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Read-aloud plays / by Horace Holley. Holley, Horace, 1887-1960. 400dpi TIFF G4 page images University of Kentucky, Electronic Information Access & Management Center Lexington, Kentucky 2002 b92-225-31182918 Electronic reproduction. 2002. (Beyond the shelf, serving historic Kentuckiana through virtual access (IMLS LG-03-02-0012-02) ; These pages may be freely searched and displayed. Permission must be received for subsequent distribution in print or electronically. Read-aloud plays / by Horace Holley. Holley, Horace, 1887-1960. M. Kennerley, New York : 1916. vi, 133 p. ; 19 cm. Coleman Her happiness ; A modern prodigal ; The incompatibles ; The genius ; Survival ; The telegram ; Rain ; Pictures ; His luck. Microfilm. Atlanta, Ga. : SOLINET, 1994. 1 microfilm reel ; 35 mm. (SOLINET/ASERL Cooperative Microfilming Project (NEH PS-20317) ; SOL MN04756.04 KUK) Printing Master B92-225. IMLS This electronic text file was created by Optical Character Recognition (OCR). No corrections have been made to the OCR-ed text and no editing has been done to the content of the original document. Encoding has been done through an automated process using the recommendations for Level 1 of the TEI in Libraries Guidelines. Digital page images are linked to the text file. READ- ALOUD PLAYS BY HORACE HOLLEY DIVINATIONS AND CREATION READ-ALOUD PLAYS THE DYN'AMICS OF ART PAHAIisil THE SO(;IAL PRINCIPLE THE INNER GARDEN THE STRICKEN KING READ-ALOUD PLAYS BY HORACE HOLLEY NEW YORK MITCHELL KENNERLEY 1916 COPYRIGHT i 9 I 6 BY MITCHELL KENNERLEY DRAMATIC AND LECTURE RIGHTS RESERVED BY HORACE HOLLEY PRINTED IN AMERICA CONTENTS PAGE INTRODUCTION V HER HAPPINESS 1 A MODERN PRODIGAL 7 THE INCOMPATIBLES 29 TiiE GENIUS 39 SURVIVAL 5 5 TIHE TELEGRAM 71 RAIN 79 PICTURES 103 His LuCK 121 This page in the original text is blank. INTRODUCTION THE first two or three of these "plays" (I retain T the word for lack of a better one) began them- selves as short stories, but in each case I found that the dramatic element, speech, tended to absorb the imper- sonal element of comment and description, so that it proved easier to go on by allowing the characters to establish the situation themselves. As I grew conscious of this tendency, I realized that even for the purpose of reading it might be advantageous to render the short story subject dramatically, since this method is, after all, one of extreme realism, which should also result in an increase of interest. As the series devel- oped, however, I perceived that something more than a new short story form was involved; I perceived that the "read-aloud" play has a distinct character and function of its own. In the long run, everything human rises or falls to the level of speech. The culminating point, even of action the most poignant or emotion the most intimate, is where it finds the right word or phrase by which it is translated into the lives of others. Every literary form has always paid, even though usually un- conscious, homage to the drama. But the drama as achieved on the stage includes, for various reasons, only a small portion of its own inherent possibility. Exigen- cies of time and machinery, as well as the strong influ- ence of custom, deny to the stage the value of themes v INTRODUCTION such as the Divine Comedy, on the one hand, and of situations which might be rendered by five or ten min- utes' dialogue on the other, each of which extremes may be quite as "dramatic" as the piece ordinarily exploited on the stage. By trying these "read-aloud" plays on different groups, of from two to six persons, I have proved that the homage all literature pays the drama is misplaced if we identify the drama with the stage. A sympathetic voice is all that is required to "get over" any effect possible to speech; and what efect is not Moreover, by deliberately setting out for a drama in- dependent of the stage, a drama involving only the intimate circle of studio or library, I feel that an entire new range of experiences is opened up to literature it- self. Nothing is more thrilling than direct, self-reveal- ing speech; and, once the proper tone has been set, even abstract subjects, as we all know, have the power to absorb. Thus I entertain the hope that others will take up the method of this book, the method of natural, intimate, heart-to-heart dialogue carried on in a suit- able setting, and with attendant action as briefly indi- cated; for the discovery awaits each one that speech, independent of the tradition of the stage, has the power of rendering old themes new and vital, as well as sug' gesting new themes and situations. Indeed, it is in the confidence that others will follow with "read-aloud" plays far more interesting and valuable than the few offered here that I am writing this introduction, and not merely to call attention to a novelty in my own work. HORACE HOLLEY. New York City. vi HER HAPPINESS This page in the original text is blank. HER HAPPINESS Darkness. A door opens swiftly. Light from out- side shows a woman entering. She is covered by a large cape, but the gleam of hair and brow indicates beauty. She closes the door behind her. Darkness. THE WOMAN Paul! Paul! Are you here, Paul A VOICE Yes, Elizabeth, I am here. THE WOMAN Oh thank God! You are here! I felt so strange- I thought . . . Oh, I cannot tell you what I have been thinking! Turn on the light, Paul. THE VOICE You are troubled, dear. Let the darkness stay a moment. It will calm you. Sit down, Elizabeth. THE WOMAN Yes . . . I am so faint! I had to come, Paul! I bad to see you, to know that you were . . . I know I promised not to, but I was going mnad! Just to touch you, to hold you . . . but it's all right now. THE VOICE It is all right now, Elizabeth. TIE WOMAN I thought I could stand it, deAr, I thcught I -ould stand it. It wasn't myself-I swear to you it wasn't 3 HER HAPPINESS -nor him. I, I can stand all that, now. It was something else, something that came over me all at once. I saw-Oh Paul! the thing I saw! But it's all right now.... THE VOICE It is all right, Elizabeth, because ours is love, love that is made of light, and not merely blind desire. THE WOMAN Ours is love. We are love! THE VOICE So that even if we are separated-even if you can- not come to rue yet, we shall not lose conviction nor joy. THE WOMAN Yes, Paul. I will not make it harder for you. I know it is hard, and that it was for my sake you could bring yourself to bind me not to see you again. THE VOICE Love is, world without end. That is all we need to know. THE WOMAN World without end, amen. THE VOICE And because I knew the power and truth of love in you I put this separation upon us. THE WOMAN For my sake. I know it now, Paul! And trust me! You can trust me, Paul! Not time, nor distance, nor trouble nor change shall move me from the heights of love where I dwell. THE VO tC ES And because I knew the happiness of love could not 4 HER HAPPINESS endure in deceit, nor the wine give life if we drank it in a cup that was stained, I put you fromn me-in the world's sight we meet no more. THE WOMAN In the world's sight . . . and in the sight of God and man shall I be faithful to him from now on, in thought and deed and word, as a heart may be. Yes, Paul . . . even that can I endure for your sake. For I know that hereafter- THE VOICE For love there is neither here nor hereafter, but the realization of love is ever according to his triumph. This has come to me suddenly, a light in the dark- ness, and I have won the truth by supreme pain. THE WOMAN That, too, Paul. Pain. . . . I have been weak I gave way to my nerves, but now in your presence I am strong again, and I shall not fail you. THE VOICE My presence is where your love is, and as your love so my nearness. Love me as I love you now, and I shall be more real to you than your hands and your eyes. THE WOMAN Bone of one bone, and flesh of one flesh. . . . THE VOICE Spirit of one spirit! The flesh we have put away. THE WOMAN That, too, Paul. Oh the glory of it ! So be my happiness that I shall not wish it changed, even be- fore the Throne! 5 6 HER HAPPINESS THE VOICE I have given you happiness THE WOMAN Perfect happiness, Paul. I am happy, happier than I ever was before. But before I go home from here for the last time, turn on the light, Paul, that we may be to each other always as the wonder of this moment. For the last time, Paul. Paul . . . Paul Where are you Why don't you answer . . Paul! (She turns on the light. It is a studio. At the piano, fallen forward upon the keys, sits the body of a man. 'There is a revolver on the floor be- side him.) Paul! . . . As I saw him! Is this my happiness. Oh God, must I A MODERN PRODIGAL This page in the original text is blank. A MODERN PRODIGAL The scene shows Uncle Richard's library, a massive and e.cpensive interior suggest ing prosperity rather tian meditation. It is obrionsly new, and in the whole7 room there is only one intimate and human note, a quaint little oil painting of a boy with bright eyes- Uncle Richard at the age of eleven. Richard wa1lks about, waiting for his uncle, and ex- amines the appointments with more curiosity than rev- erence. Stopping by the mantel for a moment he notices, with a start of surprise, his onn photograph. le turns away withJ a shrug just as his uncle hurniedly enters. UNCLE RlCICIARD Dick! Richard! At last! How are you You re- ceived my letter RICHARD I am very well, uncle. Yes, I received your letter. It was forwarded from Florence. UNCLE RICHARD Good! Sit down, Richard, sit down. RIC HARD I did not receive it until a few days ago, in 'New York. I came on as soon as possible. But I had engage- ments--business engagements-that delayed me. UNCLE RICHARD Business I am very glad, Richard, that you have 9 A MODERN PRODIGAL given, up your art. Not that art isn't entirely com- mendable, but in times like these, you know . . . RICHARD Don't misunderstand me, uncle. My business was connected with art. I haven't given up painting. I never shall. UNCLE RICHARD In my letter- RICHARD Yes. Cousin Anne wrote me about Aunt Ethel's death, but I did not realize bow changed everything here was until I read that letter from you. And now (glancing about) it is even clearer. It must have been a bitter shock to you, Uncle Richard. You had both come to the point where you could have done so much with life. But you are quite well, Uncle Richard UNCLE RICHARD I am never unwell. I don't believe in it. Yes, every- thing was ready here. In its larger issue, my life has not been unsuccessful... . But your business, Richard, it came out well, I hope RICHARD Quite. You see after graduating I borrowed a cer- tain sum to go abroad with a classmate. We had a plan for doing a book on modern Italy, he writing the text and I making illustrations. We had quite a new idea about it all. It was good fun besides. Well, the work has been placed, and now after re- paying the loan I have enough to take a studio and begin painting in earnest. 10 A MODERN PRODI)GAL UNCLE RICHARD Hum. RICHARD I believe I have a copy of one of the sketches with me. (He tears a sheet from a note book and hands it to Uncle Richard.) UNCLE RICHARD (looking at it wrong side up) A sketch. I see. Of course it is unfinished RICHARD Yes. But then, no painting should be what you call "finished." A work of art can only be finished by the mental effort of appreciation on the part of the spectator. Photographs and chromos are finished- that's why they are dead. UNCLE RICHARD I was not aware of the fact. But . . you will re- member, Richard, that in my letter I asked you to visit me RICHARD Of course. And I shall be very pleased to stay for a few days. Very kind of you to ask me. UNCLE RICHARD Not at all, Richard, not at all! I-- RICHARD On Monday I must return to New York and look for a studio. With the book coming out I feel I shall have no trouble selling my work. UN.CLE RICHARD Studio Isn't that-hem! rather Bohemian, Rich- ard 11 A MODERN PRODIGAL RICHARD Good gracious, uncle, you haven't been reading George Moore, have you UNCLE RICHARD But Richard, did you not understand that I wanted you to stay here longer than that RICHARD Why no. How long did you mean UNCLE RICHARD Er-I hadn't thought, exactly. I mean that I wanted you to bring your things here-bring your things here and just live on with ne. RICHARD I had no idea you meant that. Anyhow, as I couldn't paint here, it's impossible. But, of course, if you care to have me stay a few days longer- UNCLE RICHARD But I have everything arranged for you here. Your room-everything. RICHARD But you see, uncle, my work- UNCLE RICHARD I hope you will give up your art, but if you must paint I will provide you a room for it. Do you know how many rooms there are in this house, Richard RICHARD Really, Uncle Richard, I thank you, but-- UNCLE RICHARD Don't mention it. And of course you can see to its proper arrangement yourself. RICHARD I had no idea of this when I came and-but you sce, 12 A MODERN PRODIGAL it's not only the studio an artist requires, it's atmos- phere, the atmosphere of enthusiasm and feeling. You might as well give a business man a brand new office equipment and turn him loose on the Sahara desert as to shut a painter up in a town like this and expect him to create. Artists need atmosphere just as business men need banks. It's the meeting of likG forces that makes anything really go. UNCLE RICHARD But we are not wholly barbarous here, Richard. This, for example, and no first-class New England city lacks culture. RICHARD I suppose there's no use explaining, but what first- class New England cities regard as culture your real artist avoids as he would avoid poison. UNCLE RICHARD Well, well. But circumstances-really, Richard, don't you think it your dutg to stay RICHARD Why UNCLE RICHARD Must I explain We are met, after a long separa- tion, in circumstances personally sorrowful to me, and I trust, to some extent, to you as well. We . . . RICHARD Yes, a long separation. UNCLE RICHARD I admit, Richard, that from your point of view my attitude has not always been as-as considerate, per- haps, as you might have expected. But I have been a very busy man, and- 13 A MODERN PRODIGAL RICHARD As far as I am concerned, uncle, I have nothing to blame you for; but my mother . . . UNCLE RICHARD Your mother Surely, Richard, your mother never criticised me to you She was much too fine a woman. Besides, I helped her in many ways you may know nothing about. RICHARD No, mother said nothing. She wouldn't have, any- how-and as far as your helping her is concerned, I can only judge of that by results. UNCLE RICHARD Results What do vou mean I have no desire to catalogue the things I have done for one who was near to me, but- RICHARD That's all very well, uncle, and I have no criticism to make. What's over is over. But when