see!
do! David. I hope you're going to behave. You ought to be ashamed. Just as I was bringing Mother around to you and . to
.
.
Christina [violently]. You'd better think a little about bringing me around to your I
I get
should your mother and
to hear
Christina.
Do
it,
Do you want
Chris!
you? I not!
[MRS, PHELPS stands in her door, white, bat steady] [turning, sees her].
Oh ... You
did hear Mrs. Phelps. How; could I help hearing every word that Christina said? David. Oh, this is awful! Mrs. Phelps. We know, now, where we stand, all three of us. David. Chris, can't you tell her you didn't !
mean
it?
Mrs. Phelps [with heroic sarcasm]. Chris tina isn't one to say things she doesn't mean. And I have no intention of defend David. Mother, please! better beat
on?
David, Because you should, that's why. Because she's an older woman and my mother. And you know, just as well as I
do ... Christina. I know a great deal better than you that your mother dislikes me fully as much as I dislike her. You're wasting your time trying to bring your mother and me together, because we won't be brought. You say you believe in lacing the facts. Well, let's see you face that one David, I've never heard anything so out !
rageous. When you know what Mother . means to me and what Your mother Christina [desperate]. Your mother! Always your mother! She's got you back! Dave, her big boy, who ran off and got married! She's got you backl David. I won't stand for any more of this. A man's mother is his mother. .
.
I
Christina [crescendo]. And what's his may I ask? Or doesn't she count? David. This is morbid rot! She warned me you'd be jealous of her I
wife,
Christina.
Mother
!
Damn
ing myself.
David. Chris 1
Why
woman
David.
David
Christina [breaking]. Then I can't hope for much, can I? . . .1 feel awfully like a lost soul, right now. ... Oh, my God, what am I going to dol What am I going
Christina.
other
m'o-
lence].
mother
the old caught! I can't go back and be Christina again. She's done for. And Chris even exist! That's tina, your wife, doesn't the fact I've got to face! I'm going to have a baby by a man who belongs to an
Did she?
David But I never expected anything 'ike this!
Christina. What's going to become of me? David. I won't stand for any more. Hester's escaped, but I'm Christina. .
.
,
.
-
.
Chris, you'd
it.
Mrs. Phelps. I ask her to stay. She has afraid ever to be alone with you again. She must have made you afraid to be alone with me. David. Nonsense, Mother! She hasn't done anything of the sort. You'd better go, Chris. It's the least you can do after
made me
what you've
said,
least. I belong with [She goes quickly] David [turning wildly to his mother], I'll straighten everything out in the morn ing. I swear I will! Mrs. Phelps [in a very different, very noble tone]. This is an old story, Dave boy, and I'm on Christina's side just as I said I should be. David. I can't have you talking like that,
Christina.
The very
Hester now.
Mother! Mrs. Phelps. I accept my fate. You have your own life to live with the woman you have chosen. No boy could have given me back the love I gave you. Go to Chris tina! Make your life with her! No bond binds you to me any longer. David. That isn't true! Mrs. Phelps. I'm not complaining. I'm only sorry for one thing. I'm only sorry to see you throw away your chance here, youi great chancel
THE SILVER CORD David. But I haven't thrown
and work
stay here
me
for you,
away.
it
I'll
you want
if
to.
Mrs. Phelps. Christina won't
know
that
you.
You
1
my
David. She's Mrs. Phelps.
Dave
let
wife, isn't she?
Think what that means, Think what that means!
I
And you're my mother. I'm think ing what that means, tool Mrs. Phelps. Then it isn't good-bye? Then Fve still got my big boy, after all? David. You bet you've got him! David.
Mrs. Phelps
[in
Oh, Dave!
triumph].
Dave! Dave! David. Now, Mummy! [But a sound downstairs distracts him} Hello! What's that? [She listens, too} Mrs. Phelps. Heavens, it isn't a fire, is it?
David. Wait
.
.
.
I'll see.
.
.
*
[He opens
the door into the hall and stands listening} Christina [below}. I went into her room, and she wasn't there, and then I looked for
her and I found the dining-room
window
open.
.
.
Where are you, Hester? Hester! God!
.
.
.
[speaking
during
.
cold.
David. All right. We'll have a look. Mrs. Phelps. The little fool! Let her go,
Dave! Christina. But, Mrs. Phelps, she isn't take her properly dressed. She didn't even .
Oh,
!
!
for heaven's sake! as
David. What? ... Oh! ... IHe runs out CHRISTINA opens the window} Mrs. Phelps. Dave! [To CHRISTINA] .
What
.
.
you say? Robert [below}. Dave! For God's sake! Hold on, Hester! Don't struggle! is
it
[DAVID'S shouts join his} Christina [as she collapses on the bed}. The pond! ... I can't look. . . .'
Mrs. Phelps. Oh, IVe no patience with people who have hysterics! Christina. Mrs. Phelps, the girl's drown ing!
Mrs. Phelps. Oh, no! ... .Not that! IBKe, window, but recoils in Aorror from what she sees} They'll save her, won't they? They must . they must save her. ... If only [Then a new fear overwhelms her} If only those two boys don't catch pneumonia! [And she too, goes to the
,
.
.
.
leaps to the window to call after her sons as they race, shouting, across the snow}
Eobin, you're not dressed! Dave, get your coat! Are you crazy? Do you want to catch
above}.
the
Mrs. Phelps. It's Christina and Robert. David. Something's happened to Hester. Mrs. Phelps. No! David. Chris! What's going on? Robert [below}. Hester! Where are you, Hester? Christina [appearing in the hall} Hester's got away, Dave. Out by the dining-room window. You'll have to get dressed and find her. She can't get to town tonight in this
.
,
[CHRISTINA has walked to the window to look out. She utters an inarticulate scream} David. What is it, Chris? Mrs. Phelps. Good heavens! Christina [strangled with horror}. It's the pond The holes in the pond Quick, Dave,
What?
Robert
.
pneumonia?
.
David
coat.
.
my
.
Robert [below}. What do you think has happened? Christina [below}. I don't like to imagine things, but Robert [below}. Hester, where are you? Christina [below}. She's got away! I tell you, she's got away! I shouldn't have left her.
711
.
[still
calling
below}.
Hester!
ACT THREE The living-room again, and the next morning. MRS. PHELPS is wearing a sim ple house dress and is busily fixing a great many flowers which she takes from boxes strewn about the stage, After she has been so
occupied
for
a
few seconds,
ROBERT
enters.
Robert. The doctor's gone. Mrs. Phelps [surprised}. Without seeing
me? Robert. It seems so. Mrs. Phelps, Doesn't that seem very strange to you, Robin? Of course, I thought it best not to go up to Hester's room with him. In view of the perfectly unreasonable attitude she's taken toward me. But I should
SIDNEY HOWARD
712
have supposed, naturally, that he'd have made his report to me.
He
says she may as well go to says traveling won't be as bad day. for her as staying here. Mrs. Phelps. Did he say that to you? Robert. I couldn't face him. They told
Robert.
He
him the whole
story.
Mrs. Phelps. Christina and Hester? [ROBERT nods'] And I might have known they would. . he listened to them and never so much as asked for me? Robert. What of it! Mrs. Phelps. He'll never enter this house .
.
again!
Robert. So he said He also said there's nothing the matter with your heart and never has been anything the matter with it. He said it would take a stick of dynamite I
to kill you.
Mrs. Phelps. Damned homeopath t Robert. And that isn't the worst. Mrs. Phelps. What more? Robert. He said that I'd always been a rotter.
Mrs. Phelps. Oh? Robert. And that I couldn't have been anything else with such a mother. IThere is venom in this last. MRS. PHELPS'S lips stiffen under it] Mrs. Phelps. I think you might have spared me that, Robin. Robert. I didn't mean to be nasty. Mrs. Phelps. No. Still, there are things one doesn't repeat to sensitive people. [But a dark foreboding will not be downed] Somehow, though, I can't help feeling that [She does not say what she sees in .
.
.
the future]
Robert. Neither can L [She looks at him in quick fear. Then she returns to her flowers with a
Robert [shuddering]. don't put it that way! Mrs. Phelps. How do
sake,
you put it? Robert. She tried to get away, that's all. And she got lost in the dark and . Mrs. Phelps. I tell you, she tried to kill herself. I've always suspected there was insanity in her family. She had a brother who was an aviator in the war. Everybody .
knows that
aviators are lunatics.
.
Her own
conduct has never been what I should call normal. Everything points to insanity. That's another reason why you shouldn't have married her. Because we've never had any of that in our family. Except your father's Bright's Disease. I shall certainly tell everyone that Hester is insane. Robert. Perhaps that will make things simpler. Mrs. Phelps. As to the telephone, it's the only thing I've ever done to be ashamed of, and I said as much when I did it. She made me angry with her wanton attacks
on you. Robert. I didn't hear any wanton attacks. Mrs. Phelps. Where were you? Robert. Out there in the hall. Mrs. Phelps. You couldn't have heard the things she muttered under her breath. Robert [with an incredulous sneer]. No! [There is a pause, sullen on his part, troubled on hers]
We're just like beth, aren't we?
Macbeth and Lady Mac
Mrs. Phelps. For heaven's sakes, how? Robert. We've got into a mess we can't ever get out of. We'll have to get in deeper and deeper until we go mad and Mrs. Phelps. Don't be ridiculous. Robert. I'm sorry, Mother, but I can't .
.
.
help regretting. Mrs. Phelps. Regretting what? Robert [in a low tone]. Hester.
Mrs. Phelps. Nonsense, Robin!
you
shrug]
For heaven's
.
.
I
tell
.
Mrs. Phelps. Oh, well! There 'can't have been much wrong with the girl if she's able
Robert. What do you know about it? Do you understand me any better than Hester
to
did?
go this morning. Robert.
Thank God
for that. [Then with
level-eyed cruelty] It might have been se rious, though, after what you did to the teleplaone. Because we couldn't have reached a soul, you know. And without Christina in the house Mrs. Phelps. How was I to know the little fool wanted to drown herself? .
.
.
Mrs. Phelps. How can you, Robin? I not understand you? Haven't I always told you that however David may take after his father, you are my son? Robert. What's that got to do with it? Mrs. Phelps. Robin! Robert. If I wasn't sure that I loved Hester, how on earth can I be sure that I
THE SILVER CORD
713
herself]. [frightened to Phelps Dave didn't say that! Robert. He said I hadn't any guts. Mrs. Phelps. Ugh! That horrible word! No, Robin. You must put all such thoughts
Robert. Don't put those flowers there I They're too low! Mrs. Phelps. Fix them yourself. Robert [changing them with a jar of something else] Isn't that better? Mrs. Phelps. Much. What an eye you have! Robert. Perhaps I'll develop it some day. Mrs. Phelps. Would you like to? Robert. I've got to do something. Mrs. Phelps [darkly]. I quite agree. Every young man should have some pro
aside.
fession.
didn't love her? I don't know this minute whether I loved her or not. I only know that I'll regret losing her all my life long. [A movement of exasperation from his mother stops him. Then he concludes] Maybe Dave's right about me. Maybe I am too
weak
to love
any one.
Mrs.
Robert. I suppose I'll have to take your word for it [Then with sudden, cold fury] But I won't next time! Mrs. Phelps. Robin! You're not holding wie responsible?
Robert.
Who
Who
put the idea in
my
head?
me? Who made me prom
persuaded
Mrs. Phelps. Are you implying that 7 came between you? Robert. Well, if you didn't, who did? Mrs. Phelps. Robin! You ought to be !
Robert. Think so? Mrs. Phelps. That you should turn on me! Some day you'll regret this. It won't
be Hester, but
. this that you'll regret. too late. [And from force of habit her hand steals to her heart] Robert. I daresay I've got a life full of re grets ahead of me. [He walks sullenly to
When
.
.
it's
the window]
Mrs. Phelps. don't
boy
reverts
and
is
a child again]
Robert. What are we going to do, Mother? Mrs. Phelps [in a low tone]. Do? Robert. What are we going to do, you and I? We're in the same boat, you know. Mrs. Phelps [in a lower tone]. I don't
know what you mean.
ise?
ashamed
[Then, suddenly and involuntarily, the
Robert. Well, what am I going to do, then? I can't stay here and face people after this!
Mrs. Phelps. What will there be to face? Robert [crescendo]. You know as well as I do. This story '11 be all over this d0mn town. And Hester's people aren't going to keep quiet in New York. Her brothers go everywhere I go. My friends will begin cutting
What
You
know you
frighten me, Robin! I
like this.
Robert. Don't you? [There is a pause. MRS. PHELPS stares at him in growing horror. He looks out of the window]
Mrs. Phelps. No. Robert [looking out, That's too bad.
.
.
.
There's
back tp her]
Dave putting
up danger signs all around the pondl Isn't that like him! After it's too late. [She turns away from him and dully goes on with her flowers, carrying a bowl of them over to the piano. ROB ERT watches her coldly. Then a sudden frown contracts his brow, and he moves toward her] Mother! Mrs. Phelps. What?
in the street.
of it?
Mrs. Phelps. We might go to Washing ton to hurry our passports. Robert. Could we get passage, though? Mrs. Phelps [slowly]. I've already wired for it. This morning. we're to sneak . Then Robert. I see. .
away his
me
Mrs. Phelps. If we say she's insane? Robert. What difference will that make? Mrs. Phelps. The Paris sails on Saturday. Robert [after a pause, tremulously].
like
.
two guilty
fugitives!
Mrs. Phelps [avoiding his eye]. Sh! Don't say such things [DAVH> enters, his cheeks stung crim son by the cold] David. Phew, it's cold. The pond'll be frozen again by tomorrow if this keeps up. What's the doc say about Hester? Robert. She's leaving us today. David. I'm glad she's well enough. Mrs. Phelps. There never was anything the matter with her. David. It's easy to see, Mother that yoia 1
SIDNEY HOWARD
714 don't often weather.
bathe in that pond in zero
Mrs. Phelps. I hope I have more selfcontrol. Robin, will you see, please, that the car is ready for Hester? Robert. Yes. [He goes] David. Anybody seen Chris? Mrs. Phelps. Not I. David. No. I suppose not. . . What's .
the idea in the floral display? Mrs. Phelps. I felt I had to have flowers
about me. David. That sounds pretty Green Hattish, ... It has a festive look, too* I don't see
what there
is
to celebrate.
Mrs. Phelps {noble tragedienne that she &]. Last night, at a single blow, beauty was stricken out of my life. I can't live with out beauty, Dave. You must know that. So I went to the florist this morning and bought these. They comfort me ... a little.
David
[.with
that
worried look
agaM.
been thinking, Mother, that maybe,
I've
after last night,
things considered, be as well for me to take Chris
Wednesday, say. Mrs. Phelps. If you
it
all
will
away on
like.
David. We can come back later. After things have cooled down. Mrs. Phelps. Later, I hope, and often. David. Time does make things easier,
But as I am, and with Robin on the verge of a complete breakdown David. But Rob isn't Mrs. Phelps. Oh, yes, he is, Dave! He said things to me before you came in that no son of mine would dream of saying unless he had something the matter with him. I've got to get him away. David. Send him abroad. Mrs. Phelps. I don't think he ought to .
ideas and fly off the handle, they're just as embarrassed afterwards as any one else
would be. Mrs. Phelps. Naturally. and all.
the .
.
can't face things alone. He's in that. You're son, That's why I always turn to
And
then Hester's running away telephone being busted and
.
Mrs. Phelps. I quite understand. David. I knew you would. Mrs. Phelps [the boxes and papers all stowed away, she sits down to business]. What I'm wondering now, though, is what I'm. to do with Robin? And I'm afraid youVe got to help me with him. David. I'll do anything I can. Mrs. Phelps. If I were well and able to *tand the things I used to stand before my because it has gone b,eart went back on me back on me and before my blood pressure got so high ... I shouldn't trouble you.
my
you, David. Why not go with him? Mrs. Phelps. Because I'm really not well enough in case anything should happen.
And I don't know what to do. Oh, . Dave, boy, do you think David. What? Mrs. Phelps. That Christina could spare you for a little? Just a few weeks? Just long enough to get Rob and me settled in .
.
.
some
restful
.
Do you
place?
think
she
would? David. There's no need of that! Mrs. Phelps. Of course, I'd love to have Christina, too. Only I'm afraid that would be asking too much. I mean, making her put off her work when she's so set on it. David. But Rob isn't going to give you
any
trouble.
Mrs. Phelps.
Mrs. Phelps. They say eo. David. When scientists get these wild
.
father,
you know.
doesn't it?
David.
his
.
.
He
go alone. like
.
.
a
sacrifice
of
Do you
you
weren't sure that
.
.
.
think I'd ask such
and Christina,
if
I
absolutely necessary? Oh, I'm not thinking of myself, I no longer matter. Except that I shouldn't want to die abroad with only Robin there, in his it's
present condition. David, Don't talk that way, Mother! Mrs. Phelps. Why not? I'm not asking you to be sorry for me. It's Robin I'm thinking of. Because we haven't done all that we should for Robin. And now that
I'm old ... and sick
.
.
.
dying
.
.
.
[She
breaks down] David. You're not, Mother!
Mrs. Phelps [weeping hysterically']. I can't cope with him. He'll slip back again . to drinking and fast women .
.
David. Get hold of yourself, Mother! Mrs. Phelps [more hysterical"]. And when I think of what I might have done for him and realize that it's too late, that I haven't any more time only a few .
.
.
THE SILVER CORD months ... or weeks ... I don't know ... I ... [She really becomes quite faint]
David [snatching her hand in
terror'].
Mother, what's the matter? Are you ill? Mrs. Phelps {recovering "by inches, as she gasps for breath] No It's nothing . I Just give me a minute . Don't call any one ... I'll be all right. . There! That's better! David. You scared me to death. Mrs. Phelps. I scare myself sometimes. You see I do need somebody's help. David. Yes, I see you do. Mrs. Phelps. And so I thought well, since Dave is going to build my houses in Phelps Manor. . You're not going to disappoint !
.
.
.
.
.
.
.
.
.
.
.
.
:
.
me
.
there, I
hope?
David. Oh, no! Mrs. Phelps. Well, then you won't want
New York
to start in that
Mrs. Phelps. Why, your going abroad to study interior decorating, of course. [ROBERT looks surprised] David. Oh, is Rob going to do that? Robert. Any objections? David. I think it's just the job for you. Painting rosebuds on bathtubs. Robert. I can make your houses look like something after you've finished with them. Mrs. Phelps [ecstatically]. two boys
My
been my simply things come straight when people are willing to co in partnership! Oh, that's always
dream!
operate and make little sacrifices! If there's one thing I pride myself on, it's my will ingness to make little sacrifices. Here we are, we three, a moment ago all at odds with life and with each other; now united
and of a
you tina
hands when he might be drawing plans and getting ideas abroad. Think it over, Dave, boy. his
David. You certainly are a great planner, Mother. Mrs. Phelps. I make such good plans! David. When would you be sailing? had thought . I Mrs. Phelps. Well, I vaguely ... of sailing on the Pan's Saturday David. Good Lord! Give a man time to think! I want to do the right thing, but I couldn't leave Chris . Not with the baby coming, you know. Mrs. Phelps. But you'll be home in plenty dl time for that. David. That may all be, but, just the .
.
,
.
.
.
.
.
.
.
.
same, I wouldn't feel right to leave her. [ROBERT returns] Mrs. Phelps. I've just been telling Dave about our wonderful plans, Robin, and he's so
enthusiastic!
I shouldn't
wonder
single
if
he
came along with us. LA sign to DAVID to play up] Robert. What are the plans?
mind is
all
.
.
.
very
fine.
But don't
forget that I've got to talk to Chris .
.
.
[But CHRISTINA has opened the door upon his very words. She is dressed as she was when she first came to the house. She wears her hat and her fur coat and carries her bag in her hand]
you. David. I hadn't thought of that. Mrs. Phelps. And so I thought: Well, he can't begin here until April anyway, andthat leaves him with two idle months on
.
how
Oh,
David. This
office.
David. Why not? Mrs. Phelps. When you'll be leaving so soon to begin here? They wouldn't want
.
715
Christina [speaking as she enters]. Well, now's your chance, Dave. What have you got to talk to me about? David [staring at her]. What's the idea, Chris? Christina [setting the bag down by the door]. I'm going away with Hester. Are
you coming, too? David [staggered]. Now? Christina. In a few minutes. I came down ahead. No, don't go, Mrs. Phelps. And won't you stay, too, Robert? I think it's
we should thrash this question out together, here and now. for good and
best that all.
Mrs. Phelps.
What
question, Christina?
The David question, Mrs. Whether David is going on from
Christina.
Phelps.
this point as
Robert.
your son or as
my
husband.
What?
Christina. Isn't that the issue?
[She asks the question less of DAVID than of MRS. PHELPS, who turns to her sons in terror] Mrs. Phelps. I can't go through this a second time !
SIDNEY HOWARD
716
David [quieting her with a gesture}. No one expects you to. ... [To CHRISTINA, pleading almost pathetically] You're not going to begin all that again, Chris? Christina. I'm afraid I am. David. But, just as I was getting every thing all straightened out , . .
Were you doing
Christina.
David. If be all not . they'll .
that? only you'll leave things be, right. You may believe it or
.
Christina. I can't believe it, and I can't leave things be. Oh, I'd walk out without a word, even loving you as I do, if I thought this state of affairs made any one of
you happy.
What
Robert.
The
Christina. all
state of affairs?
been living
state
"in
and
of
affairs
you've
suffering from, for
so long.
Mrs. Phelps.
You might
let
us judge our
own
happiness. Christina. I might, you haven't.
if
you had any. But
Robert. You're quite sure of that? Christina. Quite, Robert. You're all of I wrong? you perfectly miserable! Mrs. Phelps. Christina! Please! Robert. Thank you for being sorry for
Am
us!
You give me such good rea Such awfully good reason Be cause you're not really bad people, you Christina.
son, Robert.
1
know. You're just wrong, ribly,
pitifully,
trapped
.
.
all
of
all
you,
wrong, ter
if
your mother knows
Mrs. Phelps [with a
last
desperate snatch
at dignity}. If you'll excuse me, I'd rather not stay to be insulted again. [She is
going} Christina. You'll probably lose don't stay, Mrs. Phelps!
[MRS. PHELPS
stays.
him
if
you
CHRISTINA turns
to DAVID]
No, Dave, There's no good in any more pre tending. Your mother won't allow you to divide your affections, and I refuse to go on living with you on any basis she will allow.
Mrs. Phelps. I cannot see that this is necessary. Christina. It's a question a great many young wives leave unsettled, Mrs. Phelps. I'm not going to make that mistake. [Back to DAVE again] You see, Dave, I'm not beating about the bush. I'm not persuad ing you or wasting any time on tact. Do you want your chance or don't you? Be cause, if you don't, I'll have to get over being in love with you as best I can
and
.
.
.
David. I wish you wouldn't talk this way, Chris! Christina. Are you coming with me? On the understanding that, for the present, un til your affections are definitely settled on your wife and child, you avoid your moth er's
society entirely. Well?
What do you
know what to say. You never do, Dave darling.
David. I don't
.
.
.
judgment. Mrs. Phelps [in blank terror at this at
Oh! Dave,
Christina. Not you can't!
and you're
Mrs. Phelps. What we say in anger, we sometimes regret, Christina. . Christina. Oh, I'm not angry. I was, but I've got over it. I rather fancy myself, now, as a sort of scientific Nemesis. I mean to strip this house and to show it up for what it really is. I mean to show you up, Mrs. Phelps. Then Dave can use his own
tack].
it,
I.
...
Christina.
David. I'm too shocked. I've never been so shocked in
fore
!
!
nothing to you?
I'm trying to save my love, home, my husband, and my baby's father. Are they nothing to you? David. But surely I can be both a good son and a good husband Christina.
my
I
life.
you speak.
David. I don't mean that I don't know what to say about taking my chance, as you call it. I can answer that by remind ing you of your duty to me. I can answer that
David. Now, Mother Chris Haven't you any consideration for our feelings? Are they
my
[with a glance at her wrist watch]. Just take your time, and think be Christina
by
night:
calling all this what I called it last rot I But I shocked at
morbid
am
your talking this way about my mother and to her face, too! Christina. Is that your answer? David. No, it isn't! But a man's mother is his mother. Christina. So you said last night. I'm not impressed. An embryological accident
THE SILVER CORD no grounds for honor. Neither
is a pain confinement, for I understand, Mrs. Phelps, that you're very proud of the way you bore your children. I know all about the legend of yourself as a great woman that you've built up these thirty years for your sons to worship. It hasn't taken me long to see that you're not fit to be any one's mother. David. Chris! Robert [speaking at the same time]. See is
717
Hester that you never wanted to marry
ful
her.
here,
Robert [aghast]. Mother, you didn't! Mrs. Phelps. Of course, I didn't. Christina [Joan of Arc raising the siege of Orleans], I heard her. And I heard her call both of you back, last night, when you ran out to save Hester from drowning. I heard her call you back from saving a drowning girl for fear of your catching cold. I heard her. I heard her. David [shaken]. You shouldn't have called us, Mother! Christina. Can she deny that her one idea is to keep her sons dependent on her? Can she deny that she opposes any move that either one of you makes to ward independence? Can she deny that she is outraged by your natural impulses to ward other women? Mrs. Phelps [furious]. I deny all of it!
now!
Mrs. Phelps. Let her go on! Let her go on! She will explain that or retract it! Christina. I'm only too glad to explain. It's just what I've been leading up to. And I'll
begin by saying that
feels
about
me
as
my
if
your sons
baby ever feel
about
you, I hope that somebody will take a little enameled pistol and shoot me, because I'll deserve
it.
