diff options
| -rw-r--r-- | .gitattributes | 4 | ||||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 | ||||
| -rw-r--r-- | old/55945-0.txt | 6054 | ||||
| -rw-r--r-- | old/55945-h/55945-h.htm | 9188 | ||||
| -rw-r--r-- | old/old/55945-h.htm.2017-11-12 | 6397 |
6 files changed, 17 insertions, 21639 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..c003f5a --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #55945 (https://www.gutenberg.org/ebooks/55945) diff --git a/old/55945-0.txt b/old/55945-0.txt deleted file mode 100644 index 4b4be20..0000000 --- a/old/55945-0.txt +++ /dev/null @@ -1,6054 +0,0 @@ -The Project Gutenberg eBook of Exiles, by James Joyce - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Exiles - -Author: James Joyce - -Release Date: November 12, 2017 [eBook #55945] -[Most recently updated: October 18, 2023] - -Language: English - -Produced by: Menno de Leeuw - -*** START OF THE PROJECT GUTENBERG EBOOK EXILES *** - - - - -Exiles - -A Play in Three Acts - -By James Joyce - - - - - - - -Contents - -First Act - -Second Act - -Third Act - - - -Characters - -RICHARD ROWAN, a writer. -BERTHA. -ARCHIE, their son, aged eight years. -ROBERT HAND, journalist. -BEATRICE JUSTICE, his cousin, music teacher. -BRIGID, an old servant of the Rowan family. -A FISHWOMAN. - -At Merrion and Ranelagh, suburbs of Dublin. -Summer of the year 1912. - - - - -First Act - -_The drawingroom in Richard Rowan’s house at Merrion, a suburb of -Dublin. On the right, forward, a fireplace, before which stands a low -screen. Over the mantelpiece a giltframed glass. Further back in the -right wall, folding doors leading to the parlour and kitchen. In the -wall at the back to the right a small door leading to a study. Left of -this a sideboard. On the wall above the sideboard a framed crayon -drawing of a young man. More to the left double doors with glass panels -leading out to the garden. In the wall at the left a window looking out -on the road. Forward in the same wall a door leading to the hall and the -upper part of the house. Between the window and door a lady’s davenport -stands against the wall. Near it a wicker chair. In the centre of the -room a round table. Chairs, upholstered in faded green plush, stand -round the table. To the right, forward, a smaller table with a smoking -service on it. Near it an easychair and a lounge. Cocoanut mats lie -before the fireplace, beside the lounge and before the doors. The floor -is of stained planking. The double doors at the back and the folding -doors at the right have lace curtains, which are drawn halfway. The -lower sash of the window is lifted and the window is hung with heavy -green plush curtains. The blind is pulled down to the edge of the -lifted lower sash. It is a warm afternoon in June and the room is -filled with soft sunlight which is waning._ - -[Brigid _and_ Beatrice Justice come in by the door on the left. Brigid -is an elderly woman, lowsized, with irongrey hair._ Beatrice Justice _is -a slender dark young woman of 27 years. She wears a wellmade navyblue -costume and an elegan simply trimmed black straw hat, and carries a -small portfolioshaped handbag.] - -BRIGID. -The mistress and Master Archie is at the bath. They never expected you. -Did you send word you were back, Miss Justice? - -BEATRICE. -No. I arrived just now. - -BRIGID. -[_Points to the easychair._] Sit down and I’ll tell the master you are -here. Were you long in the train? - -BEATRICE. -[_Sitting down._] Since morning. - -BRIGID. -Master Archie got your postcard with the views of Youghal. You’re tired -out, I’m sure. - -BEATRICE. -O, no. [_She coughs rather nervously._] Did he practise the piano while -I was away? - -BRIGID. -[_Laughs heartily._] Practice, how are you! Is it Master Archie? He is -mad after the milkman’s horse now. Had you nice weather down there, -Miss Justice? - -BEATRICE. -Rather wet, I think. - -BRIGID. -[_Sympathetically._] Look at that now. And there is rain overhead too. -[_Moving towards the study._] I’ll tell him you are here. - -BEATRICE. -Is Mr Rowan in? - -BRIGID. -[_Points._] He is in his study. He is wearing himself out about -something he is writing. Up half the night he does be. [_Going._] I’ll -call him. - -BEATRICE. -Don’t disturb him, Brigid. I can wait here till they come back if they -are not long. - -BRIGID. -And I saw something in the letterbox when I was letting you in. [_She -crosses to the study door, opens it slightly and calls._] Master -Richard, Miss Justice is here for Master Archie’s lesson. - -[Richard Rowan _comes in from the study and advances towards_ Beatrice, -holding out his hand. He is a tall athletic young man of a rather lazy -carriage. He has light brown hair and a moustache and wears glasses. He -is dressed in loose lightgrey tweed.] - -RICHARD. -Welcome. - -BEATRICE. -[_Rises and shakes hands, blushing slightly._] Good afternoon, Mr Rowan. -I did not want Brigid to disturb you. - -RICHARD. -Disturb me? My goodness! - -BRIGID. -There is something in the letterbox, sir. - -RICHARD. -[_Takes a small bunch of keys from his pocket and hands them to her._] -Here. - -[Brigid _goes out by the door at the left and is heard opening and -closing the box. A short pause. She enters with two newspapers in her -hands._] - -RICHARD. -Letters? - -BRIGID. -No, sir. Only them Italian newspapers. - -RICHARD. -Leave them on my desk, will you? - -[Brigid _hands him back the keys, leaves the newspapers in the study, -comes out again and goes out by the folding doors on the right._] - -RICHARD. -Please, sit down. Bertha will be back in a moment. - -[Beatrice _sits down again in the easychair._ Richard _sits beside -the table._] - -RICHARD. -I had begun to think you would never come back. It is twelve days since -you were here. - -BEATRICE. -I thought of that too. But I have come. - -RICHARD. -Have you thought over what I told you when you were here last? - -BEATRICE. -Very much. - -RICHARD. -You must have known it before. Did you? [_She does not answer._] Do you -blame me? - -BEATRICE. -No. - -RICHARD. -Do you think I have acted towards you—badly? No? Or towards anyone? - -BEATRICE. -[_Looks at him with a sad puzzled expression._] I have asked myself that -question. - -RICHARD. -And the answer? - -BEATRICE. -I could not answer it. - -RICHARD. -If I were a painter and told you I had a book of sketches of you you -would not think it so strange, would you? - -BEATRICE. -It is not quite the same case, is it? - -RICHARD. -[_Smiles slightly._] Not quite. I told you also that I would not show -you what I had written unless you asked to see it. Well? - -BEATRICE. -I will not ask you. - -RICHARD. -[_Leans forward, resting his elbows on his knees, his hands joined._] -Would you like to see it? - -BEATRICE. -Very much. - -RICHARD. -Because it is about yourself? - -BEATRICE. -Yes. But not only that. - -RICHARD. -Because it is written by me? Yes? Even if what you would find there is -sometimes cruel? - -BEATRICE. -[_Shyly._] That is part of your mind, too. - -RICHARD. -Then it is my mind that attracts you? Is that it? - -BEATRICE. -[_Hesitating, glances at him for an instant._] Why do you think I come -here? - -RICHARD. -Why? Many reasons. To give Archie lessons. We have known one another so -many years, from childhood, Robert, you and I—haven’t we? You have -always been interested in me, before I went away and while I was away. -Then our letters to each other about my book. Now it is published. I am -here again. Perhaps you feel that some new thing is gathering in my -brain; perhaps you feel that you should know it. Is that the reason? - -BEATRICE. -No. - -RICHARD. -Why, then? - -BEATRICE. -Otherwise I could not see you. - -[_She looks at him for a moment and then turns aside quickly._] - -RICHARD. -[_After a pause repeats uncertainly._] Otherwise you could not see me? - -BEATRICE. -[_Suddenly confused._] I had better go. They are not coming back. -[_Rising._] Mr Rowan, I must go. - -RICHARD. -[_Extending his arms._] But you are running away. Remain. Tell me what -your words mean. Are you afraid of me? - -BEATRICE. -[_Sinks back again._] Afraid? No. - -RICHARD. -Have you confidence in me? Do you feel that you know me? - -BEATRICE. -[_Again shyly._] It is hard to know anyone but oneself. - -RICHARD. -Hard to know me? I sent you from Rome the chapters of my book as I wrote -them; and letters for nine long years. Well, eight years. - -BEATRICE. -Yes, it was nearly a year before your first letter came. - -RICHARD. -It was answered at once by you. And from that on you have watched me in -my struggle. [_Joins his hands earnestly._] Tell me, Miss Justice, did -you feel that what you read was written for your eyes? Or that you -inspired me? - -BEATRICE. -[_Shakes her head._] I need not answer that question. - -RICHARD. -What then? - -BEATRICE. -[_Is silent for a moment._] I cannot say it. You yourself must ask me, -Mr Rowan. - -RICHARD. -[_With some vehemence._] Then that I expressed in those chapters and -letters, and in my character and life as well, something in your soul -which you could not—pride or scorn? - -BEATRICE. -Could not? - -RICHARD. -[_Leans towards her._] Could not because you dared not. Is that why? - -BEATRICE. -[_Bends her head._] Yes. - -RICHARD. -On account of others or for want of courage—which? - -BEATRICE. -[_Softly._] Courage. - -RICHARD. -[_Slowly._] And so you have followed me with pride and scorn also in -your heart? - -BEATRICE. -And loneliness. - -[_She leans her head on her hand, averting her face. Richard rises and -walks slowly to the window on the left. He looks out for some moments -and then returns towards her, crosses to the lounge and sits down near -her._] - -RICHARD. -Do you love him still? - -BEATRICE. -I do not even know. - -RICHARD. -It was that that made me so reserved with you—then—even though I felt -your interest in me, even though I felt that I too was something in your -life. - -BEATRICE. -You were. - -RICHARD. -Yet that separated me from you. I was a third person, I felt. Your names -were always spoken together, Robert and Beatrice, as long as I can -remember. It seemed to me, to everyone... - -BEATRICE. -We are first cousins. It is not strange that we were often together. - -RICHARD. -He told me of your secret engagement with him. He had no secrets from -me; I suppose you know that. - -BEATRICE. -[_Uneasily._] What happened—between us—is so long ago. -I was a child. - -RICHARD. -[_Smiles maliciously._] A child? Are you sure? It was in the garden of -his mother’s house. No? [_He points towards the garden._] Over there. -You plighted your troth, as they say, with a kiss. And you gave him your -garter. Is it allowed to mention that? - -BEATRICE. -[_With some reserve._] If you think it worthy of mention. - -RICHARD. -I think you have not forgotten it. [_Clasping his hands quietly._] I do -not understand it. I thought, too, that after I had gone... Did my going -make you suffer? - -BEATRICE. -I always knew you would go some day. I did not suffer; only I was -changed. - -RICHARD. -Towards him? - -BEATRICE. -Everything was changed. His life, his mind, even, seemed to change after -that. - -RICHARD. -[_Musing._] Yes. I saw that you had changed when I received your first -letter after a year; after your illness, too. You even said so in your -letter. - -BEATRICE. -It brought me near to death. It made me see things differently. - -RICHARD. -And so a coldness began between you, little by little. Is that it? - -BEATRICE. -[_Half closing her eyes._] No. Not at once. I saw in him a pale -reflection of you: then that too faded. Of what good is it to talk now? - -RICHARD. -[_With a repressed energy._] But what is this that seems to hang over -you? It cannot be so tragic. - -BEATRICE. -[_Calmly._] O, not in the least tragic. I shall become gradually better, -they tell me, as I grow older. As I did not die then they tell me I -shall probably live. I am given life and health again—when I cannot use -them. [_Calmly and bitterly._] I am convalescent. - -RICHARD. -[_Gently._] Does nothing then in life give you peace? Surely it exists -for you somewhere. - -BEATRICE. -If there were convents in our religion perhaps there. At least, I think -so at times. - -RICHARD. -[_Shakes his head._] No, Miss Justice, not even there. You could not -give yourself freely and wholly. - -BEATRICE. -[_Looking at him._] I would try. - -RICHARD. -You would try, yes. You were drawn to him as your mind was drawn towards -mine. You held back from him. From me, too, in a different way. You -cannot give yourself freely and wholly. - -BEATRICE. -[_Joins her hands softly._] It is a terribly hard thing to do, Mr -Rowan—to give oneself freely and wholly—and be happy. - -RICHARD. -But do you feel that happiness is the best, the highest that we can -know? - -BEATRICE. -[_With fervour._] I wish I could feel it. - -RICHARD. -[_Leans back, his hands locked together behind his head._] O, if you -knew how I am suffering at this moment! For your case, too. But -suffering most of all for my own. [_With bitter force._] And how I pray -that I may be granted again my dead mother’s hardness of heart! For some -help, within me or without, I must find. And find it I will. - -[_Beatrice rises, looks at him -intently, and walks away toward the garden door. She turns with -indecision, looks again at him and, coming back, leans over the -easychair._] - -BEATRICE. -[_Quietly._] Did she send for you before she died, Mr Rowan? - -RICHARD. -[_Lost in thought._] Who? - -BEATRICE. -Your mother. - -RICHARD. -[_Recovering himself, looks keenly at her for a moment._] So that, too, -was said of me here by my friends—that she sent for me before she died -and that I did not go? - -BEATRICE. -Yes. - -RICHARD. -[_Coldly._] She did not. She died alone, not having forgiven me, and -fortified by the rites of holy church. - -BEATRICE. -Mr Rowan, why did you speak to me in such a way? - -RICHARD. -[_Rises and walks nervously to and fro._] And what I suffer at this -moment you will say is my punishment. - -BEATRICE. -Did she write to you? I mean before... - -RICHARD. -[_Halting._] Yes. A letter of warning, bidding me break with the past, -and remember her last words to me. - -BEATRICE. -[_Softly._] And does death not move you, Mr Rowan? It is an end. -Everything else is so uncertain. - -RICHARD. -While she lived she turned aside from me and from mine. That is certain. - -BEATRICE. -From you and from...? - -RICHARD. -From Bertha and from me and from our child. And so I waited for the end -as you say; and it came. - -BEATRICE. -[_Covers her face with her hands._] O, no. Surely no. - -RICHARD. -[_Fiercely._] How can my words hurt her poor body that rots in the -grave? Do you think I do not pity her cold blighted love for me? I -fought against her spirit while she lived to the bitter end. [_He -presses his hand to his forehead._] It fights against me still—in here. - -BEATRICE. -[_As before._] O, do not speak like that. - -RICHARD. -She drove me away. On account of her I lived years in exile and poverty -too, or near it. I never accepted the doles she sent me through the -bank. I waited, too, not for her death but for some understanding of me, -her own son, her own flesh and blood; that never came. - -BEATRICE. -Not even after Archie...? - -RICHARD. -[_Rudely._] My son, you think? A child of sin and shame! Are you -serious? [_She raises her face and looks at him._] There were tongues -here ready to tell her all, to embitter her withering mind still more -against me and Bertha and our godless nameless child. [_Holding out his -hands to her._] Can you not hear her mocking me while I speak? You must -know the voice, surely, the voice that called you _the black -protestant_, the pervert’s daughter. [_With sudden selfcontrol._] In -any case a remarkable woman. - -BEATRICE. -[_Weakly._] At least you are free now. - -RICHARD. -[_Nods._] Yes, she could not alter the terms of my father’s will nor -live for ever. - -BEATRICE. -[_With joined hands._] They are both gone now, Mr Rowan. They both loved -you, believe me. Their last thoughts were of you. - -RICHARD. -[_Approaching, touches her lightly on the shoulder, and points to the -crayon drawing on the wall._] Do you see him there, smiling and -handsome? His last thoughts! I remember the night he died. [_He pauses -for an instant and then goes on calmly._] I was a boy of fourteen. He -called me to his bedside. He knew I wanted to go to the theatre to hear -_Carmen_. He told my mother to give me a shilling. I kissed him and -went. When I came home he was dead. Those were his last thoughts as far -as I know. - -BEATRICE. -The hardness of heart you prayed for... [_She breaks off._] - -RICHARD. -[_Unheeding._] That is my last memory of him. Is there not something -sweet and noble in it? - -BEATRICE. -Mr Rowan, something is on your mind to make you speak like this. -Something has changed you since you came back three months ago. - -RICHARD. -[_Gazing again at the drawing, calmly, almost gaily._] He will help me, -perhaps, my smiling handsome father. - -[_A knock is heard at the hall door on the left._] - -RICHARD. -[_Suddenly._] No, no. Not the smiler, Miss Justice. The old mother. It -is her spirit I need. I am going. - -BEATRICE. -Someone knocked. They have come back. - -RICHARD. -No, Bertha has a key. It is he. At least, I am going, whoever it is. - -[_He goes out quickly on the left and comes back at once with his straw -hat in his hand._] - -BEATRICE. -He? Who? - -RICHARD. -O, probably Robert. I am going out through the garden. I cannot see him -now. Say I have gone to the post. Goodbye. - -BEATRICE. -[_With growing alarm._] It is Robert you do not wish to see? - -RICHARD. -[_Quietly._] For the moment, yes. This talk has upset me. Ask him to -wait. - -BEATRICE. -You will come back? - -RICHARD. -Please God. - -[_He goes out quickly through the garden. Beatrice makes as if to follow -him and then stops after a few paces. Brigid enters by the folding doors -on the right and goes out on the left. The hall door is heard opening. A -few seconds after Brigid enters with Robert Hand. Robert Hand is a -middlesized, rather stout man between thirty and forty. He is -cleanshaven, with mobile features. His hair and eyes are dark and his -complexion sallow. His gait and speech are rather slow. He wears a dark -blue morning suit and carries in his hand a large bunch of red roses -wrapped in tissue paper._] - -ROBERT. -[_Coming towards her with outstretched hand which she takes._] My -dearest coz! Brigid told me you were here. I had no notion. Did you send -mother a telegram? - -BEATRICE. -[_Gazing at the roses._] No. - -ROBERT. -[_Following her gaze._] You are admiring my roses. I brought them to the -mistress of the house. [_Critically._] I am afraid they are not nice. - -BRIGID. -O, they are lovely, sir. The mistress will be delighted with them. - -ROBERT. -[_Lays the roses carelessly on a chair out of sight._] Is nobody in? - -BRIGID. -Yes, sir. Sit down, sir. They’ll be here now any moment. The master was -here. - -[_She looks about her and with a half curtsey goes out on the right._] - -ROBERT. -[_After a short silence._] How are you, Beatty? And how are all down in -Youghal? As dull as ever? - -BEATRICE. -They were well when I left. - -ROBERT. -[_Politely._] O, but I’m sorry I did not know you were coming. I would -have met you at the train. Why did you do it? You have some queer ways -about you, Beatty, haven’t you? - -BEATRICE. -[_In the same tone._] Thank you, Robert. I am quite used to getting -about alone. - -ROBERT. -Yes, but I mean to say... O, well, you have arrived in your own -characteristic way. - -[_A noise is heard at the window and a boy’s voice is heard calling, -‘Mr Hand!’ Robert turns._] - -By Jove, Archie, too, is arriving in a characteristic way! - -[_Archie scrambles into the room through the open window on the left and -then rises to his feet, flushed and panting. Archie is a boy of eight -years, dressed in white breeches, jersey and cap. He wears spectacles, -has a lively manner and speaks with the slight trace of a foreign -accent._] - -BEATRICE. -[_Going towards him._] Goodness gracious, Archie! What is the matter? - -ARCHIE. -[_Rising, out of breath._] Eh! I ran all the avenue. - -ROBERT. -[_Smiles and holds out his hand._] Good evening, Archie. Why did you -run? - -ARCHIE. -[_Shakes hands._] Good evening. We saw you on the top of the tram, and I -shouted _Mr Hand!_ But you did not see me. But we saw you, mamma and I. -She will be here in a minute. I ran. - -BEATRICE. -[_Holding out her hand._] And poor me! - -ARCHIE. -[_Shakes hands somewhat shyly._] Good evening, Miss Justice. - -BEATRICE. -Were you disappointed that I did not come last Friday for the lesson? - -ARCHIE. -[_Glancing at her, smiles._] No. - -BEATRICE. -Glad? - -ARCHIE. -[_Suddenly._] But today it is too late. - -BEATRICE. -A very short lesson? - -ARCHIE. -[_Pleased._] Yes. - -BEATRICE. -But now you must study, Archie. - -ROBERT. -Were you at the bath? - -ARCHIE. -Yes. - -ROBERT. -Are you a good swimmer now? - -ARCHIE. -[_Leans against the davenport._] No. Mamma won’t let me into the deep -place. Can you swim well, Mr Hand? - -ROBERT. -Splendidly. Like a stone. - -ARCHIE. -[_Laughs._] Like a stone! [_Pointing down._] Down that -way? - -ROBERT. -[_Pointing._] Yes, down; straight down. How do you say that over in -Italy? - -ARCHIE. -That? _Giù._ [_Pointing down and up._] That is _giù_ and this is -_su_. Do you want to speak to my pappie? - -ROBERT. -Yes. I came to see him. - -ARCHIE. -[_Going towards the study._] I will tell him. He is in there, writing. - -BEATRICE. -[_Calmly, looking at Robert._] No; he is out. He is gone to the post -with some letters. - -ROBERT. -[_Lightly._] O, never mind. I will wait if he is only gone to the post. - -ARCHIE. -But mamma is coming. [_He glances towards the window._] Here she is! - -[_Archie runs out by the door on the left. Beatrice walks slowly towards -the davenport. Robert remains standing. A short silence. Archie and -Bertha come in through the door on the left. Bertha is a young woman of -graceful build. She has dark grey eyes, patient in expression, and soft -features. Her manner is cordial and selfpossessed. She wears a lavender -dress and carries her cream gloves knotted round the handle of her -sunshade._] - -BERTHA. -[_Shaking hands._] Good evening, Miss Justice. We thought you were still -down in Youghal. - -BEATRICE. -[_Shaking hands._] Good evening, Mrs Rowan. - -BERTHA. -[_Bows._] Good evening, Mr Hand. - -ROBERT. -[_Bowing._] Good evening, _signora!_ Just imagine, I didn’t know either -she was back till I found her here. - -BERTHA. -[_To both._] Did you not come together? - -BEATRICE. -No. I came first. Mr Rowan was going out. He said you would be back any -moment. - -BERTHA. -I’m sorry. If you had written or sent over word by the girl this -morning... - -BEATRICE. -[_Laughs nervously._] I arrived only an hour and a half ago. I thought -of sending a telegram but it seemed too tragic. - -BERTHA. -Ah? Only now you arrived? - -ROBERT. -[_Extending his arms, blandly._] I retire from public and private life. -Her first cousin and a journalist, I know nothing of her movements. - -BEATRICE. -[_Not directly to him._] My movements are not very interesting. - -ROBERT. -[_In the same tone._] A lady’s movements are always interesting. - -BERTHA. -But sit down, won’t you? You must be very tired. - -BEATRICE. -[_Quickly._] No, not at all. I just came for Archie’s lesson. - -BERTHA. -I wouldn’t hear of such a thing, Miss Justice, after your long journey. - -ARCHIE. -[_Suddenly to Beatrice._] And, besides, you didn’t bring the music. - -BEATRICE. -[_A little confused._] That I forgot. But we have the old piece. - -ROBERT. -[_Pinching Archie’s ear._] You little scamp. You want to get off the -lesson. - -BERTHA. -O, never mind the lesson. You must sit down and have a cup of tea now. -[_Going towards the door on the right._] I’ll tell Brigid. - -ARCHIE. -I will, mamma. [_He makes a movement to go._] - -BEATRICE. -No, please Mrs Rowan. Archie! I would really prefer... - -ROBERT. -[_Quietly._] I suggest a compromise. Let it be a half-lesson. - -BERTHA. -But she must be exhausted. - -BEATRICE. -[_Quickly._] Not in the least. I was thinking of the lesson in the -train. - -ROBERT. -[_To Bertha._] You see what it is to have a conscience, Mrs Rowan. - -ARCHIE. -Of my lesson, Miss Justice? - -BEATRICE. -[_Simply._] It is ten days since I heard the sound of a piano. - -BERTHA. -O, very well. If that is it... - -ROBERT. -[_Nervously, gaily._] Let us have the piano by all means. I know what is -in Beatty’s ears at this moment. [_To Beatrice._] Shall I tell? - -BEATRICE. -If you know. - -ROBERT. -The buzz of the harmonium in her father’s parlour. [_To Beatrice._] -Confess. - -BEATRICE. -[_Smiling._] Yes. I can hear it. - -ROBERT. -[_Grimly._] So can I. The asthmatic voice of protestantism. - -BERTHA. -Did you not enjoy yourself down there, Miss Justice? - -ROBERT. -[_Intervenes._] She did not, Mrs Rowan. She goes there on retreat, when -the protestant strain in her prevails—gloom, seriousness, righteousness. - -BEATRICE. -I go to see my father. - -ROBERT. -[_Continuing._] But she comes back here to my mother, you see. The piano -influence is from our side of the house. - -BERTHA. -[_Hesitating._] Well, Miss Justice, if you would like to play -something... But please don’t fatigue yourself with Archie. - -ROBERT. -[_Suavely._] Do, Beatty. That is what you want. - -BEATRICE. -If Archie will come? - -ARCHIE. -[_With a shrug._] To listen. - -BEATRICE. -[_Takes his hand._] And a little lesson, too. Very short. - -BERTHA. -Well, afterwards you must stay to tea. - -BEATRICE. -[_To Archie._] Come. - -[_Beatrice and Archie go out together by the door on the left. Bertha -goes towards the davenport, takes off her hat and lays it with her -sunshade on the desk. Then taking a key from a little flowervase, she -opens a drawer of the davenport, takes out a slip of paper and closes -the drawer again. Robert stands watching her._] - -BERTHA. -[_Coming towards him with the paper in her hand._] You put this into my -hand last night. What does it mean? - -ROBERT. -Do you not know? - -BERTHA. -[_Reads._] _There is one word which I have never dared to say to you._ -What is the word? - -ROBERT. -That I have a deep liking for you. - -[_A short pause. The piano is heard faintly from the upper room._] - -ROBERT. -[_Takes the bunch of roses from the chair._] I brought these for you. -Will you take them from me? - -BERTHA. -[_Taking them._] Thank you. [_She lays them on the table and unfolds the -paper again._] Why did you not dare to say it last night? - -ROBERT. -I could not speak to you or follow you. There were too many people on -the lawn. I wanted you to think over it and so I put it into your hand -when you were going away. - -BERTHA. -Now you have dared to say it. - -ROBERT. -[_Moves his hand slowly past his eyes._] You passed. The avenue was dim -with dusky light. I could see the dark green masses of the trees. And -you passed beyond them. You were like the moon. - -BERTHA. -[_Laughs._] Why like the moon? - -ROBERT. -In that dress, with your slim body, walking with little even steps. I -saw the moon passing in the dusk till you passed and left my sight. - -BERTHA. -Did you think of me last night? - -ROBERT. -[_Comes nearer._] I think of you always—as something beautiful and -distant—the moon or some deep music. - -BERTHA. -[_Smiling._] And last night which was I? - -ROBERT. -I was awake half the night. I could hear your voice. I could see your -face in the dark. Your eyes... I want to speak to you. Will you listen -to me? May I speak? - -BERTHA. -[_Sitting down._] You may. - -ROBERT. -[_Sitting beside her._] Are you annoyed with me? - -BERTHA. -No. - -ROBERT. -I thought you were. You put away my poor flowers so quickly. - -BERTHA. -[_Takes them from the table and holds them close to her face._] Is this -what you wish me to do with them? - -ROBERT. -[_Watching her._] Your face is a flower too—but more beautiful. A wild -flower blowing in a hedge. [_Moving his chair closer to her._] Why are -you smiling? At my words? - -BERTHA. -[_Laying the flowers in her lap._] I am wondering if that is what you -say—to the others. - -ROBERT. -[_Surprised._] What others? - -BERTHA. -The other women. I hear you have so many admirers. - -ROBERT. -[_Involuntarily._] And that is why you too...? - -BERTHA. -But you have, haven’t you? - -ROBERT. -Friends, yes. - -BERTHA. -Do you speak to them in the same way? - -ROBERT. -[_In an offended tone._] How can you ask me such a question? What kind -of person do you think I am? Or why do you listen to me? Did you not -like me to speak to you in that way? - -BERTHA. -What you said was very kind. [_She looks at him for a moment._] Thank -you for saying it—and thinking it. - -ROBERT. -[_Leaning forward._] Bertha! - -BERTHA. -Yes? - -ROBERT. -I have the right to call you by your name. From old times—nine years -ago. We were Bertha—and Robert—then. Can we not be so now, too? - -BERTHA. -[_Readily._] O yes. Why should we not? - -ROBERT. -Bertha, you knew. From the very night you landed on Kingstown pier. It -all came back to me then. And you knew it. You saw it. - -BERTHA. -No. Not that night. - -ROBERT. -When? - -BERTHA. -The night we landed I felt very tired and dirty. [_Shaking her head._] -I did not see it in you that night. - -ROBERT. -[_Smiling._] Tell me what did you see that night—your very first -impression. - -BERTHA. -[_Knitting her brows._] You were standing with your back to the -gangway, talking to two ladies. - -ROBERT. -To two plain middleaged ladies, yes. - -BERTHA. -I recognized you at once. And I saw that you had got fat. - -ROBERT. -[_Takes her hand._] And this poor fat Robert—do you dislike him then so -much? Do you disbelieve all he says? - -BERTHA. -I think men speak like that to all women whom they like or admire. What -do you want me to believe? - -ROBERT. -All men, Bertha? - -BERTHA. -[_With sudden sadness._] I think so. - -ROBERT. -I too? - -BERTHA. -Yes, Robert. I think you too. - -ROBERT. -All then—without exception? Or with one exception? [_In a lower tone._] -Or is he too—Richard too—like us all—in that at least? Or different? - -BERTHA. -[_Looks into his eyes._] Different. - -ROBERT. -Are you quite sure, Bertha? - -BERTHA. -[_A little confused, tries to withdraw her hand._] I have answered you. - -ROBERT. -[_Suddenly._] Bertha, may I kiss your hand? Let me. May I? - -BERTHA. -If you wish. - -[_He lifts her hand to his lips slowly. She rises suddenly and -listens._] - -BERTHA. -Did you hear the garden gate? - -ROBERT. -[_Rising also._] No. - -[_A short pause. The piano can be heard faintly from the upper room._] - -ROBERT. -[_Pleading._] Do not go away. You must never go away now. Your life is -here. I came for that too today—to speak to him—to urge him to accept -this position. He must. And you must persuade him to. You have a great -influence over him. - -BERTHA. -You want him to remain here. - -ROBERT. -Yes. - -BERTHA. -Why? - -ROBERT. -For your sake because you are unhappy so far away. For his sake too -because he should think of his future. - -BERTHA. -[_Laughing._] Do you remember what he said when you spoke to him last -night? - -ROBERT. -About...? [_Reflecting._] Yes. He quoted the _Our Father_ about our -daily bread. He said that to take care for the future is to destroy -hope and love in the world. - -BERTHA. -Do you not think he is strange? - -ROBERT. -In that, yes. - -BERTHA. -A little—mad? - -ROBERT. -[_Comes closer._] No. He is not. Perhaps we are. Why, do -you...? - -BERTHA. -[_Laughs._] I ask you because you are intelligent. - -ROBERT. -You must not go away. I will not let you. - -BERTHA. -[_Looks full at him._] You? - -ROBERT. -Those eyes must not go away. [_He takes her hands._] May I kiss your -eyes? - -BERTHA. -Do so. - -[_He kisses her eyes and then passes his hand over her hair._] - -ROBERT. -Little Bertha! - -BERTHA. -[_Smiling._] But I am not so little. Why do you call me little? - -ROBERT. -Little Bertha! One embrace? [_He puts his arm around her._] Look into -my eyes again. - -BERTHA. -[_Looks._] I can see the little gold spots. So many you have. - -ROBERT. -[_Delighted._] Your voice! Give me a kiss, a kiss with your mouth. - -BERTHA. -Take it. - -ROBERT. -I am afraid. [_He kisses her mouth and passes his hand many times over -her hair._] At last I hold you in my arms! - -BERTHA. -And are you satisfied? - -ROBERT. -Let me feel your lips touch mine. - -BERTHA. -And then you will be satisfied? - -ROBERT. -[_Murmurs._] Your lips, Bertha! - -BERTHA. -[_Closes her eyes and kisses him quickly._] There. [_Puts her hands on -his shoulders._] Why don’t you say: thanks? - -ROBERT. -[_Sighs._] My life is finished—over. - -BERTHA. -O, don’t speak like that now, Robert. - -ROBERT. -Over, over. I want to end it and have done with it. - -BERTHA. -[_Concerned but lightly._] You silly fellow! - -ROBERT. -[_Presses her to him._] To end it all—death. To fall from a great high -cliff, down, right down into the sea. - -BERTHA. -Please, Robert... - -ROBERT. -Listening to music and in the arms of the woman I love—the sea, music -and death. - -BERTHA. -[_Looks at him for a moment._] The woman you love? - -ROBERT. -[_Hurriedly._] I want to speak to you, Bertha—alone—not here. Will you -come? - -BERTHA. -[_With downcast eyes._] I too want to speak to you. - -ROBERT. -[_Tenderly._] Yes, dear, I know. [_He kisses her again._] I will speak -to you; tell you all; then. I will kiss you, then, long long -kisses—when you come to me—long long sweet kisses. - -BERTHA. -Where? - -ROBERT. -[_In the tone of passion._] Your eyes. Your lips. All your divine body. - -BERTHA. -[_Repelling his embrace, confused._] I meant where do you wish me to -come. - -ROBERT. -To my house. Not my mother’s over there. I will write the address for -you. Will you come? - -BERTHA. -When? - -ROBERT. -Tonight. Between eight and nine. Come. I will wait for you tonight. And -every night. You will? - -[_He kisses her with passion, holding her head between his hands. After -a few instants she breaks from him. He sits down._] - -BERTHA. -[_Listening._] The gate opened. - -ROBERT. -[_Intensely._] I will wait for you. - -[_He takes the slip from the table. Bertha moves away from him slowly. -Richard comes in from the garden._] - -RICHARD. -[_Advancing, takes off his hat._] Good afternoon. - -ROBERT. -[_Rises, with nervous friendliness._] Good afternoon, Richard. - -BERTHA. -[_At the table, taking the roses._] Look what lovely roses Mr Hand -brought me. - -ROBERT. -I am afraid they are overblown. - -RICHARD. -[_Suddenly._] Excuse me for a moment, will you? - -[_He turns and goes into his study quickly. Robert takes a pencil from -his pocket and writes a few words on the slip; then hands it quickly to -Bertha._] - -ROBERT. -[_Rapidly._] The address. Take the tram at Lansdowne Road and ask to be -let down near there. - -BERTHA. -[_Takes it._] I promise nothing. - -ROBERT. -I will wait. - -[_Richard comes back from the study._] - -BERTHA. -[_Going._] I must put these roses in water. - -RICHARD. -[_Handing her his hat._] Yes, do. And please put my hat on the rack. - -BERTHA. -[_Takes it._] So I will leave you to yourselves for your talk. -[_Looking round._] Do you want anything? Cigarettes? - -RICHARD. -Thanks. We have them here. - -BERTHA. -Then I can go? - -[_She goes out on the left with Richard’s hat, which she leaves in the -hall, and returns at once; she stops for a moment at the davenport, -replaces the slip in the drawer, locks it, and replaces the key, and, -taking the roses, goes towards the right. Robert precedes her to open -the door for her. She bows and goes out._] - -RICHARD. -[_Points to the chair near the little table on the right._] Your place -of honour. - -ROBERT. -[_Sits down._] Thanks. [_Passing his hand over his brow._] Good Lord, -how warm it is today! The heat pains me here in the eye. The glare. - -RICHARD. -The room is rather dark, I think, with the blind down but if you -wish... - -ROBERT. -[_Quickly._] Not at all. I know what it is—the result of night work. - -RICHARD. -[_Sits on the lounge._] Must you? - -ROBERT. -[_Sighs._] Eh, yes. I must see part of the paper through every night. -And then my leading articles. We are approaching a difficult moment. -And not only here. - -RICHARD. -[_After a slight pause._] Have you any news? - -ROBERT. -[_In a different voice._] Yes. I want to speak to you seriously. Today -may be an important day for you—or rather, tonight. I saw the -vicechancellor this morning. He has the highest opinion of you, -Richard. He has read your book, he said. - -RICHARD. -Did he buy it or borrow it? - -ROBERT. -Bought it, I hope. - -RICHARD. -I shall smoke a cigarette. Thirtyseven copies have now been sold in -Dublin. - -[_He takes a cigarette from the box on the table, and lights it._] - -ROBERT. -[_Suavely, hopelessly._] Well, the matter is closed for the present. -You have your iron mask on today. - -RICHARD. -[_Smoking._] Let me hear the rest. - -ROBERT. -[_Again seriously._] Richard, you are too suspicious. It is a defect in -you. He assured me he has the highest possible opinion of you, as -everyone has. You are the man for the post, he says. In fact, he told -me that, if your name goes forward, he will work might and main for you -with the senate and I... will do my part, of course, in the press and -privately. I regard it as a public duty. The chair of romance -literature is yours by right, as a scholar, as a literary personality. - -RICHARD. -The conditions? - -ROBERT. -Conditions? You mean about the future? - -RICHARD. -I mean about the past. - -ROBERT. -[_Easily._] That episode in your past is forgotten. An act of impulse. -We are all impulsive. - -RICHARD. -[_Looks fixedly at him._] You called it an act of folly, then—nine -years ago. You told me I was hanging a weight about my neck. - -ROBERT. -I was wrong. [_Suavely._] Here is how the matter stands, Richard. -Everyone knows that you ran away years ago with a young girl... How -shall I put it?... with a young girl not exactly your equal. -[_Kindly._] Excuse me, Richard, that is not my opinion nor my language. -I am simply using the language of people whose opinions I don’t share. - -RICHARD. -Writing one of your leading articles, in fact. - -ROBERT. -Put it so. Well, it made a great sensation at the time. A mysterious -disappearance. My name was involved too, as best man, let us say, on -that famous occasion. Of course, they think I acted from a mistaken -sense of friendship. Well, all that is known. [_With some hesitation._] -But what happened afterwards is not known. - -RICHARD. -No? - -ROBERT. -Of course, it is your affair, Richard. However, you are not so young -now as you were then. The expression is quite in the style of my -leading articles, isn’t it? - -RICHARD. -Do you, or do you not, want me to give the lie to my past life? - -ROBERT. -I am thinking of your future life—here. I understand your pride and -your sense of liberty. I understand their point of view also. However, -there is a way out; it is simply this. Refrain from contradicting any -rumours you may hear concerning what happened... or did not happen -after you went away. Leave the rest to me. - -RICHARD. -You will set these rumours afloat? - -ROBERT. -I will. God help me. - -RICHARD. -[_Observing him._] For the sake of social conventions? - -ROBERT. -For the sake of something else too—our friendship, our lifelong -friendship. - -RICHARD. -Thanks. - -ROBERT. -[_Slightly wounded._] And I will tell you the whole truth. - -RICHARD. -[_Smiles and bows._] Yes. Do, please. - -ROBERT. -Not only for your sake. Also for the sake of—your present partner in -life. - -RICHARD. -I see. - -[_He crushes his cigarette softly on the ashtray and then leans -forward, rubbing his hands slowly._] - -RICHARD. -Why for her sake? - -ROBERT. -[_Also leans forward, quietly._] Richard, have you been quite fair to -her? It was her own free choice, you will say. But was she really free -to choose? She was a mere girl. She accepted all that you proposed. - -RICHARD. -[_Smiles._] That is your way of saying that she proposed what I would -not accept. - -ROBERT. -[_Nods._] I remember. And she went away with you. But was it of her own -free choice? Answer me frankly. - -RICHARD. -[_Turns to him, calmly._] I played for her against all that you say or -can say; and I won. - -ROBERT. -[_Nodding again._] Yes, you won. - -RICHARD. -[_Rises._] Excuse me for forgetting. Will you have some whisky? - -ROBERT. -All things come to those who wait. - -[_Richard goes to the sideboard and brings a small tray with the -decanter and glasses to the table where he sets it down._] - -RICHARD. -[_Sits down again, leaning back on the lounge._] Will you please help -yourself? - -ROBERT. -[_Does so._] And you? Steadfast? [_Richard shakes his head._] Lord, -when I think of our wild nights long ago—talks by the hour, plans, -carouses, revelry... - -RICHARD. -In our house. - -ROBERT. -It is mine now. I have kept it ever since though I don’t go there -often. Whenever you like to come let me know. You must come some night. -It will be old times again. [_He lifts his glass and drinks._] -_Prosit!_ - -RICHARD. -It was not only a house of revelry; it was to be the hearth of a new -life. [_Musing._] And in that name all our sins were committed. - -ROBERT. -Sins! Drinking and blasphemy [_he points_] by me. And drinking and -heresy, much worse [_he points again_] by you—are those the sins you -mean? - -RICHARD. -And some others. - -ROBERT. -[_Lightly, uneasily._] You mean the women. I have no remorse of -conscience. Maybe you have. We had two keys on those occasions. -[_Maliciously._] Have you? - -RICHARD. -[_Irritated._] For you it was all quite natural? - -ROBERT. -For me it is quite natural to kiss a woman whom I like. Why not? She is -beautiful for me. - -RICHARD. -[_Toying with the lounge cushion._] Do you kiss everything that is -beautiful for you? - -ROBERT. -Everything—if it can be kissed. [_He takes up a flat stone which lies -on the table._] This stone, for instance. It is so cool, so polished, -so delicate, like a woman’s temple. It is silent, it suffers our -passion; and it is beautiful. [_He places it against his lips._] And so -I kiss it because it is beautiful. And what is a woman? A work of -nature, too, like a stone or a flower or a bird. A kiss is an act of -homage. - -RICHARD. -It is an act of union between man and woman. Even if we are often led -to desire through the sense of beauty can you say that the beautiful is -what we desire? - -ROBERT. -[_Pressing the stone to his forehead._] You will give me a headache if -you make me think today. I cannot think today. I feel too natural, too -common. After all, what is most attractive in even the most beautiful -woman? - -RICHARD. -What? - -ROBERT. -Not those qualities which she has and other women have not but the -qualities which she has in common with them. I mean... the commonest. -[_Turning over the stone, he presses the other side to his forehead._] -I mean how her body develops heat when it is pressed, the movement of -her blood, how quickly she changes by digestion what she eats into—what -shall be nameless. [_Laughing._] I am very common today. Perhaps that -idea never struck you? - -RICHARD. -[_Drily._] Many ideas strike a man who has lived nine years with a -woman. - -ROBERT. -Yes. I suppose they do.... This beautiful cool stone does me good. Is -it a paperweight or a cure for headache? - -RICHARD. -Bertha brought it home one day from the strand. She, too, says that it -is beautiful. - -ROBERT. -[_Lays down the stone quietly._] She is right. - -[_He raises his glass and drinks. A pause._] - -RICHARD. -Is that all you wanted to say to me? - -ROBERT. -[_Quickly._] There is something else. The vicechancellor sends you, -through me, an invitation for tonight—to dinner at his house. You know -where he lives? [_Richard nods._] I thought you might have forgotten. -Strictly private, of course. He wants to meet you again and sends you -a very warm invitation. - -RICHARD. -For what hour? - -ROBERT. -Eight. But, like yourself, he is free and easy about time. Now, -Richard, you must go there. That is all. I feel tonight will be the -turningpoint in your life. You will live here and work here and think -here and be honoured here—among our people. - -RICHARD. -[_Smiling._] I can almost see two envoys starting for the United States -to collect funds for my statue a hundred years hence. - -ROBERT. -[_Agreeably._] Once I made a little epigram about statues. All statues -are of two kinds. [_He folds his arms across his chest._] The statue -which says: _How shall I get down?_ and the other kind [_he unfolds his -arms and extends his right arm, averting his head_] the statue which -says: _In my time the dunghill was so high._ - -RICHARD. -The second one for me, please. - -ROBERT. -[_Lazily._] Will you give me one of those long cigars of yours? - -[_Richard selects a Virginia cigar from the box on the table and hands -it to him with the straw drawn out._] - -ROBERT. -[_Lighting it._] These cigars Europeanize me. If Ireland is to become -a new Ireland she must first become European. And that is what you are -here for, Richard. Some day we shall have to choose between England and -Europe. I am a descendant of the dark foreigners: that is why I like to -be here. I may be childish. But where else in Dublin can I get a bandit -cigar like this or a cup of black coffee? The man who drinks black -coffee is going to conquer Ireland. And now I will take just a half -measure of that whisky, Richard, to show you there is no ill feeling. - -RICHARD. -[_Points._] Help yourself. - -ROBERT. -[_Does so._] Thanks. [_He drinks and goes on as before._] Then you -yourself, the way you loll on that lounge: then your boy’s voice and -also—Bertha herself. Do you allow me to call her that, Richard? I mean -as an old friend of both of you. - -RICHARD. -O why not? - -ROBERT. -[_With animation._] You have that fierce indignation which lacerated -the heart of Swift. You have fallen from a higher world, Richard, and -you are filled with fierce indignation, when you find that life is -cowardly and ignoble. While I... shall I tell you? - -RICHARD. -By all means. - -ROBERT. -[_Archly._] I have come up from a lower world and I am filled with -astonishment when I find that people have any redeeming virtue at all. - -RICHARD. -[_Sits up suddenly and leans his elbows on the table._] You are my -friend, then? - -ROBERT. -[_Gravely._] I fought for you all the time you were away. I fought to -bring you back. I fought to keep your place for you here. I will fight -for you still because I have faith in you, the faith of a disciple in -his master. I cannot say more than that. It may seem strange to you... -Give me a match. - -RICHARD. -[_Lights and offers him a match._] There is a faith still stranger than -the faith of the disciple in his master. - -ROBERT. -And that is? - -RICHARD. -The faith of a master in the disciple who will betray him. - -ROBERT. -The church lost a theologian in you, Richard. But I think you look too -deeply into life. [_He rises, pressing Richard’s arm slightly._] Be -gay. Life is not worth it. - -RICHARD. -[_Without rising._] Are you going? - -ROBERT. -Must. [_He turns and says in a friendly tone._] Then it is all -arranged. We meet tonight at the vicechancellor’s. I shall look in at -about ten. So you can have an hour or so to yourselves first. You will -wait till I come? - -RICHARD. -Good. - -ROBERT. -One more match and I am happy. - -[_Richard strikes another match, hands it to him and rises also. Archie -comes in by the door on the left, followed by Beatrice._] - -ROBERT. -Congratulate me, Beatty. I have won over Richard. - -ARCHIE. -[_Crossing to the door on the right, calls._] Mamma, Miss Justice is -going. - -BEATRICE. -On what are you to be congratulated? - -ROBERT. -On a victory, of course. [_Laying his hand lightly on Richard’s -shoulder._] The descendant of Archibald Hamilton Rowan has come home. - -RICHARD. -I am not a descendant of Hamilton Rowan. - -ROBERT. -What matter? - -[_Bertha comes in from the right with a bowl of roses._] - -BEATRICE. -Has Mr Rowan...? - -ROBERT. -[_Turning towards Bertha._] Richard is coming tonight to the -vicechancellor’s dinner. The fatted calf will be eaten: roast, I hope. -And next session will see the descendant of a namesake of etcetera, -etcetera in a chair of the university. [_He offers his hand._] Good -afternoon, Richard. We shall meet tonight. - -RICHARD. -[_Touches his hand._] At Philippi. - -BEATRICE. -[_Shakes hands also._] Accept my best wishes, Mr Rowan. - -RICHARD. -Thanks. But do not believe him. - -ROBERT. -[_Vivaciously._] Believe me, believe me. [_To Bertha._] Good afternoon, -Mrs Rowan. - -BERTHA. -[_Shaking hands, candidly._] I thank you, too. [_To Beatrice._] You -won’t stay to tea, Miss Justice? - -BEATRICE. -No, thank you. [_Takes leave of her._] I must go. Good afternoon. -Goodbye, Archie [_going_]. - -ROBERT. -_Addio_, Archibald. - -ARCHIE. -_Addio_. - -ROBERT. -Wait, Beatty. I shall accompany you. - -BEATRICE. -[_Going out on the right with Bertha._] O, don’t trouble. - -ROBERT. -[_Following her._] But I insist—as a cousin. - -[_Bertha, Beatrice and Robert go out by the door on the left. Richard -stands irresolutely near the table. Archie closes the door leading to -the hall and, coming over to him, plucks him by the sleeve._] - -ARCHIE. -I say, pappie! - -RICHARD. -[_Absently._] What is it? - -ARCHIE. -I want to ask you a thing. - -RICHARD. -[_Sitting on the end of the lounge, stares in front of him._] What is -it? - -ARCHIE. -Will you ask mamma to let me go out in the morning with the milkman? - -RICHARD. -With the milkman? - -ARCHIE. -Yes. In the milkcar. He says he will let me drive when we get on to the -roads where there are no people. The horse is a very good beast. Can I -go? - -RICHARD. -Yes. - -ARCHIE. -Ask mamma now can I go. Will you? - -RICHARD. -[_Glances towards the door._] I will. - -ARCHIE. -He said he will show me the cows he has in the field. Do you know how -many cows he has? - -RICHARD. -How many? - -ARCHIE. -Eleven. Eight red and three white. But one is sick now. No, not sick. -But it fell. - -RICHARD. -Cows? - -ARCHIE. -[_With a gesture._] Eh! Not bulls. Because bulls give no milk. Eleven -cows. They must give a lot of milk. What makes a cow give milk? - -RICHARD. -[_Takes his hand._] Who knows? Do you understand what it is to give a -thing? - -ARCHIE. -To give? Yes. - -RICHARD. -While you have a thing it can be taken from you. - -ARCHIE. -By robbers? No? - -RICHARD. -But when you give it, you have given it. No robber can take it from -you. [_He bends his head and presses his son’s hand against his -cheek._] It is yours then for ever when you have given it. It will be -yours always. That is to give. - -ARCHIE. -But, pappie? - -RICHARD. -Yes? - -ARCHIE. -How could a robber rob a cow? Everyone would see him. In the night, -perhaps. - -RICHARD. -In the night, yes. - -ARCHIE. -Are there robbers here like in Rome? - -RICHARD. -There are poor people everywhere. - -ARCHIE. -Have they revolvers? - -RICHARD. -No. - -ARCHIE. -Knives? Have they knives? - -RICHARD. -[_Sternly._] Yes, yes. Knives and revolvers. - -ARCHIE. -[_Disengages himself._] Ask mamma now. She is coming. - -RICHARD. -[_Makes a movement to rise._] I will. - -ARCHIE. -No, sit there, pappie. You wait and ask her when she comes back. I -won’t be here. I’ll be in the garden. - -RICHARD. -[_Sinking back again._] Yes. Go. - -ARCHIE. -[_Kisses him swiftly._] Thanks. - -[_He runs out quickly by the door at the back leading into the garden. -Bertha enters by the door on the left. She approaches the table and -stands beside it, fingering the petals of the roses, looking at -Richard._] - -RICHARD. -[_Watching her._] Well? - -BERTHA. -[_Absently._] Well. He says he likes me. - -RICHARD. -[_Leans his chin in his hand._] You showed him his note? - -BERTHA. -Yes. I asked him what it meant. - -RICHARD. -What did he say it meant? - -BERTHA. -He said I must know. I said I had an idea. Then he told me he liked me -very much. That I was beautiful—and all that. - -RICHARD. -Since when! - -BERTHA. -[_Again absently._] Since when—what? - -RICHARD. -Since when did he say he liked you? - -BERTHA. -Always, he said. But more since we came back. He said I was like the -moon in this lavender dress. [_Looking at him._] Had you any words with -him—about me? - -RICHARD. -[_Blandly._] The usual thing. Not about you. - -BERTHA. -He was very nervous. You saw that? - -RICHARD. -Yes. I saw it. What else went on? - -BERTHA. -He asked me to give him my hand. - -RICHARD. -[_Smiling._] In marriage? - -BERTHA. -[_Smiling._] No, only to hold. - -RICHARD. -Did you? - -BERTHA. -Yes. [_Tearing off a few petals._] Then he caressed my hand and asked -would I let him kiss it. I let him. - -RICHARD. -Well? - -BERTHA. -Then he asked could he embrace me—even once?... And then... - -RICHARD. -And then? - -BERTHA. -He put his arm round me. - -RICHARD. -[_Stares at the floor for a moment, then looks at her again._] And -then? - -BERTHA. -He said I had beautiful eyes. And asked could he kiss them. [_With a -gesture._] I said: _Do so._ - -RICHARD. -And he did? - -BERTHA. -Yes. First one and then the other. [_She breaks off suddenly._] Tell -me, Dick, does all this disturb you? Because I told you I don’t want -that. I think you are only pretending you don’t mind. I don’t mind. - -RICHARD. -[_Quietly._] I know, dear. But I want to find out what he means or -feels just as you do. - -BERTHA. -[_Points at him._] Remember, you allowed me to go on. I told you the -whole thing from the beginning. - -RICHARD. -[_As before._] I know, dear... And then? - -BERTHA. -He asked for a kiss. I said: _Take it._ - -RICHARD. -And then? - -BERTHA. -[_Crumpling a handful of petals._] He kissed me. - -RICHARD. -Your mouth? - -BERTHA. -Once or twice. - -RICHARD. -Long kisses? - -BERTHA. -Fairly long. [_Reflects._] Yes, the last time. - -RICHARD. -[_Rubs his hands slowly; then._] With his lips? Or... the other way? - -BERTHA. -Yes, the last time. - -RICHARD. -Did he ask you to kiss him? - -BERTHA. -He did. - -RICHARD. -Did you? - -BERTHA. -[_Hesitates, then looking straight at him._] I did. I kissed him. - -RICHARD. -What way? - -BERTHA. -[_With a shrug._] O simply. - -RICHARD. -Were you excited? - -BERTHA. -Well, you can imagine. [_Frowning suddenly._] Not much. He has not nice -lips... Still I was excited, of course. But not like with you, Dick. - -RICHARD. -Was he? - -BERTHA. -Excited? Yes, I think he was. He sighed. He was dreadfully nervous. - -RICHARD. -[_Resting his forehead on his hand._] I see. - -BERTHA. -[_Crosses towards the lounge and stands near him._] Are you jealous? - -RICHARD. -[_As before._] No. - -BERTHA. -[_Quietly._] You are, Dick. - -RICHARD. -I am not. Jealous of what? - -BERTHA. -Because he kissed me. - -RICHARD. -[_Looks up._] Is that all? - -BERTHA. -Yes, that’s all. Except that he asked me would I meet him. - -RICHARD. -Out somewhere? - -BERTHA. -No. In his house. - -RICHARD. -[_Surprised._] Over there with his mother, is it? - -BERTHA. -No, a house he has. He wrote the address for me. - -[_She goes to the desk, takes the key from the flower vase, unlocks the -drawer and returns to him with the slip of paper._] - -RICHARD. -[_Half to himself._] Our cottage. - -BERTHA. -[_Hands him the slip._] Here. - -RICHARD. -[_Reads it._] Yes. Our cottage. - -BERTHA. -Your...? - -RICHARD. -No, his. I call it ours. [_Looking at her._] The cottage I told you -about so often—that we had the two keys for, he and I. It is his now. -Where we used to hold our wild nights, talking, drinking, planning—at -that time. Wild nights; yes. He and I together. [_He throws the slip on -the couch and rises suddenly._] And sometimes I alone. [_Stares at -her._] But not quite alone. I told you. You remember? - -BERTHA. -[_Shocked._] That place? - -RICHARD. -[_Walks away from her a few paces and stands still, thinking, holding -his chin._] Yes. - -BERTHA. -[_Taking up the slip again._] Where is it? - -RICHARD. -Do you not know? - -BERTHA. -He told me to take the tram at Lansdowne Road and to ask the man to let -me down there. Is it... is it a bad place? - -RICHARD. -O no, cottages. [_He returns to the lounge and sits down._] What answer -did you give? - -BERTHA. -No answer. He said he would wait. - -RICHARD. -Tonight? - -BERTHA. -Every night, he said. Between eight and nine. - -RICHARD. -And so I am to go tonight to interview—the professor. About the -appointment I am to beg for. [_Looking at her._] The interview is -arranged for tonight by him—between eight and nine. Curious, isn’t it? -The same hour. - -BERTHA. -Very. - -RICHARD. -Did he ask you had I any suspicion? - -BERTHA. -No. - -RICHARD. -Did he mention my name? - -BERTHA. -No. - -RICHARD. -Not once? - -BERTHA. -Not that I remember. - -RICHARD. -[_Bounding to his feet._] O yes! Quite clear! - -BERTHA. -What? - -RICHARD. -[_Striding to and fro._] A liar, a thief, and a fool! Quite clear! A -common thief! What else? [_With a harsh laugh._] My great friend! A -patriot too! A thief—nothing else! [_He halts, thrusting his hands into -his pockets._] But a fool also! - -BERTHA. -[_Looking at him._] What are you going to do? - -RICHARD. -[_Shortly._] Follow him. Find him. Tell him. [_Calmly._] A few words -will do. Thief and fool. - -BERTHA. -[_Flings the slip on the couch._] I see it all! - -RICHARD. -[_Turning._] Eh! - -BERTHA. -[_Hotly._] The work of a devil. - -RICHARD. -He? - -BERTHA. -[_Turning on him._] No, you! The work of a devil to turn him against me -as you tried to turn my own child against me. Only you did not succeed. - -RICHARD. -How? In God’s name, how? - -BERTHA. -[_Excitedly._] Yes, yes. What I say. Everyone saw it. Whenever I tried -to correct him for the least thing you went on with your folly, -speaking to him as if he were a grownup man. Ruining the poor child, or -trying to. Then, of course, I was the cruel mother and only you loved -him. [_With growing excitement._] But you did not turn him against -me—against his own mother. Because why? Because the child has too much -nature in him. - -RICHARD. -I never tried to do such a thing, Bertha. You know I cannot be severe -with a child. - -BERTHA. -Because you never loved your own mother. A mother is always a mother, -no matter what. I never heard of any human being that did not love the -mother that brought him into the world, except you. - -RICHARD. -[_Approaching her quietly._] Bertha, do not say things you will be -sorry for. Are you not glad my son is fond of me? - -BERTHA. -Who taught him to be? Who taught him to run to meet you? Who told him -you would bring him home toys when you were out on your rambles in the -rain, forgetting all about him—and me? I did. I taught him to love you. - -RICHARD. -Yes, dear. I know it was you. - -BERTHA. -[_Almost crying._] And then you try to turn everyone against me. All is -to be for you. I am to appear false and cruel to everyone except to -you. Because you take advantage of my simplicity as you did—the first -time. - -RICHARD. -[_Violently._] And you have the courage to say that to me? - -BERTHA. -[_Facing him._] Yes, I have! Both then and now. Because I am simple you -think you can do what you like with me. [_Gesticulating._] Follow him -now. Call him names. Make him be humble before you and make him despise -me. Follow him! - -RICHARD. -[_Controlling himself._] You forget that I have allowed you complete -liberty—and allow you it still. - -BERTHA. -[_Scornfully._] Liberty! - -RICHARD. -Yes, complete. But he must know that I know. [_More calmly._] I will -speak to him quietly. [_Appealing._] Bertha, believe me, dear! It is -not jealousy. You have complete liberty to do as you wish—you and he. -But not in this way. He will not despise you. You don’t wish to deceive -me or to pretend to deceive me—with him, do you? - -BERTHA. -No, I do not. [_Looking full at him._] Which of us two is the deceiver? - -RICHARD. -Of us? You and me? - -BERTHA. -[_In a calm decided tone._] I know why you have allowed me what you -call complete liberty. - -RICHARD. -Why? - -BERTHA. -To have complete liberty with—that girl. - -RICHARD. -[_Irritated._] But, good God, you knew about that this long time. I -never hid it. - -BERTHA. -You did. I thought it was a kind of friendship between you—till we came -back, and then I saw. - -RICHARD. -So it is, Bertha. - -BERTHA. -[_Shakes her head._] No, no. It is much more; and that is why you give -me complete liberty. All those things you sit up at night to write -about [_pointing to the study_] in there—about her. You call that -friendship? - -RICHARD. -Believe me, Bertha dear. Believe me as I believe you. - -BERTHA. -[_With an impulsive gesture._] My God, I feel it! I know it! What else -is between you but love? - -RICHARD. -[_Calmly._] You are trying to put that idea into my head but I warn you -that I don’t take my ideas from other people. - -BERTHA. -[_Hotly._] It is, it is! And that is why you allow him to go on. Of -course! It doesn’t affect you. You love her. - -RICHARD. -Love! [_Throws out his hands with a sigh and moves away from her._] I -cannot argue with you. - -BERTHA. -You can’t because I am right. [_Following him a few steps._] What would -anyone say? - -RICHARD. -[_Turns to her._] Do you think I care? - -BERTHA. -But I care. What would he say if he knew? You, who talk so much of the -high kind of feeling you have for me, expressing yourself in that way -to another woman. If he did it, or other men, I could understand -because they are false pretenders. But you, Dick! Why do you not tell -him then? - -RICHARD. -You can if you like. - -BERTHA. -I will. Certainly I will. - -RICHARD. -[_Coolly._] He will explain it to you. - -BERTHA. -He doesn’t say one thing and do another. He is honest in his own way. - -RICHARD. -[_Plucks one of the roses and throws it at her feet._] He is, indeed! -The soul of honour! - -BERTHA. -You may make fun of him as much as you like. I understand more than you -think about that business. And so will he. Writing those long letters -to her for years, and she to you. For years. But since I came back I -understand it—well. - -RICHARD. -You do not. Nor would he. - -BERTHA. -[_Laughs scornfully._] Of course. Neither he nor I can understand it. -Only she can. Because it is such a deep thing! - -RICHARD. -[_Angrily._] Neither he nor you—nor she either! Not one of you! - -BERTHA. -[_With great bitterness._] She will! She will understand it! The -diseased woman! - -[_She turns away and walks over to the little table on the right. -Richard restrains a sudden gesture. A short pause._] - -RICHARD. -[_Gravely._] Bertha, take care of uttering words like that! - -BERTHA. -[_Turning, excitedly._] I don’t mean any harm! I feel for her more than -you can because I am a woman. I do, sincerely. But what I say is true. - -RICHARD. -Is it generous? Think. - -BERTHA. -[_Pointing towards the garden._] It is she who is not generous. -Remember now what I say. - -RICHARD. -What? - -BERTHA. -[_Comes nearer; in a calmer tone._] You have given that woman very -much, Dick. And she may be worthy of it. And she may understand it all, -too. I know she is that kind. - -RICHARD. -Do you believe that? - -BERTHA. -I do. But I believe you will get very little from her in return—or from -any of her clan. Remember my words, Dick. Because she is not generous -and they are not generous. Is it all wrong what I am saying? Is it? - -RICHARD. -[_Darkly._] No. Not all. - -[_She stoops and, picking up the rose from the floor, places it in the -vase again. He watches her. Brigid appears at the folding doors on the -right._] - -BRIGID. -The tea is on the table, ma’am. - -BERTHA. -Very well. - -BRIGID. -Is Master Archie in the garden? - -BERTHA. -Yes. Call him in. - -[_Brigid crosses the room and goes out into the garden. Bertha goes -towards the doors on the right. At the lounge she stops and takes up -the slip._] - -BRIGID. -[_In the garden._] Master Archie! You are to come in to your tea. - -BERTHA. -Am I to go to this place? - -RICHARD. -Do you want to go? - -BERTHA. -I want to find out what he means. Am I to go? - -RICHARD. -Why do you ask me? Decide yourself. - -BERTHA. -Do you tell me to go? - -RICHARD. -No. - -BERTHA. -Do you forbid me to go? - -RICHARD. -No. - -BRIGID. -[_From the garden._] Come quickly, Master Archie! Your tea is waiting -on you. - -[_Brigid crosses the room and goes out through the folding doors. -Bertha folds the slip into the waist of her dress and goes slowly -towards the right. Near the door she turns and halts._] - -BERTHA. -Tell me not to go and I will not. - -RICHARD. -[_Without looking at her._] Decide yourself. - -BERTHA. -Will you blame me then? - -RICHARD. -[_Excitedly._] No, no! I will not blame you. You are free. I cannot -blame you. - -[_Archie appears at the garden door._] - -BERTHA. -I did not deceive you. - -[_She goes out through the folding doors. Richard remains standing at -the table. Archie, when his mother has gone, runs down to Richard._] - -ARCHIE. -[_Quickly._] Well, did you ask her? - -RICHARD. -[_Starting._] What? - -ARCHIE. -Can I go? - -RICHARD. -Yes. - -ARCHIE. -In the morning? She said yes? - -RICHARD. -Yes. In the morning. - -[_He puts his arm round his son’s shoulders and looks down at him -fondly._] - - - - -Second Act - -_A room in Robert Hand’s cottage at Ranelagh. On the right, forward, a -small black piano, on the rest of which is an open piece of music. -Farther back a door leading to the street door. In the wall, at the -back, folding doors, draped with dark curtains, leading to a bedroom. -Near the piano a large table, on which is a tall oil lamp with a wide -yellow shade. Chairs, upholstered, near this table. A small cardtable -more forward. Against the back wall a bookcase. In the left wall, back, -a window looking out into the garden, and, forward, a door and porch, -also leading to the garden. Easychairs here and there. Plants in the -porch and near the draped folding doors. On the walls are many framed -black and white designs. In the right corner, back, a sideboard; and in -the centre of the room, left of the table, a group consisting of a -standing Turkish pipe, a low oil stove, which is not lit, and a -rocking-chair. It is the evening of the same day._ - -[_Robert Hand, in evening dress, is seated at the piano. The candles -are not lit but the lamp on the table is lit. He plays softly in the -bass the first bars of Wolfram’s song in the last act of -‘Tannhäuser’. Then he breaks off and, resting an elbow on the ledge -of the keyboard, meditates. Then he rises and, pulling out a pump from -behind the piano, walks here and there in the room ejecting from it -into the air sprays of perfume. He inhales the air slowly and then puts -the pump back behind the piano. He sits down on a chair near the table -and, smoothing his hair carefully, sighs once or twice. Then, thrusting -his hands into his trousers pockets, he leans back, stretches out his -legs, and waits. A knock is heard at the street door. He rises -quickly._] - -ROBERT. -[_Exclaims._] Bertha! - -[_He hurries out by the door on the right. There is a noise of confused -greeting. After a few moments Robert enters, followed by Richard Rowan, -who is in grey tweeds as before but holds in one hand a dark felt hat -and in the other an umbrella._] - -ROBERT. -First of all let me put these outside. - -[_He takes the hat and umbrella, leaves them in the hall and returns._] - -ROBERT. -[_Pulling round a chair._] Here you are. You are lucky to find me in. -Why didn’t you tell me today? You were always a devil for surprises. I -suppose my evocation of the past was too much for your wild blood. See -how artistic I have become. [_He points to the walls._] The piano is an -addition since your time. I was just strumming out Wagner when you -came. Killing time. You see I am ready for the fray. [_Laughs._] I was -just wondering how you and the vicechancellor were getting on together. -[_With exaggerated alarm._] But are you going in that suit? O well, it -doesn’t make much odds, I suppose. But how goes the time? [_He takes -out his watch._] Twenty past eight already, I declare! - -RICHARD. -Have you an appointment? - -ROBERT. -[_Laughs nervously._] Suspicious to the last! - -RICHARD. -Then I may sit down? - -ROBERT. -Of course, of course. [_They both sit down._] For a few minutes, -anyhow. Then we can both go on together. We are not bound for time. -Between eight and nine, he said, didn’t he? What time is it, I wonder? -[_Is about to look again at his watch; then stops._] Twenty past eight, -yes. - -RICHARD. -[_Wearily, sadly._] Your appointment also was for the same hour. -Here. - -ROBERT. -What appointment? - -RICHARD. -With Bertha. - -ROBERT. -[_Stares at him._] Are you mad? - -RICHARD. -Are you? - -ROBERT. -[_After a long pause._] Who told you? - -RICHARD. -She. - -[_A short silence._] - -ROBERT. -[_In a low voice._] Yes. I must have been mad. [_Rapidly._] Listen to -me, Richard. It is a great relief to me that you have come—the greatest -relief. I assure you that ever since this afternoon I have thought and -thought how I could break it off without seeming a fool. A great -relief! I even intended to send word... a letter, a few lines. -[_Suddenly._] But then it was too late... [_Passes his hand over his -forehead._] Let me speak frankly with you; let me tell you everything. - -RICHARD. -I know everything. I have known for some time. - -ROBERT. -Since when? - -RICHARD. -Since it began between you and her. - -ROBERT. -[_Again rapidly._] Yes, I was mad. But it was merely lightheadedness. I -admit that to have asked her here this evening was a mistake. I can -explain everything to you. And I will. Truly. - -RICHARD. -Explain to me what is the word you longed and never dared to say to -her. If you can or will. - -ROBERT. -[_Looks down, then raises his head._] Yes. I will. I admire very much -the personality of your... of... your wife. That is the word. I can say -it. It is no secret. - -RICHARD. -Then why did you wish to keep secret your wooing? - -ROBERT. -Wooing? - -RICHARD. -Your advances to her, little by little, day after day, looks, whispers. -[_With a nervous movement of the hands._] _Insomma_, wooing. - -ROBERT. -[_Bewildered._] But how do you know all this? - -RICHARD. -She told me. - -ROBERT. -This afternoon? - -RICHARD. -No. Time after time, as it happened. - -ROBERT. -You knew? From her? [_Richard nods._]. You were watching us all the -time? - -RICHARD. -[_Very coldly._] I was watching you. - -ROBERT. -[_Quickly._] I mean, watching me. And you never spoke! You had only to -speak a word—to save me from myself. You were trying me. [_Passes his -hand again over his forehead._] It was a terrible trial: now also. -[_Desperately._] Well, it is past. It will be a lesson to me for all my -life. You hate me now for what I have done and for... - -RICHARD. -[_Quietly, looking at him._] Have I said that I hate you? - -ROBERT. -Do you not? You must. - -RICHARD. -Even if Bertha had not told me I should have known. Did you not see -that when I came in this afternoon I went into my study suddenly for a -moment? - -ROBERT. -You did. I remember. - -RICHARD. -To give you time to recover yourself. It made me sad to see your eyes. -And the roses too. I cannot say why. A great mass of overblown roses. - -ROBERT. -I thought I had to give them. Was that strange? [_Looks at Richard with -a tortured expression._] Too many, perhaps? Or too old or common? - -RICHARD. -That was why I did not hate you. The whole thing made me sad all at -once. - -ROBERT. -[_To himself._] And this is real. It is happening—to us. - -[_He stares before him for some moments in silence, as if dazed; then, -without turning his head, continues._] - -ROBERT. -And she, too, was trying me; making an experiment with me for your -sake! - -RICHARD. -You know women better than I do. She says she felt pity for you. - -ROBERT. -[_Brooding._] Pitied me, because I am no longer... an ideal lover. Like -my roses. Common, old. - -RICHARD. -Like all men you have a foolish wandering heart. - -ROBERT. -[_Slowly._] Well, you spoke at last. You chose the right moment. - -RICHARD. -[_Leans forward._] Robert, not like this. For us two, no. Years, a -whole life, of friendship. Think a moment. Since childhood, boyhood... -No, no. Not in such a way—like thieves—at night. [_Glancing about -him._] And in such a place. No, Robert, that is not for people like us. - -ROBERT. -What a lesson! Richard, I cannot tell you what a relief it is to me -that you have spoken—that the danger is passed. Yes, yes. [_Somewhat -diffidently._] Because... there was some danger for you, too, if you -think. Was there not? - -RICHARD. -What danger? - -ROBERT. -[_In the same tone._] I don’t know. I mean if you had not spoken. If -you had watched and waited on until... - -RICHARD. -Until? - -ROBERT. -[_Bravely._] Until I had come to like her more and more (because I can -assure you it is only a lightheaded idea of mine), to like her deeply, -to love her. Would you have spoken to me then as you have just now? -[_Richard is silent. Robert goes on more boldly._] It would have been -different, would it not? For then it might have been too late while it -is not too late now. What could I have said then? I could have said -only: You are my friend, my dear good friend. I am very sorry but I -love her. [_With a sudden fervent gesture._] I love her and I will take -her from you, however I can, because I love her. - -[_They look at each other for some moments in silence._] - -RICHARD. -[_Calmly._] That is the language I have heard often and never believed -in. Do you mean by stealth or by violence? Steal you could not in my -house because the doors were open; nor take by violence if there were -no resistance. - -ROBERT. -You forget that the kingdom of heaven suffers violence: and the kingdom -of heaven is like a woman. - -RICHARD. -[_Smiling._] Go on. - -ROBERT. -[_Diffidently, but bravely._] Do you think you have rights over -her—over her heart? - -RICHARD. -None. - -ROBERT. -For what you have done for her? So much! You claim nothing? - -RICHARD. -Nothing. - -ROBERT. -[_After a pause strikes his forehead with his hand._] What am I saying? -Or what am I thinking? I wish you would upbraid me, curse me, hate me -as I deserve. You love this woman. I remember all you told me long ago. -She is yours, your work. [_Suddenly._] And that is why I, too, was -drawn to her. You are so strong that you attract me even through her. - -RICHARD. -I am weak. - -ROBERT. -[_With enthusiasm._] You, Richard! You are the incarnation of strength. - -RICHARD. -[_Holds out his hands._] Feel those hands. - -ROBERT. -[_Taking his hands._] Yes. Mine are stronger. But I meant strength of -another kind. - -RICHARD. -[_Gloomily._] I think you would try to take her by violence. - -[_He withdraws his hands slowly._] - -ROBERT. -[_Rapidly._] Those are moments of sheer madness when we feel an intense -passion for a woman. We see nothing. We think of nothing. Only to -possess her. Call it brutal, bestial, what you will. - -RICHARD. -[_A little timidly._] I am afraid that that longing to possess a woman -is not love. - -ROBERT. -[_Impatiently._] No man ever yet lived on this earth who did not long -to possess—I mean to possess in the flesh—the woman whom he loves. It -is nature’s law. - -RICHARD. -[_Contemptuously._] What is that to me? Did I vote it? - -ROBERT. -But if you love... What else is it? - -RICHARD. -[_Hesitatingly._] To wish her well. - -ROBERT. -[_Warmly._] But the passion which burns us night and day to possess -her. You feel it as I do. And it is not what you said now. - -RICHARD. -Have you...? [_He stops for an instance._] Have you the luminous -certitude that yours is the brain in contact with which she must think -and understand and that yours is the body in contact with which her -body must feel? Have you this certitude in yourself? - -ROBERT. -Have you? - -RICHARD. -[_Moved._] Once I had it, Robert: a certitude as luminous as that of my -own existence—or an illusion as luminous. - -ROBERT. -[_Cautiously._] And now? - -RICHARD. -If you had it and I could feel that you had it—even now... - -ROBERT. -What would you do? - -RICHARD. -[_Quietly._] Go away. You, and not I, would be necessary to her. Alone -as I was before I met her. - -ROBERT. -[_Rubs his hands nervously._] A nice little load on my conscience! - -RICHARD. -[_Abstractedly._] You met my son when you came to my house this -afternoon. He told me. What did you feel? - -ROBERT. -[_Promptly._] Pleasure. - -RICHARD. -Nothing else? - -ROBERT. -Nothing else. Unless I thought of two things at the same time. I am -like that. If my best friend lay in his coffin and his face had a comic -expression I should smile. [_With a little gesture of despair._] I am -like that. But I should suffer too, deeply. - -RICHARD. -You spoke of conscience... Did he seem to