you speak of my duty to you, I think of how mother died so young, and how -1 found out afterward her affairs were so difficult. I had no idea-she sacrificed her- self for me so long that I took it for granted. But I think that you, as a business man, must have known. UINCLE RICHARD You found that everything was mortgaged Well, Richard, it pains me to recall these things. Your father, unfortunately, was a poor business man. As for the mortgage, Richard, I held that myself. RICHARD You did! 14 A TMODERN PRODIGAL UNCLE RICHARD Yes. Even vour mother did not know. I acted through an agent, and the interest was two per cent. RICHARD But- UNCLE RICHARD A nominal rate. Your mother was so proud- RICHARD Well, but there were other matters, long ago, that I have only lately heard about. You and father once started in business together. . . . UNCLE RICHARD We did. And I advised him to sell out when I did, but he thought better to hold on. RICHARD Poor father. You made-ble lost. UNCLE RICHARD But if hie had followed my advice-. All this is pain- ful to me, Richard, and leads nowhere. As for your- self, I have always been interested in you, more so than you realize, and now- RICHARD Now UNCLE RICHARD I cannot feel at fault for anything that has hap- pened. Your father was unsuited for modern life. By the ordinary standards he was bound to fail. Still, it gives me great satisfaction that at the pres- ent time, Richard, I can offer you a home. Yes, Richard, a home. RICHARD It's difficult to decide. . . . You see, my studio- 15 A MODERN PRODIGAL UNCLE RICHARD Well! I confess I can't understand all this uncer- tainty! RICHARD For three years I have worked as hard as anybody could to make a position allowing me to paint. I have succeeded. I no longer need help! UNCLE RICHARD Of course not! I don't question your ability to get along. At the same time, your attitude now is rather quixotic. Besides, as far as your painting is con- cerned, you can aiways go about where you require. It isn't slavery I arm planning for you here, Richard! RICHARD Well . . . but then, as I must live by my sales and commissions, I'd cut a poor figure in surroundings like these. UNCLE RICHARD Ha! Very quaint that, Richard, very quaint! I suppose artists are like that. . . Richard, I see you do not vet understand. I shall be most happy to provide for you in every way. Yes. I have con- sidered the whole matter carefully, and for some time have only waited an opportunity to explain to you in person. Consider, then, that you shall have an income of your own. You see, Richard RICHARD No, I don't. UNCLE RICHARD Why, it's simple enough! RICHARD Yes, the facts are, but I don't understand-an in- A MODERN PRODIGAL come, a home. Why, I never dreamed of such a thing! UNCLE RICHARD And why not, my boy, why not We haven't seen enough of each other, Richard. Perhaps I have been at fault there, not to show more clearly the interest I have always taken in you. Yes, indeed, a warmn interest, Richard! RICHIARD Why not, Uncle Richard Three years ago you might have asked me that question. Now I ask you why UNCLE RICHARD Why How strange! How could that question arise between a man and his own nephew RICHARD Three years ago, before Aunt Ethel died, I spent Thanksgiving with you. It was during the recess, my second year at Harvard. I came here prac- tically from m.y mother's funeral. I had just learned the truth about our affairs-not a thing of ours really ours, not a penny left. How mother had kept the truth from mie, I don't know. But suddenly everything changed. The ground I had been stand- ing on gave way-my hands grasped everywhere for support. I had never lacked, never thought about money either way. I took it for granted that faini- lies like ours were provided with a decent living by some law of Providence. . . . I came here. I thought of course you would help me. I didn't think so con- sciously-I turned to you and Aunt Ethel from blind instinct. 1-7 A MODERN PRODIGAL We spent Thanksgiving together. It was very quiet, very sad. You both talked about mother and the old days. At breakfast the next morning you wished me good luck and went off to your office. Afterward Aunt Ethel and I talked in the living room while I waited for the train. She seemed ill at ease. She alluded to your affairs once or twice, saying that you were quite embarrassed by the state of politics, and how sad it was that people couldn't do all they wanted to in this world for others. Uncle Richard, when Joseph came with the carriage, Aunt Ethel kissed me, cried, and gave me-a twenty dollar bill. Good God! and I thanked her for it. Twenty dollars-carfare and a week's board! I left the house completely dazed: it seemed like a bad dream. UNCLE RICHARD There, there, Richard! We never imagined for a moment. I thought your college course all provided for--and your Aunt Ethel never understood busi- ness. She doubtless exaggerated my difficulty. If either of us had dreamed you were so worried! As if I should have grudged you money! RICHARD That's what I thought at first, and I hated you for it, but afterward I realized it was not that-it was worse. UNCLE RICHARD Worse! RICHARD Yes. It wasn't that you grudged the money, it was that you simply didn't think of it. You felt that 18 A MODERN PRODIGAL something had to be done, because I made you feel uncomfortable, but you didn't know exactly what, and you were both relieved to see me go. I had spoiled your Thanksgiving dinner-that was the depth of your realization. UNCLE RICHARD No, no, Richard! You were so cold, so silent. You made it impossible for us to help you. RICHARD I suppose I did seem cold. That's the instinct of inexperienced natures when they are desperate. But it would have been so easy to break through with one kind word or act. UNCLE RICHARD There, there! How glad I am that conditions are changed! RICHARD Changed, yes, but it was I who changed them! The shock of poverty was terrible at first, not because I set too much value on money, nor because I was unwilling to work, but because I felt I had no power of attack. My nature was introspective, I lived in an epic of my own creation. My strength and my courage were wrapped up in dreams, and seemed to have no relation to the practical world. I could have faced the devil himself for an ideal, but to imnake mny own living-that was the nightmare! . . . That was why I was so cold, so silent. If you had said one human thing, straight from your heart to mine, I should have been comforted. In a case like that, as I now know, it is not money a man wants, even if he himself thinks it is. No. It is just sym- 19 A MODERN PRODIGAL pathy, the right word that renews his courage and arms him against the new circumstances by making him feel he doesn't stand alone. If you had found that word, or even tried to find it, I should have loved you like a son. Mly heart was ready-you did not want it! UNCLE RICHARD But you finished at college, Richard . . . RICHARD Yes, I finished. And do you know how I spent that first night all alone in my room, thinking. In the morning I called on a classmate, a poor man who was working his way. I said: "Here, I haven't a cent. Advise me." We talked it all over. He helped me sell my furni- ture, he sublet my room. And he gave me a job, UNCLE RICHARD A- RICHARD A job. Collecting and delivering laundry. That's how I finished at college. I'm ashamed to admit it now, but at first that work hurt me like a knife. I couldn't see any relation between that and my ambi- tion for art. But it wore off. I grew tougher, I learned the real meaning of things. And now I am glad it happened. UNCLE RICHARD Admirable, admirable Really, Richard, I am more than ever convinced that I have decided rightly. Richard, you must make this your home! RICHIARD Are you still talking about my duty 20 A MODERN PRODIGAL2 UNCLE RICHARD Richard, a man begins by working for himself alone, then he works for the woman he marries, but even that is not enough. One by one I have seen every motive that ever impelled or guided me grow insuffi- cient and have to be replaced. Ambition and love, once satisfied, point forward. We must always have a future before us, Richard, unless we are willing to become machines of habit. At one point or another most men do become machines. Thank- heaven, I never could. In these last few months I have begun to reaize. . . . It was your Aunt Ethel's tragedy thba she had no children. I wonder now whether it is not even more my own. Richard, I have made you my heir. RICHARD Your heir! UNCLE RICHARD Mv heir. And that is why, Richard-of course you could not realize it at the time--that is why I allowed myself to use the word "duty" as having reference to the future if not to the past. For the future, Richard, is ours to enjoy, without misunderstanding, without disharmiony, I at the end of my labours, you at the beginning of yours. You have revealed qualities I confess I had not suspected, qualities fitting you for responsibility and adminis- tration. With the position you will henceforth oc- cupy, Richard, you should enter public life. Nothing nore honorable for a responsible citizen. Noth- ing more essential to the welfare of our beloved re- public at its present critical state. WNe need the Eng- 21 A MODERN PRODIGAL lish tradition over here, Richard-solid, responsible men to administer public affairs. I have often felt the need of an efficient aristocracy in our social and industrial life. And nothing would please me more than to see you rise to authority by the leverage of my wealth. Nothing would please me more--why, Richard, I should consider it the prolongation of my own life! RICHARD No. No you don't, Uncle Richard. Never! UNCLE RICHARD What on earth do you mean RICHARD I won't be your heir! UNCLE RICHARD Wh-what Good heavens! Are you mad RICHARD I hope so. Yes, I hope that from your point of view I am quite mad. You won't understand me, because you don't understand what I most love and what I most hate. Oh you self-made Americans! When I really needed your helping hand you didn't think of me. You had the American idea that every tub must stand on its own bottom, that every young fellow must make good-that is, make money. You buy "art" at a certain stage in your development just as you buy motor cars, and you think you can buy artists the same way. You don't know that to buy dead art is to starve live artists. Well, I made good. I can stand alone. Are you offering me money now to help me in my work Not a bit! Rich men haven't changed since the first 9.2 A MODERN PRODIGAL tribal chief ordered his bow and arrows, his wives and servants, to be buried with him. UNCLE RICHARD You conceited young rascal! I needn't leave you a cent! RICHARD I haven't asked you to. I never thought about your money. I can get along very well without it. But can you takc it with you UNCLE RICHARD Of course not! But I can leave it to whom I please. RICHARD Why don't you leave it to Joseph UNCLE RICHARD To Joseph-my coachman Are you joking RICHARD Not at all. Didn't he save your life in the Civil War And what have I ever done for you 'UNCLE RICHARD I have remembered Joseph very handsomely, but to make him my heir-why, that isn't the same thing at all! RICHARD Well, to a university then UNCLE RICHARD No. RICHARD A church UTNCLE RICHARD No! RICHARD A cat hospital A MODERN PRODIGAL UNCLE RICHARD Damn cats ! There's been enough of them sick in my own house! RICHARD Well, I give it up. UNCLE RICHARD You young fool! You don't know what you are say- ing! Joseph! Church! Cat Hospital! What good would I get out of that Is that what I have been working for all my life No indeed! Richard, you shall be my heir! RICHARD I won't! You are only interested in me because I bear your name. If I were John Smith, though ten times the better man, you would never waste a thought upon me. My name is an accident-I care nothing for that. My real self is my art, for which you care even less. All you want is to establish a dynasty-the last infirmity of successful men. No, I won't be your heir! UNCLE RICHARD Madness, madness! What kind of a world are we coming to RICHARD Listen. One day when I was walking outside Siena I came to a fine old villa with a wonderful garden. A row of cypresses ran along the wall inside, and I wanted to paint it. The gardener let me in for a tip. While I sat there working, he watching me- even the peasants have a feeling for paint over there -we heard a tap on the window. It was the padrona. I saw that she wanted to speak to me, and 24 A MODERN PRODIGAL I went in. She was an old, crippled woman, hold- ing to life by sheer will, sitting all day by the fire in one room. She spoke French, so we could talk. To my surprise she was very much interested in me-- asked questions about my work, my family, and so on. I couldn't understand whv. But when I left she began crying and told me that I reminded her of her grandson who had been killed in Tripoli, and that there was no one of the family name left, but that she had to leave the property either to a cousin whom she detested, or to the Church. And she said just what you have: that this wasn't the same thing. She had nothing to live for, she said, now the heir was dead, except keep the place out of others' hands. There she was, a prisoner in that beautiful villa, en- joying nothing, where an artist would have been in paradise. I see her yet, bent over the fire in a black lace shawl, crying. On my way back to town I happened to think of my last visit with you, and mv state of mind returned, my feeling of dependence and the gloomy Thanks- giving dinner. The shock of contrast between my old and my new self stopped me short in the road. In a flash I saw the lying materialism on which the world is based, the curse of dollar worship that keeps opportunity away from the young, at the same time it keeps the old in a prison of loneliness and sus- picion. If we worshipped life instead of metal disks, we would see that the young are not really the heirs of the old, but the old are heirs of the young. Then and there I vowed to keep myself clear of the whole wretched tangle, even if I had to carry laundry all 25 A MODERN PRODIGAL my life, so that if any one ever tried to fetter me I could fling his words back in his face! (Uncle Richard's nerves are all on edge. A terrific storm of overbearing temper visibly gathers during this speech, and the Colonel's long habit of successful domination seems about to assert itself in an explo- sion. But at the last moment another power, deeper than habit, older than character, represses his wrath, and when Uncle Richard speaks again it is with an earnest gentleness almost plaintive.) UNCLE RICHARD Richard, for heaven's sake let us stop this quarrel- ing! Let us forget what has been said and done on both sides and begin anew. I offer you a home here during my life time, and all that I own after I am dead. I do care for you, my boy, I know it now as I know my own name. Surely, Richard, you need not take this offer amiss RICHARD Well, but you see, Uncle Richard.... UNCLE RICHARD Do you prefer poverty for its own sake RICHARD Of course not. But I prefer it to hypocrisy and compromise. UNCLE RICHARD Well then. You will accept, Richard For my sake, Richard RICHARD Well . UNCLE RICHARD It is the only pleasure left to me, Richard, thinking 26 A MODERN PRODIGAL of the old name going down honourably in you. And as for the past, my mistakes were due to inot having a son of my own. You have no idea what a differ- ence it makes. It -s my dream, Richard, don't de- stroy it! RICHARD If you really mean it that way- UNCLE RICHARD My dear Richard! My dear boy! Why-now I know why we have been quarreling, Richard! RICHARD Why UNCLE RICHARD Because we are so much alike. At your age I was the same self-willed beggar you are. Richard, you are more like me than you are like your own father! RICHARD Le roi est morte, vive le roi. But (and he thumps the table uith great emphasis) but there's one thing understood-I'm going to paint masterpieces! UNCLE RICHARD Of course you are, my boy, of course you are! In fact, I always knew you would, Richard! 