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diff --git a/old/42148.txt b/old/42148.txt deleted file mode 100644 index 54a3ac8..0000000 --- a/old/42148.txt +++ /dev/null @@ -1,10329 +0,0 @@ -The Project Gutenberg EBook of Three Plays, by Luigi Pirandello - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Three Plays - -Author: Luigi Pirandello - -Translator: Edward Storer - Arthur Livingstone - -Release Date: February 21, 2013 [EBook #42148] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK THREE PLAYS *** - - - - -Produced by Marc D'Hooghe at http://www.freeliterature.org -(Images generously made available by the Internet Archive) - - - - - -THREE PLAYS - - -SIX CHARACTERS IN SEARCH OF AN AUTHOR - -HENRY IV - -RIGHT YOU ARE! (IF YOU THINK SO) - - -BY - -LUIGI PIRANDELLO - - -AWARDED NOBEL PRIZE IN LITERATURE, 1934 - - -NEW YORK - -E.P. DUTTON & CO., INC. - -PUBLISHERS - -1922 - - - - -PREFATORY NOTE - - -No apology is necessary for offering to American readers a play which -critics, with singular unanimity, have called one of the most original -productions seen on the modern stage. In less than a year's time, "Six -Characters in Search of an Author" has won a distinguished place in the -dramatic literature of the Western world, attracting audiences and -engaging intellects far removed from the particular influences which -made of it a season's sensation in Italy. - -Yet the word "original" is not enough, unless we embrace under that -characterization qualities far richer than those normally credited to -the "trick" play. The "Six Characters" is something more than an -unusually ingenious variation of the "play within a play." It is -something more than a new twist given to the "dream character" made -familiar by the contemporary Italian grotesques. It is a dramatization -of the artistic process itself, in relation to the problem of reality -and unreality, which has engaged Pirandello in one way or another for -more than twenty years. - -I venture to insist upon this point as against those observers who have -tried to see in the "Six Characters" an ironical satire of the -commercial drama, as we know it today, mixed, more or less artificially, -with a rather obvious philosophy of neo-idealism. No such mixture -exists. The blend is organic. The object of Pirandello's bitter irony is -not the stage-manager, nor the theatrical producer, nor even the -dramatic critic: it is the dramatist; it is the artist; it is, in the -end, life itself. - -I suppose the human soul presents no mysteries to those who have been -thoroughly grounded in the science of Freud. But in spite of -psycho-analysis a few Hamlets still survive. Pirandello is one of them. - -What are people really like? In the business of everyday life, nothing -is commoner than the categorical judgment sweeping and assured in its -affirmatives. But as we cut a little deeply into the living matter of -the spirit, the problem becomes more complicated. Do we ever understand -the whole motivation of an action--not in others only but even in -ourselves? - -Oh, yes, there are people who _know_.... The State knows, with its laws -and its procedures. And society knows, with its conventions. And -individuals know, with their formulas for conduct often cannily applied -with reference to interest.--The ironical element, as everyone has -noted, is fundamental in Pirandello! - -Apart from works in his earlier manner (realistic pictures from Southern -Italian life, including such gems as "Sicilian Limes"), Pirandello's -most distinctive productions have dealt with this general theme. No one -of them, indeed, exhausts it. And how could this be otherwise? -Pirandello, approaching the sixties, to be sure, is nevertheless in -spirit a man of the younger Italian generation, which, trained by Croce -and Gentile, has "learned how to think." But however great his delight -in playing with "actual idealism," he knows the difference between a -drama and a philosophical dissertation. His plays are situations -embodying conclusions, simple, or indeed "obvious" in their -convincingness. They must be taken as a whole--if one would look for a -full statement of Pirandello's "thought." - -A "thought," moreover, which may or may not invite us to profound -reflection. Enough for the lover of the theatre is the fact that -Pirandello derives the most interesting dramatic possibilities from it. -Sometimes it is the "reality" which society sees brought into contrast -with the reality which action proves (_Il piacere dell'onesta_). Again, -it is the "reality" which a man sees in himself thwarted by the reality -which actually controls (_"Ma non e una cosa seria"_). In "Right You -Are" (_Cosi e, se vi pare_) we have a general satire of the "cocksure," -who, placed in the presence of reality and unreality, are unable to -distinguish one from the other. - -In the "Six Characters" it is the turn of the artist. Can art--creative -art, where the spirit would seem most autonomous--itself determine -reality? No, because once "a character is born, he acquires such an -independence, even of his own author, that he can be imagined by -everybody in situations where the author never dreamed of placing him, -and so acquires a meaning which the author never thought of giving him." -In this lies the great originality of this very original play--the -discovery (so Italian, when one thinks of it, and so novel, as one -compares it with the traditional role of the "artist" in the European -play) that the laborious effort of artistic creation is itself a -dramatic theme--so unruly, so assertive, is this thing called "life" -ever rising to harass and defeat anyone who would interpret, -crystallize, devitalize it. - -And beyond the drama lies the poetry, a poetry of mysterious symbolism -made up of terror, and rebellion, and pity, and human kindliness. Let us -not miss the latter, especially, in the complex mood of all Pirandello's -theatre. - - * * * * * - -The three plays of Pirandello, here offered in translations that do not -hope to be adequate, are famous specimens of the "new" theatre in Italy. -The term "new" is much contested, not only in Italy but abroad. In using -the word here it is not necessary to claim that this young, impulsive, -fascinatingly boisterous after-the-war Italy is doing things that no one -else ever thought of doing. We remain on safe ground if we assert that -Pirandello and his associates have broken the bounds set to the old -fashioned "sentimental" Latin play. - -The motivations of the "old" theatre were largely ethical in character, -developing spiritual crises from the conflict of impulses with a rigid -framework of law and convention. Dramatic art was, so to speak, a -department of geometry, dealing with this or that projection or -modification of the triangle. Husbands tearing their hair as wives -proved unfaithful; disappointed lovers pining in eternal fidelity to -mates beyond their social sphere; cuckolds heroically sheathing the -stiletto in deference to a higher law of respectability; widows sending -second-hand aspirants to suicide that the sacrament of marriage might -remain inviolate:--such were the themes. - -And there is no doubt, besides, that this "old" theatre produced works -of great beauty and intenseness; since the will in conflict with impulse -and triumphing over impulse always presents a subject entrancing in -human interest and noble in moral implications. - -But the potentialities of drama are more numerous than the permutations -of three. The "new" theatre in Italy is "new" in this discovery at -least. - - * * * * * - -"'Henry IV.,'" an equally strong and original variation of the insanity -motive, is the first of two plays by Pirandello dealing with a special -aspect of the problem of reality and unreality. The second, not yet -given to the public, is _Vestire gli ingnudi_ ("... And ye clothed -me!"). In the former Pirandello studies a situation where an individual -finds a world of unreality thrust upon him, voluntarily reassuming it -later on, when tragedy springs from the deeper reality. In "And ye -clothed me!" we have a girl who, to fill an empty life of no importance, -creates a fiction for herself, only to find it torn violently from her -and to be left in a naked reality that is, after all, so unreal. - -These two plays indicate the present tendency of Pirandello's rapid -production--a tendency that promises even richer results as this -interesting author delves more extensively into the mysteries of -individual psychology. - -"'Henry IV.,'" meanwhile, is before us. It can speak for itself. - - * * * * * - -All of Pirandello's plays are built for acting, and only incidentally -for reading. We make this observation with "Right You Are" especially in -mind, since that play, above all, is a test for the actor. It is typical -of Pirandello for its rapidity, its harshness and its violence--the -skill with which the tense tableau is drawn out of pure dialectic, pure -"conversation." Moreover, it states a fundamental preoccupation of -Pirandello in peculiarly lucid and striking fashion. Perhaps a better -rendering of the title _Cosi e (se vi pare)_ will occur to many. Ludwig -Lewisohn (happily, I thought) suggested "As You Like It," no less. A -possibility, quite in the spirit of Pirandello's title in general, would -have been another Shakespearean reminiscence: "... and Thinking Makes It -So." We have kept something approximating the literal, which would be: -"So it is (if you think so)." - -The text of the "Six Characters" is that of the translation designated -by the author and which was used in the sensational productions of the -play given in London and New York. - -A.L. - - - - -CONTENTS - - -PREFATORY NOTE - -SIX CHARACTERS IN SEARCH OF AN AUTHOR--A COMEDY IN THE MAKING - -"HENRY IV." - -RIGHT YOU ARE (IF YOU THINK SO!) - - - - -THREE PLAYS - - - - -SIX CHARACTERS IN SEARCH OF AN AUTHOR - -(_Sei personaggi in cerca d'autore_) - -A COMEDY IN THE MAKING - -BY - -LUIGI PIRANDELLO - -TRANSLATED BY EDWARD STORER - - - - CHARACTERS OF THE COMEDY IN THE MAKING: - - THE FATHER. THE MOTHER. THE STEP-DAUGHTER. - THE SON. THE BOY. THE CHILD. (_The last - two do not speak_.) MADAME PACE. - - - ACTORS OF THE COMPANY - - THE MANAGER. LEADING LADY. LEADING MAN. - SECOND LADY. LEAD. L'INGENUE. JUVENILE - LEAD. OTHER ACTORS AND ACTRESSES. - PROPERTY MAN. PROMPTER. MACHINIST. - MANAGER'S SECRETARY. DOOR-KEEPER. - SCENE-SHIFTERS. - - - DAYTIME. THE STAGE OF A THEATRE. - - - -SIX CHARACTERS IN SEARCH OF AN AUTHOR - -A COMEDY IN THE MAKING - - - - ACT I. - - - _N.B. The Comedy is without acts or scenes. The performance - is interrupted once, without the curtain being lowered, when - the manager and the chief characters withdraw to arrange the - scenario. A second interruption of the action takes place - when, by mistake, the stage hands let the curtain down._ - - _The spectators will find the curtain raised and the stage - as it usually is during the day time. It will be half dark, - and empty, so that from the beginning the public may have - the impression of an impromptu performance._ - - _Prompter's box and a small table and chair for the - manager._ - - _Two other small tables and several chairs scattered about - as during rehearsals._ - - _The actors and actresses of the company enter from the back - of the stage:_ - - _first one, then another, then two together: nine or ten in - all. They are about to rehearse a Pirandello play_: Mixing - It Up. _Some of the company move off towards their dressing - rooms. The prompter who has the "book" under his arm, is - waiting for the manager in order to begin the rehearsal._ - - _The actors and actresses, some standing, some sitting, chat - and smoke. One perhaps reads a paper; another cons his - part._ - - _Finally, the Manager enters and goes to the table prepared - for him: His secretary brings him his mail, through which he - glances. The prompter takes his seat, turns on a light, and - opens the "book."_ - - - THE MANAGER (_throwing a letter down on the table_). I can't - see (_to Property Man_). Let's have a little light, please! - - PROPERTY MAN. Yes sir, yes, at once (_a light comes down on - to the stage_). - - THE MANAGER (_clapping his hands_). Come along! Come along! - Second act of "Mixing it Up" (_sits down_). - - (_The actors and actresses go from the front of the stage to - the wings, all except the three who are to begin the - rehearsal_). - - THE PROMPTER (_reading the "book"_). "Leo Gala's house. A - curious room serving as dining-room and study." - - THE MANAGER (_to Property Man_). Fix up the old red room. - - PROPERTY MAN (_noting it down_). Red set. All right! - - THE PROMPTER (_continuing to read from the "book"_). "Table - already laid and writing desk with books and papers. - Book-shelves. Exit rear to Leo's bedroom. Exit left to - kitchen. Principal exit to right." - - THE MANAGER (_energetically_). Well, you understand: The - principal exit over there; here, the kitchen. (_Turning to - actor who is to play the part of Socrates_). You make your - entrances and exits here. (_To Property Man_) The baize - doors at the rear, and curtains. - - PROPERTY MAN (_noting it down_). Right oh! - - PROMPTER (_reading as before_). "When the curtain rises, Leo - Gala, dressed in cook's cap and apron is busy beating an egg - in a cup. Philip, also dressed as a cook, is beating another - egg. Guido Venanzi is seated and listening." - - LEADING MAN (_to manager_). Excuse me, but must I absolutely - wear a cook's cap? - - THE MANAGER (_annoyed_). I imagine so. It says so there - anyway (_pointing to the "book"_). - - LEADING MAN. But it's ridiculous! - - THE MANAGER (_jumping up in a rage_). Ridiculous? - Ridiculous? Is it my fault if France won't send us any more - good comedies, and we are reduced to putting on Pirandello's - works, where nobody understands anything, and where the - author plays the fool with us all? (_The actors grin. The - Manager goes to Leading Man and shouts_). Yes sir, you put - on the cook's cap and beat eggs. Do you suppose that with - all this egg-beating business you are on an ordinary stage? - Get that out of your head. You represent the shell of the - eggs you are beating! (_Laughter and comments among the - actors_). Silence! and listen to my explanations, please! - (_To Leading Man_): "The empty form of reason without the - fullness of instinct, which is blind."--You stand for - reason, your wife is instinct. It's a mixing up of the - parts, according to which you who act your own part become - the puppet of yourself. Do you understand? - - LEADING MAN. I'm hanged if I do. - - THE MANAGER. Neither do I. But let's get on with it. It's - sure to be a glorious failure anyway. (_Confidentially_): - But I say, please face three-quarters. Otherwise, what with - the abstruseness of the dialogue, and the public that won't - be able to hear you, the whole thing will go to hell. Come - on! come on! - - PROMPTER. Pardon sir, may I get into my box? There's a bit - of a draught. - - THE MANAGER. Yes, yes, of course! - - - _At this point, the door-keeper has entered from the stage - door and advances towards the manager's table, taking off - his braided cap. During this manoeuvre, the Six Characters - enter, and stop by the door at back of stage, so that when - the door-keeper is about to announce their coming to the - Manager, they are already on the stage. A tenuous light - surrounds them, almost as if irradiated by them--the faint - breath of their fantastic reality._ - - _This light will disappear when they come forward towards - the actors. They preserve, however, something of the dream - lightness in which they seem almost suspended; but this does - not detract from the essential reality of their forms and - expressions._ - - _He who is known as_ THE FATHER _is a man of about_ 50: - _hair, reddish in colour, thin at the temples; he is not - bald, however; thick moustaches, falling over his still - fresh mouth, which often opens in an empty and uncertain - smile. He is fattish, pale; with an especially wide - forehead. He has blue, oval-shaped eyes, very clear and - piercing. Wears light trousers and a dark jacket. He is - alternatively mellifluous and violent in his manner._ - - THE MOTHER _seems crushed and terrified as if by an - intolerable weight of shame and abasement. She is dressed in - modest black and wears a thick widow's veil of crepe. When - she lifts this, she reveals a wax-like face. She always - keeps her eyes downcast._ - - THE STEP-DAUGHTER, _is dashing, almost impudent, beautiful. - She wears mourning too, but with great elegance. She shows - contempt for the timid half-frightened manner of the - wretched_ BOY (14 _years old, and also dressed in black_); - on the other hand, she displays a lively tenderness for her - _little sister_, THE CHILD _(about four), who is dressed in - white, with a black silk sash at the waist_. - - THE SON (22) _tall, severe in his attitude of contempt for_ - THE FATHER, _supercilious and indifferent to the_ MOTHER. - _He looks as if he had come on the stage against his will_. - - - DOOR-KEEPER (_cap in hand_). Excuse me, sir.... - - THE MANAGER (_rudely_). Eh? What is it? - - DOOR-KEEPER (_timidly_). These people are asking for you, - sir. - - THE MANAGER (_furious_). I am rehearsing, and you know - perfectly well no one's allowed to come in during - rehearsals! (_Turning to the Characters_): Who are you, - please? What do you want? - - THE FATHER (_coming forward a little, followed by the others - who seem embarrassed_). As a matter of fact ... we have come - here in search of an author.... - - THE MANAGER (_half angry, half amazed_). An author? What - author? - - THE FATHER. Any author, sir. - - THE MANAGER. But there's no author here. We are not - rehearsing a new piece. - - THE STEP-DAUGHTER (_vivaciously_). So much the better, so - much the better! We can be your new piece. - - AN ACTOR (_coming forward from the others_). Oh, do you hear - that? - - THE FATHER (_to Step-Daughter_). Yes, but if the author - isn't here ... (_To Manager_) ... unless you would be - willing.... - - THE MANAGER. You are trying to be funny. - - THE FATHER. No, for Heaven's sake, what are you saying? We - bring you a drama, sir. - - THE STEP-DAUGHTER. We may be your fortune. - - THE MANAGER. Will you oblige me by going away? We haven't - time to waste with mad people. - - THE FATHER (_mellifluously_). Oh sir, you know well that - life is full of infinite absurdities, which, strangely - enough, do not even need to appear plausible, since they are - true. - - THE MANAGER. What the devil is he talking about? - - THE FATHER. I say that to reverse the ordinary process may - well be considered a madness: that is, to create credible - situations, in order that they may appear true. But permit - me to observe that if this be madness, it is the sole - _raison d'etre_ of your profession, gentlemen. (_The actors - look hurt and perplexed_). - - THE MANAGER (_getting up and looking at him_). So our - profession seems to you one worthy of madmen then? - - THE FATHER. Well, to make seem true that which isn't true - ... without any need ... for a joke as it were.... Isn't - that your mission, gentlemen: to give life to fantastic - characters on the stage? - - THE MANAGER (_interpreting the rising anger of the - Company_). But I would beg you to believe, my dear sir, that - the profession of the comedian is a noble one. If today, as - things go, the playwrights give us stupid comedies to play - and puppets to represent instead of men, remember we are - proud to have given life to immortal works here on these - very boards! (_The actors, satisfied, applaud their - Manager_). - - THE FATHER (_interrupting furiously_). Exactly, perfectly, - to living beings more alive than those who breathe and wear - clothes: beings less real perhaps, but truer! I agree with - you entirely. (_The actors look at one another in - amazement_). - - THE MANAGER. But what do you mean? Before, you said.... - - THE FATHER. No, excuse me, I meant it for you, sir, who were - crying out that you had no time to lose with madmen, while - no one better than yourself knows that nature uses the - instrument of human fantasy in order to pursue her high - creative purpose. - - THE MANAGER. Very well,--but where does all this take us? - - THE FATHER. Nowhere! It is merely to show you that one is - born to life in many forms, in many shapes, as tree, or as - stone, as water, as butterfly, or as woman. So one may also - be born a character in a play. - - THE MANAGER (_with feigned comic dismay_). So you and these - other friends of yours have been born characters? - - THE FATHER. Exactly, and alive as you see! (_Manager and - actors burst out laughing_). - - THE FATHER (_hurt_). I am sorry you laugh, because we carry - in us a drama, as you can guess from this woman here veiled - in black. - - THE MANAGER (_losing patience at last and almost - indignant_). Oh, chuck it! Get away please! Clear out of - here! (_to Property Man_). For Heaven's sake, turn them out! - - THE FATHER (_resisting_). No, no, look here, we.... - - THE MANAGER (_roaring_). We come here to work, you know. - - LEADING ACTOR. One cannot let oneself be made such a fool - of. - - THE FATHER (_determined, coming forward_). I marvel at your - incredulity, gentlemen. Are you not accustomed to see the - characters created by an author spring to life in yourselves - and face each other? Just because there is no "book" - (_pointing to the Prompter's box_) which contains us, you - refuse to believe.... - - THE STEP-DAUGHTER (_advances towards Manager, smiling and - coquettish_). Believe me, we are really six most interesting - characters, sir; side-tracked however. - - THE FATHER. Yes, that is the word! (_To Manager all at - once_): In the sense, that is, that the author who created - us alive no longer wished, or was no longer able, materially - to put us into a work of art. And this was a real crime, - sir; because he who has had the luck to be born a character - can laugh even at death. He cannot die. The man, the writer, - the instrument of the creation will die, but his creation - does not die. And to live for ever, it does not need to have - extraordinary gifts or to be able to work wonders. Who was - Sancho Panza? Who was Don Abbondio? Yet they live eternally - because--live germs as they were--they had the fortune to - find a fecundating matrix, a fantasy which could raise and - nourish them: make them live for ever! - - THE MANAGER. That is quite all right. But what do you want - here, all of you? - - THE FATHER. We want to live. - - THE MANAGER (_ironically_). For Eternity? - - THE FATHER. No, sir, only for a moment ... in you. - - AN ACTOR. Just listen to him! - - LEADING LADY. They want to live, in us...! - - JUVENILE LEAD (_pointing to the Step-Daughter_). I've no - objection, as far as that one is concerned! - - THE FATHER. Look here! look here! The comedy has to be made. - (_To the Manager_): But if you and your actors are willing, - we can soon concert it among ourselves. - - THE MANAGER (_annoyed_). But what do you want to concert? We - don't go in for concerts here. Here we play dramas and - comedies! - - THE FATHER. Exactly! That is just why we have come to you. - - THE MANAGER. And where is the "book"? - - THE FATHER. It is in us! (_The actors laugh_). The drama is - in us, and we are the drama. We are impatient to play it. - Our inner passion drives us on to this. - - THE STEP-DAUGHTER (_disdainful, alluring, treacherous, full - of impudence_). My passion, sir! Ah, if you only knew! My - passion for him! (_Points to the Father and makes a pretence - of embracing him. Then she breaks out into a loud laugh_). - - THE FATHER (_angrily_). Behave yourself! And please don't - laugh in that fashion. - - THE STEP-DAUGHTER. With your permission, gentlemen, I, who - am a two months' orphan, will show you how I can dance and - sing. - - (_Sings and then dances_). Prenez garde a Tchou-Thin-Tchou. - - Les chinois sont un peuple malin, - De Shangai a Pekin, - Ils ont mis des ecriteux partout: - Prenez garde a Tchou-Thin-Tchou. - - ACTORS and ACTRESSES. Bravo! Well done! Tip-top! - - THE MANAGER. Silence! This isn't a cafe concert, you know! - (_Turning to the Father in consternation_): Is she mad? - - THE FATHER. Mad? No, she's worse than mad. - - THE STEP-DAUGHTER (_to Manager_). Worse? Worse? Listen! - Stage this drama for us at once! Then you will see that at a - certain moment I ... when this little darling here ... - (_Takes the Child by the hand and leads her to the - Manager_): Isn't she a dear? (_Takes her up and kisses - her_). Darling! Darling! (_Puts her down again and adds - feelingly_): Well, when God suddenly takes this dear little - child away from that poor mother there; and this imbecile - here (_seizing hold of the Boy roughly and pushing him - forward_) does the stupidest things, like the fool he is, - you will see me run away. Yes, gentleman, I shall be off. - But the moment hasn't arrived yet. After what has taken - place between him and me (_indicates the Father with a - horrible wink_), I can't remain any longer in this society, - to have to witness the anguish of this mother here for that - fool.... (_indicates the Son_). Look at him! Look at him! - See how indifferent, how frigid he is, because he is the - legitimate son. He despises me, despises him (_pointing to - the Boy_), despises this baby here; because ... we are - bastards (_goes to the Mother and embraces her_). And he - doesn't want to recognize her as his mother--she who is the - common mother of us all. He looks down upon her as if she - were only the mother of us three bastards. Wretch! (_She - says all this very rapidly, excitedly. At the word - "bastards" she raises her voice, and almost spits out the - final "Wretch!"_). - - THE MOTHER (_to the Manager, in anguish_). In the name of - these two little children, I beg you.... (_She grows faint - and is about to fall_). Oh God! - - THE FATHER (_coming forward to support her as do some of the - actors_). Quick a chair, a chair for this poor widow! - - THE ACTORS. Is it true? Has she really fainted? - - THE MANAGER. Quick, a chair! Here! - - (_One of the actors brings a chair, the others proffer - assistance. The Mother tries to prevent the Father from - lifting the veil which covers her face_). - - THE FATHER. Look at her! Look at her! - - THE MOTHER. No, no; stop it please! - - THE FATHER (_raising her veil_). Let them see you! - - THE MOTHER (_rising and covering her face with her hands, in - desperation_). I beg you, sir, to prevent this man from - carrying out his plan which is loathsome to me. - - THE MANAGER (_dumbfounded_). I don't understand at all. What - is the situation? Is this lady your wife? (_to the Father_). - - THE FATHER. Yes, gentlemen: my wife! - - THE MANAGER. But how can she be a widow if you are alive? - (_The actors find relief for their astonishment in a loud - laugh_). - - THE FATHER. Don't laugh! Don't laugh like that, for Heaven's - sake. Her drama lies just here in this: she has had a lover, - a man who ought to be here. - - THE MOTHER (_with a cry_). No! No! - - THE STEP-DAUGHTER. Fortunately for her, he is dead. Two - months ago as I said. We are in mourning, as you see. - - THE FATHER. He isn't here you see, not because he is dead. - He isn't here--look at her a moment and you will - understand--because her drama isn't a drama of the love of - two men for whom she was incapable of feeling anything - except possibly a little gratitude--gratitude not for me but - for the other. She isn't a woman, she is a mother, and her - drama--powerful sir, I assure you--lies, as a matter of - fact, all in these four children she has had by two men. - - THE MOTHER. I had them? Have you got the courage to say that - I wanted them? (_To the company_). It was his doing. It was - he who gave me that other man, who forced me to go away with - him. - - THE STEP-DAUGHTER. It isn't true. - - THE MOTHER (_startled_). Not true, isn't it? - - THE STEP-DAUGHTER. No, it isn't true, it just isn't true. - - THE MOTHER. And what can you know about it? - - THE STEP-DAUGHTER. It isn't true. Don't believe it. (_To - Manager_). Do you know why she says so? For that fellow - there (_indicates the Son_). She tortures herself, destroys - herself on account of the neglect of that son there; and she - wants him to believe that if she abandoned him when he was - only two years old, it was because he (_indicates the - Father_) made her do so. - - THE MOTHER (_vigorously_). He forced me to it, and I call - God to witness it (_to the Manager_). Ask him (_indicates - husband_) if it isn't true. Let him speak. You (_to - daughter_) are not in a position to know anything about it. - - THE STEP-DAUGHTER. I know you lived in peace and happiness - with my father while he lived. Can you deny it? - - THE MOTHER. No, I don't deny it.... - - THE STEP-DAUGHTER. He was always full of affection and - kindness for you (_to the Boy, angrily_). It's true, isn't - it? Tell them! Why don't you speak, you little fool? - - THE MOTHER. Leave the poor boy alone. Why do you want to - make me appear ungrateful, daughter? I don't want to offend - your father. I have answered him that I didn't abandon my - house and my son through any fault of mine, nor from any - wilful passion. - - THE FATHER. It is true. It was my doing. - - LEADING MAN (_to the Company_). What a spectacle! - - LEADING LADY. We are the audience this time. - - JUVENILE LEAD. For once, in a way. - - THE MANAGER (_beginning to get really interested_). Let's - hear them out. Listen! - - THE SON. Oh yes, you're going to hear a fine bit now. He - will talk to you of the Demon of Experiment. - - THE FATHER. You are a cynical imbecile. I've told you so - already a hundred times (_to the Manager_). He tries to make - fun of me on account of this expression which I have found - to excuse myself with. - - THE SON (_with disgust_). Yes, phrases! phrases! - - THE FATHER. Phrases! Isn't everyone consoled when faced with - a trouble or fact he doesn't understand, by a word, some - simple word, which tells us nothing and yet calms us? - - THE STEP-DAUGHTER. Even in the case of remorse. In fact, - especially then. - - THE FATHER. Remorse? No, that isn't true. I've done more - than use words to quieten the remorse in me. - - THE STEP-DAUGHTER. Yes, there was a bit of money too. Yes, - yes, a bit of money. There were the hundred lire he was - about to offer me in payment, gentlemen.... (_sensation of - horror among the actors_). - - THE SON (_to the Step-Daughter_). This is vile. - - THE STEP-DAUGHTER. Vile? There they were in a pale blue - envelope on a little mahogany table in the back of Madame - Pace's shop. You know Madame Pace--one of those ladies who - attract poor girls of good family into their ateliers, under - the pretext of their selling _robes et manteaux_. - - THE SON. And he thinks he has bought the right to tyrannise - over us all with those hundred lire he was going to pay; but - which, fortunately--note this, gentlemen--he had no chance - of paying. - - THE STEP-DAUGHTER. It was a near thing, though, you know! - (_laughs ironically_). - - THE MOTHER (_protesting_.) Shame, my daughter, shame! - - THE STEP-DAUGHTER. Shame indeed! This is my revenge! I am - dying to live that scene.... The room ... I see it.... Here - is the window with the mantles exposed, there the divan, the - looking-glass, a screen, there in front of the window the - little mahogany table with the blue envelope containing one - hundred lire. I see it. I see it. I could take hold of - it.... But you, gentlemen, you ought to turn your backs now: - I am almost nude, you know. But I don't blush: I leave that - to him (_indicating Father_). - - THE MANAGER. I don't understand this at all. - - THE FATHER. Naturally enough. I would ask you, sir, to - exercise your authority a little here, and let me speak - before you believe all she is trying to blame me with. Let - me explain. - - THE STEP-DAUGHTER. Ah yes, explain it in your own way. - - THE FATHER. But don't you see that the whole trouble lies - here. In words, words. Each one of us has within him a whole - world of things, each man of us his own special world. And - how can we ever come to an understanding if I put in the - words I utter the sense and value of things as I see them; - while you who listen to me must inevitably translate them - according to the conception of things each one of you has - within himself. We think we understand each other, but we - never really do! Look here! This woman (_indicating the - Mother_) takes all my pity for her as a specially ferocious - form of cruelty. - - THE MOTHER. But you drove me away. - - THE FATHER. Do you hear her? I drove her away! She believes - I really sent her away. - - THE MOTHER. You know how to talk, and I don't; but, believe - me sir, (_to Manager_) after he had married me ... who knows - why? ... I was a poor insignificant woman.... - - THE FATHER. But, good Heavens! it was just for your humility - that I married you. I loved this simplicity in you (_He - stops when he sees she makes signs to contradict him, opens - his arms wide in sign of desperation, seeing how hopeless it - is to make himself understood_). You see she denies it. Her - mental deafness, believe me, is phenomenal, the limit - (_touches his forehead_): deaf, deaf, mentally deaf! She has - plenty of feeling. Oh yes, a good heart for the children; - but the brain--deaf, to the point of desperation--! - - THE STEP-DAUGHTER. Yes, but ask him how his intelligence has - helped us. - - THE FATHER. If we could see all the evil that may spring - from good, what should we do? (_At this point the Leading - Lady who is biting her lips with rage at seeing the Leading - Man flirting with the Step-Daughter, comes forward and says - to the Manager_). - - LEADING LADY. Excuse me, but are we going to rehearse today? - - MANAGER. Of course, of course; but let's hear them out. - - JUVENILE LEAD. This is something quite new. - - L'INGENUE. Most interesting! - - LEADING LADY. Yes, for the people who like that kind of - thing (_casts a glance at Leading Man_). - - THE MANAGER (_to Father_.) You must please explain yourself - quite clearly (_sits down_). - - THE FATHER. Very well then: listen! I had in my service a - poor man, a clerk, a secretary of mine, full of devotion, - who became friends with her (_indicating the Mother_). They - understood one another, were kindred souls in fact, without, - however, the least suspicion of any evil existing. They were - incapable even of thinking of it. - - THE STEP-DAUGHTER. So he thought of it--for them! - - THE FATHER. That's not true. I meant to do good to them--and - to myself, I confess, at the same time. Things had come to - the point that I could not say a word to either of them - without their making a mute appeal, one to the other, with - their eyes. I could see them silently asking each other how - I was to be kept in countenance, how I was to be kept quiet. - And this, believe me, was just about enough of itself to - keep me in a constant rage, to exasperate me beyond measure. - - THE MANAGER. And why didn't you send him away then--this - secretary of yours? - - THE FATHER. Precisely what I did, sir. And then I had to - watch this poor woman drifting forlornly about the house - like an animal without a master, like an animal one has - taken in out of pity. - - THE MOTHER. Ah yes...! - - THE FATHER (_suddenly turning to the Mother_). It's true - about the son anyway, isn't it? - - THE MOTHER. He took my son away from me first of all. - - THE FATHER. But not from cruelty. I did it so that he should - grow up healthy and strong by living in the country. - - THE STEP-DAUGHTER (_pointing to him ironically_). As one can - see. - - THE FATHER (_quickly_). Is it my fault if he has grown up - like this? I sent him to a wet nurse in the country, a - peasant, as _she_ did not seem to me strong enough, though - she is of humble origin. That was, anyway, the reason I - married her. Unpleasant all this maybe, but how can it be - helped? My mistake possibly, but there we are! All my life I - have had these confounded aspirations towards a certain - moral sanity. (_At this point the Step-Daughter bursts out - into a noisy laugh_). Oh, stop, it! Stop it! I can't stand - it. - - THE MANAGER. Yes, please stop it, for Heaven's sake. - - THE STEP-DAUGHTER. But imagine moral sanity from him, if you - please--the client of certain ateliers like that of Madame - Pace! - - THE FATHER. Fool! That is the proof that I am a man! This - seeming contradiction, gentlemen, is the strongest proof - that I stand here a live man before you. Why, it is just for - this very incongruity in my nature that I have had to suffer - what I have. I could not live by the side of that woman - (_indicating the Mother_) any longer; but not so much for - the boredom she inspired me with as for the pity I felt for - her. - - THE MOTHER. And so he turned me out--. - - THE FATHER. --well provided for! Yes, I sent her to that - man, gentlemen ... to let her go free of me. - - THE MOTHER. And to free himself. - - THE FATHER. Yes, I admit it. It was also a liberation for - me. But great evil has come of it. I meant well when I did - it; and I did it more for her sake than mine. I swear it - (_crosses his arms on his chest; then turns suddenly to the - Mother_). Did I ever lose sight of you until that other man - carried you off to another town, like the angry fool he was? - And on account of my pure interest in you ... my pure - interest, I repeat, that had no base motive in it ... I - watched with the tenderest concern the new family that grew - up around her. She can bear witness to this (_points to the - Step-Daughter_). - - THE STEP-DAUGHTER. Oh yes, that's true enough. When I was a - kiddie, so so high, you know, with plaits over my shoulders - and knickers longer than my skirts, I used to see him - waiting outside the school for me to come out. He came to - see how I was growing up. - - THE FATHER. This is infamous, shameful! - - THE STEP-DAUGHTER. No, why? - - THE FATHER. Infamous! infamous! (_Then excitedly to Manager - explaining_). After she (_indicating Mother_) went away, my - house seemed suddenly empty. She was my incubus, but she - filled my house. I was like a dazed fly alone in the empty - rooms. This boy here (_indicating the Son_) was educated - away from home, and when he came back, he seemed to me to be - no more mine. With no mother to stand between him and me, he - grew up entirely for himself, on his own, apart, with no tie - of intellect or affection binding him to me. And - then--strange but true--I was driven, by curiosity at first - and then by some tender sentiment, towards her family, which - had come into being through my will. The thought of her - began gradually to fill up the emptiness I felt all around - me. I wanted to know if she were happy in living out the - simple daily duties of life. I wanted to think of her as - fortunate and happy because far away from the complicated - torments of my spirit. And so, to have proof of this, I used - to watch that child coming out of school. - - THE STEP-DAUGHTER. Yes, yes. True. He used to follow me in - the street and smiled at me, waved his hand, like this. I - would look at him with interest, wondering who he might be. - I told my mother, who guessed at once (_the Mother agrees - with a nod_). Then she didn't want to send me to school for - some days; and when I finally went back, there he was - again--looking so ridiculous--with a paper parcel in his - hands. He came close to me, caressed me, and drew out a fine - straw hat from the parcel, with a bouquet of flowers--all - for me! - - THE MANAGER. A bit discursive this, you know! - - THE SON (_contemptuously_). Literature! Literature! - - THE FATHER. Literature indeed! This is life, this is - passion! - - THE MANAGER. It may be, but it won't act. - - THE FATHER. I agree. This is only the part leading up. I - don't suggest this should be staged. She (_pointing to the - Step-Daughter_), as you see, is no longer the flapper with - plaits down her back--. - - THE STEP-DAUGHTER. --and the knickers showing below the - skirt! - - THE FATHER. The drama is coming now, sir; something new, - complex, most interesting. - - THE STEP-DAUGHTER. As soon as my father died.... - - THE FATHER. --there was absolute misery for them. They came - back here, unknown to me. Through her stupidity (_pointing - to the Mother_)! It is true she can barely write her own - name; but she could anyhow have got her daughter to write to - me that they were in need.... - - THE MOTHER. And how was I to divine all this sentiment in - him? - - THE FATHER. That is exactly your mistake, never to have - guessed any of my sentiments. - - THE MOTHER. After so many years apart, and all that had - happened.... - - THE FATHER. Was it my fault if that fellow carried you away? - It happened quite suddenly; for after he had obtained some - job or other, I could find no trace of them; and so, not - unnaturally, my interest in them dwindled. But the drama - culminated unforeseen and violent on their return, when I - was impelled by my miserable flesh that still lives.... Ah! - what misery, what wretchedness is that of the man who is - alone and disdains debasing _liaisons_! Not old enough to do - without women, and not young enough to go and look for one - without shame. Misery? It's worse than misery; it's a - horror; for no woman can any longer give him love; and when - a man feels this ... One ought to do without, you say? Yes, - yes, I know. Each of us when he appears before his fellows - is clothed in a certain dignity. But every man knows what - unconfessable things pass within the secrecy of his own - heart. One gives way to the temptation, only to rise from it - again, afterwards, with a great eagerness to reestablish - one's dignity, as if it were a tomb-stone to place on the - grave of one's shame, and a monument to hide and sign the - memory of our weaknesses. Everybody's in the same case. Some - folks haven't the courage to say certain things, that's all! - - THE STEP-DAUGHTER. All appear to have the courage to do them - though. - - THE FATHER. Yes, but in secret. Therefore, you want more - courage to say these things. Let a man but speak these - things out, and folks at once label him a cynic. But it - isn't true. He is like all the others, better indeed, - because he isn't afraid to reveal with the light of the - intelligence the red shame of human bestiality on which most - men close their eyes so as not to see it. - - Woman--for example, look at her case! She turns tantalizing - inviting glances on you. You seize her. No sooner does she - feel herself in your grasp than she closes her eyes. It is - the sign of her mission, the sign by which she says to man: - "Blind yourself, for I am blind." - - THE STEP-DAUGHTER. Sometimes she can close them no more: - when she no longer feels the need of hiding her shame to - herself, but dry-eyed and dispassionately, sees only that of - the man who has blinded himself without love. Oh, all these - intellectual complications make me sick, disgust me--all - this philosophy that uncovers the beast in man, and then - seeks to save him, excuse him ... I can't stand it, sir. - When a man seeks to "simplify" life bestially, throwing - aside every relic of humanity, every chaste aspiration, - every pure feeling, all sense of ideality, duty, modesty, - shame ... then nothing is more revolting and nauseous than a - certain kind of remorse--crocodiles' tears, that's what it - is. - - THE MANAGER. Let's come to the point. This is only - discussion. - - THE FATHER. Very good, sir! But a fact is like a sack which - won't stand up when it is empty. In order that it may stand - up, one has to put into it the reason and sentiment which - have caused it to exist. I couldn't possibly know that after - the death of that man, they had decided to return here, that - they were in misery, and that she (_pointing to the Mother_) - had gone to work as a modiste, and at a shop of the type of - that of Madame Pace. - - THE STEP-DAUGHTER. A real high-class modiste, you must know, - gentlemen. In appearance, she works for the leaders of the - best society; but she arranges matters so that these elegant - ladies serve her purpose ... without prejudice to other - ladies who are ... well ... only so so. - - THE MOTHER. You will believe me, gentlemen, that it never - entered my mind that the old hag offered me work because she - had her eye on my daughter. - - THE STEP-DAUGHTER. Poor mamma! Do you know, sir, what that - woman did when I brought her back the work my mother had - finished? She would point out to me that I had torn one of - my frocks, and she would give it back to my mother to mend. - It was I who paid for it, always I; while this poor creature - here believed she was sacrificing herself for me and these - two children here, sitting up at night sewing Madame Pace's - robes. - - THE MANAGER. And one day you met there.... - - THE STEP-DAUGHTER. Him, him. Yes sir, an old client. There's - a scene for you to play! Superb! - - THE FATHER. She, the Mother arrived just then.... - - THE STEP-DAUGHTER (_treacherously_). Almost in time! - - THE FATHER (_crying out_). No, in time! in time! Fortunately - I recognized her ... in time. And I took them back home with - me to my house. You can imagine now her position and mine: - she, as you see her; and I who cannot look her in the face. - - THE STEP-DAUGHTER. Absurd! How can I possibly be - expected--after that--to be a modest young miss, a fit - person to go with his confounded aspirations for "a solid - moral sanity"? - - THE FATHER. For the drama lies all in this--in the - conscience that I have, that each one of us has. We believe - this conscience to be a single thing, but it is many-sided. - There is one for this person, and another for that. Diverse - consciences. So we have this illusion of being one person - for all, of having a personality that is unique in all our - acts. But it isn't true. We perceive this when, tragically - perhaps, in something we do, we are as it were, suspended, - caught up in the air on a kind of hook. Then we perceive - that all of us was not in that act, and that it would be an - atrocious injustice to judge us by that action alone, as if - all our existence were summed up in that one deed. Now do - you understand the perfidy of this girl? She surprised me in - a place, where she ought not to have known me, just as I - could not exist for her; and she now seeks to attach to me a - reality such as I could never suppose I should have to - assume for her in a shameful and fleeting moment of my life. - I feel this above all else. And the drama, you will see, - acquires a tremendous value from this point. Then there is - the position of the others ... his.... (_indicating the - Son_). - - THE SON (_shrugging his shoulders scornfully_). Leave me - alone! I don't come into this. - - THE FATHER. What? You don't come into this? - - THE SON. I've got nothing to do with it, and don't want to - have; because you know well enough I wasn't made to be mixed - up in all this with the rest of you. - - THE STEP-DAUGHTER. We are only vulgar folk! He is the fine - gentleman. You may have noticed, Mr. Manager, that I fix him - now and again with a look of scorn while he lowers his - eyes--for he knows the evil he has done me. - - THE SON (_scarcely looking at her_). I? - - THE STEP-DAUGHTER. You! you! I owe my life on the streets to - you. Did you or did you not deny us, with your behaviour, I - won't say the intimacy of home, but even that mere - hospitality which makes guests feel at their ease? We were - intruders who had come to disturb the kingdom of your - legitimacy. I should like to have you witness, Mr. Manager, - certain scenes between him and me. He says I have tyrannized - over everyone. But it was just his behaviour which made me - insist on the reason for which I had come into the - house,--this reason he calls "vile"--into his house, with my - mother who is his mother too. And I came as mistress of the - house. - - THE SON. It's easy for them to put me always in the wrong. - But imagine, gentlemen, the position of a son, whose fate it - is to see arrive one day at his home a young woman of - impudent bearing, a young woman who inquires for his> - father, with whom who knows what business she has. This - young man has then to witness her return bolder than ever, - accompanied by that child there. He is obliged to watch her - treat his father in an equivocal and confidential manner. - She asks money of him in a way that lets one suppose he must - give it her, _must_, do you understand, because he has every - obligation to do so. - - THE FATHER. But I have, as a matter of fact, this - obligation. I owe it to your mother. - - THE SON. How should I know? When had I ever seen or heard of - her? One day there arrive with her (_indicating - Step-Daughter_) that lad and this baby here. I am told: - "This is _your_ mother too, you know." I divine from her - manner (_indicating Step-Daughter again_) why it is they - have come home. I had rather not say what I feel and think - about it. I shouldn't even care to confess to myself. No - action can therefore be hoped for from me in this affair. - Believe me, Mr. Manager, I am an "unrealized" character, - dramatically speaking; and I find myself not at all at ease - in their company. Leave me out of it, I beg you. - - THE FATHER. What? It is just because you are so that.... - - THE SON. How do you know what I am like? When did you ever - bother your head about me? - - THE FATHER. I admit it. I admit it. But isn't that a - situation in itself? This aloofness of yours which is so - cruel to me and to your mother, who returns home and sees - you almost for the first time grown up, who doesn't - recognize you but knows you are her son.... (_pointing out - the Mother to the Manager_). See, she's crying! - - THE STEP-DAUGHTER (_angrily, stamping her foot_). Like a - fool! - - THE FATHER (_indicating Step-Daughter_). She can't stand him - you know. (_Then referring again to the Son_): He says he - doesn't come into the affair, whereas he is really the hinge - of the whole action. Look at that lad who is always clinging - to his mother, frightened and humiliated. It is on account - of this fellow here. Possibly his situation is the most - painful of all. He feels himself a stranger more than the - others. The poor little chap feels mortified, humiliated at - being brought into a home out of charity as it were. (_In - confidence_)--: He is the image of his father. Hardly talks - at all. Humble and quiet. - - THE MANAGER. Oh, we'll cut him out. You've no notion what a - nuisance boys are on the stage.... - - THE FATHER. He disappears soon, you know. And the baby too. - She is the first to vanish from the scene. The drama - consists finally in this: when that mother re-enters my - house, her family born outside of it, and shall we say - superimposed on the original, ends with the death of the - little girl, the tragedy of the boy and the flight of the - elder daughter. It cannot go on, because it is foreign to - its surroundings. So after much torment, we three remain: I, - the mother, that son. Then, owing to the disappearance of - that extraneous family, we too find ourselves strange to one - another. We find we are living in an atmosphere of mortal - desolation which is the revenge, as he (_indicating Son_) - scornfully said of the Demon of Experiment, that - unfortunately hides in me. Thus, sir, you see when faith is - lacking, it becomes impossible to create certain states of - happiness, for we lack the necessary humility. - Vaingloriously, we try to substitute ourselves for this - faith, creating thus for the rest of the world a reality - which we believe after their fashion, while, actually, it - doesn't exist. For each one of us has his own reality to be - respected before God, even when it is harmful to one's very - self. - - THE MANAGER. There is something in what you say. I assure - you all this interests me very much. I begin to think - there's the stuff for a drama in all this, and not a bad - drama either. - - THE STEP-DAUGHTER (_coming forward_). When you've got a - character like me. - - THE FATHER (_shutting her up, all excited to learn the - decision of the Manager_). You be quiet! - - THE MANAGER (_reflecting, heedless of interruption_). It's - new ... hem ... yes.... - - THE FATHER. Absolutely new! - - THE MANAGER. You've got a nerve though, I must say, to come - here and fling it at me like this.... - - THE FATHER. You will understand, sir, born as we are for the - stage.... - - THE MANAGER. Are you amateur actors then? - - THE FATHER. No. I say born for the stage, because.... - - THE MANAGER. Oh, nonsense. You're an old hand, you know. - - THE FATHER. No sir, no. We act that role for which we have - been cast, that role which we are given in life. And in my - own case, passion itself, as usually happens, becomes a - trifle theatrical when it is exalted. - - THE MANAGER. Well, well, that will do. But you see, without - an author ... I could give you the address of an author if - you like.... - - THE FATHER. No, no. Look here! You must be the author. - - THE MANAGER. I? What are you talking about? - - THE FATHER. Yes, you, you! Why not? - - THE MANAGER. Because I have never been an author: that's - why. - - THE FATHER. Then why not turn author now? Everybody does it. - You don't want any special qualities. Your task is made much - easier by the fact that we are all here alive before you.... - - THE MANAGER. It won't do. - - THE FATHER. What? When you see us live our drama.... - - THE MANAGER. Yes, that's all right. But you want someone to - write it. - - THE FATHER. No, no. Someone to take it down, possibly, while - we play it, scene by scene! It will be enough to sketch it - out at first, and then try it over. - - THE MANAGER. Well ... I am almost tempted. It's a bit of an - idea. One might have a shot at it. - - THE FATHER. Of course. You'll see what scenes will come out - of it. I can give you one, at once.... - - THE MANAGER. By Jove, it tempts me. I'd like to have a go at - it. Let's try it out. Come with me to my office (_turning to - the Actors_). You are at liberty for a bit, but don't stop - out of the theatre for long. In a quarter of an hour, twenty - minutes, all back here again! (_To the Father_): We'll see - what can be done. Who knows if we don't get something really - extraordinary out of it? - - THE FATHER. There's no doubt about it. They (_indicating the - Characters_) had better come with us too, hadn't they? - - THE MANAGER. Yes, yes. Come on! come on! (_Moves away and - then turning to the actors_): Be punctual, please! (_Manager - and the Six Characters cross the stage and go off. The other - actors remain, looking at one another in astonishment_). - - LEADING MAN. Is he serious? What the devil does he want to - do? - - JUVENILE LEAD. This is rank madness. - - THIRD ACTOR. Does he expect to knock up a drama in five - minutes? - - JUVENILE LEAD. Like the improvisers! - - LEADING LADY. If he thinks I'm going to take part in a joke - like this.... - - JUVENILE LEAD. I'm out of it anyway. - - FOURTH ACTOR. I should like to know who they are (_alludes - to Characters_). - - THIRD ACTOR. What do you suppose? Madmen or rascals! - - JUVENILE LEAD. And he takes them seriously! - - L'INGENUE. Vanity! He fancies himself as an author now. - - LEADING MAN. It's absolutely unheard of. If the stage has - come to this ... well I'm.... - - FIFTH ACTOR. It's rather a joke. - - THIRD ACTOR. Well, we'll see what's going to happen next. - - (_Thus talking, the actors leave the stage; some going out - by the little door at the back; others retiring to their - dressing-rooms._ - - _The curtain remains up._ - - _The action of the play is suspended for twenty minutes_). - - - ACT II. - - - _The stage call-bells ring to warn the company that the play - is about to begin again._ - - THE STEP-DAUGHTER _comes out of the Manager's office along - with_ THE CHILD _and_ THE BOY. _As she comes out of the - office, she cries_:-- - - Nonsense! nonsense! Do it yourselves! I'm not going to mix - myself up in this mess. (_Turning to the Child and coming - quickly with her on to the stage_): Come on, Rosetta, let's - run! - - (THE BOY _follows them slowly, remaining a little behind and - seeming perplexed_). - - THE STEP-DAUGHTER. (_Stops, bends over the Child and takes - the latter's face between her hands_). My little darling! - You're frightened, aren't you? You don't know where we are, - do you? (_Pretending to reply to a question of the Child_): - What is the stage? It's a place, baby, you know, where - people play at being serious, a place where they act - comedies. We've got to act a comedy now, dead serious, you - know; and you're in it also, little one. (_Embraces her, - pressing the little head to her breast, and rocking the - child for a moment_). Oh darling, darling, what a horrid - comedy you've got to play! What a wretched part they've - found for you! A garden ... a fountain ... look ... just - suppose, kiddie, it's here. Where, you say? Why, right here - in the middle. It's all pretence you know. That's the - trouble, my pet: it's all make-believe here. It's better to - imagine it though, because if they fix it up for you, it'll - only be painted cardboard, painted cardboard for the - rockery, the water, the plants.... Ah, but I think a baby - like this one would sooner have a make-believe fountain than - a real one, so she could play with it. What a joke it'll be - for the others! But for you, alas! not quite such a joke: - you who are real, baby dear, and really play by a real - fountain this big and green and beautiful, with ever so many - bamboos around it that are reflected in the water, and a - whole lot of little ducks swimming about.... No, Rosetta, - no, your mother doesn't bother about you on account of that - wretch of a son there. I'm in the devil of a temper, and as - for that lad.... (_Seizes Boy by the arm to force him to - take one of his hands out of his pockets_). What have you - got there? What are you hiding? (_Pulls his hand out of his - pocket, looks into it and catches the glint of a revolver_). - Ah! where did you get this? - - (THE BOY, _very pale in the face, looks at her, but does not - answer_). - - Idiot! If I'd been in your place, instead of killing myself, - I'd have shot one of those two, or both of them: father and - son. - - (THE FATHER _enters from the office, all excited from his - work_. THE MANAGER _follows him_). - - THE FATHER. Come on, come on dear! Come here for a minute! - We've arranged everything. It's all fixed up. - - THE MANAGER (_also excited_). If you please, young lady, - there are one or two points to settle still. Will you come - along? - - THE STEP-DAUGHTER (_following him towards the office_). - Ouff! what's the good, if you've arranged everything. - - (THE FATHER, MANAGER _and_ STEP-DAUGHTER _go back into the - office again (off) for a moment. At the same time,_ THE SON - _followed by_ THE MOTHER, _comes out_). - - THE SON (_looking at the three entering office_). Oh this is - fine, fine! And to think I can't even get away! - - (THE MOTHER _attempts to look at him, but lowers her eyes - immediately when he turns away from her. She then sits - down_. THE BOY _and_ THE CHILD _approach her. She casts a - glance again at the Son, and speaks with humble tones, - trying to draw him into conversation_). - - THE MOTHER. And isn't my punishment the worst of all? (_Then - seeing from the Sons manner that he will not bother himself - about her_). My God! Why are you so cruel? Isn't it enough - for one person to support all this torment? Must you then - insist on others seeing it also? - - THE SON (_half to himself, meaning the Mother to hear, - however_). And they want to put it on the stage! If there - was at least a reason for it! He thinks he has got at the - meaning of it all. Just as if each one of us in every - circumstance of life couldn't find his own explanation of - it! (_Pauses_). He complains he was discovered in a place - where he ought not to have been seen, in a moment of his - life which ought to have remained hidden and kept out of the - reach of that convention which he has to maintain for other - people. And what about my case? Haven't I had to reveal what - no son ought ever to reveal: how father and mother live and - are man and wife for themselves quite apart from that idea - of father and mother which we give them? When this idea is - revealed, our life is then linked at one point only to that - man and that woman; and as such it should shame them, - shouldn't it? - - THE MOTHER _hides her face in her hands. From the - dressing-rooms and the little door at the back of the stage - the actors and_ STAGE MANAGER _return, followed by the_ - PROPERTY MAN, _and the_ PROMPTER. _At the same moment_, THE - MANAGER _comes out of his office, accompanied by the_ FATHER - _and the_ STEP-DAUGHTER. - - THE MANAGER. Come on, come on, ladies and gentlemen! Heh! - you there, machinist! - - MACHINIST. Yes sir? - - THE MANAGER. Fix up the white parlor with the floral - decorations. Two wings and a drop with a door will do. Hurry - up! - - (THE MACHINIST _runs off at once to prepare the scene, and - arranges it while_ THE MANAGER _talks with the_ STAGE - MANAGER, _the_ PROPERTY MAN, _and the_ PROMPTER _on matters - of detail_). - - THE MANAGER (_to Property Man_). Just have a look, and see - if there isn't a sofa or divan in the wardrobe.... - - PROPERTY MAN. There's the green one. - - THE STEP-DAUGHTER. No no! Green won't do. It was yellow, - ornamented with flowers--very large! and most comfortable! - - PROPERTY MAN. There isn't one like that. - - THE MANAGER. It doesn't matter. Use the one we've got. - - THE STEP-DAUGHTER. Doesn't matter? It's most important! - - THE MANAGER. We're only trying it now. Please don't - interfere. (_To Property Man_): See if we've got a shop - window--long and narrowish. - - THE STEP-DAUGHTER. And the little table! The little mahogany - table for the pale blue envelope! - - PROPERTY MAN (_To Manager_). There's that little gilt one. - - THE MANAGER. That'll do fine. - - THE FATHER. A mirror. - - THE STEP-DAUGHTER. And the screen! We must have a screen. - Otherwise how can I manage? - - PROPERTY MAN. That's all right, Miss. We've got any amount - of them. - - THE MANAGER (_to the Step-Daughter_). We want some clothes - pegs too, don't we? - - THE STEP-DAUGHTER. Yes, several, several! - - THE MANAGER. See how many we've got and bring them all. - - PROPERTY MAN. All right! - - (THE PROPERTY MAN _hurries off to obey his orders. While he - is putting the things in their places, the_ MANAGER _talks - to the_ PROMPTER _and then with the Characters and the - actors_). - - THE MANAGER (_to Prompter_). Take your seat. Look here: this - is the outline of the scenes, act by act (_hands him some - sheets of paper_). And now I'm going to ask you to do - something out of the ordinary. - - PROMPTER. Take it down in shorthand? - - THE MANAGER (_pleasantly surprised_). Exactly! Can you do - shorthand? - - PROMPTER. Yes, a little. - - MANAGER. Good! (_Turning to a stage hand_): Go and get some - paper from my office, plenty, as much as you can find. - - (_The stage hand goes off, and soon returns with a handful - of paper which he gives to the Prompter_). - - THE MANAGER (_To Prompter_). You follow the scenes as we - play them, and try and get the points down, at any rate the - most important ones. (_Then addressing the actors_): Clear - the stage, ladies and gentlemen! Come over here (_pointing - to the Left_) and listen attentively. - - LEADING LADY. But, excuse me, we.... - - THE MANAGER (_guessing her thought_). Don't worry! You won't - have to improvise. - - LEADING MAN. What have we to do then? - - THE MANAGER. Nothing. For the moment you just watch and - listen. Everybody will get his part written out afterwards. - At present we're going to try the thing as best we can. - They're going to act now. - - THE FATHER (_as if fallen from the clouds into the confusion - of the stage_). We? What do you mean, if you please, by a - rehearsal? - - THE MANAGER. A rehearsal for them (_points to the actors_). - - THE FATHER. But since we are the characters.... - - THE MANAGER. All right: "characters" then, if you insist on - calling yourselves such. But here, my dear sir, the - characters don't act. Here the actors do the acting. The - characters are there, in the "book" (_pointing towards - Prompter's box_)--when there is a "book"! - - THE FATHER. I won't contradict you; but excuse me, the - actors aren't the characters. They want to be, they pretend - to be, don't they? Now if these gentlemen here are fortunate - enough to have us alive before them.... - - THE MANAGER. Oh this is grand! You want to come before the - public yourselves then? - - THE FATHER. As we are.... - - THE MANAGER. I can assure you it would be a magnificent - spectacle! - - LEADING MAN. What's the use of us here anyway then? - - THE MANAGER. You're not going to pretend that you can act? - It makes me laugh! (_The actors laugh_). There, you see, - they are laughing at the notion. But, by the way, I must - cast the parts. That won't be difficult. They cast - themselves. (_To the Second Lady Lead_): You play the - Mother. (_To the Father_): We must find her a name. - - THE FATHER. Amalia, sir. - - THE MANAGER. But that is the real name of your wife. We - don't want to call her by her real name. - - THE FATHER. Why ever not, if it is her name? Still, perhaps, - if that lady must.... (_makes a slight motion of the hand to - indicate the Second Lady Lead_). I see this woman here - (_means the Mother_) as Amalia. But do as you like (_gets - more and more confused_). I don't know what to say to you. - Already, I begin to hear my own words ring false, as if they - had another sound.... - - THE MANAGER. Don't you worry about it. It'll be our job to - find the right tones. And as for her name, if you want her - Amalia, Amalia it shall be; and if you don't like it, we'll - find another! For the moment though, we'll call the - characters in this way: (_to Juvenile Lead_) You are the - Son; (_to the Leading Lady_) You naturally are the - Step-Daughter. - - THE STEP-DAUGHTER (_excitedly_). What? what? I, that woman - there? (_Bursts out laughing_). - - THE MANAGER (_angry_). What is there to laugh at? - - LEADING LADY (_indignant_). Nobody has ever dared to laugh - at me. I insist on being treated with respect; otherwise I - go away. - - THE STEP-DAUGHTER. No, no, excuse me ... I am not laughing - at you.... - - THE MANAGER (_to Step-Daughter_). You ought to feel honoured - to be played by.... - - LEADING LADY (_at once, contemptuously_). "That woman - there".... - - THE STEP-DAUGHTER. But I wasn't speaking of you, you know. I - was speaking of myself--whom I can't see at all in you! That - is all. I don't know ... but ... you ... aren't in the least - like me.... - - THE FATHER. True. Here's the point. Look here, sir, our - temperaments, our souls.... - - THE MANAGER. Temperament, soul, be hanged! Do you suppose - the spirit of the piece is in you? Nothing of the kind! - - THE FATHER. What, haven't we our own temperaments, our own - souls? - - THE MANAGER. Not at all. Your soul or whatever you like to - call it takes shape here. The actors give body and form to - it, voice and gesture. And my actors--I may tell you--have - given expression to much more lofty material than this - little drama of yours, which may or may not hold up on the - stage. But if it does, the merit of it, believe me, will be - due to my actors. - - THE FATHER. I don't dare contradict you, sir; but, believe - me, it is a terrible suffering for us who are as we are, - with these bodies of ours, these features to see.... - - THE MANAGER (_cutting him short and out of patience_). Good - heavens! The make-up will remedy all that, man, the - make-up.... - - THE FATHER. Maybe. But the voice, the gestures.... - - THE MANAGER. Now, look here! On the stage, you as yourself, - cannot exist. The actor here acts you, and that's an end to - it! - - THE FATHER. I understand. And now I think I see why our - author who conceived us as we are, all alive, didn't want to - put us on the stage after all. I haven't the least desire to - offend your actors. Far from it! But when I think that I am - to be acted by ... I don't know by whom.... - - LEADING MAN (_on his dignity_). By me, if you've no - objection! - - THE FATHER (_humbly, mellifluously_). Honoured, I assure - you, sir. (_Bows_). Still, I must say that try as this - gentleman may, with all his good will and wonderful art, to - absorb me into himself.... - - LEADING MAN. Oh chuck it! "Wonderful art!" Withdraw that, - please! - - THE FATHER. The performance he will give, even doing his - best with make-up to look like me.... - - LEADING MAN. It will certainly be a rat difficult! (_The - actors laugh_.) - - THE FATHER, Exactly! It will be difficult to act me as I - really am. The effect will be rather--apart from the - make-up--according as to how he supposes I am, as he senses - me--if he does sense me--and not as I inside of myself feel - myself to be. It seems to me then that account should be - taken of this by everyone whose duty it may become to - criticize us.... - - THE MANAGER. Heavens! The man's starting to think about the - critics now! Let them say what they like. It's up to us to - put on the play if we can (_looking around_). Come on! come - on! Is the stage set? (_To the actors and Characters_): - Stand back--stand back! Let me see, and don't let's lose any - more time! (_To the Step-Daughter_): Is it all right as it - is now? - - THE STEP-DAUGHTER. Well, to tell the truth, I don't - recognize the scene. - - THE MANAGER. My dear lady, you can't possibly suppose that - we can construct that shop of Madame Pace piece by piece - here? (_To the Father_): You said a white room with flowered - wall paper, didn't you? - - THE FATHER. Yes. - - THE MANAGER. Well then. We've got the furniture right more - or less. Bring that little table a bit further forward. - (_The stage hands obey the order. To Property Man_): You go - and find an envelope, if possible, a pale blue one; and give - it to that gentleman (_indicates Father_). - - PROPERTY MAN. An ordinary envelope? - - MANAGER _and_ FATHER. Yes, yes, an ordinary envelope. - - PROPERTY MAN. At once, sir (_exit_). - - THE MANAGER. Ready, everyone! First scene--the Young Lady. - (_The Leading Lady comes forward_). No, no, you must wait. I - meant her (_indicating the Step-Daughter_). You just watch-- - - THE STEP-DAUGHTER (_adding at once_). How I shall play it, - how I shall live it!... - - LEADING LADY (_offended_). I shall live it also, you may be - sure, as soon as I begin! - - THE MANAGER (_with his hands to his head_). Ladies and - gentlemen, if you please! No more useless discussions! Scene - I: the young lady with Madame Pace: Oh! (_looks around as if - lost_). And this Madame Pace, where is she? - - THE FATHER. She isn't with us, sir. - - THE MANAGER. Then what the devil's to be done? - - THE FATHER. But she is alive too. - - THE MANAGER. Yes, but where is she? - - THE FATHER. One minute. Let me speak! (_turning to the - actresses_). If these ladies would be so good as to give me - their hats for a moment.... - - THE ACTRESSES (_half surprised, half laughing, in chorus_). - What? - - Why? - - Our hats? - - What does he say? - - THE MANAGER. What are you going to do with the ladies' hats? - (_The actors laugh_). - - THE FATHER. Oh nothing. I just want to put them on these - pegs for a moment. And one of the ladies will be so kind as - to take off her mantle.... - - THE ACTORS. Oh, what d'you think of that? - - Only the mantle? - - He must be mad. - - SOME ACTRESSES. But why? - - Mantles as well? - - THE FATHER. To hang them up here for a moment Please be so - kind, will you? - - THE ACTRESSES (_taking off their hats, one or two also their - cloaks, and going to hang them on the racks_). After all, - why not? - - There you are! - - This is really funny. - - We've got to put them on show. - - THE FATHER. Exactly; just like that, on show. - - THE MANAGER. May we know why? - - THE FATHER. I'll tell you. Who knows if, by arranging the - stage for her, she does not come here herself, attracted by - the very articles of her trade? (_Inviting the actors to - look towards the exit at back of stage_): Look! Look! - - (_The door at the back of stage opens and_ MADAME PACE - _enters and takes a few steps forward. She is a fat, oldish - woman with puffy oxygenated hair. She is rouged and - powdered, dressed with a comical elegance in black silk. - Round her waist is a long silver chain from which hangs a - pair of scissors. The Step-Daughter runs over to her at once - amid the stupor of the actors_). - - THE STEP-DAUGHTER (_turning towards her_). There she is! - There she is! - - THE FATHER (_radiant_). It's she! I said so, didn't I? There - she is! - - THE MANAGER (_conquering his surprise, and then becoming - indignant_). What sort of a trick is this? - - LEADING MAN (_almost at the same time_). What's going to - happen next? - - JUVENILE LEAD. Where does _she_ come from? - - L'INGENUE. They've been holding her in reserve, I guess. - - LEADING LADY. A vulgar trick! - - THE FATHER (_dominating the protests_). Excuse me, all of - you! Why are you so anxious to destroy in the name of a - vulgar, commonplace sense of truth, this reality which comes - to birth attracted and formed by the magic of the stage - itself, which has indeed more right to live here than you, - since it is much truer than you--if you don't mind my saying - so? Which is the actress among you who is to play Madame - Pace? Well, here is Madame Pace herself. And you will allow, - I fancy, that the actress who acts her will be less true - than this woman here, who is herself in person. You see my - daughter recognized her and went over to her at once. Now - you're going to witness the scene! - - _But the scene between the_ STEP-DAUGHTER _and_ MADAME PACE - _has already begun despite the protest of the actors and the - reply of_ THE FATHER. _It has begun quietly, naturally, in a - manner impossible for the stage. So when the actors, called - to attention by_ THE FATHER, _turn round and see_ MADAME - PACE, _who has placed one hand under the_ STEP-DAUGHTER'S - _chin to raise her head, they observe her at first with - great attention, but hearing her speak in an unintelligible - manner their interest begins to wane._ - - THE MANAGER. Well? well? - - LEADING MAN. What does she say? - - LEADING LADY. One can't hear a word. - - JUVENILE LEAD. Louder! Louder please! - - THE STEP-DAUGHTER (_leaving Madame Pace, who smiles a - Sphinx-like smile, and advancing towards the actors_). - Louder? Louder? What are you talking about? These aren't - matters which can be shouted at the top of one's voice. If I - have spoken them out loud, it was to shame him and have my - revenge (_indicates Father_). But for Madame it's quite a - different matter. - - THE MANAGER. Indeed? indeed? But here, you know, people have - got to make themselves heard, my dear. Even we who are on - the stage can't hear you. What will it be when the public's - in the theatre? And anyway, you can very well speak up now - among yourselves, since we shan't be present to listen to - you as we are now. You've got to pretend to be alone in a - room at the back of a shop where no one can hear you. - - (THE STEP-DAUGHTER _coquettishly and with a touch of malice - makes a sign of disagreement two or three times with her - finger_). - - THE MANAGER. What do you mean by no? - - THE STEP-DAUGHTER (_sotto voce, mysteriously_). There's - someone who will hear us if she (_indicating Madame Pace_) - speaks out loud. - - THE MANAGER (_in consternation_). What? Have you got someone - else to spring on us now? (_The actors burst out laughing_). - - THE FATHER. No, no sir. She is alluding to me. I've got to - be here--there behind that door, in waiting; and Madame Pace - knows it. In fact, if you will allow me, I'll go there at - once, so I can be quite ready. (_Moves away_). - - THE MANAGER (_stopping him_). No! Wait! wait! We must - observe the conventions of the theatre. Before you are - ready.... - - THE STEP-DAUGHTER (_interrupting him_). No, get on with it - at once! I'm just dying, I tell you, to act this scene. If - he's ready, I'm more than ready. - - THE MANAGER (_shouting_). But, my dear young lady, first of - all, we must have the scene between you and this lady ... - (_indicates Madame Pace_). Do you understand?... - - THE STEP-DAUGHTER. Good Heavens! She's been telling me what - you know already: that mamma's work is badly done again, - that the material's ruined; and that if I want her to - continue to help us in our misery I must be patient.... - - MADAME PACE (_coming forward with an air of great - importance_). Yes indeed, sir, I no wanta take advantage of - her, I no wanta be hard.... - - (_Note. Madame Face is supposed to talk in a jargon half - Italian, half Spanish_). - - THE MANAGER (_alarmed_). What? What? She talks like that? - (_The actors burst out laughing again_). - - THE STEP-DAUGHTER (_also laughing_). Yes yes, that's the way - she talks, half English, half Italian! Most comical it is! - - MADAME PACE. Itta seem not verra polite gentlemen laugha - atta me eef I trya best speaka English. - - THE MANAGER. _Diamine_! Of course! Of course! Let her talk - like that! Just what we want. Talk just like that, Madam, if - you please! The effect will be certain. Exactly what was - wanted to put a little comic relief into the crudity of the - situation. Of course she talks like that! Magnificent! - - THE STEP-DAUGHTER. Magnificent? Certainly! When certain - suggestions are made to one in language of that kind, the - effect is certain, since it seems almost a joke. One feels - inclined to laugh when one hears her talk about an "old - signore" "who wanta talka nicely with you." Nice old - signore, eh, Madame? - - MADAME PACE. Not so old my dear, not so old! And even if you - no lika him, he won't make any scandal! - - THE MOTHER (_jumping up amid the amazement and consternation - of the actors who had not been noticing her. They move to - restrain her_). You old devil! You murderess! - - THE STEP-DAUGHTER (_running over to calm her Mother_). Calm - yourself, mother, calm yourself! Please don't.... - - THE FATHER (_going to her also at the same time_). Calm - yourself! Don't get excited! Sit down now! - - THE MOTHER. Well then, take that woman away out of my sight! - - THE STEP-DAUGHTER (_to Manager_). It is impossible for my - mother to remain here. - - THE FATHER (_to Manager_). They can't be here together. And - for this reason, you see: that woman there was not with us - when we came.... If they are on together, the whole thing is - given away inevitably, as you see. - - THE MANAGER. It doesn't matter. This is only a first rough - sketch--just to get an idea of the various points of the - scene, even confusedly.... (_Turning to the Mother and - leading her to her chair_): Come along, my dear lady, sit - down now, and let's get on with the scene.... - - (_Meanwhile, the_ STEP-DAUGHTER, _coming forward again, - turns to Madame Pace_). - - THE STEP-DAUGHTER. Come on, Madame, come on! - - MADAME PACE (_offended_). No, no, _grazie_. I not do - anything witha your mother present. - - THE STEP-DAUGHTER. Nonsense! Introduce this "old signore" - who wants to talk nicely to me (_addressing the company - imperiously_). We've got to do this scene one way or - another, haven't we? Come on! (_to Madame Pace_). You can - go! - - MADAME PACE. Ah yes! I go'way! I go'way! Certainly! (_Exits - furious_). - - THE STEP-DAUGHTER (_to the Father_). Now you make your - entry. No, you needn't go over here. Come here. Let's - suppose you've already come in. Like that, yes! I'm here - with bowed head, modest like. Come on! Out with your voice! - Say "Good morning, Miss" in that peculiar tone, that special - tone.... - - THE MANAGER. Excuse me, but are you the Manager, or am I? - (_To the Father, who looks undecided and perplexed_): Get on - with it, man! Go down there to the back of the stage. You - needn't go off. Then come right forward here. - - (THE FATHER _does as he is told, looking troubled and - perplexed at first. But as soon as he begins to move, the - reality of the action affects him, and he begins to smile - and to be more natural. The actors watch intently_). - - THE MANAGER (_sottovoce, quickly to the Prompter in his - box_). Ready! ready? Get ready to write now. - - THE FATHER (_coming forward and speaking in a different - tone_). Good afternoon, Miss! - - THE STEP-DAUGHTER (_head bowed down slightly, with - restrained disgust_). Good afternoon! - - THE FATHER (_looks under her hat which partly covers her - face. Perceiving she is very young, he makes an exclamation, - partly of surprise, partly of fear lest he compromise - himself in a risky adventure_) "Ah ... but ... ah ... I say - ... this is not the first time that you have come here, is - it?" - - THE STEP-DAUGHTER (_modestly_). No sir. - - THE FATHER. You've been here before, eh? (_Then seeing her - nod agreement_): More than once? (_Waits for her to answer, - looks under her hat, smiles, and then says_): Well then, - there's no need to be so shy, is there? May I take off your - hat? - - THE STEP-DAUGHTER (_anticipating him and with veiled - disgust_). No sir ... I'll do it myself. (_Takes it off - quickly_). - - (THE MOTHER, _who watches the progress of the scene with_ - THE SON _and the other two children who cling to her, is on - thorns; and follows with varying expressions of sorrow, - indignation, anxiety, and horror the words and actions of - the other two. From time to time she hides her face in her - hands and sobs_). - - THE MOTHER. Oh, my God, my God! - - THE FATHER (_playing his part with a touch of gallantry_). - Give it to me! I'll put it down (_takes hat from her - hands_). But a dear little head like yours ought to have a - smarter hat. Come and help me choose one from the stock, - won't you? - - L'INGENUE (_interrupting_). I say ... those are our hats you - know. - - THE MANAGER (_furious_). Silence! silence! Don't try and be - funny, if you please.... We're playing the scene now I'd - have you notice. (_To the Step-Daughter_). Begin again, - please! - - THE STEP-DAUGHTER (_continuing_). No thank you, sir. - - THE FATHER. Oh, come now. Don't talk like that. You must - take it. I shall be upset if you don't. There are some - lovely little hats here; and then--Madame will be pleased. - She expects it, anyway, you know. - - THE STEP-DAUGHTER. No, no! I couldn't wear it! - - THE FATHER. Oh, you're thinking about what they'd say at - home if they saw you come in with a new hat? My dear girl, - there's always a way round these little matters, you know. - - THE STEP-DAUGHTER (_all keyed up_). No, it's not that. I - couldn't wear it because I am ... as you see ... you might - have noticed.... (_showing her black dress_). - - THE FATHER. ... in mourning! Of course: I beg your pardon: - I'm frightfully sorry.... - - THE STEP-DAUGHTER (_forcing herself to conquer her - indignation and nausea_). Stop! Stop! It's I who must thank - you. There's no need for you to feel mortified or specially - sorry. Don't think any more of what I've said. (_Tries to - smile_). I must forget that I am dressed so.... - - THE MANAGER (_interrupting and turning to the Prompter_). - Stop a minute! Stop! Don't write that down. Cut out that - last bit. (_Then to the Father and Step-Daughter_). Fine! - it's going fine! (_To the Father only_). And now you can go - on as we arranged. (_To the actors_). Pretty good that - scene, where he offers her the hat, eh? - - THE STEP-DAUGHTER. The best's coming now. Why can't we go - on? - - THE MANAGER. Have a little patience! (_To the actors_): Of - course, it must be treated rather lightly. - - LEADING MAN. Still, with a bit of go in it! - - LEADING LADY. Of course! It's easy enough! (_To Leading - Man_): Shall you and I try it now? - - LEADING MAN. Why, yes! I'll prepare my entrance. (_Exit in - order to make his entrance_). - - THE MANAGER (_to Leading Lady_). See here! The scene between - you and Madame Pace is finished. I'll have it written out - properly after. You remain here ... oh, where are you going? - - LEADING LADY. One minute. I want to put my hat on again - (_goes over to hat-rack and puts her hat on her head_). - - THE MANAGER. Good! You stay here with your head bowed down a - bit. - - THE STEP-DAUGHTER. But she isn't dressed in black. - - LEADING LADY. But I shall be, and much more effectively than - you. - - THE MANAGER (_to Step-Daughter_). Be quiet please, and - watch! You'll be able to learn something. (_Clapping his - hands_) Come on! come on! Entrance, please! - - (_The door at rear of stage opens, and the Leading Man - enters with the lively manner of an old gallant. The - rendering of the scene by the actors from the very first - words is seen to be quite a different thing, though it has - not in any way the air of a parody. Naturally, the - Step-Daughter and the Father, not being able to recognize - themselves in the Leading Lady and the Leading Man, who - deliver their words in different tones and with a different - psychology, express, sometimes with smiles, sometimes with - gestures, the impression they receive_). - - LEADING MAN. Good afternoon, Miss.... - - THE FATHER (_at once unable to contain himself_). No! no! - - (THE STEP-DAUGHTER _noticing the way the_ LEADING MAN - _enters, bursts out laughing_). - - THE MANAGER (_furious_). Silence! And you please just stop - that laughing. If we go on like this, we shall never finish. - - THE STEP-DAUGHTER. Forgive me, sir, but it's natural enough. - This lady (_indicating Leading Lady_) stands there still; - but if she is supposed to be me, I can assure you that if I - heard anyone say "Good afternoon" in that manner and in that - tone, I should burst out laughing as I did. - - THE FATHER. Yes, yes, the manner, the tone.... - - THE MANAGER. Nonsense! Rubbish! Stand aside and let me see - the action. - - LEADING MAN. If I've got to represent an old fellow who's - coming into a house of an equivocal character.... - - THE MANAGER. Don't listen to them, for Heaven's sake! Do it - again! It goes fine. (_Waiting for the actors to begin - again_): Well? - - LEADING MAN. Good afternoon, Miss. - - LEADING LADY. Good afternoon. - - LEADING MAN (_imitating the gesture of the Father when he - looked under the hat, and then expressing quite clearly - first satisfaction and then fear_). Ah, but ... I say ... - this is not the first time that you have come here, is it? - - THE MANAGER. Good, but not quite so heavily. Like this - (_acts himself_): "This isn't the first time that you have - come here".... (_To Leading Lady_) And you say: "No, sir." - - LEADING LADY. No, sir. - - LEADING MAN. You've been here before, more than once. - - THE MANAGER. No, no, stop! Let her nod "yes" first. - - "You've been here before, eh?" (_The Leading Lady lifts up - her head slightly and closes her eyes as though in disgust. - Then she inclines her head twice_). - - THE STEP-DAUGHTER (_unable to contain herself_). Oh my God! - (_Puts a hand to her mouth to prevent herself from - laughing_). - - THE MANAGER (_turning round_). What's the matter? - - THE STEP-DAUGHTER. Nothing, nothing! - - THE MANAGER (_to Leading Man_). Go on! - - LEADING MAN. You've been here before, eh? Well then, there's - no need to be so shy, is there? May I take off your hat? - - (THE LEADING MAN _says this last speech in such a tone and - with such gestures that the_ STEP-DAUGHTER, _though she has - her hand to her mouth, cannot keep from laughing_). - - LEADING LADY (_indignant_). I'm not going to stop here to be - made a fool of by that woman there. - - LEADING MAN. Neither am I! I'm through with it! - - THE MANAGER (_shouting to Step-Daughter_). Silence! for once - and all, I tell you! - - THE STEP-DAUGHTER. Forgive me! forgive me! - - THE MANAGER. You haven't any manners: that's what it is! You - go too far. - - THE FATHER (_endeavouring to intervene_). Yes, it's true, - but excuse her.... - - THE MANAGER. Excuse what? It's absolutely disgusting. - - THE FATHER. Yes, sir, but believe me, it has such a strange - effect when.... - - THE MANAGER. Strange? Why strange? Where is it strange? - - THE FATHER. No, sir; I admire your actors--this gentleman - here, this lady; but they are certainly not us! - - THE MANAGER. I should hope not. Evidently they cannot be - you, if they are actors. - - THE FATHER. Just so: actors! Both of them act our parts - exceedingly well. But, believe me, it produces quite a - different effect on us. They want to be us, but they aren't, - all the same. - - THE MANAGER. What is it then anyway? - - THE FATHER. Something that is ... that is theirs--and no - longer ours.... - - THE MANAGER. But naturally, inevitably. I've told you so - already. - - THE FATHER. Yes, I understand ... I understand.... - - THE MANAGER. Well then, let's have no more of it! (_Turning - to the actors_): We'll have the rehearsals by ourselves, - afterwards, in the ordinary way. I never could stand - rehearsing with the author present. He's never satisfied! - (_Turning to Father and Step-Daughter_): Come on! Let's get - on with it again; and try and see if you can't keep from - laughing. - - THE STEP-DAUGHTER. Oh, I shan't laugh any more. There's a - nice little bit coming for me now: you'll see. - - THE MANAGER. Well then: when she says "Don't think any more - of what I've said. I must forget, etc.," you (_addressing - the Father_) come in sharp with "I understand, I - understand"; and then you ask her.... - - THE STEP-DAUGHTER (_interrupting_). What? - - THE MANAGER. Why she is in mourning. - - THE STEP-DAUGHTER. Not at all! See here: when I told him - that it was useless for me to be thinking about my wearing - mourning, do you know how he answered me? "Ah well," he said - "then let's take off this little frock." - - THE MANAGER. Great! Just what we want, to make a riot in the - theatre! - - THE STEP-DAUGHTER. But it's the truth! - - THE MANAGER. What does that matter? Acting is our business - here. Truth up to a certain point, but no further. - - THE STEP-DAUGHTER. What do you want to do then? - - THE MANAGER. You'll see, you'll see! Leave it to me. - - THE STEP-DAUGHTER. No sir! What you want to do is to piece - together a little romantic sentimental scene out of my - disgust, out of all the reasons, each more cruel and viler - than the other, why I am what I am. He is to ask me why I'm - in mourning; and I'm to answer with tears in my eyes, that - it is just two months since papa died. No sir, no! He's got - to say to me; as he did say: "Well, let's take off this - little dress at once." And I; with my two months' mourning - in my heart, went there behind that screen, and with these - fingers tingling with shame.... - - THE MANAGER (_running his hands through his hair_). For - Heaven's sake! What are you saying? - - THE STEP-DAUGHTER (_crying out excitedly_). The truth! The - truth! - - THE MANAGER. It may be. I don't deny it, and I can - understand all your horror; but you must surely see that you - can't have this kind of thing on the stage. It won't go. - - THE STEP-DAUGHTER. Not possible, eh? Very well! I'm much - obliged to you--but I'm off! - - THE MANAGER. Now be reasonable! Don't lose your temper! - - THE STEP-DAUGHTER. I won't stop here! I won't! I can see - you've fixed it all up with him in your office. All this - talk about what is possible for the stage ... I understand! - He wants to get at his complicated "cerebral drama," to have - his famous remorses and torments acted; but I want to act my - part, _my part_! - - THE MANAGER (_annoyed, shaking his shoulders_). Ah! Just - _your_ part! But, if you will pardon me, there are other - parts than yours: His (_indicating the Father_) and hers - (_indicating the Mother_)! On the stage you can't have a - character becoming too prominent and overshadowing all the - others. The thing is to pack them all into a neat little - framework and then act what is actable. I am aware of the - fact that everyone has his own interior life which he wants - very much to put forward. But the difficulty lies in this - fact: to set out just so much as is necessary for the stage, - taking the other characters into consideration, and at the - same time hint at the unrevealed interior life of each. I am - willing to admit, my dear young lady, that from your point - of view it would be a fine idea if each character could tell - the public all his troubles in a nice monologue or a regular - one hour lecture (_good humoredly_). You must restrain - yourself, my dear, and in your own interest, too; because - this fury of yours, this exaggerated disgust you show, may - make a bad impression, you know. After you have confessed to - me that there were others before him at Madame Pace's and - more than once.... - - THE STEP-DAUGHTER (_bowing her head, impressed_). It's true. - But remember those others mean him for me all the same. - - THE MANAGER (_not understanding_). What? The others? What do - you mean? - - THE STEP-DAUGHTER. For one who has gone wrong, sir, he who - was responsible for the first fault is responsible for all - that follow. He is responsible for my faults, was, even - before I was born. Look at him, and see if it isn't true! - - THE MANAGER. Well, well! And does the weight of so much - responsibility seem nothing to you? Give him a chance to act - it, to get it over! - - THE STEP-DAUGHTER. How? How can he act all his "noble - remorses" all his "moral torments," if you want to spare him - the horror of being discovered one day--after he had asked - her what he did ask her--in the arms of her, that already - fallen woman, that child, sir, that child he used to watch - come out of school? (_She is moved_). - - (THE MOTHER _at this point is overcome with emotion, and - breaks out into a fit of crying. All are touched. A long - pause_). - - THE STEP-DAUGHTER (_as soon as the Mother becomes a little - quieter, adds resolutely and gravely_). At present, we are - unknown to the public. Tomorrow, you will act us as you - wish, treating us in your own manner. But do you really want - to see drama, do you want to see it flash out as it really - did? - - THE MANAGER. Of course! That's just what I do want, so I can - use as much of it as is possible. - - THE STEP-DAUGHTER. Well then, ask that Mother there to leave - us. - - THE MOTHER (_changing her low plaint into a sharp cry_). No! - No! Don't permit it, sir, don't permit it! - - THE MANAGER. But it's only to try it. - - THE MOTHER. I can't bear it. I can't. - - THE MANAGER. But since it has happened already ... I don't - understand! - - THE MOTHER. It's taking place now. It happens all the time. - My torment isn't a pretended one. I live and feel every - minute of my torture. Those two children there--have you - heard them speak? They can't speak any more. They cling to - me to keep my torment actual and vivid for me. But for - themselves, they do not exist, they aren't any more. And she - (_indicating Step-Daughter_) has run away, she has left me, - and is lost. If I now see her here before me, it is only to - renew for me the tortures I have suffered for her too. - - THE FATHER. The eternal moment! She (_indicating the - Step-Daughter_) is here to catch me, fix me, and hold me - eternally in the stocks for that one fleeting and shameful - moment of my life. She can't give it up! And you sir, cannot - either fairly spare me it. - - THE MANAGER. I never said I didn't want to act it. It will - form, as a matter of fact, the nucleus of the whole first - act right up to her surprise (_indicates the Mother_). - - THE FATHER. Just so! This is my punishment: the passion in - all of us that must culminate in her final cry. - - THE STEP-DAUGHTER. I can hear it still in my ears. It's - driven me mad, that cry!