you a child only—or an angel? - -ROBERT. -[_Shakes his head._] No. Neither an angel nor an Anglo-Saxon. Two -things, by the way, for which I have very little sympathy. - -RICHARD. -Never then? Never even... with her? Tell me. I wish to know. - -ROBERT. -I feel in my heart something different. I believe that on the last day -(if it ever comes), when we are all assembled together, that the -Almighty will speak to us like this. We will say that we lived chastely -with one other creature... - -RICHARD. -[_Bitterly._] Lie to Him? - -ROBERT. -Or that we tried to. And He will say to us: Fools! Who told you that -you were to give yourselves to one being only? You were made to give -yourselves to many freely. I wrote that law with My finger on your -hearts. - -RICHARD. -On woman’s heart, too? - -ROBERT. -Yes. Can we close our heart against an affection which we feel deeply? -Should we close it? Should she? - -RICHARD. -We are speaking of bodily union. - -ROBERT. -Affection between man and woman must come to that. We think too much of -it because our minds are warped. For us today it is of no more -consequence than any other form of contact—than a kiss. - -RICHARD. -If it is of no consequence why are you dissatisfied till you reach that -end? Why were you waiting here tonight? - -ROBERT. -Passion tends to go as far as it can; but, you may believe me or not, I -had not that in my mind—to reach that end. - -RICHARD. -Reach it if you can. I will use no arm against you that the world puts -in my hand. If the law which God’s finger has written on our hearts is -the law you say I too am God’s creature. - -[_He rises and paces to and fro some moments in silence. Then he goes -towards the porch and leans against the jamb. Robert watches him._] - -ROBERT. -I always felt it. In myself and in others. - -RICHARD. -[_Absently._] Yes? - -ROBERT. -[_With a vague gesture._] For all. That a woman, too, has the right to -try with many men until she finds love. An immoral idea, is it not? I -wanted to write a book about it. I began it... - -RICHARD. -[_As before._] Yes? - -ROBERT. -Because I knew a woman who seemed to me to be doing that—carrying out -that idea in her own life. She interested me very much. - -RICHARD. -When was this? - -ROBERT. -O, not lately. When you were away. - -[_Richard leaves his place rather abruptly and again paces to and -fro._] - -ROBERT. -You see, I am more honest than you thought. - -RICHARD. -I wish you had not thought of her now—whoever she was, or is. - -ROBERT. -[_Easily._] She was and is the wife of a stockbroker. - -RICHARD. -[_Turning._] You know him? - -ROBERT. -Intimately. - -[_Richard sits down again in the same place and leans forward, his head -on his hands._] - -ROBERT. -[_Moving his chair a little closer._] May I ask you a question? - -RICHARD. -You may. - -ROBERT. -[_With some hesitation._] Has it never happened to you in these years—I -mean when you were away from her, perhaps, or travelling—to... betray -her with another. Betray her, I mean, not in love. Carnally, I mean... -Has that never happened? - -RICHARD. -It has. - -ROBERT. -And what did you do? - -RICHARD. -[_As before._] I remember the first time. I came home. It was night. My -house was silent. My little son was sleeping in his cot. She, too, was -asleep. I wakened her from sleep and told her. I cried beside her bed; -and I pierced her heart. - -ROBERT. -O, Richard, why did you do that? - -RICHARD. -Betray her? - -ROBERT. -No. But tell her, waken her from sleep to tell her. It was piercing her -heart. - -RICHARD. -She must know me as I am. - -ROBERT. -But that is not you as you are. A moment of weakness. - -RICHARD. -[_Lost in thought._] And I was feeding the flame of her innocence with -my guilt. - -ROBERT. -[_Brusquely._] O, don’t talk of guilt and innocence. You have made her -all that she is. A strange and wonderful personality—in my eyes, at -least. - -RICHARD. -[_Darkly._] Or I have killed her. - -ROBERT. -Killed her? - -RICHARD. -The virginity of her soul. - -ROBERT. -[_Impatiently._] Well lost! What would she be without you? - -RICHARD. -I tried to give her a new life. - -ROBERT. -And you have. A new and rich life. - -RICHARD. -Is it worth what I have taken from her—her girlhood, her laughter, her -young beauty, the hopes in her young heart? - -ROBERT. -[_Firmly._] Yes. Well worth it. [_He looks at Richard for some moments -in silence._] If you had neglected her, lived wildly, brought her away -so far only to make her suffer... - -[_He stops. Richard raises his head and looks at him._] - -RICHARD. -If I had? - -ROBERT. -[_Slightly confused._] You know there were rumours here of your life -abroad—a wild life. Some persons who knew you or met you or heard of -you in Rome. Lying rumours. - -RICHARD. -[_Coldly._] Continue. - -ROBERT. -[_Laughs a little harshly._] Even I at times thought of her as a -victim. [_Smoothly._] And of course, Richard, I felt and knew all the -time that you were a man of great talent—of something more than talent. -And that was your excuse—a valid one in my eyes. - -RICHARD. -Have you thought that it is perhaps now—at this moment—that I am -neglecting her? [_He clasps his hands nervously and leans across toward -Robert._] I may be silent still. And she may yield to you at -last—wholly and many times. - -ROBERT. -[_Draws back at once._] My dear Richard, my dear friend, I swear to you -I could not make you suffer. - -RICHARD. -[_Continuing._] You may then know in soul and body, in a hundred forms, -and ever restlessly, what some old theologian, Duns Scotus, I think, -called a death of the spirit. - -ROBERT. -[_Eagerly._] A death. No; its affirmation! A death! The supreme instant -of life from which all coming life proceeds, the eternal law of nature -herself. - -RICHARD. -And that other law of nature, as you call it: change. How will it be -when you turn against her and against me; when her beauty, or what -seems so to you now, wearies you and my affection for you seems false -and odious? - -ROBERT. -That will never be. Never. - -RICHARD. -And you turn even against yourself for having known me or trafficked -with us both? - -ROBERT. -[_Gravely._] It will never be like that, Richard. Be sure of that. - -RICHARD. -[_Contemptuously._] I care very little whether it is or not because -there is something I fear much more. - -ROBERT. -[_Shakes his head._] You fear? I disbelieve you, Richard. Since we were -boys together I have followed your mind. You do not know what moral -fear is. - -RICHARD. -[_Lays his hand on his arm._] Listen. She is dead. She lies on my bed. -I look at her body which I betrayed—grossly and many times. And loved, -too, and wept over. And I know that her body was always my loyal slave. -To me, to me only she gave... [_He breaks off and turns aside, unable -to speak._] - -ROBERT. -[_Softly._] Do not suffer, Richard. There is no need. She is loyal to -you, body and soul. Why do you fear? - -RICHARD. -[_Turns towards him, almost fiercely._] Not that fear. But that I will -reproach myself then for having taken all for myself because I would -not suffer her to give to another what was hers and not mine to give, -because I accepted from her her loyalty and made her life poorer in -love. That is my fear. That I stand between her and any moments of life -that should be hers, between her and you, between her and anyone, -between her and anything. I will not do it. I cannot and I will not. I -dare not. - -[_He leans back in his chair breathless, with shining eyes. Robert -rises quietly, and stands behind his chair._] - -ROBERT. -Look here, Richard. We have said all there is to be said. Let the past -be past. - -RICHARD. -[_Quickly and harshly._] Wait. One thing more. For you, too, must know -me as I am—now. - -ROBERT. -More? Is there more? - -RICHARD. -I told you that when I saw your eyes this afternoon I felt sad. Your -humility and confusion, I felt, united you to me in brotherhood. [_He -turns half round towards him._] At that moment I felt our whole life -together in the past, and I longed to put my arm around your neck. - -ROBERT. -[_Deeply and suddenly touched._] It is noble of you, Richard, to -forgive me like this. - -RICHARD. -[_Struggling with himself._] I told you that I wished you not to do -anything false and secret against me—against our friendship, against -her; not to steal her from me craftily, secretly, meanly—in the dark, -in the night—you, Robert, my friend. - -ROBERT. -I know. And it was noble of you. - -RICHARD. -[_Looks up at him with a steady gaze._] No. Not noble. Ignoble. - -ROBERT. -[_Makes an involuntary gesture._] How? Why? - -RICHARD. -[_Looks away again: in a lower voice._] That is what I must tell you -too. Because in the very core of my ignoble heart I longed to be -betrayed by you and by her—in the dark, in the night—secretly, meanly, -craftily. By you, my best friend, and by her. I longed for that -passionately and ignobly, to be dishonoured for ever in love and in -lust, to be... - -ROBERT. -[_Bending down, places his hands over Richard’s mouth._] Enough. -Enough. [_He takes his hands away._] But no. Go on. - -RICHARD. -To be for ever a shameful creature and to build up my soul again out of -the ruins of its shame. - -ROBERT. -And that is why you wished that she... - -RICHARD. -[_With calm._] She has spoken always of her innocence, as I have spoken -always of my guilt, humbling me. - -ROBERT. -From pride, then? - -RICHARD. -From pride and from ignoble longing. And from a motive deeper still. - -ROBERT. -[_With decision._] I understand you. - -[_He returns to his place and begins to speak at once, drawing his -chair closer._] - -ROBERT. -May it not be that we are here and now in the presence of a moment -which will free us both—me as well as you—from the last bonds of what -is called morality. My friendship for you has laid bonds on me. - -RICHARD. -Light bonds, apparently. - -ROBERT. -I acted in the dark, secretly. I will do so no longer. Have you the -courage to allow me to act freely? - -RICHARD. -A duel—between us? - -ROBERT. -[_With growing excitement._] A battle of both our souls, different as -they are, against all that is false in them and in the world. A battle -of your soul against the spectre of fidelity, of mine against the -spectre of friendship. All life is a conquest, the victory of human -passion over the commandments of cowardice. Will you, Richard? Have you -the courage? Even if it shatters to atoms the friendship between us, -even if it breaks up for ever the last illusion in your own life? There -was an eternity before we were born: another will come after we are -dead. The blinding instant of passion alone—passion, free, unashamed, -irresistible—that is the only gate by which we can escape from the -misery of what slaves call life. Is not this the language of your own -youth that I heard so often from you in this very place where we are -sitting now? Have you changed? - -RICHARD. -[_Passes his hand across his brow._] Yes. It is the language of my -youth. - -ROBERT. -[_Eagerly, intensely._] Richard, you have driven me up to this point. -She and I have only obeyed your will. You yourself have roused these -words in my brain. Your own words. Shall we? Freely? Together? - -RICHARD. -[_Mastering his emotion._] Together no. Fight your part alone. I will -not free you. Leave me to fight mine. - -ROBERT. -[_Rises, decided._] You allow me, then? - -RICHARD. -[_Rises also, calmly._] Free yourself. - -[_A knock is heard at the hall door._] - -ROBERT. -[_In alarm._] What does this mean? - -RICHARD. -[_Calmly._] Bertha, evidently. Did you not ask her to come? - -ROBERT. -Yes, but... [_Looking about him._] Then I am going, Richard. - -RICHARD. -No. I am going. - -ROBERT. -[_Desperately._] Richard, I appeal to you. Let me go. It is over. She -is yours. Keep her and forgive me, both of you. - -RICHARD. -Because you are generous enough to allow me? - -ROBERT. -[_Hotly._] Richard, you will make me angry with you if you say that. - -RICHARD. -Angry or not, I will not live on your generosity. You have asked her to -meet you here tonight and alone. Solve the question between you. - -ROBERT. -[_Promptly._] Open the door. I shall wait in the garden. [_He goes -towards the porch._] Explain to her, Richard, as best you can. I cannot -see her now. - -RICHARD. -I shall go. I tell you. Wait out there if you wish. - -[_He goes out by the door on the right. Robert goes out hastily through -the porch but comes back the same instant._] - -ROBERT. -An umbrella! [_With a sudden gesture._] O! - -[_He goes out again through the porch. The hall door is heard to open -and close. Richard enters, followed by Bertha, who is dressed in a -darkbrown costume and wears a small dark red hat. She has neither -umbrella nor waterproof._] - -RICHARD. -[_Gaily._] Welcome back to old Ireland! - -BERTHA. -[_Nervously, seriously._] Is this the place? - -RICHARD. -Yes, it is. How did you find it? - -BERTHA. -I told the cabman. I didn’t like to ask my way. [_Looking about her -curiously._] Was he not waiting? Has he gone away? - -RICHARD. -[_Points towards the garden._] He is waiting. Out there. He was waiting -when I came. - -BERTHA. -[_Selfpossessed again._] You see, you came after all. - -RICHARD. -Did you think I would not? - -BERTHA. -I knew you could not remain away. You see, after all you are like all -other men. You had to come. You are jealous like the others. - -RICHARD. -You seem annoyed to find me here. - -BERTHA. -What happened between you? - -RICHARD. -I told him I knew everything, that I had known for a long time. He -asked how. I said from you. - -BERTHA. -Does he hate me? - -RICHARD. -I cannot read in his heart. - -BERTHA. -[_Sits down helplessly._] Yes. He hates me. He believes I made a fool -of him—betrayed him. I knew he would. - -RICHARD. -I told him you were sincere with him. - -BERTHA. -He does not believe it. Nobody would believe it. I should have told him -first—not you. - -RICHARD. -I thought he was a common robber, prepared to use even violence against -you. I had to protect you from that. - -BERTHA. -That I could have done myself. - -RICHARD. -Are you sure? - -BERTHA. -It would have been enough to have told him that you knew I was here. -Now I can find out nothing. He hates me. He is right to hate me. I have -treated him badly, shamefully. - -RICHARD. -[_Takes her hand._] Bertha, look at me. - -BERTHA. -[_Turns to him._] Well? - -RICHARD. -[_Gazes into her eyes and then lets her hand fall._] I cannot read in -your heart either. - -BERTHA. -[_Still looking at him._] You could not remain away. Do you not trust -me? You can see I am quite calm. I could have hidden it all from you. - -RICHARD. -I doubt that. - -BERTHA. -[_With a slight toss of her head._] O, easily if I had wanted to. - -RICHARD. -[_Darkly._] Perhaps you are sorry now that you did not. - -BERTHA. -Perhaps I am. - -RICHARD. -[_Unpleasantly._] What a fool you were to tell me! It would have been -so nice if you had kept it secret. - -BERTHA. -As you do, no? - -RICHARD. -As I do, yes. [_He turns to go._] Goodbye for a while. - -BERTHA. -[_Alarmed, rises._] Are you going? - -RICHARD. -Naturally. My part is ended here. - -BERTHA. -To her, I suppose? - -RICHARD. -[_Astonished._] Who? - -BERTHA. -Her ladyship. I suppose it is all planned so that you may have a good -opportunity. To meet her and have an intellectual conversation! - -RICHARD. -[_With an outburst of rude anger._] To meet the devil’s father! - -BERTHA. -[_Unpins her hat and sits down._] Very well. You can go. Now I know -what to do. - -RICHARD. -[_Returns, approaches her._] You don’t believe a word of what you say. - -BERTHA. -[_Calmly._] You can go. Why don’t you? - -RICHARD. -Then you have come here and led him on in this way on account of me. Is -that how it is? - -BERTHA. -There is one person in all this who is not a fool. And that is you. I -am though. And he is. - -RICHARD. -[_Continuing._] If so you have indeed treated him badly and shamefully. - -BERTHA. -[_Points at him._] Yes. But it was your fault. And I will end it now. I -am simply a tool for you. You have no respect for me. You never had -because I did what I did. - -RICHARD. -And has he respect? - -BERTHA. -He has. Of all the persons I met since I came back he is the only one -who has. And he knows what they only suspect. And that is why I liked -him from the first and like him still. Great respect for me she has! -Why did you not ask her to come away with you nine years ago? - -RICHARD. -You know why, Bertha. Ask yourself. - -BERTHA. -Yes, I know why. You knew the answer you would get. That is why. - -RICHARD. -That is not why. I did not even ask you. - -BERTHA. -Yes. You knew I would go, asked or not. I do things. But if I do one -thing I can do two things. As I have the name I can have the gains. - -RICHARD. -[_With increasing excitement._] Bertha, I accept what is to be. I have -trusted you. I will trust you still. - -BERTHA. -To have that against me. To leave me then. [_Almost passionately._] Why -do you not defend me then against him? Why do you go away from me now -without a word? Dick, my God, tell me what you wish me to do? - -RICHARD. -I cannot, dear. [_Struggling with himself._] Your own heart will tell -you. [_He seizes both her hands._] I have a wild delight in my soul, -Bertha, as I look at you. I see you as you are yourself. That I came -first in your life or before him then—that may be nothing to you. You -may be his more than mine. - -BERTHA. -I am not. Only I feel for him, too. - -RICHARD. -And I do too. You may be his and mine. I will trust you, Bertha, and -him too. I must. I cannot hate him since his arms have been around you. -You have drawn us near together. There is something wiser than wisdom -in your heart. Who am I that I should call myself master of your heart -or of any woman’s? Bertha, love him, be his, give yourself to him if -you desire—or if you can. - -BERTHA. -[_Dreamily._] I will remain. - -RICHARD. -Goodbye. - -[_He lets her hand fall and goes out rapidly on the right. Bertha -remains sitting. Then she rises and goes timidly towards the porch. She -stops near it and, after a little hesitation, calls into the garden._] - -BERTHA. -Is anyone out there? - -[_At the same time she retreats towards the middle of the room. Then -she calls again in the same way._] - -BERTHA. -Is anyone there? - -[_Robert appears in the open doorway that leads in from the garden. His -coat is buttoned and the collar is turned up. He holds the doorposts -with his hands lightly and waits for Bertha to see him._] - -BERTHA. -[_Catching sight of him, starts back: then, quickly._] Robert! - -ROBERT. -Are you alone? - -BERTHA. -Yes. - -ROBERT. -[_Looking towards the door on the right._] Where is he? - -BERTHA. -Gone. [_Nervously._] You startled me. Where did you come from? - -ROBERT. -[_With a movement of his head._] Out there. Did he not tell you I was -out there—waiting? - -BERTHA. -[_Quickly._] Yes, he told me. But I was afraid here alone. With the -door open, waiting. [_She comes to the table and rests her hand on the -corner._] Why do you stand like that in the doorway? - -ROBERT. -Why? I am afraid too. - -BERTHA. -Of what? - -ROBERT. -Of you. - -BERTHA. -[_Looks down._] Do you hate me now? - -ROBERT. -I fear you. [_Clasping his hands at his back, quietly but a little -defiantly._] I fear a new torture—a new trap. - -BERTHA. -[_As before._] For what do you blame me? - -ROBERT. -[_Comes forward a few steps, halts: then impulsively:_] Why did you -lead me on? Day after day, more and more. Why did you not stop me? You -could have—with a word. But not even a word! I forgot myself and him. -You saw it. That I was ruining myself in his eyes, losing his -friendship. Did you want me to? - -BERTHA. -[_Looking up._] You never asked me. - -ROBERT. -Asked you what? - -BERTHA. -If he suspected—or knew. - -ROBERT. -And would you have told me? - -BERTHA. -Yes. - -ROBERT. -[_Hesitatingly._] Did you tell him—everything? - -BERTHA. -I did. - -ROBERT. -I mean—details. - -BERTHA. -Everything. - -ROBERT. -[_With a forced smile._] I see. You were making an experiment for his -sake. On me. Well, why not? It seems I was a good subject. Still, it -was a little cruel of you. - -BERTHA. -Try to understand me, Robert. You must try. - -ROBERT. -[_With a polite gesture._] Well, I will try. - -BERTHA. -Why do you stand like that near the door? It makes me nervous to look -at you. - -ROBERT. -I am trying to understand. And then I am afraid. - -BERTHA. -[_Holds out her hand._] You need not be afraid. - -[_Robert comes towards her quickly -and takes her hand._] - -ROBERT. -[_Diffidently._] Used you to laugh over me—together? [_Drawing his -hand away._] But now I must be good or you may laugh over me -again—tonight. - -BERTHA. -[_Distressed, lays her hand on his arm._] Please listen to me, -Robert... But you are all wet, drenched! [_She passes her hands over -his coat._] O, you poor fellow! Out there in the rain all that time! I -forgot that. - -ROBERT. -[_Laughs._] Yes, you forgot the climate. - -BERTHA. -But you are really drenched. You must change your coat. - -ROBERT. -[_Takes her hands._] Tell me, it is pity then that you feel for me, as -he—as Richard—says? - -BERTHA. -Please change your coat, Robert, when I ask you. You might get a very -bad cold from that. Do, please. - -ROBERT. -What would it matter now? - -BERTHA. -[_Looking round her._] Where do you keep your clothes here? - -ROBERT. -[_Points to the door at the back._] In there. I fancy I have a jacket -here. [_Maliciously._] In my bedroom. - -BERTHA. -Well, go in and take that off. - -ROBERT. -And you? - -BERTHA. -I will wait here for you. - -ROBERT. -Do you command me to? - -BERTHA. -[_Laughing._] Yes, I command you. - -ROBERT. -[_Promptly._] Then I will. [_He goes quickly towards the bedroom door; -then turns round._] You won’t go away? - -BERTHA. -No, I will wait. But don’t be long. - -ROBERT. -Only a moment. - -[_He goes into the bedroom, leaving the door open. Bertha looks -curiously about her and then glances in indecision towards the door at -the back._] - -ROBERT. -[_From the bedroom._] You have not gone? - -BERTHA. -No. - -ROBERT. -I am in the dark here. I must light the lamp. - -[_He is heard striking a match, and putting a glass shade on a lamp. A -pink light comes in through the doorway. Bertha glances at her watch at -her wristlet and then sits at the table._] - -ROBERT. -[_As before._] Do you like the effect of the light? - -BERTHA. -O, yes. - -ROBERT. -Can you admire it from where you are? - -BERTHA. -Yes, quite well. - -ROBERT. -It was for you. - -BERTHA. -[_Confused._] I am not worthy even of that. - -ROBERT. -[_Clearly, harshly._] Love’s labour lost. - -BERTHA. -[_Rising nervously._] Robert! - -ROBERT. -Yes? - -BERTHA. -Come here, quickly! Quickly, I say! - -ROBERT. -I am ready. - -[_He appears in the doorway, wearing a darkgreen velvet jacket. Seeing -her agitation, he comes quickly towards her._] - -ROBERT. -What is it, Bertha? - -BERTHA. -[_Trembling._] I was afraid. - -ROBERT. -Of being alone? - -BERTHA. -[_Catches his hands._] You know what I mean. My nerves are all upset. - -ROBERT. -That I...? - -BERTHA. -Promise me, Robert, not to think of such a thing. Never. If you like me -at all. I thought that moment... - -ROBERT. -What an idea? - -BERTHA. -But promise me if you like me. - -ROBERT. -If I like you, Bertha! I promise. Of course, I promise. You are -trembling all over. - -BERTHA. -Let me sit down somewhere. It will pass in a moment. - -ROBERT. -My poor Bertha! Sit down. Come. - -[_He leads her towards a chair near the table. She sits down. He stands -beside her._] - -ROBERT. -[_After a short pause._] Has it passed? - -BERTHA. -Yes. It was only for a moment. I was very silly. I was afraid that... I -wanted to see you near me. - -ROBERT. -That... that you made me promise not to think of? - -BERTHA. -Yes. - -ROBERT. -[_Keenly._] Or something else? - -BERTHA. -[_Helplessly._] Robert, I feared something. I am not sure what. - -ROBERT. -And now? - -BERTHA. -Now you are here. I can see you. Now it has passed. - -ROBERT. -[_With resignation._] Passed. Yes. Love’s labour lost. - -BERTHA. -[_Looks up at him._] Listen, Robert. I want to explain to you about -that. I could not deceive Dick. Never. In nothing. I told him -everything—from the first. Then it went on and on; and still you never -spoke or asked me. I wanted you to. - -ROBERT. -Is that the truth, Bertha? - -BERTHA. -Yes, because it annoyed me that you could think I was like... like the -other women I suppose you knew that way. I think that Dick is right -too. Why should there be secrets? - -ROBERT. -[_Softly._] Still, secrets can be very sweet. Can they not? - -BERTHA. -[_Smiles._] Yes, I know they can. But, you see, I could not keep things -secret from Dick. Besides, what is the good? They always come out in -the end. Is it not better for people to know? - -ROBERT. -[_Softly and a little shyly._] How could you, Bertha, tell him -everything? Did you? Every single thing that passed between us? - -BERTHA. -Yes. Everything he asked me. - -ROBERT. -Did he ask you—much? - -BERTHA. -You know the kind he is. He asks about everything. The ins and outs. - -ROBERT. -About our kissing, too? - -BERTHA. -Of course. I told him all. - -ROBERT. -[_Shakes his head slowly._] Extraordinary little person! Were you not -ashamed? - -BERTHA. -No. - -ROBERT. -Not a bit? - -BERTHA. -No. Why? Is that terrible? - -ROBERT. -And how did he take it? Tell me. I want to know everything, too. - -BERTHA. -[_Laughs._] It excited him. More than usual. - -ROBERT. -Why? Is he excitable—still? - -BERTHA. -[_Archly._] Yes, very. When he is not lost in his philosophy. - -ROBERT. -More than I? - -BERTHA. -More than you? [_Reflecting._] How could I answer that? You both are, I -suppose? - -[_Robert turns aside and gazes -towards the porch, passing his hand once or twice thoughtfully over his -hair._] - -BERTHA. -[_Gently._] Are you angry with me again? - -ROBERT. -[_Moodily._] You are with me. - -BERTHA. -No, Robert. Why should I be? - -ROBERT. -Because I asked you to come to this place. I tried to prepare it for -you. [_He points vaguely here and there._] A sense of quietness. - -BERTHA. -[_Touching his jacket with her fingers._] And this, too. Your nice -velvet coat. - -ROBERT. -Also. I will keep no secrets from you. - -BERTHA. -You remind me of someone in a picture. I like you in it... But you are -not angry, are you? - -ROBERT. -[_Darkly._] Yes. That was my mistake. To ask you to come here. I felt -it when I looked at you from the garden and saw you—you, -Bertha—standing here. [_Hopelessly._] But what else could I have done? - -BERTHA. -[_Quietly._] You mean because others have been here? - -ROBERT. -Yes. - -[_He walks away from her a few paces. A gust of wind makes the lamp on -the table flicker. He lowers the wick slightly._] - -BERTHA. -[_Following him with her eyes._] But I knew that before I came. I am -not angry with you for it. - -ROBERT. -[_Shrugs his shoulders._] Why should you be angry with me after all? -You are not even angry with him—for the same thing—or worse. - -BERTHA. -Did he tell you that about himself? - -ROBERT. -Yes. He told me. We all confess to one another here. Turn about. - -BERTHA. -I try to forget it. - -ROBERT. -It does not trouble you? - -BERTHA. -Not now. Only I dislike to think of it. - -ROBERT. -It is merely something brutal, you think? Of little importance? - -BERTHA. -It does not trouble me—now. - -ROBERT. -[_Looking at her over his shoulder._] But there is something that would -trouble you very much and that you would not try to forget? - -BERTHA. -What? - -ROBERT. -[_Turning towards her._] If it were not only something brutal with this -person or that—for a few moments. If it were something fine and -spiritual—with one person only—with one woman. [_Smiles._] And perhaps -brutal too. It usually comes to that sooner or later. Would you try to -forget and forgive that? - -BERTHA. -[_Toying with her wristlet._] In whom? - -ROBERT. -In anyone. In me. - -BERTHA. -[_Calmly._] You mean in Dick. - -ROBERT. -I said in myself. But would you? - -BERTHA. -You think I would revenge myself? Is Dick not to be free too? - -ROBERT. -[_Points at her._] That is not from your heart, Bertha. - -BERTHA. -[_Proudly._] Yes, it is; let him be free too. He leaves me free also. - -ROBERT. -[_Insistently._] And you know why? And understand? And you like it? And -you want to be? And it makes you happy? And has made you happy? Always? -This gift of freedom which he gave you—nine years ago? - -BERTHA. -[_Gazing at him with wide open eyes._] But why do you ask me such a lot -of questions, Robert? - -ROBERT. -[_Stretches out both hands to her._] Because I had another gift to -offer you then—a common simple gift—like myself. If you want to know it -I will tell you. - -BERTHA. -[_Looking at her watch._] Past is past, Robert. And I think I ought to -go now. It is nine almost. - -ROBERT. -[_Impetuously._] No, no. Not yet. There is one confession more and we -have the right to speak. - -[_He crosses before the table rapidly and sits down beside her._] - -BERTHA. -[_Turning towards him, places her left hand on his shoulder._] Yes, -Robert. I know that you like me. You need not tell me. [_Kindly._] You -need not confess any more tonight. - -[_A gust of wind enters through the porch, with a sound of moving -leaves. The lamp flickers quickly._] - -BERTHA. -[_Pointing over his shoulder._] Look! It is too high. - -[_Without rising, he bends towards the table, and turns down the wick -more. The room is half dark. The light comes in more strongly through -the doorway of the bedroom._] - -ROBERT. -The wind is rising. I will close that door. - -BERTHA. -[_Listening._] No, it is raining still. It was only a gust of wind. - -ROBERT. -[_Touches her shoulder._] Tell me if the air is too cold for you. -[_Half rising._] I will close it. - -BERTHA. -[_Detaining him._] No. I am not cold. Besides, I am going now, Robert. -I must. - -ROBERT. -[_Firmly._] No, no. There is no _must_ now. We were left here for this. -And you are wrong, Bertha. The past is not past. It is present here -now. My feeling for you is the same now as it was then, because -then—you slighted it. - -BERTHA. -No, Robert. I did not. - -ROBERT. -[_Continuing._] You did. And I have felt it all these years without -knowing it—till now. Even while I lived—the kind of life you know and -dislike to think of—the kind of life to which you condemned me. - -BERTHA. -I? - -ROBERT. -Yes, when you slighted the common simple gift I had to offer you—and -took his gift instead. - -BERTHA. -[_Looking at him._] But you never... - -ROBERT. -No. Because you had chosen him. I saw that. I saw it on the first night -we met, we three together. Why did you choose him? - -BERTHA. -[_Bends her head._] Is that not love? - -ROBERT. -[_Continuing._] And every night when we two—he and I—came to that -corner to meet you I saw it and felt it. You remember the corner, -Bertha? - -BERTHA. -[_As before._] Yes. - -ROBERT. -And when you and he went away for your walk and I went along the street -alone I felt it. And when he spoke to me about you and told me he was -going away—then most of all. - -BERTHA. -Why then most of all? - -ROBERT. -Because it was then that I was guilty of my first treason towards him. - -BERTHA. -Robert, what are you saying? Your first treason against Dick? - -ROBERT. -[_Nods._] And not my last. He spoke of you and himself. Of how your -life would be together—free and all that. Free, yes! He would not even -ask you to go with him. [_Bitterly._] He did not. And you went all the -same. - -BERTHA. -I wanted to be with him. You know... [_Raising her head and looking at -him._] You know how we were then—Dick and I. - -ROBERT. -[_Unheeding._] I advised him to go alone—not to take you with him—to -live alone in order to see if what he felt for you was a passing thing -which might ruin your happiness and his career. - -BERTHA. -Well, Robert. It was unkind of you towards me. But I forgive you -because you were thinking of his happiness and mine. - -ROBERT. -[_Bending closer to her._] No, Bertha. I was not. And that was my -treason. I was thinking of myself—that you might turn from him when he -had gone and he from you. Then I would have offered you my gift. You -know what it was now. The simple common gift that men offer to women. -Not the best perhaps. Best or worst—it would have been yours. - -BERTHA. -[_Turning away from him._] He did not take your advice. - -ROBERT. -[_As before._] No. And the night you ran away together—O, how happy I -was! - -BERTHA. -[_Pressing his hands._] Keep calm, Robert. I know you liked me always. -Why did you not forget me? - -ROBERT. -[_Smiles bitterly._] How happy I felt as I came back along the quays -and saw in the distance the boat lit up going down the black river, -taking you away from me! [_In a calmer tone._] But why did you choose -him? Did you not like me at all? - -BERTHA. -Yes. I liked you because you were his friend. We often spoke about you. -Often and often. Every time you wrote or sent papers or books to Dick. -And I like you still, Robert. [_Looking into his eyes._] I never forgot -you. - -ROBERT. -Nor I you. I knew I would see you again. I knew it the night you went -away—that you would come back. And that was why I wrote and worked to -see you again—here. - -BERTHA. -And here I am. You were right. - -ROBERT. -[_Slowly._] Nine years. Nine times more beautiful! - -BERTHA. -[_Smiling._] But am I? What do you see in me? - -ROBERT. -[_Gazing at her._] A strange and beautiful lady. - -BERTHA. -[_Almost disgusted._] O, please don’t call me such a -thing! - -ROBERT. -[_Earnestly._] You are more. A young and beautiful queen. - -BERTHA. -[_With a sudden laugh._] O, Robert! - -ROBERT. -[_Lowering his voice and bending nearer to her._] But do you not know -that you are a beautiful human being? Do you not know that you have a -beautiful body? Beautiful and young? - -BERTHA. -[_Gravely._] Some day I will be old. - -ROBERT. -[_Shakes his head._] I cannot imagine it. Tonight you are young and -beautiful. Tonight you have come back to me. [_With passion._] Who -knows what will be tomorrow? I may never see you again or never see you -as I do now. - -BERTHA. -Would you suffer? - -ROBERT. -[_Looks round the room, without answering._] This room and this hour -were made for your coming. When you have gone—all is gone. - -BERTHA. -[_Anxiously._] But you will see me again, Robert... as before. - -ROBERT. -[_Looks full at her._] To make him—Richard—suffer. - -BERTHA. -He does not suffer. - -ROBERT. -[_Bowing his head._] Yes, yes. He does. - -BERTHA. -He knows we like each other. Is there any harm, then? - -ROBERT. -[_Raising his head._] No there is no harm. Why should we not? He does -not know yet what I feel. He has left us alone here at night, at this -hour, because he longs to know it—he longs to be delivered. - -BERTHA. -From what? - -ROBERT. -[_Moves closer to her and presses her arm as he speaks._] From every -law, Bertha, from every bond. All his life he has sought to deliver -himself. Every chain but one he has broken and that one we are to -break. Bertha—you and I. - -BERTHA. -[_Almost inaudibly._] Are you sure? - -ROBERT. -[_Still more warmly._] I am sure that no law made by man is sacred -before the impulse of passion. [_Almost fiercely._] Who made us for one -only? It is a crime against our own being if we are so. There is no law -before impulse. Laws are for slaves. Bertha, say my name! Let me hear -your voice say it. Softly! - -BERTHA. -[_Softly._] Robert! - -ROBERT. -[_Puts his arm about her shoulder._] Only the impulse towards youth and -beauty does not die. [_He points towards the porch._] Listen! - -BERTHA. -[_In alarm._] What? - -ROBERT. -The rain falling. Summer rain on the earth. Night rain. The darkness -and warmth and flood of passion. Tonight the earth is loved—loved and -possessed. Her lover’s arms around her; and she is silent. Speak, -dearest! - -BERTHA. -[_Suddenly leans forward and listens intently._] Hush! - -ROBERT. -[_Listening, smiles._] Nothing. Nobody. We are alone. - -[_A gust of wind blows in through the porch, with a sound of shaken -leaves. The flame of the lamp leaps._] - -BERTHA. -[_Pointing to the lamp._] Look! - -ROBERT. -Only the wind. We have light enough from the other room. - -[_He stretches his hand across the table and puts out the lamp. The -light from the doorway of the bedroom crosses the place where they sit. -The room is quite dark._] - -ROBERT. -Are you happy? Tell me. - -BERTHA. -I am going now, Robert. It is very late. Be satisfied. - -ROBERT. -[_Caressing her hair._] Not yet, not yet. Tell me, do you love me a -little? - -BERTHA. -I like you, Robert. I think you are good. [_Half rising._] Are you -satisfied? - -ROBERT. -[_Detaining her, kisses her hair._] Do not go, Bertha! There is time -still. Do you love me too? I have waited a long time. Do you love us -both—him and also me? Do you, Bertha? The truth! Tell me. Tell me with -your eyes. Or speak! - -[_She does not answer. In the silence the rain is heard falling._] - - - - -Third Act - -_The drawingroom of Richard Rowan’s house at Merrion. The folding doors -at the right are closed and also the double doors leading to the -garden. The green plush curtains are drawn across the window on the -left. The room is half dark. It is early in the morning of the next -day. Bertha sits beside the window looking out between the curtains. -She wears a loose saffron dressing gown. Her hair is combed loosely -over the ears and knotted at the neck. Her hands are folded in her lap. -Her face is pale and drawn._ - -[_Brigid comes in through the folding doors on the right with a -featherbroom and duster. She is about to cross but, seeing Bertha, she -halts suddenly and blesses herself instinctively._] - -BRIGID. -Merciful hour, ma’am. You put the heart across me. Why did you get up -so early? - -BERTHA. -What time is it? - -BRIGID. -After seven, ma’am. Are you long up? - -BERTHA. -Some time. - -BRIGID. -[_Approaching her._] Had you a bad dream that woke you? - -BERTHA. -I didn’t sleep all night. So I got up to see the sun rise. - -BRIGID. -[_Opens the double doors._] It’s a lovely morning now after all the -rain we had. [_Turns round._] But you must be dead tired, ma’am. What -will the master say at your doing a thing like that? [_She goes to the -door of the study and knocks._] Master Richard! - -BERTHA. -[_Looks round._] He is not there. He went out an hour ago. - -BRIGID. -Out there, on the strand, is it? - -BERTHA. -Yes. - -BRIGID. -[_Comes towards her and leans over the back of a chair._] Are you -fretting yourself, ma’am, about anything? - -BERTHA. -No, Brigid. - -BRIGID. -Don’t be. He was always like that, meandering off by himself somewhere. -He is a curious bird, Master Richard, and always was. Sure there isn’t -a turn in him I don’t know. Are you fretting now maybe because he does -be in there [_pointing to the study_] half the night at his books? -Leave him alone. He’ll come back to you again. Sure he thinks the sun -shines out of your face, ma’am. - -BERTHA. -[_Sadly._] That time is gone. - -BRIGID. -[_Confidentially._] And good cause I have to remember it—that time when -he was paying his addresses to you. [_She sits down beside Bertha. In a -lower voice._] Do you know that he used to tell me all about you and -nothing to his mother, God rest her soul? Your letters and all. - -BERTHA. -What? My letters to him? - -BRIGID. -[_Delighted._] Yes. I can see him sitting on the kitchen table, -swinging his legs and spinning out of him yards of talk about you and -him and Ireland and all kinds of devilment—to an ignorant old woman -like me. But that was always his way. But if he had to meet a grand -highup person he’d be twice as grand himself. [_Suddenly looks at -Bertha._] Is it crying you are now? Ah, sure, don’t cry. There’s good -times coming still. - -BERTHA. -No, Brigid, that time comes only once in a lifetime. The rest of life -is good for nothing except to remember that time. - -BRIGID. -[_Is silent for a moment: then says kindly._] Would you like a cup of -tea, ma’am? That would make you all right. - -BERTHA. -Yes, I would. But the milkman has not come yet. - -BRIGID. -No. Master Archie told me to wake him before he came. He’s going out -for a jaunt in the car. But I’ve a cup left overnight. I’ll have the -kettle boiling in a jiffy. Would you like a nice egg with it? - -BERTHA. -No, thanks. - -BRIGID. -Or a nice bit of toast? - -BERTHA. -No, Brigid, thanks. Just a cup of tea. - -BRIGID. -[_Crossing to the folding doors._] I won’t be a moment. [_She stops, -turns back and goes towards the door on the left._] But first I must -waken Master Archie or there’ll be ructions. - -[_She goes out by the door on the left. After a few moments Bertha -rises and goes over to the study. She opens the door wide and looks in. -One can see a small untidy room with many bookshelves and a large -writingtable with papers and an extinguished lamp and before it a -padded chair. She remains standing for some time in the doorway, then -closes the door again without entering the room. She returns to her -chair by the window and sits down. Archie, dressed as before, comes in -by the door on the right, followed by Brigid._] - -ARCHIE. -[_Comes to her and, putting up his face to be kissed, says:_] _Buon -giorno_, mamma! - -BERTHA. -[_Kissing him._] _Buon giorno_, Archie! [_To Brigid._] Did you put -another vest on him under that one? - -BRIGID. -He wouldn’t let me, ma’am. - -ARCHIE. -I’m not cold, mamma. - -BERTHA. -I said you were to put it on, didn’t I? - -ARCHIE. -But where is the cold? - -BERTHA. -[_Takes a comb from her head and combs his hair back at both sides._] -And the sleep is in your eyes still. - -BRIGID. -He went to bed immediately after you went out last night, -ma’am. - -ARCHIE. -You know he’s going to let me drive, mamma. - -BERTHA. -[_Replacing the comb in her hair, embraces him suddenly._] O, what a -big man to drive a horse! - -BRIGID. -Well, he’s daft on horses, anyhow. - -ARCHIE. -[_Releasing himself._] I’ll make him go quick. You will see from the -window, mamma. With the whip. [_He makes the gesture of cracking a whip -and shouts at the top of his voice._] _Avanti!_ - -BRIGID. -Beat the poor horse, is it? - -BERTHA. -Come here till I clean your mouth. [_She takes her handkerchief from -the pocket of her gown, wets it with her tongue and cleans his mouth._] -You’re all smudges or something, dirty little creature you are. - -ARCHIE. -[_Repeats, laughing._] Smudges! What is smudges? - -[_The noise is heard of a milkcan rattled on the railings before the -window._] - -BRIGID. -[_Draws aside the curtains and looks out._] Here he is! - -ARCHIE. -[_Rapidly._] Wait. I’m ready. Goodbye, mamma! [_He kisses her hastily -and turns to go._] Is pappie up? - -BRIGID. -[_Takes him by the arm._] Come on with you now. - -BERTHA. -Mind yourself, Archie, and don’t be long or I won’t let you go any -more. - -ARCHIE. -All right. Look out of the window and you’ll see me. Goodbye. - -[_Brigid and Archie go out by the door on the left. Bertha stands up -and, drawing aside the curtains still more, stands in the embrasure of -the window looking out. The hall door is heard opening: then a slight -noise of voices and cans is heard. The door is closed. After a moment -or two Bertha is seen waving her hand gaily in a salute. Brigid enters -and stands behind her, looking over her shoulder._] - -BRIGID. -Look at the sit of him! As serious as you like. - -BERTHA. -[_Suddenly withdrawing from her post._] Stand out of the window. I -don’t want to be seen. - -BRIGID. -Why, ma’am, what is it? - -BERTHA. -[_Crossing towards the folding doors._] Say I’m not up, that I’m not -well. I can’t see anyone. - -BRIGID. -[_Follows her._] Who is it, ma’am? - -BERTHA. -[_Halting._] Wait a moment. - -[_She listens. A knock is heard at the hall door._] - -BERTHA. -[_Stands a moment in doubt, then._] No, say I’m in. - -BRIGID. -[_In doubt._] Here? - -BERTHA. -[_Hurriedly._] Yes. Say I have just got up. - -[_Brigid goes out on the left. Bertha goes towards the double doors and -fingers the curtains nervously, as if settling them. The hall door is -heard to open. Then Beatrice Justice enters and, as Bertha does not -turn at once, stands in hesitation near the door on the left. She is -dressed as before and has a newspaper in her hand._] - -BEATRICE. -[_Advances rapidly._] Mrs Rowan, excuse me for coming at such an hour. - -BERTHA. -[_Turns._] Good morning, Miss Justice. [_She comes towards her._] Is -anything the matter? - -BEATRICE. -[_Nervously._] I don’t know. That is what I wanted to ask you. - -BERTHA. -[_Looks curiously at her._] You are out of breath. Won’t you sit down? - -BEATRICE. -[_Sitting down._] Thank you. - -BERTHA. -[_Sits opposite her, pointing to her paper._] Is there something in the -paper? - -BEATRICE. -[_Laughs nervously: opens the paper._] Yes. - -BERTHA. -About Dick? - -BEATRICE. -Yes. Here it is. A long article, a leading article, by my cousin. All -his life is here. Do you wish to see it? - -BERTHA. -[_Takes the paper, and opens it._] Where is it? - -BEATRICE. -In the middle. It is headed: _A Distinguished Irishman._ - -BERTHA. -Is it... for Dick or against him? - -BEATRICE. -[_Warmly._] O, for him! You can read what he says about Mr Rowan. And I -know that Robert stayed in town very late last night to write it. - -BERTHA. -[_Nervously._] Yes. Are you sure? - -BEATRICE. -Yes. Very late. I heard him come home. It was long after two. - -BERTHA. -[_Watching her._] It alarmed you? I mean to be awakened at that hour of -the morning. - -BEATRICE. -I am a light sleeper. But I knew he had come from the office and -then... I suspected he had written an article about Mr Rowan and that -was why he came so late. - -BERTHA. -How quick you were to think of that! - -BEATRICE. -Well, after what took place here yesterday afternoon—I mean what Robert -said, that Mr Rowan had accepted this position. It was only natural I -should think... - -BERTHA. -Ah, yes. Naturally. - -BEATRICE. -[_Hastily._] But that is not what alarmed me. But immediately after I -heard a noise in my cousin’s room. - -BERTHA. -[_Crumples together the paper in her hands, breathlessly._] My God! -What is it? Tell me. - -BEATRICE. -[_Observing her._] Why does that upset you so much? - -BERTHA. -[_Sinking back, with a forced laugh._] Yes, of course, it is very -foolish of me. My nerves are all upset. I slept very badly, too. That -is why I got up so early. But tell me what was it then? - -BEATRICE. -Only the noise of his valise being pulled along the floor. Then I heard -him walking about his room, whistling softly. And then locking it and -strapping it. - -BERTHA. -He is going away! - -BEATRICE. -That was what alarmed me. I feared he had had a quarrel with Mr Rowan -and that his article was an attack. - -BERTHA. -But why should they quarrel? Have you noticed anything between them? - -BEATRICE. -I thought I did. A coldness. - -BERTHA. -Lately? - -BEATRICE. -For some time past. - -BERTHA. -[_Smoothing the paper out._] Do you know the reason? - -BEATRICE. -[_Hesitatingly._] No. - -BERTHA. -[_After a pause._] Well, but if this article is for him, as you say, -they have not quarrelled. [_She reflects a moment._] And written last -night, too. - -BEATRICE. -Yes. I bought the paper at once to see. But why, then, is he going away -so suddenly? I feel that there is something wrong. I feel that -something has happened between them. - -BERTHA. -Would you be sorry? - -BEATRICE. -I would be very sorry. You see, Mrs Rowan, Robert is my first cousin -and it would grieve me very deeply if he were to treat Mr Rowan badly, -now that he has come back, or if they had a serious quarrel especially -because... - -BERTHA. -[_Toying with the paper._] Because? - -BEATRICE. -Because it was my cousin who urged Mr Rowan always to come back. I have -that on my conscience. - -BERTHA. -It should be on Mr Hand’s conscience, should it not? - -BEATRICE. -[_Uncertainly._] On mine, too. Because—I spoke to my cousin about Mr -Rowan when he was away and, to a certain extent, it was I... - -BERTHA. -[_Nods slowly._] I see. And that is on your conscience. Only that? - -BEATRICE. -I think so. - -BERTHA. -[_Almost cheerfully._] It looks as if it was you, Miss Justice, who -brought my husband back to Ireland. - -BEATRICE. -I, Mrs Rowan? - -BERTHA. -Yes, you. By your letters to him and then by speaking to your cousin as -you said just now. Do you not think that you are the person who brought -him back? - -BEATRICE. -[_Blushing suddenly._] No. I could not think that. - -BERTHA. -[_Watches her for a moment; then turning aside._] You know that my -husband is writing very much since he came back. - -BEATRICE. -Is he? - -BERTHA. -Did you not know? [_She points towards the study._] He passes the -greater part of the night in there writing. Night after night. - -BEATRICE. -In his study? - -BERTHA. -Study or bedroom. You may call it what you please. He sleeps there, -too, on a sofa. He slept there last night. I can show you if you don’t -believe me. - -[_She rises to go towards the study. Beatrice half rises quickly and -makes a gesture of refusal._] - -BEATRICE. -I believe you, of course, Mrs Rowan, when you tell me. - -BERTHA. -[_Sitting down again._] Yes. He is writing. And it must be about -something which has come into his life lately—since we came back to -Ireland. Some change. Do you know that any change has come into his -life? [_She looks searchingly at her._] Do you know it or feel it? - -BEATRICE. -[_Answers her look steadily._] Mrs Rowan, that is not a question to ask -me. If any change has come into his life since he came back you must -know and feel it. - -BERTHA. -You could know it just as well. You are very intimate in this house. - -BEATRICE. -I am not the only person who is intimate here. - -[_They both look at each other coldly in silence for some moments. -Bertha lays aside the paper and sits down on a chair nearer to -Beatrice._] - -BERTHA. -[_Placing her hand on Beatrice’s -knee._] So you also hate me, Miss Justice? - -BEATRICE. -[_With an effort._] Hate you? I? - -BERTHA. -[_Insistently but softly._] Yes. You know what it means to hate a -person? - -BEATRICE. -Why should I hate you? I have never hated anyone. - -BERTHA. -Have you ever loved anyone? [_She puts her hand on Beatrice’s wrist._] -Tell me. You have? - -BEATRICE. -[_Also softly._] Yes. In the past. - -BERTHA. -Not now? - -BEATRICE. -No. - -BERTHA. -Can you say that to me—truly? Look at me. - -BEATRICE. -[_Looks at her._] Yes, I can. - -[_A short pause. Bertha withdraws her hand, and turns away her head in -some embarrassment._] - -BERTHA. -You said just now that another person is intimate in this house. You -meant your cousin... Was it he? - -BEATRICE. -Yes. - -BERTHA. -Have you not forgotten him? - -BEATRICE. -[_Quietly._] I have tried to. - -BERTHA. -[_Clasping her hands._] You hate me. You think I am happy. If you only -knew how wrong you are! - -BEATRICE. -[_Shakes her head._] I do not. - -BERTHA. -Happy! When I do not understand anything that he writes, when I cannot -help him in any way, when I don’t even understand half of what he says -to me sometimes! You could and you can. [_Excitedly._] But I am afraid -for him, afraid for both of them. [_She stands up suddenly and goes -towards the davenport._] He must not go away like that. [_She takes a -writing pad from the drawer and writes a few lines in great haste._] -No, it is impossible! Is he mad to do such a thing? [_Turning to -Beatrice._] Is he still at home? - -BEATRICE. -[_Watching her in wonder._] Yes. Have you written to him to ask him to -come here? - -BERTHA. -[_Rises._] I have. I will send Brigid across with it. Brigid! - -[_She goes out by the door on the left rapidly._] - -BEATRICE. -[_Gazing after her, instinctively:_] It is true, then! - -[_She glances toward the door of Richard’s study and catches her head -in her hands. Then, recovering herself, she takes the paper from the -little table, opens it, takes a spectacle case from her handbag and, -putting on a pair of spectacles, bends down, reading it. Richard Rowan -enters from the garden. He is dressed as before but wears a soft hat -and carries a thin cane._] - -RICHARD. -[_Stands in the doorway, observing her for some moments._] There are -demons [_he points out towards the strand_] out there. I heard them -jabbering since dawn. - -BEATRICE. -[_Starts to her feet._] Mr Rowan! - -RICHARD. -I assure you. The isle is full of voices. Yours also, _Otherwise I -could not see you,_ it said. And her voice. But, I assure you, they are -all demons. I made the sign of the cross upside down and that silenced -them. - -BEATRICE. -[_Stammering._] I came here, Mr Rowan, so early because... to show you -this... Robert wrote it... about you... last night. - -RICHARD. -[_Takes off his hat._] My dear Miss Justice, you told me yesterday, I -think, why you came here and I never forget anything. [_Advancing -towards her, holding out his hand._] Good morning. - -BEATRICE. -[_Suddenly takes off her spectacles and places the paper in his -hands._] I came for this. It is an article about you. Robert wrote it -last night. Will you read it? - -RICHARD. -[_Bows._] Read it now? Certainly. - -BEATRICE. -[_Looks at him in despair._] O, Mr Rowan, it makes me suffer to look at -you. - -RICHARD. -[_Opens and reads the paper._] _Death of the Very Reverend Canon -Mulhall_. Is that it? - -[_Bertha appears at the door on the left and stands to listen._] - -RICHARD. -[_Turns over a page._] Yes, here we are! _A Distinguished Irishman._ -[_He begins to read in a rather loud hard voice._] Not the least vital -of the problems which confront our country is the problem of her -attitude towards those of her children who, having left her in her hour -of need, have been called back to her now on the eve of her longawaited -victory, to her whom in loneliness and exile they have at last learned -to love. In exile, we have said, but here we must distinguish. There is -an economic and there is a spiritual exile. There are those who left -her to seek the bread by which men live and there are others, nay, her -most favoured children, who left her to seek in other lands that food -of the spirit by which a nation of human beings is sustained in life. -Those who recall the intellectual life of Dublin of a decade since will -have many memories of Mr Rowan. Something of that fierce indignation -which lacerated the heart... - -[_He raises his eyes from the paper and sees Bertha standing in the -doorway. Then he lays aside the paper and looks at her. A long -silence._] - -BEATRICE. -[_With an effort._] You see, Mr Rowan, your day has dawned at last. -Even here. And you see that you have a warm friend in Robert, a friend -who understands you. - -RICHARD. -Did you notice the little phrase at the beginning: _those who left her -in her hour of need?_ - -[_He looks searchingly at Bertha, turns and walks into his study, -closing the door behind him._] - -BERTHA. -[_Speaking half to herself._] I gave up everything for him, religion, -family, my own peace. - -[_She sits down heavily in an armchair. Beatrice comes towards her._] - -BEATRICE. -[_Weakly._] But do you not feel also that Mr Rowan’s ideas... - -BERTHA. -[_Bitterly._] Ideas and ideas! But the people in this world have other -ideas or pretend to. They have to put up with him in spite of his ideas -because he is able to do something. Me, no. I am nothing. - -BEATRICE. -You stand by his side. - -BERTHA. -[_With increasing bitterness._] Ah, nonsense, Miss Justice! I am only a -thing he got entangled with and my son is—the nice name they give those -children. Do you think I am a stone? Do you think I don’t see it in -their eyes and in their manner when they have to meet me? - -BEATRICE. -Do not let them humble you, Mrs Rowan. - -BERTHA. -[_Haughtily._] Humble me! I am very proud of myself, if you want to -know. What have they ever done for him? I made him a man. What are they -all in his life? No more than the dirt under his boots! [_She stands up -and walks excitedly to and fro._] He can despise me, too, like the rest -of them—now. And you can despise me. But you will never humble me, any -of you. - -BEATRICE. -Why do you accuse me? - -BERTHA. -[_Going to her impulsively._] I am in such suffering. Excuse me if I -was rude. I want us to be friends. [_She holds out her hands._] Will -you? - -BEATRICE. -[_Taking her hands._] Gladly. - -BERTHA. -[_Looking at her._] What lovely long eyelashes you have! And your eyes -have such a sad expression! - -BEATRICE. -[_Smiling._] I see very little with them. They are very weak. - -BERTHA. -[_Warmly._] But beautiful. - -[_She embraces her quietly and kisses her. Then withdraws from her a -little shyly. Brigid comes in from the left._] - -BRIGID. -I gave it to himself, ma’am. - -BERTHA. -Did he send a message? - -BRIGID. -He was just going out, ma’am. He told me to say he’d be here after me. - -BERTHA. -Thanks. - -BRIGID. -[_Going._] Would you like the tea and the toast now, ma’am? - -BERTHA. -Not now, Brigid. After perhaps. When Mr Hand comes show him in at once. - -BRIGID. -Yes, ma’am. - -[_She goes out on the left._] - -BEATRICE. -I will go now, Mrs Rowan, before he comes. - -BERTHA. -[_Somewhat timidly._] Then we are friends? - -BEATRICE. -[_In the same tone._] We will try to be. [_Turning._] Do you allow me -to go out through the garden? I don’t want to meet my cousin now. - -BERTHA. -Of course. [_She takes her hand._] It is so strange that we spoke like -this now. But I always wanted to. Did you? - -BEATRICE. -I think I did, too. - -BERTHA. -[_Smiling._] Even in Rome. When I went out for a walk with Archie I -used to think about you, what you were like, because I knew about you -from Dick. I used to look at different persons, coming out of churches -or going by in carriages, and think that perhaps they were like you. -Because Dick told me you were dark. - -BEATRICE. -[_Again nervously._] Really? - -BERTHA. -[_Pressing her hand._] Goodbye then—for the present. - -BEATRICE. -[_Disengaging her hand._] Good morning. - -BERTHA. -I will see you to the gate. - -[_She accompanies her out through the double doors. They go down -through the garden. Richard Rowan comes in from the study. He halts -near the doors, looking down the garden. Then he turns away, comes to -the little table, takes up the paper and reads. Bertha, after some -moments, appears in the doorway and stands watching him till he has -finished. He lays down the paper again and turns to go back to his -study._] - -BERTHA. -Dick! - -RICHARD. -[_Stopping._] Well? - -BERTHA. -You have not spoken to me. - -RICHARD. -I have nothing to say. Have you? - -BERTHA. -Do you not wish to know—about what happened last night? - -RICHARD. -That I will never know. - -BERTHA. -I will tell you if you ask me. - -RICHARD. -You will tell me. But I will never know. Never in this world. - -BERTHA. -[_Moving towards him._] I will tell you the truth, Dick, as I always -told you. I never lied to you. - -RICHARD. -[_Clenching his hands in the air, passionately._] Yes, yes. The truth! -But I will never know, I tell you. - -BERTHA. -Why, then, did you leave me last night? - -RICHARD. -[_Bitterly._] In your hour of need. - -BERTHA. -[_Threateningly._] You urged me to it. Not because you love me. If you -loved me or if you knew what love was you would not have left me. For -your own sake you urged me to it. - -RICHARD. -I did not make myself. I am what I am. - -BERTHA. -To have it always to throw against me. To make me humble before you, as -you always did. To be free yourself. [_Pointing towards the garden._] -With her! And that is your love! Every word you say is false. - -RICHARD. -[_Controlling himself._] It is useless to ask you to listen to me. - -BERTHA. -Listen to you! She is the person for listening. Why would you waste -your time with me? Talk to her. - -RICHARD. -[_Nods his head._] I see. You have driven her away from me now, as you -drove everyone else from my side—every friend I ever had, every human -being that ever tried to approach me. You hate her. - -BERTHA. -[_Warmly._] No such thing! I think you have made her unhappy as you -have made me and as you made your dead mother unhappy and killed her. -Womankiller! That is your name. - -RICHARD. -[_Turns to go._] _Arrivederci!_ - -BERTHA. -[_Excitedly._] She is a fine and high character. I like her. She is -everything that I am not—in birth and education. You tried to ruin her -but you could not. Because she is well able for you—what I am not. And -you know it. - -RICHARD. -[_Almost shouting._] What the devil are you talking about her for? - -BERTHA. -[_Clasping her hands._] O, how I wish I had never met you! How I curse -that day! - -RICHARD. -[_Bitterly._] I am in the way, is it? You would like to be free now. -You have only to say the word. - -BERTHA. -[_Proudly._] Whenever you like I am ready. - -RICHARD. -So that you could meet your lover—freely? - -BERTHA. -Yes. - -RICHARD. -Night after night? - -BERTHA. -[_Gazing before her and speaking with intense passion._] To meet my -lover! [_Holding out her arms before her._] My lover! Yes! My lover! - -[_She bursts suddenly into tears and sinks down on a chair, covering -her face with her hands. Richard approaches her slowly and touches her -on the shoulder._] - -RICHARD. -Bertha! [_She does not answer._] Bertha, you are free. - -BERTHA. -[_Pushes his hand aside and starts to her feet._] Don’t touch me! You -are a stranger to me. You do not understand anything in me—not one -thing in my heart or soul. A stranger! I am living with a stranger! - -[_A knock is heard at the hall door. Bertha dries her eyes quickly with -her handkerchief and settles the front of her gown. Richard listens for -a moment, looks at her keenly and, turning away, walks into his study. -Robert Hand enters from the left. He is dressed in dark brown and -carries in his hand a brown Alpine hat._] - -ROBERT. -[_Closing the door quietly behind him._] You sent for me. - -BERTHA. -[_Rises._] Yes. Are you mad to think of going away like that—without -even coming here—without saying anything? - -ROBERT. -[_Advancing towards the table on which the paper lies, glances at it._] -What I have to say I said here. - -BERTHA. -When did you write it? Last night—after I went away? - -ROBERT. -[_Gracefully._] To be quite accurate, I wrote part of it—in my -mind—before you went away. The rest—the worst part—I wrote after. -Much later. - -BERTHA. -And you could write last night! - -ROBERT. -[_Shrugs his shoulders._] I am a welltrained animal. [_He comes closer -to her._] I passed a long wandering night after... in my office, at the -vicechancellor’s house, in a nightclub, in the streets, in my room. -Your image was always before my eyes, your hand in my hand. Bertha, I -will never forget last night. [_He lays his hat on the table and takes -her hand._] Why do you not look at me? May I not touch you? - -BERTHA. -[_Points to the study._] Dick is in there. - -ROBERT. -[_Drops her hand._] In that case children be good. - -BERTHA. -Where are you going? - -ROBERT. -To foreign parts. That is, to my cousin Jack Justice, _alias_ Doggy -Justice, in Surrey. He has a nice country place there and the air is -mild. - -BERTHA. -Why are you going? - -ROBERT. -[_Looks at her in silence._] Can you not guess one reason? - -BERTHA. -On account of me? - -ROBERT. -Yes. It is not pleasant for me to remain here just now. - -BERTHA. -[_Sits down helplessly._] But this is cruel of you, Robert. Cruel to me -and to him also. - -ROBERT. -Has he asked... what happened? - -BERTHA. -[_Joining her hands in despair._] No. He refuses to ask me anything. He -says he will never know. - -ROBERT. -[_Nods gravely._] Richard is right there. He is always right. - -BERTHA. -But, Robert, you must speak to him. - -ROBERT. -What am I to say to him? - -BERTHA. -The truth! Everything! - -ROBERT. -[_Reflects._] No, Bertha. I am a man speaking to a man. I cannot tell -him everything. - -BERTHA. -He will believe that you are going away because you are afraid to face -him after last night. - -ROBERT. -[_After a pause._] Well, I am not a coward any more than he. I will see -him. - -BERTHA. -[_Rises._] I will call him. - -ROBERT. -[_Catching her hands._] Bertha! What happened last night? What is the -truth that I am to tell? [_He gazes earnestly into her eyes._] Were you -mine in that sacred night of love? Or have I dreamed it? - -BERTHA. -[_Smiles faintly._] Remember your dream of me. You dreamed that I was -yours last night. - -ROBERT. -And that is the truth—a dream? That is what I am to tell? - -BERTHA. -Yes. - -ROBERT. -[_Kisses both her hands._] Bertha! [_In a softer voice._] In all my -life only that dream is real. I forget the rest. [_He kisses her hands -again._] And now I can tell him the truth. Call him. - -[_Bertha goes to the door of Richard’s study and knocks. There is no -answer. She knocks again._] - -BERTHA. -Dick! [_There is no answer._] Mr Hand is here. He wants to speak to -you, to say goodbye. He is going away. [_There is no answer. She beats -her hand loudly on the panel of the door and calls in an alarmed -voice._] Dick! Answer me! - -[_Richard Rowan comes in from the study. He comes at once to Robert but -does not hold out his hand._] - -RICHARD. -[_Calmly._] I thank you for your kind article about me. Is it true that -you have come to say goodbye? - -ROBERT. -There is nothing to thank me for, Richard. Now and always I am your -friend. Now more than ever before. Do you believe me, Richard? - -[_Richard sits down on a chair and buries his face in his hands. Bertha -and Robert gaze at each other in silence. Then she turns away and goes -out quietly on the right. Robert goes towards Richard and stands near -him, resting his hands on the back of a chair, looking down at him. -There is a long silence. A Fishwoman is heard crying out as she passes -along the road outside._] - -THE FISHWOMAN. -Fresh Dublin bay herrings! Fresh Dublin bay herrings! Dublin bay -herrings! - -ROBERT. -[_Quietly._] I will tell you the truth, Richard. Are you listening? - -RICHARD. -[_Raises his face and leans back to listen._] Yes. - -[_Robert sits on the chair beside him. The Fishwoman is heard calling -out farther away._] - -THE FISHWOMAN. -Fresh herrings! Dublin bay herrings! - -ROBERT. -I failed, Richard. That is the truth. Do you believe me? - -RICHARD. -I am listening. - -ROBERT. -I failed. She is yours, as she was nine years ago, when you met her -first. - -RICHARD. -When we met her first, you mean. - -ROBERT. -Yes. [_He looks down for some moments._] Shall I go on? - -RICHARD. -Yes. - -ROBERT. -She went away. I was left alone—for the second time. I went to the -vicechancellor’s house and dined. I said you were ill and would come -another night. I made epigrams new and old—that one about the statues -also. I drank claret cup. I went to my office and wrote my article. -Then... - -RICHARD. -Then? - -ROBERT. -Then I went to a certain nightclub. There were men there—and also -women. At least, they looked like women. I danced with one of them. She -asked me to see her home. Shall I go on? - -RICHARD. -Yes. - -ROBERT. -I saw her home in a cab. She lives near Donnybrook. In the cab took -place what the subtle Duns Scotus calls a death of the spirit. Shall I -go on? - -RICHARD. -Yes. - -ROBERT. -She wept. She told me she was the divorced wife of a barrister. I -offered her a sovereign as she told me she was short of money. She -would not take it and wept very much. Then she drank some melissa water -from a little bottle which she had in her satchel. I saw her enter her -house. Then I walked home. In my room I found that my coat was all -stained with the melissa water. I had no luck even with my coats -yesterday: that was the second one. The idea came to me then to change -my suit and go away by the morning boat. I packed my valise and went to -bed. I am going away by the next train to my cousin, Jack Justice, in -Surrey. Perhaps for a fortnight. Perhaps longer. Are you disgusted? - -RICHARD. -Why did you not go by the boat? - -ROBERT. -I slept it out. - -RICHARD. -You intended to go without saying goodbye—without coming here? - -ROBERT. -Yes. - -RICHARD. -Why? - -ROBERT. -My story is not very nice, is it? - -RICHARD. -But you have come. - -ROBERT. -Bertha sent me a message to come. - -RICHARD. -But for that...? - -ROBERT. -But for that I should not have come. - -RICHARD. -Did it strike you that if you had gone without coming here I should -have understood it—in my own way? - -ROBERT. -Yes, it did. - -RICHARD. -What, then, do you wish me to believe? - -ROBERT. -I wish you to believe that I failed. That Bertha is yours now as she -was nine years ago, when you—when we—met her first. - -RICHARD. -Do you want to know what I did? - -ROBERT. -No. - -RICHARD. -I came home at once. - -ROBERT. -Did you hear Bertha return? - -RICHARD. -No. I wrote all the night. And thought. [_Pointing to the study._] In -there. Before dawn I went out and walked the strand from end to end. - -ROBERT. -[_Shaking his head._] Suffering. Torturing yourself. - -RICHARD. -Hearing voices about me. The voices of those who say they love me. - -ROBERT. -[_Points to the door on the right._] One. And mine? - -RICHARD. -Another still. - -ROBERT. -[_Smiles and touches his forehead with his right forefinger._] True. My -interesting but somewhat melancholy cousin. And what did they tell you? - -RICHARD. -They told me to despair. - -ROBERT. -A queer way of showing their love, I must say! And will you despair? - -RICHARD. -[_Rising._] No. - -[_A noise is heard at the window. Archie’s face is seen flattened -against one of the panes. He is heard calling._] - -ARCHIE. -Open the window! Open the window! - -ROBERT. -[_Looks at Richard._] Did you hear his voice, too, Richard, with the -others—out there on the strand? Your son’s voice. [_Smiling._] Listen! -How full it is of despair! - -ARCHIE. -Open the window, please, will you? - -ROBERT. -Perhaps, there, Richard, is the freedom we seek—you in one way, I in -another. In him and not in us. Perhaps... - -RICHARD. -Perhaps...? - -ROBERT. -I said _perhaps_. I would say almost surely if... - -RICHARD. -If what? - -ROBERT. -[_With a faint smile._] If he were mine. - -[_He goes to the window and opens it. Archie scrambles in._] - -ROBERT. -Like yesterday—eh? - -ARCHIE. -Good morning, Mr Hand. [_He runs to Richard and kisses him:_] _Buon -giorno, babbo_. - -RICHARD. -_Buon giorno_, Archie. - -ROBERT. -And where were you, my young gentleman? - -ARCHIE. -Out with the milkman. I drove the horse. We went to Booterstown. [_He -takes off his cap and throws it on a chair._] I am very hungry. - -ROBERT. -[_Takes his hat from the table._] Richard, goodbye. [_Offering his -hand._] To our next meeting! - -RICHARD. -[_Rises, touches his hand._] Goodbye. - -[_Bertha appears at the door on the right._] - -ROBERT. -[_Catches sight of her: to Archie._] Get your cap. Come on with me. -I’ll buy you a cake and I’ll tell you a story. - -ARCHIE. -[_To Bertha._] May I, mamma? - -BERTHA. -Yes. - -ARCHIE. -[_Takes his cap._] I am ready. - -ROBERT. -[_To Richard and Bertha._] Goodbye to pappa and mamma. But not a big -goodbye. - -ARCHIE. -Will you tell me a fairy story, Mr Hand? - -ROBERT. -A fairy story? Why not? I am your fairy godfather. - -[_They go out together through the double doors and down the garden. -When they have gone Bertha goes to Richard and puts her arm round his -waist._] - -BERTHA. -Dick, dear, do you believe now that I have been true to you? Last night -and always? - -RICHARD. -[_Sadly._] Do not ask me, Bertha. - -BERTHA. -[_Pressing him more closely._] I have been, dear. Surely you believe -me. I gave you myself—all. I gave up all for you. You took me—and you -left me. - -RICHARD. -When did I leave you? - -BERTHA. -You left me: and I waited for you to come back to me. Dick, dear, come -here to me. Sit down. How tired you must be! - -[_She draws him towards the lounge. He sits down, almost reclining, -resting on his arm. She sits on the mat before the lounge, holding his -hand._] - -BERTHA. -Yes, dear. I waited for you. Heavens, what I suffered then—when we -lived in Rome! Do you remember the terrace of our house? - -RICHARD. -Yes. - -BERTHA. -I used to sit there, waiting, with the poor child with his toys, -waiting till he got sleepy. I could see all the roofs of the city and -the river, the _Tevere_. What is its name? - -RICHARD. -The Tiber. - -BERTHA. -[_Caressing her cheek with his hand._] It was lovely, Dick, only I was -so sad. I was alone, Dick, forgotten by you and by all. I felt my life -was ended. - -RICHARD. -It had not begun. - -BERTHA. -And I used to look at the sky, so beautiful, without a cloud and the -city you said was so old: and then I used to think of Ireland and about -ourselves. - -RICHARD. -Ourselves? - -BERTHA. -Yes. Ourselves. Not a day passes that I do not see ourselves, you and -me, as we were when we met first. Every day of my life I see that. Was -I not true to you all that time? - -RICHARD. -[_Sighs deeply._] Yes, Bertha. You were my bride in exile. - -BERTHA. -Wherever you go, I will follow you. If you wish to go away now I will -go with you. - -RICHARD. -I will remain. It is too soon yet to despair. - -BERTHA. -[_Again caressing his hand._] It is not true that I want to drive -everyone from you. I wanted to bring you close together—you and him. -Speak to me. Speak out all your heart to me. What you feel and what you -suffer. - -RICHARD. -I am wounded, Bertha. - -BERTHA. -How wounded, dear? Explain to me what you mean. I will try to -understand everything you say. In what way are you wounded? - -RICHARD. -[_Releases his hand and, taking her head between his hands, bends it -back and gazes long into her eyes._] I have a deep, deep wound of doubt -in my soul. - -BERTHA. -[_Motionless._] Doubt of me? - -RICHARD. -Yes. - -BERTHA. -I am yours. [_In a whisper._] If I died this moment, I am yours. - -RICHARD. -[_Still gazing at her and speaking as if to an absent person._] I have -wounded my soul for you—a deep wound of doubt which can never be -healed. I can never know, never in this world. I do not wish to know or -to believe. I do not care. It is not in the darkness of belief that I -desire you. But in restless living wounding doubt. To hold you by no -bonds, even of love, to be united with you in body and soul in utter -nakedness—for this I longed. And now I am tired for a while, Bertha. My -wound tires me. - -[_He stretches himself out wearily along the lounge. Bertha holds his -hand still, speaking very softly._] - -BERTHA. -Forget me, Dick. Forget me and love me again as you did the first time. -I want my lover. To meet him, to go to him, to give myself to him. You, -Dick. O, my strange wild lover, come back to me again! - -[_She closes her eyes._] - - - - -*** END OF THE PROJECT GUTENBERG EBOOK EXILES *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks may be modified and printed and given away--you may -do practically ANYTHING in the United States with eBooks not protected -by U.S. copyright law. Redistribution is subject to the trademark -license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg™ mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase “Project -Gutenberg”), you agree to comply with all the terms of the Full -Project Gutenberg™ License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg™ electronic works - -1.A. By reading or using any part of this Project Gutenberg™ -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg™ electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg™ electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. “Project Gutenberg” is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg™ electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg™ electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg™ -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation (“the -Foundation” or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg™ electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg™ mission of promoting -free access to electronic works by freely sharing Project Gutenberg™ -works in compliance with the terms of this agreement for keeping the -Project Gutenberg™ name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg™ License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg™ work. The Foundation makes no -representations concerning the copyright status of any work in any -country other than the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg™ License must appear -prominently whenever any copy of a Project Gutenberg™ work (any work -on which the phrase “Project Gutenberg” appears, or with which the -phrase “Project Gutenberg” is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - This eBook is for the use of anyone anywhere in the United States and - most other parts of the world at no cost and with almost no - restrictions whatsoever. You may copy it, give it away or re-use it - under the terms of the Project Gutenberg License included with this - eBook or online at www.gutenberg.org. If you are not located in the - United States, you will have to check the laws of the country where - you are located before using this eBook. - -1.E.2. If an individual Project Gutenberg™ electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase “Project -Gutenberg” associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg™ -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg™ electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg™ License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg™. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg™ License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg™ work in a format -other than “Plain Vanilla ASCII” or other format used in the official -version posted on the official Project Gutenberg™ website -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original “Plain -Vanilla ASCII” or other form. Any alternate format must include the -full Project Gutenberg™ License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg™ works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg™ electronic works -provided that: - -• You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg™ works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg™ trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, “Information about donations to the Project Gutenberg - Literary Archive Foundation.” - -• You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg™ - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg™ - works. - -• You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -• You comply with all other terms of this agreement for free - distribution of Project Gutenberg™ works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg™ electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from the Project Gutenberg Literary Archive Foundation, the manager of -the Project Gutenberg™ trademark. Contact the Foundation as set -forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg™ collection. Despite these efforts, Project Gutenberg™ -electronic works, and the medium on which they may be stored, may -contain “Defects,” such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right -of Replacement or Refund” described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg™ trademark, and any other party distributing a Project -Gutenberg™ electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg™ electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg™ -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg™ work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg™ work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg™ - -Project Gutenberg™ is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg™'s -goals and ensuring that the Project Gutenberg™ collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg™ and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org. - -Section 3. Information about the Project Gutenberg Literary -Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non-profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation’s EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation’s business office is located at 809 North 1500 West, -Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up -to date contact information can be found at the Foundation’s website -and official page at www.gutenberg.org/contact. - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg™ depends upon and cannot survive without -widespread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine-readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate. - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate. - -Section 5. General Information About Project Gutenberg™ electronic works - -Professor Michael S. Hart was the originator of the Project -Gutenberg™ concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg™ eBooks with only a loose network of -volunteer support. - -Project Gutenberg™ eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our website which has the main PG search -facility: www.gutenberg.org. - -This website includes information about Project Gutenberg™, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - - diff --git a/old/55945-h/55945-h.htm b/old/55945-h/55945-h.htm deleted file mode 100644 index c98929a..0000000 --- a/old/55945-h/55945-h.htm +++ /dev/null @@ -1,9188 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" -"http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> -<head> -<meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> -<meta http-equiv="Content-Style-Type" content="text/css" /> -<title>The Project Gutenberg eBook of Exiles by James Joyce</title> - -<style type="text/css" xml:space="preserve"> - -body { margin-left: 15%; - margin-right: 15%; - text-align: justify; } - -h1, h2, h3, h4, h5 {text-align: center; font-style: normal; font-weight: -normal; line-height: 1.5; margin-top: .5em; margin-bottom: .5em;} - -h1 {font-size: 300%; - margin-top: 0.6em; - margin-bottom: 0.6em; - letter-spacing: 0.12em; - word-spacing: 0.2em; - text-indent: 0em;} -h2 {font-size: 150%; margin-top: 2em; margin-bottom: 1em;} -h3 {font-size: 130%; margin-top: 1em;} -h4 {font-size: 120%;} -h5 {font-size: 110%;} - -.no-break {page-break-before: avoid;} /* for epubs */ - -div.chapter {page-break-before: always; margin-top: 4em;} - -hr {width: 80%; margin-top: 2em; margin-bottom: 2em;} - -p {text-indent: 1em; - margin-top: 0.25em; - margin-bottom: 0.25em; } - -p.drama {text-indent: 0%; - margin-top: 0.5em; - margin-bottom: 0em; } - -span.charname {font-variant: small-caps; font-style: normal;} - -a:link {color:blue; text-decoration:none} -a:visited {color:blue; text-decoration:none} -a:hover {color:red} - -</style> -</head> -<body> - -<div style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Exiles, by James Joyce</div> -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Exiles</div> -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: James Joyce</div> -<div style='display:block; margin:1em 0'>Release Date: November 12, 2017 [eBook #55945]<br /> -[Most recently updated: October 18, 2023]</div> -<div style='display:block; margin:1em 0'>Language: English</div> -<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Menno de Leeuw</div> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK EXILES ***</div> - -<h1>Exiles</h1> - -<h3>A Play in Three Acts</h3> - -<h2 class="no-break">By James Joyce</h2> - -<hr /> - -<div class="chapter"> - -<h2><b>Contents</b></h2> - -<table summary="" style=""> -<tr> -<td> <a href="#actI">First Act</a></td> -</tr> - -<tr> -<td> <a href="#actII">Second Act</a></td> -</tr> - -<tr> -<td> <a href="#actIII">Third Act</a></td> -</tr> - -</table> - -</div><!--end chapter--> - -<div class="chapter"> - -<h3><b>Characters</b></h3> - -<p class="drama"> -RICHARD ROWAN, a writer.<br/> -BERTHA.<br/> -ARCHIE, their son, aged eight years.<br/> -ROBERT HAND, journalist.<br/> -BEATRICE JUSTICE, his cousin, music teacher.<br/> -BRIGID, an old servant of the Rowan family.<br/> -A FISHWOMAN.<br/> -</p> - -<p class="drama"> -At Merrion and Ranelagh, suburbs of Dublin.<br/> -Summer of the year 1912. -</p> - -</div><!--end chapter--> - -<div class="chapter"> - -<h2><a name="actI"></a><b>First Act</b></h2> - -<p class="drama"> -<i>The drawingroom in Richard Rowan’s house at Merrion, a suburb of Dublin. On -the right, forward, a fireplace, before which stands a low screen. Over the -mantelpiece a giltframed glass. Further back in the right wall, folding doors -leading to the parlour and kitchen. In the wall at the back to the right a -small door leading to a study. Left of this a sideboard. On the wall above the -sideboard a framed crayon drawing of a young man. More to the left double doors -with glass panels leading out to the garden. In the wall at the left a window -looking out on the road. Forward in the same wall a door leading to the hall -and the upper part of the house. Between the window and door a lady’s davenport -stands against the wall. Near it a wicker chair. In the centre of the room a -round table. Chairs, upholstered in faded green plush, stand round the table. -To the right, forward, a smaller table with a smoking service on it. Near it an -easychair and a lounge. Cocoanut mats lie before the fireplace, beside the -lounge and before the doors. The floor is of stained planking. The double doors -at the back and the folding doors at the right have lace curtains, which are -drawn halfway. The lower sash of the window is lifted and the window is hung -with heavy green plush curtains. The blind is pulled down to the edge of the -lifted lower sash. It is a warm afternoon in June and the room is filled with -soft sunlight which is waning.</i> -</p> - -<p class="drama"> -[<span class="charname">Brigid</span> <i>and</i> <span class="charname">Beatrice -Justice</span> <i>come in by the door on the left.</i> -<span class="charname">Brigid</span> <i>is an elderly woman, lowsized, with -irongrey hair.</i> <span class="charname">Beatrice Justice</span> <i>is a -slender dark young woman of 27 years. She wears a wellmade navyblue costume and -an elegant simply trimmed black straw hat, and carries a small portfolioshaped -handbag.</i>] -</p> - -<p class="drama"> -BRIGID.<br/> -The mistress and Master Archie is at the bath. They never expected you. Did you -send word you were back, Miss Justice? -</p> - -<p class="drama"> -BEATRICE.<br/> -No. I arrived just now. -</p> - -<p class="drama"> -BRIGID.<br/> -[<i>Points to the easychair.</i>] Sit down and I’ll tell the master you are -here. Were you long in the train? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Sitting down.</i>] Since morning. -</p> - -<p class="drama"> -BRIGID.<br/> -Master Archie got your postcard with the views of Youghal. You’re tired out, -I’m sure. -</p> - -<p class="drama"> -BEATRICE.<br/> -O, no. [<i>She coughs rather nervously.</i>] Did he practise the piano while I -was away? -</p> - -<p class="drama"> -BRIGID.<br/> -[<i>Laughs heartily.</i>] Practice, how are you! Is it Master Archie? He is mad -after the milkman’s horse now. Had you nice weather down there, Miss Justice? -</p> - -<p class="drama"> -BEATRICE.<br/> -Rather wet, I think. -</p> - -<p class="drama"> -BRIGID.<br/> -[<i>Sympathetically.</i>] Look at that now. And there is rain overhead too. -[<i>Moving towards the study.</i>] I’ll tell him you are here. -</p> - -<p class="drama"> -BEATRICE.<br/> -Is Mr Rowan in? -</p> - -<p class="drama"> -BRIGID.<br/> -[<i>Points.</i>] He is in his study. He is wearing himself out about something -he is writing. Up half the night he does be. [<i>Going.</i>] I’ll call him. -</p> - -<p class="drama"> -BEATRICE.<br/> -Don’t disturb him, Brigid. I can wait here till they come back if they are not -long. -</p> - -<p class="drama"> -BRIGID.<br/> -And I saw something in the letterbox when I was letting you in. [<i>She crosses -to the study door, opens it slightly and calls.</i>] Master Richard, Miss -Justice is here for Master Archie’s lesson. -</p> - -<p class="drama"> -[<span class="charname">Richard Rowan</span> <i>comes in from the study and -advances towards</i> <span class="charname">Beatrice</span>, <i>holding out his -hand. He is a tall athletic young man of a rather lazy carriage. He has light -brown hair and a moustache and wears glasses. He is dressed in loose lightgrey -tweed.</i>] -</p> - -<p class="drama"> -RICHARD.<br/> -Welcome. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Rises and shakes hands, blushing slightly.</i>] Good afternoon, Mr Rowan. I -did not want Brigid to disturb you. -</p> - -<p class="drama"> -RICHARD.<br/> -Disturb me? My goodness! -</p> - -<p class="drama"> -BRIGID.<br/> -There is something in the letterbox, sir. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Takes a small bunch of keys from his pocket and hands them to her.</i>] -Here. -</p> - -<p class="drama"> -[<span class="charname">Brigid</span> <i>goes out by the door at the left and is -heard opening and closing the box. A short pause. She enters with two -newspapers in her hands.</i>] -</p> - -<p class="drama"> -RICHARD.<br/> -Letters? -</p> - -<p class="drama"> -BRIGID.<br/> -No, sir. Only them Italian newspapers. -</p> - -<p class="drama"> -RICHARD.<br/> -Leave them on my desk, will you? -</p> - -<p class="drama"> -[<span class="charname">Brigid</span> <i>hands him back the keys, leaves the -newspapers in the study, comes out again and goes out by the folding doors on -the right.</i>] -</p> - -<p class="drama"> -RICHARD.<br/> -Please, sit down. Bertha will be back in a moment. -</p> - -<p class="drama"> -[<span class="charname">Beatrice</span> <i>sits down again in the easychair.</i> -<span class="charname">Richard</span> <i>sits beside the table.</i>] -</p> - -<p class="drama"> -RICHARD.<br/> -I had begun to think you would never come back. It is twelve days since you -were here. -</p> - -<p class="drama"> -BEATRICE.<br/> -I thought of that too. But I have come. -</p> - -<p class="drama"> -RICHARD.<br/> -Have you thought over what I told you when you were here last? -</p> - -<p class="drama"> -BEATRICE.<br/> -Very much. -</p> - -<p class="drama"> -RICHARD.<br/> -You must have known it before. Did you? [<i>She does not answer.</i>] Do you -blame me? -</p> - -<p class="drama"> -BEATRICE.<br/> -No. -</p> - -<p class="drama"> -RICHARD.<br/> -Do you think I have acted towards you—badly? No? Or towards anyone? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Looks at him with a sad puzzled expression.</i>] I have asked myself that -question. -</p> - -<p class="drama"> -RICHARD.<br/> -And the answer? -</p> - -<p class="drama"> -BEATRICE.<br/> -I could not answer it. -</p> - -<p class="drama"> -RICHARD.<br/> -If I were a painter and told you I had a book of sketches of you you would not -think it so strange, would you? -</p> - -<p class="drama"> -BEATRICE.<br/> -It is not quite the same case, is it? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Smiles slightly.</i>] Not quite. I told you also that I would not show you -what I had written unless you asked to see it. Well? -</p> - -<p class="drama"> -BEATRICE.<br/> -I will not ask you. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Leans forward, resting his elbows on his knees, his hands joined.</i>] -Would you like to see it? -</p> - -<p class="drama"> -BEATRICE.<br/> -Very much. -</p> - -<p class="drama"> -RICHARD.<br/> -Because it is about yourself? -</p> - -<p class="drama"> -BEATRICE.<br/> -Yes. But not only that. -</p> - -<p class="drama"> -RICHARD.<br/> -Because it is written by me? Yes? Even if what you would find there is -sometimes cruel? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Shyly.</i>] That is part of your mind, too. -</p> - -<p class="drama"> -RICHARD.<br/> -Then it is my mind that attracts you? Is that it? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Hesitating, glances at him for an instant.</i>] Why do you think I come -here? -</p> - -<p class="drama"> -RICHARD.<br/> -Why? Many reasons. To give Archie lessons. We have known one another so many -years, from childhood, Robert, you and I—haven’t we? You have always been -interested in me, before I went away and while I was away. Then our letters to -each other about my book. Now it is published. I am here again. Perhaps you -feel that some new thing is gathering in my brain; perhaps you feel that you -should know it. Is that the reason? -</p> - -<p class="drama"> -BEATRICE.<br/> -No. -</p> - -<p class="drama"> -RICHARD.<br/> -Why, then? -</p> - -<p class="drama"> -BEATRICE.<br/> -Otherwise I could not see you. -</p> - -<p class="drama"> -[<i>She looks at him for a moment and then turns aside quickly.</i>] -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>After a pause repeats uncertainly.</i>] Otherwise you could not see me? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Suddenly confused.</i>] I had better go. They are not coming back. -[<i>Rising.</i>] Mr Rowan, I must go. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Extending his arms.</i>] But you are running away. Remain. Tell me what -your words mean. Are you afraid of me? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Sinks back again.</i>] Afraid? No. -</p> - -<p class="drama"> -RICHARD.<br/> -Have you confidence in me? Do you feel that you know me? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Again shyly.</i>] It is hard to know anyone but oneself. -</p> - -<p class="drama"> -RICHARD.<br/> -Hard to know me? I sent you from Rome the chapters of my book as I wrote them; -and letters for nine long years. Well, eight years. -</p> - -<p class="drama"> -BEATRICE.<br/> -Yes, it was nearly a year before your first letter came. -</p> - -<p class="drama"> -RICHARD.<br/> -It was answered at once by you. And from that on you have watched me in my -struggle. [<i>Joins his hands earnestly.</i>] Tell me, Miss Justice, did you -feel that what you read was written for your eyes? Or that you inspired me? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Shakes her head.</i>] I need not answer that question. -</p> - -<p class="drama"> -RICHARD.<br/> -What then? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Is silent for a moment.</i>] I cannot say it. You yourself must ask me, Mr -Rowan. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>With some vehemence.</i>] Then that I expressed in those chapters and -letters, and in my character and life as well, something in your soul which you -could not—pride or scorn? -</p> - -<p class="drama"> -BEATRICE.<br/> -Could not? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Leans towards her.</i>] Could not because you dared not. Is that why? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Bends her head.</i>] Yes. -</p> - -<p class="drama"> -RICHARD.<br/> -On account of others or for want of courage—which? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Softly.</i>] Courage. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Slowly.</i>] And so you have followed me with pride and scorn also in your -heart? -</p> - -<p class="drama"> -BEATRICE.<br/> -And loneliness. -</p> - -<p class="drama"> -[<i>She leans her head on her hand, averting her face. -<span class="charname">Richard</span> rises and walks slowly to the window on -the left. He looks out for some moments and then returns towards her, crosses -to the lounge and sits down near her.</i>] -</p> - -<p class="drama"> -RICHARD.<br/> -Do you love him still? -</p> - -<p class="drama"> -BEATRICE.<br/> -I do not even know. -</p> - -<p class="drama"> -RICHARD.<br/> -It was that that made me so reserved with you—then—even though I felt your -interest in me, even though I felt that I too was something in your life. -</p> - -<p class="drama"> -BEATRICE.<br/> -You were. -</p> - -<p class="drama"> -RICHARD.<br/> -Yet that separated me from you. I was a third person, I felt. Your names were -always spoken together, Robert and Beatrice, as long as I can remember. It -seemed to me, to everyone... -</p> - -<p class="drama"> -BEATRICE.<br/> -We are first cousins. It is not strange that we were often together. -</p> - -<p class="drama"> -RICHARD.<br/> -He told me of your secret engagement with him. He had no secrets from me; I -suppose you know that. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Uneasily.</i>] What happened—between us—is so long ago. I was a child. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Smiles maliciously.</i>] A child? Are you sure? It was in the garden of his -mother’s house. No? [<i>He points towards the garden.</i>] Over there. You -plighted your troth, as they say, with a kiss. And you gave him your garter. Is -it allowed to mention that? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>With some reserve.</i>] If you think it worthy of mention. -</p> - -<p class="drama"> -RICHARD.<br/> -I think you have not forgotten it. [<i>Clasping his hands quietly.</i>] I do -not understand it. I thought, too, that after I had gone... Did my going make -you suffer? -</p> - -<p class="drama"> -BEATRICE.<br/> -I always knew you would go some day. I did not suffer; only I was changed. -</p> - -<p class="drama"> -RICHARD.<br/> -Towards him? -</p> - -<p class="drama"> -BEATRICE.<br/> -Everything was changed. His life, his mind, even, seemed to change after that. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Musing.</i>] Yes. I saw that you had changed when I received your first -letter after a year; after your illness, too. You even said so in your letter. -</p> - -<p class="drama"> -BEATRICE.<br/> -It brought me near to death. It made me see things differently. -</p> - -<p class="drama"> -RICHARD.<br/> -And so a coldness began between you, little by little. Is that it? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Half closing her eyes.</i>] No. Not at once. I saw in him a pale reflection -of you: then that too faded. Of what good is it to talk now? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>With a repressed energy.</i>] But what is this that seems to hang over you? -It cannot be so tragic. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Calmly.</i>] O, not in the least tragic. I shall become gradually better, -they tell me, as I grow older. As I did not die then they tell me I shall -probably live. I am given life and health again—when I cannot use them. -[<i>Calmly and bitterly.</i>] I am convalescent. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Gently.</i>] Does nothing then in life give you peace? Surely it exists for -you somewhere. -</p> - -<p class="drama"> -BEATRICE.<br/> -If there were convents in our religion perhaps there. At least, I think so at -times. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Shakes his head.</i>] No, Miss Justice, not even there. You could not give -yourself freely and wholly. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Looking at him.</i>] I would try. -</p> - -<p class="drama"> -RICHARD.<br/> -You would try, yes. You were drawn to him as your mind was drawn towards mine. -You held back from him. From me, too, in a different way. You cannot give -yourself freely and wholly. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Joins her hands softly.</i>] It is a terribly hard thing to do, Mr Rowan—to -give oneself freely and wholly—and be happy. -</p> - -<p class="drama"> -RICHARD.<br/> -But do you feel that happiness is the best, the highest that we can know? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>With fervour.</i>] I wish I could feel it. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Leans back, his hands locked together behind his head.</i>] O, if you knew -how I am suffering at this moment! For your case, too. But suffering most of -all for my own. [<i>With bitter force.</i>] And how I pray that I may be -granted again my dead mother’s hardness of heart! For some help, within me or -without, I must find. And find it I will. -</p> - -<p class="drama"> -[<i><span class="charname">Beatrice</span> rises, looks at him intently, and -walks away toward the garden door. She turns with indecision, looks again at -him and, coming back, leans over the easychair.</i>] -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Quietly.</i>] Did she send for you before she died, Mr Rowan? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Lost in thought.</i>] Who? -</p> - -<p class="drama"> -BEATRICE.<br/> -Your mother. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Recovering himself, looks keenly at her for a moment.</i>] So that, too, -was said of me here by my friends—that she sent for me before she died and that -I did not go? -</p> - -<p class="drama"> -BEATRICE.<br/> -Yes. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Coldly.</i>] She did not. She died alone, not having forgiven me, and -fortified by the rites of holy church. -</p> - -<p class="drama"> -BEATRICE.<br/> -Mr Rowan, why did you speak to me in such a way? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Rises and walks nervously to and fro.</i>] And what I suffer at this moment -you will say is my punishment. -</p> - -<p class="drama"> -BEATRICE.<br/> -Did she write to you? I mean before... -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Halting.</i>] Yes. A letter of warning, bidding me break with the past, and -remember her last words to me. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Softly.</i>] And does death not move you, Mr Rowan? It is an end. -Everything else is so uncertain. -</p> - -<p class="drama"> -RICHARD.<br/> -While she lived she turned aside from me and from mine. That is certain. -</p> - -<p class="drama"> -BEATRICE.<br/> -From you and from...? -</p> - -<p class="drama"> -RICHARD.<br/> -From Bertha and from me and from our child. And so I waited for the end as you -say; and it came. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Covers her face with her hands.</i>] O, no. Surely no. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Fiercely.</i>] How can my words hurt her poor body that rots in the grave? -Do you think I do not pity her cold blighted love for me? I fought against her -spirit while she lived to the bitter end. [<i>He presses his hand to his -forehead.</i>] It fights against me still—in here. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>As before.</i>] O, do not speak like that. -</p> - -<p class="drama"> -RICHARD.<br/> -She drove me away. On account of her I lived years in exile and poverty too, or -near it. I never accepted the doles she sent me through the bank. I waited, -too, not for her death but for some understanding of me, her own son, her own -flesh and blood; that never came. -</p> - -<p class="drama"> -BEATRICE.<br/> -Not even after Archie...? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Rudely.</i>] My son, you think? A child of sin and shame! Are you serious? -[<i>She raises her face and looks at him.</i>] There were tongues here ready to -tell her all, to embitter her withering mind still more against me and Bertha -and our godless nameless child. [<i>Holding out his hands to her.</i>] Can you -not hear her mocking me while I speak? You must know the voice, surely, the -voice that called you <i>the black protestant</i>, the pervert’s daughter. -[<i>With sudden selfcontrol.</i>] In any case a remarkable woman. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Weakly.</i>] At least you are free now. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Nods.</i>] Yes, she could not alter the terms of my father’s will nor live -for ever. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>With joined hands.</i>] They are both gone now, Mr Rowan. They both loved -you, believe me. Their last thoughts were of you. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Approaching, touches her lightly on the shoulder, and points to the crayon -drawing on the wall.</i>] Do you see him there, smiling and handsome? His last -thoughts! I remember the night he died. [<i>He pauses for an instant and then -goes on calmly.</i>] I was a boy of fourteen. He called me to his bedside. He -knew I wanted to go to the theatre to hear <i>Carmen</i>. He told my mother to -give me a shilling. I kissed him and went. When I came home he was dead. Those -were his last thoughts as far as I know. -</p> - -<p class="drama"> -BEATRICE.<br/> -The hardness of heart you prayed for... [<i>She breaks off.</i>] -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Unheeding.</i>] That is my last memory of him. Is there not something sweet -and noble in it? -</p> - -<p class="drama"> -BEATRICE.<br/> -Mr Rowan, something is on your mind to make you speak like this. Something has -changed you since you came back three months ago. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Gazing again at the drawing, calmly, almost gaily.</i>] He will help me, -perhaps, my smiling handsome father. -</p> - -<p class="drama"> -[<i>A knock is heard at the hall door on the left.</i>] -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Suddenly.</i>] No, no. Not the smiler, Miss Justice. The old mother. It is -her spirit I need. I am going. -</p> - -<p class="drama"> -BEATRICE.<br/> -Someone knocked. They have come back. -</p> - -<p class="drama"> -RICHARD.<br/> -No, Bertha has a key. It is he. At least, I am going, whoever it is. -</p> - -<p class="drama"> -[<i>He goes out quickly on the left and comes back at once with his straw hat -in his hand.</i>] -</p> - -<p class="drama"> -BEATRICE.<br/> -He? Who? -</p> - -<p class="drama"> -RICHARD.<br/> -O, probably Robert. I am going out through the garden. I cannot see him now. -Say I have gone to the post. Goodbye. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>With growing alarm.</i>] It is Robert you do not wish to see? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Quietly.</i>] For the moment, yes. This talk has upset me. Ask him to wait. -</p> - -<p class="drama"> -BEATRICE.<br/> -You will come back? -</p> - -<p class="drama"> -RICHARD.<br/> -Please God. -</p> - -<p class="drama"> -[<i>He goes out quickly through the garden. <span -class="charname">Beatrice</span> makes as if to follow him and then stops after -a few paces. <span class="charname">Brigid</span> enters by the folding doors on -the right and goes out on the left. The hall door is heard opening. A few -seconds after <span class="charname">Brigid</span> enters with -<span class="charname">Robert Hand. Robert Hand</span> is a middlesized, rather -stout man between thirty and forty. He is cleanshaven, with mobile features. -His hair and eyes are dark and his complexion sallow. His gait and speech are -rather slow. He wears a dark blue morning suit and carries in his hand a large -bunch of red roses wrapped in tissue paper.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Coming towards her with outstretched hand which she takes.</i>] My dearest -coz! Brigid told me you were here. I had no notion. Did you send mother a -telegram? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Gazing at the roses.</i>] No. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Following her gaze.</i>] You are admiring my roses. I brought them to the -mistress of the house. [<i>Critically.</i>] I am afraid they are not nice. -</p> - -<p class="drama"> -BRIGID.<br/> -O, they are lovely, sir. The mistress will be delighted with them. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Lays the roses carelessly on a chair out of sight.</i>] Is nobody in? -</p> - -<p class="drama"> -BRIGID.<br/> -Yes, sir. Sit down, sir. They’ll be here now any moment. The master was here. -</p> - -<p class="drama"> -[<i>She looks about her and with a half curtsey goes out on the right.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>After a short silence.</i>] How are you, Beatty? And how are all down in -Youghal? As dull as ever? -</p> - -<p class="drama"> -BEATRICE.<br/> -They were well when I left. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Politely.</i>] O, but I’m sorry I did not know you were coming. I would -have met you at the train. Why did you do it? You have some queer ways about -you, Beatty, haven’t you? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>In the same tone.</i>] Thank you, Robert. I am quite used to getting about -alone. -</p> - -<p class="drama"> -ROBERT.<br/> -Yes, but I mean to say... O, well, you have arrived in your own characteristic -way. -</p> - -<p class="drama"> -[<i>A noise is heard at the window and a boy’s voice is heard calling, ‘Mr -Hand!’ <span class="charname">Robert</span> turns.</i>] -</p> - -<p class="drama"> -By Jove, Archie, too, is arriving in a characteristic way! -</p> - -<p class="drama"> -[<i><span class="charname">Archie</span> scrambles into the room through the -open window on the left and then rises to his feet, flushed and panting. -<span class="charname">Archie</span> is a boy of eight years, dressed in white -breeches, jersey and cap. He wears spectacles, has a lively manner and speaks -with the slight trace of a foreign accent.</i>] -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Going towards him.</i>] Goodness gracious, Archie! What is the matter? -</p> - -<p class="drama"> -ARCHIE.<br/> -[<i>Rising, out of breath.</i>] Eh! I ran all the avenue. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Smiles and holds out his hand.</i>] Good evening, Archie. Why did you run? -</p> - -<p class="drama"> -ARCHIE.<br/> -[<i>Shakes hands.</i>] Good evening. We saw you on the top of the tram, and I -shouted <i>Mr Hand!</i> But you did not see me. But we saw you, mamma and I. -She will be here in a minute. I ran. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Holding out her hand.</i>] And poor me! -</p> - -<p class="drama"> -ARCHIE.<br/> -[<i>Shakes hands somewhat shyly.</i>] Good evening, Miss Justice. -</p> - -<p class="drama"> -BEATRICE.<br/> -Were you disappointed that I did not come last Friday for the lesson? -</p> - -<p class="drama"> -ARCHIE.<br/> -[<i>Glancing at her, smiles.</i>] No. -</p> - -<p class="drama"> -BEATRICE.<br/> -Glad? -</p> - -<p class="drama"> -ARCHIE.<br/> -[<i>Suddenly.</i>] But today it is too late. -</p> - -<p class="drama"> -BEATRICE.<br/> -A very short lesson? -</p> - -<p class="drama"> -ARCHIE.<br/> -[<i>Pleased.</i>] Yes. -</p> - -<p class="drama"> -BEATRICE.<br/> -But now you must study, Archie. -</p> - -<p class="drama"> -ROBERT.<br/> -Were you at the bath? -</p> - -<p class="drama"> -ARCHIE.<br/> -Yes. -</p> - -<p class="drama"> -ROBERT.<br/> -Are you a good swimmer now? -</p> - -<p class="drama"> -ARCHIE.<br/> -[<i>Leans against the davenport.</i>] No. Mamma won’t let me into the deep -place. Can you swim well, Mr Hand? -</p> - -<p class="drama"> -ROBERT.<br/> -Splendidly. Like a stone. -</p> - -<p class="drama"> -ARCHIE.<br/> -[<i>Laughs.</i>] Like a stone! [<i>Pointing down.</i>] Down that way? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Pointing.</i>] Yes, down; straight down. How do you say that over in Italy? -</p> - -<p class="drama"> -ARCHIE.<br/> -That? <i>Giù.</i> [<i>Pointing down and up.</i>] That is <i>giù</i> and this -is <i>sù</i>. Do you want to speak to my pappie? -</p> - -<p class="drama"> -ROBERT.<br/> -Yes. I came to see him. -</p> - -<p class="drama"> -ARCHIE.<br/> -[<i>Going towards the study.</i>] I will tell him. He is in there, writing. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Calmly, looking at <span class="charname">Robert</span>.</i>] No; he is out. -He is gone to the post with some letters. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Lightly.</i>] O, never mind. I will wait if he is only gone to the post. -</p> - -<p class="drama"> -ARCHIE.<br/> -But mamma is coming. [<i>He glances towards the window.</i>] Here she is! -</p> - -<p class="drama"> -[<i><span class="charname">Archie</span> runs out by the door on the left. -<span class="charname">Beatrice</span> walks slowly towards the davenport. -<span class="charname">Robert</span> remains standing. A short silence. -<span class="charname">Archie</span> and <span class="charname">Bertha</span> -come in through the door on the left. <span class="charname">Bertha</span> is a -young woman of graceful build. She has dark grey eyes, patient in expression, -and soft features. Her manner is cordial and selfpossessed. She wears a -lavender dress and carries her cream gloves knotted round the handle of her -sunshade.</i>] -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Shaking hands.</i>] Good evening, Miss Justice. We thought you were still -down in Youghal. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Shaking hands.</i>] Good evening, Mrs Rowan. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Bows.</i>] Good evening, Mr Hand. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Bowing.</i>] Good evening, <i>signora!</i> Just imagine, I didn’t know -either she was back till I found her here. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>To both.</i>] Did you not come together? -</p> - -<p class="drama"> -BEATRICE.<br/> -No. I came first. Mr Rowan was going out. He said you would be back any moment. -</p> - -<p class="drama"> -BERTHA.<br/> -I’m sorry. If you had written or sent over word by the girl this morning... -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Laughs nervously.</i>] I arrived only an hour and a half ago. I thought of -sending a telegram but it seemed too tragic. -</p> - -<p class="drama"> -BERTHA.<br/> -Ah? Only now you arrived? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Extending his arms, blandly.</i>] I retire from public and private life. -Her first cousin and a journalist, I know nothing of her movements. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Not directly to him.</i>] My movements are not very interesting. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>In the same tone.</i>] A lady’s movements are always interesting. -</p> - -<p class="drama"> -BERTHA.<br/> -But sit down, won’t you? You must be very tired. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Quickly.</i>] No, not at all. I just came for Archie’s lesson. -</p> - -<p class="drama"> -BERTHA.<br/> -I wouldn’t hear of such a thing, Miss Justice, after your long journey. -</p> - -<p class="drama"> -ARCHIE.<br/> -[<i>Suddenly to <span class="charname">Beatrice</span>.</i>] And, besides, you -didn’t bring the music. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>A little confused.</i>] That I forgot. But we have the old piece. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Pinching <span class="charname">Archie’s</span> ear.</i>] You little scamp. -You want to get off the lesson. -</p> - -<p class="drama"> -BERTHA.<br/> -O, never mind the lesson. You must sit down and have a cup of tea now. -[<i>Going towards the door on the right.</i>] I’ll tell Brigid. -</p> - -<p class="drama"> -ARCHIE.<br/> -I will, mamma. [<i>He makes a movement to go.</i>] -</p> - -<p class="drama"> -BEATRICE.<br/> -No, please Mrs Rowan. Archie! I would really prefer... -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Quietly.</i>] I suggest a compromise. Let it be a half-lesson. -</p> - -<p class="drama"> -BERTHA.<br/> -But she must be exhausted. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Quickly.</i>] Not in the least. I was thinking of the lesson in the train. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>To <span class="charname">Bertha</span>.</i>] You see what it is to have a -conscience, Mrs Rowan. -</p> - -<p class="drama"> -ARCHIE.<br/> -Of my lesson, Miss Justice? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Simply.</i>] It is ten days since I heard the sound of a piano. -</p> - -<p class="drama"> -BERTHA.<br/> -O, very well. If that is it... -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Nervously, gaily.</i>] Let us have the piano by all means. I know what is -in Beatty’s ears at this moment. [<i>To <span -class="charname">Beatrice</span>.</i>] Shall I tell? -</p> - -<p class="drama"> -BEATRICE.<br/> -If you know. -</p> - -<p class="drama"> -ROBERT.<br/> -The buzz of the harmonium in her father’s parlour. [<i>To -<span class="charname">Beatrice</span>.</i>] Confess. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Smiling.</i>] Yes. I can hear it. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Grimly.</i>] So can I. The asthmatic voice of protestantism. -</p> - -<p class="drama"> -BERTHA.<br/> -Did you not enjoy yourself down there, Miss Justice? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Intervenes.</i>] She did not, Mrs Rowan. She goes there on retreat, when -the protestant strain in her prevails—gloom, seriousness, righteousness. -</p> - -<p class="drama"> -BEATRICE.<br/> -I go to see my father. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Continuing.</i>] But she comes back here to my mother, you see. The piano -influence is from our side of the house. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Hesitating.</i>] Well, Miss Justice, if you would like to play something... -But please don’t fatigue yourself with Archie. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Suavely.</i>] Do, Beatty. That is what you want. -</p> - -<p class="drama"> -BEATRICE.<br/> -If Archie will come? -</p> - -<p class="drama"> -ARCHIE.<br/> -[<i>With a shrug.</i>] To listen. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Takes his hand.</i>] And a little lesson, too. Very short. -</p> - -<p class="drama"> -BERTHA.<br/> -Well, afterwards you must stay to tea. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>To <span class="charname">Archie</span>.</i>] Come. -</p> - -<p class="drama"> -[<i><span class="charname">Beatrice</span> and <span -class="charname">Archie</span> go out together by the door on the left. -<span class="charname">Bertha</span> goes towards the davenport, takes off her -hat and lays it with her sunshade on the desk. Then taking a key from a little -flowervase, she opens a drawer of the davenport, takes out a slip of paper and -closes the drawer again. <span class="charname">Robert</span> stands watching -her.</i>] -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Coming towards him with the paper in her hand.</i>] You put this into my -hand last night. What does it mean? -</p> - -<p class="drama"> -ROBERT.<br/> -Do you not know? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Reads.</i>] <i>There is one word which I have never dared to say to -you.</i> What is the word? -</p> - -<p class="drama"> -ROBERT.<br/> -That I have a deep liking for you. -</p> - -<p class="drama"> -[<i>A short pause. The piano is heard faintly from the upper room.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Takes the bunch of roses from the chair.</i>] I brought these for you. Will -you take them from me? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Taking them.</i>] Thank you. [<i>She lays them on the table and unfolds the -paper again.</i>] Why did you not dare to say it last night? -</p> - -<p class="drama"> -ROBERT.<br/> -I could not speak to you or follow you. There were too many people on the lawn. -I wanted you to think over it and so I put it into your hand when you were -going away. -</p> - -<p class="drama"> -BERTHA.<br/> -Now you have dared to say it. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Moves his hand slowly past his eyes.</i>] You passed. The avenue was dim -with dusky light. I could see the dark green masses of the trees. And you -passed beyond them. You were like the moon. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Laughs.</i>] Why like the moon? -</p> - -<p class="drama"> -ROBERT.<br/> -In that dress, with your slim body, walking with little even steps. I saw the -moon passing in the dusk till you passed and left my sight. -</p> - -<p class="drama"> -BERTHA.<br/> -Did you think of me last night? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Comes nearer.</i>] I think of you always—as something beautiful and -distant—the moon or some deep music. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Smiling.</i>] And last night which was I? -</p> - -<p class="drama"> -ROBERT.<br/> -I was awake half the night. I could hear your voice. I could see your face in -the dark. Your eyes... I want to speak to you. Will you listen to me? May I -speak? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Sitting down.</i>] You may. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Sitting beside her.</i>] Are you annoyed with me? -</p> - -<p class="drama"> -BERTHA.<br/> -No. -</p> - -<p class="drama"> -ROBERT.<br/> -I thought you were. You put away my poor flowers so quickly. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Takes them from the table and holds them close to her face.</i>] Is this -what you wish me to do with them? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Watching her.</i>] Your face is a flower too—but more beautiful. A wild -flower blowing in a hedge. [<i>Moving his chair closer to her.</i>] Why are you -smiling? At my words? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Laying the flowers in her lap.</i>] I am wondering if that is what you -say—to the others. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Surprised.</i>] What others? -</p> - -<p class="drama"> -BERTHA.<br/> -The other women. I hear you have so many admirers. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Involuntarily.</i>] And that is why you too...? -</p> - -<p class="drama"> -BERTHA.<br/> -But you have, haven’t you? -</p> - -<p class="drama"> -ROBERT.<br/> -Friends, yes. -</p> - -<p class="drama"> -BERTHA.<br/> -Do you speak to them in the same way? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>In an offended tone.</i>] How can you ask me such a question? What kind of -person do you think I am? Or why do you listen to me? Did you not like me to -speak to you in that way? -</p> - -<p class="drama"> -BERTHA.<br/> -What you said was very kind. [<i>She looks at him for a moment.</i>] Thank you -for saying it—and thinking it. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Leaning forward.</i>] Bertha! -</p> - -<p class="drama"> -BERTHA.<br/> -Yes? -</p> - -<p class="drama"> -ROBERT.<br/> -I have the right to call you by your name. From old times—nine years ago. We -were Bertha—and Robert—then. Can we not be so now, too? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Readily.</i>] O yes. Why should we not? -</p> - -<p class="drama"> -ROBERT.<br/> -Bertha, you knew. From the very night you landed on Kingstown pier. It all came -back to me then. And you knew it. You saw it. -</p> - -<p class="drama"> -BERTHA.<br/> -No. Not that night. -</p> - -<p class="drama"> -ROBERT.<br/> -When? -</p> - -<p class="drama"> -BERTHA.<br/> -The night we landed I felt very tired and dirty. [<i>Shaking her head.</i>] I -did not see it in you that night. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Smiling.</i>] Tell me what did you see that night—your very first -impression. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Knitting her brows.</i>] You were standing with your back to the gangway, -talking to two ladies. -</p> - -<p class="drama"> -ROBERT.<br/> -To two plain middleaged ladies, yes. -</p> - -<p class="drama"> -BERTHA.<br/> -I recognized you at once. And I saw that you had got fat. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Takes her hand.</i>] And this poor fat Robert—do you dislike him then so -much? Do you disbelieve all he says? -</p> - -<p class="drama"> -BERTHA.<br/> -I think men speak like that to all women whom they like or admire. What do you -want me to believe? -</p> - -<p class="drama"> -ROBERT.<br/> -All men, Bertha? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>With sudden sadness.</i>] I think so. -</p> - -<p class="drama"> -ROBERT.<br/> -I too? -</p> - -<p class="drama"> -BERTHA.<br/> -Yes, Robert. I think you too. -</p> - -<p class="drama"> -ROBERT.<br/> -All then—without exception? Or with one exception? [<i>In a lower tone.</i>] Or -is he too—Richard too—like us all—in that at least? Or different? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Looks into his eyes.</i>] Different. -</p> - -<p class="drama"> -ROBERT.<br/> -Are you quite sure, Bertha? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>A little confused, tries to withdraw her hand.</i>] I have answered you. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Suddenly.</i>] Bertha, may I kiss your hand? Let me. May I? -</p> - -<p class="drama"> -BERTHA.<br/> -If you wish. -</p> - -<p class="drama"> -[<i>He lifts her hand to his lips slowly. She rises suddenly and listens.</i>] -</p> - -<p class="drama"> -BERTHA.<br/> -Did you hear the garden gate? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Rising also.</i>] No. -</p> - -<p class="drama"> -[<i>A short pause. The piano can be heard faintly from the upper room.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Pleading.</i>] Do not go away. You must never go away now. Your life is -here. I came for that too today—to speak to him—to urge him to accept this -position. He must. And you must persuade him to. You have a great influence -over him. -</p> - -<p class="drama"> -BERTHA.<br/> -You want him to remain here. -</p> - -<p class="drama"> -ROBERT.<br/> -Yes. -</p> - -<p class="drama"> -BERTHA.<br/> -Why? -</p> - -<p class="drama"> -ROBERT.<br/> -For your sake because you are unhappy so far away. For his sake too because he -should think of his future. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Laughing.</i>] Do you remember what he said when you spoke to him last -night? -</p> - -<p class="drama"> -ROBERT.<br/> -About...? [<i>Reflecting.</i>] Yes. He quoted the <i>Our Father</i> about our -daily bread. He said that to take care for the future is to destroy hope and -love in the world. -</p> - -<p class="drama"> -BERTHA.<br/> -Do you not think he is strange? -</p> - -<p class="drama"> -ROBERT.<br/> -In that, yes. -</p> - -<p class="drama"> -BERTHA.<br/> -A little—mad? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Comes closer.</i>] No. He is not. Perhaps we are. Why, do you...? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Laughs.</i>] I ask you because you are intelligent. -</p> - -<p class="drama"> -ROBERT.<br/> -You must not go away. I will not let you. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Looks full at him.</i>] You? -</p> - -<p class="drama"> -ROBERT.<br/> -Those eyes must not go away. [<i>He takes her hands.</i>] May I kiss your eyes? -</p> - -<p class="drama"> -BERTHA.<br/> -Do so. -</p> - -<p class="drama"> -[<i>He kisses her eyes and then passes his hand over her hair.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -Little Bertha! -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Smiling.</i>] But I am not so little. Why do you call me little? -</p> - -<p class="drama"> -ROBERT.<br/> -Little Bertha! One embrace? [<i>He puts his arm around her.</i>] Look into my -eyes again. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Looks.</i>] I can see the little gold spots. So many you have. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Delighted.</i>] Your voice! Give me a kiss, a kiss with your mouth. -</p> - -<p class="drama"> -BERTHA.<br/> -Take it. -</p> - -<p class="drama"> -ROBERT.<br/> -I am afraid. [<i>He kisses her mouth and passes his hand many times over her -hair.</i>] At last I hold you in my arms! -</p> - -<p class="drama"> -BERTHA.<br/> -And are you satisfied? -</p> - -<p class="drama"> -ROBERT.<br/> -Let me feel your lips touch mine. -</p> - -<p class="drama"> -BERTHA.<br/> -And then you will be satisfied? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Murmurs.</i>] Your lips, Bertha! -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Closes her eyes and kisses him quickly.</i>] There. [<i>Puts her hands on -his shoulders.</i>] Why don’t you say: thanks? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Sighs.</i>] My life is finished—over. -</p> - -<p class="drama"> -BERTHA.<br/> -O, don’t speak like that now, Robert. -</p> - -<p class="drama"> -ROBERT.<br/> -Over, over. I want to end it and have done with it. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Concerned but lightly.</i>] You silly fellow! -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Presses her to him.</i>] To end it all—death. To fall from a great high -cliff, down, right down into the sea. -</p> - -<p class="drama"> -BERTHA.<br/> -Please, Robert... -</p> - -<p class="drama"> -ROBERT.<br/> -Listening to music and in the arms of the woman I love—the sea, music and -death. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Looks at him for a moment.</i>] The woman you love? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Hurriedly.</i>] I want to speak to you, Bertha—alone—not here. Will you -come? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>With downcast eyes.</i>] I too want to speak to you. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Tenderly.</i>] Yes, dear, I know. [<i>He kisses her again.</i>] I will -speak to you; tell you all; then. I will kiss you, then, long long kisses—when -you come to me—long long sweet kisses. -</p> - -<p class="drama"> -BERTHA.<br/> -Where? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>In the tone of passion.</i>] Your eyes. Your lips. All your divine body. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Repelling his embrace, confused.</i>] I meant where do you wish me to come. -</p> - -<p class="drama"> -ROBERT.<br/> -To my house. Not my mother’s over there. I will write the address for you. Will -you come? -</p> - -<p class="drama"> -BERTHA.<br/> -When? -</p> - -<p class="drama"> -ROBERT.<br/> -Tonight. Between eight and nine. Come. I will wait for you tonight. And every -night. You will? -</p> - -<p class="drama"> -[<i>He kisses her with passion, holding her head between his hands. After a few -instants she breaks from him. He sits down.</i>] -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Listening.</i>] The gate opened. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Intensely.</i>] I will wait for you. -</p> - -<p class="drama"> -[<i>He takes the slip from the table. <span class="charname">Bertha</span> -moves away from him slowly. <span class="charname">Richard</span> comes in from -the garden.</i>] -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Advancing, takes off his hat.</i>] Good afternoon. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Rises, with nervous friendliness.</i>] Good afternoon, Richard. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>At the table, taking the roses.</i>] Look what lovely roses Mr Hand brought -me. -</p> - -<p class="drama"> -ROBERT.<br/> -I am afraid they are overblown. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Suddenly.</i>] Excuse me for a moment, will you? -</p> - -<p class="drama"> -[<i>He turns and goes into his study quickly. <span -class="charname">Robert</span> takes a pencil from his pocket and writes a few -words on the slip; then hands it quickly to <span -class="charname">Bertha</span>.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Rapidly.</i>] The address. Take the tram at Lansdowne Road and ask to be -let down near there. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Takes it.</i>] I promise nothing. -</p> - -<p class="drama"> -ROBERT.<br/> -I will wait. -</p> - -<p class="drama"> -[<i><span class="charname">Richard</span> comes back from the study.</i>] -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Going.</i>] I must put these roses in water. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Handing her his hat.</i>] Yes, do. And please put my hat on the rack. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Takes it.</i>] So I will leave you to yourselves for your talk. [<i>Looking -round.</i>] Do you want anything? Cigarettes? -</p> - -<p class="drama"> -RICHARD.<br/> -Thanks. We have them here. -</p> - -<p class="drama"> -BERTHA.<br/> -Then I can go? -</p> - -<p class="drama"> -[<i>She goes out on the left with <span class="charname">Richard’s</span> hat, -which she leaves in the hall, and returns at once; she stops for a moment at -the davenport, replaces the slip in the drawer, locks it, and replaces the key, -and, taking the roses, goes towards the right. <span -class="charname">Robert</span> precedes her to open the door for her. She bows -and goes out.</i>] -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Points to the chair near the little table on the right.</i>] Your place of -honour. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Sits down.</i>] Thanks. [<i>Passing his hand over his brow.</i>] Good Lord, -how warm it is today! The heat pains me here in the eye. The glare. -</p> - -<p class="drama"> -RICHARD.<br/> -The room is rather dark, I think, with the blind down but if you wish... -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Quickly.</i>] Not at all. I know what it is—the result of night work. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Sits on the lounge.</i>] Must you? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Sighs.</i>] Eh, yes. I must see part of the paper through every night. And -then my leading articles. We are approaching a difficult moment. And not only -here. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>After a slight pause.</i>] Have you any news? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>In a different voice.</i>] Yes. I want to speak to you seriously. Today may -be an important day for you—or rather, tonight. I saw the vicechancellor this -morning. He has the highest opinion of you, Richard. He has read your book, he -said. -</p> - -<p class="drama"> -RICHARD.<br/> -Did he buy it or borrow it? -</p> - -<p class="drama"> -ROBERT.<br/> -Bought it, I hope. -</p> - -<p class="drama"> -RICHARD.<br/> -I shall smoke a cigarette. Thirtyseven copies have now been sold in Dublin. -</p> - -<p class="drama"> -[<i>He takes a cigarette from the box on the table, and lights it.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Suavely, hopelessly.</i>] Well, the matter is closed for the present. You -have your iron mask on today. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Smoking.</i>] Let me hear the rest. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Again seriously.</i>] Richard, you are too suspicious. It is a defect in -you. He assured me he has the highest possible opinion of you, as everyone has. -You are the man for the post, he says. In fact, he told me that, if your name -goes forward, he will work might and main for you with the senate and I... will -do my part, of course, in the press and privately. I regard it as a public -duty. The chair of romance literature is yours by right, as a scholar, as a -literary personality. -</p> - -<p class="drama"> -RICHARD.<br/> -The conditions? -</p> - -<p class="drama"> -ROBERT.<br/> -Conditions? You mean about the future? -</p> - -<p class="drama"> -RICHARD.<br/> -I mean about the past. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Easily.</i>] That episode in your past is forgotten. An act of impulse. We -are all impulsive. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Looks fixedly at him.</i>] You called it an act of folly, then—nine years -ago. You told me I was hanging a weight about my neck. -</p> - -<p class="drama"> -ROBERT.<br/> -I was wrong. [<i>Suavely.</i>] Here is how the matter stands, Richard. Everyone -knows that you ran away years ago with a young girl... How shall I put it?... -with a young girl not exactly your equal. [<i>Kindly.</i>] Excuse me, Richard, -that is not my opinion nor my language. I am simply using the language of -people whose opinions I don’t share. -</p> - -<p class="drama"> -RICHARD.<br/> -Writing one of your leading articles, in fact. -</p> - -<p class="drama"> -ROBERT.<br/> -Put it so. Well, it made a great sensation at the time. A mysterious -disappearance. My name was involved too, as best man, let us say, on that -famous occasion. Of course, they think I acted from a mistaken sense of -friendship. Well, all that is known. [<i>With some hesitation.</i>] But what -happened afterwards is not known. -</p> - -<p class="drama"> -RICHARD.<br/> -No? -</p> - -<p class="drama"> -ROBERT.<br/> -Of course, it is your affair, Richard. However, you are not so young now as you -were then. The expression is quite in the style of my leading articles, isn’t -it? -</p> - -<p class="drama"> -RICHARD.<br/> -Do you, or do you not, want me to give the lie to my past life? -</p> - -<p class="drama"> -ROBERT.<br/> -I am thinking of your future life—here. I understand your pride and your sense -of liberty. I understand their point of view also. However, there is a way out; -it is simply this. Refrain from contradicting any rumours you may hear -concerning what happened... or did not happen after you went away. Leave the -rest to me. -</p> - -<p class="drama"> -RICHARD.<br/> -You will set these rumours afloat? -</p> - -<p class="drama"> -ROBERT.<br/> -I will. God help me. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Observing him.</i>] For the sake of social conventions? -</p> - -<p class="drama"> -ROBERT.<br/> -For the sake of something else too—our friendship, our lifelong friendship. -</p> - -<p class="drama"> -RICHARD.<br/> -Thanks. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Slightly wounded.</i>] And I will tell you the whole truth. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Smiles and bows.</i>] Yes. Do, please. -</p> - -<p class="drama"> -ROBERT.<br/> -Not only for your sake. Also for the sake of—your present partner in life. -</p> - -<p class="drama"> -RICHARD.<br/> -I see. -</p> - -<p class="drama"> -[<i>He crushes his cigarette softly on the ashtray and then leans forward, -rubbing his hands slowly.</i>] -</p> - -<p class="drama"> -RICHARD.<br/> -Why for her sake? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Also leans forward, quietly.</i>] Richard, have you been quite fair to her? -It was her own free choice, you will say. But was she really free to choose? -She was a mere girl. She accepted all that you proposed. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Smiles.</i>] That is your way of saying that she proposed what I would not -accept. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Nods.</i>] I remember. And she went away with you. But was it of her own -free choice? Answer me frankly. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Turns to him, calmly.</i>] I played for her against all that you say or can -say; and I won. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Nodding again.</i>] Yes, you won. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Rises.</i>] Excuse me for forgetting. Will you have some whisky? -</p> - -<p class="drama"> -ROBERT.<br/> -All things come to those who wait. -</p> - -<p class="drama"> -[<i><span class="charname">Richard</span> goes to the sideboard and brings a -small tray with the decanter and glasses to the table where he sets it -down.</i>] -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Sits down again, leaning back on the lounge.</i>] Will you please help -yourself? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Does so.</i>] And you? Steadfast? [<i><span class="charname">Richard</span> -shakes his head.</i>] Lord, when I think of our wild nights long ago—talks by -the hour, plans, carouses, revelry... -</p> - -<p class="drama"> -RICHARD.<br/> -In our house. -</p> - -<p class="drama"> -ROBERT.<br/> -It is mine now. I have kept it ever since though I don’t go there often. -Whenever you like to come let me know. You must come some night. It will be old -times again. [<i>He lifts his glass and drinks.</i>] <i>Prosit!</i> -</p> - -<p class="drama"> -RICHARD.<br/> -It was not only a house of revelry; it was to be the hearth of a new life. -[<i>Musing.</i>] And in that name all our sins were committed. -</p> - -<p class="drama"> -ROBERT.<br/> -Sins! Drinking and blasphemy [<i>he points</i>] by me. And drinking and heresy, -much worse [<i>he points again</i>] by you—are those the sins you mean? -</p> - -<p class="drama"> -RICHARD.<br/> -And some others. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Lightly, uneasily.</i>] You mean the women. I have no remorse of -conscience. Maybe you have. We had two keys on those occasions. -[<i>Maliciously.</i>] Have you? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Irritated.</i>] For you it was all quite natural? -</p> - -<p class="drama"> -ROBERT.<br/> -For me it is quite natural to kiss a woman whom I like. Why not? She is -beautiful for me. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Toying with the lounge cushion.</i>] Do you kiss everything that is -beautiful for you? -</p> - -<p class="drama"> -ROBERT.<br/> -Everything—if it can be kissed. [<i>He takes up a flat stone which lies on the -table.</i>] This stone, for instance. It is so cool, so polished, so delicate, -like a woman’s temple. It is silent, it suffers our passion; and it is -beautiful. [<i>He places it against his lips.</i>] And so I kiss it because it -is beautiful. And what is a woman? A work of nature, too, like a stone or a -flower or a bird. A kiss is an act of homage. -</p> - -<p class="drama"> -RICHARD.<br/> -It is an act of union between man and woman. Even if we are often led to desire -through the sense of beauty can you say that the beautiful is what we desire? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Pressing the stone to his forehead.</i>] You will give me a headache if you -make me think today. I cannot think today. I feel too natural, too common. -After all, what is most attractive in even the most beautiful woman? -</p> - -<p class="drama"> -RICHARD.<br/> -What? -</p> - -<p class="drama"> -ROBERT.<br/> -Not those qualities which she has and other women have not but the qualities -which she has in common with them. I mean... the commonest. [<i>Turning over -the stone, he presses the other side to his forehead.</i>] I mean how her body -develops heat when it is pressed, the movement of her blood, how quickly she -changes by digestion what she eats into—what shall be nameless. -[<i>Laughing.</i>] I am very common today. Perhaps that idea never struck you? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Drily.</i>] Many ideas strike a man who has lived nine years with a woman. -</p> - -<p class="drama"> -ROBERT.<br/> -Yes. I suppose they do.... This beautiful cool stone does me good. Is it a -paperweight or a cure for headache? -</p> - -<p class="drama"> -RICHARD.<br/> -Bertha brought it home one day from the strand. She, too, says that it is -beautiful. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Lays down the stone quietly.</i>] She is right. -</p> - -<p class="drama"> -[<i>He raises his glass and drinks. A pause.</i>] -</p> - -<p class="drama"> -RICHARD.<br/> -Is that all you wanted to say to me? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Quickly.</i>] There is something else. The vicechancellor sends you, -through me, an invitation for tonight—to dinner at his house. You know where he -lives? [<i><span class="charname">Richard</span> nods.</i>] I thought you might -have forgotten. Strictly private, of course. He wants to meet you again and -sends you a very warm invitation. -</p> - -<p class="drama"> -RICHARD.<br/> -For what hour? -</p> - -<p class="drama"> -ROBERT.<br/> -Eight. But, like yourself, he is free and easy about time. Now, Richard, you -must go there. That is all. I feel tonight will be the turningpoint in your -life. You will live here and work here and think here and be honoured -here—among our people. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Smiling.</i>] I can almost see two envoys starting for the United States to -collect funds for my statue a hundred years hence. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Agreeably.</i>] Once I made a little epigram about statues. All statues are -of two kinds. [<i>He folds his arms across his chest.</i>] The statue which -says: <i>How shall I get down?</i> and the other kind [<i>he unfolds his arms -and extends his right arm, averting his head</i>] the statue which says: <i>In -my time the dunghill was so high.</i> -</p> - -<p class="drama"> -RICHARD.<br/> -The second one for me, please. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Lazily.</i>] Will you give me one of those long cigars of yours? -</p> - -<p class="drama"> -[<i><span class="charname">Richard</span> selects a Virginia cigar from the box -on the table and hands it to him with the straw drawn out.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Lighting it.</i>] These cigars Europeanize me. If Ireland is to become a -new Ireland she must first become European. And that is what you are here for, -Richard. Some day we shall have to choose between England and Europe. I am a -descendant of the dark foreigners: that is why I like to be here. I may be -childish. But where else in Dublin can I get a bandit cigar like this or a cup -of black coffee? The man who drinks black coffee is going to conquer Ireland. -And now I will take just a half measure of that whisky, Richard, to show you -there is no ill feeling. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Points.</i>] Help yourself. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Does so.</i>] Thanks. [<i>He drinks and goes on as before.</i>] Then you -yourself, the way you loll on that lounge: then your boy’s voice and -also—Bertha herself. Do you allow me to call her that, Richard? I mean as an -old friend of both of you. -</p> - -<p class="drama"> -RICHARD.<br/> -O why not? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>With animation.</i>] You have that fierce indignation which lacerated the -heart of Swift. You have fallen from a higher world, Richard, and you are -filled with fierce indignation, when you find that life is cowardly and -ignoble. While I... shall I tell you? -</p> - -<p class="drama"> -RICHARD.<br/> -By all means. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Archly.</i>] I have come up from a lower world and I am filled with -astonishment when I find that people have any redeeming virtue at all. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Sits up suddenly and leans his elbows on the table.</i>] You are my friend, -then? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Gravely.</i>] I fought for you all the time you were away. I fought to -bring you back. I fought to keep your place for you here. I will fight for you -still because I have faith in you, the faith of a disciple in his master. I -cannot say more than that. It may seem strange to you... Give me a match. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Lights and offers him a match.</i>] There is a faith still stranger than -the faith of the disciple in his master. -</p> - -<p class="drama"> -ROBERT.<br/> -And that is? -</p> - -<p class="drama"> -RICHARD.<br/> -The faith of a master in the disciple who will betray him. -</p> - -<p class="drama"> -ROBERT.<br/> -The church lost a theologian in you, Richard. But I think you look too deeply -into life. [<i>He rises, pressing <span class="charname">Richard’s</span> arm -slightly.</i>] Be gay. Life is not worth it. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Without rising.</i>] Are you going? -</p> - -<p class="drama"> -ROBERT.<br/> -Must. [<i>He turns and says in a friendly tone.</i>] Then it is all arranged. -We meet tonight at the vicechancellor’s. I shall look in at about ten. So you -can have an hour or so to yourselves first. You will wait till I come? -</p> - -<p class="drama"> -RICHARD.<br/> -Good. -</p> - -<p class="drama"> -ROBERT.<br/> -One more match and I am happy. -</p> - -<p class="drama"> -[<i><span class="charname">Richard</span> strikes another match, hands it to him -and rises also. <span class="charname">Archie</span> comes in by the door on the -left, followed by <span class="charname">Beatrice</span>.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -Congratulate me, Beatty. I have won over Richard. -</p> - -<p class="drama"> -ARCHIE.<br/> -[<i>Crossing to the door on the right, calls.</i>] Mamma, Miss Justice is -going. -</p> - -<p class="drama"> -BEATRICE.<br/> -On what are you to be congratulated? -</p> - -<p class="drama"> -ROBERT.<br/> -On a victory, of course. [<i>Laying his hand lightly on -<span class="charname">Richard’s</span> shoulder.</i>] The descendant of -Archibald Hamilton Rowan has come home. -</p> - -<p class="drama"> -RICHARD.<br/> -I am not a descendant of Hamilton Rowan. -</p> - -<p class="drama"> -ROBERT.<br/> -What matter? -</p> - -<p class="drama"> -[<i><span class="charname">Bertha</span> comes in from the right with a bowl of -roses.</i>] -</p> - -<p class="drama"> -BEATRICE.<br/> -Has Mr Rowan...? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Turning towards <span class="charname">Bertha</span>.</i>] Richard is coming -tonight to the vicechancellor’s dinner. The fatted calf will be eaten: roast, I -hope. And next session will see the descendant of a namesake of etcetera, -etcetera in a chair of the university. [<i>He offers his hand.</i>] Good -afternoon, Richard. We shall meet tonight. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Touches his hand.</i>] At Philippi. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Shakes hands also.</i>] Accept my best wishes, Mr Rowan. -</p> - -<p class="drama"> -RICHARD.<br/> -Thanks. But do not believe him. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Vivaciously.</i>] Believe me, believe me. [<i>To -<span class="charname">Bertha</span>.</i>] Good afternoon, Mrs Rowan. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Shaking hands, candidly.</i>] I thank you, too. [<i>To -<span class="charname">Beatrice</span>.</i>] You won’t stay to tea, Miss -Justice? -</p> - -<p class="drama"> -BEATRICE.<br/> -No, thank you. [<i>Takes leave of her.</i>] I must go. Good afternoon. Goodbye, -Archie [<i>going</i>]. -</p> - -<p class="drama"> -ROBERT.<br/> -<i>Addio</i>, Archibald. -</p> - -<p class="drama"> -ARCHIE.<br/> -<i>Addio</i>. -</p> - -<p class="drama"> -ROBERT.<br/> -Wait, Beatty. I shall accompany you. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Going out on the right with <span class="charname">Bertha</span>.</i>] O, -don’t trouble. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Following her.</i>] But I insist—as a cousin. -</p> - -<p class="drama"> -[<i><span class="charname">Bertha, Beatrice</span> and -<span class="charname">Robert</span> go out by the door on the left. -<span class="charname">Richard</span> stands irresolutely near the table. -<span class="charname">Archie</span> closes the door leading to the hall and, -coming over to him, plucks him by the sleeve.</i>] -</p> - -<p class="drama"> -ARCHIE.<br/> -I say, pappie! -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Absently.</i>] What is it? -</p> - -<p class="drama"> -ARCHIE.<br/> -I want to ask you a thing. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Sitting on the end of the lounge, stares in front of him.</i>] What is it? -</p> - -<p class="drama"> -ARCHIE.<br/> -Will you ask mamma to let me go out in the morning with the milkman? -</p> - -<p class="drama"> -RICHARD.<br/> -With the milkman? -</p> - -<p class="drama"> -ARCHIE.<br/> -Yes. In the milkcar. He says he will let me drive when we get on to the roads -where there are no people. The horse is a very good beast. Can I go? -</p> - -<p class="drama"> -RICHARD.<br/> -Yes. -</p> - -<p class="drama"> -ARCHIE.<br/> -Ask mamma now can I go. Will you? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Glances towards the door.</i>] I will. -</p> - -<p class="drama"> -ARCHIE.<br/> -He said he will show me the cows he has in the field. Do you know how many cows -he has? -</p> - -<p class="drama"> -RICHARD.<br/> -How many? -</p> - -<p class="drama"> -ARCHIE.<br/> -Eleven. Eight red and three white. But one is sick now. No, not sick. But it -fell. -</p> - -<p class="drama"> -RICHARD.<br/> -Cows? -</p> - -<p class="drama"> -ARCHIE.<br/> -[<i>With a gesture.</i>] Eh! Not bulls. Because bulls give no milk. Eleven -cows. They must give a lot of milk. What makes a cow give milk? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Takes his hand.</i>] Who knows? Do you understand what it is to give a -thing? -</p> - -<p class="drama"> -ARCHIE.<br/> -To give? Yes. -</p> - -<p class="drama"> -RICHARD.<br/> -While you have a thing it can be taken from you. -</p> - -<p class="drama"> -ARCHIE.<br/> -By robbers? No? -</p> - -<p class="drama"> -RICHARD.<br/> -But when you give it, you have given it. No robber can take it from you. [<i>He -bends his head and presses his son’s hand against his cheek.</i>] It is yours -then for ever when you have given it. It will be yours always. That is to give. -</p> - -<p class="drama"> -ARCHIE.<br/> -But, pappie? -</p> - -<p class="drama"> -RICHARD.<br/> -Yes? -</p> - -<p class="drama"> -ARCHIE.<br/> -How could a robber rob a cow? Everyone would see him. In the night, perhaps. -</p> - -<p class="drama"> -RICHARD.<br/> -In the night, yes. -</p> - -<p class="drama"> -ARCHIE.<br/> -Are there robbers here like in Rome? -</p> - -<p class="drama"> -RICHARD.<br/> -There are poor people everywhere. -</p> - -<p class="drama"> -ARCHIE.<br/> -Have they revolvers? -</p> - -<p class="drama"> -RICHARD.<br/> -No. -</p> - -<p class="drama"> -ARCHIE.<br/> -Knives? Have they knives? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Sternly.</i>] Yes, yes. Knives and revolvers. -</p> - -<p class="drama"> -ARCHIE.<br/> -[<i>Disengages himself.</i>] Ask mamma now. She is coming. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Makes a movement to rise.</i>] I will. -</p> - -<p class="drama"> -ARCHIE.<br/> -No, sit there, pappie. You wait and ask her when she comes back. I won’t be -here. I’ll be in the garden. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Sinking back again.