27 This page in the original text is blank. THE INCOMPATIBLE S This page in the original text is blank. THE INCOMPATIBLES A corner table in a Broadway restaurant, at evening. Between the man and woman who have just taken seats is a bouquet of red roses. MARIAN No, I don't want any oysters or clams. I ate enough sea food in Atlantic City to last a season. I want some-Oh, what gorgeous flowers! U1mm! I love the smell of roses! Especially out of season. Why, the other tables haven't any! Fred, did you- FRED Sure I did, Marian. I knew you'd like 'em. MARIAN I do. But you mustn't be a silly boy any longer, Fred! FRED I will, too. It isn't silly, to give you flowers. MARIAN That's all right, Fred. Goodness knows I like the flowers. But I'm not a young idiot who expects her honeymoon to last forever. I've had one experience, you know. FRED Yes, but you mustn't judge all men by him. 31 THE INCOMPATIBLES MARIAN I don't. I knew well enough you're different, or I'd never have married you. But at the same time- FRED Well, I'm going to show you that a real man don't get over the fun of being married to a peach like you in just two weeks. You don't want me to, do you MARIAN Course not, Fred! Didn't I say you were different But I don't want you to set a pace you can't keep up. You'd hate me in no time if I did. FRED I couldn't hate you, girlie! Besides, isn't this our first night back in the old town We shan't be hav- ing dinner out like this every day. MARIAN Well, only I don't want to have you flop all of a sud- den, like he did. What'll you have, a cocktail FRED Let's see. . . . What's the matter, Marian MARIAN Sh! Don't turn round! FRED What's up MARIAN Hum! FRED Him who MARIAN George! 32 THE INCOMPATIBLES:3 FRED Good Lord! Well, don't mind him. He hasn't got anything on you now. You're mine. MARIAN Sure I am. He isn't looking. He's with a woman. By jingo! It's that millinery kid! FRED What millinery kid Besides, what difference does it make Let him have a hundred, if he wants 'em. We're happy. MARIAN The nerve of him! I knew it was her right along. He tried to throw a bluff it was some swell. I'll bet he paid good for those clothes! FRED Oh, come on! What'll you have Besides, she might have made the clothes herself. MARIAN Made 'em. herself ! Say, a fine lot you know about ladies' gowns! That came from the Avenue, straight. FRED Well, what if it did I'll get you a better one, you just wait. MARIAN Sh! He's looking over here! FRED Hm! Look at me and you won't see him. MARIAN The nerve! FRED What's he done 33 THE INCOMPATIBLES MARIAN He smiled right over like nothing had ever happened. I'll bet he's going to say something mean about me. Oh! FRED Let's change our seats. I'm hungry! MARIAN Change nothing! Catch me giving him a laugh like that! I could tell her things, the young-There, now she's looking! FRED What if she is Say, look here- MARIAN He's getting up! Well, of all the brass! FRED What MARIAN He's coming over here! FRED He is! Don't you say a word. I'll take Mim on! MARIAN If he dares- GEORGE Hello, Marian! MARIAN Hm! GEORGE What, got a grouch on your honeymoon That's a bad sign, Marian! MARIAN No, I haven't got any grouch! Don't you worry! You're the only grouch I ever had, thank the Lord! 34 THE INCOMPATIBLES GEORGE Well then. It isn't every woman gets rid of an in- compatible husband and gets hold of a compatible one, all in the same season. FRED Look here! MARIAN That's just like him! Coming over here with a grin on like a kid with a new toy. Well, we don't want anything to do with you. See GEORGE Sure. Excuse me for butting in. I just wanted to make a little announcement. MARIAN Oh, you did! Well, I'm surprised! I didn't think she was the kind you had to marry. GEORGE Huh! I knew you'd have your little knife out for her. But why you should have to be jealous now I can't see. MARIAN I'm not jealous! GEORGE What you worrying about, then MARIAN I'm not worrying! I'm only sore because you butted in when we were so happy together here without you. GEORGE Oh, excuse me! As a matter of fact, I didn't come over to make any announcement. It's too late for that. I- 35 36 THE INCOMPATIBLES MARIAN Married already ! Anybody'd think you might wait a little while for common decency! GEORGE I waited a day longer than you did, anyhow. MARIAN That's different. FRED I beg your pardon! We were just ordering dinner. If you didn't come to make any announcement, why- MARIAN Yes, what did you butt in for GEORGE Why, I got a letter from your friend Grace, and- MARIAN Grace What did she have to say to you GEORGE She said she was sorry I had to get a divorce, but I told her- MARIAN Sorry you had to gmt a divorce! Well, if I don't fix her! GEORGE Oh, she's getting married, too. MtARIA :N Who to GEORGE Tha;t fellow, what's his name, that's got the garage over on Seventh Avenue. MARIAN Snider! So he's the one! Well! And I suppose she'l be all over town in a new car. THE INCOAMPATIBLES 37 GEORGE Sure. Saw him to-day. A big yellow one. I always told you she was out for money. And vou though't she was in love with Jackson! MARIA N Hypocrite! She was. Or she told me so. Cried all over me. Have you seen Jackson GEORGE Yes. He's as blue as your old kimono. He said- FRED Look here, Marian! IFm not going to wait all night for my dinner! MARIA N Order your old dinner! What did Jackson savy George This page in the original text is blank. THE GENIUS This page in the original text is blank. THE GENIUS The front porch of a small farmhouse in New Eng- land. Stone finags lead to the road; the yard is a care- less, comfortable laMn with two or three old maples. It is autumn. A boy of sixteen or so, earrIfing a paper parcel, stops hesitatingly, looks in a. momcnt and then, walks to the porch. As he stands there a man comes out of the house. The man is in his early forties, he stoops a lit- tle, but not fromn weakness; his expression is one of deep calm. THE MAN I wonder if you have seen my dog I was going for a walk, but Rex seems to have grown tired of wait- ing. THE BOY Your dog, No, sir, I haven't seen him. Shall I go look THE MAN No, never mird. He'll come back. Rex and I un- derstand each other. lIe has lis little moods, like me. THE BOY If you were going for a walk- 41 TH-IE GENIUS T HE MAN It doesn't matter at all. I can go any time. You don't live in this country THE BOY -No, sir. I live in New York. I wish I did. It's beautiful here, isn't it THE MAN It's very beautiful to me. I love it. You may have come a long road this morning, let's sit down. THE BOY Thank you. I'm not interfering with anything THE MIAN Bless your heart! No indeed. What is there to in- terfere with All we have is life, and this is part of it. THE BOY I like to sit under these trees. It makes me think of the Old Testament. THE MAIN That's interesting. How THE BOY Well, maybe I'm wrong, but whenever I think of the Old Testament I see an old man under a tree-- THE MTAN Yes THE BOY A man who has lived it all through, you know, and found out something real about it; and he sits there calm and strong, something like a tree himself; and every once in a while somebody comes along-a boy. you know,-and the boy talks to him all about him- TIIE GEN.IUTS self, just as we imagine we'd like to with our fathers, if they weren't so busy, or ovr teachers, if they didn't depend so much upon books, or our ministers, if we thought they would really understand,--and the old man doesn't say much maybe., but the boy goes away much stronger and happier.... THE MAN Yes, yes, I understand. The Old Testament. . . . They did get hold of things, didn't they THE BOY What I can't understand is how nowadays people seem more grown up and competent than those men were, in a way, and we do such wonderful things- skyscrapers and aeroplanes-and yet we aren't half so wonderful as they were in the Old Testament with their jugs and their wooden plows. I mean, we aren't near so big as the things we do, while those old fel- lows were so much bigger. We smile at them, but if some day one of our machines fell over on us what would we do about it THE MAN I wonder. THE BOY I went through a big factory julst last week. One of my friends' fatlher is the manager, and all I could think of was what could a fellow do who didn't like it, who didn't fit in. . . . Nowadays most everybody seems competent about factories or business or some- thing like that---you know-and thev've got hold of everything, so a fellow's got to do the same thing or where is he 43 THE GENIUS THE MAN That's the first question, certainly: where is he But where is he if he does do the same thing THE BOY Whv, he's with the rest. And they don't ask that question . THE MAN I'm afraid they don't. It would be interesting to be there if they should begin to ask it, wouldn't it THE BOY Yes. . . . I'd like to'be there when some I know ask themselves! But they never will. Why should they THE MAN Don't you mean how can they THE BOY Yes, of course. They don't ask the question because the big thing they are doing seems to be the answer beforehand. But it isn't! Not compared with the Old Testament. So we have to ask it for ourselves. And that's why I came here.... THE MAN Oh. You want to know where they are, with their power, or where you will be without it THE BOY Where I'll be. I hate it ! But what else is there to- day THE MAN Why, there's you. THE BOY But that's just it! What am I for if I can't join in I came to you. . . . You don't mind my talk, ing, do you 44 THE GENIUS THE MAN On the contrary. THE BOY WVell, everybody I know is a part of it, so how could they tell me what to do outside of it I've been wondering about that for a year. Before then, when I was just a boy, the world seemed full of every- thing, but now it seems to have only one thing. That or nothing. Then one day I saw a photograph some- body had cut out of a Sunday paper, and I thought to myself there's a man who seems outside, entirely outside, and yet he has something. It wasn't all or nothing for him . . . and I wondered who it was. Then I found your book, with the sarme picture in it. You bet I re-ad it right off! It was the first time in my life I had ever felt power as great as skyscrapers and railroads and yet apart from then. Outside of all they mean. Like the Old Testament. Those poems! THE MAN You liked them THE BOY It was irore than that. How can a fellow like the ocean, or a snow stormi THE MAN Is that what you thought they were like THE BOY Why, they went off like a fourteen inch gun! Not a whine about life in them-not a single regret for anytiing. They were wonderful! They seemed to pick up mountains and cities and toss theem all about like toys. They made me feel that what I was look- 4S5 THE GENIUS ing for was able to conquer what I didn't like. . . . I said to myself I don't care if he does laugh at me, I'll go and ask him where all that power is! And so I came.... THE MAN There's Rex now-over across the road. He's won- dering who you are. He sees we are friends, and he's pretending to be jealous. Dogs are funny, aren't they But you were speaking about my poems. It's odd that their first criticism should come from you like this. You must be about the same age I was when I began writing-when I wanted above anything to write a book like that, and when such a book seemed the most impossible thing I could do. Like trying to swim the Atlantic, or live forever. THE BOY It seemed impossible I should think it would be the most natural thing in the world, for you-like eating dinner. THE MAN That's the wonderful thing-not the book, but that I should have come to write it! THE BOY But who else could write it THE MAN At your age I thought anybody could-anybody and everybody except myself. THE BOY Really THE MAN Really and truly. You've no idea what a useless misfit I was. 46 THE GENIUS THE BOY But I read somewhere you had always been brilliant, even as a boy. THE MAN Unfortunately . . . yes. That was what made it so hard for me. Shall I tell you about it THE BOY I wish you would! THE MAN Brilliance-I'll tell you what that was, at least for me. I wrote several things that people called "bril- liant." One in particular, a little play of decadent epigram. It was acted by amateurs before an ad! miring "select" audience. That was when I was twenty-one. Fromn about sixteen on I had been acutely miserable-physically miserable. I never knew when I wouldn't actually cave in. I felt like a bankrupt living on borrowed money. Of course, it's plain enough now-the revolt of starved nerves. I cared only for my mind, grew only in that, and the rest of me withered up like a stalk in dry soil. So the flower drooped too-in decadent epigram. But nobody pointed out the truth of it all to me, and I scorned to give my body a thouqht. People pre- dicted a brilliant future-for me, crying inside! Then I married. I married the girl who had taken the star part in the play. According to the logic of the situation, it was inevitable. Everybody remarked how inevitable it was. A decorative girl, you know. She wanted to be the wife of a great man. . . .Well, we didn't get along. There was an honest streak in me somewhere which hated deception. I couldn't 47 THE GENIUS play the part of "brilliant" young poet with any success. She was at me all the while to write more of the same thing. And I didn't want to. The dif- ference between the "great" rman I was supposed to be and the sick child I really was, began to torture. I knew I oughtn't to go on any further if I wanted to do anything real. Then one night we had an "artistic" dinner. My wife had gotten