--You can put me on as you like; it - doesn't matter. Fully dressed, if you like--provided I have - at least the arm bare; because, standing like this (_she - goes close to the Father and leans her head on his breast_) - with my head so, and my arms round his neck, I saw a vein - pulsing in my arm here; and then, as if that live vein had - awakened disgust in me, I closed my eyes like this, and let - my head sink on his breast. (_Turning to the Mother_). Cry - out mother! Cry out! (_Buries head in Fathers breast, and - with her shoulders raised as if to prevent her hearing the - cry, adds in tones of intense emotion_): Cry out as you did - then! - - THE MOTHER (_coming forward to separate them_). No! My - daughter, my daughter! (_And after having pulled her away - from him_): You brute! you brute! She is my daughter! Don't - you see she's my daughter? - - THE MANAGER (_walking backwards towards footlights_). Fine! - fine! Damned good! And then, of course--curtain! - - THE FATHER (_going towards him excitedly_). Yes, of course, - because that's the way it really happened. - - THE MANAGER (_convinced and pleased_). Oh, yes, no doubt - about it. Curtain here, curtain! - - (_At the reiterated cry of_ THE MANAGER, THE MACHINIST _lets - the curtain down, leaving_ THE MANAGER _and_ THE FATHER _in - front of it before the footlights_). - - THE MANAGER. The darned idiot! I said "curtain" to show the - act should end there, and he goes and lets it down in - earnest (_to the Father, while he pulls the curtain back to - go on to the stage again_). Yes, yes, it's all right. Effect - certain! That's the right ending. I'll guarantee the first - act at any rate. - - - ACT III. - - - _When the curtain goes up again, it is seen that the stage - hands have shifted the bit of scenery used in the last part, - and have rigged up instead at the back of the stage a drop, - with some trees, and one or two wings. A portion of a - fountain basin is visible. The Mother is sitting on the - Right with the two children by her side. The Son is on the - same side, but away from the others. He seems bored, angry, - and full of shame. The Father and The Step-Daughter are also - seated towards the Right front. On the other side (Left) are - the actors, much in the positions they occupied before the - curtain was lowered. Only the Manager is standing up in the - middle of the stage, with his hand closed over his mouth in - the act of meditating._ - - - THE MANAGER (_shaking his shoulders after a brief pause_). - Ah yes: the second act! Leave it to me, leave it all to me - as we arranged, and you'll see! It'll go fine! - - THE STEP-DAUGHTER. Our entry into his house (_indicates - Father_) in spite of him (_indicates the Son_).... - - THE MANAGER (_out of patience_). Leave it to me, I tell you! - - THE STEP-DAUGHTER. Do let it be clear, at any rate, that it - is in spite of my wishes. - - THE MOTHER (_from her corner, shaking her head_). For all - the good that's come of it.... - - THE STEP-DAUGHTER (_turning towards her quickly_). It - doesn't matter. The more harm done us, the more remorse for - him. - - THE MANAGER (_impatiently_). I understand! Good Heavens! I - understand! I'm taking it into account. - - THE MOTHER (_supplicatingly_). I beg you, sir, to let it - appear quite plain that for conscience sake I did try in - every way.... - - THE STEP-DAUGHTER (_interrupting indignantly and continuing - for the Mother_) ... to pacify me, to dissuade me from - spiting him. (_To Manager_). Do as she wants: satisfy her, - because it is true! I enjoy it immensely. Anyhow, as you can - see, the meeker she is, the more she tries to get at his - heart, the more distant and aloof does he become. - - THE MANAGER. Are we going to begin this second act or not? - - THE STEP-DAUGHTER. I'm not going to talk any more now. But I - must tell you this: you can't have the whole action take - place in the garden, as you suggest. It isn't possible! - - THE MANAGER. Why not? - - THE STEP-DAUGHTER. Because he (_indicates the Son again_) is - always shut up alone in his room. And then there's all the - part of that poor dazed-looking boy there which takes place - indoors. - - THE MANAGER. Maybe! On the other hand, you will - understand--we can't change scenes three or four times in - one act. - - THE LEADING MAN. They used to once. - - THE MANAGER. Yes, when the public was up to the level of - that child there. - - THE LEADING LADY. It makes the illusion easier. - - THE FATHER (_irritated_). The illusion! For Heaven's sake, - don't say illusion. Please don't use that word, which is - particularly painful for us. - - THE MANAGER (_astounded_). And why, if you please? - - THE FATHER. It's painful, cruel, really cruel; and you ought - to understand that. - - THE MANAGER. But why? What ought we to say then? The - illusion, I tell you, sir, which we've got to create for the - audience.... - - THE LEADING MAN. With our acting. - - THE MANAGER. The illusion of a reality. - - THE FATHER. I understand; but you, perhaps, do not - understand us. Forgive me! You see ... here for you and your - actors, the thing is only--and rightly so ... a kind of - game.... - - THE LEADING LADY (_interrupting indignantly_). A game! We're - not children here, if you please! We are serious actors. - - THE FATHER. I don't deny it. What I mean is the game, or - play, of your art, which has to give, as the gentleman says, - a perfect illusion of reality. - - THE MANAGER. Precisely--! - - THE FATHER. Now, if you consider the fact that we - (_indicates himself and the other five Characters_), as we - are, have no other reality outside of this illusion.... - - THE MANAGER (_astonished, looking at his actors, who are - also amazed_). And what does that mean? - - THE FATHER (_after watching them for a moment with a wan - smile_). As I say, sir, that which is a game of art for you - is our sole reality. (_Brief pause. He goes a step or two - nearer the Manager and adds_): But not only for us, you - know, by the way. Just you think it over well. (_Looks him - in the eyes_). Can you tell me who you are? - - THE MANAGER (_perplexed, half smiling_). What? Who am I? I - am myself. - - THE FATHER. And if I were to tell you that that isn't true, - because you are I...? - - THE MANAGER. I should say you were mad--! (_The actors - laugh_). - - THE FATHER. You're quite right to laugh: because we are all - making believe here (_to Manager_). And you can therefore - object that it's only for a joke that that gentleman there - (_indicates the Leading Man_), who naturally is himself, has - to be me, who am on the contrary myself--this thing you see - here. You see I've caught you in a trap! (_The actors - laugh_). - - THE MANAGER (_annoyed_). But we've had all this over once - before. Do you want to begin again? - - THE FATHER. No, no! That wasn't my meaning! In fact, I - should like to request you to abandon this game of art - (_looking at the Leading Lady as if anticipating her_) which - you are accustomed to play here with your actors, and to ask - you seriously once again: who are you? - - THE MANAGER (_astonished and irritated, turning to his - actors_). If this fellow here hasn't got a nerve! A man who - calls himself a character comes and asks me who I am! - - THE FATHER (_with dignity, but not offended_). A character, - sir, may always asks a man who he is. Because a character - has really a life of his own, marked with his especial - characteristics; for which reason he is always "somebody." - But a man--I'm not speaking of you now--may very well be - "nobody." - - THE MANAGER. Yes, but you are asking these questions of me, - the boss, the manager! Do you understand? - - THE FATHER. But only in order to know if you, as you really - are now, see yourself as you once were with all the - illusions that were yours then, with all the things both - inside and outside of you as they seemed to you--as they - were then indeed for you. Well, sir, if you think of all - those illusions that mean nothing to you now, of all those - things which don't even _seem_ to you to exist any more, - while once they _were_ for you, don't you feel that--I won't - say these boards--but the very earth under your feet is - sinking away from you when you reflect that in the same way - this _you_ as you feel it today--all this present reality of - yours--is fated to seem a mere illusion to you tomorrow? - - THE MANAGER (_without having understood much, but astonished - by the specious argument_). Well, well! And where does all - this take us anyway? - - THE FATHER. Oh, nowhere! It's only to show you that if we - (_indicating the Characters_) have no other reality beyond - the illusion, you too must not count overmuch on your - reality as you feel it today, since, like that of yesterday, - it may prove an illusion for you tomorrow. - - THE MANAGER (_determining to make fun of him_). Ah, - excellent! Then you'll be saying next that you, with this - comedy of yours that you brought here to act, are truer and - more real than I am. - - THE FATHER (_with the greatest seriousness_). But of course; - without doubt! - - THE MANAGER. Ah, really? - - THE FATHER. Why, I thought you'd understand that from the - beginning. - - THE MANAGER. More real than I? - - THE FATHER. If your reality can change from one day to - another.... - - THE MANAGER. But everyone knows it can change. It is always - changing, the same as anyone else's. - - THE FATHER (_with a cry_). No, sir, not ours! Look here! - That is the very difference! Our reality doesn't change: it - can't change! It can't be other than what it is, because it - is already fixed for ever. It's terrible. Ours is an - immutable reality which should make you shudder when you - approach us if you are really conscious of the fact that - your reality is a mere transitory and fleeting illusion, - taking this form today and that tomorrow, according to the - conditions, according to your will, your sentiments, which - in turn are controlled by an intellect that shows them to - you today in one manner and tomorrow ... who knows how?... - Illusions of reality represented in this fatuous comedy of - life that never ends, nor can ever end! Because if tomorrow - it were to end ... then why, all would be finished. - - THE MANAGER. Oh for God's sake, will you _at least_ finish - with this philosophizing and let us try and shape this - comedy which you yourself have brought me here? You argue - and philosophize a bit too much, my dear sir. You know you - seem to me almost, almost.... (_Stops and looks him over - from head to foot_). Ah, by the way, I think you introduced - yourself to me as a--what shall ... we say--a "character," - created by an author who did not afterward care to make a - drama of his own creations. - - THE FATHER. It is the simple truth, sir. - - THE MANAGER. Nonsense! Cut that out, please! None of us - believes it, because it isn't a thing, as you must recognize - yourself, which one can believe seriously. If you want to - know, it seems to me you are trying to imitate the manner of - a certain author whom I heartily detest--I warn - you--although I have unfortunately bound myself to put on - one of his works. As a matter of fact, I was just starting - to rehearse it, when you arrived. (_Turning to the actors_): - And this is what we've gained--out of the frying-pan into - the fire! - - THE FATHER. I don't know to what author you may be alluding, - but believe me I feel what I think; and I seem to be - philosophizing only for those who do not think what they - feel, because they blind themselves with their own - sentiment. I know that for many people this self-blinding - seems much more "human"; but the contrary is really true. - For man never reasons so much and becomes so introspective - as when he suffers; since he is anxious to get at the cause - of his sufferings, to learn who has produced them, and - whether it is just or unjust that he should have to bear - them. On the other hand, when he is happy, he takes his - happiness as it comes and doesn't analyse it, just as if - happiness were his right. The animals suffer without - reasoning about their sufferings. But take the case of a man - who suffers and begins to reason about it. Oh no! it can't - be allowed! Let him suffer like an animal, and then--ah yes, - he is "human!" - - THE MANAGER. Look here! Look here! You're off again, - philosophizing worse than ever. - - THE FATHER. Because I suffer, sir! I'm not philosophizing: - I'm crying aloud the reason of my sufferings. - - THE MANAGER (_makes brusque movement as he is taken with a - new idea_). I should like to know if anyone has ever heard - of a character who gets right out of his part and perorates - and speechifies as you do. Have you ever heard of a case? I - haven't. - - THE FATHER. You have never met such a case, sir, because - authors, as a rule, hide the labour of their creations. When - the characters are really alive before their author, the - latter does nothing but follow them in their action, in - their words, in the situations which they suggest to him; - and he has to will them the way they will themselves--for - there's trouble if he doesn't. When a character is born, he - acquires at once such an independence, even of his own - author, that he can be imagined by everybody even in many - other situations where the author never dreamed of placing - him; and so he acquires for himself a meaning which the - author never thought of giving him. - - THE MANAGER. Yes, yes, I know this. - - THE FATHER. What is there then to marvel at in us? Imagine - such a misfortune for characters as I have described to you: - to be born of an author's fantasy, and be denied life by - him; and then answer me if these characters left alive, and - yet without life, weren't right in doing what they did do - and are doing now, after they have attempted everything in - their power to persuade him to give them their stage life. - We've all tried him in turn, I, she (_indicating the - Step-Daughter_) and she (_indicating the Mother_). - - THE STEP-DAUGHTER. It's true. I too have sought to tempt - him, many, many times, when he has been sitting at his - writing table, feeling a bit melancholy, at the twilight - hour. He would sit in his armchair too lazy to switch on the - light, and all the shadows that crept into his room were - full of our presence coming to tempt him. (_As if she saw - herself still there by the writing table, and was annoyed by - the presence of the actors_): Oh, if you would only go away, - go away and leave us alone--mother here with that son of - hers--I with that Child--that Boy there always alone--and - then I with him (_just hints at the Father_)--and then I - alone, alone ... in those shadows! (_Makes a sudden movement - as if in the vision she has of herself illuminating those - shadows she wanted to seize hold of herself_). Ah! my life! - my life! Oh, what scenes we proposed to him--and I tempted - him more than any of the others! - - THE FATHER. Maybe. But perhaps it was your fault that he - refused to give us life: because you were too insistent, too - troublesome. - - THE STEP-DAUGHTER. Nonsense! Didn't he make me so himself? - (_Goes close to the Manager to tell him as if in - confidence_). In my opinion he abandoned us in a fit of - depression, of disgust for the ordinary theatre as the - public knows it and likes it. - - THE SON. Exactly what it was, sir; exactly that! - - THE FATHER. Not at all! Don't believe it for a minute. - Listen to me! You'll be doing quite right to modify, as you - suggest, the excesses both of this girl here, who wants to - do too much, and of this young man, who won't do anything at - all. - - THE SON. No, nothing! - - THE MANAGER. You too get over the mark occasionally, my dear - sir, if I may say so. - - THE FATHER. I? When? Where? - - THE MANAGER. Always! Continuously! Then there's this - insistence of yours in trying to make us believe you are a - character. And then too, you must really argue and - philosophize less, you know, much less. - - THE FATHER. Well, if you want to take away from me the - possibility of representing the torment of my spirit which - never gives me peace, you will be suppressing me: that's - all. Every true man, sir, who is a little above the level of - the beasts and plants does not live for the sake of living, - without knowing how to live; but he lives so as to give a - meaning and a value of his own to life. For me this is - _everything_. I cannot give up this, just to represent a - mere fact as she (_indicating the Step-Daughter_) wants. - It's all very well for her, since her "vendetta" lies in the - "fact." I'm not going to do it. It destroys my _raison - d'etre_. - - THE MANAGER. Your _raison d'etre!_ Oh, we're going ahead - fine! First she starts off, and then you jump in. At this - rate, we'll never finish. - - THE FATHER. Now, don't be offended! Have it your own - way--provided, however, that within the limits of the parts - you assign us each one's sacrifice isn't too great. - - THE MANAGER. You've got to understand that you can't go on - arguing at your own pleasure. Drama is action, sir, action - and not confounded philosophy. - - THE FATHER. All right. I'll do just as much arguing and - philosophizing as everybody does when he is considering his - own torments. - - THE MANAGER. If the drama permits! But for Heaven's sake, - man, let's get along and come to the scene. - - THE STEP-DAUGHTER. It seems to me we've got too much action - with our coming into his house (_indicating Father_). You - said, before, you couldn't change the scene every five - minutes. - - THE MANAGER. Of course not. What we've got to do is to - combine and group up all the facts in one simultaneous, - close-knit, action. We can't have it as you want, with your - little brother wandering like a ghost from room to room, - hiding behind doors and meditating a project which--what did - you say it did to him? - - THE STEP-DAUGHTER. Consumes him, sir, wastes him away! - - THE MANAGER. Well, it may be, And then at the same time, you - want the little girl there to be playing in the garden ... - one in the house, and the other in the garden: isn't that - it? - - THE STEP-DAUGHTER. Yes, in the sun, in the sun! That is my - only pleasure: to see her happy and careless in the garden - after the misery and squalor of the horrible room where we - all four slept together. And I had to sleep with her--I, do - you understand?--with my vile contaminated body next to - hers; with her folding me fast in her loving little arms. In - the garden, whenever she spied me, she would run to take me - by the hand. She didn't care for the big flowers, only the - little ones; and she loved to show me them and pet me. - - THE MANAGER. Well then, we'll have it in the garden. - Everything shall happen in the garden; and we'll group the - other scenes there. (_Calls a stage hand_). Here, a - back-cloth with trees and something to do as a fountain - basin. (_Turning round to look at the back of the stage_). - Ah, you've fixed it up. Good! (_To Step-Daughter_). This is - just to give an idea, of course. The Boy, instead of hiding - behind the doors, will wander about here in the garden, - hiding behind the trees. But it's going to be rather - difficult to find a child to do that scene with you where - she shows you the flowers. (_Turning to the Youth_). Come - forward a little, will you please? Let's try it now! Come - along! come along! (_Then seeing him come shyly forward, - full of fear and looking lost_). It's a nice business, this - lad here. What's the matter with him? We'll have to give him - a word or two to say. (_Goes close to him, puts a hand on - his shoulders, and leads him behind one of the trees_). Come - on! come on! Let me see you a little! Hide here ... yes, - like that. Try and show your head just a little as if you - were looking for someone.... (_Goes back to observe the - effect, when the Boy at once goes through the action_). - Excellent! fine! (_Turning to Step-Daughter_). Suppose the - little girl there were to surprise him as he looks round, - and run over to him, so we could give him a word or two to - say? - - THE STEP-DAUGHTER. It's useless to hope he will speak, as - long as that fellow there is here.... (_Indicates the Son_). - You must send him away first. - - THE SON (_jumping up_.) Delighted! delighted! I don't ask - for anything better. (_Begins to move away_). - - THE MANAGER (_at once stopping him_). No! No! Where are you - going? Wait a bit! - - (_The Mother gets up alarmed and terrified at the thought - that he is really about to go away. Instinctively she lifts - her arms to prevent him, without, however, leaving her - seat_). - - THE SON (_to Manager who stops him_). I've got nothing to do - with this affair. Let me go please! Let me go! - - THE MANAGER. What do you mean by saying you've got nothing - to do with this? - - THE STEP-DAUGHTER (_calmly, with irony_). Don't bother to - stop him: he won't go away. - - THE FATHER. He has to act the terrible scene in the garden - with his mother. - - THE SON (_suddenly resolute and with dignity_). I shall act - nothing at all. I've said so from the very beginning (_to - the Manager_). Let me go! - - THE STEP-DAUGHTER (_going over to the Manager_). Allow me? - (_Puts down the Manager's arm which is restraining the - Son_). Well, go away then, if you want to! (_The Son looks - at her with contempt and hatred. She laughs and says_). You - see, he can't, he can't go away! He is obliged to stay here, - indissolubly bound to the chain. If I, who fly off when that - happens which has to happen, because I can't bear him--if I - am still here and support that face and expression of his, - you can well imagine that he is unable to move. He has to - remain here, has to stop with that nice father of his, and - that mother whose only son he is. (_Turning to the Mother_). - Come on, mother, come along! (_Turning to Manager to - indicate her_). You see, she was getting up to keep him - back. (_To the Mother, beckoning her with her hand_). Come - on! come on! (_Then to Manager_). You can imagine how little - she wants to show these actors of yours what she really - feels; but so eager is she to get near him that.... There, - you see? She is willing to act her part. (_And in fact, the - Mother approaches him; and as soon as the Step-Daughter has - finished speaking, opens her arms to signify that she - consents_). - - THE SON (_suddenly_). No! no! If I can't go away, then I'll - stop here; but I repeat: I act nothing! - - THE FATHER (_to Manager excitedly_). You can force him, sir. - - THE SON. Nobody can force me. - - THE FATHER. I can. - - THE STEP-DAUGHTER. Wait a minute, wait.... First of all, the - baby has to go to the fountain.... (_Runs to take the Child - and leads her to the fountain_). - - THE MANAGER. Yes, yes of course; that's it. Both at the same - time. - - (_The second Lady Lead and the Juvenile Lead at this point - separate themselves from the group of actors. One watches - the Mother attentively; the other moves about studying the - movements and manner of the Son whom he will have to act_). - - THE SON (_to Manager_). What do you mean by both at the same - time? It isn't right. There was no scene between me and her. - (_Indicates the Mother_). Ask her how it was! - - THE MOTHER. Yes, it's true. I had come into his room.... - - THE SON. Into my room, do you understand? Nothing to do with - the garden. - - THE MANAGER. It doesn't matter. Haven't I told you we've got - to group the action? - - THE SON (_observing the Juvenile Lead studying him_). What - do you want? - - THE JUVENILE LEAD. Nothing! I was just looking at you. - - THE SON (_turning towards the second Lady Lead_). Ah! she's - at it too: to re-act her part (_indicating the Mother_)! - - THE MANAGER. Exactly! And it seems to me that you ought to - be grateful to them for their interest. - - THE SON. Yes, but haven't you yet perceived that it isn't - possible to live in front of a mirror which not only freezes - us with the image of ourselves, but throws our likeness back - at us with a horrible grimace? - - THE FATHER. That is true, absolutely true. You must see - that. - - THE MANAGER (_to second Lady Lead and Juvenile Lead_). He's - right! Move away from them! - - THE SON. Do as you like. I'm out of this! - - THE MANAGER. Be quiet, you, will you? And let me hear your - mother! (_To Mother_). You were saying you had entered.... - - THE MOTHER. Yes, into his room, because I couldn't stand it - any longer. I went to empty my heart to him of all the - anguish that tortures me.... But as soon as he saw me come - in.... - - THE SON. Nothing happened! There was no scene. I went away, - that's all! I don't care for scenes! - - THE MOTHER. It's true, true. That's how it was. - - THE MANAGER. Well now, we've got to do this bit between you - and him. It's indispensable. - - THE MOTHER. I'm ready ... when you are ready. If you could - only find a chance for me to tell him what I feel here in my - heart. - - THE FATHER (_going to Son in a great rage_). You'll do this - for your mother, for your mother, do you understand? - - THE SON (_quite determined_). I do nothing! - - THE FATHER (_taking hold of him and shaking him_). For God's - sake, do as I tell you! Don't you hear your mother asking - you for a favour? Haven't you even got the guts to be a son? - - THE SON (_taking hold of the Father_). No! No! And for God's - sake stop it, or else ... (_General agitation. The Mother, - frightened, tries to separate them_). - - THE MOTHER (_pleading_). Please! please! - - THE FATHER (_not leaving hold of the Son_). You've got to - obey, do you hear? - - THE SON (_almost crying from rage_). What does it mean, this - madness you've got? (_They separate_). Have you no decency, - that you insist on showing everyone our shame? I won't do - it! I won't! And I stand for the will of our author in this. - He didn't want to put us on the stage, after all! - - THE MANAGER. Man alive! You came here.... - - THE SON (_indicating Father_). _He_ did! I didn't! - - THE MANAGER. Aren't you here now? - - THE SON. It was his wish, and he dragged us along with him. - He's told you not only the things that did happen, but also - things that have never happened at all. - - THE MANAGER. Well, tell me then what did happen. You went - out of your room without saying a word? - - THE SON. Without a word, so as to avoid a scene! - - THE MANAGER. And then what did you do? - - THE SON. Nothing ... walking in the garden.... (_hesitates - for a moment with expression of gloom_). - - THE MANAGER (_coming closer to him, interested by his - extraordinary reserve_). Well, well ... walking in the - garden.... - - THE SON (_exasperated_). Why on earth do you insist? It's - horrible! (_The Mother trembles, sobs, and looks towards the - fountain_). - - THE MANAGER (_slowly observing the glance and turning - towards the Son with increasing apprehension_). The baby? - - THE SON. There in the fountain.... - - THE FATHER (_pointing with tender pity to the Mother_). She - was following him at the moment.... - - THE MANAGER (_to the Son anxiously_). And then you.... - - THE SON. I ran over to her; I was jumping in to drag her out - when I saw something that froze my blood ... the boy there - standing stock still, with eyes like a madman's, watching - his little drowned sister, in the fountain! (_The - Step-Daughter bends over the fountain to hide the Child. She - sobs_). Then.... (_A revolver shot rings out behind the - trees where the Boy is hidden_). - - THE MOTHER. (_With a cry of terror runs over in that - direction together with several of the actors amid general - confusion_). - - My son! My son! (_Then amid the cries and exclamations one - hears her voice_). Help! Help! - - THE MANAGER (_pushing the actors aside while they lift up - the Boy and carry him off_). Is he really wounded? - - SOME ACTORS. He's dead! dead! - - OTHER ACTORS. No, no, it's only make believe, it's only - pretence! - - THE FATHER (_with a terrible cry_). Pretence? Reality, sir, - reality! - - THE MANAGER. Pretence? Reality? To hell with it all! Never - in my life has such a thing happened to me. I've lost a - whole day over these people, a whole day! - - - _Curtain._ - - - - -"HENRY IV." - -(_Enrico Quarto_) - -A TRAGEDY IN THREE ACTS - -BY - -LUIGI PIRANDELLO - -TRANSLATED BY - -EDWARD STORER - - - - CHARACTERS. - - - "HENRY IV." THE MARCHIONESS MATILDA - SPINA, HER DAUGHTER FRIDA. THE YOUNG - MARQUIS CHARLES DI NOLLI. BARON TITO - BELCREDI. DOCTOR DIONYSIUS GENONI. THE - FOUR PRIVATE COUNSELLORS: HAROLD - (FRANK), LANDOLPH (LOLO), ORDULPH - (MOMO), BERTHOLD (FINO). (_The names in - brackets are nick-names_). JOHN, THE - OLD WAITER. THE TWO VALETS IN COSTUME. - - A SOLITARY VILLA IN ITALY IN OUR OWN - TIME. - - -"HENRY IV." - -A TRAGEDY IN THREE ACTS - - - - ACT I - - - _Salon in the villa, furnished and decorated so as to look - exactly like the throne room of Henry IV. in the royal - residence at Goslar. Among the antique decorations there are - two modern life-size portraits in oil painting. They are - placed against the back wall, and mounted in a wooden stand - that runs the whole length of the wall. (It is wide and - protrudes, so that it is like a large bench). One of the - paintings is on the right; the other on the left of the - throne, which is in the middle of the wall and divides the - stand._ - - _The Imperial chair and Baldachin._ - - _The two portraits represent a lady and a gentleman, both - young, dressed up in carnival costumes: one as "Henry IV." - the other as the "Marchioness Matilda of Tuscany." Exits to - Right and Left._ - - (_When the curtain goes up, the two valets jump down, as if - surprised, from the stand on which they have been lying, and - go and take their positions, as rigid as statues, on either - side below the throne with their halberds in their hands. - Soon after, from the second exit, right, enter Harold, - Landolph, Ordulph and Berthold, young men employed by the - Marquis Charles Di Nolli to play the part of "Secret - Counsellors" at the court of "Henry IV." They are, - therefore, dressed like German knights of the XIth century. - Berthold, nicknamed Fino, is just entering on his duties for - the first time. His companions are telling him what he has - to do and amusing themselves at his expense. The scene is to - be played rapidly and vivaciously_). - - LANDOLPH (_to Berthold as if explaining_). And this is the - throne room. - - HAROLD. At Goslar. - - ORDULPH. Or at the castle in the Hartz, if you prefer. - - HAROLD. Or at Wurms. - - LANDOLPH. According as to what's doing, it jumps about with - us, now here, now there. - - ORDULPH. In Saxony. - - HAROLD. In Lombardy. - - LANDOLPH. On the Rhine. - - ONE OF THE VALETS (_without moving, just opening his lips_). - I say.... - - HAROLD (_turning round_). What is it? - - FIRST VALET (_like a statue_). Is he coming in or not? (_He - alludes to Henry IV._) - - ORDULPH. No, no, he's asleep. You needn't worry. - - SECOND VALET (_releasing his pose, taking a long breath and - going to lie down again on the stand_). You might have told - us at once. - - FIRST VALET (_going over to Harold_). Have you got a match, - please? - - LANDOLPH. What? You can't smoke a pipe here, you know. - - FIRST VALET (_while Harold offers him a light_). No; a - cigarette. (_Lights his cigarette and lies down again on the - stand_). - - BERTHOLD (_who has been looking on in amazement, walking - round the room, regarding the costumes of the others_). I - say ... this room ... these costumes.... Which Henry IV. is - it? I don't quite get it. Is he Henry IV. of France or not? - (_At this Landolph, Harold, and Ordulph, burst out - laughing_). - - LANDOLPH (_still laughing; and pointing to Berthold as if - inviting the others to make fun of him_). Henry of France he - says: ha! ha! - - ORDULPH. He thought it was the king of France! - - HAROLD. Henry IV. of Germany, my boy: the Salian dynasty! - - ORDULPH. The great and tragic Emperor! - - LANDOLPH. He of Canossa. Every day we carry on here the - terrible war between Church and State, by Jove. - - ORDULPH. The Empire against the Papacy! - - HAROLD. Antipopes against the Pope! - - LANDOLPH. Kings against antikings! - - ORDULPH. War on the Saxons! - - HAROLD. And all the rebels Princes! - - LANDOLPH. Against the Emperor's own sons! - - BERTHOLD (_covering his head with his hands to protect - himself against this avalanche of information_). I - understand! I understand! Naturally, I didn't get the idea - at first. I'm right then: these aren't costumes of the XVIth - century? - - HAROLD. XVIth century be hanged! - - ORDULPH. We're somewhere between a thousand and eleven - hundred. - - LANDOLPH. Work it out for yourself: if we are before Canossa - on the 25th of January, 1071.... - - BERTHOLD (_more confused than ever_). Oh my God! What a mess - I've made of it! - - ORDULPH. Well, just slightly, if you supposed you were at - the French court. - - BERTHOLD. All that historical stuff I've swatted up! - - LANDOLPH. My dear boy, it's four hundred years earlier. - - BERTHOLD (_getting angry_). Good Heavens! You ought to have - told me it was Germany and not France. I can't tell you how - many books I've read in the last fifteen days. - - HAROLD. But I say, surely you knew that poor Tito was - Adalbert of Bremen, here? - - BERTHOLD. Not a damned bit! - - LANDOLPH. Well, don't you see how it is? When Tito died, the - Marquis Di Nolli.... - - BERTHOLD. Oh, it was he, was it? He might have told me. - - HAROLD. Perhaps he thought you knew. - - LANDOLPH. He didn't want to engage anyone else in - substitution. He thought the remaining three of us would do. - But _he_ began to cry out: "With Adalbert driven away....": - because, you see, he didn't imagine poor Tito was dead; but - that, as Bishop Adalbert, the rival bishops of Cologne and - Mayence had driven him off.... - - BERTHOLD (_taking his head in his hand_). But I don't know a - word of what you're talking about. - - ORDULPH. So much the worse for you, my boy! - - HAROLD. But the trouble is that not even we know who you - are. - - BERTHOLD. What? Not even you? You don't know who I'm - supposed to be? - - ORDULPH. Hum! "Berthold." - - BERTHOLD. But which Berthold? And why Berthold? - - LANDOLPH (_solemnly imitating Henry IV._). "They've driven - Adalbert away from me. Well then, I want Berthold! I want - Berthold!" That's what he said. - - HAROLD. We three looked one another in the eyes: who's got - to be Berthold? - - ORDULPH. And so here you are, "Berthold," my dear fellow! - - LANDOLPH. I'm afraid you will make a bit of a mess of it. - - BERTHOLD (_indignant, getting ready to go_). Ah, no! Thanks - very much, but I'm off! I'm out of this! - - HAROLD (_restraining him with the other two, amid - laughter_). Steady now! Don't get excited! - - LANDOLPH. Cheer up, my dear fellow! We don't any of us know - who we are really. He's Harold; he's Ordulph; I'm Landolph! - That's the way he calls us. We've got used to it. But who - are we? Names of the period! Yours, too, is a name of the - period: Berthold! Only one of us, poor Tito, had got a - really decent part, as you can read in history: that of the - Bishop of Bremen. He was just like a real bishop. Tito did - it awfully well, poor chap! - - HAROLD. Look at the study he put into it! - - LANDOLPH. Why, he even ordered his Majesty about, opposed - his views, guided and counselled him. We're "secret - counsellors"--in a manner of speaking only; because it is - written in history that Henry IV. was hated by the upper - aristocracy for surrounding himself at court with young men - of the bourgeoise. - - ORDULPH. Us, that is. - - LANDOLPH. Yes, small devoted vassals, a bit dissolute and - very gay.... - - BERTHOLD. So I've got to be gay as well? - - HAROLD. I should say so! Same as we are! - - ORDULPH. And it isn't too easy, you know. - - LANDOLPH. It's a pity; because the way we're got up, we - could do a fine historical reconstruction. There's any - amount of material in the story of Henry IV. But, as a - matter of fact, we do nothing. We have the form without the - content. We're worse than the real secret counsellors of - Henry IV.; because certainly no one had given them a part to - play--at any rate, they didn't feel they had a part to play. - It was their life. They looked after their own interests at - the expense of others, sold investitures and--what not! We - stop here in this magnificent court--for what?--Just doing - nothing. We're like so many puppets hung on the wall, - waiting for some one to come and move us or make us talk. - - HAROLD. Ah no, old sport, not quite that! We've got to give - the proper answer, you know. There's trouble if he asks you - something and you don't chip in with the cue. - - LANDOLPH. Yes, that's true. - - BERTHOLD. Don't rub it in too hard! How the devil am I to - give him the proper answer, if I've swatted up Henry IV. of - France, and now he turns out to be Henry IV. of Germany? - (_The other three laugh_). - - HAROLD. You'd better start and prepare yourself at once. - - ORDULPH. We'll help you out. - - HAROLD. We've got any amount of books on the subject. A - brief run through the main points will do to begin with. - - ORDULPH. At any rate, you must have got some sort of general - idea. - - HAROLD. Look here! (_Turns him around and shows him the - portrait of the Marchioness Matilda on the wall_). Who's - that? - - BERTHOLD (_looking at it_). That? Well, the thing seems to - me somewhat out of place, anyway: two modern paintings in - the midst of all this respectable antiquity! - - HAROLD. You're right! They weren't there in the beginning. - There are two niches there behind the pictures. They were - going to put up two statues in the style of the period. Then - the places were covered with those canvasses there. - - LANDOLPH (_interrupting and continuing_). They would - certainly be out of place if they really were paintings! - - BERTHOLD. What are they, if they aren't paintings? - - LANDOLPH. Go and touch them! Pictures all right ... but for - him! (_Makes a mysterious gesture to the right, alluding to - Henry IV._.) ... who never touches them!... - - BERTHOLD. No? What are they for him? - - LANDOLPH. Well, I'm only supposing, you know; but I imagine - I'm about right. They're images such as ... well--such as a - mirror might throw back. Do you understand? That one there - represents himself, as he is in this throne room, which is - all in the style of the period. What's there to marvel at? - If we put you before a mirror, won't you see yourself, - alive, but dressed up in ancient costume? Well, it's as if - there were two mirrors there, which cast back living images - in the midst of a world which, as you will see, when you - have lived with us, comes to life too. - - BERTHOLD. I say, look here ... I've no particular desire to - go mad here. - - HAROLD. Go mad, be hanged! You'll have a fine time! - - BERTHOLD. Tell me this: how have you all managed to become - so learned? - - LANDOLPH. My dear fellow, you can't go back over 800 years - of history without picking up a bit of experience. - - HAROLD. Come on! Come on! You'll see how quickly you get - into it! - - ORDULPH. You'll learn wisdom, too, at this school. - - BERTHOLD. Well, for Heaven's sake, help me a bit! Give me - the main lines, anyway. - - HAROLD. Leave it to us. We'll do it all between us. - - LANDOLPH. We'll put your wires on you and fix you up like a - first class marionette. Come along! (_They take him by the - arm to lead him away_). - - BERTHOLD (_stopping and looking at the portrait on the - wall_). Wait a minute! You haven't told me who that is. The - Emperor's wife? - - HAROLD. No! The Emperor's wife is Bertha of Susa, the sister - of Amadeus II. of Savoy. - - ORDULPH. And the Emperor, who wants to be young with us, - can't stand her, and wants to put her away. - - LANDOLPH. That is his most ferocious enemy: Matilda, - Marchioness of Tuscany. - - BERTHOLD. Ah, I've got it: the one who gave hospitality to - the Pope! - - LANDOLPH. Exactly: at Canossa! - - ORDULPH. Pope Gregory VII.! - - HAROLD. Our _bete noir_! Come on! come oh! (_All four move - toward the right to go out, when, from the left, the old - servant John enters in evening dress_). - - JOHN (_quickly, anxiously_). Hss! Hss! Frank! Lolo! - - HAROLD (_turning round_). What is it? - - BERTHOLD (_marvelling at seeing a man in modern clothes - enter the throne room_). Oh! I say, this is a bit too much, - this chap here! - - LANDOLPH. A man of the XXth century, here! Oh, go away! - (_They run over to him, pretending to menace him and throw - him out_). - - ORDULPH (_heroically_). Messenger of Gregory VII., away! - - HAROLD. Away! Away! - - JOHN (_annoyed, defending himself_). Oh, stop it! Stop it, I - tell you! - - ORDULPH. No, you can't set foot here! - - HAROLD. Out with him! - - LANDOLPH (_to Berthold_). Magic, you know! He's a demon - conjured up by the Wizard of Rome! Out with your swords! - (_Makes as if to draw a sword_). - - JOHN (_shouting_). Stop it, will you? Don't play the fool - with me! The Marquis has arrived with some friends.... - - LANDOLPH. Good! Good! Are there ladies too? - - ORDULPH. Old or young? - - JOHN. There are two gentlemen. - - HAROLD. But the ladies, the ladies, who are they? - - JOHN. The Marchioness and her daughter. - - LANDOLPH (_surprised_). What do you say? - - ORDULPH. The Marchioness? - - JOHN. The Marchioness! The Marchioness! - - HAROLD. Who are the gentlemen? - - JOHN. I don't know. - - HAROLD (_to Berthold_). They're coming to bring us a message - from the Pope, do you see? - - ORDULPH. All messengers of Gregory VII.! What fun! - - JOHN. Will you let me speak, or not? - - HAROLD. Go on, then! - - JOHN. One of the two gentlemen is a doctor, I fancy. - - LANDOLPH. Oh, I see, one of the usual doctors. - - HAROLD. Bravo Berthold, you'll bring us luck! - - LANDOLPH. You wait and see how we'll manage this doctor! - - BERTHOLD. It looks as if I were going to get into a nice - mess right away. - - JOHN. If the gentlemen would allow me to speak ... they want - to come here into the throne room. - - LANDOLPH (_surprised_). What? She? The Marchioness here? - - HAROLD. Then this is something quite different! No - play-acting this time! - - LANDOLPH. We'll have a real tragedy: that's what! - - BERTHOLD (_curious_). Why? Why? - - ORDULPH (_pointing to the portrait_). She is that person - there, don't you understand? - - LANDOLPH. The daughter is the fiancee of the Marquis. But - what have they come for, I should like to know? - - ORDULPH. If he sees her, there'll be trouble. - - LANDOLPH. Perhaps he won't recognize her any more. - - JOHN. You must keep him there, if he should wake up.... - - ORDULPH. Easier said than done, by Jove! - - HAROLD. You know what he's like! - - JOHN. --even by force, if necessary! Those are my orders. Go - on! Go on! - - HAROLD. Yes, because who knows if he hasn't already wakened - up? - - ORDULPH. Come on then! - - LANDOLPH (_going towards John with the others_). You'll tell - us later what it all means. - - JOHN (_shouting after them_). Close the door there, and hide - the key! That other door too. (_Pointing to the other door - on right_). - - JOHN (_to the two valets_). Be off, you two! There - (_pointing to exit right_)! Close the door after you, and - hide the key! - - (_The two valets go out by the first door on right. John - moves over to the left to show in: Donna Matilda Spina, the - young Marchioness Frida, Dr. Dionysius Genoni, the Baron - Tito Belcredi and the young Marquis Charles Di Nolli, who, - as master of the house, enters last._) - - DONNA MATILDA SPINA _is about_ 45, _still handsome, although - there are too patent signs of her attempts to remedy the - ravages of time with make-up. Her head is thus rather like a - Walkyrie. This facial make-up contrasts with her beautiful - sad mouth. A widow for many years, she now has as her friend - the Baron Tito Belcredi, whom neither she nor anyone else - takes seriously--at least so it would appear._ - - _What_ TITO BELCREDI _really is for her at bottom, he alone - knows; and he is, therefore, entitled to laugh, if his - friend feels the need of pretending not to know. He can - always laugh at the jests which the beautiful Marchioness - makes with the others at his expense. He is slim, - prematurely gray, and younger than she is. His head is - bird-like in shape. He would be a very vivacious person, if - his ductile agility (which among other things makes him a - redoubtable swordsman) were not enclosed in a sheath of - Arab-like laziness, which is revealed in his strange, nasal - drawn-out voice._ - - FRIDA, _the daughter of the Marchioness is_ 19. _She is sad; - because her imperious and too beautiful mother puts her in - the shade, and provokes facile gossip against her daughter - as well as against herself. Fortunately for her, she is - engaged to the Marquis Charles Di Nolli._ - - CHARLES DI NOLLI _is a stiff young man, very indulgent - towards others, but sure of himself for what he amounts to - in the world. He is worried about all the responsibilities - which he believes weigh on him. He is dressed in deep - mourning for the recent death of his mother._ - - DR. DIONYSIUS GENONI _has a bold rubicund Satyr-like face, - prominent eyes, a pointed beard (which is silvery and shiny) - and elegant manners. He is nearly bald. All enter in a state - of perturbation, almost as if afraid, and all (except Di - Nolli) looking curiously about the room. At first, they - speak sotto voce._ - - DI NOLLI (_to John_). Have you given the orders properly? - - JOHN. Yes, my Lord; don't be anxious about that. - - BELCREDI. Ah, magnificent! magnificent! - - DOCTOR. How extremely interesting! Even in the surroundings - his raving madness--is perfectly taken into account! - - DONNA MATILDA (_glancing round for her portrait, discovers - it, and goes up close to it_). Ah! Here it is! (_Going back - to admire it, while mixed emotions stir within her_). Yes - ... yes ... (_Calls her daughter Frida_). - - FRIDA. Ah, your portrait! - - DONNA MATILDA. No, no ... look again; it's you, not I, - there! - - DI NOLLI. Yes, it's quite true. I told you so, I.... - - DONNA MATILDA. But I would never have believed it! (_Shaking - as if with a chili_). What a strange feeling it gives one! - (_Then looking at her daughter_). Frida, what's the matter? - (_She pulls her to her side, and slips an arm round her - waist_). Come: don't you see yourself in me there? - - FRIDA. Well, I really.... - - DONNA MATILDA. Don't you think so? Don't you, really? - (_Turning to Belcredi_). Look at it, Tito! Speak up, man! - - BELCREDI (_without looking_). Ah, no! I shan't look at it. - For me, _a priori_, certainly not! - - DONNA MATILDA. Stupid! You think you are paying me a - compliment! (_Turing to Doctor Genoni_). What do you say, - Doctor? Do say something, please! - - DOCTOR (_makes a movement to go near to the picture_). - - BELCREDI (_with his back turned, pretending to attract his - attention secretly_).