</i>] Yes. Go. -</p> - -<p class="drama"> -ARCHIE.<br/> -[<i>Kisses him swiftly.</i>] Thanks. -</p> - -<p class="drama"> -[<i>He runs out quickly by the door at the back leading into the garden. -<span class="charname">Bertha</span> enters by the door on the left. She -approaches the table and stands beside it, fingering the petals of the roses, -looking at <span class="charname">Richard</span>.</i>] -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Watching her.</i>] Well? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Absently.</i>] Well. He says he likes me. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Leans his chin in his hand.</i>] You showed him his note? -</p> - -<p class="drama"> -BERTHA.<br/> -Yes. I asked him what it meant. -</p> - -<p class="drama"> -RICHARD.<br/> -What did he say it meant? -</p> - -<p class="drama"> -BERTHA.<br/> -He said I must know. I said I had an idea. Then he told me he liked me very -much. That I was beautiful—and all that. -</p> - -<p class="drama"> -RICHARD.<br/> -Since when! -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Again absently.</i>] Since when—what? -</p> - -<p class="drama"> -RICHARD.<br/> -Since when did he say he liked you? -</p> - -<p class="drama"> -BERTHA.<br/> -Always, he said. But more since we came back. He said I was like the moon in -this lavender dress. [<i>Looking at him.</i>] Had you any words with him—about -me? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Blandly.</i>] The usual thing. Not about you. -</p> - -<p class="drama"> -BERTHA.<br/> -He was very nervous. You saw that? -</p> - -<p class="drama"> -RICHARD.<br/> -Yes. I saw it. What else went on? -</p> - -<p class="drama"> -BERTHA.<br/> -He asked me to give him my hand. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Smiling.</i>] In marriage? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Smiling.</i>] No, only to hold. -</p> - -<p class="drama"> -RICHARD.<br/> -Did you? -</p> - -<p class="drama"> -BERTHA.<br/> -Yes. [<i>Tearing off a few petals.</i>] Then he caressed my hand and asked -would I let him kiss it. I let him. -</p> - -<p class="drama"> -RICHARD.<br/> -Well? -</p> - -<p class="drama"> -BERTHA.<br/> -Then he asked could he embrace me—even once?... And then... -</p> - -<p class="drama"> -RICHARD.<br/> -And then? -</p> - -<p class="drama"> -BERTHA.<br/> -He put his arm round me. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Stares at the floor for a moment, then looks at her again.</i>] And then? -</p> - -<p class="drama"> -BERTHA.<br/> -He said I had beautiful eyes. And asked could he kiss them. [<i>With a -gesture.</i>] I said: <i>Do so.</i> -</p> - -<p class="drama"> -RICHARD.<br/> -And he did? -</p> - -<p class="drama"> -BERTHA.<br/> -Yes. First one and then the other. [<i>She breaks off suddenly.</i>] Tell me, -Dick, does all this disturb you? Because I told you I don’t want that. I think -you are only pretending you don’t mind. I don’t mind. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Quietly.</i>] I know, dear. But I want to find out what he means or feels -just as you do. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Points at him.</i>] Remember, you allowed me to go on. I told you the whole -thing from the beginning. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>As before.</i>] I know, dear... And then? -</p> - -<p class="drama"> -BERTHA.<br/> -He asked for a kiss. I said: <i>Take it.</i> -</p> - -<p class="drama"> -RICHARD.<br/> -And then? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Crumpling a handful of petals.</i>] He kissed me. -</p> - -<p class="drama"> -RICHARD.<br/> -Your mouth? -</p> - -<p class="drama"> -BERTHA.<br/> -Once or twice. -</p> - -<p class="drama"> -RICHARD.<br/> -Long kisses? -</p> - -<p class="drama"> -BERTHA.<br/> -Fairly long. [<i>Reflects.</i>] Yes, the last time. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Rubs his hands slowly; then.</i>] With his lips? Or... the other way? -</p> - -<p class="drama"> -BERTHA.<br/> -Yes, the last time. -</p> - -<p class="drama"> -RICHARD.<br/> -Did he ask you to kiss him? -</p> - -<p class="drama"> -BERTHA.<br/> -He did. -</p> - -<p class="drama"> -RICHARD.<br/> -Did you? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Hesitates, then looking straight at him.</i>] I did. I kissed him. -</p> - -<p class="drama"> -RICHARD.<br/> -What way? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>With a shrug.</i>] O simply. -</p> - -<p class="drama"> -RICHARD.<br/> -Were you excited? -</p> - -<p class="drama"> -BERTHA.<br/> -Well, you can imagine. [<i>Frowning suddenly.</i>] Not much. He has not nice -lips... Still I was excited, of course. But not like with you, Dick. -</p> - -<p class="drama"> -RICHARD.<br/> -Was he? -</p> - -<p class="drama"> -BERTHA.<br/> -Excited? Yes, I think he was. He sighed. He was dreadfully nervous. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Resting his forehead on his hand.</i>] I see. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Crosses towards the lounge and stands near him.</i>] Are you jealous? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>As before.</i>] No. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Quietly.</i>] You are, Dick. -</p> - -<p class="drama"> -RICHARD.<br/> -I am not. Jealous of what? -</p> - -<p class="drama"> -BERTHA.<br/> -Because he kissed me. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Looks up.</i>] Is that all? -</p> - -<p class="drama"> -BERTHA.<br/> -Yes, that’s all. Except that he asked me would I meet him. -</p> - -<p class="drama"> -RICHARD.<br/> -Out somewhere? -</p> - -<p class="drama"> -BERTHA.<br/> -No. In his house. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Surprised.</i>] Over there with his mother, is it? -</p> - -<p class="drama"> -BERTHA.<br/> -No, a house he has. He wrote the address for me. -</p> - -<p class="drama"> -[<i>She goes to the desk, takes the key from the flower vase, unlocks the -drawer and returns to him with the slip of paper.</i>] -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Half to himself.</i>] Our cottage. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Hands him the slip.</i>] Here. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Reads it.</i>] Yes. Our cottage. -</p> - -<p class="drama"> -BERTHA.<br/> -Your...? -</p> - -<p class="drama"> -RICHARD.<br/> -No, his. I call it ours. [<i>Looking at her.</i>] The cottage I told you about -so often—that we had the two keys for, he and I. It is his now. Where we used -to hold our wild nights, talking, drinking, planning—at that time. Wild nights; -yes. He and I together. [<i>He throws the slip on the couch and rises -suddenly.</i>] And sometimes I alone. [<i>Stares at her.</i>] But not quite -alone. I told you. You remember? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Shocked.</i>] That place? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Walks away from her a few paces and stands still, thinking, holding his -chin.</i>] Yes. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Taking up the slip again.</i>] Where is it? -</p> - -<p class="drama"> -RICHARD.<br/> -Do you not know? -</p> - -<p class="drama"> -BERTHA.<br/> -He told me to take the tram at Lansdowne Road and to ask the man to let me down -there. Is it... is it a bad place? -</p> - -<p class="drama"> -RICHARD.<br/> -O no, cottages. [<i>He returns to the lounge and sits down.</i>] What answer -did you give? -</p> - -<p class="drama"> -BERTHA.<br/> -No answer. He said he would wait. -</p> - -<p class="drama"> -RICHARD.<br/> -Tonight? -</p> - -<p class="drama"> -BERTHA.<br/> -Every night, he said. Between eight and nine. -</p> - -<p class="drama"> -RICHARD.<br/> -And so I am to go tonight to interview—the professor. About the appointment I -am to beg for. [<i>Looking at her.</i>] The interview is arranged for tonight -by him—between eight and nine. Curious, isn’t it? The same hour. -</p> - -<p class="drama"> -BERTHA.<br/> -Very. -</p> - -<p class="drama"> -RICHARD.<br/> -Did he ask you had I any suspicion? -</p> - -<p class="drama"> -BERTHA.<br/> -No. -</p> - -<p class="drama"> -RICHARD.<br/> -Did he mention my name? -</p> - -<p class="drama"> -BERTHA.<br/> -No. -</p> - -<p class="drama"> -RICHARD.<br/> -Not once? -</p> - -<p class="drama"> -BERTHA.<br/> -Not that I remember. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Bounding to his feet.</i>] O yes! Quite clear! -</p> - -<p class="drama"> -BERTHA.<br/> -What? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Striding to and fro.</i>] A liar, a thief, and a fool! Quite clear! A -common thief! What else? [<i>With a harsh laugh.</i>] My great friend! A -patriot too! A thief—nothing else! [<i>He halts, thrusting his hands into his -pockets.</i>] But a fool also! -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Looking at him.</i>] What are you going to do? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Shortly.</i>] Follow him. Find him. Tell him. [<i>Calmly.</i>] A few words -will do. Thief and fool. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Flings the slip on the couch.</i>] I see it all! -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Turning.</i>] Eh! -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Hotly.</i>] The work of a devil. -</p> - -<p class="drama"> -RICHARD.<br/> -He? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Turning on him.</i>] No, you! The work of a devil to turn him against me as -you tried to turn my own child against me. Only you did not succeed. -</p> - -<p class="drama"> -RICHARD.<br/> -How? In God’s name, how? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Excitedly.</i>] Yes, yes. What I say. Everyone saw it. Whenever I tried to -correct him for the least thing you went on with your folly, speaking to him as -if he were a grownup man. Ruining the poor child, or trying to. Then, of -course, I was the cruel mother and only you loved him. [<i>With growing -excitement.</i>] But you did not turn him against me—against his own mother. -Because why? Because the child has too much nature in him. -</p> - -<p class="drama"> -RICHARD.<br/> -I never tried to do such a thing, Bertha. You know I cannot be severe with a -child. -</p> - -<p class="drama"> -BERTHA.<br/> -Because you never loved your own mother. A mother is always a mother, no matter -what. I never heard of any human being that did not love the mother that -brought him into the world, except you. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Approaching her quietly.</i>] Bertha, do not say things you will be sorry -for. Are you not glad my son is fond of me? -</p> - -<p class="drama"> -BERTHA.<br/> -Who taught him to be? Who taught him to run to meet you? Who told him you would -bring him home toys when you were out on your rambles in the rain, forgetting -all about him—and me? I did. I taught him to love you. -</p> - -<p class="drama"> -RICHARD.<br/> -Yes, dear. I know it was you. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Almost crying.</i>] And then you try to turn everyone against me. All is to -be for you. I am to appear false and cruel to everyone except to you. Because -you take advantage of my simplicity as you did—the first time. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Violently.</i>] And you have the courage to say that to me? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Facing him.</i>] Yes, I have! Both then and now. Because I am simple you -think you can do what you like with me. [<i>Gesticulating.</i>] Follow him now. -Call him names. Make him be humble before you and make him despise me. Follow -him! -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Controlling himself.</i>] You forget that I have allowed you complete -liberty—and allow you it still. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Scornfully.</i>] Liberty! -</p> - -<p class="drama"> -RICHARD.<br/> -Yes, complete. But he must know that I know. [<i>More calmly.</i>] I will speak -to him quietly. [<i>Appealing.</i>] Bertha, believe me, dear! It is not -jealousy. You have complete liberty to do as you wish—you and he. But not in -this way. He will not despise you. You don’t wish to deceive me or to pretend -to deceive me—with him, do you? -</p> - -<p class="drama"> -BERTHA.<br/> -No, I do not. [<i>Looking full at him.</i>] Which of us two is the deceiver? -</p> - -<p class="drama"> -RICHARD.<br/> -Of us? You and me? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>In a calm decided tone.</i>] I know why you have allowed me what you call -complete liberty. -</p> - -<p class="drama"> -RICHARD.<br/> -Why? -</p> - -<p class="drama"> -BERTHA.<br/> -To have complete liberty with—that girl. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Irritated.</i>] But, good God, you knew about that this long time. I never -hid it. -</p> - -<p class="drama"> -BERTHA.<br/> -You did. I thought it was a kind of friendship between you—till we came back, -and then I saw. -</p> - -<p class="drama"> -RICHARD.<br/> -So it is, Bertha. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Shakes her head.</i>] No, no. It is much more; and that is why you give me -complete liberty. All those things you sit up at night to write about -[<i>pointing to the study</i>] in there—about her. You call that friendship? -</p> - -<p class="drama"> -RICHARD.<br/> -Believe me, Bertha dear. Believe me as I believe you. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>With an impulsive gesture.</i>] My God, I feel it! I know it! What else is -between you but love? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Calmly.</i>] You are trying to put that idea into my head but I warn you -that I don’t take my ideas from other people. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Hotly.</i>] It is, it is! And that is why you allow him to go on. Of -course! It doesn’t affect you. You love her. -</p> - -<p class="drama"> -RICHARD.<br/> -Love! [<i>Throws out his hands with a sigh and moves away from her.</i>] I -cannot argue with you. -</p> - -<p class="drama"> -BERTHA.<br/> -You can’t because I am right. [<i>Following him a few steps.</i>] What would -anyone say? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Turns to her.</i>] Do you think I care? -</p> - -<p class="drama"> -BERTHA.<br/> -But I care. What would he say if he knew? You, who talk so much of the high -kind of feeling you have for me, expressing yourself in that way to another -woman. If he did it, or other men, I could understand because they are false -pretenders. But you, Dick! Why do you not tell him then? -</p> - -<p class="drama"> -RICHARD.<br/> -You can if you like. -</p> - -<p class="drama"> -BERTHA.<br/> -I will. Certainly I will. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Coolly.</i>] He will explain it to you. -</p> - -<p class="drama"> -BERTHA.<br/> -He doesn’t say one thing and do another. He is honest in his own way. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Plucks one of the roses and throws it at her feet.</i>] He is, indeed! The -soul of honour! -</p> - -<p class="drama"> -BERTHA.<br/> -You may make fun of him as much as you like. I understand more than you think -about that business. And so will he. Writing those long letters to her for -years, and she to you. For years. But since I came back I understand it—well. -</p> - -<p class="drama"> -RICHARD.<br/> -You do not. Nor would he. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Laughs scornfully.</i>] Of course. Neither he nor I can understand it. Only -she can. Because it is such a deep thing! -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Angrily.</i>] Neither he nor you—nor she either! Not one of you! -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>With great bitterness.</i>] She will! She will understand it! The diseased -woman! -</p> - -<p class="drama"> -[<i>She turns away and walks over to the little table on the right. -<span class="charname">Richard</span> restrains a sudden gesture. A short -pause.</i>] -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Gravely.</i>] Bertha, take care of uttering words like that! -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Turning, excitedly.</i>] I don’t mean any harm! I feel for her more than -you can because I am a woman. I do, sincerely. But what I say is true. -</p> - -<p class="drama"> -RICHARD.<br/> -Is it generous? Think. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Pointing towards the garden.</i>] It is she who is not generous. Remember -now what I say. -</p> - -<p class="drama"> -RICHARD.<br/> -What? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Comes nearer; in a calmer tone.</i>] You have given that woman very much, -Dick. And she may be worthy of it. And she may understand it all, too. I know -she is that kind. -</p> - -<p class="drama"> -RICHARD.<br/> -Do you believe that? -</p> - -<p class="drama"> -BERTHA.<br/> -I do. But I believe you will get very little from her in return—or from any of -her clan. Remember my words, Dick. Because she is not generous and they are not -generous. Is it all wrong what I am saying? Is it? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Darkly.</i>] No. Not all. -</p> - -<p class="drama"> -[<i>She stoops and, picking up the rose from the floor, places it in the vase -again. He watches her. <span class="charname">Brigid</span> appears at the -folding doors on the right.</i>] -</p> - -<p class="drama"> -BRIGID.<br/> -The tea is on the table, ma’am. -</p> - -<p class="drama"> -BERTHA.<br/> -Very well. -</p> - -<p class="drama"> -BRIGID.<br/> -Is Master Archie in the garden? -</p> - -<p class="drama"> -BERTHA.<br/> -Yes. Call him in. -</p> - -<p class="drama"> -[<i><span class="charname">Brigid</span> crosses the room and goes out into the -garden. <span class="charname">Bertha</span> goes towards the doors on the -right. At the lounge she stops and takes up the slip.</i>] -</p> - -<p class="drama"> -BRIGID.<br/> -[<i>In the garden.</i>] Master Archie! You are to come in to your tea. -</p> - -<p class="drama"> -BERTHA.<br/> -Am I to go to this place? -</p> - -<p class="drama"> -RICHARD.<br/> -Do you want to go? -</p> - -<p class="drama"> -BERTHA.<br/> -I want to find out what he means. Am I to go? -</p> - -<p class="drama"> -RICHARD.<br/> -Why do you ask me? Decide yourself. -</p> - -<p class="drama"> -BERTHA.<br/> -Do you tell me to go? -</p> - -<p class="drama"> -RICHARD.<br/> -No. -</p> - -<p class="drama"> -BERTHA.<br/> -Do you forbid me to go? -</p> - -<p class="drama"> -RICHARD.<br/> -No. -</p> - -<p class="drama"> -BRIGID.<br/> -[<i>From the garden.</i>] Come quickly, Master Archie! Your tea is waiting on -you. -</p> - -<p class="drama"> -[<i><span class="charname">Brigid</span> crosses the room and goes out through -the folding doors. <span class="charname">Bertha</span> folds the slip into the -waist of her dress and goes slowly towards the right. Near the door she turns -and halts.</i>] -</p> - -<p class="drama"> -BERTHA.<br/> -Tell me not to go and I will not. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Without looking at her.</i>] Decide yourself. -</p> - -<p class="drama"> -BERTHA.<br/> -Will you blame me then? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Excitedly.</i>] No, no! I will not blame you. You are free. I cannot blame -you. -</p> - -<p class="drama"> -[<i><span class="charname">Archie</span> appears at the garden door.</i>] -</p> - -<p class="drama"> -BERTHA.<br/> -I did not deceive you. -</p> - -<p class="drama"> -[<i>She goes out through the folding doors. <span -class="charname">Richard</span> remains standing at the table. <span -class="charname">Archie</span>, when his mother has gone, runs down to -<span class="charname">Richard</span>.</i>] -</p> - -<p class="drama"> -ARCHIE.<br/> -[<i>Quickly.</i>] Well, did you ask her? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Starting.</i>] What? -</p> - -<p class="drama"> -ARCHIE.<br/> -Can I go? -</p> - -<p class="drama"> -RICHARD.<br/> -Yes. -</p> - -<p class="drama"> -ARCHIE.<br/> -In the morning? She said yes? -</p> - -<p class="drama"> -RICHARD.<br/> -Yes. In the morning. -</p> - -<p class="drama"> -[<i>He puts his arm round his son’s shoulders and looks down at him -fondly.</i>] -</p> - -</div><!--end chapter--> - -<div class="chapter"> - -<h2><a name="actII"></a><b>Second Act</b></h2> - -<p class="drama"> -<i>A room in Robert Hand’s cottage at Ranelagh. On the right, forward, a small -black piano, on the rest of which is an open piece of music. Farther back a -door leading to the street door. In the wall, at the back, folding doors, -draped with dark curtains, leading to a bedroom. Near the piano a large table, -on which is a tall oil lamp with a wide yellow shade. Chairs, upholstered, near -this table. A small cardtable more forward. Against the back wall a bookcase. -In the left wall, back, a window looking out into the garden, and, forward, a -door and porch, also leading to the garden. Easychairs here and there. Plants -in the porch and near the draped folding doors. On the walls are many framed -black and white designs. In the right corner, back, a sideboard; and in the -centre of the room, left of the table, a group consisting of a standing Turkish -pipe, a low oil stove, which is not lit, and a rocking-chair. It is the evening -of the same day.</i> -</p> - -<p class="drama"> -[<i><span class="charname">Robert Hand</span>, in evening dress, is seated at -the piano. The candles are not lit but the lamp on the table is lit. He plays -softly in the bass the first bars of Wolfram’s song in the last act of -‘Tannhäuser’. Then he breaks off and, resting an elbow on the ledge of the -keyboard, meditates. Then he rises and, pulling out a pump from behind the -piano, walks here and there in the room ejecting from it into the air sprays of -perfume. He inhales the air slowly and then puts the pump back behind the -piano. He sits down on a chair near the table and, smoothing his hair -carefully, sighs once or twice. Then, thrusting his hands into his trousers -pockets, he leans back, stretches out his legs, and waits. A knock is heard at -the street door. He rises quickly.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Exclaims.</i>] Bertha! -</p> - -<p class="drama"> -[<i>He hurries out by the door on the right. There is a noise of confused -greeting. After a few moments <span class="charname">Robert</span> enters, -followed by <span class="charname">Richard Rowan</span>, who is in grey tweeds -as before but holds in one hand a dark felt hat and in the other an -umbrella.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -First of all let me put these outside. -</p> - -<p class="drama"> -[<i>He takes the hat and umbrella, leaves them in the hall and returns.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Pulling round a chair.</i>] Here you are. You are lucky to find me in. Why -didn’t you tell me today? You were always a devil for surprises. I suppose my -evocation of the past was too much for your wild blood. See how artistic I have -become. [<i>He points to the walls.</i>] The piano is an addition since your -time. I was just strumming out Wagner when you came. Killing time. You see I am -ready for the fray. [<i>Laughs.</i>] I was just wondering how you and the -vicechancellor were getting on together. [<i>With exaggerated alarm.</i>] But -are you going in that suit? O well, it doesn’t make much odds, I suppose. But -how goes the time? [<i>He takes out his watch.</i>] Twenty past eight already, -I declare! -</p> - -<p class="drama"> -RICHARD.<br/> -Have you an appointment? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Laughs nervously.</i>] Suspicious to the last! -</p> - -<p class="drama"> -RICHARD.<br/> -Then I may sit down? -</p> - -<p class="drama"> -ROBERT.<br/> -Of course, of course. [<i>They both sit down.</i>] For a few minutes, anyhow. -Then we can both go on together. We are not bound for time. Between eight and -nine, he said, didn’t he? What time is it, I wonder? [<i>Is about to look again -at his watch; then stops.</i>] Twenty past eight, yes. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Wearily, sadly.</i>] Your appointment also was for the same hour. Here. -</p> - -<p class="drama"> -ROBERT.<br/> -What appointment? -</p> - -<p class="drama"> -RICHARD.<br/> -With Bertha. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Stares at him.</i>] Are you mad? -</p> - -<p class="drama"> -RICHARD.<br/> -Are you? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>After a long pause.</i>] Who told you? -</p> - -<p class="drama"> -RICHARD.<br/> -She. -</p> - -<p class="drama"> -[<i>A short silence.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>In a low voice.</i>] Yes. I must have been mad. [<i>Rapidly.</i>] Listen to -me, Richard. It is a great relief to me that you have come—the greatest relief. -I assure you that ever since this afternoon I have thought and thought how I -could break it off without seeming a fool. A great relief! I even intended to -send word... a letter, a few lines. [<i>Suddenly.</i>] But then it was too -late... [<i>Passes his hand over his forehead.</i>] Let me speak frankly with -you; let me tell you everything. -</p> - -<p class="drama"> -RICHARD.<br/> -I know everything. I have known for some time. -</p> - -<p class="drama"> -ROBERT.<br/> -Since when? -</p> - -<p class="drama"> -RICHARD.<br/> -Since it began between you and her. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Again rapidly.</i>] Yes, I was mad. But it was merely lightheadedness. I -admit that to have asked her here this evening was a mistake. I can explain -everything to you. And I will. Truly. -</p> - -<p class="drama"> -RICHARD.<br/> -Explain to me what is the word you longed and never dared to say to her. If you -can or will. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Looks down, then raises his head.</i>] Yes. I will. I admire very much the -personality of your... of... your wife. That is the word. I can say it. It is -no secret. -</p> - -<p class="drama"> -RICHARD.<br/> -Then why did you wish to keep secret your wooing? -</p> - -<p class="drama"> -ROBERT.<br/> -Wooing? -</p> - -<p class="drama"> -RICHARD.<br/> -Your advances to her, little by little, day after day, looks, whispers. -[<i>With a nervous movement of the hands.</i>] <i>Insomma</i>, wooing. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Bewildered.</i>] But how do you know all this? -</p> - -<p class="drama"> -RICHARD.<br/> -She told me. -</p> - -<p class="drama"> -ROBERT.<br/> -This afternoon? -</p> - -<p class="drama"> -RICHARD.<br/> -No. Time after time, as it happened. -</p> - -<p class="drama"> -ROBERT.<br/> -You knew? From her? [<i><span class="charname">Richard</span> nods.</i>]. You -were watching us all the time? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Very coldly.</i>] I was watching you. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Quickly.</i>] I mean, watching me. And you never spoke! You had only to -speak a word—to save me from myself. You were trying me. [<i>Passes his hand -again over his forehead.</i>] It was a terrible trial: now also. -[<i>Desperately.</i>] Well, it is past. It will be a lesson to me for all my -life. You hate me now for what I have done and for... -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Quietly, looking at him.</i>] Have I said that I hate you? -</p> - -<p class="drama"> -ROBERT.<br/> -Do you not? You must. -</p> - -<p class="drama"> -RICHARD.<br/> -Even if Bertha had not told me I should have known. Did you not see that when I -came in this afternoon I went into my study suddenly for a moment? -</p> - -<p class="drama"> -ROBERT.<br/> -You did. I remember. -</p> - -<p class="drama"> -RICHARD.<br/> -To give you time to recover yourself. It made me sad to see your eyes. And the -roses too. I cannot say why. A great mass of overblown roses. -</p> - -<p class="drama"> -ROBERT.<br/> -I thought I had to give them. Was that strange? [<i>Looks at -<span class="charname">Richard</span> with a tortured expression.</i>] Too many, -perhaps? Or too old or common? -</p> - -<p class="drama"> -RICHARD.<br/> -That was why I did not hate you. The whole thing made me sad all at once. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>To himself.</i>] And this is real. It is happening—to us. -</p> - -<p class="drama"> -[<i>He stares before him for some moments in silence, as if dazed; then, -without turning his head, continues.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -And she, too, was trying me; making an experiment with me for your sake! -</p> - -<p class="drama"> -RICHARD.<br/> -You know women better than I do. She says she felt pity for you. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Brooding.</i>] Pitied me, because I am no longer... an ideal lover. Like my -roses. Common, old. -</p> - -<p class="drama"> -RICHARD.<br/> -Like all men you have a foolish wandering heart. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Slowly.</i>] Well, you spoke at last. You chose the right moment. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Leans forward.</i>] Robert, not like this. For us two, no. Years, a whole -life, of friendship. Think a moment. Since childhood, boyhood... No, no. Not in -such a way—like thieves—at night. [<i>Glancing about him.</i>] And in such a -place. No, Robert, that is not for people like us. -</p> - -<p class="drama"> -ROBERT.<br/> -What a lesson! Richard, I cannot tell you what a relief it is to me that you -have spoken—that the danger is passed. Yes, yes. [<i>Somewhat diffidently.</i>] -Because... there was some danger for you, too, if you think. Was there not? -</p> - -<p class="drama"> -RICHARD.<br/> -What danger? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>In the same tone.</i>] I don’t know. I mean if you had not spoken. If you -had watched and waited on until... -</p> - -<p class="drama"> -RICHARD.<br/> -Until? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Bravely.</i>] Until I had come to like her more and more (because I can -assure you it is only a lightheaded idea of mine), to like her deeply, to love -her. Would you have spoken to me then as you have just now? -[<i><span class="charname">Richard</span> is silent. <span -class="charname">Robert</span> goes on more boldly.</i>] It would have been -different, would it not? For then it might have been too late while it is not -too late now. What could I have said then? I could have said only: You are my -friend, my dear good friend. I am very sorry but I love her. [<i>With a sudden -fervent gesture.</i>] I love her and I will take her from you, however I can, -because I love her. -</p> - -<p class="drama"> -[<i>They look at each other for some moments in silence.</i>] -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Calmly.</i>] That is the language I have heard often and never believed in. -Do you mean by stealth or by violence? Steal you could not in my house because -the doors were open; nor take by violence if there were no resistance. -</p> - -<p class="drama"> -ROBERT.<br/> -You forget that the kingdom of heaven suffers violence: and the kingdom of -heaven is like a woman. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Smiling.</i>] Go on. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Diffidently, but bravely.</i>] Do you think you have rights over her—over -her heart? -</p> - -<p class="drama"> -RICHARD.<br/> -None. -</p> - -<p class="drama"> -ROBERT.<br/> -For what you have done for her? So much! You claim nothing? -</p> - -<p class="drama"> -RICHARD.<br/> -Nothing. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>After a pause strikes his forehead with his hand.</i>] What am I saying? Or -what am I thinking? I wish you would upbraid me, curse me, hate me as I -deserve. You love this woman. I remember all you told me long ago. She is -yours, your work. [<i>Suddenly.</i>] And that is why I, too, was drawn to her. -You are so strong that you attract me even through her. -</p> - -<p class="drama"> -RICHARD.<br/> -I am weak. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>With enthusiasm.</i>] You, Richard! You are the incarnation of strength. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Holds out his hands.</i>] Feel those hands. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Taking his hands.</i>] Yes. Mine are stronger. But I meant strength of -another kind. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Gloomily.</i>] I think you would try to take her by violence. -</p> - -<p class="drama"> -[<i>He withdraws his hands slowly.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Rapidly.</i>] Those are moments of sheer madness when we feel an intense -passion for a woman. We see nothing. We think of nothing. Only to possess her. -Call it brutal, bestial, what you will. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>A little timidly.</i>] I am afraid that that longing to possess a woman is -not love. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Impatiently.</i>] No man ever yet lived on this earth who did not long to -possess—I mean to possess in the flesh—the woman whom he loves. It is nature’s -law. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Contemptuously.</i>] What is that to me? Did I vote it? -</p> - -<p class="drama"> -ROBERT.<br/> -But if you love... What else is it? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Hesitatingly.</i>] To wish her well. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Warmly.</i>] But the passion which burns us night and day to possess her. -You feel it as I do. And it is not what you said now. -</p> - -<p class="drama"> -RICHARD.<br/> -Have you...? [<i>He stops for an instance.</i>] Have you the luminous certitude -that yours is the brain in contact with which she must think and understand and -that yours is the body in contact with which her body must feel? Have you this -certitude in yourself? -</p> - -<p class="drama"> -ROBERT.<br/> -Have you? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Moved.</i>] Once I had it, Robert: a certitude as luminous as that of my -own existence—or an illusion as luminous. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Cautiously.</i>] And now? -</p> - -<p class="drama"> -RICHARD.<br/> -If you had it and I could feel that you had it—even now... -</p> - -<p class="drama"> -ROBERT.<br/> -What would you do? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Quietly.</i>] Go away. You, and not I, would be necessary to her. Alone as -I was before I met her. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Rubs his hands nervously.</i>] A nice little load on my conscience! -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Abstractedly.</i>] You met my son when you came to my house this afternoon. -He told me. What did you feel? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Promptly.</i>] Pleasure. -</p> - -<p class="drama"> -RICHARD.<br/> -Nothing else? -</p> - -<p class="drama"> -ROBERT.<br/> -Nothing else. Unless I thought of two things at the same time. I am like that. -If my best friend lay in his coffin and his face had a comic expression I -should smile. [<i>With a little gesture of despair.</i>] I am like that. But I -should suffer too, deeply. -</p> - -<p class="drama"> -RICHARD.<br/> -You spoke of conscience... Did he seem to you a child only—or an angel? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Shakes his head.</i>] No. Neither an angel nor an Anglo-Saxon. Two things, -by the way, for which I have very little sympathy. -</p> - -<p class="drama"> -RICHARD.<br/> -Never then? Never even... with her? Tell me. I wish to know. -</p> - -<p class="drama"> -ROBERT.<br/> -I feel in my heart something different. I believe that on the last day (if it -ever comes), when we are all assembled together, that the Almighty will speak -to us like this. We will say that we lived chastely with one other creature... -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Bitterly.</i>] Lie to Him? -</p> - -<p class="drama"> -ROBERT.<br/> -Or that we tried to. And He will say to us: Fools! Who told you that you were -to give yourselves to one being only? You were made to give yourselves to many -freely. I wrote that law with My finger on your hearts. -</p> - -<p class="drama"> -RICHARD.<br/> -On woman’s heart, too? -</p> - -<p class="drama"> -ROBERT.<br/> -Yes. Can we close our heart against an affection which we feel deeply? Should -we close it? Should she? -</p> - -<p class="drama"> -RICHARD.<br/> -We are speaking of bodily union. -</p> - -<p class="drama"> -ROBERT.<br/> -Affection between man and woman must come to that. We think too much of it -because our minds are warped. For us today it is of no more consequence than -any other form of contact—than a kiss. -</p> - -<p class="drama"> -RICHARD.<br/> -If it is of no consequence why are you dissatisfied till you reach that end? -Why were you waiting here tonight? -</p> - -<p class="drama"> -ROBERT.<br/> -Passion tends to go as far as it can; but, you may believe me or not, I had not -that in my mind—to reach that end. -</p> - -<p class="drama"> -RICHARD.<br/> -Reach it if you can. I will use no arm against you that the world puts in my -hand. If the law which God’s finger has written on our hearts is the law you -say I too am God’s creature. -</p> - -<p class="drama"> -[<i>He rises and paces to and fro some moments in silence. Then he goes towards -the porch and leans against the jamb. <span class="charname">Robert</span> -watches him.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -I always felt it. In myself and in others. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Absently.</i>] Yes? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>With a vague gesture.</i>] For all. That a woman, too, has the right to try -with many men until she finds love. An immoral idea, is it not? I wanted to -write a book about it. I began it... -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>As before.</i>] Yes? -</p> - -<p class="drama"> -ROBERT.<br/> -Because I knew a woman who seemed to me to be doing that—carrying out that idea -in her own life. She interested me very much. -</p> - -<p class="drama"> -RICHARD.<br/> -When was this? -</p> - -<p class="drama"> -ROBERT.<br/> -O, not lately. When you were away. -</p> - -<p class="drama"> -[<i><span class="charname">Richard</span> leaves his place rather abruptly and -again paces to and fro.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -You see, I am more honest than you thought. -</p> - -<p class="drama"> -RICHARD.<br/> -I wish you had not thought of her now—whoever she was, or is. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Easily.</i>] She was and is the wife of a stockbroker. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Turning.</i>] You know him? -</p> - -<p class="drama"> -ROBERT.<br/> -Intimately. -</p> - -<p class="drama"> -[<i><span class="charname">Richard</span> sits down again in the same place and -leans forward, his head on his hands.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Moving his chair a little closer.</i>] May I ask you a question? -</p> - -<p class="drama"> -RICHARD.<br/> -You may. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>With some hesitation.</i>] Has it never happened to you in these years—I -mean when you were away from her, perhaps, or travelling—to... betray her with -another. Betray her, I mean, not in love. Carnally, I mean... Has that never -happened? -</p> - -<p class="drama"> -RICHARD.<br/> -It has. -</p> - -<p class="drama"> -ROBERT.<br/> -And what did you do? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>As before.</i>] I remember the first time. I came home. It was night. My -house was silent. My little son was sleeping in his cot. She, too, was asleep. -I wakened her from sleep and told her. I cried beside her bed; and I pierced -her heart. -</p> - -<p class="drama"> -ROBERT.<br/> -O, Richard, why did you do that? -</p> - -<p class="drama"> -RICHARD.<br/> -Betray her? -</p> - -<p class="drama"> -ROBERT.<br/> -No. But tell her, waken her from sleep to tell her. It was piercing her heart. -</p> - -<p class="drama"> -RICHARD.<br/> -She must know me as I am. -</p> - -<p class="drama"> -ROBERT.<br/> -But that is not you as you are. A moment of weakness. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Lost in thought.</i>] And I was feeding the flame of her innocence with my -guilt. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Brusquely.</i>] O, don’t talk of guilt and innocence. You have made her all -that she is. A strange and wonderful personality—in my eyes, at least. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Darkly.</i>] Or I have killed her. -</p> - -<p class="drama"> -ROBERT.<br/> -Killed her? -</p> - -<p class="drama"> -RICHARD.<br/> -The virginity of her soul. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Impatiently.</i>] Well lost! What would she be without you? -</p> - -<p class="drama"> -RICHARD.<br/> -I tried to give her a new life. -</p> - -<p class="drama"> -ROBERT.<br/> -And you have. A new and rich life. -</p> - -<p class="drama"> -RICHARD.<br/> -Is it worth what I have taken from her—her girlhood, her laughter, her young -beauty, the hopes in her young heart? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Firmly.</i>] Yes. Well worth it. [<i>He looks at <span -class="charname">Richard</span> for some moments in silence.</i>] If you had -neglected her, lived wildly, brought her away so far only to make her suffer... -</p> - -<p class="drama"> -[<i>He stops. <span class="charname">Richard</span> raises his head and looks at -him.</i>] -</p> - -<p class="drama"> -RICHARD.<br/> -If I had? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Slightly confused.</i>] You know there were rumours here of your life -abroad—a wild life. Some persons who knew you or met you or heard of you in -Rome. Lying rumours. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Coldly.</i>] Continue. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Laughs a little harshly.</i>] Even I at times thought of her as a victim. -[<i>Smoothly.</i>] And of course, Richard, I felt and knew all the time that -you were a man of great talent—of something more than talent. And that was your -excuse—a valid one in my eyes. -</p> - -<p class="drama"> -RICHARD.<br/> -Have you thought that it is perhaps now—at this moment—that I am neglecting -her? [<i>He clasps his hands nervously and leans across toward -<span class="charname">Robert</span>.</i>] I may be silent still. And she may -yield to you at last—wholly and many times. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Draws back at once.</i>] My dear Richard, my dear friend, I swear to you I -could not make you suffer. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Continuing.</i>] You may then know in soul and body, in a hundred forms, -and ever restlessly, what some old theologian, Duns Scotus, I think, called a -death of the spirit. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Eagerly.</i>] A death. No; its affirmation! A death! The supreme instant of -life from which all coming life proceeds, the eternal law of nature herself. -</p> - -<p class="drama"> -RICHARD.<br/> -And that other law of nature, as you call it: change. How will it be when you -turn against her and against me; when her beauty, or what seems so to you now, -wearies you and my affection for you seems false and odious? -</p> - -<p class="drama"> -ROBERT.<br/> -That will never be. Never. -</p> - -<p class="drama"> -RICHARD.<br/> -And you turn even against yourself for having known me or trafficked with us -both? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Gravely.</i>] It will never be like that, Richard. Be sure of that. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Contemptuously.</i>] I care very little whether it is or not because there -is something I fear much more. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Shakes his head.</i>] You fear? I disbelieve you, Richard. Since we were -boys together I have followed your mind. You do not know what moral fear is. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Lays his hand on his arm.</i>] Listen. She is dead. She lies on my bed. I -look at her body which I betrayed—grossly and many times. And loved, too, and -wept over. And I know that her body was always my loyal slave. To me, to me -only she gave... [<i>He breaks off and turns aside, unable to speak.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Softly.</i>] Do not suffer, Richard. There is no need. She is loyal to you, -body and soul. Why do you fear? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Turns towards him, almost fiercely.</i>] Not that fear. But that I will -reproach myself then for having taken all for myself because I would not suffer -her to give to another what was hers and not mine to give, because I accepted -from her her loyalty and made her life poorer in love. That is my fear. That I -stand between her and any moments of life that should be hers, between her and -you, between her and anyone, between her and anything. I will not do it. I -cannot and I will not. I dare not. -</p> - -<p class="drama"> -[<i>He leans back in his chair breathless, with shining eyes. -<span class="charname">Robert</span> rises quietly, and stands behind his -chair.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -Look here, Richard. We have said all there is to be said. Let the past be past. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Quickly and harshly.</i>] Wait. One thing more. For you, too, must know me -as I am—now. -</p> - -<p class="drama"> -ROBERT.<br/> -More? Is there more? -</p> - -<p class="drama"> -RICHARD.<br/> -I told you that when I saw your eyes this afternoon I felt sad. Your humility -and confusion, I felt, united you to me in brotherhood. [<i>He turns half round -towards him.</i>] At that moment I felt our whole life together in the past, -and I longed to put my arm around your neck. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Deeply and suddenly touched.</i>] It is noble of you, Richard, to forgive -me like this. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Struggling with himself.</i>] I told you that I wished you not to do -anything false and secret against me—against our friendship, against her; not -to steal her from me craftily, secretly, meanly—in the dark, in the night—you, -Robert, my friend. -</p> - -<p class="drama"> -ROBERT.<br/> -I know. And it was noble of you. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Looks up at him with a steady gaze.</i>] No. Not noble. Ignoble. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Makes an involuntary gesture.</i>] How? Why? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Looks away again: in a lower voice.</i>] That is what I must tell you too. -Because in the very core of my ignoble heart I longed to be betrayed by you and -by her—in the dark, in the night—secretly, meanly, craftily. By you, my best -friend, and by her. I longed for that passionately and ignobly, to be -dishonoured for ever in love and in lust, to be... -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Bending down, places his hands over <span class="charname">Richard’s</span> -mouth.</i>] Enough. Enough. [<i>He takes his hands away.</i>] But no. Go on. -</p> - -<p class="drama"> -RICHARD.<br/> -To be for ever a shameful creature and to build up my soul again out of the -ruins of its shame. -</p> - -<p class="drama"> -ROBERT.<br/> -And that is why you wished that she... -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>With calm.</i>] She has spoken always of her innocence, as I have spoken -always of my guilt, humbling me. -</p> - -<p class="drama"> -ROBERT.<br/> -From pride, then? -</p> - -<p class="drama"> -RICHARD.<br/> -From pride and from ignoble longing. And from a motive deeper still. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>With decision.</i>] I understand you. -</p> - -<p class="drama"> -[<i>He returns to his place and begins to speak at once, drawing his chair -closer.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -May it not be that we are here and now in the presence of a moment which will -free us both—me as well as you—from the last bonds of what is called morality. -My friendship for you has laid bonds on me. -</p> - -<p class="drama"> -RICHARD.<br/> -Light bonds, apparently. -</p> - -<p class="drama"> -ROBERT.<br/> -I acted in the dark, secretly. I will do so no longer. Have you the courage to -allow me to act freely? -</p> - -<p class="drama"> -RICHARD.<br/> -A duel—between us? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>With growing excitement.</i>] A battle of both our souls, different as they -are, against all that is false in them and in the world. A battle of your soul -against the spectre of fidelity, of mine against the spectre of friendship. All -life is a conquest, the victory of human passion over the commandments of -cowardice. Will you, Richard? Have you the courage? Even if it shatters to -atoms the friendship between us, even if it breaks up for ever the last -illusion in your own life? There was an eternity before we were born: another -will come after we are dead. The blinding instant of passion alone—passion, -free, unashamed, irresistible—that is the only gate by which we can escape from -the misery of what slaves call life. Is not this the language of your own youth -that I heard so often from you in this very place where we are sitting now? -Have you changed? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Passes his hand across his brow.</i>] Yes. It is the language of my youth. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Eagerly, intensely.</i>] Richard, you have driven me up to this point. She -and I have only obeyed your will. You yourself have roused these words in my -brain. Your own words. Shall we? Freely? Together? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Mastering his emotion.</i>] Together no. Fight your part alone. I will not -free you. Leave me to fight mine. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Rises, decided.</i>] You allow me, then? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Rises also, calmly.</i>] Free yourself. -</p> - -<p class="drama"> -[<i>A knock is heard at the hall door.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>In alarm.</i>] What does this mean? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Calmly.</i>] Bertha, evidently. Did you not ask her to come? -</p> - -<p class="drama"> -ROBERT.<br/> -Yes, but... [<i>Looking about him.</i>] Then I am going, Richard. -</p> - -<p class="drama"> -RICHARD.<br/> -No. I am going. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Desperately.</i>] Richard, I appeal to you. Let me go. It is over. She is -yours. Keep her and forgive me, both of you. -</p> - -<p class="drama"> -RICHARD.<br/> -Because you are generous enough to allow me? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Hotly.</i>] Richard, you will make me angry with you if you say that. -</p> - -<p class="drama"> -RICHARD.<br/> -Angry or not, I will not live on your generosity. You have asked her to meet -you here tonight and alone. Solve the question between you. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Promptly.</i>] Open the door. I shall wait in the garden. [<i>He goes -towards the porch.</i>] Explain to her, Richard, as best you can. I cannot see -her now. -</p> - -<p class="drama"> -RICHARD.<br/> -I shall go. I tell you. Wait out there if you wish. -</p> - -<p class="drama"> -[<i>He goes out by the door on the right. <span class="charname">Robert</span> -goes out hastily through the porch but comes back the same instant.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -An umbrella! [<i>With a sudden gesture.</i>] O! -</p> - -<p class="drama"> -[<i>He goes out again through the porch. The hall door is heard to open and -close. <span class="charname">Richard</span> enters, followed by -<span class="charname">Bertha</span>, who is dressed in a darkbrown costume and -wears a small dark red hat. She has neither umbrella nor waterproof.</i>] -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Gaily.</i>] Welcome back to old Ireland! -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Nervously, seriously.</i>] Is this the place? -</p> - -<p class="drama"> -RICHARD.<br/> -Yes, it is. How did you find it? -</p> - -<p class="drama"> -BERTHA.<br/> -I told the cabman. I didn’t like to ask my way. [<i>Looking about her -curiously.</i>] Was he not waiting? Has he gone away? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Points towards the garden.</i>] He is waiting. Out there. He was waiting -when I came. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Selfpossessed again.</i>] You see, you came after all. -</p> - -<p class="drama"> -RICHARD.<br/> -Did you think I would not? -</p> - -<p class="drama"> -BERTHA.<br/> -I knew you could not remain away. You see, after all you are like all other -men. You had to come. You are jealous like the others. -</p> - -<p class="drama"> -RICHARD.<br/> -You seem annoyed to find me here. -</p> - -<p class="drama"> -BERTHA.<br/> -What happened between you? -</p> - -<p class="drama"> -RICHARD.<br/> -I told him I knew everything, that I had known for a long time. He asked how. I -said from you. -</p> - -<p class="drama"> -BERTHA.<br/> -Does he hate me? -</p> - -<p class="drama"> -RICHARD.<br/> -I cannot read in his heart. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Sits down helplessly.</i>] Yes. He hates me. He believes I made a fool of -him—betrayed him. I knew he would. -</p> - -<p class="drama"> -RICHARD.<br/> -I told him you were sincere with him. -</p> - -<p class="drama"> -BERTHA.<br/> -He does not believe it. Nobody would believe it. I should have told him -first—not you. -</p> - -<p class="drama"> -RICHARD.<br/> -I thought he was a common robber, prepared to use even violence against you. I -had to protect you from that. -</p> - -<p class="drama"> -BERTHA.<br/> -That I could have done myself. -</p> - -<p class="drama"> -RICHARD.<br/> -Are you sure? -</p> - -<p class="drama"> -BERTHA.<br/> -It would have been enough to have told him that you knew I was here. Now I can -find out nothing. He hates me. He is right to hate me. I have treated him -badly, shamefully. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Takes her hand.</i>] Bertha, look at me. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Turns to him.</i>] Well? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Gazes into her eyes and then lets her hand fall.</i>] I cannot read in your -heart either. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Still looking at him.</i>] You could not remain away. Do you not trust me? -You can see I am quite calm. I could have hidden it all from you. -</p> - -<p class="drama"> -RICHARD.<br/> -I doubt that. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>With a slight toss of her head.</i>] O, easily if I had wanted to. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Darkly.</i>] Perhaps you are sorry now that you did not. -</p> - -<p class="drama"> -BERTHA.<br/> -Perhaps I am. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Unpleasantly.</i>] What a fool you were to tell me! It would have been so -nice if you had kept it secret. -</p> - -<p class="drama"> -BERTHA.<br/> -As you do, no? -</p> - -<p class="drama"> -RICHARD.<br/> -As I do, yes. [<i>He turns to go.</i>] Goodbye for a while. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Alarmed, rises.</i>] Are you going? -</p> - -<p class="drama"> -RICHARD.<br/> -Naturally. My part is ended here. -</p> - -<p class="drama"> -BERTHA.<br/> -To her, I suppose? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Astonished.</i>] Who? -</p> - -<p class="drama"> -BERTHA.<br/> -Her ladyship. I suppose it is all planned so that you may have a good -opportunity. To meet her and have an intellectual conversation! -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>With an outburst of rude anger.</i>] To meet the devil’s father! -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Unpins her hat and sits down.</i>] Very well. You can go. Now I know what -to do. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Returns, approaches her.</i>] You don’t believe a word of what you say. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Calmly.</i>] You can go. Why don’t you? -</p> - -<p class="drama"> -RICHARD.<br/> -Then you have come here and led him on in this way on account of me. Is that -how it is? -</p> - -<p class="drama"> -BERTHA.<br/> -There is one person in all this who is not a fool. And that is you. I am -though. And he is. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Continuing.</i>] If so you have indeed treated him badly and shamefully. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Points at him.</i>] Yes. But it was your fault. And I will end it now. I am -simply a tool for you. You have no respect for me. You never had because I did -what I did. -</p> - -<p class="drama"> -RICHARD.<br/> -And has he respect? -</p> - -<p class="drama"> -BERTHA.<br/> -He has. Of all the persons I met since I came back he is the only one who has. -And he knows what they only suspect. And that is why I liked him from the first -and like him still. Great respect for me she has! Why did you not ask her to -come away with you nine years ago? -</p> - -<p class="drama"> -RICHARD.<br/> -You know why, Bertha. Ask yourself. -</p> - -<p class="drama"> -BERTHA.<br/> -Yes, I know why. You knew the answer you would get. That is why. -</p> - -<p class="drama"> -RICHARD.<br/> -That is not why. I did not even ask you. -</p> - -<p class="drama"> -BERTHA.<br/> -Yes. You knew I would go, asked or not. I do things. But if I do one thing I -can do two things. As I have the name I can have the gains. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>With increasing excitement.</i>] Bertha, I accept what is to be. I have -trusted you. I will trust you still. -</p> - -<p class="drama"> -BERTHA.<br/> -To have that against me. To leave me then. [<i>Almost passionately.</i>] Why do -you not defend me then against him? Why do you go away from me now without a -word? Dick, my God, tell me what you wish me to do? -</p> - -<p class="drama"> -RICHARD.<br/> -I cannot, dear. [<i>Struggling with himself.</i>] Your own heart will tell you. -[<i>He seizes both her hands.</i>] I have a wild delight in my soul, Bertha, as -I look at you. I see you as you are yourself. That I came first in your life or -before him then—that may be nothing to you. You may be his more than mine. -</p> - -<p class="drama"> -BERTHA.<br/> -I am not. Only I feel for him, too. -</p> - -<p class="drama"> -RICHARD.<br/> -And I do too. You may be his and mine. I will trust you, Bertha, and him too. I -must. I cannot hate him since his arms have been around you. You have drawn us -near together. There is something wiser than wisdom in your heart. Who am I -that I should call myself master of your heart or of any woman’s? Bertha, love -him, be his, give yourself to him if you desire—or if you can. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Dreamily.</i>] I will remain. -</p> - -<p class="drama"> -RICHARD.<br/> -Goodbye. -</p> - -<p class="drama"> -[<i>He lets her hand fall and goes out rapidly on the right. -<span class="charname">Bertha</span> remains sitting. Then she rises and goes -timidly towards the porch. She stops near it and, after a little hesitation, -calls into the garden.</i>] -</p> - -<p class="drama"> -BERTHA.<br/> -Is anyone out there? -</p> - -<p class="drama"> -[<i>At the same time she retreats towards the middle of the room. Then she -calls again in the same way.</i>] -</p> - -<p class="drama"> -BERTHA.<br/> -Is anyone there? -</p> - -<p class="drama"> -[<i><span class="charname">Robert</span> appears in the open doorway that leads -in from the garden. His coat is buttoned and the collar is turned up. He holds -the doorposts with his hands lightly and waits for -<span class="charname">Bertha</span> to see him.</i>] -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Catching sight of him, starts back: then, quickly.</i>] Robert! -</p> - -<p class="drama"> -ROBERT.<br/> -Are you alone? -</p> - -<p class="drama"> -BERTHA.<br/> -Yes. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Looking towards the door on the right.</i>] Where is he? -</p> - -<p class="drama"> -BERTHA.<br/> -Gone. [<i>Nervously.</i>] You startled me. Where did you come from? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>With a movement of his head.</i>] Out there. Did he not tell you I was out -there—waiting? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Quickly.</i>] Yes, he told me. But I was afraid here alone. With the door -open, waiting. [<i>She comes to the table and rests her hand on the -corner.</i>] Why do you stand like that in the doorway? -</p> - -<p class="drama"> -ROBERT.<br/> -Why? I am afraid too. -</p> - -<p class="drama"> -BERTHA.<br/> -Of what? -</p> - -<p class="drama"> -ROBERT.<br/> -Of you. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Looks down.</i>] Do you hate me now? -</p> - -<p class="drama"> -ROBERT.<br/> -I fear you. [<i>Clasping his hands at his back, quietly but a little -defiantly.</i>] I fear a new torture—a new trap. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>As before.</i>] For what do you blame me? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Comes forward a few steps, halts: then impulsively:</i>] Why did you lead -me on? Day after day, more and more. Why did you not stop me? You could -have—with a word. But not even a word! I forgot myself and him. You saw it. -That I was ruining myself in his eyes, losing his friendship. Did you want me -to? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Looking up.</i>] You never asked me. -</p> - -<p class="drama"> -ROBERT.<br/> -Asked you what? -</p> - -<p class="drama"> -BERTHA.<br/> -If he suspected—or knew. -</p> - -<p class="drama"> -ROBERT.<br/> -And would you have told me? -</p> - -<p class="drama"> -BERTHA.<br/> -Yes. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Hesitatingly.</i>] Did you tell him—everything? -</p> - -<p class="drama"> -BERTHA.<br/> -I did. -</p> - -<p class="drama"> -ROBERT.<br/> -I mean—details. -</p> - -<p class="drama"> -BERTHA.<br/> -Everything. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>With a forced smile.</i>] I see. You were making an experiment for his -sake. On me. Well, why not? It seems I was a good subject. Still, it was a -little cruel of you. -</p> - -<p class="drama"> -BERTHA.<br/> -Try to understand me, Robert. You must try. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>With a polite gesture.</i>] Well, I will try. -</p> - -<p class="drama"> -BERTHA.<br/> -Why do you stand like that near the door? It makes me nervous to look at you. -</p> - -<p class="drama"> -ROBERT.<br/> -I am trying to understand. And then I am afraid. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Holds out her hand.</i>] You need not be afraid. -</p> - -<p class="drama"> -[<i><span class="charname">Robert</span> comes towards her quickly and takes her -hand.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Diffidently.</i>] Used you to laugh over me—together? [<i>Drawing his hand -away.</i>] But now I must be good or you may laugh over me again—tonight. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Distressed, lays her hand on his arm.</i>] Please listen to me, Robert... -But you are all wet, drenched! [<i>She passes her hands over his coat.</i>] O, -you poor fellow! Out there in the rain all that time! I forgot that. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Laughs.</i>] Yes, you forgot the climate. -</p> - -<p class="drama"> -BERTHA.<br/> -But you are really drenched. You must change your coat. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Takes her hands.</i>] Tell me, it is pity then that you feel for me, as -he—as Richard—says? -</p> - -<p class="drama"> -BERTHA.<br/> -Please change your coat, Robert, when I ask you. You might get a very bad cold -from that. Do, please. -</p> - -<p class="drama"> -ROBERT.<br/> -What would it matter now? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Looking round her.</i>] Where do you keep your clothes here? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Points to the door at the back.</i>] In there. I fancy I have a jacket -here. [<i>Maliciously.</i>] In my bedroom. -</p> - -<p class="drama"> -BERTHA.<br/> -Well, go in and take that off. -</p> - -<p class="drama"> -ROBERT.<br/> -And you? -</p> - -<p class="drama"> -BERTHA.<br/> -I will wait here for you. -</p> - -<p class="drama"> -ROBERT.<br/> -Do you command me to? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Laughing.</i>] Yes, I command you. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Promptly.</i>] Then I will. [<i>He goes quickly towards the bedroom door; -then turns round.</i>] You won’t go away? -</p> - -<p class="drama"> -BERTHA.<br/> -No, I will wait. But don’t be long. -</p> - -<p class="drama"> -ROBERT.<br/> -Only a moment. -</p> - -<p class="drama"> -[<i>He goes into the bedroom, leaving the door open. -<span class="charname">Bertha</span> looks curiously about her and then glances -in indecision towards the door at the back.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>From the bedroom.</i>] You have not gone? -</p> - -<p class="drama"> -BERTHA.<br/> -No. -</p> - -<p class="drama"> -ROBERT.<br/> -I am in the dark here. I must light the lamp. -</p> - -<p class="drama"> -[<i>He is heard striking a match, and putting a glass shade on a lamp. A pink -light comes in through the doorway. <span class="charname">Bertha</span> -glances at her watch at her wristlet and then sits at the table.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>As before.</i>] Do you like the effect of the light? -</p> - -<p class="drama"> -BERTHA.<br/> -O, yes. -</p> - -<p class="drama"> -ROBERT.<br/> -Can you admire it from where you are? -</p> - -<p class="drama"> -BERTHA.<br/> -Yes, quite well. -</p> - -<p class="drama"> -ROBERT.<br/> -It was for you. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Confused.</i>] I am not worthy even of that. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Clearly, harshly.</i>] Love’s labour lost. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Rising nervously.</i>] Robert! -</p> - -<p class="drama"> -ROBERT.<br/> -Yes? -</p> - -<p class="drama"> -BERTHA.<br/> -Come here, quickly! Quickly, I say! -</p> - -<p class="drama"> -ROBERT.<br/> -I am ready. -</p> - -<p class="drama"> -[<i>He appears in the doorway, wearing a darkgreen velvet jacket. Seeing her -agitation, he comes quickly towards her.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -What is it, Bertha? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Trembling.</i>] I was afraid. -</p> - -<p class="drama"> -ROBERT.<br/> -Of being alone? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Catches his hands.</i>] You know what I mean. My nerves are all upset. -</p> - -<p class="drama"> -ROBERT.<br/> -That I...? -</p> - -<p class="drama"> -BERTHA.<br/> -Promise me, Robert, not to think of such a thing. Never. If you like me at all. -I thought that moment... -</p> - -<p class="drama"> -ROBERT.<br/> -What an idea? -</p> - -<p class="drama"> -BERTHA.<br/> -But promise me if you like me. -</p> - -<p class="drama"> -ROBERT.<br/> -If I like you, Bertha! I promise. Of course, I promise. You are trembling all -over. -</p> - -<p class="drama"> -BERTHA.<br/> -Let me sit down somewhere. It will pass in a moment. -</p> - -<p class="drama"> -ROBERT.<br/> -My poor Bertha! Sit down. Come. -</p> - -<p class="drama"> -[<i>He leads her towards a chair near the table. She sits down. He stands -beside her.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>After a short pause.</i>] Has it passed? -</p> - -<p class="drama"> -BERTHA.<br/> -Yes. It was only for a moment. I was very silly. I was afraid that... I wanted -to see you near me. -</p> - -<p class="drama"> -ROBERT.<br/> -That... that you made me promise not to think of? -</p> - -<p class="drama"> -BERTHA.<br/> -Yes. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Keenly.</i>] Or something else? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Helplessly.</i>] Robert, I feared something. I am not sure what. -</p> - -<p class="drama"> -ROBERT.<br/> -And now? -</p> - -<p class="drama"> -BERTHA.<br/> -Now you are here. I can see you. Now it has passed. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>With resignation.</i>] Passed. Yes. Love’s labour lost. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Looks up at him.</i>] Listen, Robert. I want to explain to you about that. -I could not deceive Dick. Never. In nothing. I told him everything—from the -first. Then it went on and on; and still you never spoke or asked me. I wanted -you to. -</p> - -<p class="drama"> -ROBERT.<br/> -Is that the truth, Bertha? -</p> - -<p class="drama"> -BERTHA.<br/> -Yes, because it annoyed me that you could think I was like... like the other -women I suppose you knew that way. I think that Dick is right too. Why should -there be secrets? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Softly.</i>] Still, secrets can be very sweet. Can they not? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Smiles.</i>] Yes, I know they can. But, you see, I could not keep things -secret from Dick. Besides, what is the good? They always come out in the end. -Is it not better for people to know? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Softly and a little shyly.</i>] How could you, Bertha, tell him everything? -Did you? Every single thing that passed between us? -</p> - -<p class="drama"> -BERTHA.<br/> -Yes. Everything he asked me. -</p> - -<p class="drama"> -ROBERT.<br/> -Did he ask you—much? -</p> - -<p class="drama"> -BERTHA.<br/> -You know the kind he is. He asks about everything. The ins and outs. -</p> - -<p class="drama"> -ROBERT.<br/> -About our kissing, too? -</p> - -<p class="drama"> -BERTHA.<br/> -Of course. I told him all. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Shakes his head slowly.</i>] Extraordinary little person! Were you not -ashamed? -</p> - -<p class="drama"> -BERTHA.<br/> -No. -</p> - -<p class="drama"> -ROBERT.<br/> -Not a bit? -</p> - -<p class="drama"> -BERTHA.<br/> -No. Why? Is that terrible? -</p> - -<p class="drama"> -ROBERT.<br/> -And how did he take it? Tell me. I want to know everything, too. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Laughs.</i>] It excited him. More than usual. -</p> - -<p class="drama"> -ROBERT.<br/> -Why? Is he excitable—still? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Archly.</i>] Yes, very. When he is not lost in his philosophy. -</p> - -<p class="drama"> -ROBERT.<br/> -More than I? -</p> - -<p class="drama"> -BERTHA.<br/> -More than you? [<i>Reflecting.</i>] How could I answer that? You both are, I -suppose? -</p> - -<p class="drama"> -[<i><span class="charname">Robert</span> turns aside and gazes towards the -porch, passing his hand once or twice thoughtfully over his hair.</i>] -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Gently.</i>] Are you angry with me again? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Moodily.</i>] You are with me. -</p> - -<p class="drama"> -BERTHA.<br/> -No, Robert. Why should I be? -</p> - -<p class="drama"> -ROBERT.<br/> -Because I asked you to come to this place. I tried to prepare it for you. -[<i>He points vaguely here and there.</i>] A sense of quietness. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Touching his jacket with her fingers.</i>] And this, too. Your nice velvet -coat. -</p> - -<p class="drama"> -ROBERT.<br/> -Also. I will keep no secrets from you. -</p> - -<p class="drama"> -BERTHA.<br/> -You remind me of someone in a picture. I like you in it... But you are not -angry, are you? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Darkly.</i>] Yes. That was my mistake. To ask you to come here. I felt it -when I looked at you from the garden and saw you—you, Bertha—standing here. -[<i>Hopelessly.</i>] But what else could I have done? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Quietly.</i>] You mean because others have been here? -</p> - -<p class="drama"> -ROBERT.<br/> -Yes. -</p> - -<p class="drama"> -[<i>He walks away from her a few paces. A gust of wind makes the lamp on the -table flicker. He lowers the wick slightly.</i>] -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Following him with her eyes.</i>] But I knew that before I came. I am not -angry with you for it. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Shrugs his shoulders.</i>] Why should you be angry with me after all? You -are not even angry with him—for the same thing—or worse. -</p> - -<p class="drama"> -BERTHA.<br/> -Did he tell you that about himself? -</p> - -<p class="drama"> -ROBERT.<br/> -Yes. He told me. We all confess to one another here. Turn about. -</p> - -<p class="drama"> -BERTHA.<br/> -I try to forget it. -</p> - -<p class="drama"> -ROBERT.<br/> -It does not trouble you? -</p> - -<p class="drama"> -BERTHA.<br/> -Not now. Only I dislike to think of it. -</p> - -<p class="drama"> -ROBERT.<br/> -It is merely something brutal, you think? Of little importance? -</p> - -<p class="drama"> -BERTHA.<br/> -It does not trouble me—now. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Looking at her over his shoulder.</i>] But there is something that would -trouble you very much and that you would not try to forget? -</p> - -<p class="drama"> -BERTHA.<br/> -What? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Turning towards her.</i>] If it were not only something brutal with this -person or that—for a few moments. If it were something fine and spiritual—with -one person only—with one woman. [<i>Smiles.</i>] And perhaps brutal too. It -usually comes to that sooner or later. Would you try to forget and forgive -that? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Toying with her wristlet.</i>] In whom? -</p> - -<p class="drama"> -ROBERT.<br/> -In anyone. In me. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Calmly.</i>] You mean in Dick. -</p> - -<p class="drama"> -ROBERT.<br/> -I said in myself. But would you? -</p> - -<p class="drama"> -BERTHA.<br/> -You think I would revenge myself? Is Dick not to be free too? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Points at her.</i>] That is not from your heart, Bertha. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Proudly.</i>] Yes, it is; let him be free too. He leaves me free also. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Insistently.</i>] And you know why? And understand? And you like it? And -you want to be? And it makes you happy? And has made you happy? Always? This -gift of freedom which he gave you—nine years ago? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Gazing at him with wide open eyes.</i>] But why do you ask me such a lot of -questions, Robert? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Stretches out both hands to her.</i>] Because I had another gift to offer -you then—a common simple gift—like myself. If you want to know it I will tell -you. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Looking at her watch.</i>] Past is past, Robert. And I think I ought to go -now. It is nine almost. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Impetuously.</i>] No, no. Not yet. There is one confession more and we have -the right to speak. -</p> - -<p class="drama"> -[<i>He crosses before the table rapidly and sits down beside her.</i>] -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Turning towards him, places her left hand on his shoulder.</i>] Yes, -Robert. I know that you like me. You need not tell me. [<i>Kindly.</i>] You -need not confess any more tonight. -</p> - -<p class="drama"> -[<i>A gust of wind enters through the porch, with a sound of moving leaves. The -lamp flickers quickly.</i>] -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Pointing over his shoulder.</i>] Look! It is too high. -</p> - -<p class="drama"> -[<i>Without rising, he bends towards the table, and turns down the wick more. -The room is half dark. The light comes in more strongly through the doorway of -the bedroom.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -The wind is rising. I will close that door. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Listening.</i>] No, it is raining still. It was only a gust of wind. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Touches her shoulder.</i>] Tell me if the air is too cold for you. [<i>Half -rising.</i>] I will close it. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Detaining him.