hold of a fa- mous English poet, and through him a publisher. The publisher was her real game. I drank champagne be- fore dinner so as to be "brilliant." I was. And before I realized it, Norah had secured a promise from the publisher to bring out a book of plays. I remember she said it was practically finished. But it wasn't, only the one, and I hated that. But I sat down con- scientiously to write the book that she, and appar- ently all the world that counted, expected me to write. Well, I couldn't write it. Not a blessed word! Something inside me refused to work. And there I was. In a month or so she began to ask about it. Norah thought I ought to turn them out while she waited. I walked up and down the park one after- noon wondering what to tell her. . . . And when I realized that either she would never understand or would despise me, I grew desperate. I wrote her a note, full of fine phrases about "incompatibility," her "unapproachable ideals," the "soul's need of free- dom"-things she would understand and wear a heroic attitude about-and fled. I came here. . .. THE BOY Of course. But didn't she follow you Didn't they bother you 48 THE GENIUS THE SMAN Not a bit. Norah preferred her lonely heroism. In a few months I was quite forgotten. That was one of the healthful things I learned. Well, I was a wreck when I came here. I wanted only to lie down under a tree. . . . And there it was, under that tree yonder, my salvation came. TH E BOY Your salvation THE MAN Hunger. That was my salvation. Simple, ele- mental, unescapable appetite. You see I had no ser-- vant, no one at all. So I had to get up and work to prepare my food. . . . It was very strange. Compared with this life, my life before had been like living in a locked box. Some one to do everything for rne except think, and consequently I thought too much. But here the very fact of life was brought home to me. I spent weeks working about the house and grounds on the common necessities. By the time winter came on the place was fit to live in-and I was enjoying life. All the "brilliance" had faded away; I was as simple as a blade of grass. For a year I didn't write a word. I had the courage to wait for the real thing, nobody pestering me to be a "genius"! Some day you may read that first book. People said I had re-discovered the virtue of humility. I had. THE BOY I will read it! And how much more it will mean to me now! 49g THE GENIUS THE MAN I suppose you know the theory about vibrations- how if a little push is given a bridge, and repeated often enough at the right intervals, the bridge will fall THE BOY Yes. THE MAN Well, that's the whole secret of what you have been looking for-what you found in my poems. THE BOY I don't understand. THE MAN A man's life is a rhythm. Eating, sleeping, work- ing, playing, loving, thinking-everything. And when we live so that each activity comes at the right interval, we gain power. When one interrupts an- other, we lose. Weakness is merely the thrust of one impulse against another, instead of their combined thrust against the world. When I came here, feeling like a criminal, I was obeying the one right instinct in a welter of emotions. It was like the faintest of heart beats in a sick body. I listened to that. Then I learned physical hunger, then sleep, and so on. It's incredible how stupid I was about the elemental art of living! I had to begin all over from the be- ginning, as if no one had ever lived before. THE BOY That's what you meant in your poems about religion. THE MAN Exactly! I learned that "good" is the rhythm of the man's personal nature, and that "evil" is merely 50 THE GENIUS the confusion of the same impulses. As time went on it became instinctive to live for and by the rhythm. Everything about my life here was caught up and used in the vision of power-drawing water, cutting wood, digging in the garden, dawn. It was all mar- velous-I couldn't help writing those poems. They are the natural joys and sorrows of ten years. As a matter of fact, though, I grew to care less and less about writing, as living became fuller and richer. People write too much. They would write less i! they had to make the fire in the morning. THE BOY The first impulse . . . I see. Oh, life might be so simple! THE MAN Why not The animals have it. AMen have it at times, but we make each other forget. If we could only be each other's reminders instead of forgetters! THE BOY Yes! But I see the only thing to do is to go away, like you. THE MAN Not necessarily. I was merely a bad case, and re- quired a desperate remedy, earth and air and free- dom from others' will. I need the country, but tihe next man might require the city as passionately. Don't imagine that only the hermits, like me, live instinctively. It can be done in New York, too, only one mustn't be so sensitive to others. . . . After all, friend, we were wrong in saving that this power lies outside the world of skyscrapers and business. It doesn't lie outside nor inside. It cuts across every- 51 THE GENIUS thing. Do you see For it's all a matter of the man's own soul. THE BOY Then THlE MAN We can't live in a vacuum. The more you feel the force, the more you must act. The more you can act. And in the long run it doesn't matter what you do, if you do what your own instinct bids. THE BOY Then I could stay right in the midst of it THE MAN Yes. And if you were thinking of writing poetry, it might even be better to stay in the midst of it. Drama, you know . . . and it's time for a new drama. THE BOY It isn't that, with mne. I can't write.... I had one splendid teacher. HIe used to talk about things right in class. He said that most educated people think that intellect is a matter of making fine dis- tinctions-of seeing as two separate points what the unintelligent would believe was one point; but that this idea was finicky. He wanted us to see that in- telligence might also be a matter of seeing the con- nection between two things so far apart that most people would think they were always separate. I like that. It made education mrean something, be- cause it made it depend on imagination instead of grubbing. And then he told us about the history of our subject-grammar. How it began as poetry, when every word was an original creation; and then be- THE GENIUS came philosophy, as people had to arrange speech with thought; and then science, with more or less exact laws. I could see it-the thing became alive. And he said all knowledge passed through the same stages, and there isn't anything that can't eventually be made scientific. That made me think a good deal. I wondered if somebody couldn't work out a way of preventing anybody from being poor. It seems so unnecessary, with so much work being done. That's what I want to do. Thanks to you, I- THE MAN Here's Rex! Rex, know my good friend. I know you will like him. Rex always cares for the people I do, don't you, Rex THE BOY Of course, I see one thing: it's the people nearest one that make the most difference. Mother, now, she will understand. . . . You don't believe in marrying, though, do you THE MAN I certainly do! THE BOY But I thought- THE MAN You thought because I left one woman and hadn't found another that I didn't care for women Others believe that, too, but it isn't so. On the contrary. You see, I didn't so much leave her as get away from my own failure. Of course, there is such a thing as the wrong woman. She makes a man a fraction. The better she is in herself, the less she leaves him 53 THE GENIUS to live by. One twentieth is less than one half. But the right woman! She multiplies a man. THE BOY Oh! THE MAN Why, you might have told from my poems how I believe in love. THE BOY I don't remember any love poems. THE MAN Bless your heart! Every one of them was a love poem. Not the old-fashioned kind, about fading roses and tender hearts . . I sent that book out as a cry for the mate. It is charged with the fulness of love. That's why I could write about trees and storms. THE BOY I suppose if I had been older . . . THE MAN It isn't one's age but one's need. She will under- stand. Look, the sun has gone round the corner of the house. Is that lunch you have in the parcel THE BOY Yes. THE MAN Would you like to make it a picnic I'll get some- thing from the house, and then we can walk to thy woods. THE BOY I'd love to! THE MAN All right, I'll be ready in no time. Come, Rex! s54 SURVIVAL This page in the original text is blank. SURVIVAL The garden of a home in the saburbs. A man is walk- ing up and down alone at dusk, occasionally stopping to water a plant, but more often falling into deep thought, unconscious of his surrou-ndings. About the place there is an air of newness and prosperity. A young woman enters the garden from the la"i next door. MARGARET Look here, Roger, you can't keep this up! ROGER No, I can't keep this tip. Besides, it's going to rain to-morrow. MARGARET What do you mean ROGER Watering the plants. Isn't that what you meant MARGARET You aren't watering the plants. I've been watching you for half an hour. If you only would! But you keep forgetting what you are at. ROGER I wish it were only forgetting-it's remembering. MARGARET Oh Roger, don't I know But you mustn't! 57 SURVIVAL ROGER I suppose not. I suppose not. MARGARET I knew all along, and I kept away. How you felt, I mean. I ought to have come over a week ago. You haven't anybody to talk to-that's the trouble, Roger, really. I know. Now let's have the whole thing out. Come. And don't be afraid of me. Why, I could tie you all up in bandages if you needed it. And not flinch. ROGER Yes, I guess you could. . . It's, it's absurd how well I keep! MARGARET Hm. Isn't it You ought to be wilting away like a rose. But no, you keep your splendid strength and go on with two or three men's work! What would your mother think if she heard you talking like that Don't you know that you couldn't please her better than by going on as you are 'ROGER That's so. Of course. But that really isn't what I was thinking of. I was thinking how queer this whole business is. Take our family. As far back as I know we were always struggling along with many children and few means. I am the first one who could really make money. And just when I could make mother comfortable and easy . . . besides, I'm all alone. MARGARET Ah, Roger, of course you feel that way! But you don't really appreciate that wonderful mother of 58 SURVIVAL yours. Do you think her happiness depended on having a new house, and a car ROGER No. . . . MARGARET Didn't she round out her life beautifully Wasn't she repaid for her struggles by seeing you succeed Didn't she pass away as quietly as going to sleep And wasn't her marriage happy You don't know how much a woman will meet with, if she's happy! ROGER That part of it I can face all right, though I sup- pose it's hard for the ordinary selfish man to realize that love like mother's is its own reward. But toward the end she suffered--she worried. MARGARET I know she did. She told me. ROGER She told you I didn't know that. MAR GARET We were good friends, your mother and I-and women. That's why she told me. And I think I reassured her. ROGER Oh! She did seem to get mightily comforted, just at the last. I never understood why. MARGARET I thank heaven I reallv did that !-And when I looked out the window and saw you standing here, I had to come over. I knew it wasn't your mother's death that was hurting you, but-but your brother's. 59 SURVIVAL ROGER Arthur . . I'm glad the accident happened after she died. M1ARGARET Yes. But there's something else. Something that hurts. You've got to tell me. Everything. Don't be afraid. Face it. ROGER I have faced it. I-I've made up my mind. 2M ARGARET There's still pain somewhere. Is it in the way you have made up your mind ROGER How could that be MARGARET It depends. But tell me what you thought-I mean during this last year or so. It didn't come to you all at once. ROGER Well. . . . Of course, I always took it for granted about his music. He seemed to be wonderful at that. And mother believed so in him. It really began when he left college. I found he had debts. MARGARET Debts ROGER Yes. Not just clothes and living-other things. I paid up, but I didn't like it. I didn't like the things. But I thought it was just a boy's foolishness. I thought he would be all right after that, but-he wasn't. 60 SURVIVAL MARGARET He wasn't.... ROGER No. After a couple of years I had to straighten it out again. I came down on him flat. He promised to cut it. MARGARET But lie was doing such wonderful work! ROGER Yes, everybody began to say so. If he had only beer that alone, the musician! But-- MARGARET But afterward BOGER Well, a year ago I began to hear things said again. And then I found letters and bills. It was the same thing all over. He hadn't kept his word. MA G R E T But what did he say ROGER I let it go for weeks, hoping he would say something. But never a word. MAI RGARET He loved you so. How he must have suffered! ROGER Yes, I suppose he did suffer. But if he cared so for me why didl he try to keep it hidden, the one thing I would hate most MARGARET That was his way. It made him ashamed. 61 SURVIVAL ROGER Well, he couldn't keep it dark forever. Mother al- most found out. MARGARET Almost found out ROGER Yes. So of course I stepped in. We had a frightful row. MARGARET When was that ROGER Six months ago. I got him clear. It was hard- this time the woman almost got him. MARGARET Oh! ROGER I helped him. Buit I did it on one condition-that he go to work. MARGARET Work What about his music ROGER That's what he said. But I asked him if he had thought about his music when he got into these scrapes. I-le couldn't say a word. So it was all ar- ranged for him to go into my office, right under my eye, when mother was taken sick. Then she wanted him to stay near her, so. And then she died. And the accident. Well I don't see what more I could have done. MARGARET No. . . . Of course, it wasn't as if you turned 2 SURVIVAL against him. And the office-he was to pay you back that way ROGER Pay me back Why, if he could, nnaturally; but that wasn't my idea, that was only incidental. 