Mrs. Phelps [going again}. I've been in sulted once too often. Christina.
don't
I
I'm being as
mean
scientific
to
insult
you.
and impersonal
as
possible.
Robert.
Good God!
Christina sults,
offer
[regardless].
though, what
me
Speaking of in can you me as a
explanation for your rudeness to
guest in your house? Mrs. Phelps. I have not been rude to you. Christina. You have been appallingly rude. Second question: Why do you resent the fact that I am going to have a baby?
Mrs. Phelps. I don't resent Christina.
Then why
are
it,
you
so churlish
about it? Mrs. Phelps. Your indelicacy about it would have Christina. That's another evasion. You're afraid that baby will give me another and stronger hold on David, and you mean to .
separate
.
.
David and
me
if
it's
humanly
possible.
Mrs. Phelps. I do not! I do not! Christina. Did you or did you not bend every effort to separate Hester and Robert? Mrs. Phelps. I most certainly did not! Christina. Then how do you account for the
deliberate
and brutal
lies
you told
Hester about Robert? Because she did lie to Hester about you, Robert, She told
Christina. You may deny it until you're black in the face; every accusation I make is true! You belong to a type that's very common in this country, Mrs. Phelps a type of self-centered, self-pitying, son-de vouring tigress, with unmentionable pro clivities suppressed on the side. David. Chris! Christina. I'm not at all sure) it wouldn't be a good idea, just as an example to the rest of the tribe, to hang one of your kind every now and then! Robert. Really! Christina. Oh, there are normal mothers
who want their children men and women and take care of themselves; mothers who are people, too, around; mothers
to be
and don't have to be afraid of loneliness outlived their motherhood; mothers who can look on their children as people and enjoy them as people and not be forever holding on to them and pawing them and fussing about their health and singing them lullabies and tucking them up as though they were everlasting babies. But you're not one of the normal ones, Mrs. Phelps! Look at your sons, if you don't believe me. You've destroyed Robert. You've swallowed him up until there's nothing left of him but an effete make-believe. Now he's gone melancholy mad and disgraced himself. And Dave Poor Dave! The best he can do is dodge the more desperate kinds of unhappiness by after they've
!
SIDNEY HOWARD
718
How
survived at all is be yond me. If you're choking a bit on David, now, that's my fault because you'd have swallowed him up, too, if I hadn't come along to save him! Talk about cannibals! You and your kind beat any cannibals I've ever heard of! And what makes you doubly deadly and dangerous is that people ad mire you and your kind. They actually pretending!
admire you 1
You
lie
professional mothers
!
.
.
Fm
Do you
about children yesterday? "Have 'em. Love 'em. And leave 'em be." Mrs. Phelps. You are entitled to your
I am to mine opinions, Christina, just as and David is to Ms. I only hope that he sees the kind of woman he's married. I
hope he sees the sordidness, the hardness, the nastiness she offers him for his life. Christina Iwith an involuntary cry of not! pain]. I'm not nasty! I'm Mrs. Phelps. What have you to offer
David?
A
Christina.
A
hard time.
chance
to
work on his own. A chance to be on his own. Very little money on which to share
me
with
The
the burden of raising his child.
pleasure of
my
society.
The
solace of
of my body. To which I have reason to believe he is not
my
love.
The enjoyment
indifferent.
Mrs. Phelps [revolted]. Ugh! Christina.
Can you
offer so
much?
Mrs. Phelps. I offer a mother's love. Or perhaps you scoff at that? Christina. Not if it's kept within bounds. I hope my baby loves me. I'm practically certain I'm going to love my baby. But within bounds. Mrs. PLelps. And what do you mean by within bounds? Christina.
To
love
my
baby with as much my baby will
and as deep respect as I hope feel for
my
me
if
I deserve its respect.
baby unpossessively
;
above
To
love
all,
un-
evil!
Christina. As a biologist, though, I do the difference between life and death. And I know sterility when I see it. I doubt if evil is any more than a fancy name for
know
of
what mind as
course, is
Sterility for his
well as for his body. That's your profes sional mother's stock in trade. Only we've been over that, haven't we? Well, Dave!
How
about
it?
Robert. I think this has gone far enough! Mrs. Phelps. No! This woman has got to answer me one question. Christina. Willingly.
Mrs. Phelps. you married?
How
What
it?
is
you when
old were
Christina. The same age I Twenty-nine. Mrs. Phelps. I was twenty.
am
now.
Christina. Just Hester's age.
Mrs. Phelps [riding over her]. I was twenty, and my husband was fifteen years older than I. Oh, thirty-five isn't old, but he was a widower, too, and an invalid. Everyone told me I'd made a great match. And I thought I had. But before we'd been married a week, I saw my illusions shat tered. I knew at the end of a week how miserable and empty my marriage was. He was good to me. He made very few de mands on me. But he never dreamed of bringing the least atom of happiness into Only a woman my life. Or of romance. who has lived without romance knows how to value it. ... That isn't true of my life, either. I didn't live without romance. I found it ... and I'm proud to have found it where you say it doesn't belong ... in motherhood. I found it in my two babies. In Dave first and in Robin four years later. I found it in doing for them myself all those things which, nowadays, nurses and .
.
governesses are hired to do. ers! I
.
To
moth
spare
never asked to be spared.
.
.
.
Their
The night he died, Robin had and I had to make the final choice
father 'died. croup,
between my duties. I stayed with Robin. You, with your modern ideas and your science, Christina, would you have chosen differently? I knew the difference between life and death that night. And I've known for every step of the way I battled for Robin's health, every step as I taught
it
romantically. Mrs. Phelps. I suppose that's biology! You don't know the difference between
good and
sterility,
Dave.
offer
you
.
You see, taking this differently from that poor child upstairs. She's luckier than I am, too. She isn't married to one of your remember what she said sons.
And
sterility.
gentleness and his generosity. mistakes, and I'm only I'm sorry for them. But I can human point to my two sons and say that my mistakes could not have been serious ones Think! I was a widow, rich and verv .
Dave ...
his
If I .
.
.
made my
.
.
THE SILVER CORD at twenty-five. Think what that means! But I had found my duty and I never swerved from it. ... There was one man in particular. A fine man. But I re sisted. I knew that second marriage was not for me* Not when I had my sons. I put them first, always. ... I shall not stoop to answer any of the foulnesses you have charged me with. They are beneath my dignity as a woman and contempt as a mother. No, there is one I cannot leave unanswered. That word "sterility." Sterility is what I offer David, you say. I wonder, is sterility David's word for all he has had of me these thirty years? Let him answer that for himself. All my life I have saved to launch my two boys on their careers, saved in vision as well as in money. I
David
pretty,
my sons a love half dedicated to personal ambition. I don't offer them careers limited by the demands of other careers. I offer David a clear field ahead and a complete love to sustain him, a moth
[in a cry of horror]. Chris!
Robert [at the same time]. Good God!! Mrs. Phelps [at the same time]. No! Christina.
vile
.
.
.
you feel that way. can I feel? Christina. Is that your answer? David. I want to do the right thing, but ... Christina. Remember me, won't you, on Mother's Day! [She calls out] Are you readf, Hester? David. You make things mighty hard David.
How
Chris, for a is
marriage I do not deny that I would cut off right hand and burn the sight out of eyes to rid
how
I
my
answer
my my
.
all
my
fair pla>
those other things
mother.
expect me to say? I don't know. I've never known. That's been the thrill of it. [HESTER, dressed for her journey, ap pears in the door and stands besid-
David,
What do you
Christina.
CHRISTINA'S arm encir younger girl's shoulders]
CHRISTINA.
.
cles the
Hester. Hester, Isn't David coming with us? Christina. I'm afraid not. Hester. Oh, Christina! Christina. Sssh! Never mind. It can't
It's time,
Christina [before either of the boys can . It's a very speak] I see ... Well. . I
.
.
answer. And I'm mean it, and I believe it's sincere. But it is the answer of a woman whose hus band let her down pretty hard and who turned for satisfaction to her sons. . plausible sure you
man who knows what
I naturally feel for Christina. Do I?
your
Christina.
else
and gratitude and
son of you! That is impersonal science, .
find that picture revolt
Christina. I'm sorry
don't offer
until a real marriage, a suitable may be possible for him. And
You
do you? Well, so it is. ... I can't wait any longer for your answer, Dave. David. I don't think you've any sense of decency left in you. Of all the filthy, ing,
selfish,
er's love,
719
and
effective
.
.
I'm almost sorry I can't say more for it, but I can't. [She turns from MRS. PHELPS to the two sons] It's a pity she didn't marry again. Things would have been so much better for both of you if she had. [With increasing force, to DAVID] But the fact remains, Dave, that she did separate you and me last night and that she separated us because she couldn't bear .
.
.
the thought of our sleeping together. [They flinch at this, but she downs
them]
be helped. Robert [breaking out]. Hester! Hester! Couldn't we try again? Couldn't you Hester. What? what are you going Robert. I mean .
.
.
.
.
to do ... now? Hester. I don't
know. [Then a smile comes through] Yes, I do, too, know. I'm going to marry an orphan. Christina
[with a long look at DAVID].
Good-bye, Dave.
David [desperately pleading]. can't! It isn't fair to
Chris,
you
me!
Christina [still looking at him]. I'm sorry come to this. ... It might easily have
it's
And
she couldn't bear that because she to believe that you're a grown man and capable of desiring a woman. And that's because, grown man that you are, down, down in the depths of her, she still wants to suckle you at her breast refuses
1
.
been so ... [Her voice
chokes
with
crying.
She
up her bag where she put it down beside the door and goes quickly
picks
out. HESTER, with a reproachful glance at DAVID, iollows her. DAVID stands
SIDNEY HOWARD
720
MRS. PHELPS watches him. rigid, ROBERT covers his face with his hands. Then the jront door slams, and DAVID comes suddenly to life] David [with a frantic cry]. Chris! [He turns excitedly to his mother] I'm sorry, Mother, but I guess I'll have to go. Mrs. Phelps [reeling]. No, Davel No!
No! David. I guess she's right. Mrs. Phelps, Oh, no You mustn't say that! You mustn't say that! David [holding her off from him] I can't help it. She said we were trapped. We are trapped. I'm trapped. Mrs. Phelps [absolutely beyond herself], No! No! She isn't right! She can^t be right! I won't believe it! !
!
.
David [breaking loose from her]. I can't help that! Mrs. Phelps [speaking at the same time], For God's sake, Dave, don't go with her! Not with that awful woman, Dave! That wicked woman! For God's sake, don't leave me for her, Dave! [She turns wildly to ROBERT] You know it isn't true, Robin! You know it was vile, what she said! Tell
him Tell him Dave My boy !
[But DAVID
!
!
!
!
is
gone] Oh, my She isn't,
My boy My boy
I
God! Dave! She isn't right! Dave! Dave! Dave! [The front door slams a second time. There is an awful pause] He's gone.
Robert
Dave?
Mrs. Phelps. Can you see them from the
window? Robert [looking out]. Yes, talking. . . . the suitcase. ter
Now .
... Hester
he's getting in.
Now
.
.
.
.
.
...
.
he's
.
.
he's kissed her
They're
and taken
Hes
helping
into the car.
.
.
.
Now
Now
they're starting. Mrs. Phelps. I loved him too much. I've been too happy. Troubles had to come. I
must be brave. I must bear
my
troubles
bravely.
Robert [turning to her]. Poor Mother! Mrs. Phelps. I must remember that I still have one of my great sons. I must keep my mind on that. Robert [with a step or two toward her], That's right, Mother. Mrs. Phelps. And we'll go abroad, my great Robin and I, and stay as long as ever
we
please.
Robert [as he kneels beside her]. Yes Mother. Mrs. Phelps [her voice growing stronger as that deeply religious point of view of hers comes to her rescue]. And you must remember what David, in his blindness, has forgotten: that mother love suffereth long and is kind; envieth not, is not puffed up, is 4
not easily provoked; beareth lieveth all things;
hopeth
dureth all things. ... At love does?
all
all
things; be-
things; least, I think
eri-
my
Robert [engulfed forever]. Yes, Mother. [uncovering
his
face].
Who? THE END
THE PLOUGH AND THE STARS A TRAGEDY IN FOUR ACTS
BY SEAN O 'CASEY
Copyright, 1926, by the Macmillan Company and used with their permission and that of the author. All Rights Reserved Copyright, 1932 (Acting Edition) by Samuel French, Ltd.
CAUTION:
Professionals and amateurs are hereby warned that The Plough and the under the copyright laws of the United States of America, the British Empire, including the Dominion of Canada, and all other countries of the Copyright Union, is subject to a royalty. All rights, including professional, amateur, motion pictures, Stars, being fully protected
and the rights of translation into foreign lan Amateurs may produce this play upon payment of a royalty of Twenty-Five Dollars for each performance, payable one week before the play is to be given, to Samuel French, at 25 West 45th Street, New York 19, N. Y., or 7623 Sunset Boule vard, Hollywood 46, Calif., or if in Canada to Samuel French (Canada) Ltd., 480 University Avenue, Toronto, Ont. recitation, public reading, radio broadcasting
guages are strictly reserved.
SEAN O'CASEY AND HIS PLAYS SEAN O'CASEY (Shaun O'Cathasaigh) was born in Dublin in 1884 and spent most of
his
early life struggling against poverty and disease in the slums. Ill health, poor eyesight, and the necessity of earning a living at the earliest possible moment prevented him from obtaining a formal education. As a boy, O'Casey was sent off to push carts, dig ditches, wrap parcels, deliver papers; later he became a laborer on railroads and construction projects. He early interested himself in the workers' movement, and in the Gaelic League, and took part in the Easter Rebellion of 1916 which forms the setting of The Plough and
the Stars.
Out of this background, and a love of Shakespeare and the theatre gratified only by few hard bought visits to the Abbey, O'Casey became the leading playwright of post war Ireland. His first produced play, The Shadow of a Gunman (1922), written, not surprisingly, out of his own experiences, deals with the Fenian troubles with England in 1921. It is a somewhat ramshackle composition with nonetheless the close observation and engaging characters which are his chief stock in trade. He followed this with two His great talents were fully trivial farces, little more than exercises in construction. realized in Juno and the Pay cock (1925), a tragicomedy which has become a classic of the modern theatre. He recalls the Easter Rebellion in which he had participated, and the play a
comment) of the effect of the sacrifices of himself and thought "no man can do enough for Ireland." It is bitter and disillu sioned and at the same time affectionate and understanding. The play is constructed almost in the manner of Tchekhov, with sudden juxtapositions of comedy and pathos, and audiences are often uncertain whether to laugh or to cry. This characteristic structure is what lends O'Casey's works their sense of being a picture of life, of reality. In The Plough and the Stars, O'Casey paints on a larger canvas. He seems here to have recaptured the whole existence of the urban Irish working classes, as Synge had the peasants. The play throbs with life, with humor and tragedy, sympathy and hatred. The genius for comic portraiture which created Captain Boyle in Juno produces in this play Fluther Good, the carpenter, Peter Flynn, and the Young Covey. The pathetic and is
his observation (without auctorial
of those others
who
human Juno here becomes Nora and Bessie Burgess. Comic or tragic, .these characters are not types but complex human beings. The play was received by yet another in the long series of riots which have accompanied opening nights at the Abbey Theatre. The audience resented the pessimistic attitude taken about the Revolutionaries, and the degraded picture of city life. At one point during the performance, a dozen women climbed out of the pit and onto the stage to debate the importance of "morality, patriotism, and the virtues of home life" with the actors; and at the end of the play, W. B. Yeats came forward and announced to the howl ing audience, "You have disgraced yourselves again. Is this to be the ever-recurring celebration of the arrival of Irish genius?" Yeats, although opposed to the realistic drama as a whole, was a stanch advocate of O'Casey, comparing him at one time with Swift. But after The Plough riots, the play wright left Ireland and settled in England where, removed from his immediate inspiration, he began experimenting with form and trying his hand at expressionism. The Silver Tassie, his first play in the new genre, was rejected by Yeats with the explanation, "Your great power of the past has been the creation of some unique character who dominated all about him and was himself a main impulse in some action that filled the play from beginning to end." This, coupled with the Tchekhovian structure (although he had seen only a oneact play by the great Russian), is the secret of O'Casey's success and the basis of his technique.
He has continued to write in England semi-expressionist plays and volumes of auto biography. Several of the plays have been produced with some success, most notably Within the Gates (1933), but they are largely without life except when a realistically observed or comically conceived Irishman is on the scene, and some of the latest have been marred as drama by a tendency to lecture the audience on communist doctrine. But Ma
724
SEAN
'CASEY AND HIS PLAYS
tragedy, The Plough and the Stars, and the tragicomic Juno and the Pay cock, are contribu tions of lasting value to the contemporary drama, and their great central figures incarnate in the inimitable performances of Barry Fitzgerald are among the most memorable of the post-war theatre. The Plough and the Stars was first produced at the Abbey Theatre, Dublin, in 1926, with F. J. McCormick as Clitheroe, Barry Fitzgerald as Fluther, and Maureen Delaney as Bessie Burgess. In the same year it was presented in London with Arthur Sinclair as Fluther and Sara Allgood as Bessie.
CHARACTERS JACK CLITHEROE, a bricklayer-commandant in the Irish Citizen
^
Army
NORA CLITHEROE, his wife PETER FLTNN, a labourer-~-Nora's uncle
THE YOUNG COVET, a fitter Clitheroe 's cousin Residents in BESSIE BURGESS, a street fruit-vendor the tenement MRS. GOGAN, a charwoman MOLLSER, her consumptive child FLUTHER GOOD, a carpenter LIEUT. LANGON, a civil servant of the Irish Volunteers CAPT. BRENNAN, a chicken butcher of the Irish Citizen Army CORPORAL STODDART, of the Wiltshires SERGEANT TINLEY, of the Wiltshires ROSIE REDMOND, a daughter of "the Digs" A BAR-TENDER
A WOMAN THE FIGURE IN THE WINDOW ACT I The living-room of the Clitheroe flat in a Dublin tenement ACT II A public-house^ outside of which a meeting is being held ACT III The street outside the Clitheroe tenement ACT IV The room of Bessie Burgess TIME Acts I and II, November 1915; Acts III and IV, Easter Week, A jew days elapse between Acts III and IV
1916.
THE PLOUGH AND THE STARS ACT ONE The home
SCENE
of the CLITHEROES. It front and back drawingrooms in a fine old Georgian house, strug gling for its life against the assaults of time, and the more savage assaults of the tenants. The room shown is the back drawing-room, consists
of
the
wide, spacious and lofty. At back is the en trance to the front drawing-room. The space, originally occupied
by folding doors,
now draped with casement
cloth of a dark purple, decorated with a design in reddishpurple. One of the curtains is pulled aside, giving a glimpse of the front drawing-room, at the end of which can be seen the wide, lofty windows looking out into the street. The room directly in front of the audience is. furnished in a way that suggests an at is
tempt towards a
finer expression of domestic large fireplace on L. is of wood, painted to look like marble (the original has been taken away by the landlord). Below the fireplace, on the wall, is a small mirror. life.
The
On
the mantelshelf are two candlesticks of dark carved wood. Between them is a small clock. Over the clock, on wall, is a picture <( 3 On the right of of The Bleeping Venus! the entrance to the front drawing-room is
a copy of "The Angelus" Underneath "The Gleaners" is a chest of drawers on which stands a green bowl filled with scarlet dahlias and white chrysanthemums. Near
side
to the fireplace is a couch which at night forms a double bed for CLITHEROE and NORA. Near the end of the room opposite to the fireplace is a gate-legged table, cov ered with a cloth. On top of the table a huge cavalry sword is lying. To the L. above fireplace is a door which leads to a lobby from which the staircase leads to the hall The floor is covered with a dark green linoleum. The room is dim except where it is illuminated from the glow of the fire.
FLUTHEB GOOD door, L.
determined to conquer the habit He is square-jawed and before he dies. harshly featured; under the left eye is a "oil" but
repairing the lock of claw hammer is on a chair beside he has a screwdriver in his hand. is
A
him, and He is a man of 40 years of age, rarely sur rendering to thoughts of anxiety, fond of his
and his nose is bent from a smashing blow received in a fistic battle long ago. He is bald, save for a few peeping tufts of red dish hair around his ears; and his upper lip is hidden by a scrubby red moustache, em broidered here and there with a grey hair. He is dressed in a seedy black suit, cotton shirt with a soft collar, and wears a very re spectable little black bow. On his head is a faded jerry hat, which, when he is excited, he has a habit of knocking farther back on his head, in a series of taps. In an argument he usually fills with sound and fury, gener He is in his shirt ally signifying a row. sleeves at present, and wears a soiled white apron, from a pocket in which sticks a car penter's two-foot rule. He has just finished the job of putting on a new lock, and, filled with satisfaction, he is opening and shutting the door, enjoying the completion of a work well done. Sitting at the fire, airing a white He is a little, thin shirt, is PETER FLYNN. bit of a man, with a face shaped like a lozenge; on his cheeks and under his chin is a straggling wiry beard of a dirty-white and lemon hue. His face invariably wears a look of animated anguish, mixed with irritated defiance, as if everybody was at war with him, and he at war with everybody. He is cocking his head in such a way that suggests resentment at the presence of FLTJTHER, who pays no attention to him, apparently, but is really furtively watching him. PETER is clad in a singlet, white whip scar,
cord knee-breeches } and is in his stockinged feet.
A L.
voice
(it
is
heard speaking outside of door
that of
is
MRS. GOGAN talking
.
.
.
.
.
725
to
someone) Mrs. Gogan [outside door L.]. Who are you lookin' for, sir? Who? Mrs. Clitheroe? Oh, excuse me. Oh ay, up this way. She's out, I think: I seen her goin'. Oh, you've somethin' for her. Oh, excuse me. You're from Arnott's. ... I see. You've a parcel for her. Righto. I'll take it. ... I'll give it to her the min.
.
.
.
.
.
.
.
SEAN O'CASEY
726
It'll be quite safe. in. ... Excuse me. ... Oh, sign that. there ; Here? Where? No, Am I to put Maggie or Mrs.? righto. What is it? You dunno? Oh, excuse me. [MRS. GOGAN opens the door and comes in. She is a doleful-looking little
ute she comes
...
.
.
.
.
.
.
.
.
.
woman of 40, insinuating^ manner and sallow complexion. She is fidgety and nervous, terribly talkative, has a habit of taking up things that may be near her and fiddling with them while she Her
is aflame with could not come into nor go out of the house without her knowing. She has a draper's parcel in her hand, the knot of the twine
is
speaking.
and a
curiosity,
tying
it is
heart
fly
untied]
[MRS. GOGAN crosses in front of FLTJTHER, behind the couch, to the table R., where she puts the parcel, fingering it till she has the paper off, showing a cardboard box. PETER, more resentful of
this
intrusion
presence, gets
than of FLTJTHER'S
up from the
chair,
and
without looking around, his head car ried at an angry cock, marches into the at back. He leaves the shirt on the back of the chair} {Removing the paper and opening the card board box it contains} I wondher what's this
room
A
hat! [Sh& takes out a hat, black, with decorations in red and gold} God, she's
now?
goin' to th' divil lately for style! That hat, now, cost more than a penny. Such notions of upperosity she's getting. [Putting the hat on her head] Swank! [Turning to
FLUTHER] Eh, Fluther, swank, what! [FLTJTHER looks over at her, then goes on opening and shutting the door] She's a pretty little Judy, all Fluther. the same.
Mrs. Gogan.
Ah, she
is,
an' she isn't.
There's prettiness an' prettiness in. it. I'm always sayin' that her skirts are a little too short for a married woman. An' to see her,
sometimes of an evenin', in her glad-neck gown would make a body's blood run cold. I do be ashamed of me life before her husband. An' th' way she thries to be polite, with her "Good mornin', Mrs. Go gan," when she's goin' down, an' her "Good evenin', Mrs. Gogan," when she's comin' up.
But
there's politeness an' politeness in
Fluther. gether,
They seem
all th'
same.
to get
it.
on well to
Mrs. Gogan.
The
pair o'
Ah, they do, an' they don't. to be like two turtle
them used
doves always
billin' an' cooin'.
You
couldn't
into th' room but you'd feel, instinc tive like, that they'd just been afther kissin an' cuddlin' each other. ... It often made me shiver, for, afther all, there's kissin' an' cuddlin' in it. But I'm thinkin' he's begin-
come
3
more
quietly; the
mysmysthery no to keep longer. ... She dhresses herself him with her, but it's no use afther a month or two, th' wondher of a woman nin' to take things
thery of havin' a woman's
a.
wears off. [MRS. GOGAN takes off the hat, and puts it back in the box; going on to re arrange paper round box, and tie it up again] Fluther. I dunno, I dunno. Not wishin' to say anything derogatory, I think it's all a question of location: when a man finds th' wondher of one woman beginnin' to die, it's
usually beginnin' to live in another.
She's always grumblin' Mrs. Gogan. about havin' to live in a tenement house. "I wouldn't like to spend me last hour in one, let alone live me life in a tenement,"
says she. "Vaults," says she, "that are hidin' dead, instead of homes that are sheltherin' th' livin'." "Many a good one," says house." Oh, I, "was reared in a tenement th'
you know,
she's a well-up little lassie, too;
shillin' go where another would have to spend a pound. She's wipin' th' eyes of th' Covey an' poor oul' Pether everybody knows that screwin' every penny
able to
make a
she can out o' them, in ordher to turn th' place into a babby-house. An' she has th' life frightened out o' them; washin' their face, combin' their hair, wipin' their feet, brushin' their clothes, thrimmin' their nails, cleanin' their teeth God Almighty, you'd think th' poor men were undhergoin' penal servitude.