</i>] No. I am not cold. Besides, I am going now, Robert. I -must. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Firmly.</i>] No, no. There is no <i>must</i> now. We were left here for -this. And you are wrong, Bertha. The past is not past. It is present here now. -My feeling for you is the same now as it was then, because then—you slighted -it. -</p> - -<p class="drama"> -BERTHA.<br/> -No, Robert. I did not. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Continuing.</i>] You did. And I have felt it all these years without -knowing it—till now. Even while I lived—the kind of life you know and dislike -to think of—the kind of life to which you condemned me. -</p> - -<p class="drama"> -BERTHA.<br/> -I? -</p> - -<p class="drama"> -ROBERT.<br/> -Yes, when you slighted the common simple gift I had to offer you—and took his -gift instead. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Looking at him.</i>] But you never... -</p> - -<p class="drama"> -ROBERT.<br/> -No. Because you had chosen him. I saw that. I saw it on the first night we met, -we three together. Why did you choose him? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Bends her head.</i>] Is that not love? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Continuing.</i>] And every night when we two—he and I—came to that corner -to meet you I saw it and felt it. You remember the corner, Bertha? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>As before.</i>] Yes. -</p> - -<p class="drama"> -ROBERT.<br/> -And when you and he went away for your walk and I went along the street alone I -felt it. And when he spoke to me about you and told me he was going away—then -most of all. -</p> - -<p class="drama"> -BERTHA.<br/> -Why then most of all? -</p> - -<p class="drama"> -ROBERT.<br/> -Because it was then that I was guilty of my first treason towards him. -</p> - -<p class="drama"> -BERTHA.<br/> -Robert, what are you saying? Your first treason against Dick? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Nods.</i>] And not my last. He spoke of you and himself. Of how your life -would be together—free and all that. Free, yes! He would not even ask you to go -with him. [<i>Bitterly.</i>] He did not. And you went all the same. -</p> - -<p class="drama"> -BERTHA.<br/> -I wanted to be with him. You know... [<i>Raising her head and looking at -him.</i>] You know how we were then—Dick and I. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Unheeding.</i>] I advised him to go alone—not to take you with him—to live -alone in order to see if what he felt for you was a passing thing which might -ruin your happiness and his career. -</p> - -<p class="drama"> -BERTHA.<br/> -Well, Robert. It was unkind of you towards me. But I forgive you because you -were thinking of his happiness and mine. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Bending closer to her.</i>] No, Bertha. I was not. And that was my treason. -I was thinking of myself—that you might turn from him when he had gone and he -from you. Then I would have offered you my gift. You know what it was now. The -simple common gift that men offer to women. Not the best perhaps. Best or -worst—it would have been yours. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Turning away from him.</i>] He did not take your advice. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>As before.</i>] No. And the night you ran away together—O, how happy I was! -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Pressing his hands.</i>] Keep calm, Robert. I know you liked me always. Why -did you not forget me? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Smiles bitterly.</i>] How happy I felt as I came back along the quays and -saw in the distance the boat lit up going down the black river, taking you away -from me! [<i>In a calmer tone.</i>] But why did you choose him? Did you not -like me at all? -</p> - -<p class="drama"> -BERTHA.<br/> -Yes. I liked you because you were his friend. We often spoke about you. Often -and often. Every time you wrote or sent papers or books to Dick. And I like you -still, Robert. [<i>Looking into his eyes.</i>] I never forgot you. -</p> - -<p class="drama"> -ROBERT.<br/> -Nor I you. I knew I would see you again. I knew it the night you went away—that -you would come back. And that was why I wrote and worked to see you again—here. -</p> - -<p class="drama"> -BERTHA.<br/> -And here I am. You were right. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Slowly.</i>] Nine years. Nine times more beautiful! -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Smiling.</i>] But am I? What do you see in me? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Gazing at her.</i>] A strange and beautiful lady. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Almost disgusted.</i>] O, please don’t call me such a thing! -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Earnestly.</i>] You are more. A young and beautiful queen. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>With a sudden laugh.</i>] O, Robert! -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Lowering his voice and bending nearer to her.</i>] But do you not know that -you are a beautiful human being? Do you not know that you have a beautiful -body? Beautiful and young? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Gravely.</i>] Some day I will be old. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Shakes his head.</i>] I cannot imagine it. Tonight you are young and -beautiful. Tonight you have come back to me. [<i>With passion.</i>] Who knows -what will be tomorrow? I may never see you again or never see you as I do now. -</p> - -<p class="drama"> -BERTHA.<br/> -Would you suffer? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Looks round the room, without answering.</i>] This room and this hour were -made for your coming. When you have gone—all is gone. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Anxiously.</i>] But you will see me again, Robert... as before. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Looks full at her.</i>] To make him—Richard—suffer. -</p> - -<p class="drama"> -BERTHA.<br/> -He does not suffer. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Bowing his head.</i>] Yes, yes. He does. -</p> - -<p class="drama"> -BERTHA.<br/> -He knows we like each other. Is there any harm, then? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Raising his head.</i>] No there is no harm. Why should we not? He does not -know yet what I feel. He has left us alone here at night, at this hour, because -he longs to know it—he longs to be delivered. -</p> - -<p class="drama"> -BERTHA.<br/> -From what? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Moves closer to her and presses her arm as he speaks.</i>] From every law, -Bertha, from every bond. All his life he has sought to deliver himself. Every -chain but one he has broken and that one we are to break. Bertha—you and I. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Almost inaudibly.</i>] Are you sure? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Still more warmly.</i>] I am sure that no law made by man is sacred before -the impulse of passion. [<i>Almost fiercely.</i>] Who made us for one only? It -is a crime against our own being if we are so. There is no law before impulse. -Laws are for slaves. Bertha, say my name! Let me hear your voice say it. -Softly! -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Softly.</i>] Robert! -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Puts his arm about her shoulder.</i>] Only the impulse towards youth and -beauty does not die. [<i>He points towards the porch.</i>] Listen! -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>In alarm.</i>] What? -</p> - -<p class="drama"> -ROBERT.<br/> -The rain falling. Summer rain on the earth. Night rain. The darkness and warmth -and flood of passion. Tonight the earth is loved—loved and possessed. Her -lover’s arms around her; and she is silent. Speak, dearest! -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Suddenly leans forward and listens intently.</i>] Hush! -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Listening, smiles.</i>] Nothing. Nobody. We are alone. -</p> - -<p class="drama"> -[<i>A gust of wind blows in through the porch, with a sound of shaken leaves. -The flame of the lamp leaps.</i>] -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Pointing to the lamp.</i>] Look! -</p> - -<p class="drama"> -ROBERT.<br/> -Only the wind. We have light enough from the other room. -</p> - -<p class="drama"> -[<i>He stretches his hand across the table and puts out the lamp. The light -from the doorway of the bedroom crosses the place where they sit. The room is -quite dark.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -Are you happy? Tell me. -</p> - -<p class="drama"> -BERTHA.<br/> -I am going now, Robert. It is very late. Be satisfied. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Caressing her hair.</i>] Not yet, not yet. Tell me, do you love me a -little? -</p> - -<p class="drama"> -BERTHA.<br/> -I like you, Robert. I think you are good. [<i>Half rising.</i>] Are you -satisfied? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Detaining her, kisses her hair.</i>] Do not go, Bertha! There is time -still. Do you love me too? I have waited a long time. Do you love us both—him -and also me? Do you, Bertha? The truth! Tell me. Tell me with your eyes. Or -speak! -</p> - -<p class="drama"> -[<i>She does not answer. In the silence the rain is heard falling.</i>] -</p> - -</div><!--end chapter--> - -<div class="chapter"> - -<h2><a name="actIII"></a><b>Third Act</b></h2> - -<p class="drama"> -<i>The drawingroom of Richard Rowan’s house at Merrion. The folding doors at -the right are closed and also the double doors leading to the garden. The green -plush curtains are drawn across the window on the left. The room is half dark. -It is early in the morning of the next day. Bertha sits beside the window -looking out between the curtains. She wears a loose saffron dressing gown. Her -hair is combed loosely over the ears and knotted at the neck. Her hands are -folded in her lap. Her face is pale and drawn.</i> -</p> - -<p class="drama"> -[<i><span class="charname">Brigid</span> comes in through the folding doors on -the right with a featherbroom and duster. She is about to cross but, seeing -<span class="charname">Bertha</span>, she halts suddenly and blesses herself -instinctively.</i>] -</p> - -<p class="drama"> -BRIGID.<br/> -Merciful hour, ma’am. You put the heart across me. Why did you get up so early? -</p> - -<p class="drama"> -BERTHA.<br/> -What time is it? -</p> - -<p class="drama"> -BRIGID.<br/> -After seven, ma’am. Are you long up? -</p> - -<p class="drama"> -BERTHA.<br/> -Some time. -</p> - -<p class="drama"> -BRIGID.<br/> -[<i>Approaching her.</i>] Had you a bad dream that woke you? -</p> - -<p class="drama"> -BERTHA.<br/> -I didn’t sleep all night. So I got up to see the sun rise. -</p> - -<p class="drama"> -BRIGID.<br/> -[<i>Opens the double doors.</i>] It’s a lovely morning now after all the rain -we had. [<i>Turns round.</i>] But you must be dead tired, ma’am. What will the -master say at your doing a thing like that? [<i>She goes to the door of the -study and knocks.</i>] Master Richard! -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Looks round.</i>] He is not there. He went out an hour ago. -</p> - -<p class="drama"> -BRIGID.<br/> -Out there, on the strand, is it? -</p> - -<p class="drama"> -BERTHA.<br/> -Yes. -</p> - -<p class="drama"> -BRIGID.<br/> -[<i>Comes towards her and leans over the back of a chair.</i>] Are you fretting -yourself, ma’am, about anything? -</p> - -<p class="drama"> -BERTHA.<br/> -No, Brigid. -</p> - -<p class="drama"> -BRIGID.<br/> -Don’t be. He was always like that, meandering off by himself somewhere. He is a -curious bird, Master Richard, and always was. Sure there isn’t a turn in him I -don’t know. Are you fretting now maybe because he does be in there [<i>pointing -to the study</i>] half the night at his books? Leave him alone. He’ll come back -to you again. Sure he thinks the sun shines out of your face, ma’am. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Sadly.</i>] That time is gone. -</p> - -<p class="drama"> -BRIGID.<br/> -[<i>Confidentially.</i>] And good cause I have to remember it—that time when he -was paying his addresses to you. [<i>She sits down beside <span -class="charname">Bertha</span>. In a lower voice.</i>] Do you know that he used -to tell me all about you and nothing to his mother, God rest her soul? Your -letters and all. -</p> - -<p class="drama"> -BERTHA.<br/> -What? My letters to him? -</p> - -<p class="drama"> -BRIGID.<br/> -[<i>Delighted.</i>] Yes. I can see him sitting on the kitchen table, swinging -his legs and spinning out of him yards of talk about you and him and Ireland -and all kinds of devilment—to an ignorant old woman like me. But that was -always his way. But if he had to meet a grand highup person he’d be twice as -grand himself. [<i>Suddenly looks at <span class="charname">Bertha</span>.</i>] -Is it crying you are now? Ah, sure, don’t cry. There’s good times coming still. -</p> - -<p class="drama"> -BERTHA.<br/> -No, Brigid, that time comes only once in a lifetime. The rest of life is good -for nothing except to remember that time. -</p> - -<p class="drama"> -BRIGID.<br/> -[<i>Is silent for a moment: then says kindly.</i>] Would you like a cup of tea, -ma’am? That would make you all right. -</p> - -<p class="drama"> -BERTHA.<br/> -Yes, I would. But the milkman has not come yet. -</p> - -<p class="drama"> -BRIGID.<br/> -No. Master Archie told me to wake him before he came. He’s going out for a -jaunt in the car. But I’ve a cup left overnight. I’ll have the kettle boiling -in a jiffy. Would you like a nice egg with it? -</p> - -<p class="drama"> -BERTHA.<br/> -No, thanks. -</p> - -<p class="drama"> -BRIGID.<br/> -Or a nice bit of toast? -</p> - -<p class="drama"> -BERTHA.<br/> -No, Brigid, thanks. Just a cup of tea. -</p> - -<p class="drama"> -BRIGID.<br/> -[<i>Crossing to the folding doors.</i>] I won’t be a moment. [<i>She stops, -turns back and goes towards the door on the left.</i>] But first I must waken -Master Archie or there’ll be ructions. -</p> - -<p class="drama"> -[<i>She goes out by the door on the left. After a few moments -<span class="charname">Bertha</span> rises and goes over to the study. She opens -the door wide and looks in. One can see a small untidy room with many -bookshelves and a large writingtable with papers and an extinguished lamp and -before it a padded chair. She remains standing for some time in the doorway, -then closes the door again without entering the room. She returns to her chair -by the window and sits down. <span class="charname">Archie</span>, dressed as -before, comes in by the door on the right, followed by -<span class="charname">Brigid</span>.</i>] -</p> - -<p class="drama"> -ARCHIE.<br/> -[<i>Comes to her and, putting up his face to be kissed, says:</i>] <i>Buon -giorno</i>, mamma! -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Kissing him.</i>] <i>Buon giorno</i>, Archie! [<i>To -<span class="charname">Brigid</span>.</i>] Did you put another vest on him under -that one? -</p> - -<p class="drama"> -BRIGID.<br/> -He wouldn’t let me, ma’am. -</p> - -<p class="drama"> -ARCHIE.<br/> -I’m not cold, mamma. -</p> - -<p class="drama"> -BERTHA.<br/> -I said you were to put it on, didn’t I? -</p> - -<p class="drama"> -ARCHIE.<br/> -But where is the cold? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Takes a comb from her head and combs his hair back at both sides.</i>] And -the sleep is in your eyes still. -</p> - -<p class="drama"> -BRIGID.<br/> -He went to bed immediately after you went out last night, ma’am. -</p> - -<p class="drama"> -ARCHIE.<br/> -You know he’s going to let me drive, mamma. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Replacing the comb in her hair, embraces him suddenly.</i>] O, what a big -man to drive a horse! -</p> - -<p class="drama"> -BRIGID.<br/> -Well, he’s daft on horses, anyhow. -</p> - -<p class="drama"> -ARCHIE.<br/> -[<i>Releasing himself.</i>] I’ll make him go quick. You will see from the -window, mamma. With the whip. [<i>He makes the gesture of cracking a whip and -shouts at the top of his voice.</i>] <i>Avanti!</i> -</p> - -<p class="drama"> -BRIGID.<br/> -Beat the poor horse, is it? -</p> - -<p class="drama"> -BERTHA.<br/> -Come here till I clean your mouth. [<i>She takes her handkerchief from the -pocket of her gown, wets it with her tongue and cleans his mouth.</i>] You’re -all smudges or something, dirty little creature you are. -</p> - -<p class="drama"> -ARCHIE.<br/> -[<i>Repeats, laughing.</i>] Smudges! What is smudges? -</p> - -<p class="drama"> -[<i>The noise is heard of a milkcan rattled on the railings before the -window.</i>] -</p> - -<p class="drama"> -BRIGID.<br/> -[<i>Draws aside the curtains and looks out.</i>] Here he is! -</p> - -<p class="drama"> -ARCHIE.<br/> -[<i>Rapidly.</i>] Wait. I’m ready. Goodbye, mamma! [<i>He kisses her hastily -and turns to go.</i>] Is pappie up? -</p> - -<p class="drama"> -BRIGID.<br/> -[<i>Takes him by the arm.</i>] Come on with you now. -</p> - -<p class="drama"> -BERTHA.<br/> -Mind yourself, Archie, and don’t be long or I won’t let you go any more. -</p> - -<p class="drama"> -ARCHIE.<br/> -All right. Look out of the window and you’ll see me. Goodbye. -</p> - -<p class="drama"> -[<i><span class="charname">Brigid</span> and <span -class="charname">Archie</span> go out by the door on the left. <span -class="charname">Bertha</span> stands up and, drawing aside the curtains still -more, stands in the embrasure of the window looking out. The hall door is heard -opening: then a slight noise of voices and cans is heard. The door is closed. -After a moment or two <span class="charname">Bertha</span> is seen waving her -hand gaily in a salute. <span class="charname">Brigid</span> enters and stands -behind her, looking over her shoulder.</i>] -</p> - -<p class="drama"> -BRIGID.<br/> -Look at the sit of him! As serious as you like. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Suddenly withdrawing from her post.</i>] Stand out of the window. I don’t -want to be seen. -</p> - -<p class="drama"> -BRIGID.<br/> -Why, ma’am, what is it? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Crossing towards the folding doors.</i>] Say I’m not up, that I’m not well. -I can’t see anyone. -</p> - -<p class="drama"> -BRIGID.<br/> -[<i>Follows her.</i>] Who is it, ma’am? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Halting.</i>] Wait a moment. -</p> - -<p class="drama"> -[<i>She listens. A knock is heard at the hall door.</i>] -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Stands a moment in doubt, then.</i>] No, say I’m in. -</p> - -<p class="drama"> -BRIGID.<br/> -[<i>In doubt.</i>] Here? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Hurriedly.</i>] Yes. Say I have just got up. -</p> - -<p class="drama"> -[<i><span class="charname">Brigid</span> goes out on the left. -<span class="charname">Bertha</span> goes towards the double doors and fingers -the curtains nervously, as if settling them. The hall door is heard to open. -Then <span class="charname">Beatrice Justice</span> enters and, as -<span class="charname">Bertha</span> does not turn at once, stands in hesitation -near the door on the left. She is dressed as before and has a newspaper in her -hand.</i>] -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Advances rapidly.</i>] Mrs Rowan, excuse me for coming at such an hour. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Turns.</i>] Good morning, Miss Justice. [<i>She comes towards her.</i>] Is -anything the matter? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Nervously.</i>] I don’t know. That is what I wanted to ask you. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Looks curiously at her.</i>] You are out of breath. Won’t you sit down? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Sitting down.</i>] Thank you. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Sits opposite her, pointing to her paper.</i>] Is there something in the -paper? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Laughs nervously: opens the paper.</i>] Yes. -</p> - -<p class="drama"> -BERTHA.<br/> -About Dick? -</p> - -<p class="drama"> -BEATRICE.<br/> -Yes. Here it is. A long article, a leading article, by my cousin. All his life -is here. Do you wish to see it? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Takes the paper, and opens it.</i>] Where is it? -</p> - -<p class="drama"> -BEATRICE.<br/> -In the middle. It is headed: <i>A Distinguished Irishman.</i> -</p> - -<p class="drama"> -BERTHA.<br/> -Is it... for Dick or against him? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Warmly.</i>] O, for him! You can read what he says about Mr Rowan. And I -know that Robert stayed in town very late last night to write it. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Nervously.</i>] Yes. Are you sure? -</p> - -<p class="drama"> -BEATRICE.<br/> -Yes. Very late. I heard him come home. It was long after two. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Watching her.</i>] It alarmed you? I mean to be awakened at that hour of -the morning. -</p> - -<p class="drama"> -BEATRICE.<br/> -I am a light sleeper. But I knew he had come from the office and then... I -suspected he had written an article about Mr Rowan and that was why he came so -late. -</p> - -<p class="drama"> -BERTHA.<br/> -How quick you were to think of that! -</p> - -<p class="drama"> -BEATRICE.<br/> -Well, after what took place here yesterday afternoon—I mean what Robert said, -that Mr Rowan had accepted this position. It was only natural I should think... -</p> - -<p class="drama"> -BERTHA.<br/> -Ah, yes. Naturally. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Hastily.</i>] But that is not what alarmed me. But immediately after I -heard a noise in my cousin’s room. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Crumples together the paper in her hands, breathlessly.</i>] My God! What -is it? Tell me. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Observing her.</i>] Why does that upset you so much? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Sinking back, with a forced laugh.</i>] Yes, of course, it is very foolish -of me. My nerves are all upset. I slept very badly, too. That is why I got up -so early. But tell me what was it then? -</p> - -<p class="drama"> -BEATRICE.<br/> -Only the noise of his valise being pulled along the floor. Then I heard him -walking about his room, whistling softly. And then locking it and strapping it. -</p> - -<p class="drama"> -BERTHA.<br/> -He is going away! -</p> - -<p class="drama"> -BEATRICE.<br/> -That was what alarmed me. I feared he had had a quarrel with Mr Rowan and that -his article was an attack. -</p> - -<p class="drama"> -BERTHA.<br/> -But why should they quarrel? Have you noticed anything between them? -</p> - -<p class="drama"> -BEATRICE.<br/> -I thought I did. A coldness. -</p> - -<p class="drama"> -BERTHA.<br/> -Lately? -</p> - -<p class="drama"> -BEATRICE.<br/> -For some time past. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Smoothing the paper out.</i>] Do you know the reason? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Hesitatingly.</i>] No. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>After a pause.</i>] Well, but if this article is for him, as you say, they -have not quarrelled. [<i>She reflects a moment.</i>] And written last night, -too. -</p> - -<p class="drama"> -BEATRICE.<br/> -Yes. I bought the paper at once to see. But why, then, is he going away so -suddenly? I feel that there is something wrong. I feel that something has -happened between them. -</p> - -<p class="drama"> -BERTHA.<br/> -Would you be sorry? -</p> - -<p class="drama"> -BEATRICE.<br/> -I would be very sorry. You see, Mrs Rowan, Robert is my first cousin and it -would grieve me very deeply if he were to treat Mr Rowan badly, now that he has -come back, or if they had a serious quarrel especially because... -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Toying with the paper.</i>] Because? -</p> - -<p class="drama"> -BEATRICE.<br/> -Because it was my cousin who urged Mr Rowan always to come back. I have that on -my conscience. -</p> - -<p class="drama"> -BERTHA.<br/> -It should be on Mr Hand’s conscience, should it not? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Uncertainly.</i>] On mine, too. Because—I spoke to my cousin about Mr Rowan -when he was away and, to a certain extent, it was I... -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Nods slowly.</i>] I see. And that is on your conscience. Only that? -</p> - -<p class="drama"> -BEATRICE.<br/> -I think so. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Almost cheerfully.</i>] It looks as if it was you, Miss Justice, who -brought my husband back to Ireland. -</p> - -<p class="drama"> -BEATRICE.<br/> -I, Mrs Rowan? -</p> - -<p class="drama"> -BERTHA.<br/> -Yes, you. By your letters to him and then by speaking to your cousin as you -said just now. Do you not think that you are the person who brought him back? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Blushing suddenly.</i>] No. I could not think that. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Watches her for a moment; then turning aside.</i>] You know that my husband -is writing very much since he came back. -</p> - -<p class="drama"> -BEATRICE.<br/> -Is he? -</p> - -<p class="drama"> -BERTHA.<br/> -Did you not know? [<i>She points towards the study.</i>] He passes the greater -part of the night in there writing. Night after night. -</p> - -<p class="drama"> -BEATRICE.<br/> -In his study? -</p> - -<p class="drama"> -BERTHA.<br/> -Study or bedroom. You may call it what you please. He sleeps there, too, on a -sofa. He slept there last night. I can show you if you don’t believe me. -</p> - -<p class="drama"> -[<i>She rises to go towards the study. <span class="charname">Beatrice</span> -half rises quickly and makes a gesture of refusal.</i>] -</p> - -<p class="drama"> -BEATRICE.<br/> -I believe you, of course, Mrs Rowan, when you tell me. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Sitting down again.</i>] Yes. He is writing. And it must be about something -which has come into his life lately—since we came back to Ireland. Some change. -Do you know that any change has come into his life? [<i>She looks searchingly -at her.</i>] Do you know it or feel it? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Answers her look steadily.</i>] Mrs Rowan, that is not a question to ask -me. If any change has come into his life since he came back you must know and -feel it. -</p> - -<p class="drama"> -BERTHA.<br/> -You could know it just as well. You are very intimate in this house. -</p> - -<p class="drama"> -BEATRICE.<br/> -I am not the only person who is intimate here. -</p> - -<p class="drama"> -[<i>They both look at each other coldly in silence for some moments. -<span class="charname">Bertha</span> lays aside the paper and sits down on a -chair nearer to <span class="charname">Beatrice</span>.</i>] -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Placing her hand on <span class="charname">Beatrice’s</span> knee.</i>] So -you also hate me, Miss Justice? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>With an effort.</i>] Hate you? I? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Insistently but softly.</i>] Yes. You know what it means to hate a person? -</p> - -<p class="drama"> -BEATRICE.<br/> -Why should I hate you? I have never hated anyone. -</p> - -<p class="drama"> -BERTHA.<br/> -Have you ever loved anyone? [<i>She puts her hand on -<span class="charname">Beatrice’s</span> wrist.</i>] Tell me. You have? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Also softly.</i>] Yes. In the past. -</p> - -<p class="drama"> -BERTHA.<br/> -Not now? -</p> - -<p class="drama"> -BEATRICE.<br/> -No. -</p> - -<p class="drama"> -BERTHA.<br/> -Can you say that to me—truly? Look at me. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Looks at her.</i>] Yes, I can. -</p> - -<p class="drama"> -[<i>A short pause. <span class="charname">Bertha</span> withdraws her hand, and -turns away her head in some embarrassment.</i>] -</p> - -<p class="drama"> -BERTHA.<br/> -You said just now that another person is intimate in this house. You meant your -cousin... Was it he? -</p> - -<p class="drama"> -BEATRICE.<br/> -Yes. -</p> - -<p class="drama"> -BERTHA.<br/> -Have you not forgotten him? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Quietly.</i>] I have tried to. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Clasping her hands.</i>] You hate me. You think I am happy. If you only -knew how wrong you are! -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Shakes her head.</i>] I do not. -</p> - -<p class="drama"> -BERTHA.<br/> -Happy! When I do not understand anything that he writes, when I cannot help him -in any way, when I don’t even understand half of what he says to me sometimes! -You could and you can. [<i>Excitedly.</i>] But I am afraid for him, afraid for -both of them. [<i>She stands up suddenly and goes towards the davenport.</i>] -He must not go away like that. [<i>She takes a writing pad from the drawer and -writes a few lines in great haste.</i>] No, it is impossible! Is he mad to do -such a thing? [<i>Turning to <span class="charname">Beatrice</span>.</i>] Is he -still at home? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Watching her in wonder.</i>] Yes. Have you written to him to ask him to -come here? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Rises.</i>] I have. I will send Brigid across with it. Brigid! -</p> - -<p class="drama"> -[<i>She goes out by the door on the left rapidly.</i>] -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Gazing after her, instinctively:</i>] It is true, then! -</p> - -<p class="drama"> -[<i>She glances toward the door of <span class="charname">Richard’s</span> -study and catches her head in her hands. Then, recovering herself, she takes -the paper from the little table, opens it, takes a spectacle case from her -handbag and, putting on a pair of spectacles, bends down, reading it. <span -class="charname">Richard Rowan</span> enters from the garden. He is dressed as -before but wears a soft hat and carries a thin cane.</i>] -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Stands in the doorway, observing her for some moments.</i>] There are -demons [<i>he points out towards the strand</i>] out there. I heard them -jabbering since dawn. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Starts to her feet.</i>] Mr Rowan! -</p> - -<p class="drama"> -RICHARD.<br/> -I assure you. The isle is full of voices. Yours also, <i>Otherwise I could not -see you,</i> it said. And her voice. But, I assure you, they are all demons. I -made the sign of the cross upside down and that silenced them. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Stammering.</i>] I came here, Mr Rowan, so early because... to show you -this... Robert wrote it... about you... last night. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Takes off his hat.</i>] My dear Miss Justice, you told me yesterday, I -think, why you came here and I never forget anything. [<i>Advancing towards -her, holding out his hand.</i>] Good morning. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Suddenly takes off her spectacles and places the paper in his hands.</i>] I -came for this. It is an article about you. Robert wrote it last night. Will you -read it? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Bows.</i>] Read it now? Certainly. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Looks at him in despair.</i>] O, Mr Rowan, it makes me suffer to look at -you. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Opens and reads the paper.</i>] <i>Death of the Very Reverend Canon -Mulhall</i>. Is that it? -</p> - -<p class="drama"> -[<i><span class="charname">Bertha</span> appears at the door on the left and -stands to listen.</i>] -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Turns over a page.</i>] Yes, here we are! <i>A Distinguished Irishman.</i> -[<i>He begins to read in a rather loud hard voice.</i>] Not the least vital of -the problems which confront our country is the problem of her attitude towards -those of her children who, having left her in her hour of need, have been -called back to her now on the eve of her longawaited victory, to her whom in -loneliness and exile they have at last learned to love. In exile, we have said, -but here we must distinguish. There is an economic and there is a spiritual -exile. There are those who left her to seek the bread by which men live and -there are others, nay, her most favoured children, who left her to seek in -other lands that food of the spirit by which a nation of human beings is -sustained in life. Those who recall the intellectual life of Dublin of a decade -since will have many memories of Mr Rowan. Something of that fierce indignation -which lacerated the heart... -</p> - -<p class="drama"> -[<i>He raises his eyes from the paper and sees <span -class="charname">Bertha</span> standing in the doorway. Then he lays aside the -paper and looks at her. A long silence.</i>] -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>With an effort.</i>] You see, Mr Rowan, your day has dawned at last. Even -here. And you see that you have a warm friend in Robert, a friend who -understands you. -</p> - -<p class="drama"> -RICHARD.<br/> -Did you notice the little phrase at the beginning: <i>those who left her in her -hour of need?</i> -</p> - -<p class="drama"> -[<i>He looks searchingly at <span class="charname">Bertha</span>, turns and -walks into his study, closing the door behind him.</i>] -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Speaking half to herself.</i>] I gave up everything for him, religion, -family, my own peace. -</p> - -<p class="drama"> -[<i>She sits down heavily in an armchair. <span -class="charname">Beatrice</span> comes towards her.</i>] -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Weakly.</i>] But do you not feel also that Mr Rowan’s ideas... -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Bitterly.</i>] Ideas and ideas! But the people in this world have other -ideas or pretend to. They have to put up with him in spite of his ideas because -he is able to do something. Me, no. I am nothing. -</p> - -<p class="drama"> -BEATRICE.<br/> -You stand by his side. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>With increasing bitterness.</i>] Ah, nonsense, Miss Justice! I am only a -thing he got entangled with and my son is—the nice name they give those -children. Do you think I am a stone? Do you think I don’t see it in their eyes -and in their manner when they have to meet me? -</p> - -<p class="drama"> -BEATRICE.<br/> -Do not let them humble you, Mrs Rowan. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Haughtily.</i>] Humble me! I am very proud of myself, if you want to know. -What have they ever done for him? I made him a man. What are they all in his -life? No more than the dirt under his boots! [<i>She stands up and walks -excitedly to and fro.</i>] He can despise me, too, like the rest of them—now. -And you can despise me. But you will never humble me, any of you. -</p> - -<p class="drama"> -BEATRICE.<br/> -Why do you accuse me? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Going to her impulsively.</i>] I am in such suffering. Excuse me if I was -rude. I want us to be friends. [<i>She holds out her hands.</i>] Will you? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Taking her hands.</i>] Gladly. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Looking at her.</i>] What lovely long eyelashes you have! And your eyes -have such a sad expression! -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Smiling.</i>] I see very little with them. They are very weak. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Warmly.</i>] But beautiful. -</p> - -<p class="drama"> -[<i>She embraces her quietly and kisses her. Then withdraws from her a little -shyly. <span class="charname">Brigid</span> comes in from the left.</i>] -</p> - -<p class="drama"> -BRIGID.<br/> -I gave it to himself, ma’am. -</p> - -<p class="drama"> -BERTHA.<br/> -Did he send a message? -</p> - -<p class="drama"> -BRIGID.<br/> -He was just going out, ma’am. He told me to say he’d be here after me. -</p> - -<p class="drama"> -BERTHA.<br/> -Thanks. -</p> - -<p class="drama"> -BRIGID.<br/> -[<i>Going.</i>] Would you like the tea and the toast now, ma’am? -</p> - -<p class="drama"> -BERTHA.<br/> -Not now, Brigid. After perhaps. When Mr Hand comes show him in at once. -</p> - -<p class="drama"> -BRIGID.<br/> -Yes, ma’am. -</p> - -<p class="drama"> -[<i>She goes out on the left.</i>] -</p> - -<p class="drama"> -BEATRICE.<br/> -I will go now, Mrs Rowan, before he comes. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Somewhat timidly.</i>] Then we are friends? -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>In the same tone.</i>] We will try to be. [<i>Turning.</i>] Do you allow me -to go out through the garden? I don’t want to meet my cousin now. -</p> - -<p class="drama"> -BERTHA.<br/> -Of course. [<i>She takes her hand.</i>] It is so strange that we spoke like -this now. But I always wanted to. Did you? -</p> - -<p class="drama"> -BEATRICE.<br/> -I think I did, too. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Smiling.</i>] Even in Rome. When I went out for a walk with Archie I used -to think about you, what you were like, because I knew about you from Dick. I -used to look at different persons, coming out of churches or going by in -carriages, and think that perhaps they were like you. Because Dick told me you -were dark. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Again nervously.</i>] Really? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Pressing her hand.</i>] Goodbye then—for the present. -</p> - -<p class="drama"> -BEATRICE.<br/> -[<i>Disengaging her hand.</i>] Good morning. -</p> - -<p class="drama"> -BERTHA.<br/> -I will see you to the gate. -</p> - -<p class="drama"> -[<i>She accompanies her out through the double doors. They go down through the -garden. <span class="charname">Richard Rowan</span> comes in from the study. He -halts near the doors, looking down the garden. Then he turns away, comes to the -little table, takes up the paper and reads. -<span class="charname">Bertha</span>, after some moments, appears in the doorway -and stands watching him till he has finished. He lays down the paper again and -turns to go back to his study.</i>] -</p> - -<p class="drama"> -BERTHA.<br/> -Dick! -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Stopping.</i>] Well? -</p> - -<p class="drama"> -BERTHA.<br/> -You have not spoken to me. -</p> - -<p class="drama"> -RICHARD.<br/> -I have nothing to say. Have you? -</p> - -<p class="drama"> -BERTHA.<br/> -Do you not wish to know—about what happened last night? -</p> - -<p class="drama"> -RICHARD.<br/> -That I will never know. -</p> - -<p class="drama"> -BERTHA.<br/> -I will tell you if you ask me. -</p> - -<p class="drama"> -RICHARD.<br/> -You will tell me. But I will never know. Never in this world. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Moving towards him.</i>] I will tell you the truth, Dick, as I always told -you. I never lied to you. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Clenching his hands in the air, passionately.</i>] Yes, yes. The truth! But -I will never know, I tell you. -</p> - -<p class="drama"> -BERTHA.<br/> -Why, then, did you leave me last night? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Bitterly.</i>] In your hour of need. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Threateningly.</i>] You urged me to it. Not because you love me. If you -loved me or if you knew what love was you would not have left me. For your own -sake you urged me to it. -</p> - -<p class="drama"> -RICHARD.<br/> -I did not make myself. I am what I am. -</p> - -<p class="drama"> -BERTHA.<br/> -To have it always to throw against me. To make me humble before you, as you -always did. To be free yourself. [<i>Pointing towards the garden.</i>] With -her! And that is your love! Every word you say is false. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Controlling himself.</i>] It is useless to ask you to listen to me. -</p> - -<p class="drama"> -BERTHA.<br/> -Listen to you! She is the person for listening. Why would you waste your time -with me? Talk to her. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Nods his head.</i>] I see. You have driven her away from me now, as you -drove everyone else from my side—every friend I ever had, every human being -that ever tried to approach me. You hate her. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Warmly.</i>] No such thing! I think you have made her unhappy as you have -made me and as you made your dead mother unhappy and killed her. Womankiller! -That is your name. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Turns to go.</i>] <i>Arrivederci!</i> -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Excitedly.</i>] She is a fine and high character. I like her. She is -everything that I am not—in birth and education. You tried to ruin her but you -could not. Because she is well able for you—what I am not. And you know it. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Almost shouting.</i>] What the devil are you talking about her for? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Clasping her hands.</i>] O, how I wish I had never met you! How I curse -that day! -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Bitterly.</i>] I am in the way, is it? You would like to be free now. You -have only to say the word. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Proudly.</i>] Whenever you like I am ready. -</p> - -<p class="drama"> -RICHARD.<br/> -So that you could meet your lover—freely? -</p> - -<p class="drama"> -BERTHA.<br/> -Yes. -</p> - -<p class="drama"> -RICHARD.<br/> -Night after night? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Gazing before her and speaking with intense passion.</i>] To meet my lover! -[<i>Holding out her arms before her.</i>] My lover! Yes! My lover! -</p> - -<p class="drama"> -[<i>She bursts suddenly into tears and sinks down on a chair, covering her face -with her hands. <span class="charname">Richard</span> approaches her slowly and -touches her on the shoulder.</i>] -</p> - -<p class="drama"> -RICHARD.<br/> -Bertha! [<i>She does not answer.</i>] Bertha, you are free. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Pushes his hand aside and starts to her feet.</i>] Don’t touch me! You are -a stranger to me. You do not understand anything in me—not one thing in my -heart or soul. A stranger! I am living with a stranger! -</p> - -<p class="drama"> -[<i>A knock is heard at the hall door. <span class="charname">Bertha</span> -dries her eyes quickly with her handkerchief and settles the front of her gown. -<span class="charname">Richard</span> listens for a moment, looks at her keenly -and, turning away, walks into his study. <span class="charname">Robert -Hand</span> enters from the left. He is dressed in dark brown and carries in -his hand a brown Alpine hat.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Closing the door quietly behind him.</i>] You sent for me. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Rises.</i>] Yes. Are you mad to think of going away like that—without even -coming here—without saying anything? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Advancing towards the table on which the paper lies, glances at it.</i>] -What I have to say I said here. -</p> - -<p class="drama"> -BERTHA.<br/> -When did you write it? Last night—after I went away? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Gracefully.</i>] To be quite accurate, I wrote part of it—in my mind—before -you went away. The rest—the worst part—I wrote after. Much later. -</p> - -<p class="drama"> -BERTHA.<br/> -And you could write last night! -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Shrugs his shoulders.</i>] I am a welltrained animal. [<i>He comes closer -to her.</i>] I passed a long wandering night after... in my office, at the -vicechancellor’s house, in a nightclub, in the streets, in my room. Your image -was always before my eyes, your hand in my hand. Bertha, I will never forget -last night. [<i>He lays his hat on the table and takes her hand.</i>] Why do -you not look at me? May I not touch you? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Points to the study.</i>] Dick is in there. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Drops her hand.</i>] In that case children be good. -</p> - -<p class="drama"> -BERTHA.<br/> -Where are you going? -</p> - -<p class="drama"> -ROBERT.<br/> -To foreign parts. That is, to my cousin Jack Justice, <i>alias</i> Doggy -Justice, in Surrey. He has a nice country place there and the air is mild. -</p> - -<p class="drama"> -BERTHA.<br/> -Why are you going? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Looks at her in silence.</i>] Can you not guess one reason? -</p> - -<p class="drama"> -BERTHA.<br/> -On account of me? -</p> - -<p class="drama"> -ROBERT.<br/> -Yes. It is not pleasant for me to remain here just now. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Sits down helplessly.</i>] But this is cruel of you, Robert. Cruel to me -and to him also. -</p> - -<p class="drama"> -ROBERT.<br/> -Has he asked... what happened? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Joining her hands in despair.</i>] No. He refuses to ask me anything. He -says he will never know. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Nods gravely.</i>] Richard is right there. He is always right. -</p> - -<p class="drama"> -BERTHA.<br/> -But, Robert, you must speak to him. -</p> - -<p class="drama"> -ROBERT.<br/> -What am I to say to him? -</p> - -<p class="drama"> -BERTHA.<br/> -The truth! Everything! -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Reflects.</i>] No, Bertha. I am a man speaking to a man. I cannot tell him -everything. -</p> - -<p class="drama"> -BERTHA.<br/> -He will believe that you are going away because you are afraid to face him -after last night. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>After a pause.</i>] Well, I am not a coward any more than he. I will see -him. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Rises.</i>] I will call him. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Catching her hands.</i>] Bertha! What happened last night? What is the -truth that I am to tell? [<i>He gazes earnestly into her eyes.</i>] Were you -mine in that sacred night of love? Or have I dreamed it? -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Smiles faintly.</i>] Remember your dream of me. You dreamed that I was -yours last night. -</p> - -<p class="drama"> -ROBERT.<br/> -And that is the truth—a dream? That is what I am to tell? -</p> - -<p class="drama"> -BERTHA.<br/> -Yes. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Kisses both her hands.</i>] Bertha! [<i>In a softer voice.</i>] In all my -life only that dream is real. I forget the rest. [<i>He kisses her hands -again.</i>] And now I can tell him the truth. Call him. -</p> - -<p class="drama"> -[<i><span class="charname">Bertha</span> goes to the door of -<span class="charname">Richard’s</span> study and knocks. There is no answer. -She knocks again.</i>] -</p> - -<p class="drama"> -BERTHA.<br/> -Dick! [<i>There is no answer.</i>] Mr Hand is here. He wants to speak to you, -to say goodbye. He is going away. [<i>There is no answer. She beats her hand -loudly on the panel of the door and calls in an alarmed voice.</i>] Dick! -Answer me! -</p> - -<p class="drama"> -[<i><span class="charname">Richard Rowan</span> comes in from the study. He -comes at once to <span class="charname">Robert</span> but does not hold out his -hand.</i>] -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Calmly.</i>] I thank you for your kind article about me. Is it true that -you have come to say goodbye? -</p> - -<p class="drama"> -ROBERT.<br/> -There is nothing to thank me for, Richard. Now and always I am your friend. Now -more than ever before. Do you believe me, Richard? -</p> - -<p class="drama"> -[<i><span class="charname">Richard</span> sits down on a chair and buries his -face in his hands. <span class="charname">Bertha</span> and -<span class="charname">Robert</span> gaze at each other in silence. Then she -turns away and goes out quietly on the right. <span -class="charname">Robert</span> goes towards <span -class="charname">Richard</span> and stands near him, resting his hands on the -back of a chair, looking down at him. There is a long silence. A -<span class="charname">Fishwoman</span> is heard crying out as she passes along -the road outside.</i>] -</p> - -<p class="drama"> -THE FISHWOMAN.<br/> -Fresh Dublin bay herrings! Fresh Dublin bay herrings! Dublin bay herrings! -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Quietly.</i>] I will tell you the truth, Richard. Are you listening? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Raises his face and leans back to listen.</i>] Yes. -</p> - -<p class="drama"> -[<i><span class="charname">Robert</span> sits on the chair beside him. The -<span class="charname">Fishwoman</span> is heard calling out farther away.</i>] -</p> - -<p class="drama"> -THE FISHWOMAN.<br/> -Fresh herrings! Dublin bay herrings! -</p> - -<p class="drama"> -ROBERT.<br/> -I failed, Richard. That is the truth. Do you believe me? -</p> - -<p class="drama"> -RICHARD.<br/> -I am listening. -</p> - -<p class="drama"> -ROBERT.<br/> -I failed. She is yours, as she was nine years ago, when you met her first. -</p> - -<p class="drama"> -RICHARD.<br/> -When we met her first, you mean. -</p> - -<p class="drama"> -ROBERT.<br/> -Yes. [<i>He looks down for some moments.</i>] Shall I go on? -</p> - -<p class="drama"> -RICHARD.<br/> -Yes. -</p> - -<p class="drama"> -ROBERT.<br/> -She went away. I was left alone—for the second time. I went to the -vicechancellor’s house and dined. I said you were ill and would come another -night. I made epigrams new and old—that one about the statues also. I drank -claret cup. I went to my office and wrote my article. Then... -</p> - -<p class="drama"> -RICHARD.<br/> -Then? -</p> - -<p class="drama"> -ROBERT.<br/> -Then I went to a certain nightclub. There were men there—and also women. At -least, they looked like women. I danced with one of them. She asked me to see -her home. Shall I go on? -</p> - -<p class="drama"> -RICHARD.<br/> -Yes. -</p> - -<p class="drama"> -ROBERT.<br/> -I saw her home in a cab. She lives near Donnybrook. In the cab took place what -the subtle Duns Scotus calls a death of the spirit. Shall I go on? -</p> - -<p class="drama"> -RICHARD.<br/> -Yes. -</p> - -<p class="drama"> -ROBERT.<br/> -She wept. She told me she was the divorced wife of a barrister. I offered her a -sovereign as she told me she was short of money. She would not take it and wept -very much. Then she drank some melissa water from a little bottle which she had -in her satchel. I saw her enter her house. Then I walked home. In my room I -found that my coat was all stained with the melissa water. I had no luck even -with my coats yesterday: that was the second one. The idea came to me then to -change my suit and go away by the morning boat. I packed my valise and went to -bed. I am going away by the next train to my cousin, Jack Justice, in Surrey. -Perhaps for a fortnight. Perhaps longer. Are you disgusted? -</p> - -<p class="drama"> -RICHARD.<br/> -Why did you not go by the boat? -</p> - -<p class="drama"> -ROBERT.<br/> -I slept it out. -</p> - -<p class="drama"> -RICHARD.<br/> -You intended to go without saying goodbye—without coming here? -</p> - -<p class="drama"> -ROBERT.<br/> -Yes. -</p> - -<p class="drama"> -RICHARD.<br/> -Why? -</p> - -<p class="drama"> -ROBERT.<br/> -My story is not very nice, is it? -</p> - -<p class="drama"> -RICHARD.<br/> -But you have come. -</p> - -<p class="drama"> -ROBERT.<br/> -Bertha sent me a message to come. -</p> - -<p class="drama"> -RICHARD.<br/> -But for that...? -</p> - -<p class="drama"> -ROBERT.<br/> -But for that I should not have come. -</p> - -<p class="drama"> -RICHARD.<br/> -Did it strike you that if you had gone without coming here I should have -understood it—in my own way? -</p> - -<p class="drama"> -ROBERT.<br/> -Yes, it did. -</p> - -<p class="drama"> -RICHARD.<br/> -What, then, do you wish me to believe? -</p> - -<p class="drama"> -ROBERT.<br/> -I wish you to believe that I failed. That Bertha is yours now as she was nine -years ago, when you—when we—met her first. -</p> - -<p class="drama"> -RICHARD.<br/> -Do you want to know what I did? -</p> - -<p class="drama"> -ROBERT.<br/> -No. -</p> - -<p class="drama"> -RICHARD.<br/> -I came home at once. -</p> - -<p class="drama"> -ROBERT.<br/> -Did you hear Bertha return? -</p> - -<p class="drama"> -RICHARD.<br/> -No. I wrote all the night. And thought. [<i>Pointing to the study.</i>] In -there. Before dawn I went out and walked the strand from end to end. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Shaking his head.</i>] Suffering. Torturing yourself. -</p> - -<p class="drama"> -RICHARD.<br/> -Hearing voices about me. The voices of those who say they love me. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Points to the door on the right.</i>] One. And mine? -</p> - -<p class="drama"> -RICHARD.<br/> -Another still. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Smiles and touches his forehead with his right forefinger.</i>] True. My -interesting but somewhat melancholy cousin. And what did they tell you? -</p> - -<p class="drama"> -RICHARD.<br/> -They told me to despair. -</p> - -<p class="drama"> -ROBERT.<br/> -A queer way of showing their love, I must say! And will you despair? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Rising.</i>] No. -</p> - -<p class="drama"> -[<i>A noise is heard at the window. <span class="charname">Archie’s</span> face -is seen flattened against one of the panes. He is heard calling.</i>] -</p> - -<p class="drama"> -ARCHIE.<br/> -Open the window! Open the window! -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Looks at <span class="charname">Richard</span>.</i>] Did you hear his voice, -too, Richard, with the others—out there on the strand? Your son’s voice. -[<i>Smiling.</i>] Listen! How full it is of despair! -</p> - -<p class="drama"> -ARCHIE.<br/> -Open the window, please, will you? -</p> - -<p class="drama"> -ROBERT.<br/> -Perhaps, there, Richard, is the freedom we seek—you in one way, I in another. -In him and not in us. Perhaps... -</p> - -<p class="drama"> -RICHARD.<br/> -Perhaps...? -</p> - -<p class="drama"> -ROBERT.<br/> -I said <i>perhaps</i>. I would say almost surely if... -</p> - -<p class="drama"> -RICHARD.<br/> -If what? -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>With a faint smile.</i>] If he were mine. -</p> - -<p class="drama"> -[<i>He goes to the window and opens it. <span class="charname">Archie</span> -scrambles in.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -Like yesterday—eh? -</p> - -<p class="drama"> -ARCHIE.<br/> -Good morning, Mr Hand. [<i>He runs to <span class="charname">Richard</span> and -kisses him:</i>] <i>Buon giorno, babbo</i>. -</p> - -<p class="drama"> -RICHARD.<br/> -<i>Buon giorno</i>, Archie. -</p> - -<p class="drama"> -ROBERT.<br/> -And where were you, my young gentleman? -</p> - -<p class="drama"> -ARCHIE.<br/> -Out with the milkman. I drove the horse. We went to Booterstown. [<i>He takes -off his cap and throws it on a chair.</i>] I am very hungry. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Takes his hat from the table.</i>] Richard, goodbye. [<i>Offering his -hand.</i>] To our next meeting! -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Rises, touches his hand.</i>] Goodbye. -</p> - -<p class="drama"> -[<i><span class="charname">Bertha</span> appears at the door on the right.</i>] -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>Catches sight of her: to <span class="charname">Archie</span>.</i>] Get your -cap. Come on with me. I’ll buy you a cake and I’ll tell you a story. -</p> - -<p class="drama"> -ARCHIE.<br/> -[<i>To <span class="charname">Bertha</span>.</i>] May I, mamma? -</p> - -<p class="drama"> -BERTHA.<br/> -Yes. -</p> - -<p class="drama"> -ARCHIE.<br/> -[<i>Takes his cap.</i>] I am ready. -</p> - -<p class="drama"> -ROBERT.<br/> -[<i>To <span class="charname">Richard</span> and <span -class="charname">Bertha</span>.</i>] Goodbye to pappa and mamma. But not a big -goodbye. -</p> - -<p class="drama"> -ARCHIE.<br/> -Will you tell me a fairy story, Mr Hand? -</p> - -<p class="drama"> -ROBERT.<br/> -A fairy story? Why not? I am your fairy godfather. -</p> - -<p class="drama"> -[<i>They go out together through the double doors and down the garden. When -they have gone <span class="charname">Bertha</span> goes to -<span class="charname">Richard</span> and puts her arm round his waist.</i>] -</p> - -<p class="drama"> -BERTHA.<br/> -Dick, dear, do you believe now that I have been true to you? Last night and -always? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Sadly.</i>] Do not ask me, Bertha. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Pressing him more closely.</i>] I have been, dear. Surely you believe me. I -gave you myself—all. I gave up all for you. You took me—and you left me. -</p> - -<p class="drama"> -RICHARD.<br/> -When did I leave you? -</p> - -<p class="drama"> -BERTHA.<br/> -You left me: and I waited for you to come back to me. Dick, dear, come here to -me. Sit down. How tired you must be! -</p> - -<p class="drama"> -[<i>She draws him towards the lounge. He sits down, almost reclining, resting -on his arm. She sits on the mat before the lounge, holding his hand.</i>] -</p> - -<p class="drama"> -BERTHA.<br/> -Yes, dear. I waited for you. Heavens, what I suffered then—when we lived in -Rome! Do you remember the terrace of our house? -</p> - -<p class="drama"> -RICHARD.<br/> -Yes. -</p> - -<p class="drama"> -BERTHA.<br/> -I used to sit there, waiting, with the poor child with his toys, waiting till -he got sleepy. I could see all the roofs of the city and the river, the -<i>Tevere</i>. What is its name? -</p> - -<p class="drama"> -RICHARD.<br/> -The Tiber. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Caressing her cheek with his hand.</i>] It was lovely, Dick, only I was so -sad. I was alone, Dick, forgotten by you and by all. I felt my life was ended. -</p> - -<p class="drama"> -RICHARD.<br/> -It had not begun. -</p> - -<p class="drama"> -BERTHA.<br/> -And I used to look at the sky, so beautiful, without a cloud and the city you -said was so old: and then I used to think of Ireland and about ourselves. -</p> - -<p class="drama"> -RICHARD.<br/> -Ourselves? -</p> - -<p class="drama"> -BERTHA.<br/> -Yes. Ourselves. Not a day passes that I do not see ourselves, you and me, as we -were when we met first. Every day of my life I see that. Was I not true to you -all that time? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Sighs deeply.</i>] Yes, Bertha. You were my bride in exile. -</p> - -<p class="drama"> -BERTHA.<br/> -Wherever you go, I will follow you. If you wish to go away now I will go with -you. -</p> - -<p class="drama"> -RICHARD.<br/> -I will remain. It is too soon yet to despair. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Again caressing his hand.</i>] It is not true that I want to drive everyone -from you. I wanted to bring you close together—you and him. Speak to me. Speak -out all your heart to me. What you feel and what you suffer. -</p> - -<p class="drama"> -RICHARD.<br/> -I am wounded, Bertha. -</p> - -<p class="drama"> -BERTHA.<br/> -How wounded, dear? Explain to me what you mean. I will try to understand -everything you say. In what way are you wounded? -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Releases his hand and, taking her head between his hands, bends it back and -gazes long into her eyes.</i>] I have a deep, deep wound of doubt in my soul. -</p> - -<p class="drama"> -BERTHA.<br/> -[<i>Motionless.</i>] Doubt of me? -</p> - -<p class="drama"> -RICHARD.<br/> -Yes. -</p> - -<p class="drama"> -BERTHA.<br/> -I am yours. [<i>In a whisper.</i>] If I died this moment, I am yours. -</p> - -<p class="drama"> -RICHARD.<br/> -[<i>Still gazing at her and speaking as if to an absent person.</i>] I have -wounded my soul for you—a deep wound of doubt which can never be healed. I can -never know, never in this world. I do not wish to know or to believe. I do not -care. It is not in the darkness of belief that I desire you. But in restless -living wounding doubt. To hold you by no bonds, even of love, to be united with -you in body and soul in utter nakedness—for this I longed. And now I am tired -for a while, Bertha. My wound tires me. -</p> - -<p class="drama"> -[<i>He stretches himself out wearily along the lounge. -<span class="charname">Bertha</span> holds his hand still, speaking very -softly.</i>] -</p> - -<p class="drama"> -BERTHA.<br/> -Forget me, Dick. Forget me and love me again as you did the first time. I want -my lover. To meet him, to go to him, to give myself to him. You, Dick. O, my -strange wild lover, come back to me again! -</p> - -<p class="drama"> -[<i>She closes her eyes.</i>] -</p> - -</div><!--end chapter--> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK EXILES ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks may be modified and printed and given away—you may -do practically ANYTHING in the United States with eBooks not protected -by U.S. copyright law. Redistribution is subject to the trademark -license, especially commercial redistribution. -</div> - -<div style='margin-top:1em; font-size:1.1em; text-align:center'>START: FULL LICENSE</div> -<div style='text-align:center;font-size:0.9em'>THE FULL PROJECT GUTENBERG LICENSE</div> -<div style='text-align:center;font-size:0.9em'>PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK</div> - -<div style='display:block; margin:1em 0'> -To protect the Project Gutenberg™ mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase “Project -Gutenberg”), you agree to comply with all the terms of the Full -Project Gutenberg™ License available with this file or online at -www.gutenberg.org/license. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -1.A. By reading or using any part of this Project Gutenberg™ -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg™ electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg™ electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the person -or entity to whom you paid the fee as set forth in paragraph 1.E.8. -</div> - -<div style='display:block; margin:1em 0'> -1.B. “Project Gutenberg” is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg™ electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg™ electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg™ -electronic works. See paragraph 1.E below. -</div> - -<div style='display:block; margin:1em 0'> -1.C. The Project Gutenberg Literary Archive Foundation (“the -Foundation” or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg™ electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg™ mission of promoting -free access to electronic works by freely sharing Project Gutenberg™ -works in compliance with the terms of this agreement for keeping the -Project Gutenberg™ name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg™ License when -you share it without charge with others. -</div> - -<div style='display:block; margin:1em 0'> -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg™ work. The Foundation makes no -representations concerning the copyright status of any work in any -country other than the United States. -</div> - -<div style='display:block; margin:1em 0'> -1.E. Unless you have removed all references to Project Gutenberg: -</div> - -<div style='display:block; margin:1em 0'> -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg™ License must appear -prominently whenever any copy of a Project Gutenberg™ work (any work -on which the phrase “Project Gutenberg” appears, or with which the -phrase “Project Gutenberg” is associated) is accessed, displayed, -performed, viewed, copied or distributed: -</div> - -<blockquote> - <div style='display:block; margin:1em 0'> - This eBook is for the use of anyone anywhere in the United States and most - other parts of the world at no cost and with almost no restrictions - whatsoever. You may copy it, give it away or re-use it under the terms - of the Project Gutenberg License included with this eBook or online - at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you - are not located in the United States, you will have to check the laws - of the country where you are located before using this eBook. - </div> -</blockquote> - -<div style='display:block; margin:1em 0'> -1.E.2. If an individual Project Gutenberg™ electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase “Project -Gutenberg” associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg™ -trademark as set forth in paragraphs 1.E.8 or 1.E.9. -</div> - -<div style='display:block; margin:1em 0'> -1.E.3. If an individual Project Gutenberg™ electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg™ License for all works -posted with the permission of the copyright holder found at the -beginning of this work. -</div> - -<div style='display:block; margin:1em 0'> -1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg™. -</div> - -<div style='display:block; margin:1em 0'> -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg™ License. -</div> - -<div style='display:block; margin:1em 0'> -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg™ work in a format -other than “Plain Vanilla ASCII” or other format used in the official -version posted on the official Project Gutenberg™ website -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original “Plain -Vanilla ASCII” or other form. Any alternate format must include the -full Project Gutenberg™ License as specified in paragraph 1.E.1. -</div> - -<div style='display:block; margin:1em 0'> -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg™ works -unless you comply with paragraph 1.E.8 or 1.E.9. -</div> - -<div style='display:block; margin:1em 0'> -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg™ electronic works -provided that: -</div> - -<div style='margin-left:0.7em;'> - <div style='text-indent:-0.7em'> - • You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg™ works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg™ trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, “Information about donations to the Project Gutenberg - Literary Archive Foundation.” - </div> - - <div style='text-indent:-0.7em'> - • You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg™ - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg™ - works. - </div> - - <div style='text-indent:-0.7em'> - • You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - </div> - - <div style='text-indent:-0.7em'> - • You comply with all other terms of this agreement for free - distribution of Project Gutenberg™ works. - </div> -</div> - -<div style='display:block; margin:1em 0'> -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg™ electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from the Project Gutenberg Literary Archive Foundation, the manager of -the Project Gutenberg™ trademark. Contact the Foundation as set -forth in Section 3 below. -</div> - -<div style='display:block; margin:1em 0'> -1.F. -</div> - -<div style='display:block; margin:1em 0'> -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg™ collection. Despite these efforts, Project Gutenberg™ -electronic works, and the medium on which they may be stored, may -contain “Defects,” such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. -</div> - -<div style='display:block; margin:1em 0'> -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right -of Replacement or Refund” described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg™ trademark, and any other party distributing a Project -Gutenberg™ electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. -</div> - -<div style='display:block; margin:1em 0'> -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. -</div> - -<div style='display:block; margin:1em 0'> -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. -</div> - -<div style='display:block; margin:1em 0'> -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. -</div> - -<div style='display:block; margin:1em 0'> -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg™ electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg™ -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg™ work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg™ work, and (c) any -Defect you cause. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 2. Information about the Mission of Project Gutenberg™ -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. -</div> - -<div style='display:block; margin:1em 0'> -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg™’s -goals and ensuring that the Project Gutenberg™ collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg™ and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at www.gutenberg.org. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 3. Information about the Project Gutenberg Literary Archive Foundation -</div> - -<div style='display:block; margin:1em 0'> -The Project Gutenberg Literary Archive Foundation is a non-profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation’s EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state’s laws. -</div> - -<div style='display:block; margin:1em 0'> -The Foundation’s business office is located at 809 North 1500 West, -Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up -to date contact information can be found at the Foundation’s website -and official page at www.gutenberg.org/contact. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ depends upon and cannot survive without widespread -public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine-readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. -</div> - -<div style='display:block; margin:1em 0'> -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular state -visit <a href="https://www.gutenberg.org/donate/">www.gutenberg.org/donate</a>. -</div> - -<div style='display:block; margin:1em 0'> -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. -</div> - -<div style='display:block; margin:1em 0'> -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. -</div> - -<div style='display:block; margin:1em 0'> -Please check the Project Gutenberg web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 5. General Information About Project Gutenberg™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -Professor Michael S. Hart was the originator of the Project -Gutenberg™ concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg™ eBooks with only a loose network of -volunteer support. -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. -</div> - -<div style='display:block; margin:1em 0'> -Most people start at our website which has the main PG search -facility: <a href="https://www.gutenberg.org">www.gutenberg.org</a>. -</div> - -<div style='display:block; margin:1em 0'> -This website includes information about Project Gutenberg™, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. -</div> - -</div> - -</body> - -</html> diff --git a/old/old/55945-h.htm.2017-11-12 b/old/old/55945-h.htm.2017-11-12 deleted file mode 100644 index ce9dea7..0000000 --- a/old/old/55945-h.htm.2017-11-12 +++ /dev/null @@ -1,6397 +0,0 @@ -<?xml version="1.0" encoding="utf-8"?>
-
-<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
-"http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" >
-<html xmlns="http://www.w3.org/1999/xhtml">
-<head>
-<title> Exiles by James Joyce </title>
-<style type="text/css" xml:space="preserve">
-
-body {margin-left: 15%; margin-right: 15%;} div.titlepage {clear: both;
-margin-top: 3em; margin-bottom: 3em;} div.page {margin-top: 3em;
-margin-bottom: 3em;}
-
-hr {width: 80%; margin-top: 1em; margin-bottom: 1em;} hr.mid {width:
-40%;} hr.small {width: 25%;} hr.micro {width: 10%;}
-
-h1, h2, h3, h4, h5, h6 {text-align: center; font-style: normal;
-font-weight: normal; line-height: 1.5; margin-top: .5em; margin-bottom:
-.5em;}
-
-hr.full {width: 100%; margin: 5em auto 5em auto; height: 0.25em;
-border-width: 0.25em 0 0 0; border-style: solid; border-color: #000000;
-clear: both;}
-
-h1 {font-size: 300%;} div.titlepage h1 {letter-spacing: .07em;} h2
-{font-size: 175%;} h3 {font-size: 150%;} h4 {font-size: 120%;} h5
-{font-size: 100%;} h6 {font-size: 85%;} div.titlepage h6 {font-size:
-75%;}
-
-.titlepage {text-align: center; page-break-before: always;
-page-break-after: always;}
-.title1 {font-size: 80%; text-align: center; text-indent: 0em; }
-.title2 {font-size: 130%; text-align: center; letter-spacing: 0.12em;
-word-spacing: 0.3em;
-text-indent: 0em;}
-.title3 { font-size: 300%; text-align: center; margin-top: 0.6em;
-margin-bottom:
-0.75em;
-letter-spacing: 0.12em; word-spacing: 0.2em; text-indent: 0em;}
-.title4 {font-size: 150%; text-align: center; text-indent: 0em;}
-.title5 {font-size: 110%; text-align: center; word-spacing: 0.3em;
-text-indent:
-0em;}
-.title6 {font-size: 95%; text-align: center; word-spacing: 0.3em;
-text-indent:
-0em;}
-
-p {margin-top: .5em; margin-bottom: 0em; line-height: 1.2; text-align:
-justify;}
-
-p.center, div.center p {text-align: center;} p.right {text-align:
-right;}
-
-div.poem {margin-top: .5em; margin-left: 25%;} div.poem p {margin-top:
-0em; margin-left: 4em; text-indent: -4em; font-size: 92%; line-height:
-normal;} div.poem.ital p {font-style: italic;} div.poem p.inset
-{text-indent: -3em;}
-
-div.verse {margin-top: .5em;} div.verse p {margin-top: 0em; margin-left:
-4em; text-indent: -4em;} div.verse p.iamb1 {text-indent: -.5em;}
-div.verse p.iamb2 {text-indent: 3em;} div.verse p.iamb3 {text-indent:
-6.5em;} div.verse p.iamb4 {text-indent: 10em;} div.verse p.float
-{margin-left: 0; text-indent: 0;}
-
-p.entrance, p.scenedesc {font-style: italic; text-align: center;
-margin-left: 1em; margin-right: 1em;} p.scenedesc.long, p.entrance.long
-{text-align: left; margin-left: 4em; text-indent: -2em;}
-
-span.charname {font-variant: small-caps; font-style: normal;}
-
-</style>
-</head>
-<body>
-
-
-<pre>
-
-The Project Gutenberg EBook of Exiles, by James Joyce
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world at no cost and with almost no restrictions
-whatsoever. You may copy it, give it away or re-use it under the terms of
-the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org. If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: Exiles
-
-Author: James Joyce
-
-Release Date: November 12, 2017 [EBook #55945]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK EXILES ***
-
-
-
-
-Produced by Menno de Leeuw
-
-
-
-
-
-</pre>
-
-
-<p class="title3">Exiles</p>
-
-<h4>A Play in Three Acts</h4>
-
-<h3>By James Joyce</h3>
-<p>
-<br/>
-</p>
-<p>
-<br/>
-</p>
-<hr />
-<p>
-<br/>
-</p>
-<h3><b>Contents</b></h3>
-<p>
-<a href="#actI">First Act</a><br/>
-<br/>
-<a href="#actII">Second Act</a><br/>
-<br/>
-<a href="#actIII">Third Act</a>
-
-<br/>
-<br/>
-</p>
-
-<h3><b>Characters</b></h3>
-
-<p>RICHARD ROWAN, a writer.<br/>
-BERTHA.<br/>
-ARCHIE, their son, aged eight years.<br/>
-ROBERT HAND, journalist.<br/>
-BEATRICE JUSTICE, his cousin, music teacher.<br/>
-BRIGID, an old servant of the Rowan family.<br/>
-A FISHWOMAN.<br/>
-</p>
-
-<p>At Merrion and Ranelagh, suburbs of Dublin.<br/>
-Summer of the year 1912.</p>
-<p>
-<br/>
-<br/>
-</p>
-<p class="scene"><a name="actI" id="actI"></a></p>
-<h3><b>First Act</b></h3>
-
-
-<p><i>The drawingroom in Richard Rowan’s house at Merrion, a
-suburb of Dublin. On the right, forward, a fireplace, before which
-stands a low screen. Over the mantelpiece a giltframed glass. Further
-back in the right wall, folding doors leading to the parlour and
-kitchen. In the wall at the back to the right a small door leading to a
-study. Left of this a sideboard. On the wall above the sideboard a
-framed crayon drawing of a young man. More to the left double doors with
-glass panels leading out to the garden. In the wall at the left a window
-looking out on the road. Forward in the same wall a door leading to the
-hall and the upper part of the house. Between the window and door a
-lady’s davenport stands against the wall. Near it a wicker chair.