--Hss! No, doctor! For the love of - Heaven, have nothing to do with it! - - DOCTOR (_getting bewildered and smiling_). And why shouldn't - I? - - DONNA MATILDA. Don't listen to him! Come here! He's - insufferable! - - FRIDA. He acts the fool by profession, didn't you know that? - - BELCREDI (_to the Doctor, seeing him go over_). Look at your - feet, doctor! Mind where you're going! - - DOCTOR. Why? - - BELCREDI. Be careful you don't put your foot in it! - - DOCTOR (_laughing feebly_). No, no. After all, it seems to - me there's no reason to be astonished at the fact that a - daughter should resemble her mother! - - BELCREDI. Hullo! Hullo! He's done it now; he's said it. - - DONNA MATILDA (_with exaggerated anger, advancing towards - Belcredi_). What's the matter? What has he said? What has he - done? - - DOCTOR (_candidly_). Well, isn't it so? - - BELCREDI (_answering the Marchioness_). I said there was - nothing to be astounded at--and you are astounded! And why - so, then, if the thing is so simple and natural for you now? - - DONNA MATILDA (_still more angry_). Fool! fool! It's just - because it is so natural! Just because it isn't my daughter - who is there. (_Pointing to the canvass_). That is my - portrait; and to find my daughter there instead of me fills - me with astonishment, an astonishment which, I beg you to - believe, is sincere. I forbid you to cast doubts on it. - - FRIDA (_slowly and wearily_). My God! It's always like this - ... rows over nothing.... - - BELCREDI (_also slowly, looking dejected, in accents of - apology_). I cast no doubt on anything! I noticed from the - beginning that you haven't shared your mother's - astonishment; or, if something did astonish you, it was - because the likeness between you and the portrait seemed so - strong. - - DONNA MATILDA. Naturally! She cannot recognize herself in me - as I was at her age; while I, there, can very well recognize - myself in her as she is now! - - DOCTOR. Quite right! Because a portrait is always there - fixed in the twinkling of an eye: for the young lady - something far away and without memories, while, for the - Marchioness, it can bring back everything: movements, - gestures, looks, smiles, a whole heap of things.... - - DONNA MATILDA. Exactly! - - DOCTOR (_continuing, turning towards her_). Naturally - enough, you can live all these old sensations again in your - daughter. - - DONNA MATILDA. He always spoils every innocent pleasure for - me, every touch I have of spontaneous sentiment! He does it - merely to annoy me. - - DOCTOR (_frightened at the disturbance he has caused, adopts - a professorial tone_). Likeness, dear Baron, is often the - result of imponderable things. So one explains that.... - - BELCREDI (_interrupting the discourse_). Somebody will soon - be finding a likeness between you and me, my dear professor! - - DI NOLLI. Oh! let's finish with this, please! (_Points to - the two doors on the Right, as a warning that there is - someone there who may be listening_). We've wasted too much - time as it is! - - FRIDA. As one might expect when _he's_ present (_alludes to - Belcredi_). - - DI NOLLI. Enough! The doctor is here; and we have come for a - very serious purpose which you all know is important for me. - - DOCTOR. Yes, that is so! But now, first of all, let's try to - get some points down exactly. Excuse me, Marchioness, will - you tell me why your portrait is here? Did you present it to - him then? - - DONNA MATILDA. No, not at all. How could I have given it to - him? I was just like Frida then--and not even engaged. I - gave it to him three or four years after the accident. I - gave it to him because his mother wished it so much (_points - to Di Nolli_).... - - DOCTOR. She was his sister (_alludes to Henry IV._)? - - DI NOLLI. Yes, doctor; and our coming here is a debt we pay - to my mother who has been dead for more than a month. - Instead of being here, she and I (_indicating Frida_) ought - to be traveling together.... - - DOCTOR. ... taking a cure of quite a different kind! - - DI NOLLI. --Hum! Mother died in the firm conviction that her - adored brother was just about to be cured. - - DOCTOR. And can't you tell me, if you please, how she - inferred this? - - DI NOLLI. The conviction would appear to have derived from - certain strange remarks which he made, a little before - mother died. - - DOCTOR. Oh, remarks!... Ah!... It would be extremely useful - for me to have those remarks, word for word, if possible. - - DI NOLLI. I can't remember them. I know that mother returned - awfully upset from her last visit with him. On her - death-bed, she made me promise that I would never neglect - him, that I would have doctors see him, and examine him. - - DOCTOR. Um! Um! Let me see! let me see! Sometimes very small - reasons determine ... and this portrait here then?... - - DONNA MATILDA. For Heaven's sake, doctor, don't attach - excessive importance to this. It made an impression on me - because I had not seen it for so many years! - - DOCTOR. If you please, quietly, quietly.... - - DI NOLLI. --Well, yes, it must be about fifteen years ago. - - DONNA MATILDA. More, more: eighteen! - - DOCTOR. Forgive me, but you don't quite know what I'm trying - to get at. I attach a very great importance to these two - portraits.... They were painted, naturally, prior to the - famous--and most regretable pageant, weren't they? - - DONNA MATILDA. Of course! - - DOCTOR. That is ... when he was quite in his right - mind--that's what I've been trying to say. Was it his - suggestion that they should be painted? - - DONNA MATILDA. Lots of the people who took part in the - pageant had theirs done as a souvenir.... - - BELCREDI. I had mine done--as "Charles of Anjou!" - - DONNA MATILDA. ...as soon as the costumes were ready. - - BELCREDI. As a matter of fact, it was proposed that the - whole lot of us should be hung together in a gallery of the - villa where the pageant took place. But in the end, - everybody wanted to keep his own portrait. - - DONNA MATILDA. And I gave him this portrait of me without - very much regret ... since his mother.... (_indicates Di - Nolli_). - - DOCTOR. You don't remember if it was he who asked for it? - - DONNA MATILDA. Ah, that I don't remember ... Maybe it was - his sister, wanting to help out.... - - DOCTOR. One other thing: was it his idea, this pageant? - - BELCREDI (_at once_). No, no, it was mine! - - DOCTOR. If you please.... - - DONNA MATILDA. Don't listen to him! It was poor Belassi's - idea. - - BELCREDI. Belassi! What had he got to do with it? - - DONNA MATILDA. Count Belassi, who died, poor fellow, two or - three months after.... - - BELCREDI. But if Belassi wasn't there when.... - - DI NOLLI. Excuse me, doctor; but is it really necessary to - establish whose the original idea was? - - DOCTOR. It would help me, certainly! - - BELCREDI. I tell you the idea was mine! There's nothing to - be proud of in it, seeing what the result's been. Look here, - doctor, it was like this. One evening, in the first days of - November, I was looking at an illustrated German review in - the club. I was merely glancing at the pictures, because I - can't read German. There was a picture of the Kaiser, at - some University town where he had been a student ... I don't - remember which. - - DOCTOR. Bonn, Bonn! - - BELCREDI. --You are right: Bonn! He was on horseback, - dressed up in one of those ancient German student - guild-costumes, followed by a procession of noble students, - also in costume. The picture gave me the idea. Already some - one at the club had spoken of a pageant for the forthcoming - carnival. So I had the notion that each of us should choose - for this Tower of Babel pageant to represent some character: - a king, an emperor, a prince, with his queen, empress, or - lady, alongside of him--and all on horseback. The suggestion - was at once accepted. - - DONNA MATILDA. I had my invitation from Belassi. - - BELCREDI. Well, he wasn't speaking the truth! That's all I - can say, if he told you the idea was his. He wasn't even at - the club the evening I made the suggestion, just as he - (_meaning Henry IV._) wasn't there either. - - DOCTOR. So he chose the character of Henry IV.? - - DONNA MATILDA. Because I ... thinking of my name, and not - giving the choice any importance, said I would be the - Marchioness Matilda of Tuscany. - - DOCTOR. I ... don't understand the relation between the two. - - DONNA MATILDA. --Neither did I, to begin with, when he said - that in that case he would be at my feet like Henry IV. at - Canossa. I had heard of Canossa of course; but to tell the - truth, I'd forgotten most of the story; and I remember I - received a curious impression when I had to get up my part, - and found that I was the faithful and zealous friend of Pope - Gregory VII. in deadly enmity with the Emperor of Germany. - Then I understood why, since I had chosen to represent his - implacable enemy, he wanted to be near me in the pageant as - Henry IV. - - DOCTOR. Ah, perhaps because.... - - BELCREDI. --Good Heavens, doctor, because he was then paying - furious court to her (_indicates the Marchioness_)! And she, - naturally.... - - DONNA MATILDA. Naturally? Not naturally at all.... - - BELCREDI (_pointing to her_). She couldn't stand him.... - - DONNA MATILDA. --No, that isn't true! I didn't dislike him. - Not at all! But for me, when a man begins to want to be - taken seriously, well.... - - BELCREDI (_continuing for her_). He gives you the clearest - proof of his stupidity. - - DONNA MATILDA. No dear; not in this case; because he was - never a fool like you. - - BELCREDI. Anyway, I've never asked you to take me seriously. - - DONNA MATILDA. Yes, I know. But with him one couldn't joke - (_changing her tone and speaking to the Doctor_). One of the - many misfortunes which happen to us women, Doctor, is to see - before us every now and again a pair of eyes glaring at us - with a contained intense promise of eternal devotion. - (_Bursts out laughing_). There is nothing quite so funny. If - men could only see themselves with that eternal fidelity - look in their faces! I've always thought it comic; then more - even than now. But I want to make a confession--I can do so - after twenty years or more. When I laughed at him then, it - was partly out of fear. One might have almost believed a - promise from those eyes of his. But it would have been very - dangerous. - - DOCTOR (_with lively interest_). Ah! ah! This is most - interesting! Very dangerous, you say? - - DONNA MATILDA. Yes, because he was very different from the - others. And then, I am ... well ... what shall I say?... a - little impatient of all that is pondered, or tedious. But I - was too young then, and a woman. I had the bit between my - teeth. It would have required more courage than I felt I - possessed. So I laughed at him too--with remorse, to spite - myself, indeed; since I saw that my own laugh mingled with - those of all the others--the other fools--who made fun of - him. - - BELCREDI. My own case, more or less! - - DONNA MATILDA. You make people laugh at you, my dear, with - your trick of always humiliating yourself. It was quite a - different affair with him. There's a vast difference. And - you--you know--people laugh in your face! - - BELCREDI. Well, that's better than behind one's back! - - DOCTOR. Let's get to the facts. He was then already somewhat - exalted, if I understand rightly. - - BELCREDI. Yes, but in a curious fashion, doctor. - - DOCTOR. How? - - BELCREDI. Well, cold-bloodedly so to speak. - - DONNA MATILDA. Not at all! It was like this, doctor! He was - a bit strange, certainly; but only because he was fond of - life: eccentric, there! - - BELCREDI. I don't say he simulated exaltation. On the - contrary, he was often genuinely exalted. But I could swear, - doctor, that he saw himself at once in his own exaltation. - Moreover, I'm certain it made him suffer. Sometimes he had - the most comical fits of rage against himself. - - DOCTOR. Yes? - - DONNA MATILDA. That is true. - - BELCREDI (_to Donna Matilda_). And why? (_To the doctor_). - Evidently, because that immediate lucidity that comes from - acting, assuming a part, at once put him out of key with his - own feelings, which seemed to him not exactly false, but - like something he was obliged to valorize there and then - as--what shall I say--as an act of intelligence, to make, up - for that sincere cordial warmth he felt lacking. So he - improvised, exaggerated, let himself go, so as to distract - and forget himself. He appeared inconstant, fatuous, - and--yes--even ridiculous, sometimes. - - DOCTOR. And may we say unsociable? - - BELCREDI. No, not at all. He was famous for getting up - things: _tableaux vivants_, dances, theatrical performances - for charity: all for the fun of the thing, of course. He was - a jolly good actor, you know! - - DI NOLLI. Madness has made a superb actor of him. - - BELCREDI.--Why, so he was even in the old days. When the - accident happened, after the horse fell.... - - DOCTOR. Hit the back of his head, didn't he? - - DONNA MATILDA. Oh, it was horrible! He was beside me! I saw - him between the horse's hoofs! It was rearing! - - BELCREDI. None of us thought it was anything serious at - first. There was a stop in the pageant, a bit of disorder. - People wanted to know what had happened. But they'd already - taken him off to the villa. - - DONNA MATILDA. There wasn't the least sign of a wound, not a - drop of blood. - - BELCREDI. We thought he had merely fainted. - - DONNA MATILDA. But two hours afterwards.... - - BELCREDI. He reappeared in the drawing-room of the villa ... - that is what I wanted to say.... - - DONNA MATILDA. My God! What a face he had. I saw the whole - thing at once! - - BELCREDI. No, no! that isn't true. Nobody saw it, doctor, - believe me! - - DONNA MATILDA. Doubtless, because you were all like mad - folk. - - BELCREDI. Everybody was pretending to act his part for a - joke. It was a regular Babel. - - DONNA MATILDA. And you can imagine, doctor, what terror - struck into us when we understood that he, on the contrary, - was playing his part in deadly earnest.... - - DOCTOR. Oh, he was there too, was he? - - BELCREDI. Of course! He came straight into the midst of us. - We thought he'd quite recovered, and was pretending, - fooling, like all the rest of us ... only doing it rather - better; because, as I say, he knew how to act. - - DONNA MATILDA. Some of them began to hit him with their - whips and fans and sticks. - - BELCREDI. And then--as a king, he was armed, of course--he - drew out his sword and menaced two or three of us.... It was - a terrible moment, I can assure you! - - DONNA MATILDA. I shall never forget that scene--all our - masked faces hideous and terrified gazing at him, at that - terrible mask of his face, which was no longer a mask, but - madness, madness personified. - - BELCREDI. He was Henry IV., Henry IV. in person, in a moment - of fury. - - DONNA MATILDA. He'd got into it all the detail and minute - preparation of a month's careful study. And it all burned - and blazed there in the terrible obsession which lit his - face. - - DOCTOR. Yes, that is quite natural, of course. The momentary - obsession of a dilettante became fixed, owing to the fall - and the damage to the brain. - - BELCREDI (_to Frida and Di Nolli_). You see the kind of - jokes life can play on us. (_To Di Nolli_): You were four or - five years old. (_To Frida_): Your mother imagines you've - taken her place there in that portrait; when, at the time, - she had not the remotest idea that she would bring you into - the world. My hair is already grey; and he--look at - him--(_points to portrait_)--ha! A smack on the head, and he - never moves again: Henry IV. for ever! - - DOCTOR (_seeking to draw the attention of the others, - looking learned and imposing_).--Well, well, then it comes, - we may say, to this.... - - (_Suddenly the first exit to right, the one nearest - footlights, opens, and Berthold enters all excited_). - - BERTHOLD (_rushing in_). I say! I say! (_Stops for a moment, - arrested by the astonishment which his appearance has caused - in the others_). - - FRIDA (_running away terrified_). Oh dear! oh dear! it's he, - it's.... - - DONNA MATILDA (_covering her face with her hands so as not - to see_). Is it, is it he? - - DI NOLLI. No, no, what are you talking about? Be calm! - - DOCTOR. Who is it then? - - BELCREDI. One of our masqueraders. - - DI NOLLI. He is one of the four youths we keep here to help - him out in his madness.... - - BERTHOLD. I beg your pardon, Marquis.... - - DI NOLLI. Pardon be damned! I gave orders that the doors - were to be closed, and that nobody should be allowed to - enter. - - BERTHOLD. Yes, sir, but I can't stand it any longer, and I - ask you to let me go away this very minute. - - DI NOLLI. Oh, you're the new valet, are you? You were - supposed to begin this morning, weren't you? - - BERTHOLD. Yes, sir, and I can't stand it, I can't bear it. - - DONNA MATILDA (_to Di Nolli excitedly_). What? Then he's not - so calm as you said? - - BERTHOLD (_quickly_).--No, no, my lady, it isn't he; it's my - companions. You say "help him out with his madness," - Marquis; but they don't do anything of the kind. They're the - real madmen. I come here for the first time, and instead of - helping me.... - - (_Landolph and Harold come in from the same door, but - hesitate on the threshold_). - - LANDOLPH. Excuse me? - - HAROLD. May I come in, my Lord? - - DI NOLLI. Come in! What's the matter? What are you all - doing? - - FRIDA. Oh God! I'm frightened! I'm going to run away. - (_Makes towards exit at Left_). - - DI NOLLI (_restraining her at once_). No, no, Frida! - - LANDOLPH. My Lord, this fool here ... (_indicates - Berthold_). - - BERTHOLD (_protesting_). Ah, no thanks, my friends, no - thanks! I'm not stopping here! I'm off! - - LANDOLPH. What do you mean--you're not stopping here? - - HAROLD. He's ruined everything, my Lord, running away in - here! - - LANDOLPH. He's made him quite mad. We can't keep him in - there any longer. He's given orders that he's to be - arrested; and he wants to "judge" him at once from the - throne: What is to be done? - - DI NOLLI. Shut the door, man! Shut the door! Go and close - that door! (_Landolph goes over to close it_). - - HAROLD. Ordulph, alone, won't be able to keep him there. - - LANDOLPH. --My Lord, perhaps if we could announce the - visitors at once, it would turn his thoughts. Have the - gentlemen thought under what pretext they will present - themselves to him? - - DI NOLLI. --It's all been arranged! (_To the Doctor_): If - you, doctor, think it well to see him at once.... - - FRIDA. I'm not coming! I'm not coming! I'll keep out of - this. You too, mother, for Heaven's sake, come away with me! - - DOCTOR. --I say ... I suppose he's not armed, is he? - - DI NOLLI. --Nonsense! Of course not. (_To Frida_): Frida, - you know this is childish of you. You wanted to come! - - FRIDA. I didn't at all. It was mother's idea. - - DONNA MATILDA. And I'm quite ready to see him. What are we - going to do? - - BELCREDI. Must we absolutely dress up in some fashion or - other? - - LANDOLPH. --Absolutely essential, indispensable, sir. Alas! - as you see ... (_shows his costume_), there'd be awful - trouble if he saw you gentlemen in modern dress. - - HAROLD. He would think it was some diabolical masquerade. - - DI NOLLI. As these men seem to be in costume to you, so we - appear to be in costume to him, in these modern clothes of - ours. - - LANDOLPH. It wouldn't matter so much if he wouldn't suppose - it to be the work of his mortal enemy. - - BELCREDI. Pope Gregory VII.? - - LANDOLPH. Precisely. He calls him "a pagan." - - BELCREDI. The Pope a pagan? Not bad that! - - LANDOLPH. --Yes, sir,--and a man who calls up the dead! He - accuses him of all the diabolical arts. He's terribly afraid - of him. - - DOCTOR. Persecution mania! - - HAROLD. He'd be simply furious. - - DI NOLLI (_to Belcredi_). But there's no need for you to be - there, you know. It's sufficient for the doctor to see him. - - DOCTOR. --What do you mean?... I? Alone? - - DI NOLLI.--But they are there (_indicates the three young - men_). - - DOCTOR. I don't mean that ... I mean if the Marchioness.... - - DONNA MATILDA. Of course. I mean to see him too, naturally. - I want to see him again. - - FRIDA. Oh, why, mother, why? Do come away with me, I implore - you! - - DONNA MATILDA (_imperiously_). Let me do as I wish! I came - here for this purpose! (_To Landolph_): I shall be - "Adelaide," the mother. - - LANDOLPH. Excellent! The mother of the Empress Bertha. Good! - It will be enough if her Ladyship wears the ducal crown and - puts on a mantle that will hide her other clothes entirely. - (_To Harold_): Off you go, Harold! - - HAROLD. Wait a moment! And this gentleman here (_alludes to - the Doctor_)?... - - DOCTOR. --Ah yes ... we decided I was to be ... the Bishop - of Cluny, Hugh of Cluny! - - HAROLD. The gentleman means the Abbot. Very good! Hugh of - Cluny. - - LANDOLPH. --He's often been here before! - - DOCTOR (_amazed_). --What? Been here before? - - LANDOLPH. --Don't be alarmed! I mean that it's an easily - prepared disguise.... - - HAROLD. We've made use of it on other occasions, you see! - - DOCTOR. But.... - - LANDOLPH. Oh no, there's no risk of his remembering. He pays - more attention to the dress than to the person. - - DONNA MATILDA. That's fortunate for me too then. - - DI NOLLI. Frida, you and I'll get along. Come on Tito! - - BELCREDI. Ah no. If she (_indicates the Marchioness_) stops - here, so do I! - - DONNA MATILDA. But I don't need you at all. - - BELCREDI. You may not need me, but I should like to see him - again myself. Mayn't I? - - LANDOLPH. Well, perhaps it would be better if there were - three. - - HAROLD. How is the gentleman to be dressed then? - - BELCREDI. Oh, try and find some easy costume for me. - - LANDOLPH (_to Harold_). Hum! Yes ... he'd better be from - Cluny too. - - BELCREDI. What do you mean--from Cluny? - - LANDOLPH. A Benedictine's habit of the Abbey of Cluny. He - can be in attendance on Monsignor. (_To Harold_): Off you - go! (_To Berthold_). And you too get away and keep out of - sight all today. No, wait a bit! (_To Berthold_): You bring - here the costumes he will give you. (_To Harold_): You go at - once and announce the visit of the "Duchess Adelaide" and - "Monsignor Hugh of Cluny." Do you understand? (_Harold and - Berthold go off by the first door on the Right_). - - DI NOLLI. We'll retire now. (_Goes off with Frida, left_). - - DOCTOR. Shall I be a _persona grata_ to him, as Hugh of - Cluny? - - LANDOLPH. Oh, rather! Don't worry about that! Monsignor has - always been received here with great respect. You too, my - Lady, he will be glad to see. He never forgets that it was - owing to the intercession of you two that he was admitted to - the Castle of Canossa and the presence of Gregory VII., who - didn't want to receive him. - - BELCREDI. And what do I do? - - LANDOLPH. You stand a little apart, respectfully: that's - all. - - DONNA MATILDA (_irritated, nervous_). You would do well to - go away, you know. - - BELCREDI (_slowly, spitefully_). How upset you seem!... - - DONNA MATILDA (_proudly_). I am as I am. Leave me alone! - - (_Berthold comes in with the costumes_). - - LANDOLPH (_seeing him enter_). Ah, the costumes: here they - are. This mantle is for the Marchioness.... - - DONNA MATILDA. Wait a minute! I'll take off my hat. (_Does - so and gives it to Berthold_). - - LANDOLPH. Put it down there! (_Then to the Marchioness, - while he offers to put the ducal crown on her head_). Allow - me! - - DONNA MATILDA. Dear, dear! Isn't there a mirror here? - - LANDOLPH. Yes, there's one there (_points to the door on the - Left_). If the Marchioness would rather put it on - herself.... - - DONNA MATILDA. Yes, yes, that will be better. Give it to me! - (_Takes up her hat and goes off with Berthold, who carries - the cloak and the crown_). - - BELCREDI. Well, I must say, I never thought I should be a - Benedictine monk! By the way, this business must cost an - awful lot of money. - - THE DOCTOR. Like any other fantasy, naturally! - - BELCREDI. Well, there's a fortune to go upon. - - LANDOLPH. We have got there a whole wardrobe of costumes of - the period, copied to perfection from old models. This is my - special job. I get them from the best theatrical costumers. - They cost lots of money. (_Donna Matilda re-enters, wearing - mantle and crown_). - - BELCREDI (_at once, in admiration_). Oh magnificent! Oh, - truly regal! - - DONNA MATILDA (_looking at Belcredi and bursting out into - laughter_). Oh no, no! Take it off! You're impossible. You - look like an ostrich dressed up as a monk. - - BELCREDI. Well, how about the doctor? - - THE DOCTOR. I don't think I look so bad, do I? - - DONNA MATILDA. No; the doctor's all right ... but you are - too funny for words. - - THE DOCTOR. Do you have many receptions here then? - - LANDOLPH. It depends. He often gives orders that such and - such a person appear before him. Then we have to find - someone who will take the part. Women too.... - - DONNA MATILDA (_hurt, but trying to hide the fact_). Ah, - women too? - - LANDOLPH. Oh, yes; many at first. - - BELCREDI (_laughing_). Oh, that's great! In costume, like - the Marchioness? - - LANDOLPH. Oh well, you know, women of the kind that lend - themselves to.... - - BELCREDI. Ah, I see! (_Perfidiously to the Marchioness_) - Look out, you know he's becoming dangerous for you. - - (_The second door on the right opens, and Harold appears, - making first of all a discreet sign that all conversation - should cease_). - - HAROLD. His Majesty, the Emperor! - - - (_The two valets enter first, and go and stand on either - side of the throne. Then Henry IV. comes in between Ordulph - and Harold, who keep a little in the rear respectfully._ - - HENRY IV. _is about_ 50 _and very pale. The hair on the back - of his head is already grey; over the temples and forehead - it appears blond, owing to its having been tinted in an - evident and puerile fashion. On his cheek bones he has two - small, doll-like dabs of colour, that stand out prominently - against the rest of his tragic pallor. He is wearing a - penitent's sack over his regal habit, as at Canossa. His - eyes have a fixed look which is dreadful to see, and this - expression is in strained contrast with the sackcloth. - Ordulph carries the Imperial crown; Harold, the sceptre with - the eagle, and the globe with the cross_). - - HENRY IV. (_bowing first to Donna Matilda and afterwards to - the doctor_). My lady ... Monsignor.... - - (_Then he looks at Belcredi and seems about to greet him - too; when, suddenly, he turns to Landolph, who has - approached him, and asks him sotto voce and with - diffidence_): Is that Peter Damiani? - - LANDOLPH. No, Sire. He is a monk from Cluny who is - accompanying the Abbot. - - HENRY IV. (_looks again at Belcredi with increasing - mistrust, and then noticing that he appears embarrassed and - keeps glancing at Donna Matilda and the doctor, stands - upright and cries out_). No, it's Peter Damiani! It's no - use, father, your looking at the Duchess. (_Then turning - quickly to Donna Matilda and the doctor as though to ward - off a danger_): I swear it! I swear that my heart is changed - towards your daughter. I confess that if he (_indicates - Belcredi_) hadn't come to forbid it in the name of Pope - Alexander, I'd have repudiated her. Yes, yes, there were - people ready to favour the repudiation: the Bishop of - Mayence would have done it for a matter of one hundred and - twenty farms. (_Looks at Landolph a little perplexed and - adds_): But I mustn't speak ill of the bishops at this - moment! (_More humbly to Belcredi_): I am grateful to you, - believe me, I am grateful to you for the hindrance you put - in my way!--God knows, my life's been all made of - humiliations: my mother, Adalbert, Tribur, Goslar! And now - this sackcloth you see me wearing! (_Changes tone suddenly - and speaks like one who goes over his part in a parenthesis - of astuteness_). It doesn't matter: clarity of ideas, - perspicacity, firmness and patience under adversity that's - the thing. (_Then turning to all and speaking solemnly_). I - know how to make amend for the mistakes I have made; and I - can humiliate myself even before you, Peter Damiani. (_Bows - profoundly to him and remains curved. Then a suspicion is - born in him which he is obliged to utter in menacing tones, - almost against his will_). Was it not perhaps you who - started that obscene rumour that my holy mother had illicit - relations with the Bishop of Augusta? - - BELCREDI (_since Henry IV. has his finger pointed at him_). - No, no, it wasn't I.... - - HENRY IV. (_straightening up_). Not true, not true? Infamy! - (_Looks at him and then adds_): I didn't think you capable - of it! (_Goes to the doctor and plucks his sleeve, while - winking at him knowingly_): Always the same, Monsignor, - those bishops, always the same! - - HAROLD (_softly, whispering as if to help out the doctor_). - Yes, yes, the rapacious bishops! - - THE DOCTOR (_to Harold, trying to keep it up_). Ah, yes, - those fellows ... ah yes.... - - HENRY IV. Nothing satisfies them! I was a little boy, - Monsignor.... One passes the time, playing even, when, - without knowing it, one is a king.--I was six years old; and - they tore me away from my mother, and made use of me against - her without my knowing anything about it ... always - profaning, always stealing, stealing!... One greedier than - the other ... Hanno worse than Stephen! Stephen worse than - Hanno! - - LANDOLPH (_sotto voce, persuasively, to call his - attention_). Majesty! - - HENRY IV. (_turning round quickly_). Ah yes ... this isn't - the moment to speak ill of the bishops. But this infamy - against my mother, Monsignor, is too much. (_Looks at the - Marchioness and grows tender_). And I can't even weep for - her, Lady ... I appeal to you who have a mother's heart! She - came here to see me from her convent a month ago.... They - had told me she was dead! (_Sustained pause full of feeling. - Then smiling sadly_): I can't weep for her; because if you - are here now, and I am like this (_shows the sackcloth he is - wearing_), it means I am twenty-six years old! - - HAROLD. And that she is therefore alive, Majesty!... - - ORDULPH. Still in her convent! - - HENRY IV. (_looking at them_). Ah yes! And I can postpone my - grief to another time. (_Shows the Marchioness almost with - coquetery the tint he has given to his hair_). Look! I am - still fair.... (_Then slowly as if in confidence_). For you - ... there's no need! But little exterior details do help! A - matter of time, Monsignor, do you understand me? (_Turns to - the Marchioness and notices her hair_). Ah, but I see that - you too, Duchess ... Italian, eh (_as much as to say - "false"; but without any indignation, indeed rather with - malicious admiration_)? Heaven forbid that I should show - disgust or surprise! Nobody cares to recognize that obscure - and fatal power which sets limits to pure will. But I say, - if one is born and one dies.... Did you want to be born, - Monsignor? I didn't! And in both cases, independently of our - wills, so many things happen we would wish didn't happen, - and to which we resign ourselves as best we can!... - - DOCTOR (_merely to make a remark, while studying Henry IV. - carefully_). Alas! Yes, alas! - - HENRY IV. It's like this: When we are not resigned, out come - our desires. A woman wants to be a man ... an old man would - be young again. Desires, ridiculous fixed ideas of - course--But reflect! Monsignor, those other desires are not - less ridiculous: I mean, those desires where the will is - kept within the limits of the possible. Not one of us can - lie or pretend. We're all fixed in good faith in a certain - concept of ourselves. However, Monsignor, while you keep - yourself in order, holding on with both your hands to your - holy habit, there slips down from your sleeves, there peels - off from you like ... like a serpent ... something you don't - notice: life, Monsignor! (_Turns to the Marchioness_): Has - it never happened to you, my Lady, to find a different self - in yourself? Have you always been the same? My God! One day - ... how was it, how was it you were able to commit this or - that action? (_Fixes her so intently in the eyes as almost - to make her blanch_): Yes, that particular action, that very - one: we understand each other! But don't be afraid: I shall - reveal it to none. And you, Peter Damiani, how could you be - a friend of that man?... - - LANDOLPH. Majesty! - - HENRY IV. (_at once_). No, I won't name him! (_Turning to - Belcredi_): What did you think of him? But we all of us - cling tight to our conceptions of ourselves, just as he who - is growing old dyes his hair. What does it matter that this - dyed hair of mine isn't a reality for you, if it _is_, to - some extent, for me?--you, you, my Lady, certainly don't dye - your hair to deceive the others, nor even yourself; but only - to cheat your own image a little before the looking-glass. I - do it for a joke! You do it seriously! But I assure you that - you too, Madam, are in masquerade, though it be in all - seriousness; and I am not speaking of the venerable crown on - your brows or the ducal mantle. I am speaking only of the - memory you wish to fix in yourself of your fair complexion - one day when it pleased you--or of your dark complexion, if - you were dark: the fading image of your youth! For you, - Peter Damiani, on the contrary, the memory of what you have - been, of what you have done, seems to you a recognition of - past realities that remain within you like a dream. I'm in - the same case too: with so many inexplicable memories--like - dreams! Ah!... There's nothing to marvel at in it, Peter - Damiani! Tomorrow it will be the same thing with our life of - today! (_Suddenly getting excited and taking hold of his - sackcloth_). This sackcloth here.... (_Beginning to take it - off with a gesture of almost ferocious joy while the three - valets run over to him, frightened, as if to prevent his - doing so_)! Ah, my God! (_Draws back and throws off - sackcloth_). Tomorrow, at Bressanone, twenty-seven German - and Lombard bishops will sign with me the act of deposition - of Gregory VII.! No Pope at all! Just a false monk! - - ORDULPH (_with the other three_). Majesty! Majesty! In God's - name!... - - HAROLD (_inviting him to put on the sackcloth again_). - Listen to what he says, Majesty! - - LANDOLPH. Monsignor is here with the Duchess to intercede in - your favor. (_Makes secret signs to the Doctor to say - something at once_). - - DOCTOR (_foolishly_). Ah yes ... yes ... we are here to - intercede.... - - HENRY IV. (_repeating at once, almost terrified, allowing - the three to put on the sackcloth again, and pulling it down - over him with his own hands_). Pardon ... yes ... yes ... - pardon, Monsignor: forgive me, my Lady ... I swear to you I - feel the whole weight of the anathema. (_Bends himself, - takes his face between his hands, as though waiting for - something to crush him. Then changing tone, but without - moving, says softly to Landolph, Harold and Ordulph_): But I - don't know why I cannot be humble before that man there! - (_indicates Belcredi_). - - LANDOLPH (_sottovoce_). But why, Majesty, do you insist on - believing he is Peter Damiani, when he isn't, at all? - - HENRY IV. (_looking at him timorously_). He isn't Peter - Damiani? - - HAROLD. No, no, he is a poor monk, Majesty. - - HENRY IV. (_sadly with a touch of exasperation_). Ah! None - of us can estimate what we do when we do it from - instinct.... You perhaps, Madam, can understand me better - than the others, since you are a woman and a Duchess. This - is a solemn and decisive moment. I could, you know, accept - the assistance of the Lombard bishops, arrest the Pope, lock - him up here in the castle, run to Rome and elect an - anti-Pope; offer alliance to Robert Guiscard--and Gregory - VII. would be lost! I resist the temptation; and, believe - me, I am wise in doing so. I feel the atmosphere of our - times and the majesty of one who knows how to be what he - ought to be! a Pope! Do you feel inclined to laugh at me, - seeing me like this? You would be foolish to do so; for you - don't understand the political wisdom which makes this - penitent's sack advisable. The parts may be changed - tomorrow. What would you do then? Would you laugh to see the - Pope a prisoner? No! It would come to the same thing: I - dressed as a penitent, today; he, as prisoner tomorrow! But - woe to him who doesn't know how to wear his mask, be he king - or Pope!--Perhaps he is a bit too cruel! No! Yes, yes, - maybe!--You remember, my Lady, how your daughter Bertha, for - whom, I repeat, my feelings have changed (_turns to Belcredi - and shouts to his face as if he were being contradicted by - him_)--yes, changed on account of the affection and devotion - she showed me in that terrible moment ... (_then once again - to the Marchioness_) ... you remember how she came with me, - my Lady, followed me like a beggar and passed two nights out - in the open, in the snow? You are her mother! Doesn't this - touch your mother's heart? Doesn't this urge you to pity, so - that you will beg His Holiness for pardon, beg him to - receive us? - - DONNA MATILDA (_trembling, with feeble voice_). Yes, yes, at - once.... - - DOCTOR. It shall be done! - - HENRY IV. And one thing more! (_Draws them in to listen to - him_). It isn't enough that he should receive me! You know - he can do _everything_--_everything_ I tell you! He can even - call up the dead. (_Touches his chest_): Behold me! Do you - see me? There is no magic art unknown to him. Well, - Monsignor, my Lady, my torment is really this: that whether - here or there (_pointing to his portrait almost in fear_) I - can't free myself from this magic. I am a penitent now, you - see; and I swear to you I shall remain so until he receives - me. But you two, when the excommunication is taken off, must - ask the Pope to do this thing he can so easily do: to take - me away from that (_indicating the portrait again_); and let - me live wholly and freely my miserable life. A man can't - always be twenty-six, my Lady. I ask this of you for your - daughter's sake too; that I may love her as she deserves to - be loved, well disposed as I am now, all tender towards her - for her pity. There: it's all there! I am in your hands! - (_Bows_). My Lady! Monsignor! - - (_He goes off, bowing grandly, through the door by which he - entered, leaving everyone stupefied, and the Marchioness so - profoundly touched, that no sooner has he gone than she - breaks out into sobs and sits down almost fainting_). - - - ACT II - - - (_Another room of the villa, adjoining the throne room. Its - furniture is antique and severe. Principal exit at rear in - the background. To the left, two windows looking on the - garden. To the right, a door opening into the throne room._ - - _Late afternoon of the same day._ - - _Donna Matilda, the doctor and Belcredi are on the stage - engaged in conversation; but Donna Matilda stands to one - side, evidently annoyed at what the other two are saying; - although she cannot help listening, because, in her agitated - state, everything interests her in spite of herself. The - talk of the other two attracts her attention, because she - instinctively feels the need for calm at the moment_). - - BELCREDI. It may be as you say, doctor, but that was my - impression. - - DOCTOR. I won't contradict you; but, believe me, it is only - ... an impression. - - BELCREDI. Pardon me, but he even said so, and quite clearly - (_turning to the Marchioness_). Didn't he, Marchioness? - - DONNA MATILDA (_turning round_). What did he say?... (_Then - not agreeing_). Oh yes ... but not for the reason you think! - - DOCTOR. He was alluding to the costumes we had slipped - on.... Your cloak (_indicating the Marchioness_), our - Benedictine habits.... But all this is childish! - - DONNA MATILDA (_turning quickly, indignant_). Childish? What - do you mean, doctor? - - DOCTOR. From one point of view, it is--I beg you to let me - say so, Marchioness! Yet, on the other hand, it is much more - complicated than you can imagine. - - DONNA MATILDA. To me, on the contrary, it is perfectly - clear! - - DOCTOR (_with a smile of pity of the competent person - towards those who do not understand_). We must take into - account the peculiar psychology of madmen; which, you must - know, enables us to be certain that they observe things and - can, for instance, easily detect people who are disguised; - can in fact recognize the disguise and yet believe in it; - just as children do, for whom disguise is both play and - reality. That is why I used the word childish. But the thing - is extremely complicated, inasmuch as he must be perfectly - aware of being an image to himself and for himself--that - image there, in fact (_alluding to the portrait in the - throne room, and pointing to the left_)! - - BELCREDI. That's what he said! - - DOCTOR. Very well then--An image before which other images, - ours, have appeared: understand? Now he, in his acute and - perfectly lucid delirium, was able to detect at once a - difference between his image and ours: that is, he saw that - ours were make-believes. So he suspected us; because all - madmen are armed with a special diffidence. But that's all - there is to it! Our make-believe, built up all round his, - did not seem pitiful to him. While his seemed all the more - tragic to us, in that he, as if in - defiance--understand?--and induced by his suspicion, wanted - to show us up merely as a joke. That was also partly the - case with him, in coming before us with painted cheeks and - hair, and saying he had done it on purpose for a jest. - - DONNA MATILDA (_impatiently_). No, it's not that, doctor. - It's not like that! It's not like that! - - DOCTOR. Why isn't it, may I ask? - - DONNA MATILDA (_with decision but trembling_). I am - perfectly certain he recognized me! - - DOCTOR. It's not possible ... it's not possible! - - BELCREDI (_at the same time_). Of course not! - - DONNA MATILDA (_more than ever determined, almost - convulsively_). I tell you, he recognized me! When he came - close up to speak to me--looking in my eyes, right into my - eyes--he recognized me! - - BELCREDI. But he was talking of your daughter! - - DONNA MATILDA. That's not true! He was talking of me! Of me! - - BELCREDI. Yes, perhaps, when he said.... - - DONNA MATILDA (_letting herself go_). About my dyed hair! - But didn't you notice that he added at once: "or the memory - of your dark hair, if you were dark"? He remembered - perfectly well that I was dark--then! - - BELCREDI. Nonsense! nonsense! - - DONNA MATILDA (_not listening to him, turning to the - doctor_). My hair, doctor, is really dark--like my - daughter's! That's why he spoke of her. - - BELCREDI. But he doesn't even know your daughter! He's never - seen her! - - DONNA MATILDA. Exactly! Oh, you never understand anything! - By my daughter, stupid, he meant me--as I was then! - - BELCREDI. Oh, this is catching! This is catching, this - madness! - - DONNA MATILDA (_softly, with contempt_). Fool! - - BELCREDI. Excuse me, were you ever his wife? Your daughter - is his wife--in his delirium: Bertha of Susa. - - DONNA MATILDA. Exactly! Because I, no longer dark--as he - remembered me--but _fair_, introduced myself as "Adelaide," - the mother. My daughter doesn't exist for him: he's never - seen her--you said so yourself! So how can he know whether - she's fair or dark? - - BELCREDI. But he said dark, speaking generally, just as - anyone who wants to recall, whether fair or dark, a memory - of youth in the color of the hair! And you, as usual, begin - to imagine things! Doctor, you said I ought not to have - come! It's she who ought not to have come! - - DONNA MATILDA (_upset for a moment by Belcredi's remark, - recovers herself. Then with a touch of anger, because - doubtful_). No, no ... he spoke of me... He spoke all the - time to me, with me, of me.... - - BELCREDI. That's not bad! He didn't leave me a moment's - breathing space; and you say he was talking all the time to - you? Unless you think he was alluding to you too, when he - was talking to Peter Damiani! - - DONNA MATILDA (_defiantly, almost exceeding the limits of - courteous discussion_). Who knows? Can you tell me why, from - the outset, he showed a strong dislike for you, for you - alone? (_From the tone of the question, the expected answer - must almost explicitly be: "because he understands you are - my lover." Belcredi feels this so well that he remains - silent and can say nothing_). - - DOCTOR. The reason may also be found in the fact that only - the visit of the Duchess Adelaide and the abbot of Cluny was - announced to him. Finding a third person present, who had - not been announced, at once his suspicions.... - - BELCREDI. Yes, exactly! His suspicion made him see an enemy - in me: Peter Damiani! But she's got it into her head, that - he recognized her.... - - DONNA MATILDA. There's no doubt about it! I could see it - from his eyes, doctor. You know, there's a way of looking - that leaves no doubt whatever.... Perhaps it was only for an - instant, but I am sure! - - DOCTOR. It is not impossible: a lucid moment.... - - DONNA MATILDA. Yes, perhaps ... And then his speech seemed - to me full of regret for his and my youth--for the horrible - thing that happened to him, that has held him in that - disguise from which he has never been able to free himself, - and from which he longs to be free--he said so himself! - - BELCREDI. Yes, so as to be able to make love to your - daughter, or you, as you believe--having been touched by - your pity. - - DONNA MATILDA. Which is very great, I would ask you to - believe. - - BELCREDI. As one can see, Marchioness; so much so that a - miracle-worker might expect a miracle from it! - - DOCTOR. Will you let me speak? I don't work miracles, - because I am a doctor and not a miracle-worker. I listened - very intently to all he said; and I repeat that that certain - analogical elasticity, common to all symptomatised delirium, - is evidently with him much ... what shall I say?--much - relaxed! The elements, that is, of his delirium no longer - hold together. It seems to me he has lost the equilibrium of - his second personality and sudden recollections drag - him--and this is very comforting--not from a state of - incipient apathy, but rather from a morbid inclination to - reflective melancholy, which shows a ... a very considerable - cerebral activity. Very comforting, I repeat! Now if, by - this violent trick we've planned.... - - DONNA MATILDA (_turning to the window, in the tone of a sick - person complaining_). But how is it that the motor has not - returned? It's three hours and a half since.... - - DOCTOR. What do you say? - - DONNA MATILDA. The motor, doctor! It's more than three hours - and a half.... - - DOCTOR (_taking out his watch and looking at it_). Yes, more - than four hours, by this! - - DONNA MATILDA. It could have reached here an hour ago at - least! But, as usual.... - - BELCREDI. Perhaps they can't find the dress.... - - DONNA MATILDA. But I explained exactly where it was! - (_impatiently_). And Frida ... where is Frida? - - BELCREDI (_looking out of the window_). Perhaps she is in - the garden with Charles.... - - DOCTOR. He'll talk her out of her fright. - - BELCREDI. She's not afraid, doctor; don't you believe it: - the thing bores her rather.... - - DONNA MATILDA. Just don't ask anything of her! I know what - she's like. - - DOCTOR. Let's wait patiently. Anyhow, it will soon be over, - and it has to be in the evening.... It will only be the - matter of a moment! If we can succeed in rousing him, as I - was saying, and in breaking at one go the threads--already - slack--which still bind him to this fiction of his, giving - him back what he himself asks for--you remember, he said: - "one cannot always be twenty-six years old, madam!" if we - can give him freedom from this torment, which even _he_ - feels is a torment, then if he is able to recover at one - bound the sensation of the distance of time.... - - BELCREDI (_quickly_). He'll be cured! (_then emphatically - with irony_). We'll pull him out of it all! - - DOCTOR. Yes, we may hope to set him going again, like a - watch which has stopped at a certain hour ... just as if we - had our watches in our hands and were waiting for that other - watch to go again.