Fluther [with an exclamation of disgust]. A-a-ah, that's goin' beyond th' beyonds in a tenement house. That's a little bit too derogatory.
[PETER enters from room, back, head elevated and resentful fire in his eyes; he is still in his singlet and trousers, but is now wearing a pair of unlaced boots possibly to be decent in the presence of MRS. GOGAN] [PETER comes down c. and crosses, front of settee , to chair in front of fire; he
THE PLOUGH AND THE STARS turns the shirt which he has left to air on the back of the chair, then goes, front of couch, to the chest of drawers, drawer after drawer, L., opens looking for something; as he fails to
back
he closes each drawer with a jerks out things neatly folded, and shoves them back into the drawers any way"! Peter [in anguish, snapping a drawer shut]. Well, God Almighty, give me pa find
it,
snap.
He
tience.
[PETER returns, front of couch, to the fireplace, gives the shirt a vicious turn on the back of the chair, and goes back,
showing
!
general's sword. th' fine figaries
Parnell
Square at eight o'clock." Well, they can hold it for Fluther. I'm up th' pole; no more dhrink for Fluther. It's three days now since I touched a dhrop, an' I feel a new man already. [He goes back to door L.] Mrs. Gogan. Isn't oul' Peter a funnylookin' little man? Like somethin' When you'd pick off a Christmas Tree. he's dhressed up in his canonicals, you'd wondher where he'd been got. God forgive me, when I see him in them, I always think he must ha' had a Mormon for a father! He an' th' Covey can't abide each other; th' pair o' them is always at it, thryin' to best each other. There'll be blood dhrawn one .
.
.
.
.
.
these days. Fluther. How is it that Clitheroe himself, now, doesn't have anythin' to do with th' Citizen Army? couple o' months ago, an' o'
[FLUTHER
7
.
All th' gold lace an'
.
...
it.
Sure
it's
twiced
crosses
from door
L.
behind
couch, back of table, where MRS. GO GAN is examining the sword, and looks at it, standing to L. of MRS. GOGAN]
Fluther [contemptuously]. Ah, it's a baby's rattle he ought to have, an' he as he is, with thoughts tossin' in his head of what may happen to him on th' Day of Judge
ment. [PETER appears at the curtained door, back, sees MRS. GOGAN with the sword, and a look of vexation comes on to his
He comes down c. to the table, snatches the sword out of MRS. GoGAN'S hands, and bangs it back on the table. He then returns into room, back, without speaking] Mrs. Gogan [to PETER, as he snatches the sword]. [To FLTTTHER] Oh, excuse me. Isn't he the surly oul' rascal; Fluther? [She wanders from the table, back of the couch, to the chest of drawers, where she stops for a few moments, pulling out drawers and pushing them in again] Fluther [leaning against left side of the table]. Take no notice of him. . . . You'd think he was dumb, but when you get his goat, or he has a few jars up, he's vic$ face.
versa.
[FLUTHER coughs. MRS. GOGAN, who has wandered from the chest of
A
you'd hardly ever see him without his gun, an' th' Red Hand o Liberty Hall in his hat. Mrs. Gogan. Just because he wasn't made a Captain of. He wasn't goin' to be in any thing where he couldn't be conspishuous. He was so cocksure o' being made one that he bought a Sam Browne belt, an' was al ways puttin' it on an' standin' at th' door
.
on
too big for him.
tively all the time]
in
an' put out
lamps on him. God, I think he But I'm used to bring it to bed with him 7 tellin you herself was delighted that that cock didn't crow, for she's like a clockin' hen if he leaves her sight for a minute. [While she is talking she takes up a book from the table, looks into it in a near-sighted way, and then leaves it back. She now lifts up the sword, and proceeds to examine it] Be th' look of it, this must ha' been a
FLUTHER and MRS. GOGAN watching him fur
Formation
man came
it off, till th'
th' street
front of couch, to room, back,
Mrs. Gogan [curiouslyl. I wondher what is he foostherin' for now? Fluther [coming c.L He's adornnV him self for the meeting to-night. [He pulls a handbill from one of his pockets, and reads'] "Great Denionsthration an' Torchlight Pro cession around places in the City sacred to th' memory of Irish Pathriots to be con cluded be a meeting at which will be taken an oath of fealty to th' Irish Republic.
727
drawers,
down
L.,
to
the
fireplace, J
fingering PETER S shirt, turns to look at FLUTHER, as soon as -she hears the cough] Mrs. Gogan [with an ominous note in her
where she
is
voice]. Oh, you've Fluther.
Fluther [carelessly] one.
got .
a cold on you,
Ah,
it's
only a
little
SEAN O'CASEY
728
Mrs. Gogan. You'd want to be careful, I knew a woman, a big lump all th' same. of a woman, red-faced an' round-bodied, a little awkard on her feet; you'd think, to look at her, she could put out her two arms an' lift a two-storied house on th' top of her head; got a ticklin' in her throat, an' a little cough, an' th' next mornin' she had a little catchin' in her chest, an' they had just time to wet her lips with a little rum, an' off she went. handle the shirt']
[She begins to look at
and
Fluther [a little nervously]. It's only a cold I have; there's nothing derogatory wrong with me.
little
Mrs. Gogan [warningly]. I dunno; there's many a man this minute lowerin' a pint, thinkin' of a woman, or pickin out a winner, 3
work as you're doin', while th' hearse dhrawn be th' horses with the black plumes is dhrivin' up to his own hall door, or"
doin'
an' a voice that he doesn't hear is muttherin' ? in his ear, "Earth to earth, an' ashes t ashes, an' dust to dust." Fluther [faintly, affected by her talk].
A man in th' pink health should have a holy horror of allowin' thoughts o' death to be festherin' in his mind, for [with a o'
frightened cough] be God, I think I'm afther time gettin' a little catch in me chest that it's a creepy thing to be thinkin' about. [FLUTHER sits weakly in chair L. of table]
Mrs. Gogan.
It
is,
an' it isn't;
it's
both
an' good. ... It always gives meself a kind o' thresspassin' joy to feel meself movin' along in a mournin' coach, an me thlnkia' that, maybe, th' next funeral'll be me own, an' glad, in a quiet way, that this
bad
}
somebody
is
else's.
Fluther [very frightened"]. An' a curious kind of a gaspin' for breath I hope there's nothin' derogatory wrong with me.
Mrs. Gogan [examining the
on
it,
like
a woman's
shirt].
Frills
petticoat.
Fluther [panic-stricken]. tin' hot, an'
Suddenly getthen, just as suddenly, gettin'
cold.
Mrs. Gogan [holding out the shirt towards How would you like to be FLTJTHER]* wearin' this Lord Mayor's nightdhress, Fluther? Fluther [vehemently] Blast you an' your nightshirt! Is a man fermentin' with fear to stick th' showin' off to him of a thing that looks like a shinin' shroud? .
Mrs. Gogan [startled at FLUTTER'S vehe mence] Oh, excuse me. .
[PETER appears at curtained door, back. Bees his shirt in MRS. GOGAN'S hand, comes rapidly down c., goes front of couch to MRS. GOGAN, snatches shirt her, and replaces it on the back same way of the chair; he returns the to room, back] Peter [loudly, as he goes to room, back] Well, God Almighty give me patience! Mrs. Gogan [to PETER]. Oh, excuse me. [There is heard a cheer from the men working outside on the street, followed
from
.
by the clang of took being thrown down, then silence] [Running? into the back room to look out of the window] What's the men repairin' th' streets cheerin' for?
Fluther [sitting down weakly on a chair] You can't sneeze but that oul' one wants to know th' why an' th' wherefore. ... I .
bedamned I hope I up th beer too suddenly. [The COVEY comes in by door ii.
feel as dizzy as
I
didn't
;
give
about 26,
thin,
tall,
He
is
with lines on his
face that form a perpetual protest against life as he conceives it to be. Heavy seams fall from each side of nose, down around his lips, as if they
were suspenders
from
He
falling.
wailing drawl;
He
keeping his mouth speaks in a slow,
more rapidly when he
is
dressed in dungarees, wearing a vividly red tie. He
excited.
is
and is comes down
c. and flings his cap with a gesture of disgust on the table, and begins to take off his overalls] Mrs. Gogan [to the COVEY, as she runs
back into the room].
What's after hap
pening Covey?
The Covey [with contempt]. Th' job's stopped. They've been mobilized to march 7 in th demonstration to-night undher th' Plough an' th' Stars. Didn't you hear them They have to renew cheering th' mugs. their political baptismal vows to be faithful in -seculo seculorum. Fluther [sitting on the chair L. of table, forgetting his fear in his indignation]. There's no reason to bring religion into it. I think we ought to have as great a regard for religion as we can, so as to keep it out of as many things as possible. The Covey [pausing in the taking off of his dungarees].
Oh, you're one
o'
the boys
THE PLOUGH AND THE STARS that climb into religion as high as a short Mass on Sunday mornin's? I suppose you'll singin' songs o' Sion an' songs o' 7 at th meetin , too.
be
Tara
7
We're
Fluther.
all
anyhow;
Irishmen,
we? The Covey Iwith hand
aren't
outstretched, and in a professional tone]. Look here, com rade, there's no such thing as an Irishman, or an Englishman, or a German or a Turk;
we're
only
all
human
speakin', it's all
bein's.
Scientifically
a question of the accidental
gatherin' together of mollycewels an' atoms. [PETER comes in from room, back, with
a stiff collar in his hand, comes down a, crosses, in front of couch, to the mirror on the wall L., below the fire He stands before the mirror place.
and tries to put on his collar. FLU THER gets up from the chair, goes c. and stands to R. of the COVEY] F Luther. Mollycewels an' atoms D'ye think I'm goin' to listen to you thryin' to juggle Fluther's mind with complicated cunundhrums of mollycewels an' atoms? There's The Covey {.rather loudly}. nothin' complicated in it. There's no fear o th' Church tellin' you that mollycewels is a stickin' together of millions of atoms o'
eight-hundhred million years old, not long since th' fathers o' some o' them crawled out o' th' sheltherin' slime o' the sea. Mrs. Gogan [from room at back]. There, th' world's
for
it's
they're afther formin' fours, an' goin' to march away.
carbon, potassium o' iodide, et cetera, that, accordin' to th' way they're mixed, make a flower, a fish, a star that you see shinin' in th' sky, or a man with a big brain like me, or a man with a little brain
sodium,
like
you
!
Fluther [more loudly still]. There's no necessity to be raisin' your voice; shoutin's no manifestin' forth of a growin' mind. [FLUTHER and the COVEY turn to look at
PETER] Peter {.struggling with his collar"! . God She . give me patience with this thing. makes these collars as stiff with starch as a She does it shinin' band of solid steel! purposely to thry an' twart me. If I can't get it on to the singlet, how in the name of God am I goin' to get it on the shirt [FLUTHER and the COVEY face each other again] The Covey [loudly]. There's no use o' arguin' with you; it's education you want, comrade. Fluther [sarcastically]. The Covey an' God made th' world I suppose, wha'? The Covey [jeering] When I hear some !
.
men
talkin
7
I'm inclined to disbelieve that
they're
Fluther [scornfully taking no notice of [He begins Mollycewels! to untie his apron] What about Adam an'
Eve? The Covey. Well, what about them? Fluther
What about them,
[fiercely].
you? The Covey.
Adam an Eve! j
Is that as 7
Are you still thinkin far as you've got? there was nobody in th' world before Adam an' Eve? [Loudly] Did you ever hear, man, of th' skeleton of th' man o Java? 7
Peter [casting the collar from- him] blast
it,
it,
blast
it
.
Blast
!
[PETER angrily picks up the collar he has thrown on the floor, goes up c., right of couch, to the chest of drawers, and begins to hunt again in the
drawers] Fluther [to the COVEY, as he viciously folds apron]. Ah, you're not goin to be let tap your rubbidge o' thoughts into th mind o Fluther. The Covey. You're afraid to listen to th'thruth! Fluther [pugnaciously]. Who's afraid? 7
7
7
The Covey.
You
are!
Fluther [with great contempt].
G'way,
you wurum! The Covey. Who's a wo rum? Fluther. You are, or you wouldn't talk th'
way
you're talkin'.
[MRS. GOGAN wanders in from room, back, turns L., sees PETER at the chest
.
.
now
MRS. GOGAN].
1
7
729
of drawers, turns back, comes down c., goes, front of couch, to the fireplace]
The Covey. Th' oul', ignorant savage leppin up in you, when science shows you that th' head of your god is an empty one. Well, I hope you're enjoyin' th' blessin' o havin' to live be th' sweat of your brow. 3
j
Fluther.
You'll be kickin' an* yellin' for me boyo. I'm not goin' to simple listenin' to a thick
th' priest yet, stand silent an'
you makin' a maddenin' mockery o' Almighty. It 'ud be a nice derogatory thing on me conscience, an' me dyin', to look back in rememberin' shame of talkin like
God
1
SEAN O'CASEY
730 to a word-weavin'
little
ignorant yahoo of a
red flag Socialist!
Mrs. Gogan {.at the fireplace, turning to Look at the disputants]. For God's sake, Fluther, dhrop it; there's always th' makin's of a row in the mention of religion. [She turns her head, and looks at the 9
picture of "The Bleeping Venus/ hang ing over the mantelpiece. She looks at it intently and a look of astonishment comes on her face] God bless us, it's the picture of a naked woman, [With a titter] Look, Fluther. [FLUTHER looks over at the fireplace;
comes slowly to the
fireplace;
steadily at the picture.
what was
said,
leaves
looks
chest
the
of
and comes down, standing a, behind FLUTHER and MRS. GOGAJST,
and looks at the picture. The COVEY looks on from c.l "What's undher it? Fluther. [Reading slowly] "Georgina:
The
everything.
[The COVEY moves to the back end of the table, enjoying PETER'S anger] Peter [plaintively, with his eyes looking up at the ceiling] I'll say no thin'. . I'll
Sleeping Vennis."
Oh, that's a terrible picture. ... Oh, that's a shockin' picture! [Peering into it with evident pleasure! Oh, the one that got that taken, she must ha' been a prime lassie! Peter [laughing in a silly way, with head tilted back]. Hee, hee, hee, hee, hee! Fluther [indignantly, to PETER]. What
you hee, hee-in' for? [Pointing to the picture] That's a nice thing to be hee, heein' at. Where's your morality, man? Mrs. Gogan [looking intently at if]. God
I Mrs. Gogan [giggling hysterically']. couldn't stop any longer in th' same room with three men, afther lookin' at it !
*
[MRS. GOGAN goes upstage L., and out by door L. The COVEY, who has taken dungarees, seeing PETER'S shirt on the chair, throws dungarees over it with a contemptuous movement] off his
Peter [roused by the COVEY'S action]. Where are you thro win' your dungarees? Are you thryin' to twart an' torment me
Who's thryin' to twart you? [PETER takes the dungarees from the back of the chair and flings them
The Covey.
violently on floor] Peter. You're not goin' to
me temper, me young
covey
I
make me
lose
to th'
day when
th'
all-pitiful,
all-merciful, all-lovin' God'll be handin' you to th' angels to be rievin' an' roastin' you, an' tearin' an' tormentin' you, burnin'
you The Covey.
blastin'
nant
!
Aren't you th'
oul' bastard,
little
malig
you lemon-whiskered ouF
swine! [PETER rushes to the table, takes up the sword, draws it from its scabbard, and makes for the COVEY, who runs round the table R., followed by PETER] The Covey [dodging round the table to Fluther, hold him, there. It's a nice thing to have a lunatic, like this, lashing round with a lethal weapon! [The COVEY, after running round the
FLUTHER].
table, rushes up c., and runs back of couch, out of door L., which he bangs to behind him in the face of PETER. FLUTHER remains near the fireplace,
are
forgive us, it's not right to be lookin' at it. Fluther. It's nearly a derogatory thing to j be in th room where it is.
you
.
.
.
leave
PETER, hearing
drawers, little
[The COVEY, in retaliation, takes PETER'S white shirt from the back of the chair, and flings it violently on the floor] The Covey. If you're Nora's pet aself, you're not goin' to get your own way in
looking on] Peter [hammering at the door
to
the
COVEY, outside]. Lemme out, lemme out. Isn't it a poor thing for a man who wouldn't say a word against his greatest enemy to have to listen to that Covey's twartin animosities, shovin' poor, patient people into a lashin' out of curses that darken his soul with th' shadow of th' wrath of th' 7
last
day!
Fluther. If
Why
he seen you
derogatory. Peter. I'll
d'ye take notice of him? didn't, he'd say nothin'
make him
stop his laughin' an' people
leerin', jibin' an' jeerin' an' scarifyin'
with his corner-boy insinuations! ... He's always thryin' to rouse me: if it's not a song, it's a whistle ; if it isn't a whistle, it's a cough. But you can taunt an' taunt I'm laughin' at you ; he, hee, hee, hee, hee, heee !
The Covey [jeering loudly through the Dear harp o' me counthry, in keyhole]. darkness I found thee, The dark chain of silence had hung o'er thee long
.
THE PLOUGH AND THE STARS Peter [frantically to FLUTHER]. Jasus, d'ye hear that? D'ye hear him soundin' forth his divil-souled song o' provocation? {.Battering at door L.] When I get out I'll
Peter [to NORA]. Would you like to be a lemon-whiskered oul' swine? [NORA takes the sword from PETER, goes to the table, puts it back in the scab
called
do for you,
I'll do for you, I'll do for you! The Covey {through the keyhole]. Cuckoo-oo [NoRA enters by door L. She is a young
bard,
back
of 23, alert, swift, full of nerv ous energy, and a little anxious to get on in the world. The firm lines of her face soft,
are considerably opposed by a amorous mouth, and gentle eyes.
When
her firmness fails her, she per suades with her jeminine charm. She is dressed in a tailor-made costume, and wears around her neck a silver fox fur] Nora [running in and pushing PETER away from the door] Oh, can I not turn me back but th' two o' yous are at it like a pair o' fightin'-cocks Uncle Peter . . Uncle Peter . . UNCLE PETER! Peter [vociferously]. Oh, Uncle Peter, Uncle Peter be damned! D'ye think I'm goin' to give a free pass to th young Covey to turn me whole life into a Holy Manual o penances an' martyrdoms? .
!
.
.
7
j
The room].
Covey [angrily rushing into the If you won't exercise some sort o 7
conthrol over that Uncle Peter o' yours, there'll be a funeral, an' it won't be me that'll be in th' hearse! Nora [c. back, between PETER and the COVET, to the COVEY]. Are yous always goin' to be tearin' down th' little bit of re spectability that a body's thryin' to build I always goin' to be havin' to up? nurse yous into th' habit o' thryin' to keep up a little bit of appearance? The Covey. Why weren't you here to see
Am
th'
way he run at me with th' sword? What did you call me a lemon-
Peter.
whiskered oul' swine for? Nora. If th two o' yous don't thry to make a generous altheration in your goin's 7 7 on, an keep on thryin' t' inaugurate th cus toms o7 th' rest o 7 th' house into this place, yous can flit into other lodgin's where your bowsey battlin 'ill meet, maybe, with an. 3
7
encore.
[The COVEY comes down, back of couch to the fire, and sits down in the chair where PETER'S shirt had hung; he takes a book from a pocket and begins to read]
goes L.J
to
the
and leaves
chest
of
on the
it
drawers, chest of
drawers] [to PETER].
1
woman
731
Nora
If you attempt to wag that sword of yours at anybody again, it'll have to be taken off you, an' put in a safe place away from babies that don't know the
danger of them things.
[NoRA goes across back, taking off her hat and coat, which she leaves. PETER comes down c., takes up the shirt from the floor, and goes back c. towards '
room, back] Peter [at entrance to room, back]. Well, I'm not goin' to let anybody call me a lemon-whiskered ouF swine [PETER goes into room, back. FLUTHER !
moves from to
door
L.,
the fireplace, L. of couch,
which he begins to open and
shut, trying the
movement]
Fluther [half to himself, half to NORA]. Openin' an' shuttin' now with a well-man nered motion, like a door of a select bar in a high-class pub. [NoRA takes up the hat and coat from the table, carries them into the room, back, leaves them there, comes out, goes to the dresser, above table R., and puts a few tea things on the table] Nora [to the COVEY, as she lays table for tea]. An', once for all, Willie, you'll have to thry to deliver yourself from th' desire to practice o' provokin' oul' Pether into a wild forgetfulness of what's proper an' allowable in a respectable
home. The Covey. Well, let him mind
his
own
Yestherday, I caught him hee-hee-in out of him an' he readin' bits out 3 of Jenersky's Thesis on th Origin, Develop ment art Consolidation of th' Evolutionary Idea of th' Proletariat. Nora. Now, let it end at that, for God's sake; Jack'll be in any minute, an' I'm not business, then. 7
goin' to have th' quiet of his evenin' tossed about in an everlastin uproar between you an' Uncle Pether. 3
[NoRA
crosses
back
to
FLUTHER
L.,
and
stands on his K.]
Nora [to FLUTHER]. Well, did you man age to settle the lock yet, Mr. Good? Fluther [opening and shutting the door]. It's betther than a new one, now,. Mrs.
SEAN O'CASEY
732 Clitheroe;
it's
shut of
own
its
almost ready to open and accord.
Nora [giving him a com]. You're a whole man. How many pints will that get you? Fluther [seriously]. Ne'er a one at all, Mrs. Clitheroe, for Fluther's on th' wather waggon now. You could stan' where you're "Have a glass o' malt, stannin' ehantin Fluther; Fluther, have a glass o' malt," till th' bells would be ringin' th ould year out 3
,
5
you'd have as much chance o' movin' Fluther as a tune on a tin whistle would move a deaf man an'- he dead. [As NORA is opening and shutting the at door, MRS. BESSIE BURGESS appears it. She is a woman of 40, vigorously built. Her face is a dogged one, hard ened by toil, and a little coarsened by }
an
th'
New Year in,
drink.
.
.
an'
She looks scornfully and vi at NORA for a few moments be
ciously fore she speaks] Bessie. Puttin' a new lock on her door afraid her poor neighbours ud break an' steal. . . . Un a loud tone] .
through
Maybe, now, they're a damn sight more checkin' th' honest than your ladyship gettin' on children playin' on th' stairs Comnerves of your ladyship. . th' her plainin' about Bessie Burgess singin' hymns at night, when she has a few up. ... [She comes in half-way on the threshold, and screams] Bessie Burgess '11 sing when _
.
.
.
.
.
.
.
damn
.
well likes shut the door, but BESSIE violently shoves it in, and, gripping NORA by (he shoulders, shakes her] You little overBessie {violently].
ever she
[NoRA
1
tries to
dhressed throllope, you, for one pin, I'd paste th' white face o' you! Nora [frightened]. Fluther, Fluther 1 Fluther {.breaking the hold of BESSIE from NORA]. Now, now, Bessie, Bessie, leave no one poor Mrs. Clitheroe alone; she'd do any harm, an' minds no one's business but
thority, without the
N
5
;
j
where I was, she flew at me, like a tiger, an' tried to guzzle me. [CLITHEROE goes close to BESSIE, stand ing in front of the chest of drawers, and takes hold of her arm to get her
away]
Get up to your own place, Mrs. Burgess, and don't you be interferin' with my wife, or it'll be tty worse for you. ... Go on, go on! Bessie [as CLITHEROE is pushing her out]. Mind who you're pushin', now. ... I at Clitheroe.
. Not place of worship, anyhow. . of them that go neither church, me son chapel or me e tin' house. ... If was home from the threnches, he'd see me
tend
me
like
some
[FLUTHER takes BESSIE by the arm, and brings her out by the door L. CLITH
EROE closes the door behind them, re turns to NORA, and puts his arm around The COVET resumes his reading] her. Clitheroe [his arm around her]. There, don't mind that old bitch, Nora, darling; I'll soon put a stop to her interferin'. Nora. Some day or another, when I'm here be meself, she'll come in an' do somethin' desperate. Oh, sorra fear Clitheroe [kissing her]. of her doin' anythin' desperate. I'll talk tast to her to-morrow when she's sober. o' me mind that'll shock her into the sensi
A
bility of behavin' herself!
[NORA gets up, crosses to the dresser the table for K., and finishes laying tea. She catches sight of the dunga~ rees on the floor and speaks indig CLITHEROE leaves nantly to COVET his hat on the chest of drawers, and the couch] sits, waiting for tea, on
:
L.
He
a tall, well-made fellow of 25. His face has none of the strength of NORA'S. It is a face in which is the desire for au is
.
righted.
is
JACK CLITHEROE enters by door,
to attain it]
Clitheroe [coming to couch and bending What's wrong, OKA anxiously]. over Nora? Did she say anything to you? Nora [agitatedly]. She was bargin out of her, an I only told her to go up ower that to her own place; an before I knew
her own.
she always thryin' to Bessie. Why 7 speak proud things, an' lookin like a mighty one in th congregation o' th' people! [The COVET looks up from his book, watches the encounter, but does not leave his seat by the fire] [NoRA sinks down on back of the couch.
power
What's up? [excitedly]. Clitheroe What's afther happenin'? Fluther. Nothin', Jack. Nothin'. It's all over now. Come on, Bessie, come on.
.
Nora for
[to COVET]. Willie, your dungarees?