-In the centre of the room a round table. Chairs, upholstered in faded
-green plush, stand round the table. To the right, forward, a smaller
-table with a smoking service on it. Near it an easychair and a lounge.
-Cocoanut mats lie before the fireplace, beside the lounge and before the
-doors. The floor is of stained planking. The double doors at the back
-and the folding doors at the right have lace curtains, which are drawn
-halfway. The lower sash of the window is lifted and the window is hung
-with heavy green plush curtains. The blind is pulled down to the edge of
-the lifted lower sash. It is a warm afternoon in June and the room is
-filled with soft sunlight which is waning.</i></p>
-
-<p>[<span class="charname">Brigid</span> <i>and</i> <span
-class="charname">Beatrice Justice</span> <i>come in by the door on the
-left.</i> <span class="charname">Brigid</span> <i>is an elderly woman,
-lowsized, with irongrey hair.</i> <span class="charname">Beatrice
-Justice</span> <i>is a slender dark young woman of 27 years. She wears a
-wellmade navyblue costume and an elegant simply trimmed black straw hat,
-and carries a small portfolioshaped handbag.</i>]</p>
-
-<p>BRIGID.<br/>
-The mistress and Master Archie is at the bath. They never expected you.
-Did you send word you were back, Miss Justice?</p>
-
-<p>BEATRICE.<br/>
-No. I arrived just now.
-</p>
-
-<p>BRIGID.<br/>
-[<i>Points to the easychair.</i>] Sit down and I’ll tell the
-master you are here. Were you long in the train?</p>
-
-<p>BEATRICE.<br/>
-[<i>Sitting down.</i>] Since morning.</p>
-
-<p>BRIGID.<br/>
-Master Archie got your postcard with the views of Youghal. You’re
-tired out, I’m sure.</p>
-
-<p>BEATRICE.<br/>
-O, no. [<i>She coughs rather nervously.</i>] Did he practise the piano
-while I was away?</p>
-
-<p>BRIGID.<br/>
-[<i>Laughs heartily.</i>] Practice, how are you! Is it Master Archie? He
-is mad after the milkman’s horse now. Had you nice weather down
-there, Miss Justice?</p>
-
-<p>BEATRICE.<br/>
-Rather wet, I think.</p>
-
-<p>BRIGID.<br/>
-[<i>Sympathetically.</i>] Look at that now. And there is rain overhead
-too. [<i>Moving towards the study.</i>] I’ll tell him you are
-here.</p>
-
-<p>BEATRICE.<br/>
-Is Mr Rowan in?</p>
-
-<p>BRIGID.<br/>
-[<i>Points.</i>] He is in his study. He is wearing himself out about
-something he is writing. Up half the night he does be. [<i>Going.</i>]
-I’ll call him.</p>
-
-<p>BEATRICE.<br/>
-Don’t disturb him, Brigid. I can wait here till they come back if
-they are not long.</p>
-
-<p>BRIGID.<br/>
-And I saw something in the letterbox when I was letting you in. [<i>She
-crosses to the study door, opens it slightly and calls.</i>] Master
-Richard, Miss Justice is here for Master Archie’s lesson.</p>
-
-<p>[<span class="charname">Richard Rowan</span> <i>comes in from the
-study and advances towards</i> <span class="charname">Beatrice</span>,
-<i>holding out his hand. He is a tall athletic young man of a rather
-lazy carriage. He has light brown hair and a moustache and wears
-glasses. He is dressed in loose lightgrey tweed.</i>]</p>
-
-<p>RICHARD.<br/>
-Welcome.</p>
-
-<p>BEATRICE.<br/>
-[<i>Rises and shakes hands, blushing slightly.</i>] Good afternoon, Mr
-Rowan. I did not want Brigid to disturb you.</p>
-
-<p>RICHARD.<br/>
-Disturb me? My goodness!</p>
-
-<p>BRIGID.<br/>
-There is something in the letterbox, sir.</p>
-
-<p>RICHARD.<br/>
-[<i>Takes a small bunch of keys from his pocket and hands them to
-her.</i>] Here.</p>
-
-<p>[<span class="charname">Brigid</span> <i>goes out by the door at the
-left and is heard opening and closing the box. A short pause. She enters
-with two newspapers in her hands.</i>]</p>
-
-<p>RICHARD.<br/>
-Letters?</p>
-
-<p>BRIGID.<br/>
-No, sir. Only them Italian newspapers.</p>
-
-<p>RICHARD.<br/>
-Leave them on my desk, will you?</p>
-
-<p>[<span class="charname">Brigid</span> <i>hands him back the keys,
-leaves the newspapers in the study, comes out again and goes out by the
-folding doors on the right.</i>]</p>
-
-<p>RICHARD.<br/>
-Please, sit down. Bertha will be back in a moment.</p>
-
-<p>[<span class="charname">Beatrice</span> <i>sits down again in the
-easychair.</i> <span class="charname">Richard</span> <i>sits beside the
-table.</i>]</p>
-
-<p>RICHARD.<br/>
-I had begun to think you would never come back. It is twelve days since
-you were here.</p>
-
-<p>BEATRICE.<br/>
-I thought of that too. But I have come.</p>
-
-<p>RICHARD.<br/>
-Have you thought over what I told you when you were here last?</p>
-
-<p>BEATRICE.<br/>
-Very much.</p>
-
-<p>RICHARD.<br/>
-You must have known it before. Did you? [<i>She does not answer.</i>] Do
-you blame me?</p>
-
-<p>BEATRICE.<br/>
-No.</p>
-
-<p>RICHARD.<br/>
-Do you think I have acted towards you—badly? No? Or towards
-anyone?</p>
-
-<p>BEATRICE.<br/>
-[<i>Looks at him with a sad puzzled expression.</i>] I have asked myself
-that question.</p>
-
-<p>RICHARD.<br/>
-And the answer?</p>
-
-<p>BEATRICE.<br/>
-I could not answer it.</p>
-
-<p>RICHARD.<br/>
-If I were a painter and told you I had a book of sketches of you you
-would not think it so strange, would you?</p>
-
-<p>BEATRICE.<br/>
-It is not quite the same case, is it?</p>
-
-<p>RICHARD.<br/>
-[<i>Smiles slightly.</i>] Not quite. I told you also that I would not
-show you what I had written unless you asked to see it. Well?</p>
-
-<p>BEATRICE.<br/>
-I will not ask you.</p>
-
-<p>RICHARD.<br/>
-[<i>Leans forward, resting his elbows on his knees, his hands
-joined.</i>] Would you like to see it?</p>
-
-<p>BEATRICE.<br/>
-Very much.</p>
-
-<p>RICHARD.<br/>
-Because it is about yourself?</p>
-
-<p>BEATRICE.<br/>
-Yes. But not only that.</p>
-
-<p>RICHARD.<br/>
-Because it is written by me? Yes? Even if what you would find there is
-sometimes cruel?</p>
-
-<p>BEATRICE.<br/>
-[<i>Shyly.</i>] That is part of your mind, too.</p>
-
-<p>RICHARD.<br/>
-Then it is my mind that attracts you? Is that it?</p>
-
-<p>BEATRICE.<br/>
-[<i>Hesitating, glances at him for an instant.</i>] Why do you think I
-come here?</p>
-
-<p>RICHARD.<br/>
-Why? Many reasons. To give Archie lessons. We have known one another so
-many years, from childhood, Robert, you and I—haven’t we?
-You have always been interested in me, before I went away and while I
-was away. Then our letters to each other about my book. Now it is
-published. I am here again. Perhaps you feel that some new thing is
-gathering in my brain; perhaps you feel that you
-should know it. Is that the reason?</p>
-
-<p>BEATRICE.<br/>
-No.</p>
-
-<p>RICHARD.<br/>
-Why, then?</p>
-
-<p>BEATRICE.<br/>
-Otherwise I could not see you.</p>
-
-<p>[<i>She looks at him for a moment and then turns aside
-quickly.</i>]</p>
-
-<p>RICHARD.<br/>
-[<i>After a pause repeats uncertainly.</i>] Otherwise you could not see
-me?</p>
-
-<p>BEATRICE.<br/>
-[<i>Suddenly confused.</i>] I had better go. They are not coming back.
-[<i>Rising.</i>] Mr Rowan, I must go.</p>
-
-<p>RICHARD.<br/>
-[<i>Extending his arms.</i>] But you are running away. Remain. Tell me
-what your words mean. Are you afraid of me?</p>
-
-<p>BEATRICE.<br/>
-[<i>Sinks back again.</i>] Afraid? No.</p>
-
-<p>RICHARD.<br/>
-Have you confidence in me? Do you feel that you know me?</p>
-
-<p>BEATRICE.<br/>
-[<i>Again shyly.</i>] It is hard to know anyone but oneself.</p>
-
-<p>RICHARD.<br/>
-Hard to know me? I sent you from Rome the chapters of my book as I wrote
-them; and letters for nine long years. Well, eight years.</p>
-
-<p>BEATRICE.<br/>
-Yes, it was nearly a year before your first letter came.</p>
-
-<p>RICHARD.<br/>
-It was answered at once by you. And from that on you have watched me in
-my struggle. [<i>Joins his hands earnestly.</i>] Tell me, Miss Justice,
-did you feel that what you read was written for your eyes? Or that you
-inspired me?</p>
-
-<p>BEATRICE.<br/>
-[<i>Shakes her head.</i>] I need not answer that question.</p>
-
-<p>RICHARD.<br/>
-What then?</p>
-
-<p>BEATRICE.<br/>
-[<i>Is silent for a moment.</i>] I cannot say it. You yourself must ask
-me, Mr Rowan.</p>
-
-<p>RICHARD.<br/>
-[<i>With some vehemence.</i>] Then that I expressed in those chapters
-and letters, and in my character and life as well, something in your
-soul which you could not—pride or scorn?</p>
-
-<p>BEATRICE.<br/>
-Could not?</p>
-
-<p>RICHARD.<br/>
-[<i>Leans towards her.</i>] Could not because you dared not. Is that
-why?</p>
-
-<p>BEATRICE.<br/>
-[<i>Bends her head.</i>] Yes.</p>
-
-<p>RICHARD.<br/>
-On account of others or for want of courage—which?</p>
-
-<p>BEATRICE.<br/>
-[<i>Softly.</i>] Courage.</p>
-
-<p>RICHARD.<br/>
-[<i>Slowly.</i>] And so you have followed me with pride and scorn also
-in your heart?</p>
-
-<p>BEATRICE.<br/>
-And loneliness.</p>
-
-<p>[<i>She leans her head on her hand, averting her face.
-<span class="charname">Richard</span> rises and walks slowly to the
-window on the left. He looks out for some moments and then returns
-towards her, crosses to the lounge and sits down near her.</i>]</p>
-
-<p>RICHARD.<br/>
-Do you love him still?</p>
-
-<p>BEATRICE.<br/>
-I do not even know.</p>
-
-<p>RICHARD.<br/>
-It was that that made me so reserved with you—then—even
-though I felt your interest in me, even though I felt that I too was
-something in your life.</p>
-
-<p>BEATRICE.<br/>
-You were.</p>
-
-<p>RICHARD.<br/>
-Yet that separated me from you. I was a third person, I felt. Your names
-were always spoken together, Robert and Beatrice, as long as I can
-remember. It seemed to me, to everyone...</p>
-
-<p>BEATRICE.<br/>
-We are first cousins. It is not strange that we were often together.</p>
-
-<p>RICHARD.<br/>
-He told me of your secret engagement with him. He had no secrets from
-me; I suppose you know that.</p>
-
-<p>BEATRICE.<br/>
-[<i>Uneasily.</i>] What happened—between us—is so long ago.
-I was a child.</p>
-
-<p>RICHARD.<br/>
-[<i>Smiles maliciously.</i>] A child? Are you sure? It was in the garden
-of his mother’s house. No? [<i>He points towards the garden.</i>]
-Over there. You plighted your troth, as they say, with a kiss. And you
-gave him your garter. Is it allowed to mention that?</p>
-
-<p>BEATRICE.<br/>
-[<i>With some reserve.</i>] If you think it worthy of mention.</p>
-
-<p>RICHARD.<br/>
-I think you have not forgotten it. [<i>Clasping his hands quietly.</i>]
-I do not understand it. I thought, too, that after I had gone... Did my
-going make you suffer?</p>
-
-<p>BEATRICE.<br/>
-I always knew you would go some day. I did not suffer; only I was
-changed.</p>
-
-<p>RICHARD.<br/>
-Towards him?</p>
-
-<p>BEATRICE.<br/>
-Everything was changed. His life, his mind, even, seemed to change after
-that.</p>
-
-<p>RICHARD.<br/>
-[<i>Musing.</i>] Yes. I saw that you had changed when I received your
-first letter after a year; after your illness, too. You even said so in
-your letter.</p>
-
-<p>BEATRICE.<br/>
-It brought me near to death. It made me see things differently.</p>
-
-<p>RICHARD.<br/>
-And so a coldness began between you, little by little. Is that it?</p>
-
-<p>BEATRICE.<br/>
-[<i>Half closing her eyes.</i>] No. Not at once. I saw in him a pale
-reflection of you: then that too faded. Of what good is it to talk
-now?</p>
-
-<p>RICHARD.<br/>
-[<i>With a repressed energy.</i>] But what is this that seems to hang
-over you? It cannot be so tragic.</p>
-
-<p>BEATRICE.<br/>
-[<i>Calmly.</i>] O, not in the least tragic. I shall become gradually
-better, they tell me, as I grow older. As I did not die then they tell
-me I shall probably live. I am given life and health again—when I
-cannot use them. [<i>Calmly and bitterly.</i>] I am convalescent.</p>
-
-<p>RICHARD.<br/>
-[<i>Gently.</i>] Does nothing then in life give you peace? Surely it
-exists for you somewhere.</p>
-
-<p>BEATRICE.<br/>
-If there were convents in our religion perhaps there. At least, I think
-so at times.</p>
-
-<p>RICHARD.<br/>
-[<i>Shakes his head.</i>] No, Miss Justice, not even there. You could
-not give yourself freely and wholly.</p>
-
-<p>BEATRICE.<br/>
-[<i>Looking at him.</i>] I would try.</p>
-
-<p>RICHARD.<br/>
-You would try, yes. You were drawn to him as your mind was drawn towards
-mine. You held back from him. From me, too, in a different way. You
-cannot give yourself freely and wholly.</p>
-
-<p>BEATRICE.<br/>
-[<i>Joins her hands softly.</i>] It is a terribly hard thing to do, Mr
-Rowan—to give oneself freely and wholly—and be happy.</p>
-
-<p>RICHARD.<br/>
-But do you feel that happiness is the best, the highest that we can
-know?</p>
-
-<p>BEATRICE.<br/>
-[<i>With fervour.</i>] I wish I could feel it.</p>
-
-<p>RICHARD.<br/>
-[<i>Leans back, his hands locked together behind his head.</i>] O, if
-you knew how I am suffering at this moment! For your case, too. But
-suffering most of all for my own. [<i>With bitter force.</i>] And how I
-pray that I may be granted again my dead mother’s hardness of
-heart! For some help, within me or without, I must find. And find it I
-will.</p>
-
-<p>[<i><span class="charname">Beatrice</span> rises, looks at him
-intently, and walks away toward the garden door. She turns with
-indecision, looks again at him and, coming back, leans over the
-easychair.</i>]</p>
-
-<p>BEATRICE.<br/>
-[<i>Quietly.</i>] Did she send for you before she died, Mr Rowan?</p>
-
-<p>RICHARD.<br/>
-[<i>Lost in thought.</i>] Who?</p>
-
-<p>BEATRICE.<br/>
-Your mother.</p>
-
-<p>RICHARD.<br/>
-[<i>Recovering himself, looks keenly at her for a moment.</i>] So that,
-too, was said of me here by my friends—that she sent for me before
-she died and that I did not go?</p>
-
-<p>BEATRICE.<br/>
-Yes.</p>
-
-<p>RICHARD.<br/>
-[<i>Coldly.</i>] She did not. She died alone, not having forgiven me,
-and fortified by the rites of holy church.</p>
-
-<p>BEATRICE.<br/>
-Mr Rowan, why did you speak to me in such a way?</p>
-
-<p>RICHARD.<br/>
-[<i>Rises and walks nervously to and fro.</i>] And what I suffer at this
-moment you will say is my punishment.</p>
-
-<p>BEATRICE.<br/>
-Did she write to you? I mean before...</p>
-
-<p>RICHARD.<br/>
-[<i>Halting.</i>] Yes. A letter of warning, bidding me break with the
-past, and remember her last words to me.</p>
-
-<p>BEATRICE.<br/>
-[<i>Softly.</i>] And does death not move you, Mr Rowan? It is an end.
-Everything else is so uncertain.</p>
-
-<p>RICHARD.<br/>
-While she lived she turned aside from me and from mine. That is
-certain.</p>
-
-<p>BEATRICE.<br/>
-From you and from...?</p>
-
-<p>RICHARD.<br/>
-From Bertha and from me and from our child. And so I waited for the end
-as you say; and it came.</p>
-
-<p>BEATRICE.<br/>
-[<i>Covers her face with her hands.</i>] O, no. Surely no.</p>
-
-<p>RICHARD.<br/>
-[<i>Fiercely.</i>] How can my words hurt her poor body that rots in the
-grave? Do you think I do not pity her cold blighted love for me? I
-fought against her spirit while she lived to the bitter end. [<i>He
-presses his hand to his forehead.</i>] It fights against me
-still—in here.</p>
-
-<p>BEATRICE.<br/>
-[<i>As before.</i>] O, do not speak like that.</p>
-
-<p>RICHARD.<br/>
-She drove me away. On account of her I lived years in exile and poverty
-too, or near it. I never accepted the doles she sent me through the
-bank. I waited, too, not for her death but for some understanding of me,
-her own son, her own flesh and blood; that never came.</p>
-
-<p>BEATRICE.<br/>
-Not even after Archie...?</p>
-
-<p>RICHARD.<br/>
-[<i>Rudely.</i>] My son, you think? A child of sin and shame! Are you
-serious? [<i>She raises her face and looks at him.</i>] There were
-tongues here ready to tell her all, to embitter her withering mind still
-more against me and Bertha and our godless nameless child. [<i>Holding
-out his hands to her.</i>] Can you not hear her mocking me while I
-speak? You must know the voice, surely, the voice that called you <i>the
-black protestant</i>, the pervert’s daughter. [<i>With sudden
-selfcontrol.</i>] In any case a remarkable woman.</p>
-
-<p>BEATRICE.<br/>
-[<i>Weakly.</i>] At least you are free now.</p>
-
-<p>RICHARD.<br/>
-[<i>Nods.</i>] Yes, she could not alter the terms of my father’s
-will nor live for ever.</p>
-
-<p>BEATRICE.<br/>
-[<i>With joined hands.</i>] They are both gone now, Mr Rowan. They both
-loved you, believe me. Their last thoughts were of you.</p>
-
-<p>RICHARD.<br/>
-[<i>Approaching, touches her lightly on the shoulder, and points to the
-crayon drawing on the wall.</i>] Do you see him there, smiling and
-handsome? His last thoughts! I remember the night he died. [<i>He pauses
-for an instant and then goes on calmly.</i>] I was a boy of fourteen. He
-called me to his bedside. He knew I wanted to go to the theatre to hear
-<i>Carmen</i>. He told my mother to give me a shilling. I kissed him and
-went. When I came home he was dead. Those were his last thoughts as far
-as I know.</p>
-
-<p>BEATRICE.<br/>
-The hardness of heart you prayed for... [<i>She breaks off.</i>]</p>
-
-<p>RICHARD.<br/>
-[<i>Unheeding.</i>] That is my last memory of him. Is there not
-something sweet and noble in it?</p>
-
-<p>BEATRICE.<br/>
-Mr Rowan, something is on your mind to make you speak like this.
-Something has changed you since you came back three months ago.</p>
-
-<p>RICHARD.<br/>
-[<i>Gazing again at the drawing, calmly, almost gaily.</i>] He will help
-me, perhaps, my smiling handsome father.</p>
-
-<p>[<i>A knock is heard at the hall door on the left.</i>]</p>
-
-<p>RICHARD.<br/>
-[<i>Suddenly.</i>] No, no. Not the smiler, Miss Justice. The old mother.
-It is her spirit I need. I am going.</p>
-
-<p>BEATRICE.<br/>
-Someone knocked. They have come back.</p>
-
-<p>RICHARD.<br/>
-No, Bertha has a key. It is he. At least, I am going, whoever it is.</p>
-
-<p>[<i>He goes out quickly on the left and comes back at once with his
-straw hat in his hand.</i>]</p>
-
-<p>BEATRICE.<br/>
-He? Who?</p>
-
-<p>RICHARD.<br/>
-O, probably Robert. I am going out through the garden. I cannot see him
-now. Say I have gone to the post. Goodbye.</p>
-
-<p>BEATRICE.<br/>
-[<i>With growing alarm.</i>] It is Robert you do not wish to see?</p>
-
-<p>RICHARD.<br/>
-[<i>Quietly.</i>] For the moment, yes. This talk has upset me. Ask him
-to wait.</p>
-
-<p>BEATRICE.<br/>
-You will come back?</p>
-
-<p>RICHARD.<br/>
-Please God.</p>
-
-<p>[<i>He goes out quickly through the garden. <span
-class="charname">Beatrice</span> makes as if to follow him and then
-stops after a few paces. <span class="charname">Brigid</span> enters by
-the folding doors on the right and goes out on the left. The hall door
-is heard opening. A few seconds after <span
-class="charname">Brigid</span> enters with <span class="charname">Robert
-Hand. Robert Hand</span> is a middlesized, rather stout man between
-thirty and forty. He is cleanshaven, with mobile features. His hair and
-eyes are dark and his complexion sallow. His gait and speech are rather
-slow. He wears a dark blue morning suit and carries in his hand a large
-bunch of red roses wrapped in tissue paper.</i>]</p>
-
-<p>ROBERT.<br/>
-[<i>Coming towards her with outstretched hand which she takes.</i>] My
-dearest coz! Brigid told me you were here. I had no notion. Did you send
-mother a telegram?</p>
-
-<p>BEATRICE.<br/>
-[<i>Gazing at the roses.</i>] No.</p>
-
-<p>ROBERT.<br/>
-[<i>Following her gaze.</i>] You are admiring my roses. I brought them
-to the mistress of the house. [<i>Critically.</i>] I am afraid they are
-not nice.</p>
-
-<p>BRIGID.<br/>
-O, they are lovely, sir. The mistress will be delighted with them.</p>
-
-<p>ROBERT.<br/>
-[<i>Lays the roses carelessly on a chair out of sight.</i>] Is nobody
-in?</p>
-
-<p>BRIGID.<br/>
-Yes, sir. Sit down, sir. They’ll be here now any moment. The
-master was here.</p>
-
-<p>[<i>She looks about her and with a half curtsey goes out on the
-right.</i>]</p>
-
-<p>ROBERT.<br/>
-[<i>After a short silence.</i>] How are you, Beatty? And how are all
-down in Youghal? As dull as ever?</p>
-
-<p>BEATRICE.<br/>
-They were well when I left.</p>
-
-<p>ROBERT.<br/>
-[<i>Politely.</i>] O, but I’m sorry I did not know you were
-coming. I would have met you at the train. Why did you do it? You have
-some queer ways about you, Beatty, haven’t you?</p>
-
-<p>BEATRICE.<br/>
-[<i>In the same tone.</i>] Thank you, Robert. I am quite used to getting
-about alone.</p>
-
-<p>ROBERT.<br/>
-Yes, but I mean to say... O, well, you have arrived in your own
-characteristic way.</p>
-
-<p>[<i>A noise is heard at the window and a boy’s voice is heard
-calling, ‘Mr Hand!’ <span class="charname">Robert</span>
-turns.</i>]</p>
-
-<p>By Jove, Archie, too, is arriving in a characteristic way!</p>
-
-<p>[<i><span class="charname">Archie</span> scrambles into the room
-through the open window on the left and then rises to his feet, flushed
-and panting. <span class="charname">Archie</span> is a boy of eight
-years, dressed in white breeches, jersey and cap. He wears spectacles,
-has a lively manner and speaks with the slight trace of a foreign
-accent.</i>]</p>
-
-<p>BEATRICE.<br/>
-[<i>Going towards him.</i>] Goodness gracious, Archie! What is the
-matter?</p>
-
-<p>ARCHIE.<br/>
-[<i>Rising, out of breath.</i>] Eh! I ran all the avenue.</p>
-
-<p>ROBERT.<br/>
-[<i>Smiles and holds out his hand.</i>] Good evening, Archie. Why did
-you run?</p>
-
-<p>ARCHIE.<br/>
-[<i>Shakes hands.</i>] Good evening. We saw you on the top of the tram,
-and I shouted <i>Mr Hand!</i> But you did not see me. But we saw you,
-mamma and I. She will be here in a minute. I ran.</p>
-
-<p>BEATRICE.<br/>
-[<i>Holding out her hand.</i>] And poor me!</p>
-
-<p>ARCHIE.<br/>
-[<i>Shakes hands somewhat shyly.</i>] Good evening, Miss Justice.</p>
-
-<p>BEATRICE.<br/>
-Were you disappointed that I did not come last Friday for the
-lesson?</p>
-
-<p>ARCHIE.<br/>
-[<i>Glancing at her, smiles.</i>] No.</p>
-
-<p>BEATRICE.<br/>
-Glad?</p>
-
-<p>ARCHIE.<br/>
-[<i>Suddenly.</i>] But today it is too late.</p>
-
-<p>BEATRICE.<br/>
-A very short lesson?</p>
-
-<p>ARCHIE.<br/>
-[<i>Pleased.</i>] Yes.</p>
-
-<p>BEATRICE.<br/>
-But now you must study, Archie.</p>
-
-<p>ROBERT.<br/>
-Were you at the bath?</p>
-
-<p>ARCHIE.<br/>
-Yes.</p>
-
-<p>ROBERT.<br/>
-Are you a good swimmer now?</p>
-
-<p>ARCHIE.<br/>
-[<i>Leans against the davenport.</i>] No. Mamma won’t let me into
-the deep place. Can you swim well, Mr Hand?</p>
-
-<p>ROBERT.<br/>
-Splendidly. Like a stone.</p>
-
-<p>ARCHIE.<br/>
-[<i>Laughs.</i>] Like a stone! [<i>Pointing down.</i>] Down that
-way?</p>
-
-<p>ROBERT.<br/>
-[<i>Pointing.</i>] Yes, down; straight down. How do you say that over in
-Italy?</p>
-
-<p>ARCHIE.<br/>
-That? <i>Giù.</i> [<i>Pointing down and up.</i>] That is <i>giù</i>
-and this is <i>sù</i>. Do you want to speak to my pappie?</p>
-
-<p>ROBERT.<br/>
-Yes. I came to see him.</p>
-
-<p>ARCHIE.<br/>
-[<i>Going towards the study.</i>] I will tell him. He is in there,
-writing.</p>
-
-<p>BEATRICE.<br/>
-[<i>Calmly, looking at <span class="charname">Robert</span>.</i>] No; he
-is out. He is gone to the post with some letters.</p>
-
-<p>ROBERT.<br/>
-[<i>Lightly.</i>] O, never mind. I will wait if he is only gone to the
-post.</p>
-
-<p>ARCHIE.<br/>
-But mamma is coming. [<i>He glances towards the window.</i>] Here she
-is!</p>
-
-<p>[<i><span class="charname">Archie</span> runs out by the door on the
-left. <span class="charname">Beatrice</span> walks slowly towards the
-davenport. <span class="charname">Robert</span> remains standing. A
-short silence. <span class="charname">Archie</span> and <span
-class="charname">Bertha</span> come in through the door on the left.
-<span class="charname">Bertha</span> is a young woman of graceful build.
-She has dark grey eyes, patient in expression, and soft features. Her
-manner is cordial and selfpossessed. She wears a lavender dress and
-carries her cream gloves knotted round the handle of her
-sunshade.</i>]</p>
-
-<p>BERTHA.<br/>
-[<i>Shaking hands.</i>] Good evening, Miss Justice. We thought you were
-still down in Youghal.</p>
-
-<p>BEATRICE.<br/>
-[<i>Shaking hands.</i>] Good evening, Mrs Rowan.</p>
-
-<p>BERTHA.<br/>
-[<i>Bows.</i>] Good evening, Mr Hand.</p>
-
-<p>ROBERT.<br/>
-[<i>Bowing.</i>] Good evening, <i>signora!</i> Just imagine, I
-didn’t know either she was back till I found her here.</p>
-
-<p>BERTHA.<br/>
-[<i>To both.</i>] Did you not come together?</p>
-
-<p>BEATRICE.<br/>
-No. I came first. Mr Rowan was going out. He said you would be back any
-moment.</p>
-
-<p>BERTHA.<br/>
-I’m sorry. If you had written or sent over word by the girl this
-morning...</p>
-
-<p>BEATRICE.<br/>
-[<i>Laughs nervously.</i>] I arrived only an hour and a half ago. I
-thought of sending a telegram but it seemed too tragic.</p>
-
-<p>BERTHA.<br/>
-Ah? Only now you arrived?</p>
-
-<p>ROBERT.<br/>
-[<i>Extending his arms, blandly.</i>] I retire from public and private
-life. Her first cousin and a journalist, I know nothing of her
-movements.</p>
-
-<p>BEATRICE.<br/>
-[<i>Not directly to him.</i>] My movements are not very interesting.</p>
-
-<p>ROBERT.<br/>
-[<i>In the same tone.</i>] A lady’s movements are always
-interesting.</p>
-
-<p>BERTHA.<br/>
-But sit down, won’t you? You must be very tired.</p>
-
-<p>BEATRICE.<br/>
-[<i>Quickly.</i>] No, not at all. I just came for Archie’s
-lesson.</p>
-
-<p>BERTHA.<br/>
-I wouldn’t hear of such a thing, Miss Justice, after your long
-journey.</p>
-
-<p>ARCHIE.<br/>
-[<i>Suddenly to <span class="charname">Beatrice</span>.</i>] And,
-besides, you didn’t bring the music.</p>
-
-<p>BEATRICE.<br/>
-[<i>A little confused.</i>] That I forgot. But we have the old
-piece.</p>
-
-<p>ROBERT.<br/>
-[<i>Pinching <span class="charname">Archie’s</span> ear.</i>] You
-little scamp. You want to get off the lesson.</p>
-
-<p>BERTHA.<br/>
-O, never mind the lesson. You must sit down and have a cup of tea now.
-[<i>Going towards the door on the right.</i>] I’ll tell
-Brigid.</p>
-
-<p>ARCHIE.<br/>
-I will, mamma. [<i>He makes a movement to go.</i>]</p>
-
-<p>BEATRICE.<br/>
-No, please Mrs Rowan. Archie! I would really prefer...</p>
-
-<p>ROBERT.<br/>
-[<i>Quietly.</i>] I suggest a compromise. Let it be a half-lesson.</p>
-
-<p>BERTHA.<br/>
-But she must be exhausted.</p>
-
-<p>BEATRICE.<br/>
-[<i>Quickly.</i>] Not in the least. I was thinking of the lesson in the
-train.</p>
-
-<p>ROBERT.<br/>
-[<i>To <span class="charname">Bertha</span>.</i>] You see what it is to
-have a conscience, Mrs Rowan.</p>
-
-<p>ARCHIE.<br/>
-Of my lesson, Miss Justice?</p>
-
-<p>BEATRICE.<br/>
-[<i>Simply.</i>] It is ten days since I heard the sound of a piano.</p>
-
-<p>BERTHA.<br/>
-O, very well. If that is it...</p>
-
-<p>ROBERT.<br/>
-[<i>Nervously, gaily.</i>] Let us have the piano by all means. I know
-what is in Beatty’s ears at this moment. [<i>To <span
-class="charname">Beatrice</span>.</i>] Shall I tell?</p>
-
-<p>BEATRICE.<br/>
-If you know.</p>
-
-<p>ROBERT.<br/>
-The buzz of the harmonium in her father’s parlour. [<i>To
-<span class="charname">Beatrice</span>.</i>] Confess.</p>
-
-<p>BEATRICE.<br/>
-[<i>Smiling.</i>] Yes. I can hear it.</p>
-
-<p>ROBERT.<br/>
-[<i>Grimly.</i>] So can I. The asthmatic voice of protestantism.</p>
-
-<p>BERTHA.<br/>
-Did you not enjoy yourself down there, Miss Justice?</p>
-
-<p>ROBERT.<br/>
-[<i>Intervenes.</i>] She did not, Mrs Rowan. She goes there on retreat,
-when the protestant strain in her prevails—gloom, seriousness,
-righteousness.</p>
-
-<p>BEATRICE.<br/>
-I go to see my father.</p>
-
-<p>ROBERT.<br/>
-[<i>Continuing.</i>] But she comes back here to my mother, you see. The
-piano influence is from our side of the house.</p>
-
-<p>BERTHA.<br/>
-[<i>Hesitating.</i>] Well, Miss Justice, if you would like to play
-something... But please don’t fatigue yourself with Archie.</p>
-
-<p>ROBERT.<br/>
-[<i>Suavely.</i>] Do, Beatty. That is what you want.</p>
-
-<p>BEATRICE.<br/>
-If Archie will come?</p>
-
-<p>ARCHIE.<br/>
-[<i>With a shrug.</i>] To listen.</p>
-
-<p>BEATRICE.<br/>
-[<i>Takes his hand.</i>] And a little lesson, too. Very short.</p>
-
-<p>BERTHA.<br/>
-Well, afterwards you must stay to tea.</p>
-
-<p>BEATRICE.<br/>
-[<i>To <span class="charname">Archie</span>.</i>] Come.</p>
-
-<p>[<i><span class="charname">Beatrice</span> and <span
-class="charname">Archie</span> go out together by the door on the left.
-<span class="charname">Bertha</span> goes towards the davenport, takes
-off her hat and lays it with her sunshade on the desk. Then taking a key
-from a little flowervase, she opens a drawer of the davenport, takes out
-a slip of paper and closes the drawer again. <span
-class="charname">Robert</span> stands watching her.</i>]</p>
-
-<p>BERTHA.<br/>
-[<i>Coming towards him with the paper in her hand.</i>] You put this
-into my hand last night. What does it mean?</p>
-
-<p>ROBERT.<br/>
-Do you not know?</p>
-
-<p>BERTHA.<br/>
-[<i>Reads.</i>] <i>There is one word which I have never dared to say to
-you.</i> What is the word?</p>
-
-<p>ROBERT.<br/>
-That I have a deep liking for you.</p>
-
-<p>[<i>A short pause. The piano is heard faintly from the upper
-room.</i>]</p>
-
-<p>ROBERT.<br/>
-[<i>Takes the bunch of roses from the chair.</i>] I brought these for
-you. Will you take them from me?</p>
-
-<p>BERTHA.<br/>
-[<i>Taking them.</i>] Thank you. [<i>She lays them on the table and
-unfolds the paper again.</i>] Why did you not dare to say it last
-night?</p>
-
-<p>ROBERT.<br/>
-I could not speak to you or follow you. There were too many people on
-the lawn. I wanted you to think over it and so I put it into your hand
-when you were going away.</p>
-
-<p>BERTHA.<br/>
-Now you have dared to say it.</p>
-
-<p>ROBERT.<br/>
-[<i>Moves his hand slowly past his eyes.</i>] You passed. The avenue was
-dim with dusky light. I could see the dark green masses of the trees.
-And you passed beyond them. You were like the moon.</p>
-
-<p>BERTHA.<br/>
-[<i>Laughs.</i>] Why like the moon?</p>
-
-<p>ROBERT.<br/>
-In that dress, with your slim body, walking with little even steps. I
-saw the moon passing in the dusk till you passed and left my sight.</p>
-
-<p>BERTHA.<br/>
-Did you think of me last night?</p>
-
-<p>ROBERT.<br/>
-[<i>Comes nearer.</i>] I think of you always—as something
-beautiful and distant—the moon or some deep music.</p>
-
-<p>BERTHA.<br/>
-[<i>Smiling.</i>] And last night which was I?</p>
-
-<p>ROBERT.<br/>
-I was awake half the night. I could hear your voice. I could see your
-face in the dark. Your eyes... I want to speak to you. Will you listen
-to me? May I speak?</p>
-
-<p>BERTHA.<br/>
-[<i>Sitting down.</i>] You may.</p>
-
-<p>ROBERT.<br/>
-[<i>Sitting beside her.</i>] Are you annoyed with me?</p>
-
-<p>BERTHA.<br/>
-No.</p>
-
-<p>ROBERT.<br/>
-I thought you were. You put away my poor flowers so quickly.</p>
-
-<p>BERTHA.<br/>
-[<i>Takes them from the table and holds them close to her face.</i>] Is
-this what you wish me to do with them?</p>
-
-<p>ROBERT.<br/>
-[<i>Watching her.</i>] Your face is a flower too—but more
-beautiful. A wild flower blowing in a hedge. [<i>Moving his chair closer
-to her.</i>] Why are you smiling? At my words?</p>
-
-<p>BERTHA.<br/>
-[<i>Laying the flowers in her lap.</i>] I am wondering if that is what
-you say—to the others.</p>
-
-<p>ROBERT.<br/>
-[<i>Surprised.</i>] What others?</p>
-
-<p>BERTHA.<br/>
-The other women. I hear you have so many admirers.</p>
-
-<p>ROBERT.<br/>
-[<i>Involuntarily.</i>] And that is why you too...?</p>
-
-<p>BERTHA.<br/>
-But you have, haven’t you?</p>
-
-<p>ROBERT.<br/>
-Friends, yes.</p>
-
-<p>BERTHA.<br/>
-Do you speak to them in the same way?</p>
-
-<p>ROBERT.<br/>
-[<i>In an offended tone.</i>] How can you ask me such a question? What
-kind of person do you think I am? Or why do you listen to me? Did you
-not like me to speak to you in that way?</p>
-
-<p>BERTHA.<br/>
-What you said was very kind. [<i>She looks at him for a moment.</i>]
-Thank you for saying it—and thinking it.</p>
-
-<p>ROBERT.<br/>
-[<i>Leaning forward.</i>] Bertha!</p>
-
-<p>BERTHA.<br/>
-Yes?</p>
-
-<p>ROBERT.<br/>
-I have the right to call you by your name. From old times—nine
-years ago. We were Bertha—and Robert—then. Can we not be so
-now, too?</p>
-
-<p>BERTHA.<br/>
-[<i>Readily.</i>] O yes. Why should we not?</p>
-
-<p>ROBERT.<br/>
-Bertha, you knew. From the very night you landed on Kingstown pier. It
-all came back to me then. And you knew it. You saw it.</p>
-
-<p>BERTHA.<br/>
-No. Not that night.</p>
-
-<p>ROBERT.<br/>
-When?</p>
-
-<p>BERTHA.<br/>
-The night we landed I felt very tired and dirty. [<i>Shaking her
-head.</i>] I did not see it in you that night.</p>
-
-<p>ROBERT.<br/>
-[<i>Smiling.</i>] Tell me what did you see that night—your very
-first impression.</p>
-
-<p>BERTHA.<br/>
-[<i>Knitting her brows.</i>] You were standing with your back to the
-gangway, talking to two ladies.</p>
-
-<p>ROBERT.<br/>
-To two plain middleaged ladies, yes.</p>
-
-<p>BERTHA.<br/>
-I recognized you at once. And I saw that you had got fat.</p>
-
-<p>ROBERT.<br/>
-[<i>Takes her hand.</i>] And this poor fat Robert—do you dislike
-him then so much? Do you disbelieve all he says?</p>
-
-<p>BERTHA.<br/>
-I think men speak like that to all women whom they like or admire. What
-do you want me to believe?</p>
-
-<p>ROBERT.<br/>
-All men, Bertha?</p>
-
-<p>BERTHA.<br/>
-[<i>With sudden sadness.</i>] I think so.</p>
-
-<p>ROBERT.<br/>
-I too?</p>
-
-<p>BERTHA.<br/>
-Yes, Robert. I think you too.</p>
-
-<p>ROBERT.<br/>
-All then—without exception? Or with one exception? [<i>In a lower
-tone.</i>] Or is he too—Richard too—like us all—in
-that at least? Or different?</p>
-
-<p>BERTHA.<br/>
-[<i>Looks into his eyes.</i>] Different.</p>
-
-<p>ROBERT.<br/>
-Are you quite sure, Bertha?</p>
-
-<p>BERTHA.<br/>
-[<i>A little confused, tries to withdraw her hand.</i>] I have answered
-you.</p>
-
-<p>ROBERT.<br/>
-[<i>Suddenly.</i>] Bertha, may I kiss your hand? Let me. May I?</p>
-
-<p>BERTHA.<br/>
-If you wish.</p>
-
-<p>[<i>He lifts her hand to his lips slowly. She rises suddenly and
-listens.</i>]</p>
-
-<p>BERTHA.<br/>
-Did you hear the garden gate?</p>
-
-<p>ROBERT.<br/>
-[<i>Rising also.</i>] No.</p>
-
-<p>[<i>A short pause. The piano can be heard faintly from the upper
-room.</i>]</p>
-
-<p>ROBERT.<br/>
-[<i>Pleading.</i>] Do not go away. You must never go away now. Your life
-is here. I came for that too today—to speak to him—to urge
-him to accept this position. He must. And you must persuade him to. You
-have a great influence over him.</p>
-
-<p>BERTHA.<br/>
-You want him to remain here.</p>
-
-<p>ROBERT.<br/>
-Yes.</p>
-
-<p>BERTHA.<br/>
-Why?</p>
-
-<p>ROBERT.<br/>
-For your sake because you are unhappy so far away. For his sake too
-because he should think of his future.</p>
-
-<p>BERTHA.<br/>
-[<i>Laughing.</i>] Do you remember what he said when you spoke to him
-last night?</p>
-
-<p>ROBERT.<br/>
-About...? [<i>Reflecting.</i>] Yes. He quoted the <i>Our Father</i>
-about our daily bread. He said that to take care for the future is to
-destroy hope and love in the world.</p>
-
-<p>BERTHA.<br/>
-Do you not think he is strange?</p>
-
-<p>ROBERT.<br/>
-In that, yes.</p>
-
-<p>BERTHA.<br/>
-A little—mad?</p>
-
-<p>ROBERT.<br/>
-[<i>Comes closer.</i>] No. He is not. Perhaps we are. Why, do
-you...?</p>
-
-<p>BERTHA.<br/>
-[<i>Laughs.</i>] I ask you because you are intelligent.</p>
-
-<p>ROBERT.<br/>
-You must not go away. I will not let you.</p>
-
-<p>BERTHA.<br/>
-[<i>Looks full at him.</i>] You?</p>
-
-<p>ROBERT.<br/>
-Those eyes must not go away. [<i>He takes her hands.</i>] May I kiss
-your eyes?</p>
-
-<p>BERTHA.<br/>
-Do so.</p>
-
-<p>[<i>He kisses her eyes and then passes his hand over her
-hair.</i>]</p>
-
-<p>ROBERT.<br/>
-Little Bertha!</p>
-
-<p>BERTHA.<br/>
-[<i>Smiling.</i>] But I am not so little. Why do you call me little?</p>
-
-<p>ROBERT.<br/>
-Little Bertha! One embrace? [<i>He puts his arm around her.</i>] Look
-into my eyes again.</p>
-
-<p>BERTHA.<br/>
-[<i>Looks.</i>] I can see the little gold spots. So many you have.</p>
-
-<p>ROBERT.<br/>
-[<i>Delighted.</i>] Your voice! Give me a kiss, a kiss with your
-mouth.</p>
-
-<p>BERTHA.<br/>
-Take it.</p>
-
-<p>ROBERT.<br/>
-I am afraid. [<i>He kisses her mouth and passes his hand many times over
-her hair.</i>] At last I hold you in my arms!</p>
-
-<p>BERTHA.<br/>
-And are you satisfied?</p>
-
-<p>ROBERT.<br/>
-Let me feel your lips touch mine.</p>
-
-<p>BERTHA.<br/>
-And then you will be satisfied?</p>
-
-<p>ROBERT.<br/>
-[<i>Murmurs.</i>] Your lips, Bertha!</p>
-
-<p>BERTHA.<br/>
-[<i>Closes her eyes and kisses him quickly.</i>] There. [<i>Puts her
-hands on his shoulders.</i>] Why don’t you say: thanks?</p>
-
-<p>ROBERT.<br/>
-[<i>Sighs.</i>] My life is finished—over.</p>
-
-<p>BERTHA.<br/>
-O, don’t speak like that now, Robert.</p>
-
-<p>ROBERT.<br/>
-Over, over. I want to end it and have done with it.</p>
-
-<p>BERTHA.<br/>
-[<i>Concerned but lightly.</i>] You silly fellow!</p>
-
-<p>ROBERT.<br/>
-[<i>Presses her to him.</i>] To end it all—death. To fall from a
-great high cliff, down, right down into the sea.</p>
-
-<p>BERTHA.<br/>
-Please, Robert...</p>
-
-<p>ROBERT.<br/>
-Listening to music and in the arms of the woman I love—the sea,
-music and death.</p>
-
-<p>BERTHA.<br/>
-[<i>Looks at him for a moment.</i>] The woman you love?</p>
-
-<p>ROBERT.<br/>
-[<i>Hurriedly.</i>] I want to speak to you, Bertha—alone—not
-here. Will you come?</p>
-
-<p>BERTHA.<br/>
-[<i>With downcast eyes.</i>] I too want to speak to you.</p>
-
-<p>ROBERT.<br/>
-[<i>Tenderly.</i>] Yes, dear, I know. [<i>He kisses her again.</i>] I
-will speak to you; tell you all; then. I will kiss you, then, long long
-kisses—when you come to me—long long sweet kisses.</p>
-
-<p>BERTHA.<br/>
-Where?</p>
-
-<p>ROBERT.<br/>
-[<i>In the tone of passion.</i>] Your eyes. Your lips. All your divine
-body.</p>
-
-<p>BERTHA.<br/>
-[<i>Repelling his embrace, confused.</i>] I meant where do you wish me
-to come.</p>
-
-<p>ROBERT.<br/>
-To my house. Not my mother’s over there. I will write the address
-for you. Will you come?</p>
-
-<p>BERTHA.<br/>
-When?</p>
-
-<p>ROBERT.<br/>
-Tonight. Between eight and nine. Come. I will wait for you tonight. And
-every night. You will?</p>
-
-<p>[<i>He kisses her with passion, holding her head between his hands.
-After a few instants she breaks from him. He sits down.</i>]</p>
-
-<p>BERTHA.<br/>
-[<i>Listening.</i>] The gate opened.</p>
-
-<p>ROBERT.<br/>
-[<i>Intensely.</i>] I will wait for you.</p>
-
-<p>[<i>He takes the slip from the table. <span
-class="charname">Bertha</span> moves away from him slowly. <span
-class="charname">Richard</span> comes in from the garden.</i>]</p>
-
-<p>RICHARD.<br/>
-[<i>Advancing, takes off his hat.</i>] Good afternoon.</p>
-
-<p>ROBERT.<br/>
-[<i>Rises, with nervous friendliness.</i>] Good afternoon, Richard.</p>
-
-<p>BERTHA.<br/>
-[<i>At the table, taking the roses.</i>] Look what lovely roses Mr Hand
-brought me.</p>
-
-<p>ROBERT.<br/>
-I am afraid they are overblown.</p>
-
-<p>RICHARD.<br/>
-[<i>Suddenly.</i>] Excuse me for a moment, will you?</p>
-
-<p>[<i>He turns and goes into his study quickly. <span
-class="charname">Robert</span> takes a pencil from his pocket and writes
-a few words on the slip; then hands it quickly to <span
-class="charname">Bertha</span>.</i>]</p>
-
-<p>ROBERT.<br/>
-[<i>Rapidly.</i>] The address. Take the tram at Lansdowne Road and ask
-to be let down near there.</p>
-
-<p>BERTHA.<br/>
-[<i>Takes it.</i>] I promise nothing.</p>
-
-<p>ROBERT.<br/>
-I will wait.</p>
-
-<p>[<i><span class="charname">Richard</span> comes back from the
-study.</i>]</p>
-
-<p>BERTHA.<br/>
-[<i>Going.</i>] I must put these roses in water.</p>
-
-<p>RICHARD.<br/>
-[<i>Handing her his hat.</i>] Yes, do. And please put my hat on the
-rack.</p>
-
-<p>BERTHA.<br/>
-[<i>Takes it.</i>] So I will leave you to yourselves for your talk.
-[<i>Looking round.</i>] Do you want anything? Cigarettes?</p>
-
-<p>RICHARD.<br/>
-Thanks. We have them here.</p>
-
-<p>BERTHA.<br/>
-Then I can go?</p>
-
-<p>[<i>She goes out on the left with <span
-class="charname">Richard’s</span> hat, which she leaves in the
-hall, and returns at once; she stops for a moment at the davenport,
-replaces the slip in the drawer, locks it, and replaces the key, and,
-taking the roses, goes towards the right. <span
-class="charname">Robert</span> precedes her to open the door for her.
-She bows and goes out.</i>]</p>
-
-<p>RICHARD.<br/>
-[<i>Points to the chair near the little table on the right.</i>] Your
-place of honour.</p>
-
-<p>ROBERT.<br/>
-[<i>Sits down.</i>] Thanks. [<i>Passing his hand over his brow.</i>]
-Good Lord, how warm it is today! The heat pains me here in the eye. The
-glare.</p>
-
-<p>RICHARD.<br/>
-The room is rather dark, I think, with the blind down but if you
-wish...</p>
-
-<p>ROBERT.<br/>
-[<i>Quickly.</i>] Not at all. I know what it is—the result of
-night work.</p>
-
-<p>RICHARD.<br/>
-[<i>Sits on the lounge.</i>] Must you?</p>
-
-<p>ROBERT.<br/>
-[<i>Sighs.</i>] Eh, yes. I must see part of the paper through every
-night. And then my leading articles. We are approaching a difficult
-moment. And not only here.</p>
-
-<p>RICHARD.<br/>
-[<i>After a slight pause.</i>] Have you any news?</p>
-
-<p>ROBERT.<br/>
-[<i>In a different voice.</i>] Yes. I want to speak to you seriously.
-Today may be an important day for you—or rather, tonight. I saw
-the vicechancellor this morning. He has the highest opinion of you,
-Richard. He has read your book, he said.</p>
-
-<p>RICHARD.<br/>
-Did he buy it or borrow it?</p>
-
-<p>ROBERT.<br/>
-Bought it, I hope.</p>
-
-<p>RICHARD.<br/>
-I shall smoke a cigarette. Thirtyseven copies have now been sold in
-Dublin.</p>
-
-<p>[<i>He takes a cigarette from the box on the table, and lights
-it.</i>]</p>
-
-<p>ROBERT.<br/>
-[<i>Suavely, hopelessly.</i>] Well, the matter is closed for the
-present. You have your iron mask on today.</p>
-
-<p>RICHARD.<br/>
-[<i>Smoking.</i>] Let me hear the rest.</p>
-
-<p>ROBERT.<br/>
-[<i>Again seriously.</i>] Richard, you are too suspicious. It is a
-defect in you. He assured me he has the highest possible opinion of you,
-as everyone has. You are the man for the post, he says. In fact, he told
-me that, if your name goes forward, he will work might and main for you
-with the senate and I... will do my part, of course, in the press and
-privately. I regard it as a public duty. The chair of romance literature
-is yours by right, as a scholar, as a literary personality.</p>
-
-<p>RICHARD.<br/>
-The conditions?</p>
-
-<p>ROBERT.<br/>
-Conditions? You mean about the future?</p>
-
-<p>RICHARD.<br/>
-I mean about the past.</p>
-
-<p>ROBERT.<br/>
-[<i>Easily.</i>] That episode in your past is forgotten. An act of
-impulse. We are all impulsive.</p>
-
-<p>RICHARD.<br/>
-[<i>Looks fixedly at him.</i>] You called it an act of folly,
-then—nine years ago. You told me I was hanging a weight about my
-neck.</p>
-
-<p>ROBERT.<br/>
-I was wrong. [<i>Suavely.</i>] Here is how the matter stands, Richard.
-Everyone knows that you ran away years ago with a young girl... How
-shall I put it?... with a young girl not exactly your equal.
-[<i>Kindly.</i>] Excuse me, Richard, that is not my opinion nor my
-language. I am simply using the language of people whose opinions I
-don’t share.</p>
-
-<p>RICHARD.<br/>
-Writing one of your leading articles, in fact.</p>
-
-<p>ROBERT.<br/>
-Put it so. Well, it made a great sensation at the time. A mysterious
-disappearance. My name was involved too, as best man, let us say, on
-that famous occasion. Of course, they think I acted from a mistaken
-sense of friendship. Well, all that is known. [<i>With some
-hesitation.</i>] But what happened afterwards is not known.</p>
-
-<p>RICHARD.<br/>
-No?</p>
-
-<p>ROBERT.<br/>
-Of course, it is your affair, Richard. However, you are not so young now
-as you were then. The expression is quite in the style of my leading
-articles, isn’t it?</p>
-
-<p>RICHARD.<br/>
-Do you, or do you not, want me to give the lie to my past life?</p>
-
-<p>ROBERT.<br/>
-I am thinking of your future life—here. I understand your pride
-and your sense of liberty. I understand their point of view also.
-However, there is a way out; it is simply this. Refrain from
-contradicting any rumours you may hear concerning what happened... or
-did not happen after you went away. Leave the rest to me.</p>
-
-<p>RICHARD.<br/>
-You will set these rumours afloat?</p>
-
-<p>ROBERT.<br/>
-I will. God help me.</p>
-
-<p>RICHARD.<br/>
-[<i>Observing him.</i>] For the sake of social conventions?</p>
-
-<p>ROBERT.<br/>
-For the sake of something else too—our friendship, our lifelong
-friendship.</p>
-
-<p>RICHARD.<br/>
-Thanks.</p>
-
-<p>ROBERT.<br/>
-[<i>Slightly wounded.</i>] And I will tell you the whole truth.</p>
-
-<p>RICHARD.<br/>
-[<i>Smiles and bows.</i>] Yes. Do, please.</p>
-
-<p>ROBERT.<br/>
-Not only for your sake. Also for the sake of—your present partner
-in life.</p>
-
-<p>RICHARD.<br/>
-I see.</p>
-
-<p>[<i>He crushes his cigarette softly on the ashtray and then leans
-forward, rubbing his hands slowly.</i>]</p>
-
-<p>RICHARD.<br/>
-Why for her sake?</p>
-
-<p>ROBERT.<br/>
-[<i>Also leans forward, quietly.</i>] Richard, have you been quite fair
-to her? It was her own free choice, you will say. But was she really
-free to choose? She was a mere girl. She accepted all that you
-proposed.</p>
-
-<p>RICHARD.<br/>
-[<i>Smiles.</i>] That is your way of saying that she proposed what I
-would not accept.</p>
-
-<p>ROBERT.<br/>
-[<i>Nods.</i>] I remember. And she went away with you. But was it of her
-own free choice? Answer me frankly.</p>
-
-<p>RICHARD.<br/>
-[<i>Turns to him, calmly.</i>] I played for her against all that you say
-or can say; and I won.</p>
-
-<p>ROBERT.<br/>
-[<i>Nodding again.</i>] Yes, you won.</p>
-
-<p>RICHARD.<br/>
-[<i>Rises.</i>] Excuse me for forgetting. Will you have some whisky?</p>
-
-<p>ROBERT.<br/>
-All things come to those who wait.</p>
-
-<p>[<i><span class="charname">Richard</span> goes to the sideboard and
-brings a small tray with the decanter and glasses to the table where he
-sets it down.</i>]</p>
-
-<p>RICHARD.<br/>
-[<i>Sits down again, leaning back on the lounge.</i>] Will you please
-help yourself?</p>
-
-<p>ROBERT.<br/>
-[<i>Does so.</i>] And you? Steadfast? [<i><span
-class="charname">Richard</span> shakes his head.</i>] Lord, when I think
-of our wild nights long ago—talks by the hour, plans, carouses,
-revelry...</p>
-
-<p>RICHARD.<br/>
-In our house.</p>
-
-<p>ROBERT.<br/>
-It is mine now. I have kept it ever since though I don’t go there
-often. Whenever you like to come let me know. You must come some night.
-It will be old times again. [<i>He lifts his glass and drinks.</i>]
-<i>Prosit!</i></p>
-
-<p>RICHARD.<br/>
-It was not only a house of revelry; it was to be the hearth of a new
-life. [<i>Musing.</i>] And in that name all our sins were committed.</p>
-
-<p>ROBERT.<br/>
-Sins! Drinking and blasphemy [<i>he points</i>] by me. And drinking and
-heresy, much worse [<i>he points again</i>] by you—are those the
-sins you mean?</p>
-
-<p>RICHARD.<br/>
-And some others.</p>
-
-<p>ROBERT.<br/>
-[<i>Lightly, uneasily.</i>] You mean the women. I have no remorse of
-conscience. Maybe you have. We had two keys on those occasions.
-[<i>Maliciously.</i>] Have you?</p>
-
-<p>RICHARD.<br/>
-[<i>Irritated.</i>] For you it was all quite natural?</p>
-
-<p>ROBERT.<br/>
-For me it is quite natural to kiss a woman whom I like. Why not? She is
-beautiful for me.</p>
-
-<p>RICHARD.<br/>
-[<i>Toying with the lounge cushion.</i>] Do you kiss everything that is
-beautiful for you?</p>
-
-<p>ROBERT.<br/>
-Everything—if it can be kissed. [<i>He takes up a flat stone which
-lies on the table.</i>] This stone, for instance. It is so cool, so
-polished, so delicate, like a woman’s temple. It is silent, it
-suffers our passion; and it is beautiful. [<i>He places it against his
-lips.</i>] And so I kiss it because it is beautiful. And what is a
-woman? A work of nature, too, like a stone or a flower or a bird. A kiss
-is an act of homage.</p>
-
-<p>RICHARD.<br/>
-It is an act of union between man and woman. Even if we are often led to
-desire through the sense of beauty can you say that the beautiful is
-what we desire?</p>
-
-<p>ROBERT.<br/>
-[<i>Pressing the stone to his forehead.</i>] You will give me a headache
-if you make me think today. I cannot think today. I feel too natural,
-too common. After all, what is most attractive in even the most
-beautiful woman?</p>
-
-<p>RICHARD.<br/>
-What?</p>
-
-<p>ROBERT.<br/>
-Not those qualities which she has and other women have not but the
-qualities which she has in common with them. I mean... the commonest.
-[<i>Turning over the stone, he presses the other side to his
-forehead.</i>] I mean how her body develops heat when it is pressed, the
-movement of her blood, how quickly she changes by digestion what she
-eats into—what shall be nameless. [<i>Laughing.</i>] I am very
-common today. Perhaps that idea never struck you?</p>
-
-<p>RICHARD.<br/>
-[<i>Drily.</i>] Many ideas strike a man who has lived nine years with a
-woman.</p>
-
-<p>ROBERT.<br/>
-Yes. I suppose they do.... This beautiful cool stone does me good. Is it
-a paperweight or a cure for headache?</p>
-
-<p>RICHARD.<br/>
-Bertha brought it home one day from the strand. She, too, says that it
-is beautiful.</p>
-
-<p>ROBERT.<br/>
-[<i>Lays down the stone quietly.</i>] She is right.</p>
-
-<p>[<i>He raises his glass and drinks. A pause.</i>]</p>
-
-<p>RICHARD.<br/>
-Is that all you wanted to say to me?</p>
-
-<p>ROBERT.<br/>
-[<i>Quickly.</i>] There is something else. The vicechancellor sends you,
-through me, an invitation for tonight—to dinner at his house. You
-know where he lives? [<i><span class="charname">Richard</span>
-nods.</i>] I thought you might have forgotten. Strictly private, of
-course. He wants to meet you again and sends you a very warm
-invitation.</p>
-
-<p>RICHARD.<br/>
-For what hour?</p>
-
-<p>ROBERT.<br/>
-Eight. But, like yourself, he is free and easy about time. Now, Richard,
-you must go there. That is all. I feel tonight will be the turningpoint
-in your life. You will live here and work here and think here and be
-honoured here—among our people.</p>
-
-<p>RICHARD.<br/>
-[<i>Smiling.</i>] I can almost see two envoys starting for the United
-States to collect funds for my statue a hundred years hence.</p>
-
-<p>ROBERT.<br/>
-[<i>Agreeably.</i>] Once I made a little epigram about statues. All
-statues are of two kinds. [<i>He folds his arms across his chest.</i>]
-The statue which says: <i>How shall I get down?</i> and the other kind
-[<i>he unfolds his arms and extends his right arm, averting his
-head</i>] the statue which says: <i>In my time the dunghill was so
-high.</i></p>
-
-<p>RICHARD.<br/>
-The second one for me, please.</p>
-
-<p>ROBERT.<br/>
-[<i>Lazily.</i>] Will you give me one of those long cigars of yours?</p>
-
-<p>[<i><span class="charname">Richard</span> selects a Virginia cigar
-from the box on the table and hands it to him with the straw drawn
-out.</i>]</p>
-
-<p>ROBERT.<br/>
-[<i>Lighting it.</i>] These cigars Europeanize me. If Ireland is to
-become a new Ireland she must first become European. And that is what
-you are here for, Richard. Some day we shall have to choose between
-England and Europe. I am a descendant of the dark foreigners: that is
-why I like to be here. I may be childish. But where else in Dublin can I
-get a bandit cigar like this or a cup of black coffee? The man who
-drinks black coffee is going to conquer Ireland. And now I will take
-just a half measure of that whisky, Richard, to show you there is no ill
-feeling.</p>
-
-<p>RICHARD.<br/>
-[<i>Points.</i>] Help yourself.</p>
-
-<p>ROBERT.<br/>
-[<i>Does so.</i>] Thanks. [<i>He drinks and goes on as before.</i>] Then
-you yourself, the way you loll on that lounge: then your boy’s
-voice and also—Bertha herself. Do you allow me to call her that,
-Richard? I mean as an old friend of both of you.</p>
-
-<p>RICHARD.<br/>
-O why not?</p>
-
-<p>ROBERT.<br/>
-[<i>With animation.</i>] You have that fierce indignation which
-lacerated the heart of Swift. You have fallen from a higher world,
-Richard, and you are filled with fierce indignation, when you find that
-life is cowardly and ignoble. While I... shall I tell you?</p>
-
-<p>RICHARD.<br/>
-By all means.</p>
-
-<p>ROBERT.<br/>
-[<i>Archly.</i>] I have come up from a lower world and I am filled with
-astonishment when I find that people have any redeeming virtue at
-all.</p>
-
-<p>RICHARD.<br/>
-[<i>Sits up suddenly and leans his elbows on the table.</i>] You are my
-friend, then?</p>
-
-<p>ROBERT.<br/>
-[<i>Gravely.</i>] I fought for you all the time you were away. I fought
-to bring you back. I fought to keep your place for you here. I will
-fight for you still because I have faith in you, the faith of a disciple
-in his master. I cannot say more than that. It may seem strange to
-you... Give me a match.</p>
-
-<p>RICHARD.<br/>
-[<i>Lights and offers him a match.</i>] There is a faith still stranger
-than the faith of the disciple in his master.</p>
-
-<p>ROBERT.<br/>
-And that is?</p>
-
-<p>RICHARD.<br/>
-The faith of a master in the disciple who will betray him.</p>
-
-<p>ROBERT.<br/>
-The church lost a theologian in you, Richard. But I think you look too
-deeply into life. [<i>He rises, pressing <span
-class="charname">Richard’s</span> arm slightly.</i>] Be gay. Life
-is not worth it.</p>
-
-<p>RICHARD.<br/>
-[<i>Without rising.</i>] Are you going?</p>
-
-<p>ROBERT.<br/>
-Must. [<i>He turns and says in a friendly tone.</i>] Then it is all
-arranged. We meet tonight at the vicechancellor’s. I shall look in
-at about ten. So you can have an hour or so to yourselves first. You
-will wait till I come?</p>
-
-<p>RICHARD.<br/>
-Good.</p>
-
-<p>ROBERT.<br/>
-One more match and I am happy.</p>
-
-<p>[<i><span class="charname">Richard</span> strikes another match,
-hands it to him and rises also. <span class="charname">Archie</span>
-comes in by the door on the left, followed by <span
-class="charname">Beatrice</span>.</i>]</p>
-
-<p>ROBERT.<br/>
-Congratulate me, Beatty. I have won over Richard.</p>
-
-<p>ARCHIE.<br/>
-[<i>Crossing to the door on the right, calls.</i>] Mamma, Miss Justice
-is going.</p>
-
-<p>BEATRICE.<br/>
-On what are you to be congratulated?</p>
-
-<p>ROBERT.<br/>
-On a victory, of course. [<i>Laying his hand lightly on
-<span class="charname">Richard’s</span> shoulder.</i>] The
-descendant of Archibald Hamilton Rowan has come home.</p>
-
-<p>RICHARD.<br/>
-I am not a descendant of Hamilton Rowan.</p>
-
-<p>ROBERT.<br/>
-What matter?</p>
-
-<p>[<i><span class="charname">Bertha</span> comes in from the right with
-a bowl of roses.</i>]</p>
-
-<p>BEATRICE.<br/>
-Has Mr Rowan...?</p>
-
-<p>ROBERT.<br/>
-[<i>Turning towards <span class="charname">Bertha</span>.</i>] Richard
-is coming tonight to the vicechancellor’s dinner. The fatted calf
-will be eaten: roast, I hope. And next session will see the descendant
-of a namesake of etcetera, etcetera in a chair of the university. [<i>He
-offers his hand.</i>] Good afternoon, Richard. We shall meet
-tonight.</p>
-
-<p>RICHARD.<br/>
-[<i>Touches his hand.</i>] At Philippi.</p>
-
-<p>BEATRICE.<br/>
-[<i>Shakes hands also.</i>] Accept my best wishes, Mr Rowan.</p>
-
-<p>RICHARD.<br/>
-Thanks. But do not believe him.</p>
-
-<p>ROBERT.<br/>
-[<i>Vivaciously.</i>] Believe me, believe me.
-[<i>To <span class="charname">Bertha</span>.</i>] Good afternoon, Mrs
-Rowan.</p>
-
-<p>BERTHA.<br/>
-[<i>Shaking hands, candidly.</i>] I thank you, too. [<i>To
-<span class="charname">Beatrice</span>.</i>] You won’t stay to
-tea, Miss Justice?</p>
-
-<p>BEATRICE.<br/>
-No, thank you. [<i>Takes leave of her.</i>] I must go. Good afternoon.
-Goodbye, Archie [<i>going</i>].</p>
-
-<p>ROBERT.<br/>
-<i>Addio</i>, Archibald.</p>
-
-<p>ARCHIE.<br/>
-<i>Addio</i>.</p>
-
-<p>ROBERT.<br/>
-Wait, Beatty. I shall accompany you.</p>
-
-<p>BEATRICE.<br/>
-[<i>Going out on the right with <span
-class="charname">Bertha</span>.</i>] O, don’t trouble.</p>
-
-<p>ROBERT.<br/>
-[<i>Following her.</i>] But I insist—as a cousin.</p>
-
-<p>[<i><span class="charname">Bertha, Beatrice</span> and
-<span class="charname">Robert</span> go out by the door on the left.
-<span class="charname">Richard</span> stands irresolutely near the
-table. <span class="charname">Archie</span> closes the door leading to
-the hall and, coming over to him, plucks him by the sleeve.</i>]</p>
-
-<p>ARCHIE.<br/>
-I say, pappie!</p>
-
-<p>RICHARD.<br/>
-[<i>Absently.</i>] What is it?</p>
-
-<p>ARCHIE.<br/>
-I want to ask you a thing.</p>
-
-<p>RICHARD.<br/>
-[<i>Sitting on the end of the lounge, stares in front of him.</i>] What
-is it?</p>
-
-<p>ARCHIE.<br/>
-Will you ask mamma to let me go out in the morning with the milkman?</p>
-
-<p>RICHARD.<br/>
-With the milkman?</p>
-
-<p>ARCHIE.<br/>
-Yes. In the milkcar. He says he will let me drive when we get on to the
-roads where there are no people. The horse is a very good beast. Can I
-go?</p>
-
-<p>RICHARD.<br/>
-Yes.</p>
-
-<p>ARCHIE.<br/>
-Ask mamma now can I go. Will you?</p>
-
-<p>RICHARD.<br/>
-[<i>Glances towards the door.</i>] I will.</p>
-
-<p>ARCHIE.<br/>
-He said he will show me the cows he has in the field. Do you know how
-many cows he has?</p>
-
-<p>RICHARD.<br/>
-How many?</p>
-
-<p>ARCHIE.<br/>
-Eleven. Eight red and three white. But one is sick now. No, not sick.
-But it fell.</p>
-
-<p>RICHARD.<br/>
-Cows?</p>
-
-<p>ARCHIE.<br/>
-[<i>With a gesture.</i>] Eh! Not bulls. Because bulls give no milk.
-Eleven cows. They must give a lot of milk. What makes a cow give
-milk?</p>
-
-<p>RICHARD.<br/>
-[<i>Takes his hand.</i>] Who knows? Do you understand what it is to give
-a thing?</p>
-
-<p>ARCHIE.<br/>
-To give? Yes.</p>
-
-<p>RICHARD.<br/>
-While you have a thing it can be taken from you.</p>
-
-<p>ARCHIE.<br/>
-By robbers? No?</p>
-
-<p>RICHARD.<br/>
-But when you give it, you have given it. No robber can take it from you.