--A shake--so--and let's hope it'll tell - the time again after its long stop. (_At this point the - Marquis Charles Di Nolli enters from the principal - entrance_). - - DONNA MATILDA. Oh, Charles!... And Frida? Where is she? - - DI NOLLI. She'll be here in a moment. - - DOCTOR. Has the motor arrived? - - DI NOLLI. Yes. - - DONNA MATILDA. Yes? Has the dress come? - - DI NOLLI. It's been here some time. - - DOCTOR. Good! Good! - - DONNA MATILDA (_trembling_). Where is she? Where's Frida? - - DI NOLLI (_shrugging his shoulders and smiling sadly, like - one lending himself unwillingly to an untimely joke_). - You'll see, you'll see!... (_pointing towards the hall_). - Here she is!... (_Berthold appears at the threshold of the - hall, and announces with solemnity_). - - BERTHOLD. Her Highness the Countess Matilda of Canossa! - (_Frida enters, magnificent and beautiful, arrayed in the - robes of her mother as "Countess Matilda of Tuscany," so - that she is a living copy of the portrait in the throne - room_). - - FRIDA (_passing Berthold, who is bowing, says to him with - disdain_). Of Tuscany, of Tuscany! Canossa is just one of my - castles! - - BELCREDI (_in admiration_). Look! Look! She seems another - person.... - - DONNA MATILDA. One would say it were I! Look!--Why, Frida, - look! She's exactly my portrait, alive! - - DOCTOR. Yes, yes.... Perfect! Perfect! The portrait, to the - life. - - BELCREDI. Yes, there's no question about it. She _is_ the - portrait! Magnificent! - - FRIDA. Don't make me laugh, or I shall burst! I say, mother, - what a tiny waist you had? I had to squeeze so to get into - this! - - DONNA MATILDA (_arranging her dress a little_). Wait!... - Keep still!... These pleats ... is it really so tight? - - FRIDA. I'm suffocating! I implore you, to be quick!... - - DOCTOR. But we must wait till it's evening! - - FRIDA. No, no, I can't hold out till evening! - - DONNA MATILDA. Why did you put it on so soon? - - FRIDA. The moment I saw it, the temptation was - irresistible.... - - DONNA MATILDA. At least you could have called me, or have - had someone help you! It's still all crumpled. - - FRIDA. So I saw, mother; but they are old creases; they - won't come out. - - DOCTOR. It doesn't matter, Marchioness! The illusion is - perfect. (_Then coming nearer and asking her to come in - front of her daughter, without hiding her_). If you please, - stay there, there ... at a certain distance ... now a little - more forward.... - - BELCREDI. For the feeling of the distance of time.... - - DONNA MATILDA (_slightly turning to him_). Twenty years - after! A disaster! A tragedy! - - BELCREDI. Now don't let's exaggerate! - - DOCTOR (_embarrassed, trying to save the situation_). No, - no! I meant the dress ... so as to see ... You know.... - - BELCREDI (_laughing_). Oh, as for the dress, doctor, it - isn't a matter of twenty years! It's eight hundred! An - abyss! Do you really want to shove him across it (_pointing - first to Frida and then to Marchioness_) from there to here? - But you'll have to pick him up in pieces with a basket! Just - think now: for us it is a matter of twenty years, a couple - of dresses, and a masquerade. But, if, as you say, doctor, - time has stopped for and around him: if he lives there - (_pointing to Frida_) with her, eight hundred years ago.... - I repeat: the giddiness of the jump will be such, that - finding himself suddenly among us.... (_The doctor shakes - his head in dissent_). You don't think so? - - DOCTOR. No, because life, my dear baron, can take up its - rhythms. This--our life--will at once become real also to - him; and will pull him up directly, wresting from him - suddenly the illusion, and showing him that the eight - hundred years, as you say, are only twenty! It will be like - one of those tricks, such as the leap into space, for - instance, of the Masonic rite, which appears to be heaven - knows how far, and is only a step down the stairs. - - BELCREDI. Ah! An idea! Yes! Look at Frida and the - Marchioness, doctor! Which is more advanced in time? We old - people, doctor! The young ones think they are more ahead; - but it isn't true: we are more ahead, because time belongs - to us more than to them. - - DOCTOR. If the past didn't alienate us.... - - BELCREDI. It doesn't matter at all! How does it alienate us? - They (_pointing to Frida and Di Nolli_) have still to do - what we have accomplished, doctor: to grow old, doing the - same foolish things, more or less, as we did.... This is the - illusion: that one comes forward through a door to life. It - isn't so! As soon as one is born, one starts dying; - therefore, he who started first is the most advanced of all. - The youngest of us is father Adam! Look there: (_pointing to - Frida_) eight hundred years younger than all of us--the - Countess Matilda of Tuscany. (_He makes her a deep bow_). - - DI NOLLI. I say, Tito, don't start joking. - - BELCREDI. Oh, you think I am joking?... - - DI NOLLI. Of course, of course ... all the time. - - BELCREDI. Impossible! I've even dressed up as a - Benedictine.... - - DI NOLLI. Yes, but for a serious purpose. - - BELCREDI. Well, exactly. If it has been serious for the - others ... for Frida, now, for instance. (_Then turning to - the doctor_): I swear, doctor, I don't yet understand what - you want to do. - - DOCTOR (_annoyed_). You'll see! Let me do as I wish.... At - present you see the Marchioness still dressed as.... - - BELCREDI. Oh, she also ... has to masquerade? - - DOCTOR. Of course! of course! In another dress that's in - there ready to be used when it comes into his head he sees - the Countess Matilda of Canossa before him. - - FRIDA (_while talking quietly to Di Nolli notices the - doctor's mistake_). Of Tuscany, of Tuscany! - - DOCTOR. It's all the same! - - BELCREDI. Oh, I see! He'll be faced by two of them.... - - DOCTOR. Two, precisely! And then.... - - FRIDA (_calling him aside_). Come here, doctor! Listen! - - DOCTOR. Here I am! (_Goes near the two young people and - pretends to give some explanations to them_). - - BELCREDI (_softly to Donna Matilda_). I say, this is getting - rather strong, you know! - - DONNA MATILDA (_looking him firmly in the face_). What? - - BELCREDI. Does it really interest you as much as all - that--to make you willing to take part in...? For a woman - this is simply enormous!... - - DONNA MATILDA. Yes, for an ordinary woman. - - BELCREDI. Oh, no, my dear, for all women,--in a question - like this! It's an abnegation. - - DONNA MATILDA. I owe it to him. - - BELCREDI. Don't lie! You know well enough it's not hurting - you! - - DONNA MATILDA. Well then, where does the abnegation come in? - - BELCREDI. Just enough to prevent you losing caste in other - people's eyes--and just enough to offend me!... - - DONNA MATILDA. But who is worrying about you now? - - DI NOLLI (_coming forward_). It's all right. It's all right. - That's what we'll do! (_Turning towards Berthold_): Here - you, go and call one of those fellows! - - BERTHOLD. At once! (_Exit_). - - DONNA MATILDA. But first of all we've got to pretend that we - are going away. - - DI NOLLI. Exactly! I'll see to that ... (_to Belcredi_) you - don't mind staying here? - - BELCREDI (_ironically_). Oh, no, I don't mind, I don't - mind!... - - DI NOLLI. We must look out not to make him suspicious again, - you know. - - BELCREDI. Oh, Lord! _He_ doesn't amount to anything! - - DOCTOR. He must believe absolutely that we've gone away. - (_Landolph followed by Berthold enters from the right_). - - LANDOLPH. May I come in? - - DI NOLLI. Come in! Come in! I say--your name's Lolo, isn't - it? - - LANDOLPH. Lolo, or Landolph, just as you like! - - DI NOLLI. Well, look here: the doctor and the Marchioness - are leaving, at once. - - LANDOLPH. Very well. All we've got to say is that they have - been able to obtain the permission for the reception from - His Holiness. He's in there in his own apartments repenting - of all he said--and in an awful state to have the pardon! - Would you mind coming a minute?... If you would, just for a - minute ... put on the dress again.... - - DOCTOR. Why, of course, with pleasure.... - - LANDOLPH. Might I be allowed to make a suggestion? Why not - add that the Marchioness of Tuscany has interceded with the - Pope that he should be received? - - DONNA MATILDA. You see, he has recognized me! - - LANDOLPH. Forgive me ... I don't know my history very well. - I am sure you gentlemen know it much better! But I thought - it was believed that Henry IV. had a secret passion for the - Marchioness of Tuscany. - - DONNA MATILDA (_at once_). Nothing of the kind! Nothing of - the kind! - - LANDOLPH. That's what I thought! But he says he's loved her - ... he's always saying it.... And now he fears that her - indignation for this secret love of his will work him harm - with the Pope. - - BELCREDI. We must let him understand that this aversion no - longer exists. - - LANDOLPH. Exactly! Of course! - - DONNA MATILDA (_to Belcredi_). History says--I don't know - whether you know it or not--that the Pope gave way to the - supplications of the Marchioness Matilda and the Abbot of - Cluny. And I may say, my dear Belcredi, that I intended to - take advantage of this fact--at the time of the pageant--to - show him my feelings were not so hostile to him as he - supposed. - - BELCREDI. You are most faithful to history, Marchioness.... - - LANDOLPH. Well then, the Marchioness could spare herself a - double disguise and present herself with Monsignor - (_indicating the doctor_) as the Marchioness of Tuscany. - - DOCTOR (_quickly, energetically_). No, no! That won't do at - all. It would ruin everything. The impression from the - confrontation must be a sudden one, give a shock! No, no, - Marchioness, you will appear again as the Duchess Adelaide, - the mother of the Empress. And then we'll go away. This is - most necessary: that he should know we've gone away. Come - on! Don't let's waste any more time! There's a lot to - prepare. - - (_Exeunt the doctor. Donna Matilda, and Landolph, Right_). - - FRIDA. I am beginning to feel afraid again. - - DI NOLLI. Again, Frida? - - FRIDA. It would have been better if I had seen him before. - - DI NOLLI. There's nothing to be frightened of, really. - - FRIDA. He isn't furious, is he? - - DI NOLLI. Of course not! he's quite calm. - - BELCREDI (_with ironic sentimental affectation_). - Melancholy! Didn't you hear that he loves you? - - FRIDA. Thanks! That's just why I am afraid. - - BELCREDI. He won't do you any harm. - - DI NOLLI. It'll only last a minute.... - - FRIDA. Yes, but there in the dark with him.... - - DI NOLLI. Only for a moment; and I will be near you, and all - the others behind the door ready to run in. As soon as you - see your mother, your part will be finished.... - - BELCREDI. I'm afraid of a different thing: that we're - wasting our time.... - - DI NOLLI. Don't begin again! The remedy seems a sound one to - me. - - FRIDA. I think so too! I feel it! I'm all trembling! - - BELCREDI. But, mad people, my dear friends--though they - don't know it, alas--have this felicity which we don't take - into account.... - - DI NOLLI (_interrupting, annoyed_). What felicity? Nonsense! - - BELCREDI (_forcefully_). They don't reason! - - DI NOLLI. What's reasoning got to do with it, anyway? - - BELCREDI. Don't you call it reasoning that he will have to - do--according to us--when he sees her (_indicates Frida_) - and her mother? We've reasoned it all out, surely! - - DI NOLLI. Nothing of the kind: no reasoning at all. We put - before him a double image of his own fantasy, or fiction, as - the doctor says. - - BELCREDI (_suddenly_). I say, I've never understood why they - take degrees in medicine. - - DI NOLLI (_amazed_). Who? - - BELCREDI. The alienists! - - DI NOLLI. What ought they to take degrees in, then? - - FRIDA. If they are alienists, in what else should they take - degrees? - - BELCREDI. In law, of course! All a matter of talk! The more - they talk, the more highly they are considered. "Analogous - elasticity," "the sensation of distance in time!" And the - first thing they tell you is that they don't work - miracles--when a miracle's just what is wanted! But they - know that the more they say they are not miracle-workers, - the more folk believe in their seriousness! - - BERTHOLD (_who has been looking through the keyhole of the - door on right_). There they are! There they are! They're - coming in here. - - DI NOLLI. Are they? - - BERTHOLD. He wants to come with them.... Yes!... He's coming - too! - - DI NOLLI. Let's get away, then! Let's get away, at once! - (_To Berthold_): You stop here! - - BERTHOLD. Must I? - - (_Without answering him, Di Nolli, Frida, and Belcredi go - out by the main exit, leaving Berthold surprised. The door - on the right opens, and Landolph enters first, bowing. Then - Donna Matilda comes in, with mantle and ducal crown as in - the first act; also the doctor as the abbot of Cluny. Henry - IV. is among them in royal dress. Ordulph and Harold enter - last of all_). - - HENRY IV. (_following up what he has been saying in the - other room_). And now I will ask you a question: how can I - be astute, if you think me obstinate? - - DOCTOR. No, no, not obstinate! - - HENRY IV. (_smiling, pleased_). Then you think me really - astute? - - DOCTOR. No, no, neither obstinate, nor astute. - - HENRY IV. (_with benevolent irony_). Monsignor, if obstinacy - is not a vice which can go with astuteness, I hoped that in - denying me the former, you would at least allow me a little - of the latter. I can assure you I have great need of it. But - if you want to keep it all for yourself.... - - DOCTOR. I? I? Do I seem astute to you? - - HENRY IV. No. Monsignor! What do you say? Not in the least! - Perhaps in this case, I may seem a little obstinate to you - (_cutting short to speak to Donna Matilda_). With your - permission: a word in confidence to the Duchess. (_Leads her - aside and asks her very earnestly_): Is your daughter really - dear to you? - - DONNA MATILDA (_dismayed_). Why, yes, certainly.... - - HENRY IV. Do you wish me to compensate her with all my love, - with all my devotion, for the grave wrongs I have done - her--though you must not believe all the stories my enemies - tell about my dissoluteness! - - DONNA MATILDA. No, no, I don't believe them. I never have - believed such stories. - - HENRY IV. Well, then are you willing? - - DONNA MATILDA (_confused_). What? - - HENRY IV. That I return to love your daughter again? (_Looks - at her and adds, in a mysterious tone of warning_). You - mustn't be a friend of the Marchioness of Tuscany! - - DONNA MATILDA. I tell you again that she has begged and - tried not less than ourselves to obtain your pardon.... - - HENRY IV. (_softly, but excitedly_). Don't tell me that! - Don't say that to me! Don't you see the effect it has on me, - my Lady? - - DONNA MATILDA (_looks at him; then very softly as if in - confidence_). You love her still? - - HENRY IV. (_puzzled_). Still? Still, you say? You know, - then? But nobody knows! Nobody must know! - - DONNA MATILDA. But perhaps she knows, if she has begged so - hard for you! - - HENRY IV. (_looks at her and says_): And you love your - daughter? (_Brief pause. He turns to the doctor with - laughing accents_). Ah, Monsignor, it's strange how little I - think of my wife! It may be a sin, but I swear to you that I - hardly feel her at all in my heart. What is stranger is that - her own mother scarcely feels her in her heart. Confess, my - Lady, that she amounts to very little for you. (_Turning to - Doctor_): She talks to me of that other woman, insistently, - insistently, I don't know why!... - - LANDOLPH (_humbly_). Maybe, Majesty, it is to disabuse you - of some ideas you have had about the Marchioness of Tuscany. - (_Then, dismayed at having allowed himself this observation, - adds_): I mean just now, of course.... - - HENRY IV. You too maintain that she has been friendly to me? - - LANDOLPH. Yes, at the moment, Majesty. - - DONNA MATILDA. Exactly! Exactly!... - - HENRY IV. I understand. That is to say, you don't believe I - love her. I see! I see! Nobody's ever believed it, nobody's - ever thought it. Better so, then! But enough, enough! - (_Turns to the doctor with changed expression_): Monsignor, - you see? The reasons the Pope has had for revoking the - excommunication have got nothing at all to do with the - reasons for which he excommunicated me originally. Tell Pope - Gregory we shall meet again at Brixen. And you, Madame, - should you chance to meet your daughter in the courtyard of - the castle of your friend the Marchioness, ask her to visit - me. We shall see if I succeed in keeping her close beside me - as wife and Empress. Many women have presented themselves - here already assuring me that they were she. But they all, - even while they told me they came from Susa--I don't know - why--began to laugh! And then in the bedroom.... Well a man - is a man, and a woman is a woman. Undressed, we don't bother - much about who we are. And one's dress is like a phantom - that hovers, always near one. Oh, Monsignor, phantoms in - general are nothing more than trifling disorders of the - spirit: images we cannot contain within the bounds of sleep. - They reveal themselves even when we are awake, and they - frighten us. I ... ah ... I am always afraid when, at night - time, I see disordered images before me. Sometimes I am even - afraid of my own blood pulsing loudly in my arteries in the - silence of night, like the sound of a distant step in a - lonely corridor!... But, forgive me! I have kept you - standing too long already. I thank you, my Lady, I thank - you, Monsignor. (_Donna Matilda and the Doctor go off - bowing. As soon as they have gone, Henry IV. suddenly - changes his tone_). Buffoons, buffoons! One can play any - tune on them! And that other fellow ... Pietro Damiani!... - Caught him out perfectly! He's afraid to appear before me - again. (_Moves up and down excitedly while saying this; then - sees Berthold, and points him out to the other three - valets_). Oh, look at this imbecile watching me with his - mouth wide open! (_Shakes him_). Don't you understand? Don't - you see, idiot, how I treat them, how I play the fool with - them, make them appear before me just as I wish? Miserable, - frightened clowns that they are! And you (_addressing the - valets_) are amazed that I tear off their ridiculous masks - now, just as if it wasn't I who had made them mask - themselves to satisfy this taste of mine for playing the - madman! - - LANDOLPH--HAROLD--ORDULPH (_bewildered, looking at one - another_). What? What does he say? What? - - HENRY IV. (_answers them imperiously_). Enough! enough! - Let's stop it. I'm tired of it. (_Then as if the thought - left him no peace_): By God! The impudence! To come here - along with her lover!... And pretending to do it out of - pity! So as not to infuriate a poor devil already out of the - world, out of time, out of life! If it hadn't been supposed - to be done out of pity, one can well imagine that fellow - wouldn't have allowed it. Those people expect others to - behave as they wish all the time. And of course, there's - nothing arrogant in that! Oh, no! Oh, no! It's merely their - way of thinking, of feeling, of seeing. Everybody has his - own way of thinking; you fellows, too. Yours is that of a - flock of sheep--miserable, feeble, uncertain.... But those - others take advantage of this and make you accept their way - of thinking; or, at least, they suppose they do; Because, - after all, what do they succeed in imposing on you? Words, - words which anyone can interpret in his own manner! That's - the way public opinion is formed! And it's a bad look out - for a man who finds himself labelled one day with one of - these words which everyone repeats; for example "madman," or - "imbecile." Don't you think is rather hard for a man to keep - quiet, when he knows that there is a fellow going about - trying to persuade everybody that he is as he sees him, than - to fix him in other people's opinion as a - "madman"--according to him? Now I am talking seriously! - Before I hurt my head, falling from my horse.... (_stops - suddenly, noticing the dismay of the four young men_). - What's the matter with you? (_Imitates their amazed looks_). - What? Am I, or am I not, mad? Oh, yes! I'm mad all right! - (_He becomes terrible_). Well, then, by God, down on your - knees, down on your knees! (_Makes them go down on their - knees one by one_). I order you to go down on your knees - before me! And touch the ground three times with your - foreheads! Down, down! That's the way you've got to be - before madmen! (_Then annoyed with their facile - humiliation_): Get up, sheep! You obeyed me, didn't you? You - might have put the straight jacket on me!... Crush a man - with the weight of a word--it's nothing--a fly! all our life - is crushed by the weigh of words: the weight of the dead. - Look at me here: can you really suppose that Henry IV. is - still alive? All the same, I speak, and order you live men - about! Do you think it's a joke that the dead continue to - live?--Yes, _here_ it's a joke! But get out into the live - world!--Ah, you say: what a beautiful sunrise--for us! All - time is before us!--Dawn! We will do what we like with this - day--. Ah, yes! To tell with tradition, the old conventions! - Well, go on! You will do nothing but repeat the old, old - words, while you imagine you are living! (_Goes up to - Berthold who has now become quite stupid_.) You don't - understand a word of this, do you? What's your name? - - BERTHOLD. I?... What?... Berthold.... - - HENRY IV. Poor Berthold! What's your name here? - - BERTHOLD. I ... I ... my name in Fino. - - HENRY IV. (_feeling the warning and critical glances of the - others, turns to them to reduce them to silence_). Fino? - - BERTHOLD. Fino Pagliuca, sire. - - HENRY IV. (_turning to Landolph_). I've heard you call each - other by your nick-names often enough! Your name is Lolo, - isn't it? - - LANDOLPH. Yes, sire.... (_then with a sense of immense - joy_). Oh, Lord! Oh Lord! Then he is not mad.... - - HENRY IV. (_brusquely_). What? - - LANDOLPH (_hesitating_). No ... I said.... - - HENRY IV. Not mad, eh? We're having a joke on those that - think I am mad! (_To Harold_)--I say, boy, your name's - Franco.... (_to Ordulph_) And yours.... - - ORDULPH. Momo. - - HENRY IV. Momo, Momo.... A nice name that! - - LANDOLPH. So he isn't.... - - HENRY IV. What are you talking about? Of course not! Let's - have a jolly, good laugh!... (_Laughs_): Ah!... Ah!... - Ah!... - - LANDOLPH--HAROLD--ORDULPH (_looking at each other half happy - and half dismayed_). Then he's cured!... he's all right!... - - HENRY IV. Silence! Silence!... (_To Berthold_): Why don't - you laugh? Are you offended? I didn't mean it especially for - you. It's convenient for everybody to insist that certain - people are mad, so they can be shut up. Do you know why? - Because it's impossible to hear them speak! What shall I say - of these people who've just gone away? That one is a whore, - another a libertine, another a swindler ... don't you think - so? You can't believe a word he says ... don't you think - so?--By the way, they all listen to me terrified. And why - are they terrified, if what I say isn't true? Of course, you - can't believe what madmen say--yet, at the same time, they - stand there with their eyes wide open with terror!--Why? - Tell me, tell me, why?--You see I'm quite calm now! - - BERTHOLD. But, perhaps, they think that.... - - HENRY IV. No, no, my dear fellow! Look me well in the - eyes!... I don't say that it's true--nothing is true, - Berthold! But ... look me in the eyes! - - BERTHOLD. Well.... - - HENRY IV. You see? You see?... You have terror in your own - eyes now because I seem mad to you! There's the proof of it - (_laughs_)! - - LANDOLPH (_coming forward in the name of the others, - exasperated_). What proof? - - HENRY IV. Your being so dismayed because now I seem again - mad to you. You have thought me mad up to now, haven't you? - You feel that this dismay of yours can become terror - too--something to dash away the ground from under your feet - and deprive you of the air you breathe! Do you know what it - means to find yourselves face to face with a madman--with - one who shakes the foundations of all you have built up in - yourselves, your logic, the logic of all your constructions? - Madmen, lucky folk! construct without logic, or rather with - a logic that flies like a feather. Voluble! Voluble! Today - like this and tomorrow--who knows? You say: "This cannot - be"; but for them everything can be. You say: "This isn't - true!" And why? Because it doesn't seem true to you, or you, - or you ... (_indicates the three of them in succession_) ... - and to a hundred thousand others! One must see what seems - true to these hundred thousand others who are not supposed - to be mad! What a magnificent spectacle they afford, when - they reason! What flowers of logic they scatter! I know that - when I was a child, I thought the moon in the pond was real. - How many things I thought real! I believed everything I was - told--and I was happy! Because it's a terrible thing if you - don't hold on to that which seems true to you today--to that - which will seem true to you tomorrow, even if it is the - opposite of that which seemed true to you yesterday. I would - never wish you to think, as I have done, on this horrible - thing which really drives one mad: that if you were beside - another and looking into his eyes--as I one day looked into - somebody's eyes--you might as well be a beggar before a door - never to be opened to you; for he who does enter there will - never be you, but someone unknown to you with his own - indifferent and impenetrable world.... (_Long pause. - Darkness gathers in the room, increasing the sense of - strangeness and consternation in which the four young men - are involved. Henry IV. remains aloof, pondering on the - misery which is not only his, but everybody's. Then he pulls - himself up, and says in an ordinary tone_): It's getting - dark here.... - - ORDULPH. Shall I go for a lamp? - - HENRY IV. (_Ironically_). The lamp, yes the lamp!... Do you - suppose I don't know that as soon as I turn my back with my - oil lamp to go to bed, you turn on the electric light for - yourselves, here, and even there, in the throne room? I - pretend not to see it! - - ORDULPH. Well, then, shall I turn it on now? - - HENRY IV. No, it would blind me! I want my lamp! - - ORDULPH. It's ready here behind the door. (_Goes to the main - exit, opens the door, goes out for a moment, and returns - with an ancient lamp which is held by a ring at the top_). - - HENRY IV. Ah, a little light! Sit there around the table, - no, not like that; in an elegant, easy, manner!... (_To - Harold_): Yes, you, like that (poses him)! (_Then to - Berthold_): You, so!... and I, here (_sits opposite them_)! - We could do with a little decorative moonlight. It's very - useful for us, the moonlight. I feel a real necessity for - it, and pass a lot of time looking up at the moon from my - window. Who would think, to look at her that she knows that - eight hundred years have passed, and that I, seated at the - window, cannot really be Henry IV. gazing at the moon like - any poor devil? But, look, look! See what a magnificent - night scene we have here: the emperor surrounded by his - faithful counsellors!... How do you like it? - - LANDOLPH (_softly to Harold, so as not to break the - enchantment_). And to think it wasn't true!... - - HENRY IV. True? What wasn't true? - - LANDOLPH (_timidly as if to excuse himself_). No ... I mean - ... I was saying this morning to him (_indicates - Berthold_)--he has just entered on service here--I was - saying: what a pity that dressed like this and with so many - beautiful costumes in the wardrobe ... and with a room like - that (_indicates the throne room_).... - - HENRY IV. Well? what's the pity? - - LANDOLPH. Well ... that we didn't know.... - - HENRY IV. That it was all done in jest, this comedy? - - LANDOLPH. Because we thought that.... - - HAROLD (_coming to his assistance_). Yes ... that it was - done seriously! - - HENRY IV. What do you say? Doesn't it seem serious to you? - - LANDOLPH. But if you say that.... - - HENRY IV. I say that--you are fools! You ought to have known - how to create a fantasy for yourselves, not to act it for - me, or anyone coming to see me; but naturally, simply, day - by day, before nobody, feeling yourselves alive in the - history of the eleventh century, here at the court of your - emperor, Henry IV.! You Ordulph (_taking him by the arm_), - alive in the castle of Goslar, waking up in the morning, - getting out of bed, and entering straightway into the dream, - clothing yourself in the dream that would be no more a - dream, because you would have lived it, felt it all alive in - you. You would have drunk it in with the air you breathed; - yet knowing all the time that it was a dream, so you could - better enjoy the privilege afforded you of having to do - nothing else but live this dream, this far off and yet - actual dream! And to think that at a distance of eight - centuries from this remote age of ours, so coloured and so - sepulchral, the men of the twentieth century are torturing - themselves in ceaseless anxiety to know how their fates and - fortunes will work out! Whereas you are already in history - with me.... - - LANDOLPH. Yes, yes, very good! - - HENRY IV. ... Everything determined, everything settled! - - ORDULPH. Yes, yes! - - HENRY IV. And sad as is my lot, hideous as some of the - events are, bitter the struggles and troublous the - time--still all history! All history that cannot change, - understand? All fixed forever! And you could have admired at - your ease how every effect followed obediently its cause - with perfect logic, how every event took place precisely and - coherently in each minute particular! The pleasure, the - pleasure of history, in fact, which is so great, was yours. - - LANDOLPH. Beautiful, beautiful! - - HENRY IV. Beautiful, but it's finished! Now that you know, I - could not do it any more! (_Takes his lamp to go to bed_). - Neither could you, if up to now you haven't understood the - reason of it! I am sick of it now. (_Almost to himself with - violent contained rage_): By God, I'll make her sorry she - came here! Dressed herself up as a mother-in-law for me...! - And he as an abbot...! And they bring a doctor with them to - study me...! Who knows if they don't hope to cure me?... - Clowns...! I'd like to smack one of them at least in the - face: yes, that one--a famous swordsman, they say!... He'll - kill me.... Well, we'll see, we'll see!... (_A knock at the - door_). Who is it? - - THE VOICE OF JOHN. Deo Gratias! - - HAROLD (_very pleased at the chance for another joke_). Oh, - it's John, it's old John, who comes every night to play the - monk. - - ORDULPH (_rubbing his hands_). Yes, yes! Let's make him do - it! - - HENRY IV. (_at once, severely_). Fool, why? Just to play a - joke on a poor old man who does it for love of me? - - LANDOLPH (_to Ordulph_). It has to be as if it were true. - - HENRY IV. Exactly, as if true! Because, only so, truth is - not a jest (_opens the door and admits John dressed as a - humble friar with a roll of parchment under his arm_). Come - in, come in, father! (_Then assuming a tone of tragic - gravity and deep resentment_): All the documents of my life - and reign favorable to me were destroyed deliberately by my - enemies. One only has escaped destruction, this, my life, - written by a humble monk who is devoted to me. And you would - laugh at him! (_Turns affectionately to John, and invites - him to sit down at the table_). Sit down, father, sit down! - Have the lamp near you (_puts the lamp near him_)! Write! - Write! - - JOHN (_opens the parchment and prepares to write from - dictation_). I am ready, your Majesty! - - HENRY IV. (_dictating_). "The decree of peace proclaimed at - Mayence helped the poor and humble, while it damaged the - weak and the powerful (_curtain begins to fall_): It brought - wealth to the former, hunger and misery to the latter...." - - - _Curtain._ - - - ACT III - - - _The throne room so dark that the wall at the bottom is - hardly seen. The canvasses of the two portraits have been - taken away; and, within their frames, Frida, dressed as the - "Marchioness of Tuscany" and Charles Di Nolli, as "Henry - IV." have taken the exact positions of the portraits._ - - _For a moment, after the raising of curtain, the stage is - empty. Then the door on the left opens; and Henry IV., - holding the lamp by the ring on top of it, enters. He looks - back to speak to the four young men who, with John, are - presumedly in the adjoining hall, as at the end of the - second act._ - - HENRY IV. No: stay where you are, stay where you are. I - shall manage all right by myself. Good night! (_Closes the - door and walks, very sad and tired, across the hall towards - the second door on the right, which leads into his - apartments_). - - FRIDA (_as soon as she sees that he has just passed the - throne, whispers from the niche like one who is on the point - of fainting away with fright_). Henry.... - - HENRY IV. (_stopping at the voice, as if someone had stabbed - him traitorously in the back, turns a terror-stricken face - towards the wall at the bottom of the room; raising an arm - instinctively, as if to defend himself and ward off a - blow_). Who is calling me? (_It is not a question, but an - exclamation vibrating with terror, which does not expect a - reply from the darkness and the terrible silence of the - hall, which suddenly fills him with the suspicion that he is - really mad_). - - FRIDA (_at his shudder of terror, is herself not less - frightened at the part she is playing, and repeats a little - more loudly_). Henry!... (_But, although she wishes to act - the part as they have given it to her, she stretches her - head a little out of the frame towards the other frame_). - - HENRY IV. (_Gives a dreadful cry; lets the lamp fall from - his hands to cover his head with his arms, and makes a - movement as if to run away_). - - FRIDA (_jumping from the frame on to the stand and shouting - like a mad woman_). Henry!... Henry!... I'm afraid!... I'm - terrified!... - - (_And while Di Nolli jumps in turn on to the stand and - thence to the floor and runs to Frida who, on the verge of - fainting, continues to cry out, the Doctor, Donna Matilda, - also dressed as "Matilda of Tuscany," Tito Belcredi, - Landolph, Berthold and John enter the hall from the doors on - the right and on the left. One of them turns on the light: a - strange light coming from lamps hidden in the ceiling so - that only the upper part of the stage is well lighted. The - others without taking notice of Henry IV., who looks on - astonished by the unexpected inrush, after the moment of - terror which still causes him to tremble, run anxiously to - support and comfort the still shaking Frida, who is moaning - in the arms of her fiance. All are speaking at the same - time._) - - DI NOLLI. No, no, Frida.... Here I am.... I am beside you! - - DOCTOR (_coming with the others_). Enough! Enough! There's - nothing more to be done!... - - DONNA MATILDA. He is cured, Frida. Look! He is cured! Don't - you see? - - DI NOLLI (_astonished_). Cured? - - BELCREDI. It was only for fun! Be calm! - - FRIDA. No! I am afraid! I am afraid! - - DONNA MATILDA. Afraid of what? Look at him! He was never mad - at all!... - - DI NOLLI. That isn't true! What are you saying? Cured? - - DOCTOR. It appears so. I should say so.... - - BELCREDI. Yes, yes! They have told us so (_pointing to the - four young men_). - - DONNA MATILDA. Yes, for a long time! He has confided in - them, told them the truth! - - DI NOLLI (_now more indignant than astonished_). But what - does it mean? If, up to a short time ago...? - - BELCREDI. Hum! He was acting, to take you in and also us, - who in good faith.... - - DI NOLLI. Is it possible? To deceive his sister, also, right - up to the time of her death? - - HENRY IV. (_Remains apart, peering at one and now at the - other under the accusation and the mockery of what all - believe to be a cruel joke of his, which is now revealed. He - has shown by the flashing of his eyes that he is meditating - a revenge, which his violent contempt prevents him from - defining clearly, as yet. Stung to the quick and with a - clear idea of accepting the fiction they have insidiously - worked up as true, he bursts forth at this point_): Go on, I - say! Go on! - - DI NOLLI (_astonished at the cry_). Go on! What do you mean? - - HENRY IV. It isn't _your_ sister only that is dead! - - DI NOLLI. My sister? Yours, I say, whom you compelled up to - the last moment, to present herself here as your mother - Agnes! - - HENRY IV. And was she not _your_ mother? - - DI NOLLI. My mother? Certainly my mother! - - HENRY IV. But your mother is dead for me, _old and far - away_! You have just got down now from there (_pointing to - the frame from which he jumped down_). And how do you know - whether I have not wept her long in secret, dressed even as - I am? - - DONNA MATILDA (_dismayed, looking at the others_). What does - he say? (_Much impressed, observing him_). Quietly! quietly, - for Heaven's sake! - - HENRY IV. What do I say? I ask all of you if Agnes was not - the mother of Henry IV.? (_Turns to Frida as if she were - really the Marchioness of Tuscany_): You, Marchioness, it - seems to me, ought to know. - - FRIDA (_still frightened, draws closer to Di Nolli_). No, - no, I don't know. Not I! - - DOCTOR. It's the madness returning.... Quiet now, everybody! - - BELCREDI (_indignant_). Madness indeed, doctor! He's acting - again!... - - HENRY IV. (_suddenly_). I? You have emptied those two frames - over there, and he stands before my eyes as Henry IV.... - - BELCREDI. We've had enough of this joke now. - - HENRY IV. Who said joke? - - DOCTOR (_loudly to Belcredi_). Don't excite him, for the - love of God! - - BELCREDI (_without lending an ear to him, but speaking - louder_). But they have said so (_pointing again to the four - young men_), they, they! - - HENRY IV. (_turning round and looking at them_). You? Did - you say it was all a joke? - - LANDOLPH (_timid and embarrassed_). No ... really we said - that you were cured. - - BELCREDI. Look here! Enough of this! (_To Donna Matilda_): - Doesn't it seem to you that the sight of him (_pointing to - Di Nolli_), Marchioness and that of your daughter dressed - so, is becoming an intolerable puerility? - - DONNA MATILDA. Oh, be quiet! What does the dress matter, if - he is cured? - - HENRY IV. Cured, yes! I am cured! (_To Belcredi_) ah, but - not to let it end this way all at once, as you suppose! - (_Attacks him_). Do you know that for twenty years nobody - has ever dared to appear before me here like you and that - gentleman (_pointing to the doctor_)? - - BELCREDI. Of course I know it. As a matter of fact, I too - appeared before you this morning dressed.... - - HENRY IV. As a monk, yes! - - BELCREDI. And you took me for Peter Damiani! And I didn't - even laugh, believing, in fact, that.... - - HENRY IV. That I was mad! Does it make you laugh seeing her - like that, now that I am cured? And yet you might have - remembered that in my eyes her appearance now.... - (_interrupts himself with a gesture of contempt_) Ah! - (_Suddenly turns to the doctor_): You are a doctor, aren't - you? - - DOCTOR. Yes. - - HENRY IV. And you also took part in dressing her up as the - Marchioness of Tuscany? To prepare a counter-joke for me - here, eh? - - DONNA MATILDA (_impetuously_). No, no! What do you say? It - was done for you! I did it for your sake. - - DOCTOR (_quickly_). To attempt, to try, not knowing.... - - HENRY IV. (_cutting him short_). I understand. I say - counter-joke, in his case (_indicates Belcredi_), because he - believes that I have been carrying on a jest.... - - BELCREDI. But excuse me, what do you mean? You say yourself - you are cured. - - HENRY IV. Let me speak! (_To the doctor_): Do you know, - doctor, that for a moment you ran the risk of making me mad - again? By God, to make the portraits speak; to make them - jump alive out of their frames.... - - DOCTOR. But you saw that all of us ran in at once, as soon - as they told us.... - - HENRY IV. Certainly! (_Contemplates Frida and Di Nolli, and - then looks at the Marchioness, and finally at his own - costume_). The combination is very beautiful.... Two - couples.... Very good, very good, doctor! For a madman, not - bad!... (_With a slight wave of his hand to Belcredi_): It - seems to him now to be a carnival out of season, eh? (_Turns - to look at him_). We'll get rid now of this masquerade - costume of mine, so that I may come away with you. What do - you say? - - BELCREDI. With me? With us? - - HENRY IV. Where shall we go? To the Club? In dress coats and - with white ties? Or shall both of us go to the Marchioness' - house? - - BELCREDI. Wherever you like! Do you want to remain here - still, to continue--alone--what was nothing but the - unfortunate joke of a day of carnival? It is really - incredible, incredible how you have been able to do all - this, freed from the disaster that befell you! - - HENRY IV. Yes, you see how it was! The fact is that falling - from my horse and striking my head as I did, I was really - mad for I know not how long.... - - DOCTOR. Ah! Did it last long? - - HENRY IV. (_very quickly to the doctor_). Yes, doctor, a - long time! I think it must have been about twelve years. - (_Then suddenly turning to speak to Belcredi_): Thus I saw - nothing, my dear fellow, of all that, after that day of - carnival, happened for you but not for me: how things - changed, how my friends deceived me, how my place was taken - by another, and all the rest of it! And suppose my place had - been taken in the heart of the woman I loved?... And how - should I know who was dead or who had disappeared?... All - this, you know, wasn't exactly a jest for me, as it seems to - you.... - - BELCREDI. No, no! I don't mean that if you please. I mean - after.... - - HENRY IV. Ah, yes? After? One day (_stops and addresses the - doctor_)--A most interesting case, doctor! Study me well! - Study me carefully (_trembles while speaking_)! All by - itself, who knows how, one day the trouble here (_touches - his forehead_) mended. Little by little, I open my eyes, and - at first I don't know whether I am asleep or awake. Then I - know I am awake. I touch this thing and that; I see clearly - again.... Ah!--then, as _he_ says (_alludes to Belcredi_) - away, away with this masquerade, this incubus! Let's open - the windows, breathe life once again! Away! Away! Let's run - out! (_Suddenly pulling himself up_). But where? And to do - what? To show myself to all, secretly, as Henry IV., not - like this, but arm in arm with you, among my dear friends? - - BELCREDI. What are you saying? - - DONNA MATILDA. Who could think it? It's not to be imagined. - It was an accident. - - HENRY IV. They all said I was mad before. (_To Belcredi_): - And you know it! You were more ferocious than any one - against those who tried to defend me. - - BELCREDI. Oh, that was only a joke! - - HENRY IV. Look at my hair! (_Shows him the hair on the nape - of his neck_). - - BELCREDI. But mine is grey too! - - HENRY IV. Yes, with this difference: that mine went grey - here, as Henry IV., do you understand? And I never knew it! - I perceived it all of a sudden, one day, when I opened my - eyes; and I was terrified because I understood at once that - not only had my hair gone grey, but that I was all grey, - inside; that everything had fallen to pieces, that - everything was finished; and I was going to arrive, hungry - as a wolf, at a banquet which had already been cleared - away.... - - BELCREDI. Yes, but, what about the others?... - - HENRY IV. (_quickly_). Ah, yes, I know! They couldn't wait - until I was cured, not even those, who, behind my back, - pricked my saddled horse till it bled.... - - DI NOLLI (_agitated_). What, what? - - HENRY IV. Yes, treacherously, to make it rear and cause me - to fall. - - DONNA MATILDA (_quickly, in horror_). This is the first time - I knew that. - - HENRY IV. That was also a joke, probably! - - DONNA MATILDA. But who did it? Who was behind us, then? - - HENRY IV. It doesn't matter who it was. All those that went - on feasting and were ready to leave me their scrapings, - Marchioness, of miserable pity, or some dirty remnant of - remorse in the filthy plate! Thanks! (_Turning quickly to - the doctor_): Now doctor, the case must be absolutely new in - the history of madness; I preferred to remain mad--since I - found everything ready and at my disposal for this new - exquisite fantasy. I would live it--this madness of - mine--with the most lucid consciousness; and thus revenge - myself on the brutality of a stone which had dinted my head. - The solitude--this solitude--squalid and empty as it - appeared to me when I opened my eyes again--I determined to - deck it out with all the colours and splendors of that far - off day of carnival, when you (_looks at Donna Matilda and - points Frida out to her_) when you, Marchioness, triumphed. - So I would oblige all those who were around me to follow, by - God, at my orders that famous pageant which had been--for - you and not for me--the jest of a day. I would make it - become--for ever--no more a joke but a reality, the reality - of a real madness: here, all in masquerade, with throne - room, and these my four secret counsellors: secret and, of - course, traitors. (_He turns quickly towards them_). I - should like to know what you have gained by revealing the - fact that I was cured! If I am cured, there's no longer any - need of_you_, and you will be discharged! To give anyone - one's confidence ... that is really the act of a madman. But - now I accuse you in my turn (_turning to the others_)! Do - you know? They thought (_alludes to the valets_) they could - make fun of me too with you (_bursts out laughing. The - others laugh, but shamefacedly, except Donna Matilda_). - - BELCREDI (_to Di Nolli_). Well, imagine that.... That's not - bad.... - - DI NOLLI (_to the four young men_). You? - - HENRY IV. We must pardon them. This dress (_plucking his - dress_) which is for me the evident, involuntary caricature - of that other continuous, everlasting masquerade, of which - we are the involuntary puppets (_indicates Belcredi_) when, - without knowing it, we mask ourselves with that which we - appear to be ... ah, that dress of theirs, this masquerade - of theirs, of course, we must forgive it them, since they do - not yet see it is identical with themselves. (_Turning again - to Belcredi_): You know, it is quite easy to get accustomed - to it. One walks about as a tragic character, just as if it - were nothing ... (_Imitates the tragic manner_) in a room - like this.... Look here, doctor! I remember a priest, - certainly Irish, a nice-looking priest, who was sleeping in - the sun one November day, with his arm on the corner of the - bench of a public garden. He was lost in the golden delight - of the mild sunny air which must have seemed for him almost - summery. One may be sure that in that moment he did not know - any more that he was a priest, or even where he was. He was - dreaming... A little boy passed with a flower in his hand. - He touched the priest with it here on the neck. I saw him - open his laughing eyes, while all his mouth smiled with the - beauty of his dream. He was forgetful of everything.... But - all at once, he pulled himself together, and stretched out - his priest's cassock; and there came back to his eyes the - same seriousness which you have seen in mine; because the - Irish priests defend the seriousness of their Catholic faith - with the same zeal with which I defend the secret rights of - hereditary monarchy! I am cured, gentlemen: because I can - act the mad man to perfection, here; and I do it very - quietly, I'm only sorry for you that have to live your - madness so agitatedly, without knowing it or seeing it. - - BELCREDI. It comes to this, then, that it is we who are mad. - That's what it is! - - HENRY IV. (_containing his irritation_). But if you weren't - mad, both you and she (_indicating the Marchioness_) would - you have come here to see me? - - BELCREDI. To tell the truth, I came here believing that you - were the madman. - - HENRY IV. (_suddenly indicating the Marchioness_). And she? - - BELCREDI. Ah, as for her ... I can't say. I see she is all - fascinated by your words, by this _conscious_ madness of - yours. (_Turns to her_). Dressed as you are (_speaking to - her_), you could even remain here to live it out, - Marchioness. - - DONNA MATILDA. You are insolent! - - HENRY IV. (_conciliatingly_). No, Marchioness, what he means - to say is that the miracle would be complete, according to - him, with you here, who--as the Marchioness of Tuscany, you - well know,--could not be my friend, save, as at Canossa, to - give me a little pity.... - - BELCREDI. Or even more than a little! She said so herself! - - HENRY IV. (_to the Marchioness, continuing_). And even, - shall we say, a little remorse!... - - BELCREDI. Yes, that too she has admitted. - - DONNA MATILDA (_angry_). Now look here.... - - HENRY IV. (_quickly, to placate her_). Don't bother about - him! Don't mind him! Let him go on infuriating me--though - the doctor's told him not to. (_Turns to Belcredi._): But do - you suppose I am going to trouble myself any more about what - happened between us--the share you had in my misfortune with - her (_indicates the Marchioness to him and, pointing - Belcredi out to her_): the part he has now in your life? - This is my life! Quite a different thing from your life! - Your life, the life in which you have grown old--I have not - lived that life (_to Donna Matilda_). Was this what you - wanted to show me with this sacrifice of yours, dressing - yourself up like this, according to the Doctor's idea? - Excellently done, doctor! Oh, an excellent idea:--"As we - were then, eh? and as we are now?" But I am not a madman - according to your way of thinking, doctor. I know very well - that that man there (_indicates Di Nolli_) cannot be me; - because I am Henry IV., and have been, these twenty years, - cast in this eternal masquerade. She has lived these years - (_indicates the Marchioness_)! She has enjoyed them and has - become--look at her!