Covey
[irritably rising,
is
that the place
and taking them
from the floor]. Ah, they won't do the any harm, will they?
floor
THE PLOUGH AND THE STARS [He carries them up c., into room back, comes back again, down c., and sits by fire. NORA crosses from the table to the fire, gets the teapot from the hob, and returns to the table] Nora [to CLITHEROE and COVEY] Tea's .
ready.
Clitheroe.
.
733 th'
is
To-night
first
chance
that Brennan has got of showing himself off since they made a Captain of him why, God only knows. It'll be a treat to see him swankin' it at th' head of the Citizen Army carryin' th' flag of the Plough an' th' Stars. . . [Looking roguishly at NORA] He .
[CLITHEKOE and COVET go to the table and sit down L. of same, COVEY nearest the audience.
NORA the
sits
down on
R. of
for
PETER
same side] [calling towards room, back]. Peter, Uncle Peter, tea's ready
Uncle
room
back.
table,
leaving
chair
below, on
Nora
comes in from
PETER is in the full dress of the Irish National Foresters: bright green, goldbraided coat, white breeches, black top boots and frilled, white shirt. He car a
black slouch hat, from long white ostrich plume, in his hand. He puts the hat on the chest of drawers beside the ries
which
large
waves a
sword, he comes down c., goes round front end of table, and sits on the va cant seat facing COVEY on opposite side of the table. They eat for a few moments in silence, the COVEY fur tively watching PETER with scorn in
knows
eyes; PETER
his
and
this,
[to COVEY, remonstrativ ely] they bringin' disgrace on it? The Covey [snappily] Because it's a La bour flag, an' was never meant for politics. What does th' design of th' field plough, bearin' on it th' stars of th' heavenly plough, mean, if it's not Communism? It's a flag that should only be used when we're buildin' th' barricades to fight for a Work ers' Republic! Peter [with a puff of derision]. P-phuh. The Covey [angrily, to PETER] What are
Clitheroe
I
[PETER
was sweet on you, once, Nora? Nora. He may have been. ... I never liked him. I always thought he was a bit of a thick. The Covey. They're bringin' nice dis grace on that banner now.
is
.
.
.
.
.
you phuhin' out o' you for? Your mind is th' mind of a mummy. [Rising] I betther go an' get a good place to have a look at Ireland's warriors passin' by. [He goes into room L., and returns with his cap] [to the
fidgety]
The Covey [provokingly].
Another cut
Uncle Peter? [PETER maintains a dignified silence] Clitheroe. It's sure to be a great meetin' to-night. We ought to go, Nora. Nora [decisively]. I won't go, Jack; you . can go if you wish. r o' bread,
.
[A pause]
The Covey
[with great politeness, to PETER]. D'ye want th' sugar, Uncle Peter? Peter [explosively]. Now, are you goin' to start your thryin' an your twartin' again? Nora. Now, Uncle Peter, you mustn't be so touchy; Willie has only assed you if you wanted th sugar. Peter [angrily]. He doesn't care a damn whether I want th' sugar or no. He's only thryin' to twart me! Nora [angrily, to the COVEY]. Can't you let him alone, Willie? If he wants the sugar, let him stretch his hand out an' get it himself 7
j
.
How are
Nora
COVEY], Oh, Willie, brush your clothes before you go. The Covey [carelessly]. Oh, they'll do well enough.
Nora. Go an' brush them; th' brush is in drawer there. [The COVEY goes to the drawer, mutter ing, gets the brush, and starts to brush
th'
his clothes]
The Covey
[reciting at PETER, as he does
so].
Oh, where's the slave so lowly,
Condemn'd to chains unholy, Who, could he burst his bonds at first, Would pine beneath them slowly? bore us, We tread th' land that Th' green flag glitters o'er us, Th' friends we've tried are by our side, An' th' foe we hate . . before us! .
.
.
.
.
.
.
I
The Covey [to PETER]. Now, if you want the sugar, you can stretch out your hand and get
it
yourself!
IA pause!
Peter [leaping to his feet in a whirl of Now, I'm tellin' you, me young Covey, once for all, that I'll not stick any
rage].
SEAN O'CASEY
734
3
3
3
longer these tittherin taunts of yours, rovin around to sing your slights an' slandhers, 7 j reddenin th mind of a man to th thinkin 3 soul with his sicken that of an savin things sin! [Hysterically; lifting up a cup to fling 3
3
3
3
at the COVEY]
Be God,
I'll
Clitheroe [catching his arm]. 7 none o that, none o that
Now
then,
3
!
Nora [loudly]. Uncle Pether, Uncle Pe ther, UNCLE PETHER! The Covey [at the door L., about to go 3
malignant oul varmint! Lookin like th illegitimate son of an ille gitimate child of a corporal in th Mexican Isn't that th
out].
}
3
7
3
army!
You were thinkin of th ; Nora. Jack. When we were courtin' meetin an I wanted you to go, you'd say, "Oh, to 33 hell with meeting an that you felt lonely in cheerin crowds when I was absent. An' we weren't a month married when you be from them. gan that you couldn't keep away Oh, that's enough Clitheroe [crossly]. It looks as if you wanted about th meetin me to go th way you're talkin'. You were always at me to give up the Citizen Army, an I gave it up surely that ought to sat isfy you. Nora [from dresser]. Aye, you gave it sulks when they up, because you got the didn t make a captain of you. [She crosses over to CLITHEROE, and sits on the couch to his R.] .
.
3
.
.
.
3
}
3
3
3
.
3
^
3
:
3
[He goes out door
L.]
Peter [plaintively]. He's afther leavin' in such a state of agitation that I won't be able to do meself justice* when I 7 marchin to th meetin t
me now
3
m
3
3
Nora
3
wasn t
It
[softly].
for
my
sake,
Jack.
.
[NoRA jumps up from the table, crosses back end of table to the chest of draw PETEE s sword] ers, back, and takes up Nora. Oh, for God's sake, here, buckle so your sword on, an go to your meetin', that we'll have at least one hour of peace. [PETER gets up from the chair, goes over to NORA, and she helps him to put on 3
3
his
sword] 3
out o
3
sake,
hurry him up
Nora. Are yous all^goin to thry to
this,
3
Peter.
to twart
3
by
it,
rapidly several times] Nora [panting] Jack, Jack ; please, Jack ! I thought you were tired of that sort of .
thing long ago. Clitheroe. Well, you re finding out now that I amn't tired of it yet, anyhow. Mrs. Clitheroe doesn't want to be kissed, sure she doesn't f [He kisses her again] Little, little j
For God s
Clitheroe.
For your sake or no, you're aren't you? I didn't forget [He puts his this was your birthday, did I? arms around her] And you liked your new her hat; didn't you, didn't you? [He kisses Clitheroe.
benefitin
start
me now?
Nora [putting on his plumed hat] S-s-sh. Now, your hat's on, your house is thatched [She gently pushes him from off you pop .
red-lipped Nora! Nora [coquettishly
his
removing
arm
;
!
her, towards
door
L.]
Peter [going and turning as he reaches the door L.]. Now, if that young Covey Nora. Go on, go on, [He goes out door L.] [CLITHEROE goes from the table to the couch and sits down on end nearest the and looks cigarette, lights a fire, thoughtfully into the fire. NORA takes things from the table, and puts them on the dresser. She goes into room, back, and comes back with a lighted shaded lamp, which she puts on the table.
She then goes on tidying things
on the
dresser]
[Softly speaking over from the dresser, to CLITHEEOE] A penny for them, Jack. Me? Oh, I was thinkin of Clitheroe. 3
nothing.
from around her]
Oh, yes, your little, little red-lipped Nora's a sweet little girl when th fit seizes you; but your little, little redlipped Nora has to clean your boots every mornin 7 all the same. Clitheroe [with a movement of irritation]. Oh, well, if we're goin to be snotty! [A pause] Nora. It s lookin like as if it was you that was goin to be ... snotty! Bridlin up with bittherness, th minute a body at tempts t'open her mouth. Clitheroe. Is it any wondher, turnin a 3 tendher sayin into a meanin o malice an' .
3
,
3
3
3
3
3
3
3
3
spite
3
!
B
Nora. s hard for a body to be always keepin her mind bent on makin thoughts that !! be no longer than th length of your owcu satisfaction. [A pause] 3
3
3
7
7
THE PLOUGH AND THE STARS Nora islanding up}. dhribble th' time away
If
we're goin' to here like a I'd be as well
sittin'
pair o' cranky mummies, sewin' or doin' something about th' place. [She looks appealingly at him for a few She moments; he doesn't speak. swiftly sits down beside him, and puts
cross;
started
Cross?
[doggedly].
I'm not a bit
cross.
I'm not
was yourself
It
it.
Nora
[coaxingly], I didn't mean to say anything out o th' way. You take a body up too quickly, Jack. [In an ordinary tone as if nothing of an angry nature had been said] You didn't offer me evenin' allowance
one now, do ...
What song?
"Since Maggie
Sing
Went Away"? Nora. Ah, no, Jack, not that;
"When You
Said
it's
too sad.
You Loved Me."
[Clearing his throat, CLITHEROE thinks for a moment, and then begins to sing. NORA, putting an arm around him, nes tles her head on his breast and listens
her arm around his neck] Nora [imploringly]. Ah, Jack, don't be so cross! Clitheroe
me
our honeymoon. please, Jack! Clitheroe.
735
delightedly] Clitheroe [singing verses following to the air of "When You and I Were Young, Mag gie").
j
yet.
Th' violets were scenting th' woods, Nora, Displaying their charm to th' bee, When I first said I lov'd only you, Nora, An' you said you lov'd only me!
[CLITHEROE silently takes out a ciga rette for her
both] [Trying to th'
house
make
is
and himself and
conversation]
now; they must be
Clitheroe [rather shortly]*
How
lights
quiet
all out.
I suppose so.
Nora [rising from the seat]. I'm longin' to show you me new hat, to see what you think of it. Would you like to see it? Clitheroe.
[NORA
Ah, I don't mind.
hesitates a
moment, then goes up
to the chest of drawers, takes the hat out of the box, comes down c., stands front of the couch, looks into the mir
Th' chestnut blooms gleam'd through th' glade, Nora, A robin sang loud from a tree, When I first said I lov'd only you, Nora An' you said you lov'd only me! Th' golden-rob'd daffodils shone, Nora, An' danc'd in th' breeze on th' lea; When I first said I lov'd only you, Nora, An' you said you lov'd only me !
c.
ror on the wall below the fireplace, and She then turns
fixes hat on her head. to face CLITHEROE]
Nora.
me new
Well, hat?
Clitheroe.
how
does Mr. Clitheroe like
It suits you,
Nora,
it
does
right enough.
[He stands up, puts his hand beneath her chin, and tilts her head up. She He bends looks at him roguishly. down and kisses her] Nora. Here, sit down, an' don't let me hear another cross word out of you for th' rest o' the night. [The two sit on the couch again, CLITH EROE nearest the fire] Clitheroe [his arms round NORA]. Little red-lipped Nora. Nora [with a coaxing movement of her body towards him]. Jack! Clitheroe
[tightening
his
Well? Nora. You haven't sung
arms around
her].
Th'
bees sang a song, Nora,
trees, birds an'
Of happier transports to be,
When I
first said I lov'd only you, Nora, An' you said you lov'd only me [NORA kisses him] [A knock is heard at the door, R.; a NORA clings pause as they listen. closely to CLITHEROE. Another knock, more imperative than the first] I wonder who can that be, now? !
Nora of
[a little nervous]. Take no notice Jack; they'll go away in a minute. [Another knock, followed by the voice
it,
of
CAPTAIN BRENNAN] of Capt. Brennan.
The Voice
dant Clitheroe,
you there?
A
Commandant
message from General Jim
Connolly. Clitheroe [taking her arms from round him]. Damn it, it's Captain Brennan. Nora [anxiously] Don't mind him, don't mind, Jack. Don't break our happiness. . . Let us for Pretend we're not in. .
.
.
.
.
get everything to-night but our two -selves! be Don't Clitheroe [reassuringly]. '
me
a song since
Comman
Clitheroe, are
SEAN O'CASEY
736
alarmed, darling; I'll just see what he wants, an' send him about his business. Nora [tremulously putting her arms
around him]. No, no. Please, Jack; don't open it. Please, for your own little Nora's sake!
Clitheroe [taking her arms away and n'sNow don't be silly, ing to open the door] .
Nora. [CLITHEROE opens door, and admits a young man in the full uniform of the
Army
Irish Citizen
green suit; slouch
green hat caught up at one side by a small Red Hand badge; Sam Browne belt, with a revolver in the holster. He carries a letter in his hand. When he comes in he smartly salutes CLITH-
The young man BRENNAN. He stands in EEOE.
is
CAPTAIN
front of the
chest of drawers']
Connolly, and that he gave it to you. Where is it? What did you do with it? [CAPT. BRENNAN stands in front of the chest of drawers, and softly whistles
"The Soldiers' Song"] Nora [running over to him, and plead ingly putting her arms around him]. Jack, please Jack, don't go out to-night an' I'll . Send tell you; I'll explain everything. him away, an' stay with your own little red.
lipp'd
[removing
I want to ter?
[NoRA goes slowly
equipment: two days' ra rounds of ammunition. At
and fifty two o'clock A.M. the army will leave Liberty Hall for a reconnaissance attack on Dublin Castle. Com.-Gen. Connolly." tions
Clitheroe [in surprise, to CAPT. BRENNAN] . I don't understand this. Why does General
Connolly call me Commandant? Capt. Brennan. Th' Staff appointed you Commandant, and th' General agreed with their selection.
Clitheroe. to
did this happen?
A fortnight
Capt. Brennan.
ago.
How is it word was never sent
me?
Capt. Brennan. Word was sent to you. ... I meself brought it, Clitheroe. Who did you give it to, then? Capt. Brennan [after a pause]. I think I
gave
it
to Mrs. Clitheroe, there. Nora, d'ye hear that?
Clitheroe.
[NORA makes no answer] [Standing his voice]
c.
there is a note of hardness in
Nora
he brought a
.
.
.
Captain Brennan says me from General
letter to
couch and
sits
you do with th' letter? Nora [flaming up and standing on her it,
I
burned
That's
it!
Connolly an' th' Citizen Army goin' to be your only care? Is your home goin' to be only a place to rest in? Am I goin' to be only somethin' to provide merrymakin' at night for you? Your vanity '11 be th' ruin of you an' me That's what's movin' you: be yet. cause they've made an officer of you, you'll .
.
1
Is General
.
make a glorious cause of what you're doin', while your little red-lipp'd Nora can go on sittin' here, makin' a companion of th' lone liness of th' night !
Clitheroe [fiercely]. You burned it, did [He grips her arm] Well, me good
you? lady
Nora. Let go you're hurtin' me CUtheroe. You deserve to be hurt. !
that comes to me for th' take care that I get it. , D'ye take care that I get it J [He lets her go, and she sinks crying on the couch. He goes chest of drawers and takes out
Any letther
When
Clitheroe.
to the
again] [Angrily] Why didn't you give me th' let ter? What did you do with it? ... [Goes over and shakes her by the shoulder] What
I burned feet]. what I did with it
full
from
down
nolly.
vided with
arms
her
None o' this nonsense, now; know what you did with th' let
around him].
did
Clitheroe [reading. While he is doing so, BRENNAN'S eyes are fixed on NORA, who droops as she sits on the lounge]. "Com mandant Clitheroe is to take command of the eighth battalion of the I.C A. which will assemble to proceed to the meeting at nine o'clock. He is to see that all units are pro
.
Nora.
Clitheroe
Capt. Brennan [giving the letter to CLITHEROE]. dispatch from General Con
A
.
.
.
.
Browne
belt,
.
.
.
future,
hear
down, to the
a Sam which he puts on, and
then puts a revolver in the holster. puts on his hat, and looks towards
He
NORA] [At door L., about to go out] You needn't wait up for me; if I'm in at all, it won't be before six in th' morning. Nora [bitterly]. I don't care if you never
came back!
THE PLOUGH AND THE STARS [to CAPT. BRENNAN]. Come Ned. [They go out; there is a pause. NORA pulls the new hat from her head and with a bitter movement flings it to the other end of the room. There is a gen tle knock at door L. which opens, and MOLLSER comes into the room. She is
Clitheroe along,
}
about
15,
but looks to be only about
for the ravages of consumption have shrivelled her up. She is pitifully
10,
worn, walks feebly, and frequently coughs. She goes over and sits down L. of NORA] Mollser [to NORA]. Mother's gone to th' meetin', an I was feelin' terrible lonely, so I come down to see if you'd let me sit with
dimness o' danger, while th' lice is crawlin* about feedin' on th' fatness o' the land! But yous'll not escape from th' arrow that flieth be night, or th' sickness that wasteth An' ladyship an' all, as some be day. o them may be, they'll be scatthered .
.
.
7
j
abroad, like th' dust in th darkness! [BESSIE goes away; NORA steals over and quietly shuts the door. She comes back to the lounge and wearily throws herself on it beside MOLLSER] Mollser [after a pause and a cough]. Is there anybody goin', Mrs. Clitheroe, with a titther o' sense?
7
you mightn't be goin' yourself. do be terrible afraid I'll die some time when I'm be meself. ... I often envy you, Mrs. Clitheroe, seein' th' health you have, an' th lovely place you have here, an' wondherin' if I'll ever be sthrong enough to be keepin' a home together for a man. [The faint sound of a band playing is you, thinkin'
...
I
?
heard in the distance outside in the street]
Oh, this must be some more of the Dublin Fusiliers flyin' off to the front. Mollser.
[The band, passing in the
It's
street outside,
now heard
loudly playing as they pass the house. It is the music of a brass band playing a regiment to the boat on the way to the front. The tune that is being played is "It's a Long Way to Tipperary" ; as the band comes to the chorus, the regiment is swinging into the street by NORA'S house, and the voices of the soldiers can be heard lustily singing the chorus of the song] a long way to Tipperary, it's a long way is
to go; a long way to Tipperary, to th' sweetest girl I know!
It's
Good-bye, Piccadilly, farewell Leicester Square. a long way to Tipperary, but right there
It's
my heart's
I
[NoRA and MOLLSER remain
silently lis ends, and the music is faint in the distance again, BESSIE BURGESS appears at door L.,
tening.
As the chorus
which MOLLSER has
left
open]
Bessie [speaking in towards the room]. There's th' men marchin' out into th' dhread
737
ACT TWO SCENE A public-house at the corner of the street in which the meeting is being ad dressed from Platform No. 1. One end of the house is visible to the audience. Part of the counter at the back, L., extending out towards L., occupies one-third of the width of the scene from R. to L. On the counter are glasses, beer-pulls, and a carafe filled with water. Behind the counter, on the back wall, are shelves containing bottles of At back c. is a wine, whisky and beer. wide, high, plate-glass window. Under the window is a seat to hold three or four per sons seated. L. are the wide swing-doors. At wall, R., is a seat to hold two persons. A few gaudy-coloured show-cards on the walls.
A
band is heard outside playing "The Sol Song," before the CURTAIN rises, and for a few moments afterwards, accompanied by the sounds of marching men. The BARMAN is seen wiping the part of the counter which is in view. HOSIE RED diers'
MOND
is
standing at the counter toying with
what remains of a half of whisky in a wine She is a sturdy, well-shaped girl of glass. 20; pretty and pert in manner. She is wear ing a crearn, blouse, with an obviously sug gestive glad neck; a grey tweed dress, brown stockings and shoes. The blouse and most of the dress are hidden by a black shawl. She has no hat, and in her hair is jauntily set a cheap, glittering, jewelled ornament. It is an hour later.
Barman doin' in
Nothin' Rosie?
[wiping counter].
your
line to-night,
much
Curse o' God on th' haporth, Rosie. There isn't much notice hardly, Tom. taken of a pretty petticoat of a night like
SEAN O'CASEY
738
mood. Th' o' them You'd an' they marchin to th' meetin'. think they were th glorious company of th' an' th' noble army of martyrs saints,
this.
.
.
all
They're
.
in a holy
aolemn-lookin' dials on th' whole 3
7
thrampin' through th' sthreets of Paradise. They're all thinkin' of higher things than a a tremendous It's . garthers. girl's meeting four platforms they have there's .
.
one o' them just outside opposite dow.
th'
win
Barman. Oh, ay; sure when th' speaker comes [motioning with his hand] to th' near end, here, you can see him plain, an' hear 3
of him. aearly everythin' he's spoutin out Rosie. It's no joke thryin' to make up fifty-five shillin's
a week for your keep an'
laundhry, an' then taxin' you a quid for your own room if you bring home a friend Cor th' night. ... If I could only put by a couple of quid for a swankier outfit, every thin' in th' garden ud look lovely [In the window, back, appears the fig ure oj a tall man, who, standing on a platform, is addressing a crowd outside. The figure is almost like a silhouette. ^
The BARMAN comes to L. end ter to listen, and ROSIE moves and
oj coun c. to see
listen tool
Barman
[to ROSIE].
Whisht,
till
we
hear
3
what he's sayin The Voice of the Man. It is a glorious thing to see arms in the hands of Irishmen. We must accustom ourselves to the thought of arms, we must accustom ourselves to the sight of arms, we must accustom ourselves Bloodshed is a to the use of arms. cleansing and sanctifying thing, and the na .
.
.
tion that regards
.
as the final horror has
it
There are many manhood. things more horrible than bloodshed, and slavery is one of them [The figure, moving towards L., passes the window, and is lost to sight and The BARMAN goes back to hearing. lost
its
.
.
.
!
wiping of the counter. ROSIE remains looking out of the window] Rosie. It's th' sacred thruth, mind you, what that man's afther sayin'. Barman. If I was only a little younger, I'd be plungin' mad into th' middle of it Rosie [who is still looking out of the win 7 dow]. Oh, here's th' two gems runnin over I
again for their
oil
!
[The doors L. swing open, and FLUTHER and PETER enter tumultuously. They are are hot and hasty with the things they have seen and heard. They hurry across to the counter, PETER leading the way. ROSIE, after looking at them listlessly for a moment, retires to the seat under the window, sits down, takes a cigarette from her pocket, lights it and smokes] Peter [splutteringly to the BARMAN]. Two halves ... [To FLUTHER] A meetin' always makes me feel as dhrink Loch Erinn dhry! like this
if
I could
Fluther. You couldn't feel anyway else at a time like this when th' spirit of a man is pulsin' to be out fightin' for th' thruth with his feet thremblin' on th' way, maybe to th' gallows, an' his ears tinglin' with th' faint, far-away sound of burstin' rifle-shots that'll life
maybe whip
th' last little
out of him that's
shock
o'
left lingerin' in his
body! Peter. I felt a burnin* lump in me throat I heard th' band playin' "The Soldiers' Song/' rememberin' last hearin' it marchin'
when
in military formation, with th' people starin' on both sides at us, carryin' with us th' pride an' resolution o' Dublin to th' grave of
Wolfe Tone. 5 Fluther. Get th' Dublin men goin' an for that's force on full anything go they'll thryin' to bar them away from what they're wantin', where th' slim thinkin' counthry boyo ud limp away from th' first faintest touch of comprornization Peter [hurriedly to the BARMAN]. Two more, Tom! ... [To FLUTHER] Th' mem ory of all th' things that was done, an' all th' things that was suffered be th' people, was boomin' in me brain. . Every nerve in me body was quiverin' to do somethin' des !
.
.
perate ! Fluther. Jammed as I was in th' crowd, 3 3 I listened to th speeches pattherin' on th on fallin' th' like rain corn; people's head,
every derogatory thought went out o' me mind, an' I said to meself, "You can die now, Fluther, for you've seen th' shadow-
dhreams of
th' last leppin' to life in th'
ies of livin'
men
bod
that show, if we were with courage for centuries, we're
out a titther o' Looka here. versa now!" vice [He stretches out his arm under PETER'S face and f rolls up his sleeve] The blood was boilin in
me
veins!
THE PLOUGH AND THE STARS [The silhouette of the tall figure again moves into the frame of the window, speaking to the people] Peter [unaware, in his enthusiasm, of the speaker's appearance, to FLUTHER]. I was burnin' to dhraw me sword, an' wave it over
me Fluther [overwhelming PETER], Will you stop your blatherin' for a minute, man, an 3
let
us hear what he's sayin'
[The BARMAN comes
!
end of the
to L.
counter to look at the figure in the
window; ROSIE
from the seat, FLUTHER and PETER move towards c. to see and listen] The Voice of the Man. Comrade soldiers of the Irish Volunteers and of the Citizen Army, we rejoice in this terrible war. The rises
stands and looks.
old heart of the earth needed to be warmed with the red wine of the battlefields. . . . Such august homage was never offered to
God
as this
:
the
homage
of millions of lives
given gladly for love of country. And we must be ready to pour out the same red wine in the same glorious sacrifice, for with out shedding of blood there is no redemp tion!
[The
moves out
figure
of sight
[The BARMAN
to the counter
a
drink
for
the
Eh, houl' on there, houl' on there, Rosie. Rosie [angrily, to the BARMAN], What are you houldin' on out o' you for? Didn't you hear th young gentleman say that he couldn't refuse anything to a nice little bird? [To the COVEY] Isn't that right, [The COVEY says nothing] Didn't I Jiggs? know, Tommy, it would be all right? It takes Rosie to size a young man up, an' tell th thoughts that are thremblin' in his mind. 7
7
Isn't that right, Jiggs?
[The COVEY stirs uneasily, moves a lit tle farther away, and pulls his cap over his eyes]
him] Great meetin' that's Well, it's up to us all, anyway, to fight for our freedom. The Covey [to the BARMAN]. Two more, [To ROSIE] Freedom! What's th' please. use o' freedom, if it's not economic free
[Moving
gettin'
after
held outside.
dom?
and
and moving
down
gets
COVEY, leaves it on the counter; ROSIE The BARMAN catches whips it up. ROSIE'S arm, and takes glass from her, putting it down beside the COVEY] Barman [taking the glass from ROSIE].