'My idea was to get him into the habit of hard work. MARGARET But he always did work! ROGER Oh, he worked hard enough. At least he turned out a good deal. But that was spasmodic-night and day for weeks, and then loafing for weeks more. That's howl he always got into trouble: loafing in between. MARGARET Don't you remember how splendid he was the day he had just finished something He seemed to have passed out of himself into a shining humility. It was said of Shelley: "Sun-treader!" . . . Don't. you remember ROGER Yes. . . . Oh hang it! Why couldn't he have been only that! Yes, I remember. I hoped that six months or so at the office-but no. Anyhow, it's all over now. MARGARET What were you going to say ROGER I suppose I might as well say it: I don't b-elieve the office would have changed hlim, after all. That is, permanently. He'd have done his best for a while, and then--. No, nothing could help him. 63 SURVIVAL MARGARET Is that what you have made up your mind aboat ROGER Oh, that. Yes, that's what started me thinking. Everybody has difficulties, troubles, and I believe in helping a fellow every time. Life piles up too high against one sometimes, but a little shove from the other side will move it away. I never believed in the devil take the hindmost, at all. But this was dif- ferent. MARGARET Different, how What do you mean ROGER I mean that as long as a fellow's difficulties are out- side him you can help him, because as soon as they are removed he's himself again; but when thev are inside, part of the man himself, there's nothing you can do. Nothing. You can save a person from the world, but not from himself. That's where the devil comes in. I see it now. I believe in the devil. MARGARET Oh! But Arthur . . . ROGER I know you think I'm a brute for speaking of Arthur in connection with the devil, but it wasn't the old- fashioned devil I meant. I meant the devil of unfit- ness. Arthur wasn't fit. He had every chance. We can't get away from what life is. Life shoves peo- ple to the wall every day. I've had to fight hard my- self. I admit things aren't fair all round, but Arthur had his chance, two or three chances, and he just-- dropped out. He couldn't survive. And it seems SURVIVAL to me that for those who loved him it may be a good thing after all that he didn't have to go on. MARGARET Roger! You shan't say that! You shan't! ROGER I don't want to, Margaret, but that's what life itself says. We can't get behind life. We can't beat evo- lution and the law of survival. MARGARET But his talent, his fine talent-and his exquisite nature! ROGER I know. But there it is. It's kinder in the long run to be cruel, if the truth is cruel. We've got to be true to things as they are. MARGARET But take things as they are! -le wasn't vicious about-about women, he was like a child. Of course they got his money, but even so, they weren't all mere schemers. Some of them were very decent. Why, one of them- ROGER What the deuce do you know about them What about one of them MARGARET She cried. She said she knew it wasn't right, that he couldn't marry her, but she did like him, and she had children of her own . . I'm sure she was very tender to him. ROGER Who told you Where did you see her 65 66 SURVIVAL MARGARET There. ROGER There! In my own house MARGARET Yes. ROGER How did she get there MARGARET Your mother sent for her. ROGER My mother sent for her Then she knew MARGARET Yes. She knew everything. ROGER How MARGARET Ie told her-Arthur did. ROGER Good Lord! I never heard a word of it. MARGARET No. They were afraid-afraid you wouldn't under- stand. ROGER Afraid I wouldn't understand Why, I understood only too well. It was mother that wouldn't have un- derstood. I'd have cut my hand off rather than tell her. MARGARET Well, she did understand. She understood better than you did. She understood that part of him SURVIVAL 67 hadn't grown up. He was like a boy. He just walked into things ROGER How did he ever come to tell her MARGARET Once when he was sick. Your mother was taking care of him. He blurted it all out, like a homesick boy. ROGER And she understood Didn't break her heart, and all that MARGARET Oh, it was a shock, naturally. But they talked it all over, and your mother sent for this woman. I knew. Arthur knew I knew ROGER And mother packed her away without telling me MARGARET Oh, she didn't pack her away. That is, right off. ROGER He kept on seeing her With mother's knowledge MARGARET Yes. Your mother liked her. ROGER Well, if women aren't the strangest things! MARGARET Yes, they are. Some of them. Fortunately. But you see how wrong you were, Roger ROGER How was I wrong MARGARET About this unfitness-this survival. SURVIVAL ROGER On the contrary. It only proves it. MARGARET No, it doesn't. I've been thinking, too . . . about saving people from themselves, and all that. You say it's the law of ]ife, and we can't go beyond life. ROGER, No, we can't. I still say it. MARGARET Then what about your mother What about all women who- ROGER About mother MARGARET Yes. Wasn't her love a part of life And didn't she keep on loving him in spite of everything Is that love blind and foolish-something for your old evo-- lution to get rid of ROGER I never thought of it. No, of course we don't want to get rid of that--but even so, she didn't save him. MARGARET She didn't know about it until lately-thanks to you. If she had known sooner-and anyhow, you don't know Of course, she couldn't have saved him directly. But indirectly . . . through another woman ROGER Through another woman MARGARET I mean, supposing there was another woman who loved him-one who could be to him all he needed, 68 SURVIVAL 69 who would understand, and who was all right. One he could marry. ROGER Yes, but- MARGARET And supposing this other woman had heard things about Arthur, and was terribly hurt, and Arthur knew she was, and that's why he kept away; but your mother talked with her for a long while, and made her understand. Even sent for that wooman-you knowv. And then this woman, the right one, did understand, and wvas ready to marry Arthur . . ROGER Margaret, are you crying Are you crying, Marga- ret Margaret, Was it you This page in the original text is blank. THE TELEGRAM This page in the original text is blank. THE TELEGRAM Perron, a stout, middle-aged figure, is seated in front of his watchmaker's establishment near the Place St. Stdpice. The awning sags, and the shop wears an air of sober discouragement. Whatever expression the years have left Perron's round face capable of is con- centrated upon the changing scenes cinematographed to his mind's eye by some strong and unusual emotion. Alexandre, a tall, stooped man, with a flowing black tie, bows in passing trith old-fashioned punctiliousness to Perron, who apparently is unaware of his presence. Suddenly Perron starts, rubs his eyes, and stares about. PERRON Alexandre! Alexandre! ALEXANDRE Good day, my friend. You seem distraught. PERRON Distraught! It was the strangest thing! But sit here with me. Do. I have something to tell you. ALEXANDRE I regret exceedingly, but a stupid engagement . . . Later, perhaps PERRON No! No! I insist! Only a great mind like yours can explain the strange thing which has happened. 73 THE TELEGRAM ALEXANDRE Ah, in that case what is a mere business affair com- pared with divine philosophy Far from being press6, friend Perron, I have an eternity at your service. PERRON First of all, tell me the exact date! ALEXANDRE That I can do, and not on my own authority, which in such details is often unreliable. This morning my concierge announced with great delicacy and feeling that to-day is Friday, the fifteenth July, and my rent is once more due. My rent, which ]PERRON Friday the fifteenth! Impossible! ALEXANDRE Alas. My concierge is of a precision the most meticulous. For all legal, financial and military affairs, throughout the French Republic at least, to- day is Friday the fifteenth. But why should this seem impossible to you, a scientist and a watchmaker PERRON Only listen, and you will understand why I am tempted to doubt the calendar of the Church itself. Two weeks ago my wife announced to me that she had reason to expect the due arrival of a son. She said there could be no question it will be a son be- cause in her mother's family for three generations it has been the same, three daughters followed by a son. Eh bien, although I have always desired a son to fol- low me in this honorable and scientific profession, 74 THE TELEGRAM nevertheless I received the news with a certain con- sternation. In short, my affairs have not gone too well of late, and without my wife's assistance by her needle. . . That evening I thought much how I might increase mv funds, and so for two weeks-two weeks, mon ami-I have omitted my customary caf6 after dejeuner, which all these years I have not failed to take with a serious group of friends at the Trois Arts, and even have I smoked no cigarettes. True, this has not added much to our wealth, though it has been some satisfaction to realize I have done my possible. My health has suffered somewhat-I have grown absent-minded, and in the morning my head feels strange. However, that may not be due en- tirely to my unnatural abstinence. However, on Friday the fifteenth July, at three o'clock precisely, as I sat here in meditation having finished a small work, I saw a telegraph boy hurry toward me down the street. Then had I a premoni- tion. My heart beat as it has not these twenty years. In an instant I was reading the message: my brother, who long ago ran away on adventure to Indo-China, had just died and left me a fortune in tea. That was on Friday the fifteenth. And do you know what has happened since I have lived two separate lives. Yes, two existences have unrolled before me. In one I saw myself as I would have been without the telegram. My business fell away; my son was born a daughter, to my wife's indignation and my own dismav; and having sold my little shop I sought work in a cursed factory. Ah me, it was terrible! But 75 THE TELEGRAM the other picture. With my brother's fortune I made aggrandisements and eventually moved to the Rue de la Paix. My scientific genius was at last appre- ciated, and my watches and clocks became the pride of the haute monde. My son grew into a fine man, much resembling myself, and after learning the pro- fession opened a branch office at Buenos Ayres. I won the ribbon. In short, nothing lacked to make life agreeable and meritorious. But then it was, just at that point, I came to myself and looking up recognized my friend the philosopher. Years seemed to have passed-two separate life times-and startled at finding myself seated in the same chair and wearing the same clothes, I demanded of you what day it was. And you answered Friday the fifteenth. How can such a thing be possible ALEXANDRE To think that you, a watchmaker and a petit bour- geois, should experience what many a saint has died without realizing! I salute you, mystic, descendent of prophets and seers! PERRON But what was it then ALEXANDRE What was it A mystical experience, an experience of the highest order, like unto Saint Therese, though in symbols of mundane things. But that is the fault of the age more than yourself. With more practise your mind will exhibit even greater power. You must continue in the path. Who knows what you could do after years of self-denial, when a mere two THE TELEGRAM weeks without cigarettes have brought you this vision PERRON And without coffee. Don't forget the caf6! And now that I am rich I shall never go without it again. No, on the contrary, I shall have at least two, and on a silver tray. ALEXANDRE Do you mean to say you really believe --But it doesn't matter. Whether or not the telegram carie, the important fact is that you had the vision. It is for this you must be grateful. PERRON Can a philosopher really be such a fool Of course the telegram came! And I am grateful! ALEXANDRE No. You are the most ungrateful of men. But why mention the telegram What matters it whether your vision arose from seeing the telegram or seeing the telegraph boy The philosophic truth is the same. PERRON Mon dieu! What difference does it make But I swear I have the telegram, and it reads just as I told you! ALEXANDRE But no! You are ungrateful, and for that I despise you! PERRON But yes! And after reading it four times I locked it in my safe. Do I not know I entered my shop and locked it up 77 THE TELEGRAM ALEXANDRE Yes, and do you not know also that you moved to the Rue de la Paix PERRON Oh! Could it have been-Then I am ruined, and my brother is the most selfish of men! ALEXANDRE But it doesn't matter, it doesn't matter. In the path shall you grow steadfast and contented. PERRON It doesn't matter! ALEXANDRE Not at all. And when you have become reasonable and grateful, I shall return and speak further with you. I shall devise for you such sacrifice as shall make the saints but as little children. Au revoir. (He turns away. The clock of St. Suipice tones the half hour. The watchmaker listes to it with open mouth, and trembling violently, darts through the door of his shop.) 78 RAIN PERSONS CHARLES EVERITT MARY, his wife WALTER, seventeen ALICE, fifteen HAROLD, five RAIN The scene shows a hotel "parlor" in the White Moun- tai'ns. Beneath the flashy ugliness of its modern wa,1 paper and upholstery, a certain refinement persists from an older generation. The room itself is well pro- portioned, with a very good hearth. The parlor might once have been the ball room in a squire's mansion. It is about seven o'clock of an Azugust evening, the room feebly lighted by a flickeri'ng acetylene burrer. One feels the commencement of rain. .4 door to the rear opens andl the Everitts enter, the younger children first. HAROLD She didn't give me any toast. I want some toast! WALT ER A rotten supper! MRS. EVERITT Never mind, Harold, you had two cups of that beauti- ful milk. ALICE Of course it was rotten. Everything's second rate here. Ugh! what a musty smell! WALTER I told father we ought to go ahead. The car could have done another six miles easily. And we'd have reached the Mountain Inn. 81 ALICE I'm sure there's a dance there to-night! EVERITT The car could not have done the six miles. We were lucky to make that last hill. You might have had to walk the whole way. ALICE Well, we always start too soon or too late. For goodness sake let's at least have some light. There's no use having it as dark inside as out. (Everitt goes about lighting all the burners) HAROLD Hear the rain, rain, rain! WALTER It is coming down. I never heard it make so much noise. MRS. EVERITT That's because city people never have a roof over their heads! ALICE Why, mother, the rain makes your voice vibrate like- WALTER Like a fire engine. I stood right by one, once. MRS. EVERITT Come, Harold, sit on my lap. EVERITT Shall I close the blinds ALICE Yes. MRS. EVERITT No, don't. Nobody's about on a night like this. 82 R AIN RAIN 83 HAROLD Wish I could see rain. What it like EVERITT What's what like HAROLD Rain-rain. ALICE Like shower baths. HAROLD Oh. Mother, tell me story about rain. I like rain! (Everitt feels about for his cigar case. A letter falls from his pocket which he picks up hurriedly) EVERITT I'm going for a cigar. WALTER It's like being in a submarine! HAROLD Mother, tell me story! MRS. EVERITT Once upon a time- WALTER I'm going out for a minute. ALICE I wish. . . HAROLD Once on a time! MRS. EVERITT Oh, yes. Once there was a little girl who lived in the country. HAROLD What country