--a woman I can no longer recognize. It - is so that I knew her (_points to Frida and draws near - her_)! This is the Marchioness I know, always this one!... - You seem a lot of children to be so easily frightened by - me.... (_To Frida_): And you're frightened too, little girl, - aren't you, by the jest that they made you take part - in--though they didn't understand it wouldn't be the jest - they meant it to be, for me? Oh miracle of miracles! Prodigy - of prodigies! The dream alive in you! More than alive in - you! It was an image that wavered there and they've made you - come to life! Oh, mine! You're mine, mine, mine, in my own - right! (_He holds her in his arms, laughing like a madman, - while all stand still terrified. Then as they advance to - tear Frida from his arms, he becomes furious, terrible and - cries imperiously to his valets_): Hold them! Hold them! I - order you to hold them! - - (_The four young men amazed, yet fascinated, move to execute - his orders, automatically, and seize Di Nolli, the doctor, - and Belcredi._) - - BELCREDI (_freeing himself_). Leave her alone! Leave her - alone! You're no madman! - - HENRY IV. (_In a flash draws the sword from the side of - Landolph, who is close to him_). I'm not mad, eh! Take that, - you!... (_Drives sword into him. A cry of horror goes up. - All rush over to assist Belcredi, crying out together_): - - DI NOLLI. Has he wounded you? - - BERTHOLD. Yes, yes, seriously! - - DOCTOR. I told you so! - - FRIDA. Oh God, oh God! - - DI NOLLI. Frida, come here! - - DONNA MATILDA. He's mad, mad! - - DI NOLLI. Hold him! - - BELCREDI (_while they take him away by the left exit, he - protests as he is borne out_). No, no, you're not mad! - You're not mad. He's not mad! - - (_They go out by the left amid cries and excitement. After a - moment, one hears a still sharper, more piercing cry from - Donna Matilda, and then, silence_). - - HENRY IV. (_who has remained on the stage between Landolph, - Harold and Ordulph, with his eyes almost starting out of his - head, terrified by the life of his own masquerade which has - driven him to crime_). Ah now ... yes now ... inevitably - (_calls his valets around him as if to protect him_) here - together ... here together ... for ever ... for ever. - - _Curtain._ - - - NOTE TO "HENRY IV." - - - With the author's consent and approval, the translator has - omitted a few lines from the original Italian where their - highly parenthetical character made the English version - unnecessarily complex. One or two allusions have also been - suppressed since they have not the same value in English as - in Italian.--E.S. - - - -RIGHT YOU ARE! (IF YOU THINK SO) - -(_Cosi e, se vi pare!_) - -A PARABLE IN THREE ACTS - -BY - -LUIGI PIRANDELLO - - -TRANSLATED BY - -ARTHUR LIVINGSTON - - - CHARACTERS - - LAMBERTO LAUDISI. SIGNORA FROLA. PONZA, - SON-IN-LAW OF SIGNORA FROLA. SIGNORA - PONZA, PONZA'S WIFE. COMMENDATORE - AGAZZI, A PROVINCIAL COUNCILLOR. - AMALIA, HIS WIFE. DINA, THEIR DAUGHTER. - SIRELLI. SIGNORA SIRELLI, HIS WIFE. THE - PREFECT. CENTURI, A POLICE - COMMISSIONER. SIGNORA CINI. SIGNORA - NENNI. A BUTLER. A NUMBER OF GENTLEMEN - AND LADIES. - - OUR OWN TIMES, IN A SMALL ITALIAN TOWN, - THE CAPITAL OF A PROVINCE. - - - - - -RIGHT YOU ARE! (IF YOU THINK SO) - - - - -ACT I - - - _The parlor in the house of Commendatore Agazzi._ - - _A door, the general entrance, at the back; doors leading to - the wings, left and right._ - - LAUDISI _is a man nearing the forties, quick and energetic - in his movements. He is smartly dressed, in good taste. At - this moment he is wearing a semi-formal street suit: a sack - coat, of a violet cast, with black lapels, and with black - braid around the edges; trousers of a light but different - color. Laudisi has a keen, analytical mind, but is impatient - and irritable in argument. Nevertheless, however angry he - gets momentarily, his good humor soon comes to prevail. Then - he laughs and lets people have their way, enjoying, - meanwhile, the spectacle of the stupidity and gullibility of - others._ - - AMALIA, _Agazzi's wife, is Laudisi's sister. She is a woman - of forty-five more or less. Her hair is already quite grey. - Signora Agazzi is always showing a certain sense of her own - importance from the position occupied by her husband in the - community; but she gives you to understand that if she had a - free rein she would be quite capable of playing her own part - in the world and, perhaps, do it somewhat better than - Commendatore Agazzi._ - - DINA _is the daughter of Amalia and Agazzi. She is nineteen. - Her general manner is that of a young person conscious of - understanding everything better than papa and mamma; but - this defect must not be exaggerated to the extent of - concealing her attractiveness and charm as a good-looking - winsome girl_. - - _As the curtain rises Laudisi is walking briskly up and down - the parlor to give vent to his irritation._ - - LAUDISI. I see, I see! So he did take the matter up with the - prefect! - - AMALIA. But Lamberto _dear_, please remember that the man is - a subordinate of his. - - LAUDISI. A subordinate of his ... very well! But a - subordinate in the office, not at home nor in society! - - DINA. And he hired an apartment for that woman, his - mother-in-law, right here in this very building, and on our - floor. - - LAUDISI. And why not, pray? He was looking for an apartment; - the apartment was for rent, so he leased it--for his - mother-in-law. You mean to say that a mother-in-law is in - duty bound to make advances to the wife and daughter of the - man who happens to be her son-in-law's superior on his job? - - AMALIA. That is not the way it is, Lamberto. We didn't ask - her to call on us. Dina and I took the first step by calling - on her and--she _refused_ to _receive_ us! - - LAUDISI. Well, is that any reason why your husband should go - and lodge a complaint with the man's boss? Do you expect the - government to order him to invite you to tea? - - AMALIA. I think he deserves all he gets! That is not the way - to treat two ladies. I hope he gets fired! The idea! - - LAUDISI. Oh, you women! I say, making that complaint is a - dirty trick. By Jove! If people see fit to keep to - themselves in their own houses, haven't they a right to? - - AMALIA. Yes, but you don't understand! We were trying to do - her a favor. She is new in the town. We wanted to make her - feel at home. - - DINA. Now, now, Nunky dear, don't be so cross! Perhaps we - did go there out of curiosity more than anything else; but - it's all so funny, isn't it! Don't you think it was natural - to feel just a little bit curious? - - LAUDISI. Natural be damned! It was none of your business! - - DINA. Now, see here, Nunky, let's suppose--here you are - right here minding your own business and quite indifferent - to what other people are doing all around you. Very well! I - come into the room and right here on this table, under your - very nose, and with a long face like an undertaker's, or, - rather, with the long face of that jailbird you are - defending, I set down--well, what?--anything--a pair of - dirty old shoes! - - LAUDISI. I don't see the connection. - - DINA. Wait, don't interrupt me! I said a pair of old shoes. - Well, no, not a pair of old shoes--a flat iron, a rolling - pin, or your shaving brush for instance--and I walk out - again without saying a word to anybody! Now I leave it to - you, wouldn't you feel justified in wondering just a little, - little, bit as to what in the world I meant by it? - - LAUDISI. Oh, you're irresistible, Dina! And you're clever, - aren't you? But you're talking with old Nunky, remember! You - see, you have been putting all sorts of crazy things on the - table here; and you did it with the idea of making me ask - what it's all about; and, of course, since you were doing - all that on purpose, you can't blame me if I do ask, why - those old shoes just there, on that table, dearie? But - what's all that got to do with it? You'll have to show me - now that this Mr. Ponza of ours, that jailbird as you say, - or that rascal, that boor, as your father calls him, brought - his mother-in-law to the apartment next to ours with the - idea of stringing us all! You've got to show me that he did - it on purpose! - - DINA. I don't say that he did it on purpose--not at all! But - you can't deny that this famous Mr. Ponza has come to this - town and done a number of things which are unusual, to say - the least; and which he must have known were likely to - arouse a very natural curiosity in everybody. Look Nunky, - here is a man: he comes to town to fill an important public - position, and--what does he do? Where does he go to live? He - hires an apartment on the _top_ floor, if you please, of - that dirty old tenement out there on the very outskirts of - the town. Now, I ask you--did you ever see the place? - Inside? - - LAUDISI. I suppose you went and had a look at it? - - DINA. Yes, Nunky dear, I went--with mamma! And we weren't - the only ones, you know. The whole town has been to have a - look at it. It's a five story tenement with an interior - court so dark at noontime you can hardly see your hand - before your face. Well, there is an iron balcony built out - from the fifth story around the courtyard. A basket is - hanging from the railing ... They let it up and down--on a - rope! - - LAUDISI. Well, what of it? - - DINA (_looking at him with astonished indignation_). What of - it? Well, there, if you please, is where he keeps his wife! - - AMALIA. While her mother lives here next door to us! - - LAUDISI. A fashionable apartment, for his mother-in-law, in - the residential district! - - AMALIA. Generous to the old lady, eh? But he does that to - keep her from seeing her daughter! - - LAUDISI. How do you know that? How do you know that the old - lady, rather, does not prefer this arrangement, just to have - more elbow room for herself? - - DINA. No, no, Nunky, you're wrong. Everybody knows that it - is he who is doing it. - - AMALIA. See here, Lamberto, everybody understands, if a - girl, when she marries, goes away from her mother to live - with her husband in some other town. But supposing this poor - mother can't stand being separated from her daughter and - follows her to the place, where she herself is also a - complete stranger. And supposing now she not only does not - live with her daughter, but is not even allowed to see her? - I leave it to you ... is that so easy to understand? - - LAUDISI. Oh say, you have about as much imagination as so - many mud turtles. A mother-in-law and a son-in-law! Is it so - hard to suppose that either through her fault or his fault - or the fault of both, they should find it hard to get along - together and should therefore consider it wiser to live - apart? - - DINA (_with another look of pitying astonishment at her - uncle_). How stupid of you, Nunky! The trouble is not - between the mother-in-law and the son-in-law, but between - the mother and the daughter. - - LAUDISI. How do you know that? - - DINA. Because he is as thick as pudding with the old lady; - because they are always together, arm in arm, and as loving - as can be. Mother-in-law and son-in-law, if you please! - Whoever heard the like of that? - - AMALIA. And he comes here every evening to see how the old - lady is getting on! - - DINA. And that is not the worst of it! Sometimes he comes - during the daytime, once or twice! - - LAUDISI. How scandalous! Do you think he is making love to - the old woman? - - DINA. Now don't be improper, uncle. No, we will acquit him - of that. She is a poor old lady, quite on her last legs. - - AMALIA. But he never, never, never brings his wife! A - daughter kept from seeing her mother! The idea! - - LAUDISI. Perhaps the young lady is not well; perhaps she - isn't able to go out. - - DINA. Nonsense! The old lady goes to see _her!_ - - AMALIA. Exactly! And she never gets in! She can see her only - from a distance. Now will you explain to me why, in the name - of common sense, that poor mother should be forbidden ever - to enter her daughter's house? - - DINA. And if she wants to talk to her she has to shout up - from the courtyard! - - AMALIA. Five stories, if you please!... And her daughter - comes out and looks down from the balcony up there. The poor - old woman goes into the courtyard and pulls a string that - leads up to the balcony; a bell rings; the girl comes out - and her mother talks up at her, her head thrown back, just - as though she were shouting from out of a well.... - - (_There is a knock at the door and the butler enters_). - - BUTLER. Callers, madam! - - AMALIA. Who is it, please? - - BUTLER. Signor Sirelli, and the Signora with another lady, - madam. - - AMALIA. Very well, show them in. - - (_The butler bows and withdraws_). - - _Sirelli, Signora Sirelli, Signora Cini appear in the - doorway, rear._ - - SIRELLI, _also a man of about forty, is a bald, fat - gentleman with some pretensions to stylish appearance that - do not quite succeed: the overdressed provincial_. - - SIGNORA SIRELLI, _his wife, plump, petite, a faded blonde, - still young and girlishly pleasing. She, too, is somewhat - overdressed with the provincial's fondness for display. She - has the aggressive curiosity of the small-town gossip. She - is chiefly occupied in keeping her husband in his place_. - - SIGNORA CINI _is the old provincial lady of affected - manners, who takes malicious delight in the failings of - others, all the while affecting innocence and inexperience - regarding the waywardness of mankind_. - - - AMALIA (_as the visitors enter, and taking Signora Sirelli's - hands effusively_). Dearest! Dearest! - - SIGNORA SIRELLI. I took the liberty of bringing my good - friend, Signora Cini, along. She was so anxious to know you! - - AMALIA. So good of you to come, Signora! Please make - yourself at home! My daughter Dina, Signora Cini, and this - is my brother, Lamberto Laudisi. - - SIRELLI (_bowing to the ladies_). Signora, Signorina. (_He - goes over and shakes hands with Laudisi._) - - SIGNORA SIRELLI. Amalia dearest, we have come here as to the - fountain of knowledge. We are two pilgrims athirst for the - truth! - - AMALIA. The truth? Truth about what? - - SIGNORA SIRELLI. Why ... about this blessed Mr. Ponza of - ours, the new secretary at the prefecture. He is the talk of - the town, take my word for it, Amalia. - - SIGNORA CINI. And we are all just dying to find out! - - AMALIA. But we are as much in the dark as the rest of you, I - assure you, madam. - - SIRELLI (_to his wife_). What did I tell you? They know no - more about it than I do. In fact, I think they know less - about it than I do. Why is it this poor woman is not allowed - to see her daughter? Do you know the reason, you people, the - real reason? - - AMALIA. Why, I was just discussing the matter with my - brother. - - LAUDISI. And my view of it is that you're all a pack of - gossips! - - DINA. The reason is, they say, that Ponza will not allow her - to. - - SIGNORA CINI. Not a sufficient reason, if I may say so, - Signorina. - - SIGNORA SIRELLI. Quite insufficient! There's more to it than - that! - - SIRELLI. I have a new item for you, fresh, right off the - ice: he keeps her locked up at home! - - AMALIA. His mother-in-law? - - SIRELLI. No, no, his wife! - - SIGNORA CINI. Under lock and key! - - DINA. There, Nunky, what have you to say to that? And you've - been trying to defend him all along! - - SIRELLI (_staring in astonishment at Laudisi_). Trying to - defend that man? Really.... - - LAUDISI. Defending him? No! I am not defending anybody. All - I'm saying, if you ladies will excuse me, is that all this - gossip is not worthy of you. More than that, you are just - wasting your breath; because, so far as I can see, you're - not getting anywhere at all. - - SIRELLI. I don't follow you, sir! - - LAUDISI. You're getting nowhere, my charming ladies! - - SIGNORA CINI. But we're trying to get somewhere--we are - trying to find out! - - LAUDISI. Excuse me, what can you find out? What can we - really know about other people--who they are--what they - are--what they are doing, and why they are doing it? - - SIGNORA SIRELLI. How can we know? Why not? By asking, of - course! You tell me what you know, and I tell you what I - know. - - LAUDISI. In that case, madam, you ought to be the best - informed person in the world. Why, your husband knows more - about what others are doing than any other man--or woman, - for that matter--in this neighborhood. - - SIRELLI (_deprecatingly but pleased_). Oh I say, I say.... - - SIGNORA SIRELLI (_to her husband_). No dear, he's right, - he's right. (_Then turning to Amalia_): The real truth, - Amalia, is this: for all my husband says he knows, I never - manage to keep posted on anything! - - SIRELLI. And no wonder! The trouble is--that woman never - trusts me! The moment I tell her something she is convinced - it is not _quite_ as I say. Then, sooner or later, she - claims that it _can't_ be as I say. And at last she is - certain it is the exact opposite of what I say! - - SIGNORA SIRELLI. Well, you ought to hear all he tells me! - - LAUDISI (_laughing aloud_). Hah! Hah! Hah! Hah! Hah! Hah! - Hah! May I speak, madam? Let me answer your husband. My dear - Sirelli, how do you expect your wife to be satisfied with - things as you explain them to her, if you, as is natural, - represent them as they seem to you? - - SIGNORA SIRELLI. And that means--as they cannot possibly be! - - LAUDISI. Why no, Signora, now you are wrong. From your - husband's point of view things are, I assure you, exactly as - he represents them. - - SIRELLI. As they are in reality! - - SIGNORA SIRELLI. Not at all! You are always wrong. - - SIRELLI. No, not a bit of it! It is you who are always - wrong. I am always right. - - LAUDISI. The fact is that neither of you is wrong. May I - explain? I will prove it to you. Now here you are, you, - Sirelli, and Signora Sirelli, your wife, there; and here I - am. You see me, don't you? - - SIRELLI. Well ... er ... yes. - - LAUDISI. Do you see me, or do you not? - - SIRELLI. Oh, I'll bite! Of course I see you. - - LAUDISI. So you see me! But that's not enough. Come here! - - SIRELLI (_smiling, he obeys, but with a puzzled expression - on his face as though he fails to understand what Laudisi is - driving at_). Well, here I am! - - LAUDISI. Yes! Now take a better look at me.... Touch me! - That's it--that's it! Now you are touching me, are you not? - And you see me! You're sure you see me? - - SIRELLI. Why, I should say.... - - LAUDISI. Yes, but the point is, you're sure! Of course - you're sure! Now if you please, Signora Sirelli, you come - here--or rather ... no ... (_gallantly_) it is my place to - come to you! (_He goes over to Signora Sirelli and kneels - chivalrously on one knee_). You see me, do you not, madam? - Now that hand of yours ... touch me! A pretty hand, on my - word! (_He pats her hand_). - - SIRELLI. Easy! Easy! - - LAUDISI. Never mind your husband, madam! Now, you have - touched me, have you not? And you see me? And you are - absolutely sure about me, are you not? Well now, madam, I - beg of you; do not tell your husband, nor my sister, nor my - niece, nor Signora Cini here, what you think of me; because, - if you were to do that, they would all tell you that you are - completely wrong. But, you see, you are really right; - because I am really what you take me to be; though, my dear - madam, that does not prevent me from also being really what - your husband, my sister, my niece, and Signora Cini take me - to be--because they also are absolutely right! - - SIGNORA SIRELLI. In other words you are a different person - for each of us. - - LAUDISI. Of course I'm a different person! And you, madam, - pretty as you are, aren't you a different person, too? - - SIGNORA SIRELLI (_hastily_). No siree! I assure you, as far - as I'm concerned, I'm always the same always, yesterday, - today, and forever! - - LAUDISI. Ah, but so am I, from my point of view, believe me! - And, I would say that you are all mistaken unless you see me - as I see myself; but that would be an inexcusable - presumption on my part--as it would be on yours, my dear - madam! - - SIRELLI. And what has all this rigmarole got to do with it, - may I ask? - - LAUDISI. What has it got to do with it? Why ... I find all - you people here at your wits' ends trying to find out who - and what other people are; just as though other people had - to be this, or that, and nothing else. - - SIGNORA SIRELLI. All you are saying is that we can never - find out the truth! A dreadful idea! - - SIGNORA CINI. I give up! I give up! If we can't believe even - what we see with our eyes and feel with our fingers.... - - LAUDISI. But you must understand, madam! Of course you can - believe what you see with _your_ eyes and feel with _your_ - fingers. All I'm saying is that you should show some respect - for what other people see with their eyes and feel with - their fingers, even though it be the exact opposite of what - you see and feel. - - SIGNORA SIRELLI. The way to answer you is to refuse to talk - with you. See, I turn my back on you! I am going to move my - chair around and pretend you aren't in the room. Why, you're - driving me crazy, crazy! - - LAUDISI. Oh, I beg your pardon. Don't let me interfere with - your party. Please go on! Pray continue your argument about - Signora Frola and Signor Ponza--I promise not to interrupt - again! - - AMALIA. You're right for once, Lamberto; and I think it - would be even better if you should go into the other room. - - DINA. Serves you right, Nunky! Into the other room with you, - into the other room! - - LAUDISI. No, I refuse to budge! Fact is, I enjoy hearing you - gossip; but I promise not to say anything more, don't fear! - At the very most, with your permission, I shall indulge in a - laugh or two. - - SIGNORA SIRELLI. How funny ... and our idea in coming here - was to find out.... But really, Amalia, I thought this Ponza - man was your husband's secretary at the Provincial building. - - AMALIA. He is his secretary--in the office. But here at home - what authority has Agazzi over the fellow? - - SIGNORA SIRELLI. Of course! I understand! But may I ask ... - haven't you even tried to see Signora Frola, next door? - - DINA. Tried? I should say we had! Twice, Signora! - - SIGNORA CINI. Well ... so then ... you have probably talked - to her.... - - DINA. We were not _received_, if you please! - - SIGNORA SIRELLI, SIRELLI, SIGNORA CINI (_in chorus_). Not - received? Why! Why! Why! - - DINA. This very forenoon! - - AMALIA. The first time we waited fully fifteen minutes at - the door. We rang and rang and rang, and no one came. Why, - we weren't even able to leave our cards! So we went back - today.... - - DINA (_throwing up her hands in an expression of horror_). - And _he_ came to the door. - - SIGNORA SIRELLI. Why yes, with that face of his ... you can - tell by just looking at the man.... Such a face! Such a - face! You can't blame people for talking! And then, with - that black suit of his.... Why, they all dress in black. Did - you ever notice? Even the old lady! And the man's eyes, - too!... - - SIRELLI (_with a glance of pitying disgust at his wife_). - What do you know about his eyes? You never saw his eyes! And - you never saw the woman. How do you know she dresses in - black? _Probably_ she dresses in black.... By the way, they - come from a little town in the next county. Had you heard - that? A village called Marsica! - - AMALIA. Yes, the village that was destroyed a short time - ago. - - SIRELLI. Exactly! By an earthquake! Not a house left - standing in the place. - - DINA. And all their relatives were lost, I have heard. Not - one of them left in the world! - - SIGNORA CINI (_impatient to get on with the story_). Very - well, very well, so then ... he came to the door.... - - AMALIA. Yes.... And the moment I saw him in front of me with - that weird face of his I had hardly enough gumption left to - tell him that we had just come to call on his mother-in-law, - and he ... well ... not a word, not a word ... not even a - "thank you," if you please! - - DINA. That is not quite fair, mama: ... he did bow! - - AMALIA. Well, yes, a bow ... if you want to call it that. - Something like this!... - - DINA. And his eyes! You ought to see his eyes--the eyes of a - devil, and then some! You never saw a man with eyes like - that! - - SIGNORA CINI. Very well, what did he say, finally? - - DINA. He seemed quite taken aback. - - AMALIA. He was all confused like; He hitched about for a - time; and at last he said that Signora Frola was not feeling - well, but that she would appreciate our kindness in having - come; and then he just stood there, and stood there, - apparently waiting for us to go away. - - DINA. I never was more mortified in my life! - - SIRELLI. A boor, a plain boor, I say! Oh, it's his fault, I - am telling you. And ... who knows? Perhaps he has got the - old lady also under lock and key. - - SIGNORA SIRELLI. Well, I think something should be done - about it!... After all, you are the wife of a superior of - his. You can _refuse_ to be treated like that. - - AMALIA. As far as that goes, my husband did take it rather - badly--as a lack of courtesy on the man's part; and he went - straight to the prefect with the matter, insisting on an - apology. - - _Signor Agazzi, commendatore and provincial councillor, - appears in the doorway rear._ - - DINA. Oh goody, here's papa now! - - AGAZZI _is well on toward fifty. He has the harsh, - authoritarian manner of the provincial of importance. Red - hair and beard, rather unkempt; gold-rimmed eyeglasses_. - - AGAZZI. Oh Sirelli, glad to see you! (_He steps forward and - bows to the company_). - - AGAZZI. Signora!... (_He shakes hands with Signora - Sirelli_). - - AMALIA (_introducing Signora Cini_). My husband, Signora - Cini! - - AGAZZI (_with a bow and taking her hand_). A great pleasure, - madam! (_Then turning to his wife and daughter in a - mysterious voice_): I have come back from the office to give - you some real news! Signora Frola will be here shortly. - - SIGNORA SIRELLI (_clapping her hands delightedly_). Oh, the - mother-in-law! She is coming? Really? Coming here? - - SIRELLI (_going over to Agazzi and pressing his hand warmly - as an expression of admiration_). That's the talk, old man, - that's the talk! What's needed here is some show of - authority. - - AGAZZI. Why I had to, you see, I had to!... I can't let a - man treat my wife and daughter that way!... - - SIRELLI. I should say not! I was just expressing myself to - that effect right here. - - SIGNORA SIRELLI. And it would have been entirely proper to - inform the prefect also.... - - AGAZZI (_anticipating_). ... of all the talk that is going - around on this fine gentleman's account? Oh, leave that to - me! I didn't miss the opportunity. - - SIRELLI. Fine! Fine! - - SIGNORA CINI. And such talk! - - AMALIA. For my part, I never heard of such a thing. Why, do - you know, he has them both under lock and key! - - DINA. No, mama, we are not _quite_ sure of that. We are not - _quite_ sure about the old lady, yet. - - AMALIA. Well, we know it about his wife, anyway. - - SIRELLI. And what did the prefect have to say? - - AGAZZI. Oh the prefect ... well, the prefect ... he was very - much impressed, _very_ much impressed, with what I had to - say. - - SIRELLI. I should hope so! - - AGAZZI. You see, some of the talk had reached his ears - already. And he agrees that it is better, as a matter of his - own official prestige, for all this mystery in connection - with one of his assistants to be cleared up, so that once - and for all we shall know the truth. - - LAUDISI. Hah, hah, hah, hah, hah, hah, hah! - - AMALIA. That is Lamberto's usual contribution. He laughs! - - AGAZZI. And what is there to laugh about? - - SIGNORA SIRELLI. Why he says that no one can ever know the - truth. - - - (_The butler appears at the door in back set_). - - THE BUTLER. Excuse me, Signora Frola! - - SIRELLI. Ah, here she is now! - - AGAZZI. Now we'll see if we can settle it! - - SIGNORA SIRELLI. Splendid! Oh, I am so glad I came. - - AMALIA (_rising_). Shall we have her come in? - - AGAZZI. Wait, you keep your seat, Amalia! Let's have her - come right in here. (_Turning to the butler_). Show her in! - - _Exit butler._ - - _A moment later all rise as Signora Frola enters, and Amalia - steps forward, holding out her hand in greeting._ - - SIGNORA FROLA _is a slight, modestly but neatly dressed old - lady, very eager to talk and apparently fond of people. - There is a world of sadness in her eyes, tempered however, - by a gentle smile that is constantly playing about her - lips._ - - AMALIA. Come right in, Signora Frola! (_She takes the old - lady's hand and begins the introductions_). Mrs. Sirelli, a - good friend of mine; Signora Cini; my husband; Mr. Sirelli; - and this is my daughter, Dina; my brother Lamberto Laudisi. - Please take a chair, Signora! - - SIGNORA FROLA. Oh, I am so very, very sorry! I have come to - excuse myself for having been so negligent of my social - duties. You, Signora Agazzi, were so kind, so very kind, to - have honored me with a first call--when really it was my - place to leave my card with you! - - AMALIA. Oh, we are just neighbors, Signora Frola! Why stand - on ceremony? I just thought that you, being new in town and - all alone by yourself, would perhaps like to have a little - company. - - SIGNORA FROLA. Oh, how very kind of you it was! - - SIGNORA SIRELLI. And you are quite alone, aren't you? - - SIGNORA FROLA. Oh no! No! I have a daughter, married, though - she hasn't been here very long, either. - - SIRELLI. And your daughter's husband is the new secretary at - the prefecture, Signor Ponza, I believe? - - SIGNORA FROLA. Yes, yes, exactly! And I hope that Signor - Agazzi, as his superior, will be good enough to excuse - me--and him, too! - - AGAZZI. I will be quite frank with you, madam! I was a bit - put out. - - SIGNORA FROLA (_interrupting_). And you were quite right! - But I do hope you will forgive him. You see, we are - still--what shall I say--still so upset by the terrible - things that have happened to us.... - - AMALIA. You went through the earthquake, didn't you? - - SIGNORA SIRELLI. And you lost all your relatives? - - SIGNORA FROLA. Every one of them! All our family--yes, - madam. And our village was left just a miserable ruin, a - pile of bricks and stones and mortar. - - SIRELLI. Yes, we heard about it. - - SIGNORA FROLA. It wasn't so bad for me, I suppose. I had - only one sister and her daughter, and my niece had no - family. But my poor son-in-law had a much harder time of it. - He lost his mother, two brothers, and their wives, a sister - and her husband, and there were two little ones, his - nephews. - - SIRELLI. A massacre! - - SIGNORA FROLA. Oh, one doesn't forget such things! You see, - it sort of leaves you with your feet off the ground. - - AMALIA. I can imagine. - - SIGNORA SIRELLI. And all over-night with no warning at all! - It's a wonder you didn't go mad. - - SIGNORA FROLA. Well, you see, we haven't quite gotten our - bearings yet; and we do things that may seem impolite, - without in the least intending to. I hope you understand! - - AGAZZI. Oh please, Signora Frola, of course! - - AMALIA. In fact it was partly on account of your trouble - that my daughter and I thought we ought to go to see you - first. - - SIGNORA SIRELLI (_literally writhing with curiosity_). Yes, - of course, since they saw you all alone by yourself, and yet - ... excuse me, Signora Frola ... if the question doesn't - seem impertinent ... how is it that when you have a daughter - here in town and after a disaster like the one you have been - through ... I should think you people would all stand - together, that you would need one another. - - SIGNORA FROLA. Whereas I am left here all by myself? - - SIRELLI. Yes, exactly. If does seem strange, to tell the - honest truth. - - SIGNORA FROLA. Oh, I understand--of course! But you know, I - have a feeling that a young man and a young woman who have - married should be left a good deal to themselves. - - LAUDISI. Quite so, quite so! They should be left to - themselves. They are beginning a life of their own, a life - different from anything they have led before. One should not - interfere in these relations between a husband and a wife! - - SIGNORA SIRELLI. But there are limits to everything, - Laudisi, if you will excuse me! And when it comes to - shutting one's own mother out of one's life.... - - LAUDISI. Who is shutting her out of the girl's life? Here, - if I have understood the lady, we see a mother who - understands that her daughter cannot and must not remain so - closely associated with her as she was before, for now the - young woman must begin a new life on her own account. - - SIGNORA FROLA (_with evidence of keen gratitude and - relief_). You have hit the point exactly, sir. You have said - what I would like to have said. You are exactly right! Thank - you! - - SIGNORA CINI. But your daughter, I imagine, often comes to - see you.... - - SIGNORA FROLA (_hesitating, and manifestly ill at ease_). - Why yes ... I ... I ... we do see each other, of course! - - SIRELLI (_quickly pressing the advantage_). But your - daughter never goes out of her house! At least no one in - town has ever seen her. - - SIGNORA CINI. Oh, she probably has her little ones to take - care of. - - SIGNORA FROLA (_speaking up quickly_). No, there are no - children yet, and perhaps there won't be any, now. You see, - she has been married seven years. Oh, of course, she has a - lot to do about the house; but that is not the reason, - really. You know, we women who come from the little towns in - the country--we are used to staying indoors much of the - time. - - AGAZZI. Even when your mothers are living in the same town, - but not in your house? You prefer staying indoors to going - and visiting your mothers? - - AMALIA. But it's Signora Frola probably who visits her - daughter. - - SIGNORA FROLA (_quickly_). Of course, of course, why not! I - go there once or twice a day. - - SIRELLI. And once or twice a day you climb all those stairs - up to the fifth story of that tenement, eh? - - SIGNORA FROLA (_growing pale and trying to conceal under a - laugh the torture of that cross-examination_). Why ... er - ... to tell the truth, I don't go up. You're right, five - flights would be quite too much for me. No, I don't go up. - My daughter comes out on the balcony in the courtyard and - ... well ... we see each other ... and we talk! - - SIGNORA SIRELLI. And that's all, eh? How terrible! You never - see each other more intimately than that? - - DINA. I have a mama and certainly I wouldn't expect her to - go up five flights of stairs to see me, either; but at the - same time I could never stand talking to her that way, - shouting at the top of my lungs from a balcony on the fifth - story. I am sure I should want a kiss from her occasionally, - and feel her near me, at least. - - SIGNORA FROLA (_with evident signs of embarrassment and - confusion_). And you're right! Yes, exactly ... quite right! - I must explain. Yes ... I hope you people are not going to - think that my daughter is something she really is not. You - must not suspect her of having so little regard for me and - for my years, and you mustn't believe that I, her mother, am - ... well ... five, six, even more stories to climb would - never prevent a real mother, even if she were as old and - infirm as I am, from going to her daughter's side and - pressing her to her heart with a real mother's love ... oh - no! - - SIGNORA SIRELLI (_triumphantly_). There you have it, there - you have it, just as we were saying! - - SIGNORA CINI. But there must be a reason, there must be a - reason! - - AMALIA (_pointedly to her brother_). Aha, Lamberto, now you - see, there _is_ a reason, after all! - - SIRELLI (_insisting_). Your son-in-law, I suppose? - - SIGNORA FROLA. Oh please, please, please, don't think badly - of _him_. He is such a very good boy. Good is no name for - it, my dear sir. You can't imagine all he does for me! Kind, - attentive, solicitous for my comfort, everything! And as for - my daughter--I doubt if any girl ever had a more - affectionate and well-intentioned husband. No, on that point - I am proud of myself! I could not have found a better man - for her. - - SIGNORA SIRELLI. Well then.... What? What? _What?_ - - SIGNORA CINI. So your son-in-law is not the reason? - - AGAZZI. I never thought it was his fault. Can you imagine a - man forbidding his wife to call on her mother, or preventing - the mother from paying an occasional visit to her daughter? - - SIGNORA FROLA. Oh, it's not a case of forbidding! Who ever - dreamed of such a thing! No, it's we, Commendatore, I and my - daughter, that is. Oh, please, believe me! We refrain from - visiting each other of our own accord, out of consideration - for him, you understand. - - AGAZZI. But excuse me ... how in the world could he be - offended by such a thing? I _don't_ understand. - - SIGNORA FROLA. Oh, please don't be angry, Signor Agazzi. You - see it's a ... what shall I say ... a feeling ... that's it, - a feeling, which it would perhaps be very hard for anyone - else to understand; and yet, when you do understand it, it's - all so simple, I am sure ... so simple ... and believe me, - my dear friends, it is no slight sacrifice that I am making, - and that my daughter is making, too. - - AGAZZI. Well, one thing you will admit, madam. This is a - very, very unusual situation. - - SIRELLI. Unusual, indeed! And such as to justify a curiosity - even more persistent than ours. - - AGAZZI. It is not only unusual, madam. I might even say it - is suspicious. - - SIGNORA FROLA. Suspicious? You mean you suspect Signor - Ponza? Oh please, Commendatore, don't say that. What fault - can you possibly find with him, Signor Agazzi? - - AGAZZI. I didn't say just that.... Please don't - misunderstand! I said simply that the situation is so very - strange that people might legitimately suspect.... - - SIGNORA FROLA. Oh, no, no, no! What could they suspect. We - are in perfect agreement, all of us; and we are really quite - happy, very happy, I might even say ... both I and my - daughter. - - SIGNORA SIRELLI. Perhaps it's a case of jealousy? - - SIGNORA FROLA. Jealousy of me? It would be hardly fair to - say that, although ... really ... oh, it is so hard to - explain!... You see, he is in love with my daughter, so much - so that he wants her whole heart, her every thought, as it - were, for himself; so much so that he insists that the - affections which my daughter must have for me, her - mother--he finds that love quite natural of course, why not? - Of course he does!