Rosie
[FLUTHER runs back
[emphasizing with extended arm I used them very finger].
"A
lot o'
"that wouldn't
know
words just before you come
the drink remaining in his PETER does the same, less rap idly; the BARMAN leaves the end of the counter; ROSIE sits on the seat
what freedom was if they got it from their mother." ... [To the BARMAN] Didn't I,
again]
Tommy?
gulps
glass;
Fluther
Come missed
on,
[finishing man; this
PETER]. too good to be
drink, is
to
!
[FLUTHER rushes across the stage and out by doors L. PETER wipes his mouth and hurries after FLUTHER. The doors swing open, and the COVEY enters. He PETER stiffens collides with PETER c. his body, like a cock, and, with a look on his face, marches stiffly
of hatred
out by
doors
L.
The COVEY looks
scornfully after PETER, and then crosses to the counter. ROSIE sees possibilities in the COVEY, gets up and comes to the counter, a
The Covey
little to
[to
the L. of the COVEY]
BARMAN]. Give us a
glass
malt, for God's sake, till I stimulate meself from the shock of seeing the sight that's afther goin' out. o'
.
one for me, Tommy; the young gentleman's ordherin' it in the corner of his eye.
and
hearing]
739
Rosie
[slyly, to
the
BARMAN].
Another
thricksters,"
says
I,
in.
Barman.
I disremember. Rosie [to the BARMAN], No, you don't disremember. Remember you said, your 7 self, it was all "only a flash in th pan." Well, "flash in th' pan, or no flash in th' pan," says I, "they're not goin' to get Rosie
Redmond," says I, "to fight for freedom that wouldn't be worth winnin' in a raffle!" The Covey [contemptuously]. There's 3
only one freedom for th' workin man: <;onthrol o' th' means o' production, rates of ex change an' th' means of disthribution. [Tapping ROSIE on the shoulder] Look here, comrade, I'll leave here to-morrow night for you a copy of Jenersky's Thesis on the On3 gin, Development an Consolidation of the } Idea Evolutionary of th Proletariat. Rosie [throwing off her shawl on to the counter, and showing an exemplified glad neck, which reveals a good deal of a white
SEAN O'CASEY
740
[MRS. GOGAN, followed by PETER, go up to the seat under the window and sit down, PETER to the R. of MRS. GOGAN. ROSIE, after a look at those who've
bosom] If y'ass Rosie, it's heartbreakin' to see a young fella thinkin' of anything, or admirin' anything, but silk thransparent stockin's showin' off the shape of a little las .
sie's legs
1
[The COVEY is frightened, and moves away from BX>SIE along the counter, towards R. KOSIE follows, gliding after him in a seductive way} [Following him] Out in th' park in th' shade of a warm summery evenin', \rith your little darlin' bridie to be, kissin' an' cuddlin' [she tries to put her arm around his neck], kissin' an' cuddlin', ay? The Covey [frightened]. Ay, what are you doin'? None o' that, now; none o' that. I've something else to do besides shinan1
nickin' afther Judies [The COVEY turns
come in, goes out by doors L.] Peter [tearfully]. It's not the word, it's He never says it the way he says it! straight out, but murmurs it with curious quiverin' ripples, like variations on a flute. Fluther [standing in front of the seat]. A' what odds if he gave it with variations on
a thrombone?
Tommy.
!
to
L.
[The BARMAN gets the drinks, leaves them on the counter. FLUTHER pays
and moves
slowly to L., away from HOSIE; she turns with him, keeping him facing her, holding his way to C.]
arm.
They move
7
you! Rosie [enraged returning to the seat at the window]. Jasus, it's in a monasthery some of us ought to be, spendin' our holi days kneelin' on our adorers, tellin' our beads an' knockin' hell out of our bufcfcums [The voice of the COVEY is heard out side doors L. calling in a scale oj notes, Then the swing"Cuckoo-ooooo:" doors open, and PETER and FLXJTHER, followed by MRS. GOGAN, come in. MRS. GOGAN carries a baby in her arms] !
Peter [in plaintive anger, looking towards It's terrible that young Covey .
me
pass without proddin' at me! Did you hear him murmurin' "cuckoo" can't let
when he were
passin'? to PETER]. I wouldn't everlastin' cockin' me ear to hear every
Fluther [irritably
be
whisper that was floatin' around about It's my rule never to lose me temper till it would be dethrimental to keep it. There's nothin' derogatory in th' use o' th' word "cuckoo," is there? little
me
!
the
BARMAN;
takes drinks to the seat
under the window; gives one to MRS. GOGAN, one to PETER, and keeps the
this
Rosie. Oh, little duckey, oh, shy little Never held a mot's hand, an duckey! wouldn't know how to tittle a. little Judy! [She* clips him under the chin] Tittle him undher th' chin, tittle him undher th' chin! The Covey [breaking away and running out by doors I/.]. Aye, go on, now; I don't want to have any meddlin' with a lassie like
the door L.]
[To MRS. GOGAN] What's
yours goin' to be, maam? Mrs. Gogan. Ah, half a malt, Fluther. [FLUTHER goes from the seat over to the counter] Fluther [to the BARMAN], Three halves,
third for himself. He then sits on the seat to the L. of MRS. GOGAN] Mrs. Gogan [drinking, and looking ad miringly at PETER'S costume]. The ForestI don't think hers' is a gorgeous dhress! I've seen nicer, mind you, in a pantomime. ... Th' loveliest part of th' dhress, I think, is th' ojsthrichess
plume.
.
When yous
.
are goin' along, an' I see them wavin' an' noddin' an' waggin', I seem to be lookin' at each of yous hangin' at th' end of a rope, your eyes bulgin' an' your legs twistin' an' jerkin', gaspin' an' gaspin' for
breath while
yous are thryin' to die for Ireland! Fluther [scornfully]. If any o' ever hangin' at the end of a rope, be for Ireland! Petef.
Are you goin' to
them it
start th'
is
won't
young
Covey's game o' proddin' an' twartin' a man? There's not many that's talkin' can say that for twenty-five years he never missed a pilgrimage to Bodenstown! at Fluther PETER]. [looking angrily You're always blowin' about goin' to Bo denstown. D'ye think no one but yourself ever went to Bodenstown? [FLXJTHER em phasizes the
word "Bodenstown"]
I'm not blowin' Peter [plaintively]. about it; but there's not a year that I go there but I pluck a leaf off Tone's grave, an' this
very day
me
prayer-book
is
nearly
full
of them.
Fluther [scornfully].
Then Fluther has a
THE PLOUGH AND THE STARS vice-versa opinion of them that put ivy leaves into their prayer-books, scabbin' it on th' clergy, an' thryin' to out-do th' haloes o' th' saints be lookin' as if he was wearin' around his head a glittherin' aroree boree allis [Fiercely] Sure, I don't care a damn if you slep' in Bodenstown! You can take !
your breakfast, dinner an' tea on th' grave, in Bodenstown, if you like, for Fluther Mrs. Gogan. Oh, don't start a fight, boys, for God's sake; I was only sayin' what a nice costume it is nicer than th' kilts, for, God forgive me, I always think th' kilts is !
hardly decent. Fluther {laughing scornfully']. Ah, sure, when you'd look at him, you'd wondher whether th' man was makin' fun o' th' cos tume, or th' costume was makin' fun o' th'
man!
Barman
[over to them]
to speak asy, will yous? shoutin' here.
.
Now,
then, thry
We- don't want no
Passing, BESSIE gives a scornful look at those seated near the window. BESSIE and the COVEY talk together, but fre quently eye the group at the window] [to the
BARMAN]. Two
glasses o'
malt.
[The BARMAN gets the drinks; leaves them on the counter. The COVEY puts one beside BESSIE and keeps the other. He pays the BARMAN] Peter [plaintively]. There he is now I knew he wouldn't be long till he folleyed
me
in.
Bessie [speaking to the COVEY, but really j at the other party]. I can't for th' life o
me
undherstand
how they can
call
them
selves Catholics, when they won't lift a fin ger to help poor little Catholic Belgium.
Mrs. Grogan [raising her voice]. What about poor little Catholic Ireland? Bessie [over to MRS. GOGAN]. You mind your own business, maam, an' stupify your foolishness be gettin' dhrunk. Peter [anxiously to MRS. GOGAN]. Take no notice of her; pay no attention to her. She's just tormentin' herself towards havin' a row with somebody. Bessie [in quiet anger]. There's a storm of anger tossin' in me heart, thinkin' of all th' poor Tommies, an' with them me own son, dhrenched in water an' soaked in blood,
way
to a shattherin' death, in
a shower o' shells! Young men with th' sunny lust o' life beamin' in them, layin' down their white bodies, shredded into torn bloody pieces, on th' althar that God Himself has built for th' sacrifice of heroes Isn't it a nice Mrs. Gogan [indignantly] thing to have to be listenin' to a lassie an' hangin' our heads in a dead silence, knowin' that some persons think more of a ball of malt than they do of th' blessed saints. Fluther [deprecatingly]. Whisht; she's always dangerous an' derogatory when she's well oiled. Th' safest way to hindher her from havin' any enjoyment out of her spite, is to dip our thoughts into the fact of her bein a female person that has moved out of an'
!
.
5
ordinary sensible people. Bessie [over to MRS. GOGAN, viciously]. To look at some o' th' women that's knockin' about, now, is a thing to make a th' sight of
body
[The swing-doors open and the COVEY, followed by BESSIE BURGESS, come in. They go over and stand at the counter.
Covey
gropin' their
741
sigh.
...
A woman
on her own,
dhrinkin' with a bevy o men is hardly an woman example to her sex. ... dhrinkin' with a woman is one thing, an' a woman dhrinkin' with herself is still a woman flappers may be put in another 7
A
category altogether but a middle-aged married woman makin' herself th' centre of a circle of men is as a woman that is loud an' stubborn, whose feet abideth not in her
own
house.
The Covey
with a scornful [to BESSIE look at PETER]. When I think of all th' problems in front o' th' workers, it makes me sick to be lookin' at ouP codgers goin' about dhressed up like green-accoutered fig ures gone asthray out of a toyshop ! Peter [angrily]. Gracious God, give me patience to be listenin' to that blasted 7 young Covey proddin at me from over at th' other end of th' shop Mrs. Gogan [dipping her finger in the whisky, and moistening with it the lips of her baby]. Cissie Gogan's a woman livin' for nigh on twenty-five years in her own room, an' beyond biddin' th' time o' day to her neighbours, never yet as much as nod ded her head in th' direction of other peo ple's business, while she knows some [with a look at BESSIE] as are never content un less they're standin' senthry over other peo !
ple's doin's!
[Again the figure appears, like a
sil
houette, in the window, back, and all hear the voice of the speaker declaim-
SEAN O'CASEY
742
[Furiously} But, thanks be to Christ, she
ing passionately to the gathering out
side. FLUTHER, PETER and MRS. GO GAN stand up, turn, and look towards The BARMAN comes to the window. the end of the counter; BESSIE and the COVEY stop talking and look towards the window}
knows when she was got, where she was got, an' how she was got; while there's some she a wellknows, decoratin' their finger with be hard put to polished weddin' ring, would weddin' it if they were assed to show their
',
The Voice of the Speaker. The last six teen months have been the most glorious in the history of Europe. Heroism has come back to the earth. War but war is not an evil thing. land dread war because they do not know is
a
terrible thing, People in Ire ^
it,
Ireland has not
known
the exhilaration
war for over a hundred years. When war comes to Ireland she must welcome it as she would welcome the Angel of God of
1
[The
figure
hearingf
passes out of sight and
L.]
The Covey Howards
all present}.
Dope,
worth havin' dope. There's only one war th' war for th' economic emancipation of th
: j
proletariat.
Bessie [referring to
may
crow away out
fitther for
an' cease
MRS. GOGAN].
o'
them; but
it
They ud be
some o' them to mend their ways, from havin' scouts out watchin'
for th' comin' of th' Saint Vincent de Paul a man, for fear they'd be nailed lowerin'
man with an angel glamour of deceit an'
pint of beer, mockin' th' face, shinin'
with
th'
lies!
lines!
[MRS. GOGAN springs up from the seat and bounces to c., facing BESSIE BUR GESS. MRS. GOGAN is wild with anger} Mrs. Gogan [with hysterical rage}. Y' oul' rip of a blasted liar, me weddin' ring's been well earned be twenty years be th' side his rest in o' me husband, now takin' heaven, married to me be Father Dempsey, in th' Chapel o' Saint Jude's, in th' Christ
mas Week
a swaggerin' mind, thanks be to God, but goin'
on packin' up knowledge
accordio.' to
her conscience: precept upon precept, line upon line; here a little, an' there a little. [BESSIE, with a vigorous swing of her shawl, turns, and with a quick
m
ment goes
c.,
facing
MRS GOGAN]
;
an' ninety-
an'
Bessie [bringing the palms of her hands her re together in sharp claps to emphasize marks}. Liar to you, too, maam, y' oul' hardened thresspasser on other people's good nature, wizenin' up your soul in th' arts o' dodgeries, till every dhrop of re dhried up in her, spectability in a female is lookin' at your ready-made manceuverin'
with
th'
menkind
!
[anxiously leaning over the coun ter}. Here, there; here, there; speak asy there. No rowin' here, no rowin' here, now. [FLTTTHER comes from the seat, gets in
Barman
Mrs. Gogan [over to BESSIE]. An' a cer
people to th' vengeance o' God! Bessie [at the counter}. Bessie Burgess doesn't put up to know much, never havin'
hundhred
kid, livin' or dead, that Jinnie since, was got between th' bordhers of th' Ten Commandments! . . .
front of
MRS GOGAN, and
tries to
pac
and
tain lassie standin' stiff behind her own door with her ears cocked listenin' to what's be ing said, stuffed till she's sthrained with envy of a neighbour thryin' for a few little things that may be got be hard sthrivin' to keep up to th' letther an' th' law, an' th' practices of th' Church! Peter [to MRS. GOGAN]. If I was you, Mrs. Gogan, I'd parry her jabbin' remarks be a powerful silence that'll keep her tantalizin' words from penethratin' into your It's always betther to leave these feelin's.
of eighteen
any Gogan's had
five
seat} ify her; PETER leaves the to do the same with BESSIE, holding tries
The posi the counter,
her back from MRS. GOGAN. tions are:
BARMAN behind
leaning forward; BESSIE R.; next PE TER; next FLTJTHER; next MRS. GOGAN, with baby in her arms. The COVEY re mains leaning on the counter, look
ing on} Fluther [trying to calm MRS. GOGAN]. Now, Jinnie, Jinnie, it's a derogatory thing to be smirchin' a night like this with a row; it's rompin' with th' feelin's of hope we 7 ought to be, instead o bein' vice versa Peter [trying to quiet BESSIE]. I'm ter rible- dawny, Mrs. Burgess, an' a fight leaves me weak for a long time aftherwards. Please, Mrs. Burgess, before there's damage done, thry to have a little respect for your !
.
.
.
self.
Bessie [with a push of her hand that sends PETER tottering to the end of the counter}.
THE PLOUGH AND THE STARS G'way, you little sermonizing, little yellafaced, little consequential, little pudgy, lit
bum, you Mrs. Gogan [screaming and
tle
!
struggling]. I'm not goin' to keep an Fluther, leggo! unresistin' silence, an' her seatherin' her fes-
words in me face, stirrin' up every dhrop of decency in a respectable female, with her restless rally o' lies that would make a saint say his prayer backwards! Bessie [shouting]. Ah, everybody knows well that th' best charity that can be shown to you is to hide th thruth as much as our thrue worship of God Almighty will allow therin'
j
us I
Mrs. Gogan [frantically]. Here, houF th' one o' yous; hour th' kid for a minute! There's nothin' for it but to show this lassie a lesson or two. ... [To PETER] Here, houl th' kid, you. [MRS GOGAN suddenly rushes over to PETER, standing, trembling with fear, between the end of the counter and the seat under the window. Bewildered, and before he's aware of it, MRS. GO GAN has put the baby in his arms. MRS. GOGAN rushes back c. and puts herself in a fighting attitude in front kid,
7
of BESSIE]
[To BESSIE, standing before her in a fight ing attitude] Come on, now, me loyal las sie, dyin' with grief for little Catholic Bel When Jinnie Gogan's done with gium! you, you'll have a little leisure lyin' down to think an' pray for your king an' counthryl Barman [coming from behind the counter, getting between the women, and proceeding to push BESSIE towards the door]. Here, now, since yous can't have a little friendly argument quietly, yous'll get out o' this place in quick time. Go on, an' settle your differences somewhere else I don't want to have another endorsement on me licence. [The BARMAN pushes BESSIE towards the doors L V MRS. GOGAN following] Peter [anxiously calling to MRS. GOGAN]. Here, take your kid back ower this. How
was picked now for it to be plumped arms The Covey [meaningly]. She knew who she was givin' it to, maybe. [PETER goes over near to the COVEY at
nicely I into
my
!
counter to retort indignantly, as the BARMAN pushes BESSIE out of the doors L. and gets hold of MRS. GOGAN to put her out too] the
743 Now, I'm
Peter [hotly to the COVEY].
me young
Covey, to your jibes an' jeers at me. For one o' these days, I'll run out in front o' God Almighty an' take your sacred life! givin'
quit
you
fair warnin',
firin'
.
.
.
Barman [pushing MRS. GOGAN out after Go on, now; out you go. Peter [leaving the baby down on the floor
BESSIE].
c]. Ay, be Jasus, wait there, till I give her back her youngster [PETER runs to the door L., opens it, and calls out after MRS. GOGAN] Peter [calling at the door L.]. Eh, there, eh! What about the kid? [He runs back in, c., and looks at FLUTHER and the COVEY] There, she's afther goin' without her kid what are we goin' to do with it now? The Covey [jeering] What are you goin' to do with it? Bring it outside an' show everybody what you're afther findm'. Peter [in a panic to FLUTHER]. Pick it up, you, Fluther, an' run afther her with it, will you? Fluther [with a long look at PETER]. !
.
What d'ye take Fluther for? think Fluther 's a right gom.
You must D'ye think
Fluther's like yourself, destitute of a titther of undherstandin'?
Barman
[imperatively to PETER], Take an' run out afther her with it, before she's gone too far. You're not goin' to leave th' bloody thing there, are you? Peter [plaintively, as he lifts up the it
up,
man,
baby].
Well,
God Almighty,
give
me
pa
tience with all th' scorners, tormentors, an' twarters that are always an' ever thryin' to goad me into prayin' for their blindin' an blastin' an' burnin' in th' world to come 1
!
[PETER, with the baby, goes out of the door L. FLUTHER comes from the front of the window to the counter and stands there, beside the COVEY]
Fluther [with an air of relief]. God, it's a relief to get rid o' that crowd. Women is terrible when they start to fight. There's no holdm' them back [To the COVEY] Are you .
have anything? The Covey. Ah, I don't mind
goin' to
another half. Fluther [to the BARMAN].
Tommy, me son. [The BARMAN
if
Two
gets the drinks,
I
have more.
FLUTHER
pays] Fluther [to the COVEY]. You know there's no conthrolhV a woman when she loses her head.
SEAN O'CASEY
744
[RosiE appears at the doors L. She looks over at the counter, sees the two men, then crosses over to the L. end of the counter, where she stands, with a suggestive look towards FLUTHEE] Rosie [to the BARMAN]. Divil a use o' havin' a thrim this; things
a half
till
leg on a night like never worse. . . Give us
little
was
.
to-morrow, Tom, duckey.
Barman
No more
{coldly}.
to-night,
Rosie; you owe me for three already. You'll be paid, Rosie [combatively]. won't you? Barman. I hope so. Is that th' way Rosie. You hope so! with you, now? Fluther [with a long glance at ROSIE, to Give her one it'll be all the BARMAN]. right.
pays for if] Rosie [clapping FLTTTHER on the back]. sport!
Fluther [to COVEY].
Th' meetin' should
be soon over, now.
The Covey [in a superior way}. Th sooner th betther. It's alia lot o' blasted nonsense, comrade. Fluther. Oh, I wouldn't say it was all nonsense. After all, Fluther can remember th' time, an him only a dawny chiselur, bein' taught at his mother's knee to be 5
1
j
faithful to th'
The Covey.
Shan Vok Vok! That's
th* sort o' thing that th'
th'
Labour movement as
th'
chancers
that are bio win' about it! Barman [over the counter]. Speak easy, Fluther, thry to speak easy. The Covey [quietly]. There's no neces
about it, comrade. Fluther [more loudly]. Excited? Who's There's no one gettin' ex gettin' excited? cited! It would take something more than a thing like you to futther a feather o' sity to get excited
Fluther.
Blatherin', an',
you know as much as
when
is said>
all
th' rest in th'
wind
up! Well, let us to th' test, then, an' see what you
The Covey [emphatically]. put
it
know about
th'
Labour movement: what's
the mechanism of exchange? Fluther [roaring, because he feels he is How th' hell do I know what it is? beaten] There's nothin' about that in th' rules of our .
[The BARMAN gets a drink, and puts it on the counter before ROSIE; FLUTHER
Our
about
all dope, comrade; workers are fed on be
Boorzwawzee.
Fluther
[a
little
What's all sharply]. it that shouldn't :
Though I'm sayin
dope ?
;
[catching his cheek with his hand, and pull ing down the flesh from the eye] d'ye see that mark there, undher me eye? ... A sabre slice from a dragoon in O'Connell Street [Thrusting his head forward towards ROSIE] Feel that dint in th' middle
Thrades Union!
Barman [protestingly]. For God's sake, thry to speak easy, Fluther. The Covey. What does Karl Marx say about th' Relation of Value to th' Cost o' Production? Fluther [angrily]. What th' hell do I care what he says? I'm Irishman enough not to lose me head be follyin' foreigners! Barman. Speak easy, Fluther. The Covey [contemptuously].
It's only time talkin' to you, comrade. Fluther. Don't be comradin' me, mate. I'd be on me last legs if I wanted you for a comrade. Rosie [to the COVEY, taking FLXJTHER'S part]. It seems a highly rediculous thing to hear a thing that's only an inch or two away from a kid, swingin' heavy words about he doesn't know th' meanin' of, an' uppishly thryin' to down a man like Misther Fluther here, that's well flavoured in th' knowledge of th' world he's livin' in.
waste
o'
1
o'
me
nut!
The Covey [bending over the counter savagely to ROSIE]. Nobody's askin' you
Rosie [rubbing FLTTTHER'S head, and wink God, there's a holla ! ing at the COVEY] . Fluther [.putting on his hat with quiet skelp from a bobby's baton at a pride].
to be buttin' in with your prate. ... I Just have you well taped, me lassie. you keep your opinions for your own place. . It'll be a long time before th' Covey
Labour meetin' in th' Phcenix Park! The Covey [sarcastically]. He must ha' hitten you in mistake. I don't know what you ever done for th' Labour movement. D ye not? Maybe, Fluther [loudly]. then, I done as much, an' know as much
takes
My
A
J
.
.
.
.
.
any instructions or reprimandin'
from a prostitute! [RosiE, wild with humiliation, bounds jrom the end of the counter to c. and with eyes blazing, faces towards the
COVEY]
THE PLOUGH AND THE STARS You
Rosie.
louse,
you
you!
louse,
.
[FLTTTHER suddenly springs into the c. of the shop, flings his hat into the
.
.
You're no man. . You're no man . I'm a woman, anyhow, an if Fm a prosti .
.
.
5
tute aself, I have me feelin's. . . Thryin' to put his arm around me a minute ago, an' givin' me th' glad eye, th' little wrigglin' lump o' desolation turns on me now, because he saw there was no thin' doin'. . . . You If I was a man, or you were a louse, you
corner, whips off his coat, and begins to paw the air like a pugilist]
.
!
woman, I'd bate th' puss o' you Barman. Ay, Rosie, ay! You'll have to shut your mouth altogether, if you can't 1
learn to speak easy! [FLTJTHER, with a dignified walk, goes
over to ROSIE c. and puts a hand on her shoulder] Fluther [to ROSIE]. Houl' on there, Rosie; houl' on, there. There's no necessity to flutther yourself when you're with Flu ther. . . . Any lady that's in th' company of Fluther is goin' to get a fair hunt. . This is outside your province. . I'm not goin' to let you demean yourself be talkin' to a tittherin' chancer. . . . Leave this to .
.
.
Fluther
.
this is a
man's job. . . . [He turns from ROSIE, comes back, crosses the COVET, then turns and faces him. To the COVEY] Now, if you've anything to say, say it to Fluther; an' let me tell you, you're not goin' to be pass-remarkable to any lady in my company. The Covey. Sure I don't care if you were runnin' all night afther your Mary o' th'
Fluther [roaring]. Come on, come on, you lowser; put your mitts up now, if there's
a man's blood in you! Be God, in a few minutes you'll see some snots flyin' around, I'm tellin' you. * When Fluther's done with you, you'll have a vice-versa opinion of him! Come on, now, come on! [The COVEY squares up to FLTJTHER] Barman [running from behind the counter and catching hold of the COVEY] Here, out you go, me little bowsey. Because you got a couple o' halves you think you can act as you like. [He pushes the COVEY to the doors L.] Fluther's a friend o' mine, an' I'll not have him insulted. The Covey [struggling with the BARMAN]. Ay, leggo, leggo there; fair hunt, give a man a fair hunt! One minute with him is all I ask; one minute alone with him, while .
you're runnin' for th' priest an' th' doctor! Fluther [to the BARMAN]. Let him go, let him go, Tom let him open th' door to sud den death if he wants to! Barman [grappling with the COVEY]. Go on, out you go an' do th' bowsey somewhere :
else.