-[<i>He bends his head and presses his son’s hand against his
-cheek.</i>] It is yours then for ever when you have given it. It will be
-yours always. That is to give.</p>
-
-<p>ARCHIE.<br/>
-But, pappie?</p>
-
-<p>RICHARD.<br/>
-Yes?</p>
-
-<p>ARCHIE.<br/>
-How could a robber rob a cow? Everyone would see him. In the night,
-perhaps.</p>
-
-<p>RICHARD.<br/>
-In the night, yes.</p>
-
-<p>ARCHIE.<br/>
-Are there robbers here like in Rome?</p>
-
-<p>RICHARD.<br/>
-There are poor people everywhere.</p>
-
-<p>ARCHIE.<br/>
-Have they revolvers?</p>
-
-<p>RICHARD.<br/>
-No.</p>
-
-<p>ARCHIE.<br/>
-Knives? Have they knives?</p>
-
-<p>RICHARD.<br/>
-[<i>Sternly.</i>] Yes, yes. Knives and revolvers.</p>
-
-<p>ARCHIE.<br/>
-[<i>Disengages himself.</i>] Ask mamma now. She is coming.</p>
-
-<p>RICHARD.<br/>
-[<i>Makes a movement to rise.</i>] I will.</p>
-
-<p>ARCHIE.<br/>
-No, sit there, pappie. You wait and ask her when she comes back. I
-won’t be here. I’ll be in the garden.</p>
-
-<p>RICHARD.<br/>
-[<i>Sinking back again.</i>] Yes. Go.</p>
-
-<p>ARCHIE.<br/>
-[<i>Kisses him swiftly.</i>] Thanks.</p>
-
-<p>[<i>He runs out quickly by the door at the back leading into the
-garden. <span class="charname">Bertha</span> enters by the door on the
-left. She approaches the table and stands beside it, fingering the
-petals of the roses, looking at <span
-class="charname">Richard</span>.</i>]</p>
-
-<p>RICHARD.<br/>
-[<i>Watching her.</i>] Well?</p>
-
-<p>BERTHA.<br/>
-[<i>Absently.</i>] Well. He says he likes me.</p>
-
-<p>RICHARD.<br/>
-[<i>Leans his chin in his hand.</i>] You showed him his note?</p>
-
-<p>BERTHA.<br/>
-Yes. I asked him what it meant.</p>
-
-<p>RICHARD.<br/>
-What did he say it meant?</p>
-
-<p>BERTHA.<br/>
-He said I must know. I said I had an idea. Then he told me he liked me
-very much. That I was beautiful—and all that.</p>
-
-<p>RICHARD.<br/>
-Since when!</p>
-
-<p>BERTHA.<br/>
-[<i>Again absently.</i>] Since when—what?</p>
-
-<p>RICHARD.<br/>
-Since when did he say he liked you?</p>
-
-<p>BERTHA.<br/>
-Always, he said. But more since we came back. He said I was like the
-moon in this lavender dress. [<i>Looking at him.</i>] Had you any words
-with him—about me?</p>
-
-<p>RICHARD.<br/>
-[<i>Blandly.</i>] The usual thing. Not about you.</p>
-
-<p>BERTHA.<br/>
-He was very nervous. You saw that?</p>
-
-<p>RICHARD.<br/>
-Yes. I saw it. What else went on?</p>
-
-<p>BERTHA.<br/>
-He asked me to give him my hand.</p>
-
-<p>RICHARD.<br/>
-[<i>Smiling.</i>] In marriage?</p>
-
-<p>BERTHA.<br/>
-[<i>Smiling.</i>] No, only to hold.</p>
-
-<p>RICHARD.<br/>
-Did you?</p>
-
-<p>BERTHA.<br/>
-Yes. [<i>Tearing off a few petals.</i>] Then he caressed my hand and
-asked would I let him kiss it. I let him.</p>
-
-<p>RICHARD.<br/>
-Well?</p>
-
-<p>BERTHA.<br/>
-Then he asked could he embrace me—even once?... And then...</p>
-
-<p>RICHARD.<br/>
-And then?</p>
-
-<p>BERTHA.<br/>
-He put his arm round me.</p>
-
-<p>RICHARD.<br/>
-[<i>Stares at the floor for a moment, then looks at her again.</i>] And
-then?</p>
-
-<p>BERTHA.<br/>
-He said I had beautiful eyes. And asked could he kiss them. [<i>With a
-gesture.</i>] I said: <i>Do so.</i></p>
-
-<p>RICHARD.<br/>
-And he did?</p>
-
-<p>BERTHA.<br/>
-Yes. First one and then the other. [<i>She breaks off suddenly.</i>]
-Tell me, Dick, does all this disturb you? Because I told you I
-don’t want that. I think you are only pretending you don’t
-mind. I don’t mind.</p>
-
-<p>RICHARD.<br/>
-[<i>Quietly.</i>] I know, dear. But I want to find out what he means or
-feels just as you do.</p>
-
-<p>BERTHA.<br/>
-[<i>Points at him.</i>] Remember, you allowed me to go on. I told you
-the whole thing from the beginning.</p>
-
-<p>RICHARD.<br/>
-[<i>As before.</i>] I know, dear... And then?</p>
-
-<p>BERTHA.<br/>
-He asked for a kiss. I said: <i>Take it.</i></p>
-
-<p>RICHARD.<br/>
-And then?</p>
-
-<p>BERTHA.<br/>
-[<i>Crumpling a handful of petals.</i>] He kissed me.</p>
-
-<p>RICHARD.<br/>
-Your mouth?</p>
-
-<p>BERTHA.<br/>
-Once or twice.</p>
-
-<p>RICHARD.<br/>
-Long kisses?</p>
-
-<p>BERTHA.<br/>
-Fairly long. [<i>Reflects.</i>] Yes, the last time.</p>
-
-<p>RICHARD.<br/>
-[<i>Rubs his hands slowly; then.</i>] With his lips? Or... the other
-way?</p>
-
-<p>BERTHA.<br/>
-Yes, the last time.</p>
-
-<p>RICHARD.<br/>
-Did he ask you to kiss him?</p>
-
-<p>BERTHA.<br/>
-He did.</p>
-
-<p>RICHARD.<br/>
-Did you?</p>
-
-<p>BERTHA.<br/>
-[<i>Hesitates, then looking straight at him.</i>] I did. I kissed
-him.</p>
-
-<p>RICHARD.<br/>
-What way?</p>
-
-<p>BERTHA.<br/>
-[<i>With a shrug.</i>] O simply.</p>
-
-<p>RICHARD.<br/>
-Were you excited?</p>
-
-<p>BERTHA.<br/>
-Well, you can imagine. [<i>Frowning suddenly.</i>] Not much. He has not
-nice lips... Still I was excited, of course. But not like with you,
-Dick.</p>
-
-<p>RICHARD.<br/>
-Was he?</p>
-
-<p>BERTHA.<br/>
-Excited? Yes, I think he was. He sighed. He was dreadfully nervous.</p>
-
-<p>RICHARD.<br/>
-[<i>Resting his forehead on his hand.</i>] I see.</p>
-
-<p>BERTHA.<br/>
-[<i>Crosses towards the lounge and stands near him.</i>] Are you
-jealous?</p>
-
-<p>RICHARD.<br/>
-[<i>As before.</i>] No.</p>
-
-<p>BERTHA.<br/>
-[<i>Quietly.</i>] You are, Dick.</p>
-
-<p>RICHARD.<br/>
-I am not. Jealous of what?</p>
-
-<p>BERTHA.<br/>
-Because he kissed me.</p>
-
-<p>RICHARD.<br/>
-[<i>Looks up.</i>] Is that all?</p>
-
-<p>BERTHA.<br/>
-Yes, that’s all. Except that he asked me would I meet him.</p>
-
-<p>RICHARD.<br/>
-Out somewhere?</p>
-
-<p>BERTHA.<br/>
-No. In his house.</p>
-
-<p>RICHARD.<br/>
-[<i>Surprised.</i>] Over there with his mother, is it?</p>
-
-<p>BERTHA.<br/>
-No, a house he has. He wrote the address for me.</p>
-
-<p>[<i>She goes to the desk, takes the key from the flower vase, unlocks
-the drawer and returns to him with the slip of paper.</i>]</p>
-
-<p>RICHARD.<br/>
-[<i>Half to himself.</i>] Our cottage.</p>
-
-<p>BERTHA.<br/>
-[<i>Hands him the slip.</i>] Here.</p>
-
-<p>RICHARD.<br/>
-[<i>Reads it.</i>] Yes. Our cottage.</p>
-
-<p>BERTHA.<br/>
-Your...?</p>
-
-<p>RICHARD.<br/>
-No, his. I call it ours. [<i>Looking at her.</i>] The cottage I told you
-about so often—that we had the two keys for, he and I. It is his
-now. Where we used to hold our wild nights, talking, drinking,
-planning—at that time. Wild nights; yes. He and I together. [<i>He
-throws the slip on the couch and rises suddenly.</i>] And sometimes I
-alone. [<i>Stares at her.</i>] But not quite alone. I told you. You
-remember?</p>
-
-<p>BERTHA.<br/>
-[<i>Shocked.</i>] That place?</p>
-
-<p>RICHARD.<br/>
-[<i>Walks away from her a few paces and stands still, thinking, holding
-his chin.</i>] Yes.</p>
-
-<p>BERTHA.<br/>
-[<i>Taking up the slip again.</i>] Where is it?</p>
-
-<p>RICHARD.<br/>
-Do you not know?</p>
-
-<p>BERTHA.<br/>
-He told me to take the tram at Lansdowne Road and to ask the man to let
-me down there. Is it... is it a bad place?</p>
-
-<p>RICHARD.<br/>
-O no, cottages. [<i>He returns to the lounge and sits down.</i>] What
-answer did you give?</p>
-
-<p>BERTHA.<br/>
-No answer. He said he would wait.</p>
-
-<p>RICHARD.<br/>
-Tonight?</p>
-
-<p>BERTHA.<br/>
-Every night, he said. Between eight and nine.</p>
-
-<p>RICHARD.<br/>
-And so I am to go tonight to interview—the professor. About the
-appointment I am to beg for. [<i>Looking at her.</i>] The interview is
-arranged for tonight by him—between eight and nine. Curious,
-isn’t it? The same hour.</p>
-
-<p>BERTHA.<br/>
-Very.</p>
-
-<p>RICHARD.<br/>
-Did he ask you had I any suspicion?</p>
-
-<p>BERTHA.<br/>
-No.</p>
-
-<p>RICHARD.<br/>
-Did he mention my name?</p>
-
-<p>BERTHA.<br/>
-No.</p>
-
-<p>RICHARD.<br/>
-Not once?</p>
-
-<p>BERTHA.<br/>
-Not that I remember.</p>
-
-<p>RICHARD.<br/>
-[<i>Bounding to his feet.</i>] O yes! Quite clear!</p>
-
-<p>BERTHA.<br/>
-What?</p>
-
-<p>RICHARD.<br/>
-[<i>Striding to and fro.</i>] A liar, a thief, and a fool! Quite clear!
-A common thief! What else? [<i>With a harsh laugh.</i>] My great friend!
-A patriot too! A thief—nothing else! [<i>He halts, thrusting his
-hands into his pockets.</i>] But a fool also!</p>
-
-<p>BERTHA.<br/>
-[<i>Looking at him.</i>] What are you going to do?</p>
-
-<p>RICHARD.<br/>
-[<i>Shortly.</i>] Follow him. Find him. Tell him. [<i>Calmly.</i>] A few
-words will do. Thief and fool.</p>
-
-<p>BERTHA.<br/>
-[<i>Flings the slip on the couch.</i>] I see it all!</p>
-
-<p>RICHARD.<br/>
-[<i>Turning.</i>] Eh!</p>
-
-<p>BERTHA.<br/>
-[<i>Hotly.</i>] The work of a devil.</p>
-
-<p>RICHARD.<br/>
-He?</p>
-
-<p>BERTHA.<br/>
-[<i>Turning on him.</i>] No, you! The work of a devil to turn him
-against me as you tried to turn my own child against me. Only you did
-not succeed.</p>
-
-<p>RICHARD.<br/>
-How? In God’s name, how?</p>
-
-<p>BERTHA.<br/>
-[<i>Excitedly.</i>] Yes, yes. What I say. Everyone saw it. Whenever I
-tried to correct him for the least thing you went on with your folly,
-speaking to him as if he were a grownup man. Ruining the poor child, or
-trying to. Then, of course, I was the cruel mother and only you loved
-him. [<i>With growing excitement.</i>] But you did not turn him against
-me—against his own mother. Because why? Because the child has too
-much nature in him.</p>
-
-<p>RICHARD.<br/>
-I never tried to do such a thing, Bertha. You know I cannot be severe
-with a child.</p>
-
-<p>BERTHA.<br/>
-Because you never loved your own mother. A mother is always a mother, no
-matter what. I never heard of any human being that did not love the
-mother that brought him into the world, except you.</p>
-
-<p>RICHARD.<br/>
-[<i>Approaching her quietly.</i>] Bertha, do not say things you will be
-sorry for. Are you not glad my son is fond of me?</p>
-
-<p>BERTHA.<br/>
-Who taught him to be? Who taught him to run to meet you? Who told him
-you would bring him home toys when you were out on your rambles in the
-rain, forgetting all about him—and me? I did. I taught him to love
-you.</p>
-
-<p>RICHARD.<br/>
-Yes, dear. I know it was you.</p>
-
-<p>BERTHA.<br/>
-[<i>Almost crying.</i>] And then you try to turn everyone against me.
-All is to be for you. I am to appear false and cruel to everyone except
-to you. Because you take advantage of my simplicity as you did—the
-first time.</p>
-
-<p>RICHARD.<br/>
-[<i>Violently.</i>] And you have the courage to say that to me?</p>
-
-<p>BERTHA.<br/>
-[<i>Facing him.</i>] Yes, I have! Both then and now. Because I am simple
-you think you can do what you like with me. [<i>Gesticulating.</i>]
-Follow him now. Call him names. Make him be humble before you and make
-him despise me. Follow him!</p>
-
-<p>RICHARD.<br/>
-[<i>Controlling himself.</i>] You forget that I have allowed you
-complete liberty—and allow you it still.</p>
-
-<p>BERTHA.<br/>
-[<i>Scornfully.</i>] Liberty!</p>
-
-<p>RICHARD.<br/>
-Yes, complete. But he must know that I know. [<i>More calmly.</i>] I
-will speak to him quietly. [<i>Appealing.</i>] Bertha, believe me, dear!
-It is not jealousy. You have complete liberty to do as you
-wish—you and he. But not in this way. He will not despise you. You
-don’t wish to deceive me or to pretend to deceive me—with
-him, do you?</p>
-
-<p>BERTHA.<br/>
-No, I do not. [<i>Looking full at him.</i>] Which of us two is the
-deceiver?</p>
-
-<p>RICHARD.<br/>
-Of us? You and me?</p>
-
-<p>BERTHA.<br/>
-[<i>In a calm decided tone.</i>] I know why you have allowed me what you
-call complete liberty.</p>
-
-<p>RICHARD.<br/>
-Why?</p>
-
-<p>BERTHA.<br/>
-To have complete liberty with—that girl.</p>
-
-<p>RICHARD.<br/>
-[<i>Irritated.</i>] But, good God, you knew about that this long time. I
-never hid it.</p>
-
-<p>BERTHA.<br/>
-You did. I thought it was a kind of friendship between you—till we
-came back, and then I saw.</p>
-
-<p>RICHARD.<br/>
-So it is, Bertha.</p>
-
-<p>BERTHA.<br/>
-[<i>Shakes her head.</i>] No, no. It is much more; and that is why you
-give me complete liberty. All those things you sit up at night to write
-about [<i>pointing to the study</i>] in there—about her. You call
-that friendship?</p>
-
-<p>RICHARD.<br/>
-Believe me, Bertha dear. Believe me as I believe you.</p>
-
-<p>BERTHA.<br/>
-[<i>With an impulsive gesture.</i>] My God, I feel it! I know it! What
-else is between you but love?</p>
-
-<p>RICHARD.<br/>
-[<i>Calmly.</i>] You are trying to put that idea into my head but I warn
-you that I don’t take my ideas from other people.</p>
-
-<p>BERTHA.<br/>
-[<i>Hotly.</i>] It is, it is! And that is why you allow him to go on. Of
-course! It doesn’t affect you. You love her.</p>
-
-<p>RICHARD.<br/>
-Love! [<i>Throws out his hands with a sigh and moves away from her.</i>]
-I cannot argue with you.</p>
-
-<p>BERTHA.<br/>
-You can’t because I am right. [<i>Following him a few steps.</i>]
-What would anyone say?</p>
-
-<p>RICHARD.<br/>
-[<i>Turns to her.</i>] Do you think I care?</p>
-
-<p>BERTHA.<br/>
-But I care. What would he say if he knew? You, who talk so much of the
-high kind of feeling you have for me, expressing yourself in that way to
-another woman. If he did it, or other men, I could understand because
-they are false pretenders. But you, Dick! Why do you not tell him
-then?</p>
-
-<p>RICHARD.<br/>
-You can if you like.</p>
-
-<p>BERTHA.<br/>
-I will. Certainly I will.</p>
-
-<p>RICHARD.<br/>
-[<i>Coolly.</i>] He will explain it to you.</p>
-
-<p>BERTHA.<br/>
-He doesn’t say one thing and do another. He is honest in his own
-way.</p>
-
-<p>RICHARD.<br/>
-[<i>Plucks one of the roses and throws it at her feet.</i>] He is,
-indeed! The soul of honour!</p>
-
-<p>BERTHA.<br/>
-You may make fun of him as much as you like. I understand more than you
-think about that business. And so will he. Writing those long letters to
-her for years, and she to you. For years. But since I came back I
-understand it—well.</p>
-
-<p>RICHARD.<br/>
-You do not. Nor would he.</p>
-
-<p>BERTHA.<br/>
-[<i>Laughs scornfully.</i>] Of course. Neither he nor I can understand
-it. Only she can. Because it is such a deep thing!</p>
-
-<p>RICHARD.<br/>
-[<i>Angrily.</i>] Neither he nor you—nor she either! Not one of
-you!</p>
-
-<p>BERTHA.<br/>
-[<i>With great bitterness.</i>] She will! She will understand it! The
-diseased woman!</p>
-
-<p>[<i>She turns away and walks over to the little table on the right.
-<span class="charname">Richard</span> restrains a sudden gesture. A
-short pause.</i>]</p>
-
-<p>RICHARD.<br/>
-[<i>Gravely.</i>] Bertha, take care of uttering words like that!</p>
-
-<p>BERTHA.<br/>
-[<i>Turning, excitedly.</i>] I don’t mean any harm! I feel for her
-more than you can because I am a woman. I do, sincerely. But what I say
-is true.</p>
-
-<p>RICHARD.<br/>
-Is it generous? Think.</p>
-
-<p>BERTHA.<br/>
-[<i>Pointing towards the garden.</i>] It is she who is not generous.
-Remember now what I say.</p>
-
-<p>RICHARD.<br/>
-What?</p>
-
-<p>BERTHA.<br/>
-[<i>Comes nearer; in a calmer tone.</i>] You have given that woman very
-much, Dick. And she may be worthy of it. And she may understand it all,
-too. I know she is that kind.</p>
-
-<p>RICHARD.<br/>
-Do you believe that?</p>
-
-<p>BERTHA.<br/>
-I do. But I believe you will get very little from her in return—or
-from any of her clan. Remember my words, Dick. Because she is not
-generous and they are not generous. Is it all wrong what I am saying? Is
-it?</p>
-
-<p>RICHARD.<br/>
-[<i>Darkly.</i>] No. Not all.</p>
-
-<p>[<i>She stoops and, picking up the rose from the floor, places it in
-the vase again. He watches her. <span class="charname">Brigid</span>
-appears at the folding doors on the right.</i>]</p>
-
-<p>BRIGID.<br/>
-The tea is on the table, ma’am.</p>
-
-<p>BERTHA.<br/>
-Very well.</p>
-
-<p>BRIGID.<br/>
-Is Master Archie in the garden?</p>
-
-<p>BERTHA.<br/>
-Yes. Call him in.</p>
-
-<p>[<i><span class="charname">Brigid</span> crosses the room and goes
-out into the garden. <span class="charname">Bertha</span> goes towards
-the doors on the right. At the lounge she stops and takes up the
-slip.</i>]</p>
-
-<p>BRIGID.<br/>
-[<i>In the garden.</i>] Master Archie! You are to come in to your
-tea.</p>
-
-<p>BERTHA.<br/>
-Am I to go to this place?</p>
-
-<p>RICHARD.<br/>
-Do you want to go?</p>
-
-<p>BERTHA.<br/>
-I want to find out what he means. Am I to go?</p>
-
-<p>RICHARD.<br/>
-Why do you ask me? Decide yourself.</p>
-
-<p>BERTHA.<br/>
-Do you tell me to go?</p>
-
-<p>RICHARD.<br/>
-No.</p>
-
-<p>BERTHA.<br/>
-Do you forbid me to go?</p>
-
-<p>RICHARD.<br/>
-No.</p>
-
-<p>BRIGID.<br/>
-[<i>From the garden.</i>] Come quickly, Master Archie! Your tea is
-waiting on you.</p>
-
-<p>[<i><span class="charname">Brigid</span> crosses the room and goes
-out through the folding doors. <span class="charname">Bertha</span>
-folds the slip into the waist of her dress and goes slowly towards the
-right. Near the door she turns and halts.</i>]</p>
-
-<p>BERTHA.<br/>
-Tell me not to go and I will not.</p>
-
-<p>RICHARD.<br/>
-[<i>Without looking at her.</i>] Decide yourself.</p>
-
-<p>BERTHA.<br/>
-Will you blame me then?</p>
-
-<p>RICHARD.<br/>
-[<i>Excitedly.</i>] No, no! I will not blame you. You are free. I cannot
-blame you.</p>
-
-<p>[<i><span class="charname">Archie</span> appears at the garden
-door.</i>]</p>
-
-<p>BERTHA.<br/>
-I did not deceive you.</p>
-
-<p>[<i>She goes out through the folding doors. <span
-class="charname">Richard</span> remains standing at the table. <span
-class="charname">Archie</span>, when his mother has gone, runs down to
-<span class="charname">Richard</span>.</i>]</p>
-
-<p>ARCHIE.<br/>
-[<i>Quickly.</i>] Well, did you ask her?</p>
-
-<p>RICHARD.<br/>
-[<i>Starting.</i>] What?</p>
-
-<p>ARCHIE.<br/>
-Can I go?</p>
-
-<p>RICHARD.<br/>
-Yes.</p>
-
-<p>ARCHIE.<br/>
-In the morning? She said yes?</p>
-
-<p>RICHARD.<br/>
-Yes. In the morning.</p>
-
-<p>[<i>He puts his arm round his son’s shoulders and looks down at
-him fondly.</i>]</p>
-
-<p>
-<br/>
-<br/>
-</p>
-<p class="scene"><a name="actII" id="actII"></a></p>
-<h3><b>Second Act</b></h3>
-
-<p><i>A room in Robert Hand’s cottage at Ranelagh. On the right,
-forward, a small black piano, on the rest of which is an open piece of
-music. Farther back a door leading to the street door. In the wall, at
-the back, folding doors, draped with dark curtains, leading to a
-bedroom. Near the piano a large table, on which is a tall oil lamp with
-a wide yellow shade. Chairs, upholstered, near this table. A small
-cardtable more forward. Against the back wall a bookcase. In the left
-wall, back, a window looking out into the garden, and, forward, a door
-and porch, also leading to the garden. Easychairs here and there. Plants
-in the porch and near the draped folding doors. On the walls are many
-framed black and white designs. In the right corner, back, a sideboard;
-and in the centre of the room, left of the table, a group consisting of
-a standing Turkish pipe, a low oil stove, which is not lit, and a
-rocking-chair. It is the evening of the same day.</i></p>
-
-<p>[<i><span class="charname">Robert Hand</span>, in evening dress, is
-seated at the piano. The candles are not lit but the lamp on the table
-is lit. He plays softly in the bass the first bars of Wolfram’s
-song in the last act of ‘Tannhäuser’. Then he breaks off
-and, resting an elbow on the ledge of the keyboard, meditates. Then he
-rises and, pulling out a pump from behind the piano, walks here and
-there in the room ejecting from it into the air sprays of perfume. He
-inhales the air slowly and then puts the pump back behind the piano. He
-sits down on a chair near the table and, smoothing his hair carefully,
-sighs once or twice. Then, thrusting his hands into his trousers
-pockets, he leans back, stretches out his legs, and waits. A knock is
-heard at the street door. He rises quickly.</i>]</p>
-
-<p>ROBERT.<br/>
-[<i>Exclaims.</i>] Bertha!</p>
-
-<p>[<i>He hurries out by the door on the right. There is a noise of
-confused greeting. After a few moments <span
-class="charname">Robert</span> enters, followed by <span
-class="charname">Richard Rowan</span>, who is in grey tweeds as before
-but holds in one hand a dark felt hat and in the other an
-umbrella.</i>]</p>
-
-<p>ROBERT.<br/>
-First of all let me put these outside.</p>
-
-<p>[<i>He takes the hat and umbrella, leaves them in the hall and
-returns.</i>]</p>
-
-<p>ROBERT.<br/>
-[<i>Pulling round a chair.</i>] Here you are. You are lucky to find me
-in. Why didn’t you tell me today? You were always a devil for
-surprises. I suppose my evocation of the past was too much for your wild
-blood. See how artistic I have become. [<i>He points to the walls.</i>]
-The piano is an addition since your time. I was just strumming out
-Wagner when you came. Killing time. You see I am ready for the fray.
-[<i>Laughs.</i>] I was just wondering how you and the vicechancellor
-were getting on together. [<i>With exaggerated alarm.</i>] But are you
-going in that suit? O well, it doesn’t make much odds, I suppose.
-But how goes the time? [<i>He takes out his watch.</i>] Twenty past
-eight already, I declare!</p>
-
-<p>RICHARD.<br/>
-Have you an appointment?</p>
-
-<p>ROBERT.<br/>
-[<i>Laughs nervously.</i>] Suspicious to the last!</p>
-
-<p>RICHARD.<br/>
-Then I may sit down?</p>
-
-<p>ROBERT.<br/>
-Of course, of course. [<i>They both sit down.</i>] For a few minutes,
-anyhow. Then we can both go on together. We are not bound for time.
-Between eight and nine, he said, didn’t he? What time is it, I
-wonder? [<i>Is about to look again at his watch; then stops.</i>] Twenty
-past eight, yes.</p>
-
-<p>RICHARD.<br/>
-[<i>Wearily, sadly.</i>] Your appointment also was for the same hour.
-Here.</p>
-
-<p>ROBERT.<br/>
-What appointment?</p>
-
-<p>RICHARD.<br/>
-With Bertha.</p>
-
-<p>ROBERT.<br/>
-[<i>Stares at him.</i>] Are you mad?</p>
-
-<p>RICHARD.<br/>
-Are you?</p>
-
-<p>ROBERT.<br/>
-[<i>After a long pause.</i>] Who told you?</p>
-
-<p>RICHARD.<br/>
-She.</p>
-
-<p>[<i>A short silence.</i>]</p>
-
-<p>ROBERT.<br/>
-[<i>In a low voice.</i>] Yes. I must have been mad. [<i>Rapidly.</i>]
-Listen to me, Richard. It is a great relief to me that you have
-come—the greatest relief. I assure you that ever since this
-afternoon I have thought and thought how I could break it off without
-seeming a fool. A great relief! I even intended to send word... a
-letter, a few lines. [<i>Suddenly.</i>] But then it was too late...
-[<i>Passes his hand over his forehead.</i>] Let me speak frankly with
-you; let me tell you everything.</p>
-
-<p>RICHARD.<br/>
-I know everything. I have known for some time.</p>
-
-<p>ROBERT.<br/>
-Since when?</p>
-
-<p>RICHARD.<br/>
-Since it began between you and her.</p>
-
-<p>ROBERT.<br/>
-[<i>Again rapidly.</i>] Yes, I was mad. But it was merely
-lightheadedness. I admit that to have asked her here this evening was a
-mistake. I can explain everything to you. And I will. Truly.</p>
-
-<p>RICHARD.<br/>
-Explain to me what is the word you longed and never dared to say to her.
-If you can or will.</p>
-
-<p>ROBERT.<br/>
-[<i>Looks down, then raises his head.</i>] Yes. I will. I admire very
-much the personality of your... of... your wife. That is the word. I can
-say it. It is no secret.</p>
-
-<p>RICHARD.<br/>
-Then why did you wish to keep secret your wooing?</p>
-
-<p>ROBERT.<br/>
-Wooing?</p>
-
-<p>RICHARD.<br/>
-Your advances to her, little by little, day after day, looks, whispers.
-[<i>With a nervous movement of the hands.</i>] <i>Insomma</i>,
-wooing.</p>
-
-<p>ROBERT.<br/>
-[<i>Bewildered.</i>] But how do you know all this?</p>
-
-<p>RICHARD.<br/>
-She told me.</p>
-
-<p>ROBERT.<br/>
-This afternoon?</p>
-
-<p>RICHARD.<br/>
-No. Time after time, as it happened.</p>
-
-<p>ROBERT.<br/>
-You knew? From her? [<i><span class="charname">Richard</span>
-nods.</i>]. You were watching us all the time?</p>
-
-<p>RICHARD.<br/>
-[<i>Very coldly.</i>] I was watching you.</p>
-
-<p>ROBERT.<br/>
-[<i>Quickly.</i>] I mean, watching me. And you never spoke! You had only
-to speak a word—to save me from myself. You were trying me.
-[<i>Passes his hand again over his forehead.</i>] It was a terrible
-trial: now also. [<i>Desperately.</i>] Well, it is past. It will be a
-lesson to me for all my life. You hate me now for what I have done and
-for...</p>
-
-<p>RICHARD.<br/>
-[<i>Quietly, looking at him.</i>] Have I said that I hate you?</p>
-
-<p>ROBERT.<br/>
-Do you not? You must.</p>
-
-<p>RICHARD.<br/>
-Even if Bertha had not told me I should have known. Did you not see that
-when I came in this afternoon I went into my study suddenly for a
-moment?</p>
-
-<p>ROBERT.<br/>
-You did. I remember.</p>
-
-<p>RICHARD.<br/>
-To give you time to recover yourself. It made me sad to see your eyes.
-And the roses too. I cannot say why. A great mass of overblown
-roses.</p>
-
-<p>ROBERT.<br/>
-I thought I had to give them. Was that strange? [<i>Looks at
-<span class="charname">Richard</span> with a tortured expression.</i>]
-Too many, perhaps? Or too old or common?</p>
-
-<p>RICHARD.<br/>
-That was why I did not hate you. The whole thing made me sad all at
-once.</p>
-
-<p>ROBERT.<br/>
-[<i>To himself.</i>] And this is real. It is happening—to us.</p>
-
-<p>[<i>He stares before him for some moments in silence, as if dazed;
-then, without turning his head, continues.</i>]</p>
-
-<p>ROBERT.<br/>
-And she, too, was trying me; making an experiment with me for your
-sake!</p>
-
-<p>RICHARD.<br/>
-You know women better than I do. She says she felt pity for you.</p>
-
-<p>ROBERT.<br/>
-[<i>Brooding.</i>] Pitied me, because I am no longer... an ideal lover.
-Like my roses. Common, old.</p>
-
-<p>RICHARD.<br/>
-Like all men you have a foolish wandering heart.</p>
-
-<p>ROBERT.<br/>
-[<i>Slowly.</i>] Well, you spoke at last. You chose the right
-moment.</p>
-
-<p>RICHARD.<br/>
-[<i>Leans forward.</i>] Robert, not like this. For us two, no. Years, a
-whole life, of friendship. Think a moment. Since childhood, boyhood...
-No, no. Not in such a way—like thieves—at night.
-[<i>Glancing about him.</i>] And in such a place. No, Robert, that is
-not for people like us.</p>
-
-<p>ROBERT.<br/>
-What a lesson! Richard, I cannot tell you what a relief it is to me that
-you have spoken—that the danger is passed. Yes, yes. [<i>Somewhat
-diffidently.</i>] Because... there was some danger for you, too, if you
-think. Was there not?</p>
-
-<p>RICHARD.<br/>
-What danger?</p>
-
-<p>ROBERT.<br/>
-[<i>In the same tone.</i>] I don’t know. I mean if you had not
-spoken. If you had watched and waited on until...</p>
-
-<p>RICHARD.<br/>
-Until?</p>
-
-<p>ROBERT.<br/>
-[<i>Bravely.</i>] Until I had come to like her more and more (because I
-can assure you it is only a lightheaded idea of mine), to like her
-deeply, to love her. Would you have spoken to me then as you have just
-now? [<i><span class="charname">Richard</span> is silent. <span
-class="charname">Robert</span> goes on more boldly.</i>] It would have
-been different, would it not? For then it might have been too late while
-it is not too late now. What could I have said then? I could have said
-only: You are my friend, my dear good friend. I am very sorry but I love
-her. [<i>With a sudden fervent gesture.</i>] I love her and I will take
-her from you, however I can, because I love her.</p>
-
-<p>[<i>They look at each other for some moments in silence.</i>]</p>
-
-<p>RICHARD.<br/>
-[<i>Calmly.</i>] That is the language I have heard often and never
-believed in. Do you mean by stealth or by violence? Steal you could not
-in my house because the doors were open; nor take by violence if there
-were no resistance.</p>
-
-<p>ROBERT.<br/>
-You forget that the kingdom of heaven suffers violence: and the kingdom
-of heaven is like a woman.</p>
-
-<p>RICHARD.<br/>
-[<i>Smiling.</i>] Go on.</p>
-
-<p>ROBERT.<br/>
-[<i>Diffidently, but bravely.</i>] Do you think you have rights over
-her—over her heart?</p>
-
-<p>RICHARD.<br/>
-None.</p>
-
-<p>ROBERT.<br/>
-For what you have done for her? So much! You claim nothing?</p>
-
-<p>RICHARD.<br/>
-Nothing.</p>
-
-<p>ROBERT.<br/>
-[<i>After a pause strikes his forehead with his hand.</i>] What am I
-saying? Or what am I thinking? I wish you would upbraid me, curse me,
-hate me as I deserve. You love this woman. I remember all you told me
-long ago. She is yours, your work. [<i>Suddenly.</i>] And that is why I,
-too, was drawn to her. You are so strong that you attract me even
-through her.</p>
-
-<p>RICHARD.<br/>
-I am weak.</p>
-
-<p>ROBERT.<br/>
-[<i>With enthusiasm.</i>] You, Richard! You are the incarnation of
-strength.</p>
-
-<p>RICHARD.<br/>
-[<i>Holds out his hands.</i>] Feel those hands.</p>
-
-<p>ROBERT.<br/>
-[<i>Taking his hands.</i>] Yes. Mine are stronger. But I meant strength
-of another kind.</p>
-
-<p>RICHARD.<br/>
-[<i>Gloomily.</i>] I think you would try to take her by violence.</p>
-
-<p>[<i>He withdraws his hands slowly.</i>]</p>
-
-<p>ROBERT.<br/>
-[<i>Rapidly.</i>] Those are moments of sheer madness when we feel an
-intense passion for a woman. We see nothing. We think of nothing. Only
-to possess her. Call it brutal, bestial, what you will.</p>
-
-<p>RICHARD.<br/>
-[<i>A little timidly.</i>] I am afraid that that longing to possess a
-woman is not love.</p>
-
-<p>ROBERT.<br/>
-[<i>Impatiently.</i>] No man ever yet lived on this earth who did not
-long to possess—I mean to possess in the flesh—the woman
-whom he loves. It is nature’s law.</p>
-
-<p>RICHARD.<br/>
-[<i>Contemptuously.</i>] What is that to me? Did I vote it?</p>
-
-<p>ROBERT.<br/>
-But if you love... What else is it?</p>
-
-<p>RICHARD.<br/>
-[<i>Hesitatingly.</i>] To wish her well.</p>
-
-<p>ROBERT.<br/>
-[<i>Warmly.</i>] But the passion which burns us night and day to possess
-her. You feel it as I do. And it is not what you said now.</p>
-
-<p>RICHARD.<br/>
-Have you...? [<i>He stops for an instance.</i>] Have you the luminous
-certitude that yours is the brain in contact with which she must think
-and understand and that yours is the body in contact with which her body
-must feel? Have you this certitude in yourself?</p>
-
-<p>ROBERT.<br/>
-Have you?</p>
-
-<p>RICHARD.<br/>
-[<i>Moved.</i>] Once I had it, Robert: a certitude as luminous as that
-of my own existence—or an illusion as luminous.</p>
-
-<p>ROBERT.<br/>
-[<i>Cautiously.</i>] And now?</p>
-
-<p>RICHARD.<br/>
-If you had it and I could feel that you had it—even now...</p>
-
-<p>ROBERT.<br/>
-What would you do?</p>
-
-<p>RICHARD.<br/>
-[<i>Quietly.</i>] Go away. You, and not I, would be necessary to her.
-Alone as I was before I met her.</p>
-
-<p>ROBERT.<br/>
-[<i>Rubs his hands nervously.</i>] A nice little load on my
-conscience!</p>
-
-<p>RICHARD.<br/>
-[<i>Abstractedly.</i>] You met my son when you came to my house this
-afternoon. He told me. What did you feel?</p>
-
-<p>ROBERT.<br/>
-[<i>Promptly.</i>] Pleasure.</p>
-
-<p>RICHARD.<br/>
-Nothing else?</p>
-
-<p>ROBERT.<br/>
-Nothing else. Unless I thought of two things at the same time. I am like
-that. If my best friend lay in his coffin and his face had a comic
-expression I should smile. [<i>With a little gesture of despair.</i>] I
-am like that. But I should suffer too, deeply.</p>
-
-<p>RICHARD.<br/>
-You spoke of conscience... Did he seem to you a child only—or an
-angel?</p>
-
-<p>ROBERT.<br/>
-[<i>Shakes his head.</i>] No. Neither an angel nor an Anglo-Saxon. Two
-things, by the way, for which I have very little sympathy.</p>
-
-<p>RICHARD.<br/>
-Never then? Never even... with her? Tell me. I wish to know.</p>
-
-<p>ROBERT.<br/>
-I feel in my heart something different. I believe that on the last day
-(if it ever comes), when we are all assembled together, that the
-Almighty will speak to us like this. We will say that we lived chastely
-with one other creature...</p>
-
-<p>RICHARD.<br/>
-[<i>Bitterly.</i>] Lie to Him?</p>
-
-<p>ROBERT.<br/>
-Or that we tried to. And He will say to us: Fools! Who told you that you
-were to give yourselves to one being only? You were made to give
-yourselves to many freely. I wrote that law with My finger on your
-hearts.</p>
-
-<p>RICHARD.<br/>
-On woman’s heart, too?</p>
-
-<p>ROBERT.<br/>
-Yes. Can we close our heart against an affection which we feel deeply?
-Should we close it? Should she?</p>
-
-<p>RICHARD.<br/>
-We are speaking of bodily union.</p>
-
-<p>ROBERT.<br/>
-Affection between man and woman must come to that. We think too much of
-it because our minds are warped. For us today it is of no more
-consequence than any other form of contact—than a kiss.</p>
-
-<p>RICHARD.<br/>
-If it is of no consequence why are you dissatisfied till you reach that
-end? Why were you waiting here tonight?</p>
-
-<p>ROBERT.<br/>
-Passion tends to go as far as it can; but, you may believe me or not, I
-had not that in my mind—to reach that end.</p>
-
-<p>RICHARD.<br/>
-Reach it if you can. I will use no arm against you that the world puts
-in my hand. If the law which God’s finger has written on our
-hearts is the law you say I too am God’s creature.</p>
-
-<p>[<i>He rises and paces to and fro some moments in silence. Then he
-goes towards the porch and leans against the jamb. <span
-class="charname">Robert</span> watches him.</i>]</p>
-
-<p>ROBERT.<br/>
-I always felt it. In myself and in others.</p>
-
-<p>RICHARD.<br/>
-[<i>Absently.</i>] Yes?</p>
-
-<p>ROBERT.<br/>
-[<i>With a vague gesture.</i>] For all. That a woman, too, has the right
-to try with many men until she finds love. An immoral idea, is it not? I
-wanted to write a book about it. I began it...</p>
-
-<p>RICHARD.<br/>
-[<i>As before.</i>] Yes?</p>
-
-<p>ROBERT.<br/>
-Because I knew a woman who seemed to me to be doing that—carrying
-out that idea in her own life. She interested me very much.</p>
-
-<p>RICHARD.<br/>
-When was this?</p>
-
-<p>ROBERT.<br/>
-O, not lately. When you were away.</p>
-
-<p>[<i><span class="charname">Richard</span> leaves his place rather
-abruptly and again paces to and fro.</i>]</p>
-
-<p>ROBERT.<br/>
-You see, I am more honest than you thought.</p>
-
-<p>RICHARD.<br/>
-I wish you had not thought of her now—whoever she was, or is.</p>
-
-<p>ROBERT.<br/>
-[<i>Easily.</i>] She was and is the wife of a stockbroker.</p>
-
-<p>RICHARD.<br/>
-[<i>Turning.</i>] You know him?</p>
-
-<p>ROBERT.<br/>
-Intimately.</p>
-
-<p>[<i><span class="charname">Richard</span> sits down again in the same
-place and leans forward, his head on his hands.</i>]</p>
-
-<p>ROBERT.<br/>
-[<i>Moving his chair a little closer.</i>] May I ask you a question?</p>
-
-<p>RICHARD.<br/>
-You may.</p>
-
-<p>ROBERT.<br/>
-[<i>With some hesitation.</i>] Has it never happened to you in these
-years—I mean when you were away from her, perhaps, or
-travelling—to... betray her with another. Betray her, I mean, not
-in love. Carnally, I mean... Has that never happened?</p>
-
-<p>RICHARD.<br/>
-It has.</p>
-
-<p>ROBERT.<br/>
-And what did you do?</p>
-
-<p>RICHARD.<br/>
-[<i>As before.</i>] I remember the first time. I came home. It was
-night. My house was silent. My little son was sleeping in his cot. She,
-too, was asleep. I wakened her from sleep and told her. I cried beside
-her bed; and I pierced her heart.</p>
-
-<p>ROBERT.<br/>
-O, Richard, why did you do that?</p>
-
-<p>RICHARD.<br/>
-Betray her?</p>
-
-<p>ROBERT.<br/>
-No. But tell her, waken her from sleep to tell her. It was piercing her
-heart.</p>
-
-<p>RICHARD.<br/>
-She must know me as I am.</p>
-
-<p>ROBERT.<br/>
-But that is not you as you are. A moment of weakness.</p>
-
-<p>RICHARD.<br/>
-[<i>Lost in thought.</i>] And I was feeding the flame of her innocence
-with my guilt.</p>
-
-<p>ROBERT.<br/>
-[<i>Brusquely.</i>] O, don’t talk of guilt and innocence. You have
-made her all that she is. A strange and wonderful personality—in
-my eyes, at least.</p>
-
-<p>RICHARD.<br/>
-[<i>Darkly.</i>] Or I have killed her.</p>
-
-<p>ROBERT.<br/>
-Killed her?</p>
-
-<p>RICHARD.<br/>
-The virginity of her soul.</p>
-
-<p>ROBERT.<br/>
-[<i>Impatiently.</i>] Well lost! What would she be without you?</p>
-
-<p>RICHARD.<br/>
-I tried to give her a new life.</p>
-
-<p>ROBERT.<br/>
-And you have. A new and rich life.</p>
-
-<p>RICHARD.<br/>
-Is it worth what I have taken from her—her girlhood, her laughter,
-her young beauty, the hopes in her young heart?</p>
-
-<p>ROBERT.<br/>
-[<i>Firmly.</i>] Yes. Well worth it. [<i>He looks at <span
-class="charname">Richard</span> for some moments in silence.</i>] If you
-had neglected her, lived wildly, brought her away so far only to make
-her suffer...</p>
-
-<p>[<i>He stops. <span class="charname">Richard</span> raises his head
-and looks at him.</i>]</p>
-
-<p>RICHARD.<br/>
-If I had?</p>
-
-<p>ROBERT.<br/>
-[<i>Slightly confused.</i>] You know there were rumours here of your
-life abroad—a wild life. Some persons who knew you or met you or
-heard of you in Rome. Lying rumours.</p>
-
-<p>RICHARD.<br/>
-[<i>Coldly.</i>] Continue.</p>
-
-<p>ROBERT.<br/>
-[<i>Laughs a little harshly.</i>] Even I at times thought of her as a
-victim. [<i>Smoothly.</i>] And of course, Richard, I felt and knew all
-the time that you were a man of great talent—of something more
-than talent. And that was your excuse—a valid one in my eyes.</p>
-
-<p>RICHARD.<br/>
-Have you thought that it is perhaps now—at this moment—that
-I am neglecting her? [<i>He clasps his hands nervously and leans across
-toward <span class="charname">Robert</span>.</i>] I may be silent still.
-And she may yield to you at last—wholly and many times.</p>
-
-<p>ROBERT.<br/>
-[<i>Draws back at once.</i>] My dear Richard, my dear friend, I swear to
-you I could not make you suffer.</p>
-
-<p>RICHARD.<br/>
-[<i>Continuing.</i>] You may then know in soul and body, in a hundred
-forms, and ever restlessly, what some old theologian, Duns Scotus, I
-think, called a death of the spirit.</p>
-
-<p>ROBERT.<br/>
-[<i>Eagerly.</i>] A death. No; its affirmation! A death! The supreme
-instant of life from which all coming life proceeds, the eternal law of
-nature herself.</p>
-
-<p>RICHARD.<br/>
-And that other law of nature, as you call it: change. How will it be
-when you turn against her and against me; when her beauty, or what seems
-so to you now, wearies you and my affection for you seems false and
-odious?</p>
-
-<p>ROBERT.<br/>
-That will never be. Never.</p>
-
-<p>RICHARD.<br/>
-And you turn even against yourself for having known me or trafficked
-with us both?</p>
-
-<p>ROBERT.<br/>
-[<i>Gravely.</i>] It will never be like that, Richard. Be sure of
-that.</p>
-
-<p>RICHARD.<br/>
-[<i>Contemptuously.</i>] I care very little whether it is or not because
-there is something I fear much more.</p>
-
-<p>ROBERT.<br/>
-[<i>Shakes his head.</i>] You fear? I disbelieve you, Richard. Since we
-were boys together I have followed your mind. You do not know what moral
-fear is.</p>
-
-<p>RICHARD.<br/>
-[<i>Lays his hand on his arm.</i>] Listen. She is dead. She lies on my
-bed. I look at her body which I betrayed—grossly and many times.
-And loved, too, and wept over. And I know that her body was always my
-loyal slave. To me, to me only she gave... [<i>He breaks off and turns
-aside, unable to speak.</i>]</p>
-
-<p>ROBERT.<br/>
-[<i>Softly.</i>] Do not suffer, Richard. There is no need. She is loyal
-to you, body and soul. Why do you fear?</p>
-
-<p>RICHARD.<br/>
-[<i>Turns towards him, almost fiercely.</i>] Not that fear. But that I
-will reproach myself then for having taken all for myself because I
-would not suffer her to give to another what was hers and not mine to
-give, because I accepted from her her loyalty and made her life poorer
-in love. That is my fear. That I stand between her and any moments of
-life that should be hers, between her and you, between her and anyone,
-between her and anything. I will not do it. I cannot and I will not. I
-dare not.</p>
-
-<p>[<i>He leans back in his chair breathless, with shining eyes.
-<span class="charname">Robert</span> rises quietly, and stands behind
-his chair.</i>]</p>
-
-<p>ROBERT.<br/>
-Look here, Richard. We have said all there is to be said. Let the past
-be past.</p>
-
-<p>RICHARD.<br/>
-[<i>Quickly and harshly.</i>] Wait. One thing more. For you, too, must
-know me as I am—now.</p>
-
-<p>ROBERT.<br/>
-More? Is there more?</p>
-
-<p>RICHARD.<br/>
-I told you that when I saw your eyes this afternoon I felt sad. Your
-humility and confusion, I felt, united you to me in brotherhood. [<i>He
-turns half round towards him.</i>] At that moment I felt our whole life
-together in the past, and I longed to put my arm around your neck.</p>
-
-<p>ROBERT.<br/>
-[<i>Deeply and suddenly touched.</i>] It is noble of you, Richard, to
-forgive me like this.</p>
-
-<p>RICHARD.<br/>
-[<i>Struggling with himself.</i>] I told you that I wished you not to do
-anything false and secret against me—against our friendship,
-against her; not to steal her from me craftily, secretly,
-meanly—in the dark, in the night—you, Robert, my friend.</p>
-
-<p>ROBERT.<br/>
-I know. And it was noble of you.</p>
-
-<p>RICHARD.<br/>
-[<i>Looks up at him with a steady gaze.</i>] No. Not noble. Ignoble.</p>
-
-<p>ROBERT.<br/>
-[<i>Makes an involuntary gesture.</i>] How? Why?</p>
-
-<p>RICHARD.<br/>
-[<i>Looks away again: in a lower voice.</i>] That is what I must tell
-you too. Because in the very core of my ignoble heart I longed to be
-betrayed by you and by her—in the dark, in the
-night—secretly, meanly, craftily. By you, my best friend, and by
-her. I longed for that passionately and ignobly, to be dishonoured for
-ever in love and in lust, to be...</p>
-
-<p>ROBERT.<br/>
-[<i>Bending down, places his hands over <span
-class="charname">Richard’s</span> mouth.</i>] Enough. Enough.
-[<i>He takes his hands away.</i>] But no. Go on.</p>
-
-<p>RICHARD.<br/>
-To be for ever a shameful creature and to build up my soul again out of
-the ruins of its shame.</p>
-
-<p>ROBERT.<br/>
-And that is why you wished that she...</p>
-
-<p>RICHARD.<br/>
-[<i>With calm.</i>] She has spoken always of her innocence, as I have
-spoken always of my guilt, humbling me.</p>
-
-<p>ROBERT.<br/>
-From pride, then?</p>
-
-<p>RICHARD.<br/>
-From pride and from ignoble longing. And from a motive deeper still.</p>
-
-<p>ROBERT.<br/>
-[<i>With decision.</i>] I understand you.</p>
-
-<p>[<i>He returns to his place and begins to speak at once, drawing his
-chair closer.</i>]</p>
-
-<p>ROBERT.<br/>
-May it not be that we are here and now in the presence of a moment which
-will free us both—me as well as you—from the last bonds of
-what is called morality. My friendship for you has laid bonds on me.</p>
-
-<p>RICHARD.<br/>
-Light bonds, apparently.</p>
-
-<p>ROBERT.<br/>
-I acted in the dark, secretly. I will do so no longer. Have you the
-courage to allow me to act freely?</p>
-
-<p>RICHARD.<br/>
-A duel—between us?</p>
-
-<p>ROBERT.<br/>
-[<i>With growing excitement.</i>] A battle of both our souls, different
-as they are, against all that is false in them and in the world. A
-battle of your soul against the spectre of fidelity, of mine against the
-spectre of friendship. All life is a conquest, the victory of human
-passion over the commandments of cowardice. Will you, Richard? Have you
-the courage? Even if it shatters to atoms the friendship between us,
-even if it breaks up for ever the last illusion in your own life? There
-was an eternity before we were born: another will come after we are
-dead. The blinding instant of passion alone—passion, free,
-unashamed, irresistible—that is the only gate by which we can
-escape from the misery of what slaves call life. Is not this the
-language of your own youth that I heard so often from you in this very
-place where we are sitting now? Have you changed?</p>
-
-<p>RICHARD.<br/>
-[<i>Passes his hand across his brow.</i>] Yes. It is the language of my
-youth.</p>
-
-<p>ROBERT.<br/>
-[<i>Eagerly, intensely.</i>] Richard, you have driven me up to this
-point. She and I have only obeyed your will. You yourself have roused
-these words in my brain. Your own words. Shall we? Freely? Together?</p>
-
-<p>RICHARD.<br/>
-[<i>Mastering his emotion.</i>] Together no. Fight your part alone. I
-will not free you. Leave me to fight mine.</p>
-
-<p>ROBERT.<br/>
-[<i>Rises, decided.</i>] You allow me, then?</p>
-
-<p>RICHARD.<br/>
-[<i>Rises also, calmly.</i>] Free yourself.</p>
-
-<p>[<i>A knock is heard at the hall door.</i>]</p>
-
-<p>ROBERT.<br/>
-[<i>In alarm.</i>] What does this mean?</p>
-
-<p>RICHARD.<br/>
-[<i>Calmly.</i>] Bertha, evidently. Did you not ask her to come?</p>
-
-<p>ROBERT.<br/>
-Yes, but... [<i>Looking about him.</i>] Then I am going, Richard.</p>
-
-<p>RICHARD.<br/>
-No. I am going.</p>
-
-<p>ROBERT.<br/>
-[<i>Desperately.</i>] Richard, I appeal to you. Let me go. It is over.
-She is yours. Keep her and forgive me, both of you.</p>
-
-<p>RICHARD.<br/>
-Because you are generous enough to allow me?</p>
-
-<p>ROBERT.<br/>
-[<i>Hotly.</i>] Richard, you will make me angry with you if you say
-that.</p>
-
-<p>RICHARD.<br/>
-Angry or not, I will not live on your generosity. You have asked her to
-meet you here tonight and alone. Solve the question between you.</p>
-
-<p>ROBERT.<br/>
-[<i>Promptly.</i>] Open the door. I shall wait in the garden. [<i>He
-goes towards the porch.</i>] Explain to her, Richard, as best you can. I
-cannot see her now.</p>
-
-<p>RICHARD.<br/>
-I shall go. I tell you. Wait out there if you wish.</p>
-
-<p>[<i>He goes out by the door on the right. <span
-class="charname">Robert</span> goes out hastily through the porch but
-comes back the same instant.</i>]</p>
-
-<p>ROBERT.<br/>
-An umbrella! [<i>With a sudden gesture.</i>] O!</p>
-
-<p>[<i>He goes out again through the porch. The hall door is heard to
-open and close. <span class="charname">Richard</span> enters, followed
-by <span class="charname">Bertha</span>, who is dressed in a darkbrown
-costume and wears a small dark red hat. She has neither umbrella nor
-waterproof.</i>]</p>
-
-<p>RICHARD.<br/>
-[<i>Gaily.</i>] Welcome back to old Ireland!</p>
-
-<p>BERTHA.<br/>
-[<i>Nervously, seriously.</i>] Is this the place?</p>
-
-<p>RICHARD.<br/>
-Yes, it is. How did you find it?</p>
-
-<p>BERTHA.<br/>
-I told the cabman. I didn’t like to ask my way. [<i>Looking about
-her curiously.</i>] Was he not waiting? Has he gone away?</p>
-
-<p>RICHARD.<br/>
-[<i>Points towards the garden.</i>] He is waiting. Out there. He was
-waiting when I came.</p>
-
-<p>BERTHA.<br/>
-[<i>Selfpossessed again.</i>] You see, you came after all.</p>
-
-<p>RICHARD.<br/>
-Did you think I would not?</p>
-
-<p>BERTHA.<br/>
-I knew you could not remain away. You see, after all you are like all
-other men. You had to come. You are jealous like the others.</p>
-
-<p>RICHARD.<br/>
-You seem annoyed to find me here.</p>
-
-<p>BERTHA.<br/>
-What happened between you?</p>
-
-<p>RICHARD.<br/>
-I told him I knew everything, that I had known for a long time. He asked
-how. I said from you.</p>
-
-<p>BERTHA.<br/>
-Does he hate me?</p>
-
-<p>RICHARD.<br/>
-I cannot read in his heart.</p>
-
-<p>BERTHA.<br/>
-[<i>Sits down helplessly.</i>] Yes. He hates me. He believes I made a
-fool of him—betrayed him. I knew he would.</p>
-
-<p>RICHARD.<br/>
-I told him you were sincere with him.</p>
-
-<p>BERTHA.<br/>
-He does not believe it. Nobody would believe it. I should have told him
-first—not you.</p>
-
-<p>RICHARD.<br/>
-I thought he was a common robber, prepared to use even violence against
-you. I had to protect you from that.</p>
-
-<p>BERTHA.<br/>
-That I could have done myself.</p>
-
-<p>RICHARD.<br/>
-Are you sure?</p>
-
-<p>BERTHA.<br/>
-It would have been enough to have told him that you knew I was here. Now
-I can find out nothing. He hates me. He is right to hate me. I have
-treated him badly, shamefully.</p>
-
-<p>RICHARD.<br/>
-[<i>Takes her hand.</i>] Bertha, look at me.</p>
-
-<p>BERTHA.<br/>
-[<i>Turns to him.</i>] Well?</p>
-
-<p>RICHARD.<br/>
-[<i>Gazes into her eyes and then lets her hand fall.</i>] I cannot read
-in your heart either.</p>
-
-<p>BERTHA.<br/>
-[<i>Still looking at him.</i>] You could not remain away. Do you not
-trust me? You can see I am quite calm. I could have hidden it all from
-you.</p>
-
-<p>RICHARD.<br/>
-I doubt that.</p>
-
-<p>BERTHA.<br/>
-[<i>With a slight toss of her head.</i>] O, easily if I had wanted
-to.</p>
-
-<p>RICHARD.<br/>
-[<i>Darkly.</i>] Perhaps you are sorry now that you did not.</p>
-
-<p>BERTHA.<br/>
-Perhaps I am.</p>
-
-<p>RICHARD.<br/>
-[<i>Unpleasantly.</i>] What a fool you were to tell me! It would have
-been so nice if you had kept it secret.</p>
-
-<p>BERTHA.<br/>
-As you do, no?</p>
-
-<p>RICHARD.<br/>
-As I do, yes. [<i>He turns to go.</i>] Goodbye for a while.</p>
-
-<p>BERTHA.<br/>
-[<i>Alarmed, rises.</i>] Are you going?</p>
-
-<p>RICHARD.<br/>
-Naturally. My part is ended here.</p>
-
-<p>BERTHA.<br/>
-To her, I suppose?</p>
-
-<p>RICHARD.<br/>
-[<i>Astonished.</i>] Who?</p>
-
-<p>BERTHA.<br/>
-Her ladyship. I suppose it is all planned so that you may have a good
-opportunity. To meet her and have an intellectual conversation!</p>
-
-<p>RICHARD.<br/>
-[<i>With an outburst of rude anger.</i>] To meet the devil’s
-father!</p>
-
-<p>BERTHA.<br/>
-[<i>Unpins her hat and sits down.</i>] Very well. You can go. Now I know
-what to do.</p>
-
-<p>RICHARD.<br/>
-[<i>Returns, approaches her.</i>] You don’t believe a word of what
-you say.</p>
-
-<p>BERTHA.<br/>
-[<i>Calmly.</i>] You can go. Why don’t you?</p>
-
-<p>RICHARD.<br/>
-Then you have come here and led him on in this way on account of me. Is
-that how it is?</p>
-
-<p>BERTHA.<br/>
-There is one person in all this who is not a fool. And that is you. I am
-though. And he is.</p>
-
-<p>RICHARD.<br/>
-[<i>Continuing.</i>] If so you have indeed treated him badly and
-shamefully.</p>
-
-<p>BERTHA.<br/>
-[<i>Points at him.</i>] Yes. But it was your fault. And I will end it
-now. I am simply a tool for you. You have no respect for me. You never
-had because I did what I did.</p>
-
-<p>RICHARD.<br/>
-And has he respect?</p>
-
-<p>BERTHA.<br/>
-He has. Of all the persons I met since I came back he is the only one
-who has. And he knows what they only suspect. And that is why I liked
-him from the first and like him still. Great respect for me she has! Why
-did you not ask her to come away with you nine years ago?</p>
-
-<p>RICHARD.<br/>
-You know why, Bertha. Ask yourself.</p>
-
-<p>BERTHA.<br/>
-Yes, I know why. You knew the answer you would get. That is why.</p>
-
-<p>RICHARD.<br/>
-That is not why. I did not even ask you.</p>
-
-<p>BERTHA.<br/>
-Yes. You knew I would go, asked or not. I do things. But if I do one
-thing I can do two things. As I have the name I can have the gains.</p>
-
-<p>RICHARD.<br/>
-[<i>With increasing excitement.</i>] Bertha, I accept what is to be. I
-have trusted you. I will trust you still.</p>
-
-<p>BERTHA.<br/>
-To have that against me. To leave me then. [<i>Almost passionately.</i>]
-Why do you not defend me then against him? Why do you go away from me
-now without a word? Dick, my God, tell me what you wish me to do?</p>
-
-<p>RICHARD.<br/>
-I cannot, dear. [<i>Struggling with himself.</i>] Your own heart will
-tell you. [<i>He seizes both her hands.</i>] I have a wild delight in my
-soul, Bertha, as I look at you. I see you as you are yourself. That I
-came first in your life or before him then—that may be nothing to
-you. You may be his more than mine.</p>
-
-<p>BERTHA.<br/>
-I am not. Only I feel for him, too.</p>
-
-<p>RICHARD.<br/>
-And I do too. You may be his and mine. I will trust you, Bertha, and him
-too. I must. I cannot hate him since his arms have been around you. You
-have drawn us near together. There is something wiser than wisdom in
-your heart. Who am I that I should call myself master of your heart or
-of any woman’s? Bertha, love him, be his, give yourself to him if
-you desire—or if you can.</p>
-
-<p>BERTHA.<br/>
-[<i>Dreamily.</i>] I will remain.</p>
-
-<p>RICHARD.<br/>
-Goodbye.</p>
-
-<p>[<i>He lets her hand fall and goes out rapidly on the right.
-<span class="charname">Bertha</span> remains sitting. Then she rises and
-goes timidly towards the porch. She stops near it and, after a little
-hesitation, calls into the garden.</i>]</p>
-
-<p>BERTHA.<br/>
-Is anyone out there?</p>
-
-<p>[<i>At the same time she retreats towards the middle of the room.
-Then she calls again in the same way.</i>]</p>
-
-<p>BERTHA.<br/>
-Is anyone there?</p>
-
-<p>[<i><span class="charname">Robert</span> appears in the open doorway
-that leads in from the garden. His coat is buttoned and the collar is
-turned up. He holds the doorposts with his hands lightly and waits for
-<span class="charname">Bertha</span> to see him.</i>]</p>
-
-<p>BERTHA.<br/>
-[<i>Catching sight of him, starts back: then, quickly.</i>] Robert!</p>
-
-<p>ROBERT.<br/>
-Are you alone?</p>
-
-<p>BERTHA.<br/>
-Yes.</p>
-
-<p>ROBERT.<br/>
-[<i>Looking towards the door on the right.</i>] Where is he?</p>
-
-<p>BERTHA.<br/>
-Gone. [<i>Nervously.</i>] You startled me. Where did you come from?</p>
-
-<p>ROBERT.<br/>
-[<i>With a movement of his head.</i>] Out there. Did he not tell you I
-was out there—waiting?</p>
-
-<p>BERTHA.<br/>
-[<i>Quickly.</i>] Yes, he told me. But I was afraid here alone. With the
-door open, waiting. [<i>She comes to the table and rests her hand on the
-corner.</i>] Why do you stand like that in the doorway?</p>
-
-<p>ROBERT.<br/>
-Why? I am afraid too.</p>
-
-<p>BERTHA.<br/>
-Of what?</p>
-
-<p>ROBERT.<br/>
-Of you.</p>
-
-<p>BERTHA.<br/>
-[<i>Looks down.</i>] Do you hate me now?</p>
-
-<p>ROBERT.<br/>
-I fear you. [<i>Clasping his hands at his back, quietly but a little
-defiantly.</i>] I fear a new torture—a new trap.</p>
-
-<p>BERTHA.<br/>
-[<i>As before.</i>] For what do you blame me?</p>
-
-<p>ROBERT.<br/>
-[<i>Comes forward a few steps, halts: then impulsively:</i>] Why did you
-lead me on? Day after day, more and more. Why did you not stop me? You
-could have—with a word. But not even a word! I forgot myself and
-him. You saw it. That I was ruining myself in his eyes, losing his
-friendship. Did you want me to?</p>
-
-<p>BERTHA.<br/>
-[<i>Looking up.</i>] You never asked me.</p>
-
-<p>ROBERT.<br/>
-Asked you what?</p>
-
-<p>BERTHA.<br/>
-If he suspected—or knew.</p>
-
-<p>ROBERT.<br/>
-And would you have told me?</p>
-
-<p>BERTHA.<br/>
-Yes.</p>
-
-<p>ROBERT.<br/>
-[<i>Hesitatingly.</i>] Did you tell him—everything?</p>
-
-<p>BERTHA.<br/>
-I did.</p>
-
-<p>ROBERT.<br/>
-I mean—details.</p>
-
-<p>BERTHA.<br/>
-Everything.</p>
-
-<p>ROBERT.<br/>
-[<i>With a forced smile.</i>] I see. You were making an experiment for
-his sake. On me. Well, why not? It seems I was a good subject. Still, it
-was a little cruel of you.</p>
-
-<p>BERTHA.<br/>
-Try to understand me, Robert. You must try.</p>
-
-<p>ROBERT.<br/>
-[<i>With a polite gesture.</i>] Well, I will try.</p>
-
-<p>BERTHA.<br/>
-Why do you stand like that near the door? It makes me nervous to look at
-you.</p>
-
-<p>ROBERT.<br/>
-I am trying to understand. And then I am afraid.</p>
-
-<p>BERTHA.<br/>
-[<i>Holds out her hand.</i>] You need not be afraid.</p>
-
-<p>[<i><span class="charname">Robert</span> comes towards her quickly
-and takes her hand.</i>]</p>
-
-<p>ROBERT.<br/>
-[<i>Diffidently.</i>] Used you to laugh over me—together?
-[<i>Drawing his hand away.</i>] But now I must be good or you may laugh
-over me again—tonight.</p>
-
-<p>BERTHA.<br/>
-[<i>Distressed, lays her hand on his arm.</i>] Please listen to me,
-Robert... But you are all wet, drenched! [<i>She passes her hands over
-his coat.</i>] O, you poor fellow! Out there in the rain all that time!
-I forgot that.</p>
-
-<p>ROBERT.<br/>
-[<i>Laughs.</i>] Yes, you forgot the climate.</p>
-
-<p>BERTHA.<br/>
-But you are really drenched. You must change your coat.</p>
-
-<p>ROBERT.<br/>
-[<i>Takes her hands.</i>] Tell me, it is pity then that you feel for me,
-as he—as Richard—says?</p>
-
-<p>BERTHA.<br/>
-Please change your coat, Robert, when I ask you. You might get a very
-bad cold from that. Do, please.</p>
-
-<p>ROBERT.<br/>
-What would it matter now?</p>
-
-<p>BERTHA.<br/>
-[<i>Looking round her.</i>] Where do you keep your clothes here?</p>
-
-<p>ROBERT.<br/>
-[<i>Points to the door at the back.</i>] In there. I fancy I have a
-jacket here. [<i>Maliciously.</i>] In my bedroom.</p>
-
-<p>BERTHA.<br/>
-Well, go in and take that off.</p>
-
-<p>ROBERT.<br/>
-And you?</p>
-
-<p>BERTHA.<br/>
-I will wait here for you.</p>
-
-<p>ROBERT.<br/>
-Do you command me to?</p>
-
-<p>BERTHA.<br/>
-[<i>Laughing.</i>] Yes, I command you.</p>
-
-<p>ROBERT.<br/>
-[<i>Promptly.</i>] Then I will. [<i>He goes quickly towards the bedroom
-door; then turns round.</i>] You won’t go away?</p>
-
-<p>BERTHA.<br/>
-No, I will wait. But don’t be long.</p>
-
-<p>ROBERT.<br/>
-Only a moment.</p>
-
-<p>[<i>He goes into the bedroom, leaving the door open.
-<span class="charname">Bertha</span> looks curiously about her and then
-glances in indecision towards the door at the back.</i>]</p>
-
-<p>ROBERT.<br/>
-[<i>From the bedroom.</i>] You have not gone?</p>
-
-<p>BERTHA.<br/>
-No.</p>
-
-<p>ROBERT.<br/>
-I am in the dark here. I must light the lamp.</p>
-
-<p>[<i>He is heard striking a match, and putting a glass shade on a
-lamp. A pink light comes in through the doorway. <span
-class="charname">Bertha</span> glances at her watch at her wristlet and
-then sits at the table.</i>]</p>
-
-<p>ROBERT.<br/>
-[<i>As before.</i>] Do you like the effect of the light?</p>
-
-<p>BERTHA.<br/>
-O, yes.</p>
-
-<p>ROBERT.<br/>
-Can you admire it from where you are?</p>
-
-<p>BERTHA.<br/>
-Yes, quite well.</p>
-
-<p>ROBERT.<br/>
-It was for you.</p>
-
-<p>BERTHA.<br/>
-[<i>Confused.</i>] I am not worthy even of that.</p>
-
-<p>ROBERT.<br/>
-[<i>Clearly, harshly.</i>] Love’s labour lost.</p>
-
-<p>BERTHA.<br/>
-[<i>Rising nervously.</i>] Robert!</p>
-
-<p>ROBERT.<br/>
-Yes?</p>
-
-<p>BERTHA.<br/>
-Come here, quickly! Quickly, I say!</p>
-
-<p>ROBERT.<br/>
-I am ready.</p>
-
-<p>[<i>He appears in the doorway, wearing a darkgreen velvet jacket.