MRS. EVERITT A country something like this. She and her mother lived in a little house beside a brook. The little girl loved to listen to the brook outside her window at night. One day she asked her mother where the brook went to. She didn't want her brook to run away. And what do you suppose her mother said HAROLD What her mother say MRS. EVERITT She said the brook didn't really run away, when it got out of sight across the fields it turned into rain. So then the little girl was glad whenever it rained, because she knew it was the little brook coming back to her. HAROLD Oh. And is this rain the brook coming back The little girl's brook MRS. EVERITT The little girl grew up and went away. But it's some little girl's brook. (W'alter comes in with sticks) WALTER I thought we'd have a fire. ALICE Good! Make a big one. MRS. EYERITT Now, Harold, mother is going to put you in a nice bed, right under the roof where the rain-drops whis- per and sing. (She takes Harold out) ALICE Where'd father go 84 RAIN RAIN 85 WALTER He said he wanted a cigar. ALICE He's been a long time. WALTER Perhaps he's gone to look at the engine. ALICE Walter, what's the matter with them Last night WALTER I don't know. I heard them, too. It isn't the firsL time they have quarreled. ALICE It's terrible! WALTER Father's got a rotten temper, lately. ALICE I thought she wanted him- WALTER She did, but he had no business to get so angry about it. ALICE But why did she want to change our plans at the last minute and go into Connecticut Everything was arranged to come here. WA LTER She said he had arranged it without speaking to her. She said-there's something about it I don't under- stand. ALICE I don't either. I-(Mrs. Evieritt enters) WALTER Did he go to sleep MRS. EVERITT No. He is talking to the rain. I never heard him say such odd things. I hated to leave him. It seemed as if he heard voices . . . WALTER Sit down, mother. It's very jolly here. MRS. EVERITT Thank you, Walter. How many years since I've en- joyed a real fire, like this! WALTER Oh. there isn't enough wood. Just a minute-(He goes out) ALICE You look tired. MRS. EVERITT I'm all right, dear. ALICE No you're not. Why won't you tell me MRS. EVERITT But Alice, there's nothing to tell. I do feel a little tired, but then, I shall be all right in the morning. ALICE I wish--(Walter enters with more wood) WALTER Well, Alice, are you still thinking about that dance A LICE Why no. I'd forgotten all about it. Who could dance in such a rain It w()ul(l make the music seem artificial. I'm getting tired of boys, too. They don't really feel things-like rain, and fire. 86 RAIN RAIN MRS. E VERITT What's that noise,-Harold WALTER No. It's the men in the bar room. MRS. EVERITT I'm sure it's Harold. ALICE I'll go see. (She goes out) WALTER Mother. MRS. EVERITT What, Walter WALTER I must be an awful coward- MRS. EVERITT Why, what do you mean WALTER I mean that when I reallv want something, and ought to say so, I go along without saying it. I don't mean that I'm really afraid to say it, but I alwavs feel somehow that other people ought to know what I want, and save me the trouble of asking it. No, not trouble exactly--but you know what I mean. MRS. EVERITT Yes, Walter, I'm afraid I know exactly what vou mean. Lots of us are cursed with the same instinct. I am, and sometimes I believe your father is, too. It ought to be that when one sees a thingd clearlv in his owl] Inind, and knows it is best, others---at ilast those near to hlil1--should( somehow be aware of it. But they usually are not. 8 7 WALTER No. And it's those nearest one that it's hardest to say things to. But to-night, somehow, I don't feel that way. MRS. EVERITT Tell me. WALTER It's this architecture. You remember when I used to play with water colors all the while, and say I was going to be an artist MRS. EVERITT Yes, but- WALTER Father always said I would get over it. But when I didn't, then it occurred to him that if I learned architecture I could help him in his building. . . . I thought architecture would be the same. But it isn't. I can't see any art in it at all-it's nothing but engi- neering. MRS. EVERITT But Walter, you haven't gone far enough in it. The art will come later. WALTER No it won't! At least not with father. He never builds anything that lets ine imagine. You don't know how I hate those blue prints. I've been worry- ing along so far b cause I didn't want to disappoint father, though every day I hoped he would see what I really felt. But to-night I know I can't go on any longer without having it out. If he will let mne fol- low rry own idea it will be better pleased in the end than if I stick fit this business of his. It will require RAIN 88 one good fight, and then I shall be free to show what I can do. MRS. EVERITT But Walter, what is it exactly you want to do WALTER. I suppose I ought to say that I want to be an artist rather than a builder's draughtsman, but that isn't really it. I mean that behind the brain I think with every day there is another brain, bigger and wiser, that keeps asking the chance to show the rest of me what and how to act. In ordinary things the every- day mind gets along by itself all right, but I feel the other self there all the while, wanting me to begin something different, something to let it escape from dreaming to doing. And it keeps threatening that some day it will be too late. Only begin, begin! . . . Yes, I have worried along so far, but jutA to-night, for some reason or other, I seem to be standing on the brink. I won't go another step. It's in the rain now-I hear it. Oh. the pictures I could paint if we lived in the country! MRS. EVERITT In the country! WALTER Yes. It comes over me here how much these hills nean. Oh ! and there's another thing, mother. ... I thought I was born in New York, I thoulghlt we always lieed there, but just a while ago I ran onto your o0( falmily Bible, and it had the records in it. I- MRS. EVERITT Oh, Walter! RAIN 89 RAIN WALTER It seems queer that neither of you said anything about it, if I was really born in this very town.... I might never have thought much about it, but to- night everything seems to be stirred up. Tell me, mother- MRS. EVERITT We lived here only a little while. We didn't like it, so your father sold his farm and we went away to New York. WALTER Yes, but why wasn't something said about it when we came here this afternoon It seems funny, not to. MRS. EVERITT Dear, there was a little family trouble, long ago, which is best forgotten. WALTER Oh. ALICE (entering) It wasn't Harold, after all, but I just had to stay and listen to him. He tried over and over to tell me something. I couldn't make out what it was until he showed me with his hands-you know that funny little way he has-and what do you suppose it was MRS. EVERITT The dear child. What was it ALICE Why, he remembered the big drum he saw once in a parade, and he was trying to explain that he was inside a drum. The rain, you know. 90 EVERITT (entering) We had to jack up the car. The barn is flooding with water. MRS. EVERITT Is that where you were EVERITT Yes. . . . How strange you look in that light, Alice! I never saw you look like that before. (He kisses her) ALICE Oh! MRS. EVERITT What is it, Alice ALICE Why . . . I thought his cigar was going to burn me. MRS. EVERITT Oh. EVERITT Alice, you jumped because you didn't like my breath. I'm sorry. I did take a drink, and I shouldn't have kissed you, only . . . WALTER Only what EVERITT She looked just as Mary did when I first knew her. It startled me. ALICE Do I MRS. EVERITT Was I like that EVERITT Of course vou were. RAIN 91 92 RAIN ALICE Oh, I'm glad! MRS. EVERITT Thank you, dear, but you're not half so glad as I am. EVERITT It's queer. There used to be a fine old stock up in this country. It seems to have died out. The people here don't half appreciate the place. MRS. EVERITT But you haven't seen many of them, have you EVERITT No. I talked with some in the bar room. ALICE Oh, the bar room EVERITT Yes, I know. One can't judge from that. A filthy place-it made me ashamed of drinking. I only went in hoping to see some of the people I used to know. MRS. EVERITT Oh! WALTER Where's my portfolio MRS. EVERITT In the office, with those hand bags we decided not to open. WALTER I'm going to get it. I just had an idea . . . (He goes ovt) EVERITT It's only ten o'clock, but it seems like midnight. RAIN ALICE So it does. Are we going car be all right EVERITT George says so. To-morr, ALICE Well, I'm going to bed. MRS. EVERITT I hope Harold is asleep. EVERITT r on to-morrow Will the ow I suppose so. Good night, dear. Good night, Mary. ALICE You said "MN\ary." EVERITT Did I Well, you might be, for all that. ALICE (leaving) Good night. EVERITT If she had on that blue dress you used to wear, your own mother couldn't tell you apart. MRS. EVERITT Charles. EVERITT What MR.S. EVERITT Walter knows he was born here. He wants to know why we didn't mention it to-day. EVERITT So do I ! So (do I want to know whv we didn't men- tion it! It's been between us all these years! (WValter enters w;th., his portfolio. le stands uin- noticed at the door) 93 MRS. EVERITT You want to know You know very well yourself! It's I who ought to ask what the matter is! EVERITT You Good heavens! Wasn't it you who suddenly made up your mind we had to leave this town, and insisted and insisted until I sold the house Didn't I do that to please you, because you went into hys- terics about it, and I had to think of Walter I didn't want to go. It isn't every man who would change his whole life for a woman's unreasonable whim! MRS. EVERITT Whim! It isn't every wife who-Oh! Oh! EVERITT Yes whim! And haven't I stayed away all these years from my people because you wouldn't hear to our coming back even for a visit MRS. EVERITT No you didn't stay away! You sneaked up here the very next year when you made that trip to Bos- ton. And you can't deny it, because Janet Richard- son wrote me. EVERITT Sneaked up here! Deny it! Are you mad The only reason I didn't mention it was because I never understood your positive hatred for the place. What harm was there in coming back for a day or two On every other subject you are all right, but when- ever we get within a mile of mentioning this town I feel your hysteria, so I have kept still. But if there's anything you can say to explain yourself, for good- 94 RAIN ness sake say it! This nightmare has been between us long enough. MRS. EVERITT Yes, it has! Too long! And I like your way of say- ing you had to think of Walter! It was I had to think of my baby! If it hadn't been for Walter, I wouldn't have lived with you another day! I kept on at first so that he might be born with a father to look out for him, and then I kept on so that he needn't grow up in the shame of a divorce. But oh, the pain of it! To keep silent, year after year! EVERITT Look here, are we both crazy Out with it! MRS. EVERITT Annie Pratt! EVERITT What Who MRS. EVERITT Annie Pratt! EVERITT Who the devil's Annie Pratt What's she got to do with it MRS. EVERITT Ha! Not faithful even to her! Or are vou trying to lie out of it You can't, because I've still got the letter. EVERITT What letter I'm not going to stand these hysterics any longer! MRS. EVERITT You needn't. But you've got to stand the truth, do you hear me I found the letter in your pocket. RAIN 95 We hadn't been married a year. I was so happy! Oh! Oh! EVERITT So was I happy, Oh! Oh! MRS. EVERITT Hypocrite! "Dearest Charlie: You said it is I who am your wife really, because it's I who make you happy." Vile cat! EVERITT Annie Pratt, Annie Pratt. I remember her MRS. EVERITT I should think you would! But any man who will- EVERITT Look here' I've got the whole thing! You found that letter in my pocket MRS. EVERITT Yes I did. EVERITT Well, do you remember my quarrel with Charlie Fisher MRS. EVERITT Yes. Why EVERiTT Because, you poor child, that letter was written to him. MRS. EVERITT 'lFo him! EVE'RITT Yes, Charlie Fisher. I found that lie was going with Annie Pratt and I haid it out with him one dlay in the barn. I told hilim if he didn't quit his foolishness I'd tell his people. We nearly came to blows-he was 96 RAIN drinking too much, too-and I found that letter on the floor afterwards. I meant to burn it up, but I forgot it. And you thought I was the Charlie! MRS. EVERITT God forgive me! EVERITT But why on earth didn't you come right out with it MRS. EVERITT Oh! You can't realize how crushed I felt. I wanted only to run away, like a wounded animal. . . . And then I couldn't bear to quarrel, for the sake of Wal- ter. So it's been festering in me all this time. EVERITT So that's it. Well, thank heaven! (He starts to embrace her) MRS. EVERITT But that letter you picked up so quickly to-night- was that from somebody else EVERITT Lord, I'd almost forgotten it. MRS. EVERITT There! And I was almost happy! EVERITT For goodness sake, read it! MRS. EVERITT From your bank. . . . I don't understand it. EVERITT It's siniple enough. They won't mike me another MRS. EVERITT Well RAIN 97 EVERITT Between the unions and the new inspection-well, I can't finish the Broadway contract on time, and I'm done. MRS. EVERITT Done EVERITT Done. Smashed. I might save ten thousand dol- lars, that's all. My life's work.... MRS. EVERITT You mean money EVERITT I mean the lack of it. MRS. EVERITT Is that all Thank heaven! EVERITT All! But do you realize it means giving up the house, and beginning all over again on ten thousand dollars MRS. EVERITT I don't care. I was never happy there anyhow. And now I could be happy doing my own work in a tene- ment. EVERITT I think I could be happy as a carpenter again by the day. But the children. It's going to be hard for them. Walter's architecture. WALTER Father! EVERITT Good gracious! Where did you come from 98 RAIN WALTER I came back from the office. . . I heard what you were saying. So that's all right. But you needn't worry about my architecture. I was telling mother to-night. I don't like it-it isn't my work. I only wanted you to feel as I do about it. Just feel that I really want to paint-to be an artist. Even if I have to work at something else for a long time, I'll feel easier, knowing you realize what I want. I love color so. And I want to let my imagination go. I'll help in any way I can, naturally. I'm glad too. I mean, I had rather live in the country like this than in New York. EVERITT Good Lord! (Alice appears in the doorway holding Harold) WALTER It seems to me that none of us has been really satis- fied, so it isn't so bad after all. We can begin on something real to us all. Mother said she would be happy in a tenement. Well, maybe she would, but why not come up here MRS. EVERITT Oh, Charles! EVERITT Well . . . but Alice. ALICE Mother. MRS. EVERITT You. too! What is it What's the matter with Harold RAIN 99 ALICE Nothing. He