[The BARMAN pushes the COVEY out by doors i., and goes back behind the counter. FLTJTHER assumes a proud air of victory. ROSIE gets his coat, and helps him to put it on; she then gets his hat and puts it on his head]
when you start tellin' what you done for th' Labour movement, it's nearly time to show
G'way, man, I'd
up?
me
.
you show Fluther beat two o' you before
Is it
breakfast!
Fluther [with his face stuck into the face of the COVEY] Sing a little less on th' high .
note, or, when I'm done with you, you'll put a Christianable consthruction on things, I'm tellin'
you!
The Covey. You're a big fella, you are. Fluther [tapping the COVEY threateningly on the shoulder]. Now, you're temptin' Providence when you're temptin' Fluther! The Covey [losing his temper, knocking [FLUTHER'S hands away, and bawling]. Easy with them hands, there, easy with them hands! You're startin' to take a little risk
Rosie [helping FLUTHER with his coat]. th' fear o' God in his heart that time! I thought you'd have to be dug out of him. . Th' way you lepped out without any of your fancy side-steppin' "Men like Fluther," says I to meself, "is
Be God, you put .
The Covey [contemptuously]. Tell us where you bury your dead, will you?
when you commence
to
paw
the
Covey
I
.
.
Curlin' Hair, but, luscious lies about
y'up! Fluther [fiercely!
745
.
!
gettin' scarce
nowadays."
Fluther [with proud complacency t c.]. I wasn't goin' to let meself be malignined by a chancer. ... He got a little bit too de rogatory for Fluther. ... Be God, to think of a cur like that comin to talk to a man '
1
like
me
I
Rosie [fixing on his hat]. Did j'ever! Fluther. He's lucky he got off safe. I hit a man last week, Rosie, an' he's fallin' yet! Rosie. Sure, you'd ha' broken him in two if you'd ha' hitten him one clatther Fluther [amorously, putting his arm around ROSIE]. Come on into th' snug, me !
SEAN
746 little darlin', an' we'll
Oh, Fluther, I'm afraid you're a
Rode. terrible
have a few dhrinks
you home.
before I see
man
for th'
women.
[FLUTHER leads ROSIE to the seat with the round table in front, E. She sits down on the seat. He goes to the counter] Fluther [to the BABMAN]. Two,
of a former generation. They think they have pacified Ireland; think they have foreseen everything; think they have but the fools, provided against everything; the fools, the fools! they have left us our Fenian dead, and, while Ireland holds these
young men
never graves, Ireland, unfree, shall
full ones,
the Stars]
[BAEMAN gets the drinks. FLUTHER them brings them over to seat E., leaves on the table, and sits down beside ROSIE. The swing-doors L. open and COMMANDANT CAPTAIN BRENNAN, CLITHEROE, and LIEUTENANT LANGON and
CAPT.
BRENNAN
tional
the speeches] Clitheroe [almost pantingly to the BAR MAN]. Three glasses o' portl [The BARMAN brings the drinks, CLITH
EEOE pays] Capt. Brennan. wait now.
We
won't have long to
a mother, Langon. Lieut. Langon. Ireland is greater than a mother. Capt. Brennan [to CLITHEROE]. You have a wife, Clitheroe. Clitheroe. Ireland is greater than a wife. Th' time for Ireland's Lieut. Langon. battle is is here.
[The
now tall,
th'
place for Ireland's battle
dark figure again appears in
the window. The three men stiffen to attention. They stand out from the L. counter, BRENNAN nearest of the counter, then CLITHEROE, then LIEUT. LANGON. FLUTHER and ROSIE, busy with each other, take no notice] The Voice of the Man. Our foes are strong, but strong as
they
are,
they cannot
undo the miracles of God, who ripens in the heart of -young men the seeds sown by the
Death
Independence of
for th'
I
to
go
who
is
ROSIE
L.
a
little
linking FLUTHER, Both are in
is
drunk.
merry mood] Are you afraid or what? Are you not? goin' to come home, or are you Fluther. Of course I'm goin' home. What ud ail me that I wouldn't go? Rosie [lovingly]. Come on, then, ou? Rosie.
sport. Officer's
Lieut. Langon. Th' time is rotten ripe for revolution. Clitheroe [to LIEUT. LANGON]. You have
Independ
The Three [together]. So help us God! [They lift their glasses and drink to The "Assembly" is heard on gether. They leave their a bugle outside. out glasses on the counter, and hurry by doors L. A pause. Then FLUTHER and ROSIE rise from the seat, and start
Their faces are their eyes sparkle; they
speak rapidly, as if unaware of the meaning of what they say. They have been mesmerized by the fervency of
th'
!
Clitheroe. Ireland
excitement.
and
Imprisonment for
.
!
The Plough and the Stars, and LIEUT. LANGON a green, white and orange Tri colour. They are in a state of emo flushed
at
ence of Ireland Lieut. Langon [lifting up the Tri-colour]. Wounds for th' Independence of Ireland
cross quickly to the counter. carries the banner of
enter,
be
peace Capt. Brennan [lifting up the Plough and !
Tommy. .
'CASEY
Voice [giving
Irish Volunteers,
by
command
th' right,
outside].
quick march!
Rosie [putting her arm round FLUTHER air "Twenty-four Strings
and singing to the to My Bow"].
once had a lover, a tailor, but Jb.e could do nothin' for me, An' then I fell in with a sailor as strong an'
I
as wild as th' sea. kissed with devotion, 7 night from th' mornin had fled ;
We cuddled an'
till th'
An' there, to our joy, a bright bouncin' boy Was dancin' a jig in th' bed! Dancin' a jig in th' bed, an' bawlin' for Lvtther an' bread. An' there, to our joy, a bright bouncin' boy Was dancin' a jig in th' bed! [They go out with their arms round each other] Clitheroe's Voice [in command outside]. Dublin Battalion of the Irish Citizen Army,
by
th' right,
quick march!
THE PLOUGH AND THE STARS ACT THEEE exterior
Clitheroes
live.
of It
house in which is a tall, gaunt
Mollser.
the five-
tenement. Its brick front is dull from weather and age. It juts out from L. more than half-way across stage, showing part of the front elevation, with wide, heavy door, having windows above and on both storey
The windows on L., looking into the rooms of the Clitheroes, are hung with good casement cloth. The others are draped with grimy lace curtains. Stone steps lead from the door to the path on the street. From these steps, on each side of the door are railings to prevent anyone from falling down sides*
the area. To the extreme R. the front of another house is merely indicated by the side aspect of a wall with steps leading from
on which the wounded LANGON on in the scene. Between the two
the door, rests later
runs a lane which, upstage, turns to the R. At the corner of the lane, nearest the house
shown almost full front, is a street lamp. As the house is revealed, MRS. GOGAN is seen helping MOLLSER to a chair, which stands on the path beside the railings, at the L. side of the steps.
She then wraps a
shawl around MOLLSER'S shoulders.
It
is
some months later. Mrs. Gogan [arranging shawl around MOLLSER]. Th' sun'll do you all th' good A few more weeks o* this in th' world. weather, an there's no knowin' how well you'll be. ... Are you comfy, now? Mollser [weakly and wearilyl. Yis, ma; 7
I'm all right. Mrs. Gogan Ibending over her].
you
How are
1
feelin ? j
If th Mollser. Betther, ma, betther. r horrible sinkin feelin' ud go, Fd be all right. Mrs. Gogan. Ah, I wouldn't put much pass on that. Your stomach maybe's out of j ordher. ... Is th poor breathin* any bet ther, d'ye
think?
Yis, yis, ma; a lot betther. Mrs. Gogan. Well, that's somethin* any With th' help o' God, you'll be how. on th mend from this out. D'your legs feel any sthronger undher you, d'ye think? Mollser [irritably], I can't tell, ma. I think so. ... A little. Mrs. Gogan. Well, a little aself is somethin'. ... I thought I heard you coughin'
Mollser. .
,
.
j
.
.
.
more than usual
little
last
night.
.
.
.
D'ye think you were?
A corner house of a street of tene
SCENE ments;
a
747
I wasn't, ma, I wasn't. I thought I heard you, for
Mrs. Gogan.
I was kep' awake all night with th' shootin'. An' thinkin' o' that madman, Fluther, runnin* about through th' night lookin' for Nora Clitheroe to bring her back when he heard she'd gone to folly her husband, an' in dhread any minute he might come staggerin' in covered with bandages, splashed all over with th' red of his own blood, an' givin' us barely time to bring th priest to hear th' last whisper of his final confession, as his soul was passin' through th' dark doorway o' death into th' way o' th' wondherin' dead. You don't feel cold, do you? Mollser. No, ma; I'm all right. Mrs. Gogan. Keep your chest well j
.
.
.
covered, for that's th' delicate spot in you ... if there's any danger, I'll whip you in again. . [MRS. GOGAN crosses to R., goes up the lane, turns and looks R., as if looking down the streetl Oh, here's the Covey an' oul' Peter hurryin' [She comes down the lane, and along. crosses to MOLLSER] God Almighty, sthrange .
.
things is happenin' together.
when them two
is pullin'
[The COVEY and PETER come into the lane R., come down, and stand B.C. MRS. GOGAN stands c, near the steps. The two men are breathless and ex-< cited!
[To the two men\ Were yous far up th* town? Did yous see any sign o' Fluther or Nora? How is things lookin'? I hear they're blazing away out o' th' G.P.O. That th' Tommies is sthretched in heaps around Nelson's Pillar an* th' Parnell Statue, an' that th' pavin' sets in O'Connell Street is 3 nearly covered be pools o blood. Peter. seen no sign o' Nora or
We
Fluther anywhere. Mrs. Gogan. We should ha* held her back be main force from goin' to look for her husband. . God knows what's happened to her I'm always seein' her sthretched on her back in some hospital, moanin' with th' pain of a bullet in her vitals, an' nuns thryin* to get her to take a last look at th' crucifix .
.
!
We
can do nothin'. You can't stick your nose into O'Connell Street, an' Tyler's is on fire. Peter. An' we seen th' Lancers
The Covey.
,
SEAN O'CASEY
748
7
7
Throttin [interrupting]. along, heads in th' air; spurs an' sabres lookin' as jinglin', an' lances quiveria', an'
The
Covey
themselves, "Where's 7 these blighters, till we get a prod at them/ when there was a volley from th' Post Office that stretched half o them, an' sent th rest
if
they were
assia'
7
7
away wondherin how 3
gallopin'
have to go before they'd
far they'd
feel safe.
Peter [.rubbing his hands]. "Damn it," says I to meself, "this looks like business!" The Covey. An' then out comes General Pearse an' his staff, an , standin in th mid dle o' th' street, he reads th' Proclamation. 3
7
7
What proclamation? Declarin an Irish Republic. Mrs. Gogan [with amazement]. Go to
Mrs. Gogan.
7
Peter.
God!
The gunboat Helga's shellin' Peter. Liberty Hall, an' I hear that people livin' on th quays had to crawl on their bellies to Mass with th' bullets that were flyia' around from Boland's Mills. Mrs. Gogan. God bless us, what's goin' 7 to be th end of it all! Bessie [opening and looking out of a window]. Maybe yous are satisfied now; 7
maybe yous
Go on an' men Johnny get your
are satisfied now!
get guns if yous are Yous are gun, get your gun, get your gun! all nicely shanghaied now; th boyo hasn't 7
now! Oh, yous are a sword on [She shuts all nicely shanghaied now! down the window viciously] Mrs. Gogan [warningly to PETER and the his thigh,
COVEY]. S-s-sh, don't answer her. She's th' She's been chantin' right oul Orange bitch 7
!
77 "Rule, Britannia all th mornin'. I Peter. hope Fluther hasn't met with any accident, he's such a wild card. The Covey. Fluther's well able to take 7
Mrs. Gogan [dolefully]. grant it; but last night I dreamt I seen gettin carried into th' house a sthretcher with a figure 7
still, dhressed in th' habit lyin An then, I heard th of Saint Francis. murmurs of a crowd no one could see sayin'
on
it, stiff
an'
7
7
dead; an' then it got so dark that nothin was seen but th' white face of th corpse, gleamin' like a white wather lily floatin' on th top of a dark lake. Then a tiny whisper thrickled into me ear, o' sayin', "Isn't the face very like th' face Fluther," an' then, with a thremblin flutther, th' litany for th'
from throublin'." [While MRS. GOGAN is speaking , PETER wanders up the lane, looks R., then and stares; then puts on spectacles looks again. He turns and shouts at MRS. GOGAN and the COVEY] Peter [shouting]. Here they are, be God, here they are; just afther turmV the corner
cease
Nora
R. with PETER] Covey. She must be wounded or some her. thing Fluther seems to be carryin' [FLUTHER, half carrying NORA, comes in are 'dim and hollow; R.; NORA'S eyes her her pale and strained-looking;
face hair is tossed
and her clothes are dusty. They pass by COVEY and PETER, come down the lane, and cross over to the door of the house c. PETER and the COVEY follow, and stand R. MRS. GO GAN goes over solicitously to NORA. NORA wears a brown mackintosh] Mrs. Gogan [running over to them] God bless us, is it wounded y'are, Mrs. Clitheroe, or what? .
Ah, she's all right, Fluther [confidently] Mrs. Gogan; only worn out from thravellin'7 .
an'
want o' be as
she'll
fit
lie down. Mrs. Gogan [to NORA]. Did you hear e'er a whisper o' Mr. Clitheroe? 3
Nora [wearily]. I could find him no would where, Mrs. Gogan. None o' them They told me I tell me where he was. husband an th' women of Ire They said land be carryin' on as I was. th women must learn to be brave an cease Me who risked more to be cowardly. for love than they would risk for hate. .
shamed
7
my
.
.
7
.
lips opened, an', although I couldn't
.
.
.
[Raising her voice in hysterical protest]
Jack
will
...
He
be
.
My
my Jack will be lulled! be butchered as a sacrifice to
killed,
is to
7
th dead!
[NoRA sinks down on the steps at the door. BESSIE BURGESS opem the win dow, and shouts at them. They do not
7
dead
A
night's rest, now, an as a fiddle. Bring her in,
sleep.
an make her
7
th'
an' Fluther!
[The COVEY runs up the lane and looks
7
7
oul'
3
7
God
7
,
.
care of himself.
"Poor
hear, I knew they were sayin at Fluther, afther havin' handin' in his 7 gun soul moored in th place last, his shakin' where th' wicked are at rest an th' weary
look at her] Bessie.
now
I
Yous
Sorra
are all nicely shanghaied
mend
who have boys into th'
the lassies
7 beer^ kissin an' cuddlin' their
THE PLOUGH AND THE STARS sheddin' of blood. Fillin' their minds with fairy tales that had no beginning but, please God, '11 have a bloody quick endin'l [She
shuts the window with a bang] Fluther [losing control]. Y' ignorant oul' throllope, you!
Mrs. Gogan [coaxingly, to NOEA]. You'll find he'll come home safe enough to you, Mrs. Clitheroe. Afther all, there's a power o' women that's handed over sons an' hus bands, to take a runnin' risk in th' fight they're wagin'. Nora. I can't help thinkin' every shot fired '11 be fired at Jack, an' every shot fired at Jack '11 be fired at me. What do I care for th' others? I can think only of me own An' there's no woman gives a son . self. or a husband to be killed if they say it, .
.
they're lyin', lyin', against God, Nature, an' against themselves! . . . One blasted hussy at a barricade told me to go home an' not
be thryin' to dishearten
th'
men
.
.
.
Peter {.unctuously]. You'll have to have patience, Nora. We all have to put up with twarthers an' tormentors in this world.
The Covey.
If
they were
fightin' for
any
thing worth while, I wouldn't mind. Fluther [to NORA]. Nothin' derogatory Mr. Clitheroe. You'll find, '11 happen to now, in th' finish up, it'll be vice versa. Nora. Oh, I know that wherever he is, he's thinkin' of wantin' to be with me. I know he's longin' to be passin' his hand through me hair, to be caressin' me neck, to fondle me hand an' to feel me kisses clingin' An' he stands wherever to his mouth. he is because he's brave? [Vehemently] No, but because he's a coward, a coward, a coward! Mrs. Gogan. Oh, they're not cowards .
.
.
anyway.
Nora [with denunciatory anger]. I tell you they're afraid to say they're afraid! Oh, I saw it, I saw it, Mrs. Gogan. At th' barricade in North King Street I saw .
.
.
.
.
.
fear glowin' in all their eyes. . . . An' in th' middle o' th' sthreet was somethin' huddled up in a horrible tangled heap. . . . An' I
saw that they were afraid to look at it. ... tell you they were afraid, afraid, afraid! Mrs. Gogan [lifting her up from the steps]. Come on in, dear. If you'd been a little longer together the wrench asundher wouldn't have been so sharp. Nora [painfully ascending the steps, helped by MRS. GOGAN]. Th' agony I'm in
I
749
since he left me has thrust away every rough thing he done, an' every unkind word he spoke; only th' blossoms that grew out
of our lives are before me now; shakin' their colours before me face, an' breathin' their sweet scent on every thought springin' up in me mind, till, sometimes, Mrs. Gogan, sometimes I think I'm goin' mad!
Mrs. Gogan. You'll be a
lot betther
when
you have a little lie down. Nora [turning towards FLUTHER as she is going in] I don't know what I'd have done, .
only for Fluther. I'd have been lyin' in th' [As she goes in] sthreets, only for him. . They have dhriven away th' little happiness life had to spare for me. He has gone from .
me
for ever, for ever.
.
.
.
Oh, Jack, Jack,
.
Jack! is led in, BESSIE comes out. She passes down the steps with her head in the air; at the bottom she stops to look back. When they have gone in, she takes a mug of milk from under a shawl she is wearing and gives it to MOLLSER silently. MOLLSER takes it from her] Fluther [going from c. to the COVEY and PETER, R.]. Which of yous has the tossers? The Covey. I have. [BESSIE crosses from MOLLSER to R. She pauses at the corner of the lanef R., to speak to the two men] Bessie [scornfully, to FLUTHER and the COVET]. You an' your Leadhers, and their
[As NORA
sham-battle soldiers has landed a body in a nice way, havin' to go an' ferret out a bit o' bread, God knows where. . . . Why aren't yous in the G.P.O., if yous are men? A It's paler an paler yous are gettin'. ... lot of vipersthat's what the Irish peo ple
is
! **
[BESSIE goes up the lane, turns R., and goes out] Never mind her. Fluther [warningly]. [To the COVEY] Make a start, an' keep us
[He crosses from MOLLSER and speakes to her] Well, how are you to-day, Mollser, oul' son? What are you dhrinkin'? Milk?
from R.
th' sin of idleness.
to
Mollser.
Grand, Fluther, grand, thanks
yes, milk.
Fluther [to MOLLSER]. You couldn't get This turn a betther thing down you. up has done one good thing, anyhow; you can't get dhrink anywhere, an' if it lasts a .
.
.
SEAN O'CASEY
750 week
I'll
be so used to
that I won't think
it
and joins the two The COVEY takes from his pocket two worn coins and a thin strip of wood (or tin) about jour inches
men
R.
He
long.
of
on them.
firin'
two men
I seen
a
an'
lassie
down th' sthreet, an' th' sweat rollin' off them thryin' to get it up on th' pavement an' an oul' wan that must pushin' a piano
of a pint. [FLTJTHEB returns
puts the coins on the strip the strip out from
wood and holds
;
been seventy lookin' as if she'd dhrop every minute with th' dint o' heart beatin', thryin' to pull a big double bed out of a broken shop window! I was goin' to wait till I dhressed meself from th skin out. ha'
7
him']
The Covey. What's the bettin'? Peter. Heads, a juice. Fluther. Harps, a tanner. [The COVEY flips the coins from the wood into the air. As they jingle on the ground the distant boom of a big gun is heard. They leave the coins where they are and .
boom
of
!
Covey
Not
[scornfully].
goin'!
[Vehemently] Wouldn't they use anything
on
us,
man? Aw, holy th game!
Christ,
that's
not
Peter [plaintively]. What would happen a shell landed here now?
The Covey [ironically]. You'd be off to heaven in a fiery chariot. Peter. In spite of all th' warnin's that's ringin' around us, are you goin' to start your pickin' at
Fluther.
me
selfishness
one
all
tell
!
Fluther [running over to the door of the house and shouting in to BESSIE]. Ay, Bessie, did you hear of e'er a pub gettin' a shake up? Bessie [inside]. I didn't hear o' none. Fluther [in a burst of enthusiasm] Well, you're goin' to hear of one soon !
again. . . . Harps, Peter. Heads, a juice.
a
again, toss tanner.
[The COVEY tosses the coins as before; they fall on the ground and roll a little. FLUTHER waves the other two back as they bend over the rolling coins] Fluther. Let them roll, let them roll heads be God! [BESSIE runs in R., runs down the lane towards the three men. She is breath less with excitement. She has a new fox fur round her neck over her shawl, a number of new umbrellas under one arm, a box of biscuits under the other, and she wears a gaudily trimmed hat on her head. She speaks rapidly and breathlessly] Bessie. They're breakin' into
j
th shops, j Smashin' they're breakin' into th shops! th' windows, batterin' in th' doors an' whip!
on,
[to
man,
an' don't
here, alone?
[FLUTHER and COVEY halt in middle the lane, and turn to look and reply
of to
PETER]
them
on, toss
away everything
Covey
FLUTHER, excitedly]. be wastin' time. Peter [calling to them as they run up the lane]. E, eh, are yous goin' to leave me
Come
again?
Go
them
pin'
anyone
The
}
if
MOLLSER in] The Covey [to FLUTHER]. Th'
.
Fluther. playin'
[BESSIE leaves the looted things in the house, and, rapidly returning, helps
she waited till she got she could carry before she'd come to
a big gun Fluther. Surely to God, they're not goin' to use artillery on us!
The
feelin' curious.
of that
listen intently] th' hell's that?
Fluther [awed]. What The Covey [awed] It's like the
Mollser [to BESSIE, as she is going into the house c.]. Help me in, Bessie; I'm
An'
th'
Volunteers
is
Are you
goin' to leave yourself
Peter [anxiously].
Didn't yous hear her
Fluther. here? sayin'
they were
firin'
on them?
Covey
and
Fluther
The
[together],
Well? Peter.
Supposin'
I
happened
to
be
potted? Fluther. ial,
We'd give you a Christian bur
anyhow.
The Covey
[ironically].
Dhressed up in
your regimentals. Peter [to the COVEY, passionately]. May God give you a hot knock one
th' all-lovin'
these days,
me young
Covey, tuthorin' at me, an' crossin' me with his mockeries an* jibinM [FLUTHER and COVEY run up the lane, and go off R. PETER looks after them o'
Fluther up
now
to be
tiltin'
and then goes slowly into the house, c.] [After a slight pause, MRS. GOGAN ap pears at the door oj the house c., push-
THE PLOUGH AND THE STARS ing a pram in front of her. As she gets the pram over the threshold BESSIE appears, catches the pram, and stops
MRS. GOGAN'S progress] [angrily]. Here, where are you goin' with that? How quick you were, me lady, to clap your eyes on th' pram. Maybe you don't know that Mrs. Sullivan, before she went to spend Easther with her people in Dunboyne, gave me sthrict in junctions to give an occasional look to see if it was still standin' where it was left in Bessie
.
.
.
th' corner of th' lobby.
Mrs. Gogan [indignantly]. That remark of yours, Mrs. Bessie Burgess, requires a little considheration, seein' that th' pram was left on our lobby, an' not on yours; a foot or two a little to th' left of th' jamb of me own room door; nor is it needful to mention th' name of th' person that gave a squint to see if it was there th' first thing in th' mornin', an' th' last thing in th' still ness o' th' night; never failin' to realize that her eyes couldn't be goin' wrong, be sthretchin' out her arm an' runnin' her hand over th/ pram, to make sure that th' sight was no deception! Moreover, somethings tellin' me that th/ runnin' hurry of an inthrest you're takin' in it now is a sudden 7 ambition to use th pram for a purpose, that a loyal woman of law an' ordher would
away from! [MRS. GOGAN pushes the pram violently down the steps, pulling BESSIE with her, who holds her up again when they
stagger
reach the street] Bessie [still holding the pram]. There's not as much as one body in th' house that doesn't know that it wasn't Bessie Burgess that was always shakin' her voice complainin' about people leavin' bassinettes in th' way of them that, week in an' week out, had to pay their rent, an' always had to find a regular accommodation for her own furniture in her own room. . . . An' as for law an' ordher, puttin' aside th' harp an' shamrock, Bessie Burgess '11 have as much respect as she wants for th' lion an' unicorn Peter [appearing at the door of the house f I think I'll go with th' pair of yous an' c.] fella might as well chance see th' fun. !
.
A
anyhow. Mrs. Gogan [taking no notice of PETER, and pushing the pram on towards the lane]. Take your rovin' lumps o' hands from pat-
it,
tin'
th'
bassinette, if
you
please,
ma'am;
an',
from
steppin'
751 threshold
th'
of
good
manners, let me tell you, Mrs. Burgess, that it's a fat wondher to Jennie Gogan that a lady-like
singer
o'
hymns
like
yourself
would lower her thoughts from sky-thinkin' to sthretch out her arm in a sly-seekin' way to pinch anything dhriven asthray in th' confusion of th' battle our boys is makin' for th' freedom of their counthry!