--should reach me through him--that's it, - through him--don't you understand? - - AGAZZI. Oh, that is going pretty strong! No, I don't - understand. In fact it seems to me a case of downright - cruelty! - - SIGNORA FROLA. Cruelty? No, no, please don't call it - cruelty, Commendatore. It is something else, believe me! You - see it's so hard for me to explain the matter. Nature, - perhaps ... but no, that's hardly the word. What shall I - call it? Perhaps a sort of disease. It's a fullness of love, - of a love shut off from the world. There, I guess that's it - ... a fullness ... a completeness of devotion in which his - wife must live without ever departing from it, and into - which no other person must ever be allowed to enter. - - DINA. Not even her mother, I suppose? - - SIRELLI. It is the worst case of selfishness I ever heard - of, if you want my opinion! - - SIGNORA FROLA. Selfishness? Perhaps! But a selfishness, - after all, which offers itself wholly in sacrifice. A case - where the selfish person gives all he has in the world to - the one he loves. Perhaps it would be fairer to call me - selfish; for selfish it surely is for me to be always trying - to break into this closed world of theirs, break in by force - if necessary; when I know that my daughter is really so - happy, so passionately adored--you ladies understand, don't - you? A true mother should be satisfied when she knows her - daughter is happy, oughtn't she? Besides I'm not completely - separated from my daughter, am I? I see her and I speak to - her (_She assumes a more confidential tone_). You see, when - she lets down the basket there in the courtyard I always - find a letter in it--a short note, which keeps me posted on - the news of the day; and I put in a little letter that I - have written. That is some consolation, a great consolation - indeed, and now, in course of time, I've grown used to it. I - am resigned, there! Resignation, that's it! And I've ceased - really to suffer from it at all. - - AMALIA. Oh well then, after all, if you people are - satisfied, why should.... - - SIGNORA FROLA (_rising_). Oh yes, yes! But, remember, I told - you he is such a good man! Believe me, he couldn't be - better, really! We all have our weaknesses in this world, - haven't we! And we get along best by having a little - charity, a little indulgence, for one another. (_She holds - out her hand to Amalia_). Thank you for calling, madam. - (_She bows to Signora Sirelli, Signora Cini, and Dina; then - turning to Agazzi, she continues_): And I do hope you have - forgiven me! - - AGAZZI. Oh, my dear madam, please, please! And we are - extremely grateful for your having come to call on us. - - SIGNORA FROLA (_offering her hand to Sirelli and Laudisi and - again turning to Amalia who has risen to show her out_). Oh - no, please, Signora Agazzi, please stay here with your - friends! Don't put yourself to any trouble! - - AMALIA. No, no, I will go with you; and believe me, we were - very, very glad to see you! - - (_Exit Signora Frola with Amalia showing her the way. Amalia - returns immediately_). - - SIRELLI. Well, there you have the story, ladies and - gentlemen! Are you satisfied with the explanation? - - AGAZZI. An explanation, you call it? So far as I can see she - has explained nothing. I tell you there is some big mystery - in all this business. - - SIGNORA SIRELLI. That poor woman! Who knows what torment she - must be suffering? - - DINA. And to think of that poor girl! - - SIGNORA CINI. She could hardly keep in her tears as she - talked. - - AMALIA. Yes, and did you notice when I mentioned all those - stairs she would have to climb before really being able to - see her daughter? - - LAUDISI. What impressed me was her concern, which amounted - to a steadfast determination, to protect her son-in-law from - the slightest suspicion. - - SIGNORA SIRELLI. Not at all, not at all! What could she say - for him? She couldn't really find a single word to say for - him. - - SIRELLI. And I would like to know how anyone could condone - such violence, such downright cruelty! - - THE BUTLER (_appearing again in the doorway_). Beg pardon, - sir! Signor Ponza calling. - - SIGNORA SIRELLI. The man himself, upon my word! - - (_An animated ripple of surprise and curiosity, not to say - of guilty self-consciousness, sweeps over the company_). - - AGAZZI. Did he ask to see me? - - BUTLER. He asked simply if he might be received. That was - all he said. - - SIGNORA SIRELLI. Oh please, Signor Agazzi, please let him - come in! I am really afraid of the man; but I confess the - greatest curiosity to have a close look at the monster. - - AMALIA. But what in the world can he be wanting? - - AGAZZI. The way to find that out is to have him come in. - (_To the butler_): Show him in, please. - - (_The butler bows and goes out. A second later Ponza - appears, aggressively, in the doorway_. - - - PONZA _is a short, thick set, dark complexioned man of a - distinctly unprepossessing appearance; black hair, very - thick and coming down low over his forehead; a black - mustache upcurling at the ends, giving his face a certain - ferocity of expression. He is dressed entirely in black. - From time to time he draws a black-bordered handkerchief and - wipes the perspiration from his brow. When he speaks his - eyes are invariably hard, fixed, sinister_.) - - AGAZZI. This way please, Ponza, come right in! (_introducing - him_): Signor Ponza, our new provincial secretary; my wife; - Signora Sirelli; Signora Cini, my daughter Dina. This is - Signor Sirelli; and here is Laudisi, my brother-in-law. - Please join our party, won't you, Ponza? - - PONZA. So kind of you! You will pardon the intrusion. I - shall disturb you only a moment, I hope. - - AGAZZI. You had some private business to discuss with me? - - PONZA. Why yes, but I could discuss it right here. In fact, - perhaps as many people as possible should hear what I have - to say. You see it is a declaration that I owe, in a certain - sense, to the general public. - - AGAZZI. Oh my dear Ponza, if it is that little matter of - your mother-in-law's not calling on us, it is quite all - right; because you see.... - - PONZA. No, that was not what I came for, Commendatore. It - was not to apologize for her. Indeed I may say that Signora - Frola, my wife's mother, would certainly have left her cards - with Signora Agazzi, your wife, and Signorina Agazzi, your - daughter, long before they were so kind as to honor her with - their call, had I not exerted myself to the utmost to - prevent her coming, since I am absolutely unable to consent - to her passing or receiving visits! - - AGAZZI (_drawing up into an authoritative attitude and - speaking with some severity_). Why? if you will be so kind - as to explain, Ponza? - - PONZA (_with evidences of increasing excitement in spite of - his efforts to preserve his self-control_). I suppose my - mother-in-law has been talking to you people about her - daughter, my wife. Am I mistaken? And I imagine she told you - further that I have forbidden her entering my house and - seeing her daughter intimately. - - AMALIA. Oh not at all, not at all, Signor Ponza! Signora - Frola had only the nicest things to say about you. She could - not have spoken of you with greater respect and kindness. - - DINA. She seems to be very fond of you indeed. - - AGAZZI. She says that she refrains from visiting your house - of her own accord, out of regard for feelings of yours which - we frankly confess we are unable to understand. - - SIGNORA SIRELLI. Indeed, if we were to express our honest - opinion.... - - AGAZZI. Well, yes, why not be honest? We think you are - extremely harsh with the woman, extremely harsh, perhaps - cruel would be an exacter word. - - PONZA. Yes, that is what I thought; and I came here for the - express purpose of clearing the matter up. The condition - this poor woman is in is a pitiable one indeed--not less - pitiable than my own perhaps; because, as you see, I am - compelled to come here and make apologies--a public - declaration--which only such violence as has just been used - upon me could ever bring me to make in the world.... (_He - stops and looks about the room. Then he says slowly with - emphatic emphasis on the important syllables_): My - mother-in-law, Signora Frola, is not in her right mind! She - is insane. - - THE COMPANY. Insane! A lunatic! Oh my! Really! No! - Impossible! - - PONZA. And she has been insane for four years. - - SIGNORA SIRELLI. Dear me, who would ever have suspected it! - She doesn't show it in the least. - - AGAZZI. Insane? Are you sure? - - PONZA. She doesn't show it, does she? But she is insane, - nevertheless; and her delusion consists precisely in - believing that I am forbidding her to see her daughter. - (_His face takes on an expression of cruel suffering mingled - with a sort of ferocious excitement_). What daughter, for - God's sake? Why her daughter died four years ago! (_A - general sensation_). - - EVERYONE AT ONCE. Died? She is dead? What do you mean? Oh, - really? Four years ago? Why! Why! - - PONZA. Four years ago! In fact it was the death of the poor - girl that drove her mad. - - SIRELLI. Are we to understand that the wife with whom you - are now living.... - - PONZA. Exactly! She is my second wife. I married her two - years ago. - - AMALIA. And Signora Frola believes that her daughter is - still living, that she is your wife still? - - PONZA. Perhaps it was best for her that way. She was in - charge of a nurse in her own room, you see. Well, when she - chanced to see me passing by inadvertence on her street one - day, with this woman, my second wife, she suddenly began to - laugh and cry and tremble all over in an extreme of - happiness. She was sure her daughter, whom she had believed - dead, was alive and well; and from a condition of desperate - despondency which was the first form of her mental - disturbance, she entered on a second obsession, believing - steadily that her daughter was not dead at all; but that I, - the poor girl's husband, am so completely in love with her - that I want her wholly for myself and will not allow anyone - to approach her. She became otherwise quite well, you might - say. Her nervousness disappeared. Her physical condition - improved, and her powers of reasoning returned quite clear. - Judge for yourself, ladies and gentlemen! You have seen her - and talked with her. You would never suspect in the world - that she is crazy. - - AMALIA. Never in the world! Never! - - SIGNORA SIRELLI. And the poor woman says she is so happy, so - happy! - - PONZA. That is what she says to everybody; and for that - matter she really has a wealth of affection and gratitude - for me; because, as you may well suppose, I do my very best, - in spite of the sacrifices entailed, to keep up this - beneficial illusion in her. The sacrifices you can readily - understand. In the first place I have to maintain two homes - on my small salary. Then it is very hard on my wife, isn't - it? But she, poor thing, does the very best she can to help - me out! She comes to the window when the old lady appears. - She talks to her from the balcony. She writes letters to - her. But you people will understand that there are limits to - what I can ask of my poor wife. Signora Frola, meanwhile, - lives practically in confinement. We have to keep a pretty - close watch on her. We have to lock her up, virtually. - Otherwise, some fine day she would be walking right into my - house. She is of a gentle, placid disposition fortunately; - but you understand that my wife, good as she is, could never - bring herself to accepting caresses intended for another - woman, a dead woman! That would be a torment beyond - conception. - - AMALIA. Oh, of course! Poor woman! Just imagine! - - SIGNORA SIRELLI. And the old lady herself consents to being - locked up all the time? - - PONZA. You, Commendatore, will understand that I couldn't - permit her calling here except under absolute constraint. - - AGAZZI. I understand perfectly, my dear Ponza, and you have - my deepest sympathy. - - PONZA. When a man has a misfortune like this fall upon him - he must not go about in society; but of course when, by - complaining to the prefect, you practically compelled me to - have Signora Frola call, it was my duty to volunteer this - further information; because, as a public official, and with - due regard for the post of responsibility I occupy, I could - not allow any discredible suspicions to remain attached to - my reputation. I could not have you good people suppose for - a moment that, out of jealousy or for any other reason, I - could ever prevent a poor suffering mother from seeing her - own daughter. (_He rises_). Again my apologies for having - intruded my personal troubles upon your party. (_He bows_). - My compliments, Commendatore. Good afternoon, good - afternoon! Thank you! (_Bowing to Laudisi, Sirelli, and the - others in turn, he goes out through the door, rear_). - - AMALIA (_with a sigh of sympathy and astonishment_). Uhh! - Crazy! What do you think of that? - - SIGNORA SIRELLI. The poor old thing! But you wouldn't have - believed it, would you? - - DINA. I always knew there was something under it all. - - SIGNORA CINI. But who could ever have guessed.... - - AGAZZI. Oh, I don't know, I don't know! You could tell from - the way she talked.... - - LAUDISI. You mean to say that you thought...? - - AGAZZI. No, I can't say that. But at the same time, if you - remember, she could never quite find her words. - - SIGNORA SIRELLI. How could she, poor thing, out of her head - like that? - - SIRELLI. And yet, if I may raise the question, it seems - strange to me that an insane person ... oh, I admit that she - couldn't really talk rationally ... but what surprises me is - her trying to find a reason to explain why her son-in-law - should be keeping her away from her daughter. This effort of - hers to justify it and then to adapt herself to excuses of - her own invention.... - - AGAZZI. Yes, but that is only another proof that she's - insane. You see, she kept offering excuses for Ponza that - really were not excuses at all. - - AMALIA. Yes, that's so. She would say a thing without really - saying it, taking it back almost in the next words. - - AGAZZI. But there is one more thing. If she weren't a - downright lunatic, how could she or my other woman ever - accept such a situation from a man? How could she ever - consent to talk with her own daughter only by shouting up - from the bottom of a well five stories deep? - - SIRELLI. But if I remember rightly she has you there! - Notice, she doesn't accept the situation. She says she is - resigned to it. That's different! No, I tell you, there is - still something funny about this business. What do you say, - Laudisi? - - LAUDISI. Why, I say nothing, nothing at all! - - THE BUTLER (_appearing at the door and visibly excited_). - Beg pardon, Signora Frola is here again! - - AMALIA (_with a start_). Oh dear me, again? Do you suppose - she'll be pestering us all the time now? - - SIGNORA SIRELLI. I understand how you feel now that you know - she's a lunatic. - - SIGNORA CINI. My, my, what do you suppose she is going to - say now? - - SIRELLI. For my part I'd really like to hear what she's got - to say. - - DINA. Oh yes, mamma, don't be afraid! Ponza said she was - quite harmless. Let's have her come in. - - AGAZZI. Of course, we can't send her away. Let's have her - come in; and, if she makes any trouble, why ... (_Turning to - the butler_): Show her in. (_The butler bows and - withdraws_). - - AMALIA. You people stand by me, please! Why, I don't know - what I am ever going to say to her now! - - (_Signora Frola appears at the door. Amalia rises and steps - forward to welcome her. The others look on in astonished - silence_). - - SIGNORA FROLA. May I please...? - - AMALIA. Do come in, Signora Frola, do come in! You know all - these ladies. They were here when you came before. - - SIGNORA FROLA (_with an expression of sadness on her - features, but still smiling gently_). How you all look at - me--and even you, Signora Agazzi! I am sure you think I am a - lunatic, don't you! - - AMALIA. My dear Signora Frola, what in the world are you - talking about? - - SIGNORA FROLA. But I am sure you will forgive me if I - disturb you for a moment. (_Bitterly_): Oh, my dear Signora - Agazzi, I wish I had left things as they were. It was hard - to feel that I had been impolite to you by not answering the - bell when you called that first time; but I could never have - supposed that you would come back and force me to call upon - you. I could foresee the consequences of such a visit from - the very first. - - AMALIA. Why, not at all, not at all! I don't understand. - Why? - - DINA. What consequences could you foresee, madam? - - SIGNORA FROLA. Why, my son-in-law, Signor Ponza, has just - been here, hasn't he? - - AGAZZI. Why, yes, he was here! He came to discuss certain - office matters with me ... just ordinary business, you - understand! - - SIGNORA FROLA (_visibly hurt and quite dismayed_). Oh, I - know you are saying that just to spare me, just in order not - to hurt my feelings. - - AGAZZI. Not at all, not at all! That was really why he came. - - SIGNORA FROLA (_with some alarm_). But he was quite calm, I - hope, quite calm? - - AGAZZI. Calm? As calm as could be! Why not? Of course! - - (_The members of the company all nod in confirmation_). - - SIGNORA FROLA. Oh, my dear friends, I am sure you are trying - to reassure me; but as a matter of fact I came to set you - right about my son-in-law. - - SIGNORA SIRELLI. Why no, Signora, what's the trouble? - - AGAZZI. Really, it was just a matter of politics we talked - about.... - - SIGNORA FROLA. But I can tell from the way you all look at - me.... Please excuse me, but it is not a question of me at - all. From the way you all look at me I can tell that he came - here to prove something that I would never have confessed - for all the money in the world. You will all bear me out, - won't you? When I came here a few moments ago you all asked - me questions that were very cruel questions to me, as I hope - you will understand. And they were questions that I couldn't - answer very well; but anyhow I gave an explanation of our - manner of living which can be satisfactory to nobody, I am - well aware. But how could I give you the real reason? How - could I tell you people, as he's doing, that my daughter has - been dead for four years and that I'm a poor, insane mother - who believes that her daughter is still living and that her - husband will not allow me to see her? - - AGAZZI (_quite upset by the ring of deep sincerity he finds - in Signora Frola's manner of speaking_). What do you mean, - your daughter? - - SIGNORA FROLA (_hastily and with anguished dismay written on - her features_). You know that's so. Why do you try to deny - it? He did say that to you, didn't he? - - SIRELLI (_with some hesitation and studying her features - warily_). Yes ... in fact ... he did say that. - - SIGNORA FROLA. I know he did; and I also know how it pained - him to be obliged to say such a thing of me. It is a great - pity, Commendatore! We have made continual sacrifices, - involving unheard of suffering, I assure you; and we could - endure them only by living as we are living now. - Unfortunately, as I well understand, it must look very - strange to people, seem even scandalous, arouse no end of - gossip! But after all, if he is an excellent secretary, - scrupulously honest, attentive to his work, why should - people complain? You have seen him in the office, haven't - you? He is a good worker, isn't he? - - AGAZZI. To tell the truth, I have not watched him - particularly, as yet. - - SIGNORA FROLA. Oh he really is, he really is! All the men he - ever worked for say he's most reliable; and I beg of you, - please don't let this other matter interfere. And why then - should people go tormenting him with all this prying into - his private life, laying bare once more a misfortune which - he has succeeded in mastering and which, if it were widely - talked about, might upset him again personally, and even - hurt him in his career? - - AGAZZI. Oh no, no, Signora, no one is trying to hurt him. It - is nothing to his disgrace that I can see. Nor would we hurt - you either. - - SIGNORA FROLA. But my dear sir, how can you help hurting me - when you force him to give almost publicly an explanation - which is quite absurd--ridiculous I might even say! Surely - people like you can't seriously believe what he says? You - can't possibly be taking me for a lunatic? You don't really - think that this woman is his second wife? And yet it is all - so necessary! He needs to have it that way. It is the only - way he can pull himself together; get down to his work again - ... the only way ... the only way! Why he gets all wrought - up, all excited, when he is forced to talk of this other - matter; because he knows himself how hard it is for him to - say certain things. You may have noticed it.... - - AGAZZI. Yes, that is quite true. He did seem very much - excited. - - SIGNORA SIRELLI. Well, well, well, so then it's he! - - SIRELLI (_triumphantly_). I always said it was he. - - AGAZZI. Oh, I say! Is that really possible? (_He motions to - the company to be quiet_). - - SIGNORA FROLA (_joining her hands beseechingly_). My dear - friends, what are you really thinking? It is only on this - subject that he is a little queer. The point is, you must - simply not mention this particular matter to him. Why, - really now, you could never suppose that I would leave my - daughter shut up with him all alone like that? And yet just - watch him at his work and in the office. He does everything - he is expected to do and no one in the world could do it - better. - - AGAZZI. But this is not enough, madam, as you will - understand. Do you mean to say that Signor Ponza, your - son-in-law, came here and made up a story out of whole - cloth? - - SIGNORA FROLA. Yes, sir, yes sir, exactly ... only I will - explain. You must understand--you must look at things from - his point of view. - - AGAZZI. What do you mean? Do you mean that your daughter is - not dead? - - SIGNORA FROLA. God forbid! Of course she is not dead! - - AGAZZI. Well, then, he is the lunatic! - - SIGNORA FROLA. No, no, look, look!... - - SIRELLI. I always said it was he!... - - SIGNORA FROLA. No, look, look, not that, not that! Let me - explain.... You have noticed him, haven't you? Fine, strong - looking man. Well, when he married my daughter you can - imagine how fond he was of her. But alas, she fell sick with - a contagious disease; and the doctors had to separate her - from him. Not only from him, of course, but from all her - relatives. They're all dead now, poor things, in the - earthquake, you understand. Well, he just refused to have - her taken to the hospital; and he got so over-wrought that - they actually had to put him under restraint; and he broke - down nervously as the result of it all and he was sent to a - sanatorium. But my daughter got better very soon, while he - got worse and worse. He had a sort of obsession that his - wife had died in the hospital, that perhaps they had killed - her there; and you couldn't get that idea out of his head. - - Just imagine when we brought my daughter back to him quite - recovered from her illness--and a pretty thing she was to - look at, too--he began to scream and say, no, no, no, she - wasn't his wife, his wife was dead! He looked at her: No, - no, no, not at all! She wasn't the woman! Imagine my dear - friends, how terrible it all was. Finally he came up close - to her and for a moment it seemed that he was going to - recognize her again; but once more it was "No, no, no, she - is not my wife!" And do you know, to get him to accept my - daughter at all again, we were obliged to pretend having a - second wedding, with the collusion of his doctors and his - friends, you understand! - - SIGNORA SIRELLI. Ah, so that is why he says that.... - - SIGNORA FROLA. Yes, but he doesn't really believe it, you - know; and he hasn't for a long time, I am sure. But he seems - to feel a need for maintaining the pretense. He can't do - without it. He feels surer of himself that way. He is seized - with a terrible fear, from time to time, that this little - wife he loves may be taken from him again. (_Smiling and in - a low, confidential tone_): So he keeps her locked up at - home where he can have her all for himself. But he worships - her--he worships her; and I am really quite convinced that - my daughter is one of the happiest women in the world. (_She - gets up_). And now I must be going. You see, my son-in-law - is in a terrible state of mind at present. I wouldn't like - to have him call, and find me not at home. (_With a sigh, - and gesturing with her joined hands_): Well, I suppose we - must get along as best we can; but it is hard on my poor - girl. She has to pretend all along that she is not herself, - but another, his second wife; and I ... oh, as for me, I - have to pretend that I am a lunatic when he's around, my - dear friends; but I'm glad to, I'm glad to, really, so long - as it does him some good. (_The ladies rise as she steps - nearer to the door_). No, no, don't let me interrupt your - party. I know the way out! Good afternoon! Good afternoon! - - (_Bowing and smiling, she goes out through the rear door. - The others stands there in silence, looking at each other - with blank astonishment on their faces_). - - LAUDISI (_coming forward_). So you want the truth, eh? The - truth! The truth! Hah! hah! hah! hah! hah! hah! hah! - - _Curtain._ - - - - - ACT II - - - _Councillor Agazzi's study in the same house. Antique - furnishings with old paintings on the walls. A portiere over - the rear entrance and over the door to the left which opens - into the drawing room shown in the first act. To the right a - substantial fireplace with a big mirror above the mantel. A - flat top desk with a telephone. A sofa, armchairs, straight - back chairs, etc._ - - _As the curtain rises Agazzi is shown standing beside his - desk with the telephone receiver pressed to his ear. Laudisi - end Sirelli sit looking at him expectantly._ - - AGAZZI. Yes, I want Centuri. Hello ... hello ... Centuri? - Yes, Agazzi speaking. That you, Centuri? It's me, Agazzi. - Well? (_He listens for some time_). What's that? Really? - (_Again he listens at length_). I understand, but you might - go at the matter with a little more speed.... (_Another long - pause_). Well, I give up! How can that possibly be? (_A - pause_). Oh, I see, I see.... (_Another pause_). Well, never - mind, I'll look into it myself. Goodbye, Centuri, goodbye! - (_He lays down the receiver and steps forward on the - stage_). - - SIRELLI (_eagerly_). Well? - - AGAZZI. Nothing! Absolutely nothing! - - SIRELLI. Nothing at all? - - AGAZZI. You see the whole blamed village was wiped out. Not - a house left standing! In the collapse of the town hall, - followed by a fire, all the records of the place seem to - have been lost--births, deaths, marriages, everything. - - SIRELLI. But not everybody was killed. They ought to be able - to find somebody who knows them. - - AGAZZI. Yes, but you see they didn't rebuild the place. - Everybody moved away, and no record was ever kept of the - people, of course. So far they have found nobody who knows - the Ponzas. To be sure, if the police really went at it, - they might find somebody; but it would be a tough job. - - SIRELLI. So we can't get anywhere along that line! We have - got to take what they say and let it go at that. - - AGAZZI. That, unfortunately, is the situation. - - LAUDISI (_rising_). Well, you fellows take a piece of advice - from me: believe them both! - - AGAZZI. What do you mean--"believe them both"?... - - SIRELLI. But if she says one thing, and he says another.... - - LAUDISI. Well, in that case, you needn't believe either of - them! - - SIRELLI. Oh, you're just joking. We may not be able to - verify the stories; but that doesn't prove that either one - or the other may not be telling the truth. Some document or - other.... - - LAUDISI. Oh, documents! Documents! Suppose you had them? - What good would they do you? - - AGAZZI. Oh, I say! Perhaps we can't get them now, but there - were such documents once. If the old lady is the lunatic, - there was, as there still may be somewhere, the death - certificate of the daughter. Or look at it from the other - angle: if we found all the records, and the death - certificate were not there for the simple reason that it - never existed, why then, it's Ponza, the son-in-law. He - would be the lunatic. - - SIRELLI. You mean to say you wouldn't give in if we stuck - that certificate under your nose tomorrow or the next day? - Would you still deny.... - - LAUDISI. Deny? Why ... why ... I'm not denying anything! In - fact, I'm very careful not to be denying anything. You're - the people who are looking up the records to be able to - affirm or deny something. Personally, I don't give a rap for - the documents; for the truth in my eyes is not a matter of - black and white, but a matter of those two people. And into - their minds I can penetrate only through what they say to me - of themselves. - - SIRELLI. Very well--She says he's crazy and he says she's - crazy. Now one of them must be crazy. You can't get away - from that. Well which is it, she or he? - - AGAZZI. There, that's the way to put it! - - LAUDISI. But just observe; in the first place, it isn't true - that they are accusing each other of insanity. Ponza, to be - sure, says his mother-in-law is insane. She denies this, not - only of herself, but also of him. At the most, she says that - he was a little off once, when they took her daughter from - him; but that now he is quite all right. - - SIRELLI. I see! So you're rather inclined, as I am, to trust - what the old lady says. - - AGAZZI. The fact is, indeed, that if you accept his story, - all the facts in the case are explained. - - LAUDISI. But all the facts in the case are explained if you - take her story, aren't they? - - SIRELLI. Oh, nonsense! In that case neither of them would be - crazy! Why, one of them must be, damn it all! - - LAUDISI. Well, which one? You can't tell, can you? Neither - can anybody else! And it is not because those documents you - are looking for have been destroyed in an accident--a fire, - an earthquake--what you will; but because those people have - concealed those documents in themselves, in their own souls. - Can't you understand that? She has created for him, or he - for her, a world of fancy which has all the earmarks of - reality itself. And in this fictitious reality they get - along perfectly well, and in full accord with each other; - and this world of fancy, this reality of theirs, no document - can possibly destroy because the air they breathe is of that - world. For them it is something they can see with their - eyes, hear with their ears, and touch with their fingers. - Oh, I grant you--if you could get a death certificate or a - marriage certificate or something of the kind, you might be - able to satisfy that stupid curiosity of yours. - Unfortunately, you can't get it. And the result is that you - are in the extraordinary fix of having before you, on the - one hand, a world of fancy, and on the other, a world of - reality, and you, for the life of you, are not able to - distinguish one from the other. - - AGAZZI. Philosophy, my dear boy, philosophy! And I have no - use for philosophy. Give me facts, if you please! Facts! So, - I say, keep at it; and I'll bet you we get to the bottom of - it sooner or later. - - SIRELLI. First we got her story and then we got his; and - then we got a new one from her. Let's bring the two of them - together--and you think that then we won't be able to tell - the false from the true? - - LAUDISI. Well, bring them together if you want to! All I ask - is permission to laugh when you're through. - - AGAZZI. Well, we'll let you laugh all you want. In the - meantime let's see.... (_He steps to the door at the left - and calls_): Amalia, Signora Sirelli, won't you come in here - a moment? - - (_The ladies enter with Dina_). - - SIGNORA SIRELLI (_catching sight of Laudisi and shaking a - finger at him_). But how is it a man like you, in the - presence of such an extraordinary situation, can escape the - curiosity we all feel to get at the bottom of this mystery? - Why, I lie awake nights thinking of it! - - AGAZZI. As your husband says, that man's impossible! Don't - bother about him, Signora Sirelli. - - LAUDISI. No, don't bother with me; you just listen to - Agazzi! He'll keep you from lying awake tonight. - - AGAZZI. Look here, ladies. This is what I want--I have an - idea: won't you just step across the hall to Signora - Frola's? - - AMALIA. But will she come to the door? - - AGAZZI. Oh, I imagine she will! - - DINA. We're just returning the call, you see.... - - AMALIA. But didn't he ask us not to call on his - mother-in-law? Hasn't he forbidden her to receive visits? - - SIRELLI. No, not exactly! That's how he explained what had - happened; but at that time nothing was known. Now that the - old lady, through force of circumstance, has spoken, giving - her version at least of her strange conduct, I should think - that.... - - SIGNORA SIRELLI. I have a feeling that she'll be awfully - glad to see us, if for nothing else, for the chance of - talking about her daughter. - - DINA. And she really is a jolly old lady. There is no doubt - in my mind, not the slightest: Ponza is the lunatic! - - AGAZZI. Now, let's not go too fast. You just listen to me - (_he looks at his wife_): don't stay too long--five or ten - minutes at the outside! - - SIRELLI (_to his wife_). And for heaven's sake, keep your - mouth shut! - - SIGNORA SIRELLI. And why such considerate advice to me? - - SIRELLI. Once _you_ get going.... - - DINA (_with the idea of preventing a scene_). Oh, we are not - going to stay very long, ten minutes--fifteen, at the - outside. I'll see that no breaks are made. - - AGAZZI. And I'll just drop around to the office, and be back - at eleven o'clock--ten or twenty minutes at the most. - - SIRELLI. And what can I do? - - AGAZZI. Wait! (_Turning to the ladies_). Now, here's the - plan! You people invent some excuse or other so as to get - Signora Frola in here. - - AMALIA. What? How can we possibly do that? - - AGAZZI. Oh, find some excuse! You'll think of something in - the course of your talk; and if you don't, there's Dina and - Signora Sirelli. But when you come back, you understand, go - into the drawing room. (_He steps to the door on the left, - makes sure that it is wide open, and draws aside the - portiere_). This door must stay open, wide open, so that we - can hear you talking from in here. Now, here are some papers - that I ought to take with me to the office. However, I - forget them here. It is a brief that requires Ponza's - immediate personal attention. So then, I forget it. And when - I get to the office I have to bring him back here to find - them--See? - - SIRELLI. But just a moment. Where do I come in? When am I - expected to appear? - - AGAZZI. Oh, yes!... A moment or two after eleven, when the - ladies are again in the drawing room, and I am back here, - you just drop in--to take your wife home, see? You ring the - bell and ask for me, and I'll have you brought in here. Then - I'll invite the whole crowd in! That's natural enough, isn't - it?--into my office?... - - LAUDISI (_interrupting_). And we'll have the Truth, the - whole Truth with a capital T! - - DINA. But look, Nunky, of course we'll have the truth--once - we get them together face to face--capital T and all! - - AGAZZI. Don't get into an argument with that man. Besides, - it's time you ladies were going. None of us has any too much - leeway. - - SIGNORA SIRELLI. Come, Amalia, come Dina! And as for you, - sir (_turning to Laudisi_), I won't even shake hands with - you. - - LAUDISI. Permit me to do it for you, madam. (_He shakes one - hand with the other_). Good luck to you, my dear ladies. - - (_Exit Dina, Amalia, Signora Sirelli_). - - AGAZZI (_to Sirelli_). And now we'd better go, too. Suppose - we hurry! - - SIRELLI. Yes, right away. Goodbye, Lamberto! - - LAUDISI. Goodbye, good luck, good luck! (_Agazzi and Sirelli - leave. Laudisi, left alone, walks up and down the study a - number of times, nodding his head and occasionally smiling. - Finally he draws up in front of the big mirror that is - hanging over the mantelpiece. He sees himself in the glass, - stops, and addresses his image_). - - LAUDISI. So there you are! (_He bows to himself and salutes, - touching his forehead with his fingers_). I say, old man, - who is the lunatic, you or I? (_He levels a finger - menacingly at his image in the glass; and, of course, the - image in turn levels a finger at him. As he smiles, his - image smiles_). Of course, I understand! I say it's you, and - you say it's me. You--you are the lunatic! No? It's me? Very - well! It's me! Have it _your_ way. Between you and me, we - get along very well, don't we! But the trouble is, others - don't think of you just as I do; and that being the case, - old man, what a fix you're in! As for me, I say that here, - right in front of you, I can see myself with my eyes and - touch myself with my fingers. But what are you for other - people? What are you in their eyes? An image, my dear sir, - just an image in the glass! "What fools these mortals be!" - as old Shakespeare said. They're all carrying just such a - phantom around inside themselves, and here they are racking - their brains about the phantoms in other people; and they - think all that is quite another thing! - - (_The butler has entered the room in time to catch Laudisi - gesticulating at himself in the glass. He wonders if the man - is crazy. Finally he speaks up_): - - BUTLER. Ahem!... Signor Laudisi, if you please.... - - LAUDISI (_coming to himself_). Uff! - - BUTLER. Two ladies calling, sir! Signora Cini and another - lady! - - LAUDISI. Calling to see me? - - BUTLER. Really, they asked for the signora; but I said that - she was out--on a call next door; and then.... - - LAUDISI. Well, what then? - - BUTLER. They looked at each other and said, "Really! - Really!" and finally they asked me if anybody else was at - home. - - LAUDISI. And of course you said that everyone was out! - - BUTLER. I said that you were in! - - LAUDISI. Why, not at all! I'm miles and miles away! Perhaps - that fellow they call Laudisi is here! - - BUTLER. I don't understand, sir. - - LAUDISI. Why? You think the Laudisi they know is the Laudisi - I am? - - BUTLER. I don't understand, sir. - - LAUDISI. Whom are you talking to? - - BUTLER. Who am I talking to? I thought I was talking to you. - - LAUDISI. Are you really sure the Laudisi you are talking to - is the Laudisi the ladies want to see? - - BUTLER. Why, I think so, sir. They said they were looking - for the brother of Signora Agazzi. - - LAUDISI. Ah, in that case you are right! (_Turning to the - image in the glass_): You are not the brother of Signora - Agazzi? No, it's me! (_To the butler_): Right you are! Tell - them I am in. And show them in here, won't you? (_The butler - retires_). - - SIGNORA CINI. May I come in? - - LAUDISI. Please, please, this way, madam! - - SIGNORA CINI. I was told Signora Agazzi was not at home, and - I brought Signora Nenni along. Signora Nenni is a friend of - mine, and she was most anxious to make the acquaintance - of.... - - LAUDISI. ... of Signora Frola? - - SIGNORA CINI. Of Signora Agazzi, your sister! - - LAUDISI. Oh, she will be back very soon, and Signora Frola - will be here, too. - - SIGNORA CINI. Yes, we thought as much. - - SIGNORA NENNI _is an oldish woman of the type of Signora - Cini, but with the mannerisms of the latter somewhat more - pronounced. She, too, is a bundle of concentrated curiosity, - but of the sly, cautious type, ready to find something - frightful under everything._ - - LAUDISI. Well, it's all planned in advance! It will be a - most interesting scene! The curtain rises at eleven, - precisely! - - SIGNORA CINI. Planned in advance? What is planned in - advance? - - LAUDISI (_mysteriously, first with a gesture of his finger - and then aloud_). Why, bringing the two of them together! - (_A gesture of admiration_): Great idea, I tell you! - - SIGNORA CINI. The two of them--together--who? - - LAUDISI. Why, the two of them. He--in here! (_Pointing to - the room about him_). - - SIGNORA CINI. Ponza, you mean? - - LAUDISI. And she--in there! (_He points toward the drawing - room_). - - SIGNORA CINI. Signora Frola? - - LAUDISI. Exactly! (_With an expressive gesture of his hands - and even more mysteriously_): But afterwards, all of - them--in here! Oh, a great idea, a great idea! - - SIGNORA CINI. In order to get.... - - LAUDISI. The truth! Precisely: the truth! - - SIGNORA CINI. But the truth is known already! - - LAUDISI. Of course! The only question is stripping it bare, - so that everyone can see it! - - SIGNORA CINI (_with the greatest surprise_). Oh, really? So - they know the truth! And which is it--He or she? - - LAUDISI. Well, I'll tell you ... you just guess! Who do you - think it is? - - SIGNORA CINI (_ahemming_). Well ... I say ... really ... you - see.... - - LAUDISI. Is it she or is it he? You don't mean to say you - don't know! Come now, give a guess! - - SIGNORA CINI. Why, for my part I should say ... well, I'd - say ... it's _he_. - - LAUDISI (_looks at her admiringly_). Right you are! It _is_ - he! - - SIGNORA CINI. Really? I always thought so! Of course, it was - perfectly plain all along. It had to be he! - - SIGNORA NENNI. All of us women in town said it was he. We - always said so! - - SIGNORA CINI. But how did you get at it? I suppose Signor - Agazzi ran down the documents, didn't he--the birth - certificate, or something? - - SIGNORA NENNI. Through the prefect, of course! There was no - getting away from those people. Once the police start - investigating...! - - LAUDISI (_motions to them to come closer to him; then in a - low voice and in the same mysterious manner, and stressing - each syllable_). The certificate!--Of the second marriage! - - SIGNORA CINI (_starting back with astonishment_). What? - - SIGNORA NENNI (_Likewise taken aback_). What did you say? - The second marriage? - - SIGNORA CINI. Well, in that case he was _right_. - - LAUDISI. Oh, documents, ladies, documents! This certificate - of the second marriage, so it seems, talks as plain as day. - - SIGNORA NENNI. Well, then, _she_ is the lunatic. - - LAUDISI. Right you are! She it is! - - SIGNORA CINI. But I thought you said.... - - LAUDISI. Yes, I did say ... but this certificate of the - second marriage may very well be, as Signora Frola said, a - fictitious document, gotten up through the influence of - Ponza's doctors and friends to pamper him in the notion that - his wife was not his first wife, but another woman. - - SIGNORA CINI. But it's a public document. You mean to say a - public document can be a fraud? - - LAUDISI. I mean to say--well, it has just the value that - each of you chooses to give it. For instance, one could find - somewhere, possibly, those letters that Signora Frola said - she gets from her daughter, who lets them down in the basket - in the courtyard. There are such letters, aren't there? - - SIGNORA CINI. Yes, of course! - - LAUDISI. They are documents, aren't they? Aren't letters - documents? But it all depends on how you read them. Here - comes Ponza, and he says they are just made up to pamper his - mother-in-law in her obsession.... - - SIGNORA CINI. Oh, dear, dear, so then we're never sure about - anything? - - LAUDISI. Never sure about anything? Why not at all, not at - all! Let's be exact. We are sure of many things, aren't we? - How many days are there in the week? Seven--Sunday, Monday, - Tuesday, Wednesday.... How many months in the year are - there? Twelve: January, February, March.... - - SIGNORA CINI. Oh, I see, you're just joking! You're just - joking! (_Dina appears, breathless, in the doorway, at the - rear_). - - DINA. Oh, Nunky, won't you please.... (_She stops at the - sight of Signora Cini_). Oh, Signora Cini, you here? - - SIGNORA CINI. Why, I just came to make a call!... - - LAUDISI. ... with Signora Cenni. - - SIGNORA NENNI. No, my name is Nenni. - - LAUDISI. Oh yes, pardon me! She was anxious to make Signora - Frola's acquaintance.... - - SIGNORA NENNI. Why, not at all! - - SIGNORA CINI. He has just been making fun of us! You ought - to see what fools he made of us! - - DINA. Oh, he's perfectly insufferable, even with mamma and - me. Will you excuse me for just a moment? No, everything is - all right. I'll just run back and tell mamma that you people - are here and I think that will be enough. Oh, Nunky, if you - had only heard her talk! Why, she is a perfect _dear_; and - what a good, kind soul!... She showed us all those letters - her daughter wrote.... - - SIGNORA CINI. Yes, but as Signor Laudisi was just saying.... - - DINA. He hasn't even seen them! - - SIGNORA NENNI. You mean they are not really fictitious? - - DINA. Fictitious nothing! They talk as plain as day. And - such things! You can't fool a mother when her own daughter - talks to her. And you know--the letter she got yesterday!... - (_She stops at the sound of voices coming into the study - from the drawing room_). Oh, here they are, here they are, - already! (_She goes to the door and peeps into the room_). - - SIGNORA CINI (_following her to the door_). Is _she_ there, - too? - - DINA. Yes, but you had better come into the other room. All - of us women must be in the drawing room. And it is just - eleven o'clock, Nunky! - - AMALIA (_entering with decision from the door on the left_). - I think this whole business is quite unnecessary! We have - absolutely no further need of proofs.... - - DINA. Quite so! I thought of that myself. Why bring Ponza - here? - - AMALIA (_taken somewhat aback by Signora Cinis presence_). - Oh, my dear Signora Cini!... - - SIGNORA CINI (_introducing Signora Nenni_). A friend of - mine, Signora Nenni! I ventured to bring her with me.... - - AMALIA (_bowing, but somewhat coolly, to the visitor_). A - great pleasure, Signora! (_After a pause_). There is not the - slightest doubt in the world ... it's he! - - SIGNORA CINI. It's he? Are you sure it's he? - - DINA. And such a trick on the poor old lady! - - AMALIA. Trick is not the name for, it! It is downright - dishonest! - - LAUDISI. Oh, I agree with you: it's outrageous! Quite! So - much so, I'm quite convinced it must be _she_! - - AMALIA. She? What do you mean? How can you say that? - - LAUDISI. I say, it is _she_, it is _she_, it's _she_! - - AMALIA. Oh, I say! If you had heard her talk...! - - DINA. It is absolutely clear to us now. - - SIGNORA CINI and SIGNORA NENNI (_swallowing_). Really? You - are sure? - - LAUDISI. Exactly! Now that you are sure it's he, why, - obviously--it must be she. - - DINA. Oh dear me, why talk to that man? He is just - impossible! - - AMALIA. Well, we must go into the other room.... This way, - if you please! - - (_Signora Cini, Signora Nenni and Amalia withdraw through - the door on the left. Dina starts to follow, when Laudisi - calls her back_). - - LAUDISI. Dina! - - DINA. I refuse to listen to you! I refuse! - - LAUDISI. I was going to suggest that, since the whole matter - is closed, you might close the door also. - - DINA. But papa ... he told us to leave it open. Ponza will - be here soon; and if papa finds it closed--well, you know - how papa is! - - LAUDISI. But you can convince him!... You especially. You - can show him that there really was no need of going any - further. You are convinced yourself, aren't you? - - DINA. I am as sure of it, as I am that I'm alive! - - LAUDISI (_putting her to the test with a smile_). Well, - close the door then! - - DINA. I see, you're trying to make me say that I'm not - really sure. Well, I won't close the door, but it's just on - account of papa. - - LAUDISI. Shall I close it for you? - - DINA. If you take the responsibility yourself!... - - LAUDISI. But you see, _I_ am sure! I _know_ that Ponza is - the lunatic! - - DINA. The thing for you to do is to come into the other room - and just hear her talk a while. Then you'll be sure, - absolutely sure. Coming? - - LAUDISI. Yes, I'm coming, and I'll close the door behind - me--on my own responsibility, of course. - - DINA. Ah, I see. So you're convinced even before you hear - her talk. - - LAUDISI. No, dear, it's because I'm sure that your papa, who - has been with Ponza, is just as certain as you are that any - further investigation is unnecessary. - - DINA. How can you say that? - - LAUDISI. Why, of course, if you talk with Ponza, you're sure - the old lady is crazy. (_He walks resolutely to the door_). - I am going to shut this door. - - DINA (_restraining him nervously, then hesitating a - moment_). Well, why not ... if you're really sure? What do - you say--let's leave it open! - - LAUDISI. Hah! hah! hah! hah! hah! hah! hah! - - DINA. But just because papa told us to! - - LAUDISI. And papa will tell you something else by and by. - Say ... let's leave it open! - - (_A piano starts playing in the adjoining room--an ancient - lune, full of soft and solemn melody; the "Nina" of - Pergolesi_). - - DINA. Oh, there she is. She's playing! Do you hear? Actually - playing the piano! - - LAUDISI. The old lady? - - DINA. Yes! And you know? She told us that her daughter used - to play this tune, always the same tune. How well she plays! - Come! Come! - - (_They hurry through the door_). - - - _The stage, after the exit of Laudisi and Dina, remains - empty for a space of time while the music continues from the - other room. Ponza, appearing at the door with Agazzi, - catches the concluding notes and his face changes to an - expression of deep emotion--an emotion that will develop - into a virtual frenzy as the scene proceeds._ - - AGAZZI (_in the doorway_). After you, after you, please! - (_He takes Ponza's elbow and motions him into the room. He - goes over to his desk, looks about for the papers which he - pretends he had forgotten, finds them eventually and says_). - Why, here they are! I was sure I had left them here. Won't - you take a chair, Ponza? (_Ponza seems not to hear. He - stands looking excitedly at the door into the drawing room, - through which the sound of the piano is still coming_). - - AGAZZI. Yes, they are the ones! (_He takes the papers and - steps to Ponza's side, opening the fold_). It is an old - case, you see. Been running now for years and years! To tell - you the truth I haven't made head or tail of the stuff - myself. I imagine you'll find it one big mess. (_He, too, - becomes aware of the music and seems somewhat irritated by - it. His eyes also rest on the door to the drawing room_). - That noise, just at this moment! (_He walks with a show of - anger to the door_). Who is that at the piano anyway? (_In - the doorway he stops and looks, and an expression of - astonishment comes into his face_). Ah! - - PONZA (_going to the door also. On looking into the next - room he can hardly restrain his emotion_). In the name of - God, is _she_ playing? - - AGAZZI. Yes--Signora Frola! And how well she does play! - - PONZA. How is this? You people have brought her in here, - again! And you're letting her play! - - AGAZZI. Why not? What's the harm? - - PONZA. Oh, please, please, no, not that song! It is the one - her daughter used to play. - - AGAZZI. Ah, I see! And it hurts you? - - PONZA. Oh, no, not me--but her--it hurts her--and you don't - know how much! I thought I had made you and those women - understand just how that poor old lady was! - - AGAZZI. Yes, you did ... quite true! But you see ... but see - here, Ponza! (_trying to pacify the man's growing emotion_). - - PONZA (_continuing_). But you _must_ leave her alone! You - _must_ not go to her house! She _must_ not come in here! I - am the only person who can deal with her. You are killing - her ... killing her! - - AGAZZI. No, I don't think so. It is not so bad as that. My - wife and daughter are surely tactful enough.... (_Suddenly - the music ceases. There is a burst of applause_). - - AGAZZI. There, you see. Listen! Listen! - - (_From the next room the following conversation is - distinctly heard_). - - DINA. Why, Signora Frola, you are perfectly _marvellous_ at - the piano! - - SIGNORA FROLA. But you should hear how my Lena plays! - - (_Ponza digs his nails into his hands_). - - AGAZZI. Her daughter, of course! - - PONZA. Didn't you hear? "How my Lena plays! How my Lena - _plays_!" - - (_Again from the inside_). - - SIGNORA FROLA. Oh, no, not now!... She hasn't played for a - long time--since that happened. And you know, it is what she - takes hardest, poor girl! - - AGAZZI. Why, that seems quite natural to me! Of course, she - thinks the girl is still alive! - - PONZA. But she shouldn't be allowed to say such things. She - _must_ not--she _must_ not say such things! Didn't