wouldn't go to sleep, and wouldn't. He said he wanted to sit in your lap. I never saw him so. I had to bring hirm. MRS. EVERITT Give him to me, dear. ALICE And I knew something was going on down here . . . I could feel it. I don't know what it was, but there's one thing I do know. MRS. EVERITT What ALICE Why, ever since father said I looked as you used to I've been thinking about what you must have been like as a girl, and it came over me how useless I am. I've never done anything. And you must have done a lot. EVERITT I should say she did! WALT ER There! Say, Alice, how'd you like to live in that white house we passed, the one with the orchard ALICE Really And do things MRS. EVERITT Charles! EVERITT This is the most extraordinary night I ever heard of. Here I was, feeling like a condemned criminal because I'd lost my business, afraid to tell Mary and yFu children, and now you all seem positively glad of it. 100 RAIN RAIN 101 I expected all kinds of trouble, and all at once. .. What the deuce is it HAROLD Rain-rain . . . Mother, why can't the brook come back to the same little girl This page in the original text is blank. PICTURES This page in the original text is blank. PICTURES A studio on the Rue Notre-Dame-des-Champs. There is a small entrance hall, kitchenette, and a balcony be- fore which curtains are drawn. It is a winter after- noon, and a young man is busy at an easel placed close beside the north light. A young woman arranges tea things on the table. SILVIA Joe. JOE Um. SILVIA Joe! JOE Um-um! (She walks over, draws his watch from his pocket and shows him the time) SILVIA It's nearly four o'clock. JOE Just a ininute--the light's fine, and I want to finish. SILVIA Yes, I know. but he may be here any minute. JOE Tea on SILVIA Yes. 105 PICTURES JOE Well, that'll keep him while I get ready. That's mostly what they came for, anyhow. SILVIA But he's different. He isn't a Cook's tourist- JOE No, he's a relative! SILVIA You wouldn't say that if one of your family dropped in. Besides, I've never even seen him. And he's something of a collector, Joe. He buys pictures. JOE So I hear. The last thing he bought was a Bouge- reau! SILVIA Well, he's a relative . . . and when he sees your last things! J0E Um. . . . There, it's all done. SILVIA I'm crazy to see it, Joe, but run up and get ready. Sh! (A knock at the door. Joe runs upstairs to the balcony. Silvia opens the door and admits Mr. Wentworth, rather stout and with gold spectacles) MR. WENTWORTH Mrs. Carson SILVIA Yes. This is Mr. Wentworth Joe and I have been expecting you. Let me take your coat. The studio's rather upset just now- 106 PICTURES MR. WENTWORTH Delightful! I-low I love the atmosphere of work in a studio! I used to paint a bit mnyself, you know. SILVIA Did you Father never mentioned that. MR. WENTWORTH. Oh, I guess everybody has forgotten it by now. An early adventure with life! Goodness only knows what might have happened, though, if the business hadn't fallen on me to look out for. I might have been a great artist. Ha! SILVIA I'm sure you would, Mr. Wentworth. You've al- ways been interested in art, haven't you MR. WENTWORTH Yes indeed. Of course I have been very busy, until lately. But I always followed the best English magazines. SILVIA My husband's upstairs getting the paint off his hands. He will be down in a minute. Then we'll have some tea. MU. WENTWORTH Xr-ou don't paint, do you, Silvia I may call. you Silva, may I not SILVIA Of course. No, I don't paint. I just fly around amongst the artists and see what's going on. Are you staying in Paris very long MAR. WENTWORTH A couple of weeks more, at least. I amii revelling in the galleries an(i museumis here, 107 PICTURES SILVIA Here comes Joe. Joe, I want you to meet my cousin, Mr. Wentworth. Mr. Wentworth-air. Carson. JOE Very glad to meet you, Mr. Wentworth. MR. WENTWORTH It's a great pleasure for me to meet a real artist, Mr. Carson. SILVIA Excuse me a moment. I'll bring on the tea. JOE Oh, as for that-I'm working along. Sometimes I hit it- MR. WENTWORTH Afrs longa, vita brevis you know! I want to see your pictures very much. I was just telling Silvia how I delight in the Louvre. I go there with a class for lectures every morning. I suppose you often copy the old masters JOE Copy the old masters I should say not. I'm not out to be a camera. It's all I can do to work out my own impressions. MR. WENTWORTH Oh, I see. But- SILVIA The tea's ready. Joe, bring up that chair for Mr. Wentworth. MIr. Wentworth, do you take cream and sugar MR. WENTWORTH If you please. Yes, two lumps. There's nothing like the atmosphere of a studio, is there I love it. I 108 PICTURES feel I have missed so much. Still, the instinct for beauty, fragile as it is, does persist. . . . I was sur- prised to feel so many of my old emotions awake on coming to Paris. So much that hasn't been real to me for years! I have gained much inspiration for planning my new house. SILVIA You are building a new house I have heard father talk about your collection of Japanese prints. MR. WENTWORTH A really delightful thing, Japanese prints. Yes, I intend building on Long Island. And my new in- terest in pictures . . . I shall have a gallery espe- cially for them. JOE Americans haven't done any too much for art so far. MR. WENTWORTH Oh, I assure you! I know miany men who are con- tinually buying the best on the market. JOE Oh, that . SILVIA Another cup, Mr. Wentworth Joe, pass the cake. MR. WENTWORTH No, thank you, Silvia. Yes, the cake if you please. Why, it's real English plumeake! SILNIA English things are getting very popular over here. Joe, won't you show us the new picture He finished it joust before you came, Mr. Wentworth. MR. WEJNTWORTH Indeed! I should like to see it very much. 109 PICTURES JOE There isn't very much light. SILVIA No, the light is poor. But even so-and your colors will stand out, Joe. MR. WENTWORTH Really, Mr. Carson, I counted on seeing some of your work. I have heard nice things about you. JOE There. If you stand just here SIrV'IA Oh, Joe! JOE What SILVIA It's our little cottage! I'm so glad! That's where we lived last surnmer, Mr. Wentworth. I always wanted Joe to paint it. Joe, it's splendid! Don't you think so, Mr. Wentworth MR. WENTWORTH Yes. . Yes. Very interesting. . . SILVIA Don't you love the bright colors and the firm, flow- ing lines MR. WENTWORTH Of course, it isn't exactly what I have been accus- tomed to. . . . I have heard that some of the young- er Frenchmen and Russians are painting in a new way, but- SILVIA Joe, it's so alive! I feel it, every inch of it! You've no idea, Mr. Wentworth, how Joe's painting has 110 PICTURES changed me. I used to be such a little New Eng- lander, afraid of life, but now-- JOE It isn't only what you call the "younger Frenchmen and Russians" who are learning how to paint-the modern movement has spread all over. MR. WENTWORTH Of course, I don't pretend to be an artist myself, but I have always studied and loved pictures, and when you say "learning how to paint"-- JOE That's exactly what it is. Learning how to paint. Learning what art is. Getting life into it instead of abstract ideas. MR. WENTWORTH Art But art is beauty! Eternal beauty. You can't change art over night, like a fashion! SILVIA But that picture's beautiful! JOE Art changes as life changes. Art has always changed. If it didn't, why isn't your Japanese art just like Greek art And Greek art like the Italian MR. WENTWORTH Oh, in that way, of course. But all the great mas- ters obey the eternal laws of beauty! JOE There aren't any eternal laws of beauty! There's only the eternal impulse to create. Every artist has to express himself in his own way. What you call the "eternal laws" are merely the particular expres- PICTURES sions your own favorite painters happened to work out in their time. If they had lived in another time- MR. WENTWORTH A master would always be a master. There's no change possible in the vision of the soul. SILVIA You see, Mr. Wentworth, what I have learned these last two years from living among artists is that the painter with an original vision is always opposed by the schools. That is, at first. But when he wins out, then the schools merely take over his technic and use it as a club to put down the next creator. And so it goes. MR. WENTWORTH Naturally, the great artist suffers hardship. But if we once admit there are no laws, where are we Anarchy! JOE The laws are contained in the impulses themselves. They come with the vision, not before it! If any one thinks this modern art is just an easy way of painting- SILVIA Indeed it isn't! Joe works much harder than the students who go to the schools. Of course, he doesn't paint by the clock. MR. WENTWORTH But the Louvre! All those beautiful pictures, those priceless treasures! What about the Louvre JOE The Louvre It's a museum. 112 PICTURES MR. WENTWORTIT What do you mean by "it's a museum" JOE I mean that it's the place to put pictures in when they are dead. MR. WENTWORTH Dead A great masterpiece dead JOE Of course. No man lives forever. Nobodv that was ever born was useful enough to live forever. The bigger a man is the longer his influence is creative, ir. art and everything else, but the time always comes when his value is spent. When the world needs a new influence. SILVIA It's really wonderful, Mr. Wentworth, how know- ing the truth about art shows one the truth about other things. When I remember what I used to be- lieve! MR. WENTWORTH But see here, young man, you wouldn't do away with the Louvre, would you Why, what would happen if these ideas were carried out . . . JOE No, I wouldn't do away with it. Why should I If to burn it down would wake people up to life, I'd do it in a minute. But it wouldn't. They would only sanctify the superstition and make it immortal. No, leave the Louvre as it is. It's really quite useful. MR. WENTWORTH But good gracious! Useful 11]. PICTURES JOE Yes. Like history. To do away with the Louvre would be to destroy a part of history. There's no good doing that. We need history-it cranks up life-but we've got to recognize that after all it is only history, not life itself-not art. MR. WENTWORTH But what is art, if the Louvre isn't SILVIA Don't you see, M.r. Wentworth If you could only get for a moment into the stream of experience where Joe and the others brought me! A picture is art as long as it's alive as long as it can give back the fresh, first-hand impulses that were put into it. After that-when life has flowed on and set up new im- pulses requiring a different expression--then a pic- ture drops back upon a lower level. What Joe calls history. JOE Like everything else. MR. WENTWORTH But you put art on the same plane as invention. An improved motor car scraps the old model. But you can't improve art! JOE No, certainly not. We don't try do. We just do our best. We recover art. MR. WENTWORTH Recover it SILVIA Yes-discover it all over again. It gets lost, lost in hard and fast rules or sentimentality, then a genius 114 PICTURES comes along and digs down to the buried city--crea- tion. Art isn't like invention. It's more like re- ligion. MR. WENTWORTH There you are! JOE There we are! Isn't there a struggle going on all the time to free religion, the spirit of religion, from hard and fast rules and from false emotions It's exactly the same thing. MR. WENTWORTII Ah, but rules are necessary to maintain order. That's what I insist about art. We must have rules! SILVIA I know exactly what you mean, Mr. Wentworth. You mean that if fanatics tore down all the churches on the street corners, and there weren't any more Sun- day mnorning sermons, everybody would run wild. But there again it's the same thing as with art: the man who has the spirit of the thing in hini feels that the spirit itself is a far better control than heaps of stones and sermons. It's all a matter of living. Imagine asking one of the Apostles which church he went to! MR. WENTWORTH Wait! We are getting art mixed up with too much else. Didn't you say, Mr. Carson, that pictures die(l when they no longer gave out impulses of beasuty JOE Yes. MR. WENTWORTH Well! I admit there are dead pictures, too man) 115 PICTURES of them, but they are the canvasses that were still- born. The masterpieces in the Louvre still give out impulses-beautiful impulses-to many of us, thank heaven! SILVIA But that's just it! The impulses you mean aren't those of art at all. They- JOE Those pictures don't give out impulses to the artist. The impulses they do give out are only the emotions that satisfy the student who has learned some rules and then sees the rules worked out. The artist pro- duced the rules as a side issue, but you are trying to make the rules produce the artist. That's the diffi- culty when people as a whole lose the creative sense. They are satisfied with things at second-hand. Sec- ond-hand expressions of life, and second-hand phi- losophies to justify the expressions. It's a kind of conspiracy in which everybody works against every- body else. Only the few real artists in any genera- tion break through, it into the light. SILVIA The light of the sun! MR. WENTWORTH I fear we are hopelessly at odds in this question. Well, as the Romans said, there's no disputing about tastes. Every one to his own taste. JOE No! MR. WENTWORTH What do you mean 116 PICTURES JOE I mean that it's a disgrace that Americans only study and only buy old masters. It's a burning shame that all they know about art is what they have been taught in books. They let their own artists starve-they make them come over here-while they bid up a Raphael like a block of shares. What good does it do Raphael He had his day. And look how it holds back our own possible Raphaels! MR. WENTWORTH Raphael Ah, you are still very young. You don't understand the attitude of the majority, Mr. Car- son. Raphael is one of our great inspirers of beauty. JOE You mean culture! SILVIA Oh, it's getting quite dark. Joe, light the light. MR. WENTWORTH Dear me, so it is! What time is it It must be get- ting late-Good gracious! I have an engagement. SILVIA You can't stay for a little dinner with us in the Quar- ter, Mr. Wentworth Afterward we could go to one of the cafes. MR. WENTWORTH I'm afraid I can't, Silvia. It's been a great pleasure to meet you both, I assure you. These little differ- ences of opinion . . SILVIA Oh, that's all right. We argue art and religion every day, don't we, Joe Of course, though, we do feel strongly about the young artists--the young Amer- 117 PICTURES ;can artists. They come over here, and then they have to burn their bridges . . . and we see how won- derful America could be if they were given things to do instead of being neglected . . . JOE Here's your coat, Mr. Wentworth. MR. WENTWORTH Thank you. Thank you for the delicious tea, Silvia. If I weren't leaving town so soon . . . Good