Peter [laughing and rubbing his hands Hee, hee, hee, hee, hee! I'll go with th' pair o' yous an' give yous a hand. Mrs. Gogan [with a rapid turn of her head as she shoves the pram forward] . Get up in th' prambulator an' we'll wheel you down. Bessie [to MRS. GOGAN as she halts the pram again] Poverty an' hardship has sent Bessie Burgess to abide with sthrange com pany, but she always knew them she had to live with from backside to breakfast time; an' she can tell them, always havin' had a Christian kinch on her conscience, that a together].
.
passion for thievin' an' pinchin' would find her soul a foreign place to live in, an' that her present intention is quite th' loftyhearted one of pickin' up anything shaken up an' scatthered about in th' loose con fusion of a general plundher [MRS. GOGAN, BESSIE and the pram run !
the lane and go off R. PETER follows, but as he reaches the corner of the lane the boom of the big gun brings him to a sudden halt] Peter [frightened into staying behind by
up
the sound
of
the
gun].
God Almighty,
gun again! God forbid any harm would happen to them, but sorra mind I'd mind if they met with a dhrop in their that's th' big
mad
endeyvours to plundher an' desthroy.
[He looks down the street from for a moment, then runs to
the lane the hall
door of the house, c., which is open, and shuts it with a vicious pull; he then goes to the chair in which MOLLSER had sat, sits down, takes out his pipe, lights it and begins to smoke with his head carried at a haughty
angle.
The COVEY comes in
down
R.
and
the lane, staggering with a tenstone sack of flour on his back. He goes over to the door, pushes it with his head, and finds he can't open it; he turns slightly in the direction of PETER] shut th' The. Covey [to PETER]. door? . [He kicks at it] Here, come on
Who
.
.
SEAN O'CASEY
752
This isn't a mot's an' open it, will you? hand-bag IVe got on me back. Peter. Now, me young Covey, d'ye think I'm goin' to be your lackey? The Covey {.angrily}. Will you open th' door, y'oul' Peter [shouting!. Don't be assin' me to open any door, don't be assin' me to open any door for you. . . . Makin' a shame an* a sin o' th' cause that good men are fightin' for.
.
.
God forgive th' people that, burnishin th work th' boys is
Oh,
.
instead
5
o'
3
doin' to-day, with quiet honesty an' patience, is revilin' their sacrifices with a riot of lootin,
an' roguery!
The Covey
Isn't
[sarcastically].
your
eyes leppin' out o' your head with envy that you haven't th' guts to ketch a few o' th' things that God is givin' to His Y'ouT hypocrite, if . chosen people? every one was blind you'd steal a cross off
own
.
an
ass's
back
.
!
You're not goin' to temper; you can go on
Peter [very calmly].
make me
lose
me
Stitched a sthray bit o' silk to lift th' bodices bit higher, so as to shake th' o' them, an' make them fit for
up a little shame out
women
!
in the pram. They shut the door. A Then CAPT. BRENNAN, sup pause. porting LIEUT. LANGON, comes in L,, along the street in front of the house,
[inside
house, to
mock
going
PETER].
of calm nervousness, appears at L., walking backwards or looking back in the direction from which they've come; he has a rifle held at the ready in his hands. LANGON is ghastly white and
!
[PETER gets up from chair in a blaze of passion, and follows the COVEY in, shouting] Peter [shouting]. You lean, long, lanky [Going in door lath of a lowsey bastard.
of house, c.1 tard!
Lowsey
bastard, lowsey bas
[MRS. GOGAN and BESSIE, pushing the pram, come in R v come down lane to front of the house, c. BESSIE is push ing the pram, which is filled with loot.
MRS. GOGAN
carries
a
tall
appear R.] Mrs. Gogan [appearing R.]. I don't re member ever havin' seen such lovely pairs as them with the pointed toes an' the cuban
now and again
his face is twisted in
agony] Capt. Brennan [back to CLITHEROE]. did you fire over their heads? Why didn't you fire to kill? Clitheroe. No, no, Bill; bad as they are,
Why
they're Irish
men
an'
women.
gently lets LANGON recline on the steps of the house indicated to the extreme R., holding him by an arm.
[BRENNAN
CLITHEROE
is c.,
Brennan
Capt,
watching LANGON] Irish
[savagely].
be
Attackin' an' mobbin' th' men that are riskin' their lives for them. If these slum lice gather at our heels again, plug one o them, or I'll soon shock them with a snot or two meself
damned!
}
!
heels.
Bessie [they are
^
standard
lamp, topped with a wide and brightThe pram is filled coloured shade. with fancy-coloured dresses, and boots and shoes. They are talking as they
As BRENNAN and LANGON reach c. state R., CLITHROE, pale and in a
c.
goes in]
Covey
j
way but faintin' [MRS. GOGAN runs into the house with her arm full of things. She comes back, takes up the lamp and is about to go in, when a rifleshot very near is heard. MRS. GOGAN, with lamp, and BESSIE, with pram, rush to the door which PETER, in a panic, has shut} Mrs. Gogan [banging at the door]. Eh, what are you eh, you cowardly oul' fool, thryin' to shut the door on us for? [MRS. GOGAN pushes the door open and runs in, followed by BESSIE dragging
other
with your proddin' as long as you like; goad an' goad an' goad away; hee hee, heee! I'll not lose me temper. [Somebody opens door and the COVEY
Cuckoo-oo
that hasn't lost themselves in th
nakedness o' th' times. Peter [at door, sourly to MRS. GOGAN]. Ay, you. Mollser looks as if she was goin' to faint, an' your youngster is roarin' in con vulsions in her lap. Mrs. Gogan [snappily]. She's never any
now
c.,
lifting
one of the
evening dresses from the pram, holding it up admiringly]. They'll go grand with th' dhresses we're afther liftin', when we've
My
Lieut.' Lang on [moaningly] . there ne'er an ambulance knockin'
anywhere? o
j
me
;
.
.
.
I feel it
Th' stomach
is
o-o-oh, Christ
!
God, is around
ripped out
THE PLOUGH AND THE STARS Capt. Brennan. Keep th' heart up, Jim; soon get help, now. [Door of house c. opens and NORA rushes out, dashes down steps into She CLITHEROE'S arms at bottom. flings her arms around his neck. Her hair is down, her face haggard, but her eyes are agleam with happy relief] Nora [to CLITHEROE] Jack, Jack, oh, God be thanked. Kiss me, kiss me, Jack; we'll
.
kiss
your own Nora.
Clitheroe [kissing her, and speaking bro kenly]. Nora; my little, beautiful Nora, I wish to God I'd never left you. Nora. It doesn't matter not now, not now, Jack. It will make us dearer than ever to each other. . . . Kiss me, kiss me
My
again. Clitheroe. Now, for God's sake, Nora, don't make a scene.
Nora [fervently]. I won't, I won't; I promise, Jack honest to God. [BESSIE opens window of house to the R., puts out her head, and shouts at CLITHEROE and BRENNAN] Has th' big guns Bessie [at window]. knocked all th' harps out of your hands? General Clitheroe'd rather be unlacin' his wife's bodice now, than standin' at a barri cade. [To BRENNAN] An' the professor of chicken butcherin', there, finds he's up against something a little tougher than his own chickens, an' that's sayin' a lot! Capt. Brennan [over to BESSIE]. Shut up, !
Bessie
chicken
to
Choke th
BRENNAN].
th'
choke
chicken,
j
th'
!
Lieut.
For God's sake,
Lang on.
Bill,
place where me wound '11 be I to die before any looked afther. thing is done to save me?
bring
me some
.
.
.
Am
Capt. Brennan [to CLITHEROE]. Come on, We've got to get help for Jim, here have you no thought for his pain an' dan ger? Jack.
Bessie. Choke th' chicken, choke th' chicken, choke th' chicken! Clitheroe [to NORA]. Loosen me, darling, let
me
!
.
Lieut.
.
longer, I mightn't ha' else escapin', an' me
me belly ripped asundher! ... I . couldn't scream, couldn't even scream. . D'ye think I'm really badly wounded, Bill? . clothes seem to be all soakin' wet. .
gettin'
.
Me
.
blood blood! It's
.
.
.
My God, it must be me own
Capt. Brennan [to CLITHEROE]. Go on, Jack, bid her good-bye -with another kiss, an' be done with it! D'ye want Langon to die in me arms while you're dallyin' with your Nora? Clitheroe [to NORA]. I must go, I mustgo, Nora. I'm sorry we met at all. ... It couldn't be helped all other ways were Let me go, . blocked be th' British. . can't you, Nora? D'ye want me to be unthrue to me comrades? Nora. No, I won't let you go. ... I I'm want you to be thrue to me, Jack. your dearest comrade; I'm your thruest comrade. [Tightening her arms round CLITHEROE] Oh, Jack, I can't let you go .
.
.
.
!
mixed with You must, Nora, you must.
Clitheroe [with anger, tion].
affec
Nora. All last night at the barricades I sought you, Jack. I asked for you every I didn't think of the danger I where. could only think of you. They dhrove me away, but I came back again. Clitheroe [ashamed of her action]. What possessed you to make a show of yourself, What are you more than any like that!
woman?
Nora.
more
to
No more, maybe; but you me than any other man, Jack.
I couldn't help told you. .
mad with
.
.
it.
My
are .
.
[appealingly]
.
Oh,
if
I'd
.
I shouldn't have love for you made me
...
terror.
Clitheroe [angrily]
They'll say
.
now
that
you out th' way I'd have an excuse to Are you goin' to turn bring you home. all th' risks I'm takin' into a laugh? I sent
.
.
.
Let me lie down, let me down, Bill; th' pain -would be easier, . Oh, God, have maybe, lyin' down. Lieut. Langon.
lie
.
.
mercy on me Capt. Brennan [encouragingly I
to
LAN
A
few steps more, Jim, a few steps more thry to stick it for a few steps more. Lieut. Langon. Oh, I can't, I can't, I ;
can't!
Capt. Brennan [to CLITHEROE]. Are you man, or are you goin' to make an . arrangement for another honeymoon? comin',
.
Langon
little
Every one
hit!
GON].
go.
.ZVora [clinging to him]. No, no, no, I'll Come on, come up to our not let you go home, Jack, my sweetheart, my lover, my husband, an' we'll forget th' last few terrible
days!
down only a
other
hag [down choke chicken, y'oul'
kep'
been
753
.
.
SEAN O'CASEY
754 If
you want to be off
we'll
heard a wild, drunken yell; it comes nearer, and FLUTHER enters, frenzied, wild-eyed, mad, roaring drunk. In his arms is an earthen half-gallon jar of
act th' renegade, say so, an'
I
Bessie [from window}. Hunnin' from th' Runnin' choke th' chicken. from th Tommies choke th' chicken! Damn Clitheroe [savagely to BRENNAN] 7 you, man, who wants to act th renegade?
Tommies
whisky; streaming from one of the pockets of his coat is the arm of a new tunic shirt; on his head is a woman's vivid blue hat with gold lacing, all of which he has looted] [The evening begins to darken] Fluther [singing in a frenzy, as he comes
5
.
[To NORA] Here,
let
go your hold;
let go,
I say!
Nora [clinging to CLITHEROE, and indicat Look, Jack, look at th' an ing BRENNAN] ger in his face; look at th' fear glintin' in his eyes. . . He, himselfs afraid, afraid, afraid! ... He wants you to go th way he'll have th' chance of death sthrikin' you .
down
the lane]. Fluther's a jolly good fella Fluther's a jolly good fella rebels !
.
7
an' missin'
him
Clitheroe
!
.
.
Damn
from NORA]. let me go
release
to
himself
you, woman, will you
!
Capt. Brennan [fiercely, to CLITHEROE]. Break her hold on you, man; or go up an' sit on her lap [CLITHEROE tries to break her hold with his right hand (he's holding rifle in the
[He
.
[To BREN quietly, I'll have to make you! NAN] Here, hold this gun, you, for a minute. [He hands the gun to BRENNAN] Jack. Nora [pitifully]. Please, .
.
.
You're hurting me, Jack. Honestly. Oh, you're hurting ... me! ... I . Oh, Jack, I won't, I won't, I won't! gave you everything you asked of me. Don't fling me from you, now! [He roughly loosens her grip } and pushes her away from him, NORA sinks .
.
.
.
.
.
.
.
.
to the steps at the door,
Nora [weakly]. .
.
.
and
Ah, Jack.
.
.
.
lies there] .
.
Jack.
Jack! [taking the gun back from on, come on. [CLITHEROE hurries over to BRENNAN, catches hold of LANGON'S other arm;
Clitheroe
BRENNAN].
Come
they both lift him up from steps, and supporting him, turn into the lane and go off R.] [BESSIE looks at NORA lying on the
a few moments, then, leav ing the window, she comes out, runs over to NORA, lifts her up in her arms, and carries her swiftly into the house. A short pause, then down the street is street, for
that
.
.
... up
th'
nobody can deny!
reels across to
of the house,
L.,
staggers
up
the steps
and hammers at the door]
-c.,
Get us a mug, or a jug, or somethin', some yous, one o' yous, will yous, before I lay one o' yous out o'
!
[Rifle
!
other), but NORA clings to him] Nora [imploringly"!. Jack, Jack, Jack! Lieut. Langon [agonizingly] Brennan, a priest; I'm dyin', I think. I'm dyin'. Clitheroe [to NORA]. If you won't do it
.
.
.
.
[struggling
.
away and FLTJTHER looks off
Bang
is heard some distance the boom of the big gun. turns from the door, and
firing
R.]
an' fire
[He beats
away
for all Fluther cares.
at the door]
th door, some }
Come down
yous, one
an'
open
yous, will yous, before I lay some o' yous out! . . . Th' whole city can topple home to hell, for Fluther. [Inside the house, c., is heard a scream from NORA, followed by a moan] o'
o'
[Singing frantically] That nobody can deny, that nobody can deny, For Flutter's a jolly good fella, Fluther's a jolly good fella, Fluther's a jolly good fella ... up th' rebels . that nobody can deny [His frantic movements cause him to spill some of the whisky out of the jar] [Looking down at jar] Blast you, Fluther, don't be spillin' th' precious liquor! [He kicks at the door] Give us a mug, or a jug, or somethin', one o' yous, some o' yous, will yous, before I lay one o' yous out !
.
!
.
!
[The door suddenly opens, and BESSIE, coming out, grips him by the collar] Bessie [indignantly]. You bowsey, come I'll thrim your thricks in ower o' that. o' dhrunken dancin' for you, an' none of us knowin' how soon we'll bump into a world we were never in before Fluther [as she is pulling him in]. Ay, .
.
.
!
th' jar, th' jar, th' jar.
Mind
th' jar!
THE PLOUGH AND THE STARS [A short pause, then again is heard a scream of pain from NORA. The door opens and MRS. GOGAN and BESSIE are seen standing at if] IThe light gets dim"! Bessie. Fluther would go, only he's too dhrunk. Oh, God, isn't it a pity he's so dhrunk We'll have to thry to get a docthor somewhere. Mrs. Gogan. I'd be afraid to go. . .
.
.
!
.
.
I don't Mollser's terrible bad. think you'll get a docthor to come. It's hardly any use goin
Besides,
j
.
Bessie
I'll risk it. . [determinedly}. Give her a little of Fluther's whisky. . . . It's th' fright that's brought it on her so soon. Go on back to her, you. . . . [MRS. GOGANT goes into the house, and BESSIE softly closes the door. She .
comes down
steps,
and
is
.
half-way
across to R., when rifle-firing and the tok-tok-tok of a machine-gun bring her to a sudden halt. She hesitates for
a moment, then tightens her shawl round herf as if it were a shield} [Softly} God, be Thou my help in time o' throuble; an' shelther me safely in th' shadow of Thy wings. [She goes forward, goes up the lane, and goes oft R.]
ACT FOUR ScEN^Er^-The living-room of BESSIE BUR It is one of two small attic rooms (the other, used as a bedroom, is on the L.), the low ceiling slopes down towards the back. GESS.
There is an unmistakable air of poverty about the room. The paper on the walls is torn and soiled. On the R., downstage, is a door. A small window c. back. To L. of window, a well-worn dresser, with a small quantity of Delft. On the L. wall, upstage a door leading to a bedroom. The door on R. leads to the rest of the house and
is
Below door on
with coloured shade, looted in Third Act, stands; beside the lamp, hanging from nail in wall, back, hangs one of the evening dresses. There is no light in the room but that given from the two candles and the fire. The dusk has well fallen, and the glare of the burning buildings in the town can be seen through the windows in the distant sky.
The COVEY, FLUTHER and PETER have been playing cards, sitting on the floor by the light of the candles on the box near the cof When the CURTAIN rises the COVEY is fin. shuffling the cards, PETER is sitting in a stiff, dignified way opposite him, and FLUTHER is kneeling beside the window, back, cau tiously looking out into street. It is a few
days later. Fluther [furtively peeping out of the win Give them a good shuffling. dow}. . Th' sky's gettin' reddher an' reddher. Half o' th' You'd think it was afire. . .
.
a wooden box, on which are two lighted can dles in candlesticks. In front of coffin, a lit tle to L., a small kitchen table. At R. end of table, a kitchen chair. In corner where R. and back walls meet, the standard lamp,
.
.
.
.
.
.
on pimpin*
an' pimpin' there, till we have to fly out o' this place too. Fluther [ironically to PETER]. If they make any attack here, we'll send you out in He'll keep
your green an' glory uniform, shakin' your sword over your head, an' they'll fly before you as th' Danes flew before Brian Boru The Covey [placing the cards on the Come on, an' floor, after shuffling them}. !
cut.
[FLUTHER creeps, L. end of table, over to where COVEY and PETER are seated, and squats down on floor between them} [Having dealt the cards} Spuds up again. [NoRA moans feebly in room on L.
They
floor, front of coffin, is
.
. It's dangerous, an', besides, if they see you, you'll only bring a nose on th' house. Peter [anxiously}. Yes; an' he knows we had to leave our own, place th' way they 7 were riddlin it with machine-gun fire.
Fluther.
On
.
.
must be burnin'. The Covey [warningly}. If I was you, Fluther, I'd keep away from that window.
L. wall, the fireplace.
kitchen chairs.
.
city
Inside fender is a kettle and saucepan. On the hob a teapot. In front of fire a wellworn armchair. In front of window, back, a little to E.J an oak coffin stands on two
street.
755
listen for a moment} There, she's at it again.
been quiet for a good long time,
She's all
th'
same.
The Covey. She was quiet before, sure, an' she broke out again worse than ever. What was led that time? . . . Peter
Thray o' Hearts, [impatiently}. Hearts, Thray o' Hearts. Fluther. It's damned hard lines to think 1 of her dead-born kiddie lyin' there in th
Thray
o'
SEAN O'CASEY
756 j
arms o poor little Mollser. Mollser snuffed it, sudden too, afther all. The Covey. Sure she never got any care. How could she get it, an' th' mother out day and night lookin' for work, an' her consump tive husband leavin' her with a baby to be born before he died. Voices [in a lilting chant to the L. in an outside street]. Red Cr oss, Red Cr Ambu Ambu ... oss ... lance, .
.
.
!
.
.
.
.
.
[to
Your
FLTJTHER].
deal,
Fluther [shuffling and dealing the cards]. take a lot out o' Nora if she'll ever be th' same. The Covey. Th' docthor thinks she'll never be th' same; thinks she'll be a little touched here. IHe touches his forehead] She's ramblin' a lot; thinkin' she's out in th' counthry with Jack; or, gettin' his dinner ready for him before he comes home; or, All that, though, yellin' for her kiddie. might be th' chloroform she got. ... I don't know what we'd have done only for oul' Bessie: up with her for th past three It'll
}
hand
runnin'.
I always knew Fluther [approvingly]. there was never anything really derogatory wrong with poor Bessie. [Suddenly catching PETER'S arm as he is taking a trick] Eh, houl' on there, don't be so damn quick that's
my thrick
!
Peter [resentfully]
my thrick,
It's
and
What's your thrick?
man.
.
.
.
gentle an' merciful God '11 give th' pair o' yous a scawldin, an' a scarifyin' one o' these
days! [FLTTTHER takes a bottle of whisky from his pocket, and takes a drink] The Covey [to FLTTTHER]. Why don't
she now, Bes
1 left her sleeping quietly.
When
.
.
.
.
.
.
!
Fluther [gathering up cards]. If she gets a long sleep, she right. Peter's th' lone five.
Ten
here.
might be
all
The Covey [suddenly]. Whisht! I think somebody movin below. Whoever 7
comin' up. [A pause. Then the door, R. opens, and CAPT. BRENNAIST comes timidly in. He has changed his uniform for a suit of civies. His eyes droop with the heavi ness of exhaustion; his face is pallid and drawn. His clothes are dusty and stained here and there with mud. He leans heavily on the back of a chair R.
it is, he's
man;
Bessie [appearing at door of room, L.; in a tense whisper]. D'ye want to waken her again on, me, when she's just gone asleep? If she wakes will yous come an' mind her? If I hear a whisper out o' one o' yous again, I'll gut yous! The Covey [in a whisper]. S-s-s-h. She can hear anything above a whisper. Peter [looking up at the ceiling]. Th'
how is
I'm listenin' to her babblin', I think she'll never be much betther than she is. Her eyes have a hauntin' way of lookin' in in stead of lookin' out, as if her mind had been lost alive in madly minglin' memories of th' [Sleepily] Crushin' her thoughts past. . together ... in a fierce ... an' fanci ful ... [she nods her head and starts wakefully] idea that dead things are living an' [With a start] livin' things are dead. Was that a scream I heard her give? [Re assured] Blessed God, I think I hear her An' it's only there sereamin' every minute with me that I'm able to keep awake. The Covey. She'll "sleep, maybe, for a long time, now. Ten here.
!
Fluther. You must be gettin' blind, don't you see th' ace?
.
'down]
I hear .
keep
sie?
Fluther [loudly]. How is it your thrick? Peter [answering as loudly]. Didn't I lead th' deuce
.
sits
to BESSIE] Well,
Bessie.
Fluther.
an' thry to
man,
Keep a sup for to-morrow? How th' hell does a fella know there'll be any to-morrow? If I'm goin' to be whipped away, let me be whipped away when it's empty, an' not when it's half-full! [BESSIE comes in a tired way from door of room L., down to armchair by fire, [Over
The Covey
out,
a sup for to-morrow? Fluther. Spread it out?
.
lance!
nights,
you spread that
end of
table]
Capt. Brennan. Mrs. Clitheroe; where's Mrs. Clitheroe? I was told I'd find her here.
Bessie.
What
d'ye
want with Mrs. Clithe
roe?
Capt. Brennan. I've a message, a last message for her from her husband. Bessie. Killed! He's not killed, is he! Capt. Brennan [sinking stiffly and pain* on to a chair]. In th' Imperial Hotel;
fully
we fought
till
He
th' place was in flames. th' arm, an' then through
was shot through
THE PLOUGH AND THE STARS ... I could do nothin' for him only watch his breath comin' an' goin' in quick, jerky gasps, an' a tiny sthream o' blood thricklin' out of his mouth down over his lower lip. ... I said a prayer for th' dyin', an' twined his Rosary beads around . Then I had to leave him his fingers. . to save meself. . [He shows some holes in his coat] Look at th' way a machine-gun 7 tore at me coat, as I belted out o th buildin' an' darted across th' sthreet for An' then, I seen The Plough shelter. an' th' Stars falhV like a shot as th' roof crashed in, an' where I'd left poor Jack was nothin' but a leppin' spout o' flame Bessie [with partly repressed vehemence"]. th' lung.
.
.
.
j
.
.
.
I
Ay, you left him! You twined his Hosary beads round his fingers, an' then, you run like a hare to get out o' danger Capt. Brennan [defensively]. I took me He took it like chance as well as him. a man. His last whisper was to "Tell Nora to be brave; that I'm ready to meet my God, an that I'm proud to die for Ireland." An' when our General heard it he said that "Commandant Clitheroe's end was a gleam Mrs. Clitheroe's grief will be a of glory." joy when she realizes that she has had a hero for a husband. Bessie. If you only seen her, you'd know !
.
.
to th' differ.
[NoRA appears at door, L. She is clad only in her nightdress and slippers; her uncared for some days, is hanging in disorder over her shoulders. Her pale face looks paler still because of a vivid red spot on the tip of each cheek. Her eyes are glimmering with the light of incipient insanity; her hands are nervously fiddling with her nightgown. She halts at the door for a moment, looks vacantly around the room, and then comes slowly in. The rest do not notice her till she speaks. BESSIE has hair,
fallen asleep in chair]
PETER, COVEY and FLTJTHER stop their card-playing and watch her] Nora [roaming slowly towards R. to back
No ... not there, Jack ... I [Passing her hand very tired across her eyes] Curious mist on my eyes. Why don't you hold my hand, Jack. [Excitedly] No, no, Jack, it's not can't you see it's a goldfinch? Look at the black sat iny wings, with the gold bars, an' th' splash of crimson on its head. [Wearily] of table].
feel very,
.
.
.
.
:
.
.
.
.
.
me, something
ails
me.
.
.
.
[Frightened] You're goin' away, an' I can't follow you [She wanders back to L. end of table] I can't follow you. [Crying out] Jack, Jack, Jack! [BESSIE wakes with a start, sees NORA, gets up and runs to her] !
Bessie [putting arm round NORA]. Mrs. Clitheroe, aren't you a terrible woman to
You'll get cold if get up out o' bed. you stay here in them clothes. Nora [monotonously]. Cold? I'm feelin .