you hear? - "She hasn't played since that happened"! She said "she - _hasn't_ played since that happened"! Talking of the piano, - you understand! Oh, you don't understand, no, of course! My - first wife had a piano and played that tune. Oh, oh, oh! You - people are determined to ruin me! - - (_Sirelli appears at the back door at this moment, and - hearing the concluding words of Ponza and noticing his - extreme exasperation, stops short, uncertain as to what to - do. Agazzi is himself very much affected and motions to - Sirelli to come in_). - - AGAZZI. Why, no, my dear fellow, I don't see any reason.... - (_To Sirelli_). Won't you just tell the ladies to come in - here? - - (_Sirelli, keeping at a safe distance from Ponza, goes to - the door at the left and calls_). - - PONZA. The ladies in here? In here with me? Oh, no, no, - please, rather.... - - (_At a signal from Sirelli, who stands in the doorway to the - left, his face taut with intense emotion, the ladies enter. - They all show various kinds and degrees of excitement and - emotion. Signora Frola appears, and catching sight of Ponza - in the condition he is in, stops, quite overwhelmed. As he - assails her during the lines that follow, she exchanges - glances of understanding from time to time with the ladies - about her. The action here is rapid, nervous, tense with - excitement, and extremely violent_). - - PONZA. You? Here? How is this? You! Here! Again! What are - you doing here? - - SIGNORA FROLA. Why, I just came ... don't be cross! - - PONZA. You came here to tell these ladies.... What did you - tell these ladies? - - SIGNORA FROLA. Nothing! I swear to God, nothing! - - PONZA. Nothing? What do you mean, nothing? I heard you with - my own ears, and this gentleman here heard you also. You - said "she plays". Who plays? Lena plays! And you know very - well that Lena has been dead for four years. Dead, do you - hear! Your daughter has been dead--for four years! - - SIGNORA FROLA. Yes, yes, I know.... Don't get excited, my - dear.... Oh, yes, oh yes. I know.... - - PONZA. And you said "she hasn't been able to play since that - happened". Of course she hasn't been able to play since that - happened. How could she, if she's dead? - - SIGNORA FROLA. Why, of course, certainly. Isn't that what I - said? Ask these ladies. I said that she hasn't been able to - play since that happened. Of course. How could she, if she's - dead? - - PONZA. And why were you worrying about that piano, then? - - SIGNORA FROLA. No, no! I'm not worrying about any piano.... - - PONZA. I broke that piano up and destroyed it. You know - that, the moment your daughter died, to keep this second - wife of mine from playing on it. For that matter you know - that this second woman never plays. - - SIGNORA FROLA. Why, of course, dear! Of course! She doesn't - know how to play! - - PONZA. And one thing more: Your daughter was Lena, wasn't - she? Her name was Lena. Now, see here! You just tell these - people what my second wife's name is. Speak up! You know - very well what her name is! What is it? What is it? - - SIGNORA FROLA. Her name is Julia! Yes, yes, of course, my - dear friends, her name is Julia! (_Winks at someone in the - company_). - - PONZA. Exactly! Her name is Julia, and not Lena! Who are you - winking at? Don't you go trying to suggest by those winks of - yours that she's not Julia! - - SIGNORA FROLA. Why, what do you mean? I wasn't winking! Of - course I wasn't! - - PONZA. I saw you! I saw you very distinctly! You are trying - to ruin me! You are trying to make these people think that I - am keeping your daughter all to myself, just as though she - were not dead. (_He breaks into convulsive sobbing_) ... - just as though she were not dead! - - SIGNORA FROLA (_hurrying forward and speaking with infinite - kindness and sympathy_). Oh no! Come, come, my poor boy. - Come! Don't take it so hard. I never said any such thing, - did I, madam! - - AMALIA, SIGNORA SIRELLI, DINA. Of course she never said such - a thing! She always said the girl was dead! Yes! Of course! - No! - - SIGNORA FROLA. I did, didn't I? I said she's dead, didn't I? - And that you are so very good to me. Didn't I, didn't I? I, - trying to ruin you? I, trying to get you into trouble? - - PONZA. And you, going into other people's houses where there - are pianos, playing your daughter's tunes on them! Saying - that Lena plays them that way, or even better! - - SIGNORA FROLA. No, it was ... why ... you see ... it was ... - well ... just to see whether.... - - PONZA. But you _can't_ ... you _mustn't_! How could you ever - dream of trying to play a tune that your dead daughter - played! - - SIGNORA FROLA. You are quite right!... Oh, yes! Poor boy! - Poor boy! (_She also begins to weep_). I'll never do it - again: Never, never, never again! - - PONZA (_advancing upon her threateningly_). What are you - doing here? Get out of here! Go home at once! Home! Home! Go - home! - - SIGNORA FROLA. Yes, Yes! Home! I am going home! Oh dear, oh - dear! - - (_She backs out the rear door, looking beseechingly at the - company, as though urging everyone to have pity on her - son-in-law. She retires, sobbing. The others stand there - looking at Ponza with pity and terror; but the moment - Signora Frola has left the room, he regains his normal - composure, an air of despairing melancholy, and he says - coolly, but with profound seriousness_): - - PONZA. I hope you good people will excuse me for this scene. - A scene it really was, I suppose! But how could I avoid it? - I had to rave like that to repair the damage which you good - people, with the best of intentions, and surely without - dreaming what you are really doing, have done to this - unfortunate woman. - - AGAZZI (_in astonishment_). What do you mean? That you were - just acting? You were pretending all that? - - PONZA. Of course I was! Don't you people understand that I - had to? The only way to keep her in her obsession is for me - to shout the truth that way, as though I myself had gone - mad, as though I were the lunatic! Understand? But please - forgive me. I must be going now. I must go in and see how - she is. (_He hurries out through the rear door. The others - stand where they are in blank amazement_). - - LAUDISI (_coming forward_). And there, ladies and gentlemen, - you have the truth! Hah! hah! hah; hah; hah; hah! hah! - - _Curtain._ - - - - - ACT III - - - _The same scene. As the curtain rises, Laudisi is sprawling - in an easy chair, reading a book. Through the door that - leads into the parlor on the left comes the confused murmur - of many voices._ - - _The butler appears in the rear door, introducing the police - commissioner_, CENTURI. CENTURI _is a tall, stiff, scowling - official, with a decidedly professional air. He is in the - neighborhood of forty._ - - THE BUTLER. This way, sir. I will call Signor Agazzi at - once. - - LAUDISI (_drawing himself up in his chair and looking - around_). Oh, it's you, Commissioner! (_He rises hastily and - recalls the butler, who has stepped out through the door_). - One moment, please! Wait! (_To Centuri_). Anything new, - Commissioner? - - COMMISSIONER (_stiffly_). Yes, something new! - - LAUDISI. Ah! Very well. (_To the butler_): Never mind. I'll - call him myself. (_He motions with his hand toward the door - on the left. The butler bows and withdraws_). - - You have worked miracles, Commissioner! You're the savior of - this town. Listen! Do you hear them! You are the lion of the - place! How does it feel to be the father of your country? - But say, what you've discovered is all solid fact? - - COMMISSIONER. We've managed to unearth a few people. - - LAUDISI. From Ponza's town? People who know all about him? - - COMMISSIONER. Yes! And we have gathered from them a few - facts,--not many, perhaps, but well authenticated. - - LAUDISI. Ah, that's nice. Congratulations! For example.... - - COMMISSIONER. For example? Why, for instance, here ... well, - here are all the communications I have received. Read 'em - yourself! - - (_From an inner pocket he draws a yellow envelope, opened at - one end, from which he takes a document and hands it to - Laudisi_). - - LAUDISI. Interesting, I am sure. Very interesting!... - - (_He stands, reading the document carefully, commenting from - time to time with exclamations in different tones. First an - "ah" of satisfaction, then another "ah" which attenuates - this enthusiasm very much. Finally an "eh" of - disappointment, which leads to another "eh" of complete - disgust_). - - Why, no, what's all this amount to, Commissioner? - - COMMISSIONER. Well, it's what we were able to find out. - - LAUDISI. But this doesn't prove anything, you understand! It - leaves everything just where it was. There's nothing of any - significance whatever here. (_He looks at the commissioner - for a moment and then, as though suddenly making up his - mind, he says_): I wonder, Commissioner, would you like to - do something really great--render a really distinguished - service to this town; and meanwhile lay up a treasure in - heaven? - - COMMISSIONER (_looking at him in perplexity_). What are you - thinking of sir? - - LAUDISI. I'll explain. Here, please, take this chair! (_He - sets the chair in front of Agazzi's desk_). I advise you, - Mr. Commissioner, to tear up this sheet of paper that you've - brought and which has absolutely no significance at all. But - here on this other piece of paper, why don't you write down - something that will be precise and clear? - - COMMISSIONER. Why ... why ... myself? What do you mean? What - should I write? - - LAUDISI. Anything, anything at all! Anything that comes into - your head, provided, however, it be _precise_ and _clear_! - Say, for instance, that Signora Frola is a lunatic, or, if - you will, if you prefer, that the second marriage of Ponza's - was a frame-up! - - COMMISSIONER. I don't get you, Signor Laudisi. What are you - driving at? I forge the document? - - LAUDISI (_insisting_). Forge? Just say - something--anything--that these two old acquaintances of - Ponza's whom you managed to get hold of might have said. - Come, Commissioner, rise to the occasion! Do something for - the commonwealth! Bring this town back to normal again! - Don't you see what they are after? They all want the - truth--_a_ truth, that is: Something specific; something - concrete! They don't care what it is. All they want is - something categorical, something that speaks plainly! Then - they'll quiet down. - - COMMISSIONER. _The_ truth--_a_ truth? Excuse me, have I - understood you clearly? You were suggesting that I commit a - forgery? I am astonished that you dare propose such a thing, - and when I say I am astonished, I'm not saying half what I - actually feel. Be so good as to tell the Commendatore that I - am here! - - LAUDISI (_dropping his arms dejectedly_). As you will, - Commissioner! - - (_He steps over to the door on the left. As he draws the - portieres and swings the door more widely open, the voices - become louder and more confused. As he steps through, there - is a sudden silence. The police commissioner stands waiting - with a satisfied air, twirling one of the points of his - mustache. All of a sudden, there is commotion and cheering - in the next room. Cries of delight and applause, mixed with - hand-clapping. The police commissioner comes out of his - reverie and looks up with an expression of surprise on his - features, as though not understanding what it's all about. - Through the door to the left come Agazzi, Sirelli, Laudisi, - Amalia, Dina, Signora Sirelli, Signora Cini, Signora Nenni, - and many other ladies and gentlemen. Agazzi leads the - procession. They are all still talking and laughing - excitedly, clapping their hands, and crying "I told you so! - Fine! Fine! Good! How wonderful! Now we'll know!" etc._). - - AGAZZI (_stepping forward cordially_). Ah, my dear Centuri, - I was sure you could! Nothing ever gets by _our_ chief! - - COMPANY. Fine! Good! What did you find out! Have you brought - something? Is it she? Is it he? Tell us? - - COMMISSIONER (_who doesn't yet understand what all the - excitement is about. For him it has been a mere matter of - routine_). Why, no ... why, Commendatore, simply ... you - understand.... - - AGAZZI. Hush! Give him a chance!... - - COMMISSIONER. I have done my best. I ... but what did Signor - Laudisi tell you? - - AGAZZI. He told us that you have brought news, real news! - - SIRELLI. Specific data, clear, precise!... - - LAUDISI (_amplifying_). ... not many, perhaps, but well - authenticated! The best they've managed to trace! Old - neighbors of Ponza, you see; people well acquainted with - him.... - - EVERYBODY. Ah! At last! At last! Now we'll know I At last! - - (_The Commissioner hands the document to Agazzi_). - - COMMISSIONER. There you have it, Commendatore! - - AGAZZI (_opening the sheet; as all crowd around him_). Let's - have a look at it! - - COMMISSIONER. But you, Signor Laudisi.... - - LAUDISI. Don't interrupt, please, the document speaks for - itself! Agazzi, you read it. - - AGAZZI (_to Laudisi_). But give me a chance, won't you? - Please! Please! Now! There you are! - - LAUDISI. Oh, I don't care. I've read the thing already. - - EVERYBODY (_crowding around him_). You've read it already? - What did it say? Is it he? Is it she? - - LAUDISI (_speaking very formally_). There is no doubt - whatever, as a former neighbor of Ponza's testifies, that - the woman Frola was once in a sanatorium! - - THE GROUP (_cries of disappointment_). Oh really! Too bad! - Too bad! - - SIGNORA SIRELLI. Signora Frola, did you say? - - DINA. Are you sure it was she? - - AGAZZI. Why, no! Why, no, it doesn't say anything of the - kind! (_Coming forward and having the document - triumphantly_). It doesn't say anything of the kind! - (_General excitement_). - - EVERYBODY. Well, what does it say? What does it say? - - LAUDISI (_insisting_). It does too! It says "the Frola - woman"--the Frola woman, categorically. - - AGAZZI. Nothing of the kind! The witness says that he - _thinks_ she was in a sanatorium. He does not assert that - she was. Besides, there is another point. He doesn't know - whether this Frola woman who was in a sanatorium was the - mother or the daughter, the first wife, that is! - - EVERYBODY (_with relief_). Ah! - - LAUDISI (_insistingly_). But I say he does. It must be the - mother! Who else could it be? - - SIRELLI. No, of course, it's the daughter! It's the - daughter! - - SIGNORA SIRELLI. Just as the old lady said herself! - - AMALIA. Exactly! That time when they took her away by force - from her husband!... - - DINA. Yes, she says that her daughter was taken to a - sanatorium on account of a contagious disease. - - AGAZZI. Furthermore, observe another thing. The witness does - not really belong to their town. He says that he used to go - there frequently, but that he does not remember - particularly. He remembers that he heard something or - other!... - - SIRELLI. Ah! How can you depend on such a man's testimony? - Nothing but hearsay! - - LAUDISI. But, excuse me! If all you people are so sure that - Signora Frola is right, what more do you want? Why do you go - looking for documents? This is all nonsense! - - SIRELLI. If it weren't for the fact that the prefect has - accepted Ponza's side of the story, I'll tell you.... - - COMMISSIONER. Yes, that's true. The prefect said as much to - me.... - - AGAZZI. Yes, but that's because the prefect has never talked - with the old lady who lives next door. - - SIGNORA SIRELLI. You bet he hasn't. He talked only with - Ponza. - - SIRELLI. But, for that matter, there are other people of the - same mind as the prefect. - - A GENTLEMAN. That is my situation, my situation exactly. Yes - sir! Because I know of just such as case where a mother went - insane over the death of her daughter and insists that the - daughter's husband will not allow her to see the girl. The - same case to a _T_. - - A SECOND GENTLEMAN. Not exactly to a T! Not exactly to a T! - In the case you mention the man didn't marry again. Here, - this man Ponza is living with another woman.... - - LAUDISI (_his face brightening with a new idea that has - suddenly come to him_). I have it, ladies and gentlemen! Did - you hear that? It's perfectly simple. Dear me, as simple as - Columbus's egg! - - EVERYBODY. What? What? What? What? - - THE SECOND GENTLEMAN. What did I say? I didn't realize it - was important. - - LAUDISI. Just a moment, ladies and gentlemen! (_Turning to - Agazzi_): Is the prefect coming here, by chance? - - AGAZZI. Yes, we were expecting him. But what's the new idea? - - LAUDISI. Why, you were bringing him here to talk with - Signora Frola. So far, he is standing by Ponza. When he has - talked with the old lady, he'll know whether to believe - Ponza or her. That's _your_ idea! Well, I've thought of - something better that the prefect can do. Something that he - only can do. - - EVERYBODY. What is it? What is it? What is it? - - LAUDISI (_triumphantly_). Why, this wife of Ponza's, of - course ... at least, the woman he is living with! What this - gentleman said suggested the idea to me. - - SIRELLI. Get the second woman to talk? Of course! Of course! - - DINA. But how can we, when she is kept under lock and key? - - LAUDISI. Why, the prefect can use his authority--order her - to speak! - - AMALIA. Certainly, she is the one who can clear up the whole - mystery. - - SIGNORA SIRELLI. I don't believe it. She'll say just what - her husband tells her to say. - - LAUDISI. Of course, if she were to speak in his presence of - course! - - SIRELLI. She must speak with the prefect privately, all by - himself. - - AGAZZI. And the prefect, as the final authority over the - man, will insist that the wife make a formal explicit - statement before him. Of course, of course! What do you say, - Commissioner? - - COMMISSIONER. Why certainly, there's no doubt that if the - prefect were so inclined.... - - AGAZZI. It is the only way out of it, after all. We ought to - 'phone him and explain that he needn't go to the trouble of - coming here. You attend to that, will you, Commissioner? - - COMMISSIONER. Very glad to! My compliments, ladies! Good - afternoon, gentlemen! - - SIGNORA SIRELLI. A good idea for once, Laudisi. - - DINA. Oh, Nunky, how clever of you! Wise old Nunky! - - THE COMPANY. The only way out of it! Yes! Yes! Fine! At - last! - - AGAZZI. Curious none of us thought of that before! - - SIRELLI. Not so curious! None of us ever set eyes on the - woman. She might as well be in another world, poor girl. - - LAUDISI (_as though suddenly impressed by this latter - reflection_). In another world? Why yes,--are you really - sure there is such a woman? - - AMALIA. Oh I say! Please, please, Lamberto! - - SIRELLI (_with a laugh_). You mean to say you think there is - no such woman? - - LAUDISI. How can you be sure there is? You can't guarantee - it! - - DINA. But the old lady sees her and talks with her every - day. - - SIGNORA SIRELLI. And Ponza says that, too. They both agree - on that point! - - LAUDISI. Yes, yes, I don't deny that. But just a moment! If - you think of it, isn't Signora Frola right? Well, in that - case who is the woman in Ponza's eyes? The phantom of a - second wife, of course! Or else Ponza himself is right, and - in that case you have the phantom of a daughter in the old - lady's eyes! Two phantoms, in other words! Now we've got to - find out, ladies and gentlemen, whether this woman, who must - be a mere phantom for the one or for the other, is a person, - after all for herself. In the situation we are in, I should - say there was very good ground for doubting. - - AGAZZI. Oh, you make me tired! If we listen to you.... - - LAUDISI. No, ladies and gentlemen, notice! It may be that - she is nothing but a phantom in her own eyes. - - SIGNORA NENNI. Why, this is getting to be almost spooky! - - SIGNORA CINI. You mean to say it's a ghost, a real ghost? - How can you frighten us so? - - EVERYBODY. Nonsense! He's only joking! He's only joking! - - LAUDISI. Not a bit of it! I'm not joking at all! Who ever - saw the woman? No one ever set eyes on her. He talks of her, - to be sure; and she, the old woman that is, says that she - often sees her. - - SIRELLI. Nonsense! Any number of people have seen her; she - comes to the balcony of the courtyard. - - LAUDISI. Who comes to the balcony? - - SIRELLI. A woman in flesh and bones--in skirts, for that - matter. People have seen her and people have heard her talk. - For heaven's sake, man! - - LAUDISI. Are you sure of that? - - AGAZZI. And why not, pray? You said so yourself a moment - ago! - - LAUDISI. Why yes, I did say so! I did say that the prefect - ought to have a talk with whatever woman is there. But - notice one thing, it is certain that no ordinary woman is - there. No _ordinary_ woman! Of that much we can be sure! And - I, for my part, have come to doubt whether she is in any - sense of the term, a woman. - - SIGNORA SIRELLI Dear me, dear me! That man simply drives me - crazy. - - LAUDISI. Well, supposing we wait and see! - - EVERYBODY. Well, who is she then? But people have seen her! - His wife! On the balcony! She writes letters! - - POLICE COMMISSIONER (_in the heat of the confusion comes - into the room, excitedly announcing_). The prefect is - coming! The prefect! - - AGAZZI. What do you mean? Coming here? But you went to.... - - COMMISSIONER. Why yes, but I met him hardly a block away. He - was coming here; and Ponza is with him. - - SIRELLI. Ah, Ponza! - - AGAZZI. Oh, if Ponza is with him, I doubt whether he is - coming here. They are probably on their way to the old - lady's. Please, Centuri, you just wait on the landing there - and ask him if he won't step in here as he promised? - - COMMISSIONER. Very well! I'll do so! (_He withdraws - hurriedly through the door in the rear_). - - AGAZZI. Won't you people just step into the other room? - - SIGNORA SIRELLI. But remember now, be sure to make him see - the point! It's the only way out, the only way. - - AMALIA (_at the door to the left_). This way, ladies, if you - please! - - AGAZZI. Won't you just stay here, Sirelli; and you, too, - Lamberto? - - (_All the others go out through the door to the left_). - - AGAZZI (_to Laudisi_). But let me do the talking, won't you! - - LAUDISI. Oh, as for that, don't worry. In fact, if you - prefer, I'll go into the other room.... - - AGAZZI. No, no, it's better for you to be here. Ah, here he - is now! - - - THE PREFECT _is a man of about sixty, tall, thick set, good - natured, affable._ - - - PREFECT. Ah, Agazzi, glad to see you. How goes it, Sirelli? - Good to see you again, Laudisi. (_He shakes hands all - around_). - - AGAZZI (_motioning toward a chair_). I hope you won't mind - my having asked you to come here. - - PREFECT. No, I was coming, just as I promised you! - - AGAZZI (_noticing the police commissioner at the door_). Oh, - I'm sorry, Commissioner! Please come in! Here, have a chair! - - PREFECT (_good-naturedly to Sirelli_). By the way, Sirelli, - they tell me that you've gone half nutty over this blessed - affair of our new secretary. - - SIRELLI. Oh, no, governor, believe me. I'm not the only one! - The whole village is worked up. - - AGAZZI. And that's putting it very mildly. - - PREFECT. What's it all about? What's it all about? Good - heavens! - - AGAZZI. Of course, governor, you're probably not posted on - the whole business. The old lady lives here next door.... - - PREFECT. Yes, I understand so. - - SIRELLI. No, one moment, please, governor. You haven't - talked with the poor old lady yet. - - PREFECT. I was on my way to see her. (_Turning to Agazzi_). - I had promised you to see her here, but Ponza came and - begged me, almost on my knees, to see her in her own house. - His idea was to put an end to all this talk that's going - around. Do you think he would have done such a thing if he - weren't absolutely sure? - - AGAZZI. Of course, he's sure! Because when she's talking in - front of him, the poor woman.... - - SIRELLI (_suddenly getting in his oar_). She says just what - he wants her to say, governor; which proves that she is far - from being as insane as he claims. - - AGAZZI. We had a sample of that, here, yesterday, all of us. - - PREFECT. Why, I understand so. You see he's trying all the - time to make her believe he's crazy. He warned me of that. - And how else could he keep the poor woman in her illusion? - Do you see any way? All this talk of yours is simply torture - to the poor fellow! Believe me, pure torture! - - SIRELLI. Very well, governor! But supposing _she_ is the one - who is trying to keep _him_ in the idea that her daughter is - dead; so as to reassure him that his wife will not be taken - from him again. In that case, you see, governor, it's the - old lady who is being tortured, and not Ponza! - - AGAZZI. The moment you see the possibility of that, - governor.... Well, you ought to hear her talk; but all by - herself, when he's not around. Then you'd see the - possibility all right.... - - SIRELLI. Just as we all see it! - - PREFECT. Oh, I wonder! You don't seem to me so awfully sure; - and for my part, I'm quite willing to confess that I'm not - so sure myself. How about you, Laudisi? - - LAUDISI. Sorry, governor, I promised Agazzi here to keep my - mouth shut. - - AGAZZI (_protesting angrily_). Nothing of the kind! How dare - you say that? When the governor asks you a plain - question.... It's true I told him not to talk, but do you - know why? He's been doing his best for the past two days to - keep us all rattled so that we can't find out anything. - - LAUDISI. Don't you believe him, governor. On the contrary. - I've been doing my best to bring these people to common - sense. - - SIRELLI. Common sense! And do you know what he calls common - sense? According to him it is not possible to discover the - truth; and now he's been suggesting that Ponza is living not - with a woman, but with a ghost! - - PREFECT (_enjoying the situation_). That's a new one! Quite - an idea! How do you make that out, Laudisi? - - AGAZZI. Oh, I say!... You know how he is. There's no getting - anywhere with him! - - LAUDISI. I leave it to you, governor. I was the one who - first suggested bringing the woman here. - - PREFECT. And do you think, Laudisi, I ought to see the old - lady next door? - - LAUDISI. No, I advise no such thing, governor. In my - judgment you are doing very well in depending on what Ponza - tells you. - - PREFECT. Ah, I see! Because you, too, think that Ponza.... - - LAUDISI. No, not at all ... because I'm also satisfied to - have all these people stand on what Signora Frola says, if - that does them any good. - - AGAZZI. So you see, eh, governor? That's what you call - arguing, eh? - - PREFECT. Just a moment! Let me understand! (_Turning to - Laudisi_): So you say we can also trust what the old lady - says? - - LAUDISI. Of course you can! Implicitly! And so you can - depend upon what Ponza says. Implicitly! - - PREFECT. Excuse me, I don't follow you! - - SIRELLI. But man alive, if they both say the exact opposite - of each other!... - - AGAZZI (_angrily and with heat_). Listen to me, governor, - please. I am prejudiced neither in favor of the old lady nor - in favor of Ponza. I recognize that he may be right and that - she may be right. But we ought to settle the matter, and - there is only one way to do it. - - SIRELLI. The way that Laudisi here suggested. - - PREFECT. He suggested it? That's interesting? What is it? - - AGAZZI. Since we haven't been able to get any positive - proof, there is only one thing left. You, as Ponza's final - superior, as the man who can fire him if need be, can obtain - a statement from his wife. - - PREFECT. Make his wife talk, you mean? - - SIRELLI. But not in the presence of her husband, you - understand. - - AGAZZI. Yes, making sure she tells the truth! - - SIRELLI. ... tell whether she's the daughter of Signora - Frola, that is, as we think she must be.... - - AGAZZI. ... or a second wife who is consenting to - impersonate the daughter of Signora Frola, as Ponza claims. - - PREFECT. ... and as I believe myself, without a shadow of - doubt! (_Thinking a moment_) Why, I don't see any objection - to having her talk. Who could object? Ponza? But Ponza, as I - know very well, is more eager than anybody else to have this - talk quieted down. He's all upset over this whole business, - and said he was willing to do anything I proposed. I'm sure - he will raise no objection. So if it will ease the minds of - you people here.... Say, Centuri (_the police commissioner - rises_), won't you just ask Ponza to step in here a moment? - He's next door with his mother-in-law. - - COMMISSIONER. At once, Your Excellency! (_He bows and - withdraws through the door at the rear_). - - AGAZZI. Oh well, if he consents.... - - PREFECT. He'll consent, all right. And we'll be through with - it in a jiffy. We'll bring her right in here so that you - people.... - - AGAZZI. Here, in my house? - - SIRELLI. You think he'll let his wife come in here? - - PREFECT. Just leave it to me, just leave it to me! I prefer - to have her right here because, otherwise you see, you - people would always suppose that I and Ponza had.... - - AGAZZI. Oh, please, governor, no! That's not fair! - - SIRELLI. Oh, no, governor, we trust you implicitly! - - PREFECT. Oh, I'm not offended, not at all! But you know very - well that I'm on his side in this matter; and you'd always - be thinking that to hush up any possible scandal in - connection with a man in my office.... No, you see. I must - insist on having the interview here.... Where's your wife, - Agazzi? - - AGAZZI. In the other room, governor, with some other ladies. - - PREFECT. Other ladies? Aha, I see! (_Laughing_). You have a - regular detective bureau here, eh? (_The police commissioner - enters with Ponza_). - - COMMISSIONER. May I come in? Signor Ponza is here. - - PREFECT. Thanks, Centuri. This way, Ponza, come right in! - (_Ponza bows_). - - AGAZZI. Have a chair, Ponza. (_Ponza bows and sits down_). - - PREFECT. I believe you know these gentlemen? (_Ponza rises - and bows_). - - AGAZZI. Yes, I introduced them yesterday. And this is - Laudisi, my wife's brother. (_Ponza bows_). - - PREFECT. I venture to disturb you, my dear Ponza, just to - tell you that here with these friends of mine.... (_At the - first words of the prefect, Ponza evinces the greatest - nervousness and agitation_). - - PREFECT. Was there something you wanted to say, Ponza? - - PONZA. Yes, there is something I want to say, governor. I - want to present my resignation here and now. - - PREFECT. Oh, my dear fellow, I'm so sorry! But just a few - moments ago down at the office you were talking.... - - PONZA. Oh, really, this is an outrage, governor! This is - just plain persecution, plain persecution! - - PREFECT. Oh, now, don't take it that way, old man. See here. - These good people.... - - AGAZZI. Persecution, did you say? On my part?... - - PONZA. On the part of all of you! And I am sick and tired of - it! I am going to resign, governor. I refuse to submit to - this ferocious prying into my private affairs which will end - by undoing a work of love that has cost me untold sacrifice - these past two years. You don't know, governor! Why, I've - treated that dear old lady in there just as tenderly as - though she were my own mother. And yesterday I had to shout - at her in the most cruel and terrible way! Why, I found her - just now so worked up and excited that.... - - AGAZZI. That's queer! While she was in here Signora Frola - was quite mistress of herself. If anybody was worked up, - Ponza, it was you. And even now, if I might say.... - - PONZA. But you people don't know what you're making me go - through! - - PREFECT. Oh, come, come, my dear fellows, don't take it so - hard. After all, I'm here, am I not? And you know I've - always stood by you! And I always will! - - PONZA. Yes, governor, and I appreciate your kindness, - really! - - PREFECT. And then you say that you're as fond of this poor - old lady as you would be if she were your own mother. Well, - now, just remember that these good people here seem to be - prying into your affairs because they, too, are fond of - her!... - - PONZA. But they're killing her, I tell you, governor! - They're killing her, and I warned them in advance. - - PREFECT. Very well, Ponza, very well! Now we'll get through - with this matter in no time. See here, it is all very - simple. There is one way that you can convince these people - without the least doubt in the world. Oh, not me--I don't - need convincing. I believe _you_. - - PONZA. But _they_ won't believe me, no matter what I say. - - AGAZZI. That's not so! When you came here after your - mother-in-law's first visit and told us that she was insane, - all of us ... well, we were surprised, but we believed you. - (_Turning to the prefect_): But after he left, you - understand, the old lady came back.... - - PREFECT. Yes, yes, I know. He told me. (_Turning to Ponza - again_). She came back here and said that she was trying to - do with you exactly what you say you were trying to do with - her. It's natural, isn't it, that people hearing both - stories, should be somewhat confused. Now you see that these - good people, in view of what your mother-in-law says, can't - possibly be sure of what you say. So there you are. Now, - such being the case, you and your mother-in-law--why, it's - perfectly simple--you two just step aside. Now you know - you're telling the truth, don't you? So do I! So you can't - possibly object to their hearing the testimony of the only - person who does know, aside from you two. - - PONZA. And who may that be, pray? - - PREFECT. Why, your wife! - - PONZA. My wife! (_Decisively and angrily_). Ah, no! I - refuse! Never in the world! Never! - - PREFECT. And why not, old man? - - PONZA. Bring my wife here to satisfy the curiosity of these - strangers? - - PREFECT (_sharply_). And my curiosity, too, if you don't - mind! What objection can you have? - - PONZA. Oh, but governor, no! My wife! Here? No! Why drag my - wife in? These people ought to believe me! - - PREFECT. But don't you see, my dear fellow, that the course - you're taking now is just calculated to discredit what you - say? - - AGAZZI. His mistake in the first place, governor, was trying - to prevent his mother-in-law from coming here and calling--a - double discourtesy, mark you, to my wife and to my daughter! - - PONZA. But what in the name of God do you people want of me? - You've been nagging and nagging at that poor old woman next - door; and now you want to get your clutches on my wife! No, - governor! I refuse to submit to such an indignity! She owes - nothing to anybody. My wife is not making visits in this - town. You say you believe me, governor? That's enough for - me! Here's my resignation! I'll go out and look for another - job! - - PREFECT. No, no, Ponza, I must speak plainly. In the first - place I have always treated you on the square; and you have - no right to speak in that tone of voice to me. In the second - place you are beginning to make me doubt your word by - refusing to furnish me--not other people--but me, the - evidence that I have asked for in your interest, evidence, - moreover, that so far as I can see, cannot possibly do you - any harm. It seems to me that my colleague here, Signor - Agazzi, can ask a lady to come to his house! But no, if you - prefer, we'll go and see her. - - PONZA. So you really insist, governor? - - PREFECT. I insist, but as I told you, in your own interest. - You realize, besides, that I might have the legal right to - question her.... - - PONZA. I see, I see! So that's it! An official - investigation! Well, why not, after all? I will bring my - wife here, just to end the whole matter. But how can you - guarantee me that this poor old lady next door will not - catch sight of her? - - PREFECT. Why, I hadn't thought of that! She does live right - next door. - - AGAZZI (_speaking up_). We are perfectly willing to go to - Signor Ponza's house. - - PONZA. No, no, I was just thinking of you people. I don't - want you to play any more tricks on me. Any mistakes might - have the most frightful consequences, set her going again! - - AGAZZI. You're not very fair to us, Ponza, it seems to me. - - PREFECT. Or you might bring your wife to my office, - rather.... - - PONZA. No, no! Since you're going to question her anyway, we - might as well get through with it. We'll bring her here, - right here. I'll keep an eye on my mother-in-law myself. - We'll have her here right away, governor, and get an end of - this nonsense once and for all, once and for all! (_He - hurries away through the rear exit_.) - - PREFECT. I confess I was not expecting so much opposition on - his part. - - AGAZZI. Ah, you'll see. He'll go and cook up with his wife - just what she's to say! - - PREFECT. Oh, don't worry as to that! I'll question the woman - myself. - - SIRELLI. But he's more excited than he's ever been before. - - PREFECT. Well, I confess I never saw him just in this state - of mind. Perhaps it is the sense of outrage he feels in - having to bring his wife.... - - SIRELLI, In having to let her loose for once, you ought to - say! - - PREFECT. A man isn't necessarily crazy because he wants to - keep an eye on his wife. - - AGAZZI. Of course he says it's to protect her from the - mother-in-law. - - PREFECT. I wasn't thinking of just that--he may be jealous - of the woman! - - SIRELLI. Jealous to the extent of refusing her a servant? - For you know, don't you, he makes his wife do all the - housework? - - AGAZZI. And he does all the marketing himself every morning. - - COMMISSIONER. That's right, governor! I've had him shadowed. - An errand boy from the market carries the stuff as far as - the door. - - SIRELLI. But he never lets the boy inside. - - PREFECT. Dear me, dear me! He excused himself for that - servant business when I took the matter up with him. - - LAUDISI. And that's information right from the source! - - PREFECT. He says he does it to save money. - - LAUDISI. He has to keep two establishments on one salary. - - SIRELLI. Oh, we weren't criticising how he runs his house; - but I ask you as a matter of common sense: he is a man of - some position, and do you think that this second wife of - his, as he calls her, who ought to be a lady, would consent - to do all the work about the house?... - - AGAZZI. The hardest and most disagreeable work, you - understand.... - - SIRELLI. ... just out of consideration for the mother of her - husband's first wife? - - AGAZZI. Oh, I say, governor, be honest now! That doesn't - seem probable, does it? - - PREFECT. I confess it does seem queer.... - - LAUDISI. ... in case this second woman is an ordinary woman! - - PREFECT. Yes, but let's be frank. It doesn't seem - reasonable. But yet, one might say--well, you could explain - it as generosity on her part, and even better, as jealousy - on his part. Lunatic or no lunatic, there is no denying that - he's jealous! - - (_A confused clamor of voices is heard from the next door_). - - AGAZZI. My, I wonder what's going on in there! - - (_Amalia enters from the door on the left in a state of - great excitement_). - - AMALIA. Signora Frola is here! - - AGAZZI. Impossible! How in the world did she get in? Who - sent for her? - - AMALIA. Nobody! She came of her own accord! - - PREFECT. Oh, no, please--just a moment! No! Send her away, - madam, please! - - AGAZZI. We've got to get rid of her. Don't let her in here! - We must absolutely keep her out! - - (_Signora Frola appears at the door on the left, trembling, - beseeching, weeping, a handkerchief in her hand. The people - in the next room are crowding around behind her_). - - SIGNORA FROLA. Oh, please, please! You tell them, Signor - Agazzi! Don't let them send me away! - - AGAZZI. But you must go away, madam! We simply can't allow - you to be here now! - - SIGNORA FROLA (_desperately_). Why? Why? (_Turning to - Amalia_). I appeal to you, Signora Agazzi. - - AMALIA. But don't you see? The prefect is there! They're - having an important meeting. - - SIGNORA FROLA. Oh, the prefect! Please, governor, please! I - was intending to go and see you. - - PREFECT. No, I am so sorry, madam. I can't see you just now! - You must go away! - - SIGNORA FROLA. Yes, I am going away. I am going to leave - town this very day! I am going to leave town and never come - back again! - - AGAZZI. Oh, we didn't mean that, my dear Signora Frola. We - meant that we couldn't see you here, just now, in this room. - Do me a favor, please! You can see the governor by and by. - - SIGNORA FROLA. But why? I don't understand! What's happened! - - AGAZZI. Why, your son-in-law will soon be here! There, now - do you see? - - SIGNORA FROLA. Oh, he's coming here? Oh, yes, in that - case.... Yes, yes, ... I'll go! But there was something I - wanted to say to you people. You must stop all this. You - must let us alone. You think you are helping me. You are - trying to do me a favor; but really, what you're doing is - working me a great wrong. I've got to leave town this very - day because he must not be aroused. What do you want of him - anyway? What are you trying to do to him? Why are you having - him come here? Oh, Mr. Governor.... - - PREFECT. Come, Signora Frola, don't worry, don't worry. I'll - see you by and by and explain everything. You just step out - now, won't you? - - AMALIA. Please, Signora Frola ... yes, that's right! Come - with me! - - SIGNORA FROLA. Oh, my dear Signora Agazzi, you are trying to - rob me of the one comfort I had in life, the chance of - seeing my daughter once in a while, at least from a - distance! (_She begins to weep_). - - PREFECT. What in the world are you thinking of? We are not - asking you to leave town. We just want you to leave this - room, for the time being. There, now do you understand? - - SIGNORA FROLA. But it's on his account, governor ... it's on - his account I was coming to ask you to help him! It was on - his account, not on mine! - - PREFECT. There, there, everything will be all right. We'll - take care of him. And we'll have this whole business settled - in a jiffy. - - SIGNORA FROLA. But how ... how can I be sure? I can see that - everybody here hates him. They are trying to do something to - him. - - PREFECT. No, no, not at all! And even if they were, I would - look after him. There, there, don't worry, don't worry! - - SIGNORA FROLA. Oh, so you believe him? Oh, thank you; thank - you, sir! That means that at least _you_ understand! - - PREFECT. Yes, yes, madam, I understand, I understand! And I - cautioned all these people here. It's a misfortune that came - to him long, long ago. He's all right now! He's all right - now! - - SIGNORA FROLA. ... Only he must not go back to all those - things. - - PREFECT. You're right, you're quite right, Signora Frola, - but as I told you, I understand! - - SIGNORA FROLA. Yes, governor, that's it! If he compels us to - live this way--well, what does it matter. That doesn't do - anybody any harm so long as we're satisfied, and my daughter - is happy this way. That's enough for me, and for her! But - you'll look after us, governor. They mustn't spoil anything. - Otherwise there's nothing left for, me except to leave town - and never see her again--never, not even from a distance. - You must not irritate him. You must leave him alone. Oh, - please! - - (_At this moment a wave of surprise, anxiety, dismay, sweeps - over the company. Everybody falls silent and turns to the - door. Suppressed exclamations are audible._) - - VOICES. Oh! Oh! Look! There she is! Oh! Oh! - - SIGNORA FROLA (_noticing the change in people, and groaning, - all of a tremble_). What's the matter? What's the matter? - - (_The company divides to either hand. A lady has appeared at - the door in back. She is dressed in deep mourning and her - face is concealed with a thick, black, impenetrable veil_). - - SIGNORA FROLA (_uttering a piercing shriek of joy_). Oh, - Lena! Lena! Lena! Lena! - - (_She dashes forward and throws her arms about the veiled - woman with the passionate hysteria of a mother who has not - embraced her daughter for years and years. But at the same - time from beyond the door in the rear another piercing cry - comes. Ponza dashes into the room_). - - PONZA. No! Julia! Julia! Julia! - - (_At his voice Signora Ponza draws up stiffly in the arms of - Signora Frola who is clasping her tightly. Ponza notices - that his mother-in-law is thus desperately entwined about - his wife and he shrieks desperately_). - - PONZA. Cowards! Liars! I knew you would! I knew you would! - It is just like the lot of you! - - SIGNORA PONZA (_turning her veiled head with a certain - austere solemnity toward her husband_). Never mind! Don't be - afraid! Just take her away, just take her away! Please go - away, now, both of you! Please go away! - - (_Signora Frola, at these words, turns to her son-in-law and - humbly, tremblingly, goes over and embraces him_). - - SIGNORA FROLA. Yes, yes, you poor boy, come with me, come - with me! - - (_Their arms about each other's waists, and holding each - other up affectionately, Ponza and his mother-in-law - withdraw through the rear door. They are both weeping. - Profound silence in the company. All those present stand - there with their eyes fixed upon the departing couple. As - Signora Frola and Ponza are lost from view, all eyes turn - expectantly upon the veiled lady. Some of the women are - weeping_). - - SIGNORA PONZA. And what can you want of me now, after all - this, ladies and gentlemen? In our lives, as you see, there - is something which must remain concealed. Otherwise the - remedy which our love for each other has found cannot avail. - - PREFECT (_with tears in his eyes_). We surely are anxious to - respect your sorrow, madam, but we must know, and we want - you to tell.... - - SIGNORA PONZA. What? The truth? The truth is simply this. I - am the daughter of Signora Frola, and I am the second wife - of Signor Ponza. Yes, and--for myself, I am nobody, I am - nobody.... - - PREFECT. Ah, but no, madam, for yourself ... you must be ... - either the one or the other. - - SIGNORA PONZA. Not at all, not at all, sir! No, for myself I - am ... whoever you choose to have me. (_Without removing her - veil, she proudly casts a sweeping glance around at the - company, and withdraws. They all stand looking after her. - Profound silence on the stage_). - - LAUDISI. Well, and there, my friends, you have the truth! - But are you satisfied? Hah! hah! hah! hah! hah! hah! hah! - - - _Curtain._ - - - - NOTE TO "RIGHT YOU ARE!" - - A slight adaptation has been introduced into Signora Frola's - explanation of her son-in-law's mania, Act I, p. 184, - beginning "No, look, look, not that ... etc." The Italian - text reads: - - SIGNORA FROLA. No guardino ... guardino.... Non e neanche - lui!... Mi lascino dire. Lo hanno veduto-e cosi forte di - complessione ... violento.... Sposando, fu preso da una vera - frenesia d'amore.... Rischio di distruggere, quasi, la mia - figliuola, ch'era delicatina ... Per consiglio dei medici e - di tutti i parenti anche dei suoi (che ora poverini non ci - sono piu)--gli si dovette sottrarre la moglie di nascosto, - per chiuderla in una casa di salute ... ecc." - - A.L. - - - - - -End of the Project Gutenberg EBook of Three Plays, by Luigi Pirandello - -*** END OF THIS PROJECT GUTENBERG EBOOK THREE PLAYS *** - -***** This file should be named 42148.txt or 42148.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/2/1/4/42148/ - -Produced by Marc D'Hooghe at http://www.freeliterature.org -(Images generously made available by the Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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