night. SILVIA Good night. The stairs are rather dark . . . (He goes out) JOE Damn! SILVIA Yes, I know, Joe. It's discouraging . . . JOE Discouraging It's immoral! Oh, these smug peo- ple who have been taught what to admire! These unborn souls who want to shut us all up in the dark! I suppose he went away thinking I put myself up higher than Raphael. Who are we painting for They don't want it-wouldn't take it for a gift. And here we are, a poor little group, standing amazed before the glory of the sun, and painting it-for the blind! SILVIA Some day, Joe . JOE Some day-yes, wlhe n the life has oozed out of all our bright canvasses, whden only the "rules" are left. And 1'S8 PICTURES 119 we won't be able to rise from our graves and curse them! SILVIA Now, Joe! JOE I guess I let you in for a hard time, Silvia. I wish sometimes I could really paint the kind of thing that goes with stupid people's dining rooms. They with their Long Island Louvres! SILVI\ If you did, Joe. I'd put it in the stove. Don't think you are having all the fun of being a pioneer. It's exciting to be within a mile of it! JOE Good girl. Ughli! Let's go to Boudet's and have dinner. I want to get the bad taste out of my mouth! This page in the original text is blank. HIS LUCK This page in the original text is blank. HIS LUCK The living room in a small flat in Beekman Place. Two women, one of them in mouxrninq, sit beside the remains of tea. VERA But Jean, where are you going, when you pack up here JEAN I'm not leaving here. I'm staying on. VERA Oh. But I thought that now . . . you were talking about being free for your own work at last. JEAN If I have any work to do, I can do it here. You don't understand, quite. All these years I have been living from whirlpool to whirlpool, never settled, always deracina-the thought of getting accustomed to another place makes me shudder. VERA I can imagine, now, how it has been, Jean. But can you find any peace here W\ith all these things about You are so sensitive-lamps, and pictures, and rugs-these aren't just furnitare to Lou, they are images of the past. Won't they be, too-real Too personal Won't you feel more ait liberty with yourself if you create your own atmosphere 123 HIS LUCK JEAN Ah, they are real enough! That table is a winter in Munich; the samovar is Warsaw one night in May; the lucerna is Rome . . . and all that those places mean to me. I never realized how things could be alive-be personal-until I was left all alone in the midst of these. VERA There, don't you see They're so dominating. I knew you before all this . . . I wish you would get away-be yourself. JEAN _No. I shall stay here. As close as possible. VERA But really, Jean ! I'm thinking of your work. Per- haps you don't appreciate what an insidious drug memory can be. Especially the memory of unhappi- ness. Let's be frank, Jean, for the sake of your future. You have been unhappy. JEAN Unhappy Yes, I have been outrageously unhappy! Years of it! Sharp arrows and poisoned wine. I wanted to die VERA Jean! JEAN You read a play by Strindberg, and you say it's very strong, very artistic, but all the while you be- lieve it is only the nightmare of a diseased mind. It's just a play-you shut the book and return to "real" life, thankfully. Well, the Strindberg play has been mv real life, and real life my play, my im- 124 HIS LUCK possible dream. You can't imagine how terrifying it is to feel the situation develop around you. Two bodies caught naked in an endless wilderness of thorns. Every movement one makes to free the other only wounds him the more. Two souls, each inno- cent and aspiring, bound together by serpents, like the Laocoon. . . . It is one of those things that are absolutely impossible . . . and yet true. VERA I'll help you pack. Now. You must! JEAN We had the deepest respect and admiration for one another, but somehow we never walked in step. His emotion repressed mine, my emotion repressed his. Sometimes one was the slave, sometimes the other. We couldn't both be free at the same time. There was always something to hide, to he afraid of.... Not words nor acts, but moods. It passed over from one soul to the other like invisible rays. And we couldn't separate. That was part of it. We just went on and on. ... VERA People wondered. The first time I met Paul- JEAN What dlid vou feel VERA I wondered, afterward, what it really was. Ile seemned to impress ne like a powerful motor car stalled in a muddy road. JEAN Ali. I know! 125 HIS LUCK VERA Poor child. JEAN No. You don't understand. I was unhappy, in the ordinary sense, unbelievably so. But that wasn't all. I was alive! I lived as the man lives who faints in the dark mine underground, and I lived as the aviator lives, thrilling against the sun, and as the believer in a world of infidels. That was what he did for me. And slowly, as I learned how deeply the very pain was making me live, I put my unhappi- ness by. It was there, but it no longer seemed im- portant. It was the lingering complaint of my old commonplace soul standing fearfully on the brink of greater things and hating the situation that led it there. VERA You are a big woman, Jean. JEAN No, I am a small woman in front of a big thing. One of the biggest, genius. And the force of it, re- lentless as nature, made me what I am. Paul. Oh, Vera, when I think of his music, tempestuous as the sea, healing as spring . . . And now where is it He had what all the world wants most, flight, and the world stalled him in its own mud. You saw it. . . . That's why I shall stay here. It's the only place with his atmosphere. All these things are he. I face them here in silence, and I bare my breast to the arrow. Here I am, the only one who knows Paul's music in its possibility. To the rest, it is a heap of stones by the roadside. The architect is dead. 126 HIS LUCK VERA But didn't he ever . . . why didn't he . . . JEAN You ask it, of course. You have the right. Some- times I ask it, too, why Paul never succeeded. While we were struggling along, the things that held him back seemed only details. Only now do I see them as a whole. In the first place, Paul never aimed directly at suc- cess. He was all-round. If it had been merely a question of exploiting his talent, sticking to the one idea day in, day out, never letting an opportunity slip by of meeting the right people and getting to the right places . . . that would have been easy. Ile had tremendous energy. I used to grudge his interest in other things. I hated to see hirm lose the chances and let them be snapped up by littler men. He seemed to waste himself, right and left, prod- igally. But it wasn't that, it wasn't waste. It was all as much a part of him as his music. He detested the stupidity of wealth and poverty, he rebelled against laws that aren't laws, but only interests en- forced bv authority, Ile fought against the sheer deadness of prejudice. How he hated all that! And why not You see, Vera, he was sensitive to it not only as a thinker, but as a musician, too. It was all a part of the discord, and what I used to think his wasting himself was really an effort to create a larger harmony. He used to say that the beauty of music is only the image of beauty in life, and that life must come first. He couldn't endure discords anywhere. Paul despised the musicians who scream 15!7 HIS LUCK at a flatted f but hunger for the flesh pots after the performance. No, he was never that. And people resented it. The very people who ought to have understood. VERA But he didn't neglect his music, that is . . . P JEAN No. He made enormous efforts to get his violin be- fore the public. And several times he was "discov- ered" by men who could have made him famous over- night. We all believe that genius will out, despite anything, but it doesn't always. Musicians re- spected him, but they were afraid of him, too. He criticized them for their shortcomings in other things, just as he criticized others for their short- comings in art. He wouldn't accept any talent, no matter how fine, if it went with anything small or destructive. You can imagine the china shops he left in fragments! Just think! Once in Berlin it was all arranged for him to have a recital-he was working furiously on his program and I was dancing on air-when just at the last moment he heard the director make some light remark or other about women. Paul was raging! He threw the words back in the fellow's teeth, and made him apologize, but there we were. They called off the recital, naturally. And I couldn't blame Paul. I was just beginning to understand. Another time . . . no, he never had luck. Paul had bad luck. I often think of the Greek tragedies. VERA Another time 12!8 HIS LUCK JEAN Another time-it was in Warsaw-we had gone with a letter of introduction to Sbarovitch- VERA The Sbarovitch JEAN Yes. It was a chance in ten thousand. We pawned stuff to get there. Well, Paul played like a god. Sbarovitch was quite overcome. He swore he would compose something especially for Paul. We had visions of playing before the Czar. VERA But what happened JEAN What happened One night a woman called on Paul at the hotel. He went down, not knowing who it was or anything about her. He said afterward that she started in flattering him and asking him to play for her some time. . . . Then Sbarovitch rushed in, seizing the woman and cursing Paul with mouthfuls of Slavic hate. So that dream ended! VERA But why Was it Sbarovitch's wife JEAN No, worse luck-it was his mistress. Ali, you can't imagine the re-action from such disappointments! The long, slow warming to the full possibility of the occasion, until the artist's mind and body become one leaping flamee-and then the sudden fall into icy water. It takes months to work up to the same pitch again. . . . And then Rome. V19 HIS LUCK VERA What, again JEAN Oh, yes. Again. This time for a wonder every- thing went smoothly. I had watched over him like a cat, to save him from others' stupidity and his own impetuousness. It came the very moment when he had to go to the theatre. He asked me if I were ready. I wasn't. I didn't want to go. VERA You didn't want to go JEAN No. It's difficult to explain, but somehow by then I had grown aware that the long series of little ob- stacles, each one accidental and temporary, seemed to express something unseen, something impersonal, a kind of fate . . . as if the verdict had gone forth from the lords of things that Paul was not to suc- ceed. And everything seemed to hang in the balance that night. I thought that the fact I was aware of Paul's bad luck made me all the likelier instrument for it to work through. So I told him I had a head- ache. . . . HIe must have felt something in my voice. He dropped his violin and demanded I tell him why I didn't want to go. His intuition told him it was a matter of will with me. I hadn't thought to have a story ready. Besides, I was so worn out that I was on the verge of hysteria. Ile stormed, and I sat staring at him without a word, wondering only why he didn't forget poor insignificant me and go forth to his glory. I despised him for considering me at such a moment. I didn't understand. My opinion, 130 HIS LUCK my feeling, was more important to Paul than the rest of the world. So, after all, I was the instru- ment. VERA But why didn't you just get up and go JEAN As soon as I saw how much it meant to Paul, I tried to. But it was too late. . . . We sat there arguing until three in the morning. An orgy of tears and self-immolation for us both. . . . I suppose he migh-, have explained, to the director afterward and ar- ranged another concert, but those things are never the same the second time. Well, I forced myself to get rid of that feeling about his bad luck. How I ever succeeded I don't know, for Paul caught my mood and began to believe it himnself. But somehow T did. And then I made him give up his violin and begin composing. Of course we had to have money for that. I wrote a relative and demanded, point blank, shamelessly, two thousand dollars. I felt it was my restitution to Paul. I received the nmoney. What the relative thought, I don't know. I suppose he paid it to avoid getting another such letter from me. I don't blame himn. So we came over here and Paul started at work. I was fighting for him and with him every moment. How lhe worked! Six months, like a coal heaver. Then he finished and played it over. Ile tore it all up. Every note. VERA Why 131 HIS LUCK JEAN He said it was written in an old-fashioned style. It was curious-in his playing he appreciated the most advanced technic, but when be came to compose he found himself imitating the things he had admired when he was eighteen. It had to be worked out of his mind. Well, he did it all through again. This time he said he was only about two years behind. Tore it up again. But now he was convinced he could succeed. And he was magnificent! I would have shared him with the world gladly, but I knew it was best for him to do this work. The hours this room has seen! Well, he made a few notes, stopped a few days to take breath, and then caught the cold that wore him out. Over there, in that drawer, are the notes, a few scraps of paper. The rest of it- the experience of a strong life, a visioning life, are with the mind that is dumb. Sometimes when I sit here I hear it all played, an orchestra . . . new har- monies, pure emotion.... The wonder and then the pain of it are almost unbearable. VERA Ah, Jean, I begin to understand. JEAN Over in London there are half a dozen men and women who caught a glimpse of Paul as he really was. In Munich there are half a dozen more. He was at his best in a studio among friends with a con- genial atmosphere. They knew . . . but what is that I tell you, Vera, the only way I can explain it all is by seeing two forces, two moralities; the morality 1l1. HIS LUCK of God and the morality of nature. Perhaps in some people they both work together for the same end, but they don't always. . . . In the sight of heaven, Paul wvas an apostle of harmony. In the sight of nature, he was the seed too many on the tree, the bird wrongly colored in the forest. I sit among these things, the fast-ebbing beats of his memory, thinking of what he might have been for others as he was to me, and my heart breaks. Our unhappiness A cloud passing before the sun-nothing more. And during this past year I have come to love him all over again, not as mate but as mother. VERA Ah, Jean, with all his bad luck, lhe had vou! Who knows what might have happened if you had not been there JEAN He had me No, he never had me-he made me. And that's why I sit all alone with the things that are Paul,-Paul, the flame that was never lit on the altar, the sword that was never drawn from the scabbard. . . . We talk together, Vera. Paul and I. We talk together, and I wait for him to tell ine what to do. 183