.
.
7
. it's chilly out here in th' very cold [Looking around, frightened] counthry. What place is this? Where am I? Bessie [coaxingly]. You're all right, Nora; you're with friends, an' in a safe .
.
Don't you know your uncle
place.
an.'
cousin, an' poor oul' Fluther? Peter [rising to go over to NORA].
.
7
ails
Something
757
darlin',
your
Nora,
now
Fluther [pulUng him back]. Now, leave her to Bessie, man. crowd '11 only make her worse.
A
Nora [thoughtfully]. There is something I want to remember, an' I can't. [With agony] I can't, I can't, I can't! head,
My
my
head! [Suddenly breaking from BES SIE, and running over to the men, and grip ping FLTTTHER by the shoulders] Where is Tell me where it? Where's my baby? you've put it, where've you hidden it? baby, my baby; I want my baby! My . head, my poor head. Oh, I can't tell what is wrong with me. [Screaming"] Give him to me, give me my husband!
My
.
Bessie. pitiful
Blessin* o'
.
God on
us, isn't this
!
Nora [struggling with .BESSIE]. I won't go away for you I won't. Not till you give me back my husband. [Screaming] Mur derers, that's what yous are; murderers, murderers [BESSIE gently, but firmly, pulls her from FLUTHER, and tries to lead her to ;
!
room,
L.]
Bessie [tenderly], Ss-s-sh. We'll bring Mr. Clitheroe back to you, if you'll only lie down an' stop quiet. . . . [Trying to lead her in] Come on, now, Nora, an' I'll sing something to you. life was thryin,' to Nora. I feel as if force its way out of body. ... I can
my my
hardly
breathe
.
.
.
I'm
frightened, I'm frightened
!
frightened,
I'm
For God's
sake,
SEAN O'CASEY
758
your arms around
me
my
Hold
don't leave me, Bessie. !
man!
We'll hare to be brave, away th' heaviness of slow-movin3 hours, rememberin' that sor
Bessie [to NORA].
an' let patience clip th'
row may endure for
but joy com-
th* night,
j
Come on in, an I'll , eth in th' mornin'. sing to you, an' you'll rest quietly. Nora [stopping suddenly on her way to the room]. Jack an' me are goin' out some where this evenin'. Where I can't tell. Isn't
it
curious
.
.
I
can't
remember.
.
.
[Screaming, and pointing E.] He's there, he's to me! there, an they won't give him back I won't Bessie. S-ss-s-h, darlin', s-ssh, sing to you,
if
you're not quiet,
Nora [nervously holding BESSIE],
my to
hand, hold
me
my hand, an'
Come in an'
Hold
lie
down, an'
Nora [vehemently]. Sing me; sing, room,
I'll
amid
J
night
is
into
th* encircling
me on, am far from Lead Thou me on, dark an' I
home,
[Leading NORA, BESSIE goes into room, L.]
[Singing softly inside room, L.] feet, I do not ask to see Th' distant scene one step enough for me. Covey [to BRENNAN]. Now that you've seen how bad she is, an' that we daren't tell
Keep thou
my
her what has happened
A
lence]
Two
Corporal
tens an' a five. Ello. Stoddart.
till
she's betther,
you'd best be slippin' back to where you come from. y Capt. Brennan. There's no chance o slippin' back now, for th' military are every where: a fly couldn't get through. I'd never
have got here, only I managed to change me I'll have uniform for what I'm wearin'. to take me chance, an' thry to lie low here for a while. .
.
.
There's no The Covey [frightened]. place here to lie low. Th' Tommies '11 be hoppin' in here, any minute 1
The Covey.
[Indicating
stiff?
Yis.
Corporal Stoddart. Who's gowing with it? Ownly one allowed to gow with it, you
knaow.
NORA
Lead Thou
Th
met, rifle, bayonet and trench tools. stands near door R., looks around the room, and at the men who go on pause] silently playing cards. [Gathering up cards, and breaking the si
sing
L], light,
be
He
3
to me, sing to
[singing as she leads
Lead, kindly gloom,
all
s
the coffin] This the
to you.
Bessie
An' then we'd
shanghaied The Covey. Be God, there's enough afther happenin' to us! he as listens']. Fluther [warningly, Whisht, whisht, th' whole o yous. I think I heard th' clang of a rifle butt on th' floor [All alertness] Here, of th' hall below. come on with th' cards again. I'll deal. [He Clubs up. shuffles and deals the cards to all] [To BRENNAN] Thry to keep your hands from shakin', man. You lead, Peter. [As PETER throws out a card] Four o' Hearts led. [Heavy steps are heard coming up door opens stairs, outside door R. The and CORPORAL STODDART of the Wiltshires enters in full war kit steel hel
sing to me, sing
!
Bessie.
[aghast]. I
Fluther [to BRENNAN]. Now you can see th' way she is, man. Peter. An' what way would she be if she heard Jack had gone west? The Covey [to PETER, warningly]. Shut up, you,
Peter
hand, put
The Covey. I dunno. Corporal Stoddart. You dunnow? The Covey. I dunno. She's Bessie [coming into the room]. 3 afther slippin off to sleep again, thanks be
I'm hardly able to keep me own [To the soldier] Oh, are yous open. eyes goin' to take away poor little Mollser? Ay; 'oo's agowing Corporal Stoddart.
to God.
with >er?
Oh, th' poor mother, o' course. help her, it's a terrible blow to her!
Bessie.
God
Fluther. A terrible blow? Sure, she's in her element now, woman, mixin earth to earth, an' ashes t'ashes, an' dust to dust, an* revelHn' in plumes an* hearses, last days an' judgements! (
1
Bessie [falling into chair by the fire]. bless us! I'm jaded! Corporal Stoddart. Was she plugged? Covey [shortly]. No; died of consump
God
tion.
Ow, is Corporal Stoddart [carelessly]. all thought she might 'ave been
that
plugged.
Covey it
[indignantly].
enough?
Is that all!
Isn't
D'ye know, comrade, that more
THE PLOUGH AND THE STARS consumption than are killed in the An' it's all because of th' system we're livin' undher. Corporal Stoddart. Ow, I know. I'm a, Socialist, myself, but I 'as to do my dooty. Th' only Covey [ironically'!. Dooty! dooty of a Socialist is th' emancipation of
[CORPORAL STODDART comes from window down R. to door R., and stands near the
die o'
war?
workers. Corporal Stoddart.
th'
an'
to fight for
'e 'as
Fluther
Ow, a man's a man, 'is
country, 'asn't 'e?
not fightin' for your counthry here, are you? Peter [anxiously, to FLUTHER J. Ay, ay, 7 Fluther, none o that, none o' that! The Covey. Fight for your counthry! Did y'ever read, comrade, Jenersky's Thesis on the Origin, Development an Consolida tion of th' Evolutionary Idea of the ProYou're
{.aggressively}.
}
litariatf
Corporal
Ow, cheese Bessie
Stoddart it,
{good-humouredly], Paddy, cheese it!
How
{sleepily'].
is
things in th'
town, Tommy? Corporal Stoddart. Ow, I think it's nearly over. We've got 'em surrounded, an' we're closing in on the blighters. It was only a bit of a dorg-fight. {Outside in the street is heard the sharp ping of a sniper's rifle, followed by a
door] Corporal Stoddart {to MRS. GOGAN]. Git it aht, mother, git it aht, Bessie [from the chair]. It's excusin' me you'll be, Mrs. Gogan, for not stannin' up, seein' I'm shaky on me feet for want of a little sleep, an' not desirin' to show any dis respect to poor little Mollser. Fluther. Sure, we all know, Bessie, that it's vice versa with you. Mrs. Gogan {to BESSIE]. Indeed, it's meself that has well chronicled, Mrs. Burgess, all your gentle hurryin's to me little Moll 3
when she was alive, bringin her thin' to dhrink, or somethin' t'eat, an'
Red Cr
Ambu
.
.
.
.
.
.
Ambu
lance,
Red Cr
oss, .
.
.
.
.
.
passin' her without lifting a delicate word o' kindness. but Stoddart Corporal {impatientlyf kindly]. Git it aht, git it aht, mother. [The men rise from their card-playing ; FLUTHER and BRENNAN go R. to R. end of coffin; PETER and COVEY go L. of ta ble to L. end of coffin. One of them take box and candles out of way. They carry coffin down R. and out by door R., CORPORAL STODDART watching them. MRS. GOGAN follows the coffin
out]
I
[MRS. GOGAN enters tearfully by door R.; she is a little proud of the impor tance of being connected with death}
Mrs. Gogan {to FLUTHER]. I'll never for what you done for me, Fluther, goin' around at th' risk of your life settlin' every thing with th undhertaker an' th' cemetery people. When all me own were afraid to put their noses out, you plunged like a good one through hummin' bullets, an' they knockin' fire out o' th' road, tinklin' through th' frightened windows, an' splashin' them An' you'll selves to pieces on th' walls! find, that Mollser in th' happy place she's gone to, won't forget to whisper, now an' again, th' name o Fluther. j
7
R.,
CORPORAL STODDART, at door turns towards BESSIE]
[To BESSIE, who
lance!
the blighter, we'll give 'im the cold steel, we We'll jab the belly aht of 'im, we will
get
{A pause.
oss!
Corporal Stoddart {going up E. and look ing out of window, back}. Christ, there's another of our men 'it by the blarsted 'E's knocking abaht 'ere somesniper! wheres. {Venomously} Gord, wen we gets will.
somenever up her heart with
ser,
squeal of pain] Voices [to the L. in a chant, outside in street}.
759
is almost asleep] 'Ow in this 'ere 'ouse? [No an Loudly] 'Ow many men is in this 'ere
many men swer. J
is
ouse?
Bessie [waking with a start]. God, I was How many men? asleep! . . . you see them? Corporal Stoddart. Are they all that are in the 'ouse? Bessie [sleepily] Oh, there's none higher up, but there may be more lower down.
nearly Didn't
.
Why? Corporal Stoddart. J
trict as to
All
men
in the dis
be rounded up. Somebody's giv
ing 'elp to the snipers, an' we 'as to tike pre cautions. If I 'ad wy I'd mike 'em all
my
join
up
an'
do their
they an' you are
all
bit!
But
I suppose
Shinners.
Bessie [who has been sinking into sleep, waking up to a sleepy vehemence]. Bessie Burgess is no Shinner, an' never had no thruck with anything spotted be th' fingers o' th' Fenians. But always made it her
business to harness herself for Church when-
SEAN O'CASEY
760
mind your own
business! What's it got to do with you, what's wrong with me? Bessie [in a sleepy murmur]. Will yous
ever she knew that God Save The King was goin' to be sung at t'end of th' service; whose only son went to th' front in th' first contingent of the Dublin Fusiliers, an' that's on his way home carryin' a shatthered arm that he got fightin' for his King an' coun-
thry to conthrol yourselves into quietness? Yous'll waken her ... up ... on ... me [She sleeps] again. Fluther [coming c.]. Come on, boys, to th cards again, an' never mind him. Corporal Stoddart. No use of you going to start cards; you'll be going aht of 'ere, soon as Sergeant comes. Fluther [in surprise]. Goin out o' here? An' why're we goin' out o' here? .
thry! [BESSIE'S
STODDART remains standing a little in from door R.] Fluther [after an embarrassing pause}. Th' air in th sthreet outside's shakin' with the firin' o' rifles, an' machine-guns. It must be a hot shop in th' middle o' th' scrap. Corporal Stoddart. We're pumping lead in on 'em from every side, now; they'll soon be shoving up th' white flag. Peter [with a shout at FLUTHER and COVEY]. I'm tellin' you either o' yous two lowsers 'ud make a betther hearseman than Peter! proddin' an pokin' at me an' I helpin' to carry out a corpse!
Corporal Stoddart. All men in district 'as to be rounded up, an' 'eld in till the scrap is over. Fluther goin' to
It wasn't a very Fluther [provokingly] derogatory thing for th' Covey to say that you'd make a fancy hearseman, was it? Peter [furiously]. A pair o' redjesthered, bowseys pondherin' from mornin' till night on how they'll get a chance to break a gap through th' quiet nature of a man that's al ways endeavourin' to chase out of him any .
sthray thought of
venom
against his fella-
man! The Covey. Oh, shut it, shut it, shut it! Peter [furiously]. As long as I'm a livin' man, responsible deeds to th'
me thoughts, words an' above, I'll feel meself in
for
Man
stituted to fight again' th' sliddherin' ways of a pair o' picaroons, whisperin', concurring concoctin', an' conspirin' together to rendher unconscious of th' life I'm thryin' to live!
me
Stoddart [dumbfounded] Corporal What's wrong, Paddy; wot 'ave they done
.
to
you? Peter [savagely to the CORPORAL].
They're puttin' them
A
Covey [astounded].
church?
Fluther. What sort of a church? Is it a Protestan' church? Corporal Stoddart. I dunno; I suppose so.
Be God,
Fluther [in dismay].
it'll
be a
nice thing to be stuck all night in a Protestan' church! If I was you, I'd Corporal Stoddart.
bring the cards you might get a chance of a gime. Fluther [hesitant] Ah, no, that wouldn't do ... I wondher. . [After a moment's thought] Ah, I don't think we'd be doin' anything derogatory be playin' cards in a Protestan' church. Corporal Stoddart. If I was you I'd bring a little snack with me; you might be glad of it before the morning. [Lilting] Oh, I do like a snice mince pie, Oh, I do like a snice mince pie. [Again the snap of the sniper's rifle rings out, followed by a scream of pain. CORPORAL STODDART goes pale, runs up R. to near window, c., with his rifle at the .
.
.
ready] Voices [in street to
Cr ... .
.
.
oss
lance
.
... Red .
.
Ambu
chanting].
R.,
Cr .
.
.
.
.
.
oss!
Red
Ambu
lance!
[The door R. is dashed open, and SER GEANT TINLEY, pale, agitated, and angry, comes rapidly in. He stands in side the door, glaring at
room.
You
An' where're we
[concerned].
be held in?
Corporal Stoddart. in a church.
j
j
.
j
head sinks slowly forward R., opens and PETER comes in, his body stiff, and his face contorted with anger. He goes up R., to back, and paces angrily from side to side. COVEY, with a sly grin on his and FLUTHER follow PETER. face, FLUTHER goes to L. and COVEY goes to BRENNAN follows in R. end of table. and slinks to back of table to L. corner between dresser and door, L. CORPORAL Door,
again.
.
men
in the
CORPORAL STODDART swings round at the ready as TINLEY enters and lets
THE PLOUGH AND THE STARS his rifle drop when he sees the SER GEANT] One of Corporal Stoddart [to SERGEANT] our men 'it again, Sergeant? Sergeant Tinley [angrily]. Private Tay lor: got it right through the chest, 'e did; an 'ole in front as ow you could put your 'and through, an' arf 'is back blown awyl
the press at back. She goes to the dresser L., back, opens drawer, takes out a soiled cloth and spreads it on the table. She then places things for tea
.
Dum-dum
bullets they're using.
assassins potting at us
Gang
from behind
of
roofs.
That's not plying the gime why don't they come into the open and fight fair? Fluther [unable to stand the slight, facing
761
on the
table]
room looks very odd, somehow. ... I was nearly forgetting . Jack's tea. Ah, I think I'll have every thing done before he gets in. ... [She lilts gently, as she arranges the table] Nora.
I imagine th' .
.
:
SERGEANT].
Fight
fair!
A
few hundhred
scrawls o' chaps with a couple o' guns an' Rosary beads, again' a hundhred thousand thrained men with horse, fut an' artillery. ... [To others in room] An' he wants us to fight fair! [To SERGEANT] D'ye want us to come out in our skins an' throw stones? Sergeant Tinley [to CORPORAL], Are these four all that are 'ere? Corporal Stoddart. Four ; that's hall, Ser
Th' violets were scenting th' woods, Nora, Displaying their charms to th' bee, When I first said I lov'd only you, Nora, An' you said you lov'd only me.
Th' chestnut blooms gleam'd through th' glade, Nora, A robin sang loud from a tree, When I first said I lov'd only you, Nora, An' you said you lov'd only me. [She pauses suddenly, and glances round the room]
geant.
Come on, Sergeant Tinley [roughly] [To the men] then, get the blighters aht. Aht into the street with 'Ere, 'op it aht! you, an' if another of our men goes west, you go with 'im. [He catches FLUTHER by .
the arm]
Go
Eh, who
Go
Sergeant Tinley [roughly].
you
remember.
to
Voices
Cro
.
.
.
Nora on, git
then
.
.
.
.
.
ss,
Ambu
lance,
Red Cro
[startled
resuming
a
in
[chanting .
.
.
and the
.
.
. .
.
distant street]. Red lance! .
ssl
a moment, arrangement of the
listening for
table].
blighter.
Fluther [truculently]. Who're you callin' a blighter to, eh? I'm a Dublin man, born an' bred in th' City, see? Sergeant Tinley. Oh, I don't care if you were Bryan Buroo; git aht, git aht. Fluther [pausing as he reaches door R., to face the SERGEANT defiantly] Jasus, you an' your guns! Leave them down, an' I'd beat th' two of yous without sweatin' [Shepherded by the two soldiers, who .
1
follow them out, PETER, COVEY, FLXJTHER and BRENNAN go out by door R.] [BESSIE is sleeping heavily on the chair by the fire. After a pause NORA ap pears at door L., in her nightdress. Re maining at door for a few moments she looks vaguely around the room. She then comes in quietly, goes over to the
pokes it and puts the kettle on. She thinks for a few moments, pressing her hand to her forehead. She looks questioningly at the fire, and then at
fire,
.
Ambu
on, git aht!
Fluther [pulling himself free]. are you chuckin', eh? aht,
[Doubtfully] I can't help feelin' this room What is it? ... What very strange. I must think. ... I must thry is it? ...
Trees, birds an' bees sang a song, Nora, Of happier transports to be, When I first said I lov'd only you, Nora, An' you said you lov'd only me. of rifle-fire is heard in a street near by, followed by the rapid toktok-tok of a machine-gun] [Staring in front of her and screaming] baby, my baby, my Jack, Jack, Jack!
[A burst
My
baby! Bessie [waking with a start]. You divil, you afther gettin' out o' bed again!
are
[She rises and runs towards NORA, 'rushes to the
window, back
L.,
who
which
she frantically opens] [at the window, screaming]. Jack, Jack, for God's sake, come to me! Git awoy, Soldiers [outside, shouting]. git awoy from that window, there Bessie [seizing hold of NORA]. Come
Nora
!
SEAN O'CASEY
762
run out an' get Mrs. Gogan, or Fluther, or
that win away, come away, woman, from is [struggling with BESSIE]. Where where have you hidden it? Oh, Jack,
Jack, where are you? Bessie [imploringly!.
Mrs. Clitheroe, for God's sake, come away Nora [fiercely]. I won't; he's below. Let me ... go! You're thryuV to keep me from me husband. I'll follow him. I
.
Jack, Jack, come to your Nora Bessie. Hus-s-sh, Nora, Nora! He'll be here in a minute. Ill bring him to you,^ if I will. only be quiet honest to God, !
you'll
BESSIE pushes NOBA
[With a great effort away from the window, the force used
her causing her to stagger against it Two rifle-shots ring out in quick self. succession. BESSIE jerks her body cona vulsively; stands stiffly upright for moment, a look of agonized astonish
ment on her jace, then she staggers the table forward, leaning heavily on with her hands} [With an arrested scream of fear and pain] Merciful God, I'm shot, I'm shot, I'm shotl [To ... Th' life's pourin out o' me! through NORA] I've got this through you . through you, you bitch, you! God, have mercy on me ... [To NOKA] You wouldn't stop quiet, no you wouldn't, you wouldn't, blast you! Look at what I'm afther gettin', look at what I'm afther gettin' I'm bleedin' to death, an no one's here 7
.
-
.
.
.
.
.
.
!
5
[Calling] Mrs. Gogan, Mrs. Gogan! Fluther, Fluther, for God's sake, somebody, a doctor, a doctor! to stop th' flowin' blood!
[BESSIE, leaving E.
end of
table, staggers
down towards door E., but, weakening she sinks down on her knees B.C., then ',
f
she supports herself by her
reclining,
right
hand
resting
on
NOKA
floor.
[As NOEA does not stir] Blast you, stir yourself, before I'm gone! Nora. Oh, Jack, Jack, where are you? Jesus Bessie [in a whispered moan], It's all dark, dark Christ, me sight's goin' quick!
Nora it;
to bring a doctor, quick, quick,
somebody
dow!
is
her back to wall, L., her trembling hands held out a little from her sides; her lips quivering, her breast rigid with
me hand
5
.
God, oh God! [She feebly sings] I do believe ... I will believe died ... for ... me, Jesus That cross He That ... on ... the .
.
.
.
.
From ...
.
.
sin
His
.
.
dhrink
o'
!
ingly]
Nora, Nora, dear, for God's sake,
,
,
.
.
.
.
.
blood
.
... to ...
...
set
lies
free.
stretched
A pause; then still and rigid. MRS. GOGAN runs hastily in by door R. She halts at door and looks round with a frightened air] out,
.
Mrs.
Gogan
[quivering
with
fear].
God, what's aftKer happenin! [To NOEA] What's wrong, child, what's wrong? [She sees BESSIE, runs to her and bends over the body] Bessie, Bessie! [She shakes the body] Mrs. Burgess, Mrs. Bur [She feels BESSIE'S forehead] My gess! God, she's as cold as death. They're afther murdherin' th' poor inoffensive woman! [SEEGEANT TINLEY and COEPOEAL STODdoor E., DAET, in agitation, enter by Blessed be
their rifles at the ready] Sergeant Tinley [excitedly]. This is the 'ouse! [They go rapidly to window, back, That's the window! c.] Nora [pressing back against the waU]. Hide it, hide it; cover it up, cover it up! [SEEGEANT TINLEY, looking round room, sees body. He comes from window to BESSIE, and bends over her] Sergeant Tinley [bending over body]. Oo's this? Oh, God, 'Ere, wot's this? we've plugged one of the women of the
before her face]. me see it! Take
.
.
[She ceases singing, and
wather, you jade, will you? [Plead There's a fire burnin' in me blood
.
.
.
shed
'ouse
.
!
[BESSIE'S body lists over and she sinks into a prostrate position on the floor] I'm dyin , I'm dyin' . * I feel it. ... Oh
heaving, staring wildly at the figure of BESSIE] Nora [in a breathless whisper] Jack, I'm I'm frightened. Jack. frightened. . . Oh, Jack, where are you? This is what's afther Bessie [meaningly} comin' on me for nursin' you day an' night. ... I was a fool, a fool, a fool! Get me a .
!
!
Nora, hold
!
Corporal Stoddart [at window]. W'y the Is she dead? 'ell did she go to the window?
Dead as bedamned. Tinley. couldn't afford to tike any chances.
Sergeant Well,
we
[SEEGEANT TINLEY goes back to window,
and looks out] Nora [scr earning and putting her hands f
Mrs. Gogan
I
Hide
me
it,
hide
it;
away, take
don't let
me
away,
THE PLOUGH AND THE STARS [MRS. GOGAN, who has been weeping softly over BESSIE, rises, and crosses by front of table to room, L., goes in and comes out with a sheet in her hands. She crosses over and spreads the sheet over BESSIE'S body]
Mrs. Gogan las she spreads the sheet]. Oh, God help her, th' poor woman, she's stiff enin' out as hard as she can! Her face has written on it th' shock o sudden agony, an' her hands is whitenin' into th' smooth shininess of wax. j
Nora [whimperingly].
Take me away,
take me away; don't leave lookin' an' lookin' at it!
me
here to be
Mrs. Gogan [going over to NOEA and put Come on with ting her arm round her]. me, dear, an' you can doss in poor Mollser's bed, till we gather some neighbours to come an' give th' last friendly touches to Bessie in th' lonely layin' of her out.
[MRS. GOGAN puts her arms round NORA, leads her across from L. to R., and they both go slowly out by door
763
of table, and they drink the tea. In the distance is heard a bitter burst of rifle and machine-gun fire, interspersed with the boom, boom of artillery. The glare in the sky seen through the win dow c., back, flares into a fuller and a deeper red]
Sergeant Tinley. There gows the general attack on the Powst Office. Voices [in a distant street]. Ambu . lance! Red Cro lance, Ambu ss, .
.
.
Red Cro ...
.
.
.
ss!
[The voices of soldiers at a barricade outside the house are heard singing]
They were summoned from the 'illside, They were called in from the glen,
And
the country found 'em ready
At the
stirring call for
men.
Let not tears add to their 'ardship,
As the
soldiers pass along,
And although our 'eart is breaking, Make it sing this cheery song.
[CORPORAL STODDART comes from window
[SERGEANT TINLEY and CORPORAL STOD DART join in the chorus as they sip the
to table, looks at tea-things on table; goes to fireplace, takes the teapot up in
Sergeant Tinley and Corporal Stoddart
R.]
his hand] Corporal Stoddart [over to TINLEY, at window]. Tea here, Sergeant; wot abaht a
cup of scald? Sergeant Tinley. Pour it aht, pour it aht, Stoddart I could scoff anything just now. [CORPORAL STODDART pours out two cups
SERGEANT TINLET comes from to table, and sits on R. end; CORPORAL STODDART sits on opposite end
of tea.
window
.
.
tea]
[singing] .
Keep the ome J
fires
burning,
While your 'earts are yearning, Though your lads are far away, They dream of 'ome; There's a silver lining Through the dark cloud shining, Turn the dark cloud inside out, Till the boys come 'ome !