-Seeing her agitation, he comes quickly towards her.</i>]</p>
-
-<p>ROBERT.<br/>
-What is it, Bertha?</p>
-
-<p>BERTHA.<br/>
-[<i>Trembling.</i>] I was afraid.</p>
-
-<p>ROBERT.<br/>
-Of being alone?</p>
-
-<p>BERTHA.<br/>
-[<i>Catches his hands.</i>] You know what I mean. My nerves are all
-upset.</p>
-
-<p>ROBERT.<br/>
-That I...?</p>
-
-<p>BERTHA.<br/>
-Promise me, Robert, not to think of such a thing. Never. If you like me
-at all. I thought that moment...</p>
-
-<p>ROBERT.<br/>
-What an idea?</p>
-
-<p>BERTHA.<br/>
-But promise me if you like me.</p>
-
-<p>ROBERT.<br/>
-If I like you, Bertha! I promise. Of course, I promise. You are
-trembling all over.</p>
-
-<p>BERTHA.<br/>
-Let me sit down somewhere. It will pass in a moment.</p>
-
-<p>ROBERT.<br/>
-My poor Bertha! Sit down. Come.</p>
-
-<p>[<i>He leads her towards a chair near the table. She sits down. He
-stands beside her.</i>]</p>
-
-<p>ROBERT.<br/>
-[<i>After a short pause.</i>] Has it passed?</p>
-
-<p>BERTHA.<br/>
-Yes. It was only for a moment. I was very silly. I was afraid that... I
-wanted to see you near me.</p>
-
-<p>ROBERT.<br/>
-That... that you made me promise not to think of?</p>
-
-<p>BERTHA.<br/>
-Yes.</p>
-
-<p>ROBERT.<br/>
-[<i>Keenly.</i>] Or something else?</p>
-
-<p>BERTHA.<br/>
-[<i>Helplessly.</i>] Robert, I feared something. I am not sure what.</p>
-
-<p>ROBERT.<br/>
-And now?</p>
-
-<p>BERTHA.<br/>
-Now you are here. I can see you. Now it has passed.</p>
-
-<p>ROBERT.<br/>
-[<i>With resignation.</i>] Passed. Yes. Love’s labour lost.</p>
-
-<p>BERTHA.<br/>
-[<i>Looks up at him.</i>] Listen, Robert. I want to explain to you about
-that. I could not deceive Dick. Never. In nothing. I told him
-everything—from the first. Then it went on and on; and still you
-never spoke or asked me. I wanted you to.</p>
-
-<p>ROBERT.<br/>
-Is that the truth, Bertha?</p>
-
-<p>BERTHA.<br/>
-Yes, because it annoyed me that you could think I was like... like the
-other women I suppose you knew that way. I think that Dick is right too.
-Why should there be secrets?</p>
-
-<p>ROBERT.<br/>
-[<i>Softly.</i>] Still, secrets can be very sweet. Can they not?</p>
-
-<p>BERTHA.<br/>
-[<i>Smiles.</i>] Yes, I know they can. But, you see, I could not keep
-things secret from Dick. Besides, what is the good? They always come out
-in the end. Is it not better for people to know?</p>
-
-<p>ROBERT.<br/>
-[<i>Softly and a little shyly.</i>] How could you, Bertha, tell him
-everything? Did you? Every single thing that passed between us?</p>
-
-<p>BERTHA.<br/>
-Yes. Everything he asked me.</p>
-
-<p>ROBERT.<br/>
-Did he ask you—much?</p>
-
-<p>BERTHA.<br/>
-You know the kind he is. He asks about everything. The ins and outs.</p>
-
-<p>ROBERT.<br/>
-About our kissing, too?</p>
-
-<p>BERTHA.<br/>
-Of course. I told him all.</p>
-
-<p>ROBERT.<br/>
-[<i>Shakes his head slowly.</i>] Extraordinary little person! Were you
-not ashamed?</p>
-
-<p>BERTHA.<br/>
-No.</p>
-
-<p>ROBERT.<br/>
-Not a bit?</p>
-
-<p>BERTHA.<br/>
-No. Why? Is that terrible?</p>
-
-<p>ROBERT.<br/>
-And how did he take it? Tell me. I want to know everything, too.</p>
-
-<p>BERTHA.<br/>
-[<i>Laughs.</i>] It excited him. More than usual.</p>
-
-<p>ROBERT.<br/>
-Why? Is he excitable—still?</p>
-
-<p>BERTHA.<br/>
-[<i>Archly.</i>] Yes, very. When he is not lost in his philosophy.</p>
-
-<p>ROBERT.<br/>
-More than I?</p>
-
-<p>BERTHA.<br/>
-More than you? [<i>Reflecting.</i>] How could I answer that? You both
-are, I suppose?</p>
-
-<p>[<i><span class="charname">Robert</span> turns aside and gazes
-towards the porch, passing his hand once or twice thoughtfully over his
-hair.</i>]</p>
-
-<p>BERTHA.<br/>
-[<i>Gently.</i>] Are you angry with me again?</p>
-
-<p>ROBERT.<br/>
-[<i>Moodily.</i>] You are with me.</p>
-
-<p>BERTHA.<br/>
-No, Robert. Why should I be?</p>
-
-<p>ROBERT.<br/>
-Because I asked you to come to this place. I tried to prepare it for
-you. [<i>He points vaguely here and there.</i>] A sense of
-quietness.</p>
-
-<p>BERTHA.<br/>
-[<i>Touching his jacket with her fingers.</i>] And this, too. Your nice
-velvet coat.</p>
-
-<p>ROBERT.<br/>
-Also. I will keep no secrets from you.</p>
-
-<p>BERTHA.<br/>
-You remind me of someone in a picture. I like you in it... But you are
-not angry, are you?</p>
-
-<p>ROBERT.<br/>
-[<i>Darkly.</i>] Yes. That was my mistake. To ask you to come here. I
-felt it when I looked at you from the garden and saw you—you,
-Bertha—standing here. [<i>Hopelessly.</i>] But what else could I
-have done?</p>
-
-<p>BERTHA.<br/>
-[<i>Quietly.</i>] You mean because others have been here?</p>
-
-<p>ROBERT.<br/>
-Yes.</p>
-
-<p>[<i>He walks away from her a few paces. A gust of wind makes the lamp
-on the table flicker. He lowers the wick slightly.</i>]</p>
-
-<p>BERTHA.<br/>
-[<i>Following him with her eyes.</i>] But I knew that before I came. I
-am not angry with you for it.</p>
-
-<p>ROBERT.<br/>
-[<i>Shrugs his shoulders.</i>] Why should you be angry with me after
-all? You are not even angry with him—for the same thing—or
-worse.</p>
-
-<p>BERTHA.<br/>
-Did he tell you that about himself?</p>
-
-<p>ROBERT.<br/>
-Yes. He told me. We all confess to one another here. Turn about.</p>
-
-<p>BERTHA.<br/>
-I try to forget it.</p>
-
-<p>ROBERT.<br/>
-It does not trouble you?</p>
-
-<p>BERTHA.<br/>
-Not now. Only I dislike to think of it.</p>
-
-<p>ROBERT.<br/>
-It is merely something brutal, you think? Of little importance?</p>
-
-<p>BERTHA.<br/>
-It does not trouble me—now.</p>
-
-<p>ROBERT.<br/>
-[<i>Looking at her over his shoulder.</i>] But there is something that
-would trouble you very much and that you would not try to forget?</p>
-
-<p>BERTHA.<br/>
-What?</p>
-
-<p>ROBERT.<br/>
-[<i>Turning towards her.</i>] If it were not only something brutal with
-this person or that—for a few moments. If it were something fine
-and spiritual—with one person only—with one woman.
-[<i>Smiles.</i>] And perhaps brutal too. It usually comes to that sooner
-or later. Would you try to forget and forgive that?</p>
-
-<p>BERTHA.<br/>
-[<i>Toying with her wristlet.</i>] In whom?</p>
-
-<p>ROBERT.<br/>
-In anyone. In me.</p>
-
-<p>BERTHA.<br/>
-[<i>Calmly.</i>] You mean in Dick.</p>
-
-<p>ROBERT.<br/>
-I said in myself. But would you?</p>
-
-<p>BERTHA.<br/>
-You think I would revenge myself? Is Dick not to be free too?</p>
-
-<p>ROBERT.<br/>
-[<i>Points at her.</i>] That is not from your heart, Bertha.</p>
-
-<p>BERTHA.<br/>
-[<i>Proudly.</i>] Yes, it is; let him be free too. He leaves me free
-also.</p>
-
-<p>ROBERT.<br/>
-[<i>Insistently.</i>] And you know why? And understand? And you like it?
-And you want to be? And it makes you happy? And has made you happy?
-Always? This gift of freedom which he gave you—nine years ago?</p>
-
-<p>BERTHA.<br/>
-[<i>Gazing at him with wide open eyes.</i>] But why do you ask me such a
-lot of questions, Robert?</p>
-
-<p>ROBERT.<br/>
-[<i>Stretches out both hands to her.</i>] Because I had another gift to
-offer you then—a common simple gift—like myself. If you want
-to know it I will tell you.</p>
-
-<p>BERTHA.<br/>
-[<i>Looking at her watch.</i>] Past is past, Robert. And I think I ought
-to go now. It is nine almost.</p>
-
-<p>ROBERT.<br/>
-[<i>Impetuously.</i>] No, no. Not yet. There is one confession more and
-we have the right to speak.</p>
-
-<p>[<i>He crosses before the table rapidly and sits down beside
-her.</i>]</p>
-
-<p>BERTHA.<br/>
-[<i>Turning towards him, places her left hand on his shoulder.</i>] Yes,
-Robert. I know that you like me. You need not tell me. [<i>Kindly.</i>]
-You need not confess any more tonight.</p>
-
-<p>[<i>A gust of wind enters through the porch, with a sound of moving
-leaves. The lamp flickers quickly.</i>]</p>
-
-<p>BERTHA.<br/>
-[<i>Pointing over his shoulder.</i>] Look! It is too high.</p>
-
-<p>[<i>Without rising, he bends towards the table, and turns down the
-wick more. The room is half dark. The light comes in more strongly
-through the doorway of the bedroom.</i>]</p>
-
-<p>ROBERT.<br/>
-The wind is rising. I will close that door.</p>
-
-<p>BERTHA.<br/>
-[<i>Listening.</i>] No, it is raining still. It was only a gust of
-wind.</p>
-
-<p>ROBERT.<br/>
-[<i>Touches her shoulder.</i>] Tell me if the air is too cold for you.
-[<i>Half rising.</i>] I will close it.</p>
-
-<p>BERTHA.<br/>
-[<i>Detaining him.</i>] No. I am not cold. Besides, I am going now,
-Robert. I must.</p>
-
-<p>ROBERT.<br/>
-[<i>Firmly.</i>] No, no. There is no <i>must</i> now. We were left here
-for this. And you are wrong, Bertha. The past is not past. It is present
-here now. My feeling for you is the same now as it was then, because
-then—you slighted it.</p>
-
-<p>BERTHA.<br/>
-No, Robert. I did not.</p>
-
-<p>ROBERT.<br/>
-[<i>Continuing.</i>] You did. And I have felt it all these years without
-knowing it—till now. Even while I lived—the kind of life you
-know and dislike to think of—the kind of life to which you
-condemned me.</p>
-
-<p>BERTHA.<br/>
-I?</p>
-
-<p>ROBERT.<br/>
-Yes, when you slighted the common simple gift I had to offer
-you—and took his gift instead.</p>
-
-<p>BERTHA.<br/>
-[<i>Looking at him.</i>] But you never...</p>
-
-<p>ROBERT.<br/>
-No. Because you had chosen him. I saw that. I saw it on the first night
-we met, we three together. Why did you choose him?</p>
-
-<p>BERTHA.<br/>
-[<i>Bends her head.</i>] Is that not love?</p>
-
-<p>ROBERT.<br/>
-[<i>Continuing.</i>] And every night when we two—he and
-I—came to that corner to meet you I saw it and felt it. You
-remember the corner, Bertha?</p>
-
-<p>BERTHA.<br/>
-[<i>As before.</i>] Yes.</p>
-
-<p>ROBERT.<br/>
-And when you and he went away for your walk and I went along the street
-alone I felt it. And when he spoke to me about you and told me he was
-going away—then most of all.</p>
-
-<p>BERTHA.<br/>
-Why then most of all?</p>
-
-<p>ROBERT.<br/>
-Because it was then that I was guilty of my first treason towards
-him.</p>
-
-<p>BERTHA.<br/>
-Robert, what are you saying? Your first treason against Dick?</p>
-
-<p>ROBERT.<br/>
-[<i>Nods.</i>] And not my last. He spoke of you and himself. Of how your
-life would be together—free and all that. Free, yes! He would not
-even ask you to go with him. [<i>Bitterly.</i>] He did not. And you went
-all the same.</p>
-
-<p>BERTHA.<br/>
-I wanted to be with him. You know... [<i>Raising her head and looking at
-him.</i>] You know how we were then—Dick and I.</p>
-
-<p>ROBERT.<br/>
-[<i>Unheeding.</i>] I advised him to go alone—not to take you with
-him—to live alone in order to see if what he felt for you was a
-passing thing which might ruin your happiness and his career.</p>
-
-<p>BERTHA.<br/>
-Well, Robert. It was unkind of you towards me. But I forgive you because
-you were thinking of his happiness and mine.</p>
-
-<p>ROBERT.<br/>
-[<i>Bending closer to her.</i>] No, Bertha. I was not. And that was my
-treason. I was thinking of myself—that you might turn from him
-when he had gone and he from you. Then I would have offered you my gift.
-You know what it was now. The simple common gift that men offer to
-women. Not the best perhaps. Best or worst—it would have been
-yours.</p>
-
-<p>BERTHA.<br/>
-[<i>Turning away from him.</i>] He did not take your advice.</p>
-
-<p>ROBERT.<br/>
-[<i>As before.</i>] No. And the night you ran away together—O, how
-happy I was!</p>
-
-<p>BERTHA.<br/>
-[<i>Pressing his hands.</i>] Keep calm, Robert. I know you liked me
-always. Why did you not forget me?</p>
-
-<p>ROBERT.<br/>
-[<i>Smiles bitterly.</i>] How happy I felt as I came back along the
-quays and saw in the distance the boat lit up going down the black
-river, taking you away from me! [<i>In a calmer tone.</i>] But why did
-you choose him? Did you not like me at all?</p>
-
-<p>BERTHA.<br/>
-Yes. I liked you because you were his friend. We often spoke about you.
-Often and often. Every time you wrote or sent papers or books to Dick.
-And I like you still, Robert. [<i>Looking into his eyes.</i>] I never
-forgot you.</p>
-
-<p>ROBERT.<br/>
-Nor I you. I knew I would see you again. I knew it the night you went
-away—that you would come back. And that was why I wrote and worked
-to see you again—here.</p>
-
-<p>BERTHA.<br/>
-And here I am. You were right.</p>
-
-<p>ROBERT.<br/>
-[<i>Slowly.</i>] Nine years. Nine times more beautiful!</p>
-
-<p>BERTHA.<br/>
-[<i>Smiling.</i>] But am I? What do you see in me?</p>
-
-<p>ROBERT.<br/>
-[<i>Gazing at her.</i>] A strange and beautiful lady.</p>
-
-<p>BERTHA.<br/>
-[<i>Almost disgusted.</i>] O, please don’t call me such a
-thing!</p>
-
-<p>ROBERT.<br/>
-[<i>Earnestly.</i>] You are more. A young and beautiful queen.</p>
-
-<p>BERTHA.<br/>
-[<i>With a sudden laugh.</i>] O, Robert!</p>
-
-<p>ROBERT.<br/>
-[<i>Lowering his voice and bending nearer to her.</i>] But do you not
-know that you are a beautiful human being? Do you not know that you have
-a beautiful body? Beautiful and young?</p>
-
-<p>BERTHA.<br/>
-[<i>Gravely.</i>] Some day I will be old.</p>
-
-<p>ROBERT.<br/>
-[<i>Shakes his head.</i>] I cannot imagine it. Tonight you are young and
-beautiful. Tonight you have come back to me. [<i>With passion.</i>] Who
-knows what will be tomorrow? I may never see you again or never see you
-as I do now.</p>
-
-<p>BERTHA.<br/>
-Would you suffer?</p>
-
-<p>ROBERT.<br/>
-[<i>Looks round the room, without answering.</i>] This room and this
-hour were made for your coming. When you have gone—all is
-gone.</p>
-
-<p>BERTHA.<br/>
-[<i>Anxiously.</i>] But you will see me again, Robert... as before.</p>
-
-<p>ROBERT.<br/>
-[<i>Looks full at her.</i>] To make him—Richard—suffer.</p>
-
-<p>BERTHA.<br/>
-He does not suffer.</p>
-
-<p>ROBERT.<br/>
-[<i>Bowing his head.</i>] Yes, yes. He does.</p>
-
-<p>BERTHA.<br/>
-He knows we like each other. Is there any harm, then?</p>
-
-<p>ROBERT.<br/>
-[<i>Raising his head.</i>] No there is no harm. Why should we not? He
-does not know yet what I feel. He has left us alone here at night, at
-this hour, because he longs to know it—he longs to be
-delivered.</p>
-
-<p>BERTHA.<br/>
-From what?</p>
-
-<p>ROBERT.<br/>
-[<i>Moves closer to her and presses her arm as he speaks.</i>] From
-every law, Bertha, from every bond. All his life he has sought to
-deliver himself. Every chain but one he has broken and that one we are
-to break. Bertha—you and I.</p>
-
-<p>BERTHA.<br/>
-[<i>Almost inaudibly.</i>] Are you sure?</p>
-
-<p>ROBERT.<br/>
-[<i>Still more warmly.</i>] I am sure that no law made by man is sacred
-before the impulse of passion. [<i>Almost fiercely.</i>] Who made us for
-one only? It is a crime against our own being if we are so. There is no
-law before impulse. Laws are for slaves. Bertha, say my name! Let me
-hear your voice say it. Softly!</p>
-
-<p>BERTHA.<br/>
-[<i>Softly.</i>] Robert!</p>
-
-<p>ROBERT.<br/>
-[<i>Puts his arm about her shoulder.</i>] Only the impulse towards youth
-and beauty does not die. [<i>He points towards the porch.</i>]
-Listen!</p>
-
-<p>BERTHA.<br/>
-[<i>In alarm.</i>] What?</p>
-
-<p>ROBERT.<br/>
-The rain falling. Summer rain on the earth. Night rain. The darkness and
-warmth and flood of passion. Tonight the earth is loved—loved and
-possessed. Her lover’s arms around her; and she is silent. Speak,
-dearest!</p>
-
-<p>BERTHA.<br/>
-[<i>Suddenly leans forward and listens intently.</i>] Hush!</p>
-
-<p>ROBERT.<br/>
-[<i>Listening, smiles.</i>] Nothing. Nobody. We are alone.</p>
-
-<p>[<i>A gust of wind blows in through the porch, with a sound of shaken
-leaves. The flame of the lamp leaps.</i>]</p>
-
-<p>BERTHA.<br/>
-[<i>Pointing to the lamp.</i>] Look!</p>
-
-<p>ROBERT.<br/>
-Only the wind. We have light enough from the other room.</p>
-
-<p>[<i>He stretches his hand across the table and puts out the lamp. The
-light from the doorway of the bedroom crosses the place where they sit.
-The room is quite dark.</i>]</p>
-
-<p>ROBERT.<br/>
-Are you happy? Tell me.</p>
-
-<p>BERTHA.<br/>
-I am going now, Robert. It is very late. Be satisfied.</p>
-
-<p>ROBERT.<br/>
-[<i>Caressing her hair.</i>] Not yet, not yet. Tell me, do you love me a
-little?</p>
-
-<p>BERTHA.<br/>
-I like you, Robert. I think you are good. [<i>Half rising.</i>] Are you
-satisfied?</p>
-
-<p>ROBERT.<br/>
-[<i>Detaining her, kisses her hair.</i>] Do not go, Bertha! There is
-time still. Do you love me too? I have waited a long time. Do you love
-us both—him and also me? Do you, Bertha? The truth! Tell me. Tell
-me with your eyes. Or speak!</p>
-
-<p>[<i>She does not answer. In the silence the rain is heard
-falling.</i>]</p>
-
-<p>
-<br/>
-<br/>
-</p>
-<p class="scene"><a name="actIII" id="actIII"></a></p>
-<h3><b>Third Act</b></h3>
-
-<p><i>The drawingroom of Richard Rowan’s house at Merrion. The
-folding doors at the right are closed and also the double doors leading
-to the garden. The green plush curtains are drawn across the window on
-the left. The room is half dark. It is early in the morning of the next
-day. Bertha sits beside the window looking out between the curtains. She
-wears a loose saffron dressing gown. Her hair is combed loosely over the
-ears and knotted at the neck. Her hands are folded in her lap. Her face
-is pale and drawn.</i></p>
-
-<p>[<i><span class="charname">Brigid</span> comes in through the folding
-doors on the right with a featherbroom and duster. She is about to cross
-but, seeing <span class="charname">Bertha</span>, she halts suddenly and
-blesses herself instinctively.</i>]</p>
-
-<p>BRIGID.<br/>
-Merciful hour, ma’am. You put the heart across me. Why did you get
-up so early?</p>
-
-<p>BERTHA.<br/>
-What time is it?</p>
-
-<p>BRIGID.<br/>
-After seven, ma’am. Are you long up?</p>
-
-<p>BERTHA.<br/>
-Some time.</p>
-
-<p>BRIGID.<br/>
-[<i>Approaching her.</i>] Had you a bad dream that woke you?</p>
-
-<p>BERTHA.<br/>
-I didn’t sleep all night. So I got up to see the sun rise.</p>
-
-<p>BRIGID.<br/>
-[<i>Opens the double doors.</i>] It’s a lovely morning now after
-all the rain we had. [<i>Turns round.</i>] But you must be dead tired,
-ma’am. What will the master say at your doing a thing like that?
-[<i>She goes to the door of the study and knocks.</i>] Master
-Richard!</p>
-
-<p>BERTHA.<br/>
-[<i>Looks round.</i>] He is not there. He went out an hour ago.</p>
-
-<p>BRIGID.<br/>
-Out there, on the strand, is it?</p>
-
-<p>BERTHA.<br/>
-Yes.</p>
-
-<p>BRIGID.<br/>
-[<i>Comes towards her and leans over the back of a chair.</i>] Are you
-fretting yourself, ma’am, about anything?</p>
-
-<p>BERTHA.<br/>
-No, Brigid.</p>
-
-<p>BRIGID.<br/>
-Don’t be. He was always like that, meandering off by himself
-somewhere. He is a curious bird, Master Richard, and always was. Sure
-there isn’t a turn in him I don’t know. Are you fretting now
-maybe because he does be in there [<i>pointing to the study</i>] half
-the night at his books? Leave him alone. He’ll come back to you
-again. Sure he thinks the sun shines out of your face, ma’am.</p>
-
-<p>BERTHA.<br/>
-[<i>Sadly.</i>] That time is gone.</p>
-
-<p>BRIGID.<br/>
-[<i>Confidentially.</i>] And good cause I have to remember it—that
-time
-when he was paying his addresses to you. [<i>She sits down beside <span
-class="charname">Bertha</span>. In a lower voice.</i>] Do you know that
-he used to tell me all about you and nothing to his mother, God rest her
-soul? Your letters and all.</p>
-
-<p>BERTHA.<br/>
-What? My letters to him?</p>
-
-<p>BRIGID.<br/>
-[<i>Delighted.</i>] Yes. I can see him sitting on the kitchen table,
-swinging his legs and spinning out of him yards of talk about you and
-him and Ireland and all kinds of devilment—to an ignorant old
-woman like me. But that was always his way. But if he had to meet a
-grand highup person he’d be twice as grand himself. [<i>Suddenly
-looks at <span class="charname">Bertha</span>.</i>] Is it crying you are
-now? Ah, sure, don’t cry. There’s good times coming
-still.</p>
-
-<p>BERTHA.<br/>
-No, Brigid, that time comes only once in a lifetime. The rest of life is
-good for nothing except to remember that time.</p>
-
-<p>BRIGID.<br/>
-[<i>Is silent for a moment: then says kindly.</i>] Would you like a cup
-of tea, ma’am? That would make you all right.</p>
-
-<p>BERTHA.<br/>
-Yes, I would. But the milkman has not come yet.</p>
-
-<p>BRIGID.<br/>
-No. Master Archie told me to wake him before he came. He’s going
-out for a jaunt in the car. But I’ve a cup left overnight.
-I’ll have the kettle boiling in a jiffy. Would you like a nice egg
-with it?</p>
-
-<p>BERTHA.<br/>
-No, thanks.</p>
-
-<p>BRIGID.<br/>
-Or a nice bit of toast?</p>
-
-<p>BERTHA.<br/>
-No, Brigid, thanks. Just a cup of tea.</p>
-
-<p>BRIGID.<br/>
-[<i>Crossing to the folding doors.</i>] I won’t be a moment.
-[<i>She stops, turns back and goes towards the door on the left.</i>]
-But first I must waken Master Archie or there’ll be ructions.</p>
-
-<p>[<i>She goes out by the door on the left. After a few moments
-<span class="charname">Bertha</span> rises and goes over to the study.
-She opens the door wide and looks in. One can see a small untidy room
-with many bookshelves and a large writingtable with papers and an
-extinguished lamp and before it a padded chair. She remains standing for
-some time in the doorway, then closes the door again without entering
-the room. She returns to her chair by the window and sits down. <span
-class="charname">Archie</span>, dressed as before, comes in by the door
-on the right, followed by <span class="charname">Brigid</span>.</i>]</p>
-
-<p>ARCHIE.<br/>
-[<i>Comes to her and, putting up his face to be kissed, says:</i>]
-<i>Buon giorno</i>, mamma!</p>
-
-<p>BERTHA.<br/>
-[<i>Kissing him.</i>] <i>Buon giorno</i>, Archie! [<i>To
-<span class="charname">Brigid</span>.</i>] Did you put another vest on
-him under that one?</p>
-
-<p>BRIGID.<br/>
-He wouldn’t let me, ma’am.</p>
-
-<p>ARCHIE.<br/>
-I’m not cold, mamma.</p>
-
-<p>BERTHA.<br/>
-I said you were to put it on, didn’t I?</p>
-
-<p>ARCHIE.<br/>
-But where is the cold?</p>
-
-<p>BERTHA.<br/>
-[<i>Takes a comb from her head and combs his hair back at both
-sides.</i>] And the sleep is in your eyes still.</p>
-
-<p>BRIGID.<br/>
-He went to bed immediately after you went out last night,
-ma’am.</p>
-
-<p>ARCHIE.<br/>
-You know he’s going to let me drive, mamma.</p>
-
-<p>BERTHA.<br/>
-[<i>Replacing the comb in her hair, embraces him suddenly.</i>] O, what
-a big man to drive a horse!</p>
-
-<p>BRIGID.<br/>
-Well, he’s daft on horses, anyhow.</p>
-
-<p>ARCHIE.<br/>
-[<i>Releasing himself.</i>] I’ll make him go quick. You will see
-from the window, mamma. With the whip. [<i>He makes the gesture of
-cracking a whip and shouts at the top of his voice.</i>]
-<i>Avanti!</i></p>
-
-<p>BRIGID.<br/>
-Beat the poor horse, is it?</p>
-
-<p>BERTHA.<br/>
-Come here till I clean your mouth. [<i>She takes her handkerchief from
-the pocket of her gown, wets it with her tongue and cleans his
-mouth.</i>] You’re all smudges or something, dirty little creature
-you are.</p>
-
-<p>ARCHIE.<br/>
-[<i>Repeats, laughing.</i>] Smudges! What is smudges?</p>
-
-<p>[<i>The noise is heard of a milkcan rattled on the railings before
-the window.</i>]</p>
-
-<p>BRIGID.<br/>
-[<i>Draws aside the curtains and looks out.</i>] Here he is!</p>
-
-<p>ARCHIE.<br/>
-[<i>Rapidly.</i>] Wait. I’m ready. Goodbye, mamma! [<i>He kisses
-her hastily and turns to go.</i>] Is pappie up?</p>
-
-<p>BRIGID.<br/>
-[<i>Takes him by the arm.</i>] Come on with you now.</p>
-
-<p>BERTHA.<br/>
-Mind yourself, Archie, and don’t be long or I won’t let you
-go any more.</p>
-
-<p>ARCHIE.<br/>
-All right. Look out of the window and you’ll see me. Goodbye.</p>
-
-<p>[<i><span class="charname">Brigid</span> and <span
-class="charname">Archie</span> go out by the door on the left. <span
-class="charname">Bertha</span> stands up and, drawing aside the curtains
-still more, stands in the embrasure of the window looking out. The hall
-door is heard opening: then a slight noise of voices and cans is heard.
-The door is closed. After a moment or two <span
-class="charname">Bertha</span> is seen waving her hand gaily in a
-salute. <span class="charname">Brigid</span> enters and stands behind
-her, looking over her shoulder.</i>]</p>
-
-<p>BRIGID.<br/>
-Look at the sit of him! As serious as you like.</p>
-
-<p>BERTHA.<br/>
-[<i>Suddenly withdrawing from her post.</i>] Stand out of the window. I
-don’t want to be seen.</p>
-
-<p>BRIGID.<br/>
-Why, ma’am, what is it?</p>
-
-<p>BERTHA.<br/>
-[<i>Crossing towards the folding doors.</i>] Say I’m not up, that
-I’m not well. I can’t see anyone.</p>
-
-<p>BRIGID.<br/>
-[<i>Follows her.</i>] Who is it, ma’am?</p>
-
-<p>BERTHA.<br/>
-[<i>Halting.</i>] Wait a moment.</p>
-
-<p>[<i>She listens. A knock is heard at the hall door.</i>]</p>
-
-<p>BERTHA.<br/>
-[<i>Stands a moment in doubt, then.</i>] No, say I’m in.</p>
-
-<p>BRIGID.<br/>
-[<i>In doubt.</i>] Here?</p>
-
-<p>BERTHA.<br/>
-[<i>Hurriedly.</i>] Yes. Say I have just got up.</p>
-
-<p>[<i><span class="charname">Brigid</span> goes out on the left.
-<span class="charname">Bertha</span> goes towards the double doors and
-fingers the curtains nervously, as if settling them. The hall door is
-heard to open. Then <span class="charname">Beatrice Justice</span>
-enters and, as <span class="charname">Bertha</span> does not turn at
-once, stands in hesitation near the door on the left. She is dressed as
-before and has a newspaper in her hand.</i>]</p>
-
-<p>BEATRICE.<br/>
-[<i>Advances rapidly.</i>] Mrs Rowan, excuse me for coming at such an
-hour.</p>
-
-<p>BERTHA.<br/>
-[<i>Turns.</i>] Good morning, Miss Justice. [<i>She comes towards
-her.</i>] Is anything the matter?</p>
-
-<p>BEATRICE.<br/>
-[<i>Nervously.</i>] I don’t know. That is what I wanted to ask
-you.</p>
-
-<p>BERTHA.<br/>
-[<i>Looks curiously at her.</i>] You are out of breath. Won’t you
-sit down?</p>
-
-<p>BEATRICE.<br/>
-[<i>Sitting down.</i>] Thank you.</p>
-
-<p>BERTHA.<br/>
-[<i>Sits opposite her, pointing to her paper.</i>] Is there something in
-the paper?</p>
-
-<p>BEATRICE.<br/>
-[<i>Laughs nervously: opens the paper.</i>] Yes.</p>
-
-<p>BERTHA.<br/>
-About Dick?</p>
-
-<p>BEATRICE.<br/>
-Yes. Here it is. A long article, a leading article, by my cousin. All
-his life is here. Do you wish to see it?</p>
-
-<p>BERTHA.<br/>
-[<i>Takes the paper, and opens it.</i>] Where is it?</p>
-
-<p>BEATRICE.<br/>
-In the middle. It is headed: <i>A Distinguished Irishman.</i></p>
-
-<p>BERTHA.<br/>
-Is it... for Dick or against him?</p>
-
-<p>BEATRICE.<br/>
-[<i>Warmly.</i>] O, for him! You can read what he says about Mr Rowan.
-And I know that Robert stayed in town very late last night to write
-it.</p>
-
-<p>BERTHA.<br/>
-[<i>Nervously.</i>] Yes. Are you sure?</p>
-
-<p>BEATRICE.<br/>
-Yes. Very late. I heard him come home. It was long after two.</p>
-
-<p>BERTHA.<br/>
-[<i>Watching her.</i>] It alarmed you? I mean to be awakened at that
-hour of the morning.</p>
-
-<p>BEATRICE.<br/>
-I am a light sleeper. But I knew he had come from the office and then...
-I suspected he had written an article about Mr Rowan and that was why he
-came so late.</p>
-
-<p>BERTHA.<br/>
-How quick you were to think of that!</p>
-
-<p>BEATRICE.<br/>
-Well, after what took place here yesterday afternoon—I mean what
-Robert said, that Mr Rowan had accepted this position. It was only
-natural I should think...</p>
-
-<p>BERTHA.<br/>
-Ah, yes. Naturally.</p>
-
-<p>BEATRICE.<br/>
-[<i>Hastily.</i>] But that is not what alarmed me. But immediately after
-I heard a noise in my cousin’s room.</p>
-
-<p>BERTHA.<br/>
-[<i>Crumples together the paper in her hands, breathlessly.</i>] My God!
-What is it? Tell me.</p>
-
-<p>BEATRICE.<br/>
-[<i>Observing her.</i>] Why does that upset you so much?</p>
-
-<p>BERTHA.<br/>
-[<i>Sinking back, with a forced laugh.</i>] Yes, of course, it is very
-foolish of me. My nerves are all upset. I slept very badly, too. That is
-why I got up so early. But tell me what was it then?</p>
-
-<p>BEATRICE.<br/>
-Only the noise of his valise being pulled along the floor. Then I heard
-him walking about his room, whistling softly. And then locking it and
-strapping it.</p>
-
-<p>BERTHA.<br/>
-He is going away!</p>
-
-<p>BEATRICE.<br/>
-That was what alarmed me. I feared he had had a quarrel with Mr Rowan
-and that his article was an attack.</p>
-
-<p>BERTHA.<br/>
-But why should they quarrel? Have you noticed anything between them?</p>
-
-<p>BEATRICE.<br/>
-I thought I did. A coldness.</p>
-
-<p>BERTHA.<br/>
-Lately?</p>
-
-<p>BEATRICE.<br/>
-For some time past.</p>
-
-<p>BERTHA.<br/>
-[<i>Smoothing the paper out.</i>] Do you know the reason?</p>
-
-<p>BEATRICE.<br/>
-[<i>Hesitatingly.</i>] No.</p>
-
-<p>BERTHA.<br/>
-[<i>After a pause.</i>] Well, but if this article is for him, as you
-say, they have not quarrelled. [<i>She reflects a moment.</i>] And
-written last night, too.</p>
-
-<p>BEATRICE.<br/>
-Yes. I bought the paper at once to see. But why, then, is he going away
-so suddenly? I feel that there is something wrong. I feel that something
-has happened between them.</p>
-
-<p>BERTHA.<br/>
-Would you be sorry?</p>
-
-<p>BEATRICE.<br/>
-I would be very sorry. You see, Mrs Rowan, Robert is my first cousin and
-it would grieve me very deeply if he were to treat Mr Rowan badly, now
-that he has come back, or if they had a serious quarrel especially
-because...</p>
-
-<p>BERTHA.<br/>
-[<i>Toying with the paper.</i>] Because?</p>
-
-<p>BEATRICE.<br/>
-Because it was my cousin who urged Mr Rowan always to come back. I have
-that on my conscience.</p>
-
-<p>BERTHA.<br/>
-It should be on Mr Hand’s conscience, should it not?</p>
-
-<p>BEATRICE.<br/>
-[<i>Uncertainly.</i>] On mine, too. Because—I spoke to my cousin
-about Mr Rowan when he was away and, to a certain extent, it was
-I...</p>
-
-<p>BERTHA.<br/>
-[<i>Nods slowly.</i>] I see. And that is on your conscience. Only
-that?</p>
-
-<p>BEATRICE.<br/>
-I think so.</p>
-
-<p>BERTHA.<br/>
-[<i>Almost cheerfully.</i>] It looks as if it was you, Miss Justice, who
-brought my husband back to Ireland.</p>
-
-<p>BEATRICE.<br/>
-I, Mrs Rowan?</p>
-
-<p>BERTHA.<br/>
-Yes, you. By your letters to him and then by speaking to your cousin as
-you said just now. Do you not think that you are the person who brought
-him back?</p>
-
-<p>BEATRICE.<br/>
-[<i>Blushing suddenly.</i>] No. I could not think that.</p>
-
-<p>BERTHA.<br/>
-[<i>Watches her for a moment; then turning aside.</i>] You know that my
-husband is writing very much since he came back.</p>
-
-<p>BEATRICE.<br/>
-Is he?</p>
-
-<p>BERTHA.<br/>
-Did you not know? [<i>She points towards the study.</i>] He passes the
-greater part of the night in there writing. Night after night.</p>
-
-<p>BEATRICE.<br/>
-In his study?</p>
-
-<p>BERTHA.<br/>
-Study or bedroom. You may call it what you please. He sleeps there, too,
-on a sofa. He slept there last night. I can show you if you don’t
-believe me.</p>
-
-<p>[<i>She rises to go towards the study. <span
-class="charname">Beatrice</span>
-half rises quickly and makes a gesture of refusal.</i>]</p>
-
-<p>BEATRICE.<br/>
-I believe you, of course, Mrs Rowan, when you tell me.</p>
-
-<p>BERTHA.<br/>
-[<i>Sitting down again.</i>] Yes. He is writing. And it must be about
-something which has come into his life lately—since we came back
-to Ireland. Some change. Do you know that any change has come into his
-life? [<i>She looks searchingly at her.</i>] Do you know it or feel
-it?</p>
-
-<p>BEATRICE.<br/>
-[<i>Answers her look steadily.</i>] Mrs Rowan, that is not a question to
-ask me. If any change has come into his life since he came back you must
-know and feel it.</p>
-
-<p>BERTHA.<br/>
-You could know it just as well. You are very intimate in this house.</p>
-
-<p>BEATRICE.<br/>
-I am not the only person who is intimate here.</p>
-
-<p>[<i>They both look at each other coldly in silence for some moments.
-<span class="charname">Bertha</span> lays aside the paper and sits down
-on a chair nearer to <span class="charname">Beatrice</span>.</i>]</p>
-
-<p>BERTHA.<br/>
-[<i>Placing her hand on <span class="charname">Beatrice’s</span>
-knee.</i>] So you also hate me, Miss Justice?</p>
-
-<p>BEATRICE.<br/>
-[<i>With an effort.</i>] Hate you? I?</p>
-
-<p>BERTHA.<br/>
-[<i>Insistently but softly.</i>] Yes. You know what it means to hate a
-person?</p>
-
-<p>BEATRICE.<br/>
-Why should I hate you? I have never hated anyone.</p>
-
-<p>BERTHA.<br/>
-Have you ever loved anyone? [<i>She puts her hand on
-<span class="charname">Beatrice’s</span> wrist.</i>] Tell me. You
-have?</p>
-
-<p>BEATRICE.<br/>
-[<i>Also softly.</i>] Yes. In the past.</p>
-
-<p>BERTHA.<br/>
-Not now?</p>
-
-<p>BEATRICE.<br/>
-No.</p>
-
-<p>BERTHA.<br/>
-Can you say that to me—truly? Look at me.</p>
-
-<p>BEATRICE.<br/>
-[<i>Looks at her.</i>] Yes, I can.</p>
-
-<p>[<i>A short pause. <span class="charname">Bertha</span> withdraws her
-hand, and turns away her head in some embarrassment.</i>]</p>
-
-<p>BERTHA.<br/>
-You said just now that another person is intimate in this house. You
-meant your cousin... Was it he?</p>
-
-<p>BEATRICE.<br/>
-Yes.</p>
-
-<p>BERTHA.<br/>
-Have you not forgotten him?</p>
-
-<p>BEATRICE.<br/>
-[<i>Quietly.</i>] I have tried to.</p>
-
-<p>BERTHA.<br/>
-[<i>Clasping her hands.</i>] You hate me. You think I am happy. If you
-only knew how wrong you are!</p>
-
-<p>BEATRICE.<br/>
-[<i>Shakes her head.</i>] I do not.</p>
-
-<p>BERTHA.<br/>
-Happy! When I do not understand anything that he writes, when I cannot
-help him in any way, when I don’t even understand half of what he
-says to me sometimes! You could and you can. [<i>Excitedly.</i>] But I
-am afraid for him, afraid for both of them. [<i>She stands up suddenly
-and goes towards the davenport.</i>] He must not go away like that.
-[<i>She takes a writing pad from the drawer and writes a few lines in
-great haste.</i>] No, it is impossible! Is he mad to do such a thing?
-[<i>Turning to <span class="charname">Beatrice</span>.</i>] Is he still
-at home?</p>
-
-<p>BEATRICE.<br/>
-[<i>Watching her in wonder.</i>] Yes. Have you written to him to ask him
-to come here?</p>
-
-<p>BERTHA.<br/>
-[<i>Rises.</i>] I have. I will send Brigid across with it. Brigid!</p>
-
-<p>[<i>She goes out by the door on the left rapidly.</i>]</p>
-
-<p>BEATRICE.<br/>
-[<i>Gazing after her, instinctively:</i>] It is true, then!</p>
-
-<p>[<i>She glances toward the door of <span
-class="charname">Richard’s</span> study and catches her head in
-her hands. Then, recovering herself, she takes the paper from the little
-table, opens it, takes a spectacle case from her handbag and, putting on
-a pair of spectacles, bends down, reading it. <span
-class="charname">Richard Rowan</span> enters from
-the garden. He is dressed as before but wears a soft hat and carries a
-thin cane.</i>]</p>
-
-<p>RICHARD.<br/>
-[<i>Stands in the doorway, observing her for some moments.</i>] There
-are demons [<i>he points out towards the strand</i>] out there. I heard
-them jabbering since dawn.</p>
-
-<p>BEATRICE.<br/>
-[<i>Starts to her feet.</i>] Mr Rowan!</p>
-
-<p>RICHARD.<br/>
-I assure you. The isle is full of voices. Yours also, <i>Otherwise I
-could not see you,</i> it said. And her voice. But, I assure you, they
-are all demons. I made the sign of the cross upside down and that
-silenced them.</p>
-
-<p>BEATRICE.<br/>
-[<i>Stammering.</i>] I came here, Mr Rowan, so early because... to show
-you this... Robert wrote it... about you... last night.</p>
-
-<p>RICHARD.<br/>
-[<i>Takes off his hat.</i>] My dear Miss Justice, you told me yesterday,
-I think, why you came here and I never forget anything. [<i>Advancing
-towards her, holding out his hand.</i>] Good morning.</p>
-
-<p>BEATRICE.<br/>
-[<i>Suddenly takes off her spectacles and places the paper in his
-hands.</i>] I came for this. It is an article about you. Robert wrote it
-last night. Will you read it?</p>
-
-<p>RICHARD.<br/>
-[<i>Bows.</i>] Read it now? Certainly.</p>
-
-<p>BEATRICE.<br/>
-[<i>Looks at him in despair.</i>] O, Mr Rowan, it makes me suffer to
-look at you.</p>
-
-<p>RICHARD.<br/>
-[<i>Opens and reads the paper.</i>] <i>Death of the Very Reverend Canon
-Mulhall</i>. Is that it?</p>
-
-<p>[<i><span class="charname">Bertha</span> appears at the door on the
-left and stands to listen.</i>]</p>
-
-<p>RICHARD.<br/>
-[<i>Turns over a page.</i>] Yes, here we are! <i>A Distinguished
-Irishman.</i> [<i>He begins to read in a rather loud hard voice.</i>]
-Not the least vital of the problems which confront our country is the
-problem of her attitude towards those of her children who, having left
-her in her hour of need, have been called back to her now on the eve of
-her longawaited victory, to her whom in loneliness and exile they have
-at last learned to love. In exile, we have said, but here we must
-distinguish. There is an economic and there is a spiritual exile.
-There are those who left her to seek the bread by which men live and
-there are others, nay, her most favoured children, who left her to seek
-in other lands that food of the spirit by which a nation of human beings
-is sustained in life. Those who recall the intellectual life of Dublin
-of a decade since will have many memories of Mr Rowan. Something of that
-fierce indignation which lacerated the heart...</p>
-
-<p>[<i>He raises his eyes from the paper and sees <span
-class="charname">Bertha</span> standing in the doorway. Then he lays
-aside the paper and looks at her. A long silence.</i>]</p>
-
-<p>BEATRICE.<br/>
-[<i>With an effort.</i>] You see, Mr Rowan, your day has dawned at last.
-Even here. And you see that you have a warm friend in Robert, a friend
-who understands you.</p>
-
-<p>RICHARD.<br/>
-Did you notice the little phrase at the beginning: <i>those who left her
-in her hour of need?</i></p>
-
-<p>[<i>He looks searchingly at <span class="charname">Bertha</span>,
-turns and walks into his study, closing the door behind him.</i>]</p>
-
-<p>BERTHA.<br/>
-[<i>Speaking half to herself.</i>] I gave up everything for him,
-religion, family, my own peace.</p>
-
-<p>[<i>She sits down heavily in an armchair. <span
-class="charname">Beatrice</span> comes towards her.</i>]</p>
-
-<p>BEATRICE.<br/>
-[<i>Weakly.</i>] But do you not feel also that Mr Rowan’s
-ideas...</p>
-
-<p>BERTHA.<br/>
-[<i>Bitterly.</i>] Ideas and ideas! But the people in this world have
-other ideas or pretend to. They have to put up with him in spite of his
-ideas because he is able to do something. Me, no. I am nothing.</p>
-
-<p>BEATRICE.<br/>
-You stand by his side.</p>
-
-<p>BERTHA.<br/>
-[<i>With increasing bitterness.</i>] Ah, nonsense, Miss Justice! I am
-only a thing he got entangled with and my son is—the nice name
-they give those children. Do you think I am a stone? Do you think I
-don’t see it in their eyes and in their manner when they have to
-meet me?</p>
-
-<p>BEATRICE.<br/>
-Do not let them humble you, Mrs Rowan.</p>
-
-<p>BERTHA.<br/>
-[<i>Haughtily.</i>] Humble me! I am very proud of myself, if you want to
-know. What have they ever done for him? I made him a man. What are they
-all in his life? No more than the dirt under his boots! [<i>She stands
-up and walks excitedly to and fro.</i>] He can despise me, too, like the
-rest of them—now. And you can despise me. But you will never
-humble me, any of you.</p>
-
-<p>BEATRICE.<br/>
-Why do you accuse me?</p>
-
-<p>BERTHA.<br/>
-[<i>Going to her impulsively.</i>] I am in such suffering. Excuse me if
-I was rude. I want us to be friends. [<i>She holds out her hands.</i>]
-Will you?</p>
-
-<p>BEATRICE.<br/>
-[<i>Taking her hands.</i>] Gladly.</p>
-
-<p>BERTHA.<br/>
-[<i>Looking at her.</i>] What lovely long eyelashes you have! And your
-eyes have such a sad expression!</p>
-
-<p>BEATRICE.<br/>
-[<i>Smiling.</i>] I see very little with them. They are very weak.</p>
-
-<p>BERTHA.<br/>
-[<i>Warmly.</i>] But beautiful.</p>
-
-<p>[<i>She embraces her quietly and kisses her. Then withdraws from her
-a little shyly. <span class="charname">Brigid</span> comes in from the
-left.</i>]</p>
-
-<p>BRIGID.<br/>
-I gave it to himself, ma’am.</p>
-
-<p>BERTHA.<br/>
-Did he send a message?</p>
-
-<p>BRIGID.<br/>
-He was just going out, ma’am. He told me to say he’d be here
-after me.</p>
-
-<p>BERTHA.<br/>
-Thanks.</p>
-
-<p>BRIGID.<br/>
-[<i>Going.</i>] Would you like the tea and the toast now,
-ma’am?</p>
-
-<p>BERTHA.<br/>
-Not now, Brigid. After perhaps. When Mr Hand comes show him in at
-once.</p>
-
-<p>BRIGID.<br/>
-Yes, ma’am.</p>
-
-<p>[<i>She goes out on the left.</i>]</p>
-
-<p>BEATRICE.<br/>
-I will go now, Mrs Rowan, before he comes.</p>
-
-<p>BERTHA.<br/>
-[<i>Somewhat timidly.</i>] Then we are friends?</p>
-
-<p>BEATRICE.<br/>
-[<i>In the same tone.</i>] We will try to be. [<i>Turning.</i>] Do you
-allow me to go out through the garden? I don’t want to meet my
-cousin now.</p>
-
-<p>BERTHA.<br/>
-Of course. [<i>She takes her hand.</i>] It is so strange that we spoke
-like this now. But I always wanted to. Did you?</p>
-
-<p>BEATRICE.<br/>
-I think I did, too.</p>
-
-<p>BERTHA.<br/>
-[<i>Smiling.</i>] Even in Rome. When I went out for a walk with Archie I
-used to think about you, what you were like, because I knew about you
-from Dick. I used to look at different persons, coming out of churches
-or going by in carriages, and think that perhaps they were like you.
-Because Dick told me you were dark.</p>
-
-<p>BEATRICE.<br/>
-[<i>Again nervously.</i>] Really?</p>
-
-<p>BERTHA.<br/>
-[<i>Pressing her hand.</i>] Goodbye then—for the present.</p>
-
-<p>BEATRICE.<br/>
-[<i>Disengaging her hand.</i>] Good morning.</p>
-
-<p>BERTHA.<br/>
-I will see you to the gate.</p>
-
-<p>[<i>She accompanies her out through the double doors. They go down
-through the garden. <span class="charname">Richard Rowan</span> comes in
-from the study. He halts near the doors, looking down the garden. Then
-he turns away, comes to the little table, takes up the paper and reads.
-<span class="charname">Bertha</span>, after some moments, appears in the
-doorway and stands watching him till he has finished. He lays down the
-paper again and turns to go back to his study.</i>]</p>
-
-<p>BERTHA.<br/>
-Dick!</p>
-
-<p>RICHARD.<br/>
-[<i>Stopping.</i>] Well?</p>
-
-<p>BERTHA.<br/>
-You have not spoken to me.</p>
-
-<p>RICHARD.<br/>
-I have nothing to say. Have you?</p>
-
-<p>BERTHA.<br/>
-Do you not wish to know—about what happened last night?</p>
-
-<p>RICHARD.<br/>
-That I will never know.</p>
-
-<p>BERTHA.<br/>
-I will tell you if you ask me.</p>
-
-<p>RICHARD.<br/>
-You will tell me. But I will never know. Never in this world.</p>
-
-<p>BERTHA.<br/>
-[<i>Moving towards him.</i>] I will tell you the truth, Dick, as I
-always told you. I never lied to you.</p>
-
-<p>RICHARD.<br/>
-[<i>Clenching his hands in the air, passionately.</i>] Yes, yes. The
-truth! But I will never know, I tell you.</p>
-
-<p>BERTHA.<br/>
-Why, then, did you leave me last night?</p>
-
-<p>RICHARD.<br/>
-[<i>Bitterly.</i>] In your hour of need.</p>
-
-<p>BERTHA.<br/>
-[<i>Threateningly.</i>] You urged me to it. Not because you love me. If
-you loved me or if you knew what love was you would not have left me.
-For your own sake you urged me to it.</p>
-
-<p>RICHARD.<br/>
-I did not make myself. I am what I am.</p>
-
-<p>BERTHA.<br/>
-To have it always to throw against me. To make me humble before you, as
-you always did. To be free yourself. [<i>Pointing towards the
-garden.</i>] With her! And that is your love! Every word you say is
-false.</p>
-
-<p>RICHARD.<br/>
-[<i>Controlling himself.</i>] It is useless to ask you to listen to
-me.</p>
-
-<p>BERTHA.<br/>
-Listen to you! She is the person for listening. Why would you waste your
-time with me? Talk to her.</p>
-
-<p>RICHARD.<br/>
-[<i>Nods his head.</i>] I see. You have driven her away from me now, as
-you drove everyone else from my side—every friend I ever had,
-every human being that ever tried to approach me. You hate her.</p>
-
-<p>BERTHA.<br/>
-[<i>Warmly.</i>] No such thing! I think you have made her unhappy as you
-have made me and as you made your dead mother unhappy and killed her.
-Womankiller! That is your name.</p>
-
-<p>RICHARD.<br/>
-[<i>Turns to go.</i>] <i>Arrivederci!</i></p>
-
-<p>BERTHA.<br/>
-[<i>Excitedly.</i>] She is a fine and high character. I like her. She is
-everything that I am not—in birth and education. You tried to ruin
-her but you could not. Because she is well able for you—what I am
-not. And you know it.</p>
-
-<p>RICHARD.<br/>
-[<i>Almost shouting.</i>] What the devil are you talking about her
-for?</p>
-
-<p>BERTHA.<br/>
-[<i>Clasping her hands.</i>] O, how I wish I had never met you! How I
-curse that day!</p>
-
-<p>RICHARD.<br/>
-[<i>Bitterly.</i>] I am in the way, is it? You would like to be free
-now. You have only to say the word.</p>
-
-<p>BERTHA.<br/>
-[<i>Proudly.</i>] Whenever you like I am ready.</p>
-
-<p>RICHARD.<br/>
-So that you could meet your lover—freely?</p>
-
-<p>BERTHA.<br/>
-Yes.</p>
-
-<p>RICHARD.<br/>
-Night after night?</p>
-
-<p>BERTHA.<br/>
-[<i>Gazing before her and speaking with intense passion.</i>] To meet my
-lover! [<i>Holding out her arms before her.</i>] My lover! Yes! My
-lover!</p>
-
-<p>[<i>She bursts suddenly into tears and sinks down on a chair,
-covering her face with her hands. <span class="charname">Richard</span>
-approaches her slowly and touches her on the shoulder.</i>]</p>
-
-<p>RICHARD.<br/>
-Bertha! [<i>She does not answer.</i>] Bertha, you are free.</p>
-
-<p>BERTHA.<br/>
-[<i>Pushes his hand aside and starts to her feet.</i>] Don’t touch
-me! You are a stranger to me. You do not understand anything in
-me—not one thing in my heart or soul. A stranger! I am living with
-a stranger!</p>
-
-<p>[<i>A knock is heard at the hall door. <span
-class="charname">Bertha</span> dries her eyes quickly with her
-handkerchief and settles the front of her gown. <span
-class="charname">Richard</span> listens for a moment, looks at her
-keenly and, turning away, walks into his study. <span
-class="charname">Robert Hand</span> enters from the left. He is dressed
-in dark brown and carries in his hand a brown Alpine hat.</i>]</p>
-
-<p>ROBERT.<br/>
-[<i>Closing the door quietly behind him.</i>] You sent for me.</p>
-
-<p>BERTHA.<br/>
-[<i>Rises.</i>] Yes. Are you mad to think of going away like
-that—without even coming here—without saying anything?</p>
-
-<p>ROBERT.<br/>
-[<i>Advancing towards the table on which the paper lies, glances at
-it.</i>] What I have to say I said here.</p>
-
-<p>BERTHA.<br/>
-When did you write it? Last night—after I went away?</p>
-
-<p>ROBERT.<br/>
-[<i>Gracefully.</i>] To be quite accurate, I wrote part of it—in
-my mind—before you went away. The rest—the worst
-part—I wrote after. Much later.</p>
-
-<p>BERTHA.<br/>
-And you could write last night!</p>
-
-<p>ROBERT.<br/>
-[<i>Shrugs his shoulders.</i>] I am a welltrained animal. [<i>He comes
-closer to her.</i>] I passed a long wandering night after... in my
-office, at the vicechancellor’s house, in a nightclub, in the
-streets, in my room. Your image was always before my eyes, your hand in
-my hand. Bertha, I will never forget last night. [<i>He lays his hat on
-the table and takes her hand.</i>] Why do you not look at me? May I not
-touch you?</p>
-
-<p>BERTHA.<br/>
-[<i>Points to the study.</i>] Dick is in there.</p>
-
-<p>ROBERT.<br/>
-[<i>Drops her hand.</i>] In that case children be good.</p>
-
-<p>BERTHA.<br/>
-Where are you going?</p>
-
-<p>ROBERT.<br/>
-To foreign parts. That is, to my cousin Jack Justice, <i>alias</i> Doggy
-Justice, in Surrey. He has a nice country place there and the air is
-mild.</p>
-
-<p>BERTHA.<br/>
-Why are you going?</p>
-
-<p>ROBERT.<br/>
-[<i>Looks at her in silence.</i>] Can you not guess one reason?</p>
-
-<p>BERTHA.<br/>
-On account of me?</p>
-
-<p>ROBERT.<br/>
-Yes. It is not pleasant for me to remain here just now.</p>
-
-<p>BERTHA.<br/>
-[<i>Sits down helplessly.</i>] But this is cruel of you, Robert. Cruel
-to me and to him also.</p>
-
-<p>ROBERT.<br/>
-Has he asked... what happened?</p>
-
-<p>BERTHA.<br/>
-[<i>Joining her hands in despair.</i>] No. He refuses to ask me
-anything. He says he will never know.</p>
-
-<p>ROBERT.<br/>
-[<i>Nods gravely.</i>] Richard is right there. He is always right.</p>
-
-<p>BERTHA.<br/>
-But, Robert, you must speak to him.</p>
-
-<p>ROBERT.<br/>
-What am I to say to him?</p>
-
-<p>BERTHA.<br/>
-The truth! Everything!</p>
-
-<p>ROBERT.<br/>
-[<i>Reflects.</i>] No, Bertha. I am a man speaking to a man. I cannot
-tell him everything.</p>
-
-<p>BERTHA.<br/>
-He will believe that you are going away because you are afraid to face
-him after last night.</p>
-
-<p>ROBERT.<br/>
-[<i>After a pause.</i>] Well, I am not a coward any more than he. I will
-see him.</p>
-
-<p>BERTHA.<br/>
-[<i>Rises.</i>] I will call him.</p>
-
-<p>ROBERT.<br/>
-[<i>Catching her hands.</i>] Bertha! What happened last night? What is
-the truth that I am to tell? [<i>He gazes earnestly into her eyes.</i>]
-Were you mine in that sacred night of love? Or have I dreamed it?</p>
-
-<p>BERTHA.<br/>
-[<i>Smiles faintly.</i>] Remember your dream of me. You dreamed that I
-was yours last night.</p>
-
-<p>ROBERT.<br/>
-And that is the truth—a dream? That is what I am to tell?</p>
-
-<p>BERTHA.<br/>
-Yes.</p>
-
-<p>ROBERT.<br/>
-[<i>Kisses both her hands.</i>] Bertha! [<i>In a softer voice.</i>] In
-all my life only that dream is real. I forget the rest. [<i>He kisses
-her hands again.</i>] And now I can tell him the truth. Call him.</p>
-
-<p>[<i><span class="charname">Bertha</span> goes to the door of
-<span class="charname">Richard’s</span> study and knocks. There is
-no answer. She knocks again.</i>]</p>
-
-<p>BERTHA.<br/>
-Dick! [<i>There is no answer.</i>] Mr Hand is here. He wants to speak to
-you, to say goodbye. He is going away. [<i>There is no answer. She beats
-her hand loudly on the panel of the door and calls in an alarmed
-voice.</i>] Dick! Answer me!</p>
-
-<p>[<i><span class="charname">Richard Rowan</span> comes in from the
-study. He comes at once to <span class="charname">Robert</span> but does
-not hold out his hand.</i>]</p>
-
-<p>RICHARD.<br/>
-[<i>Calmly.</i>] I thank you for your kind article about me. Is it true
-that you have come to say goodbye?</p>
-
-<p>ROBERT.<br/>
-There is nothing to thank me for, Richard. Now and always I am your
-friend. Now more than ever before. Do you believe me, Richard?</p>
-
-<p>[<i><span class="charname">Richard</span> sits down on a chair and
-buries his face in his hands. <span class="charname">Bertha</span> and
-<span class="charname">Robert</span> gaze at each other in silence. Then
-she turns away and goes out quietly on the right. <span
-class="charname">Robert</span> goes towards <span
-class="charname">Richard</span> and stands near him, resting his hands
-on the back of a chair, looking down at him. There is a long silence. A
-<span class="charname">Fishwoman</span> is heard crying out as she
-passes along the road outside.</i>]</p>
-
-<p>THE FISHWOMAN.<br/>
-Fresh Dublin bay herrings! Fresh Dublin bay herrings! Dublin bay
-herrings!</p>
-
-<p>ROBERT.<br/>
-[<i>Quietly.</i>] I will tell you the truth, Richard. Are you
-listening?</p>
-
-<p>RICHARD.<br/>
-[<i>Raises his face and leans back to listen.</i>] Yes.</p>
-
-<p>[<i><span class="charname">Robert</span> sits on the chair beside
-him. The <span class="charname">Fishwoman</span> is heard calling out
-farther away.</i>]</p>
-
-<p>THE FISHWOMAN.<br/>
-Fresh herrings! Dublin bay herrings!</p>
-
-<p>ROBERT.<br/>
-I failed, Richard. That is the truth. Do you believe me?</p>
-
-<p>RICHARD.<br/>
-I am listening.</p>
-
-<p>ROBERT.<br/>
-I failed. She is yours, as she was nine years ago, when you met her
-first.</p>
-
-<p>RICHARD.<br/>
-When we met her first, you mean.</p>
-
-<p>ROBERT.<br/>
-Yes. [<i>He looks down for some moments.</i>] Shall I go on?</p>
-
-<p>RICHARD.<br/>
-Yes.</p>
-
-<p>ROBERT.<br/>
-She went away. I was left alone—for the second time. I went to the
-vicechancellor’s house and dined. I said you were ill and would
-come another night. I made epigrams new and old—that one about the
-statues also. I drank claret cup. I went to my office and wrote my
-article. Then...</p>
-
-<p>RICHARD.<br/>
-Then?</p>
-
-<p>ROBERT.<br/>
-Then I went to a certain nightclub. There were men there—and also
-women. At least, they looked like women. I danced with one of them. She
-asked me to see her home. Shall I go on?</p>
-
-<p>RICHARD.<br/>
-Yes.</p>
-
-<p>ROBERT.<br/>
-I saw her home in a cab. She lives near Donnybrook. In the cab took
-place what the subtle Duns Scotus calls a death of the spirit. Shall I
-go on?</p>
-
-<p>RICHARD.<br/>
-Yes.</p>
-
-<p>ROBERT.<br/>
-She wept. She told me she was the divorced wife of a barrister. I
-offered her a sovereign as she told me she was short of money. She would
-not take it and wept very much. Then she drank some melissa water from a
-little bottle which she had
-in her satchel. I saw her enter her house. Then I walked home. In my
-room I found that my coat was all stained with the melissa water. I had
-no luck even with my coats yesterday: that was the second one. The idea
-came to me then to change my suit and go away by the morning boat. I
-packed my valise and went to bed. I am going away by the next train to
-my cousin, Jack Justice, in Surrey. Perhaps for a fortnight. Perhaps
-longer. Are you disgusted?</p>
-
-<p>RICHARD.<br/>
-Why did you not go by the boat?</p>
-
-<p>ROBERT.<br/>
-I slept it out.</p>
-
-<p>RICHARD.<br/>
-You intended to go without saying goodbye—without coming here?</p>
-
-<p>ROBERT.<br/>
-Yes.</p>
-
-<p>RICHARD.<br/>
-Why?</p>
-
-<p>ROBERT.<br/>
-My story is not very nice, is it?</p>
-
-<p>RICHARD.<br/>
-But you have come.</p>
-
-<p>ROBERT.<br/>
-Bertha sent me a message to come.</p>
-
-<p>RICHARD.<br/>
-But for that...?</p>
-
-<p>ROBERT.<br/>
-But for that I should not have come.</p>
-
-<p>RICHARD.<br/>
-Did it strike you that if you had gone without coming here I should have
-understood it—in my own way?</p>
-
-<p>ROBERT.<br/>
-Yes, it did.</p>
-
-<p>RICHARD.<br/>
-What, then, do you wish me to believe?</p>
-
-<p>ROBERT.<br/>
-I wish you to believe that I failed. That Bertha is yours now as she was
-nine years ago, when you—when we—met her first.</p>
-
-<p>RICHARD.<br/>
-Do you want to know what I did?</p>
-
-<p>ROBERT.<br/>
-No.</p>
-
-<p>RICHARD.<br/>
-I came home at once.</p>
-
-<p>ROBERT.<br/>
-Did you hear Bertha return?</p>
-
-<p>RICHARD.<br/>
-No. I wrote all the night. And thought. [<i>Pointing to the study.</i>]
-In there. Before dawn I went out and walked the strand from end to
-end.</p>
-
-<p>ROBERT.<br/>
-[<i>Shaking his head.</i>] Suffering. Torturing yourself.</p>
-
-<p>RICHARD.<br/>
-Hearing voices about me. The voices of those who say they love me.</p>
-
-<p>ROBERT.<br/>
-[<i>Points to the door on the right.</i>] One. And mine?</p>
-
-<p>RICHARD.<br/>
-Another still.</p>
-
-<p>ROBERT.<br/>
-[<i>Smiles and touches his forehead with his right forefinger.</i>]
-True. My interesting but somewhat melancholy cousin. And what did they
-tell you?</p>
-
-<p>RICHARD.<br/>
-They told me to despair.</p>
-
-<p>ROBERT.<br/>
-A queer way of showing their love, I must say! And will you despair?</p>
-
-<p>RICHARD.<br/>
-[<i>Rising.</i>] No.</p>
-
-<p>[<i>A noise is heard at the window. <span
-class="charname">Archie’s</span> face is seen flattened against
-one of the panes. He is heard calling.</i>]</p>
-
-<p>ARCHIE.<br/>
-Open the window! Open the window!</p>
-
-<p>ROBERT.<br/>
-[<i>Looks at <span class="charname">Richard</span>.</i>] Did you hear
-his voice, too, Richard, with the others—out there on the strand?
-Your son’s voice. [<i>Smiling.</i>] Listen! How full it is of
-despair!</p>
-
-<p>ARCHIE.<br/>
-Open the window, please, will you?</p>
-
-<p>ROBERT.<br/>
-Perhaps, there, Richard, is the freedom we seek—you in one way, I
-in another. In him and not in us. Perhaps...</p>
-
-<p>RICHARD.<br/>
-Perhaps...?</p>
-
-<p>ROBERT.<br/>
-I said <i>perhaps</i>. I would say almost surely if...</p>
-
-<p>RICHARD.<br/>
-If what?</p>
-
-<p>ROBERT.<br/>
-[<i>With a faint smile.</i>] If he were mine.</p>
-
-<p>[<i>He goes to the window and opens it. <span
-class="charname">Archie</span> scrambles in.</i>]</p>
-
-<p>ROBERT.<br/>
-Like yesterday—eh?</p>
-
-<p>ARCHIE.<br/>
-Good morning, Mr Hand. [<i>He runs to <span
-class="charname">Richard</span> and kisses him:</i>] <i>Buon giorno,
-babbo</i>.</p>
-
-<p>RICHARD.<br/>
-<i>Buon giorno</i>, Archie.</p>
-
-<p>ROBERT.<br/>
-And where were you, my young gentleman?</p>
-
-<p>ARCHIE.<br/>
-Out with the milkman. I drove the horse. We went to Booterstown. [<i>He
-takes off his cap and throws it on a chair.</i>] I am very hungry.</p>
-
-<p>ROBERT.<br/>
-[<i>Takes his hat from the table.</i>] Richard, goodbye. [<i>Offering
-his hand.</i>] To our next meeting!</p>
-
-<p>RICHARD.<br/>
-[<i>Rises, touches his hand.</i>] Goodbye.</p>
-
-<p>[<i><span class="charname">Bertha</span> appears at the door on the
-right.</i>]</p>
-
-<p>ROBERT.<br/>
-[<i>Catches sight of her: to <span class="charname">Archie</span>.</i>]
-Get your cap. Come on with me. I’ll buy you a cake and I’ll
-tell you a story.</p>
-
-<p>ARCHIE.<br/>
-[<i>To <span class="charname">Bertha</span>.</i>] May I, mamma?</p>
-
-<p>BERTHA.<br/>
-Yes.</p>
-
-<p>ARCHIE.<br/>
-[<i>Takes his cap.</i>] I am ready.</p>
-
-<p>ROBERT.<br/>
-[<i>To <span class="charname">Richard</span> and <span
-class="charname">Bertha</span>.</i>] Goodbye to pappa and mamma. But not
-a big goodbye.</p>
-
-<p>ARCHIE.<br/>
-Will you tell me a fairy story, Mr Hand?</p>
-
-<p>ROBERT.<br/>
-A fairy story? Why not? I am your fairy godfather.</p>
-
-<p>[<i>They go out together through the double doors and down the
-garden. When they have gone <span class="charname">Bertha</span> goes to
-<span class="charname">Richard</span> and puts her arm round his
-waist.</i>]</p>
-
-<p>BERTHA.<br/>
-Dick, dear, do you believe now that I have been true to you? Last night
-and always?</p>
-
-<p>RICHARD.<br/>
-[<i>Sadly.</i>] Do not ask me, Bertha.</p>
-
-<p>BERTHA.<br/>
-[<i>Pressing him more closely.</i>] I have been, dear. Surely you
-believe me. I gave you myself—all. I gave up all for you. You took
-me—and you left me.</p>
-
-<p>RICHARD.<br/>
-When did I leave you?</p>
-
-<p>BERTHA.<br/>
-You left me: and I waited for you to come back to me. Dick, dear, come
-here to me. Sit down. How tired you must be!</p>
-
-<p>[<i>She draws him towards the lounge. He sits down, almost reclining,
-resting on his arm. She sits on the mat before the lounge, holding his
-hand.</i>]</p>
-
-<p>BERTHA.<br/>
-Yes, dear. I waited for you. Heavens, what I suffered then—when we
-lived in Rome! Do you remember the terrace of our house?</p>
-
-<p>RICHARD.<br/>
-Yes.</p>
-
-<p>BERTHA.<br/>
-I used to sit there, waiting, with the poor child with his toys, waiting
-till he got sleepy. I could see all the roofs of the city and the river,
-the <i>Tevere</i>. What is its name?</p>
-
-<p>RICHARD.<br/>
-The Tiber.</p>
-
-<p>BERTHA.<br/>
-[<i>Caressing her cheek with his hand.</i>] It was lovely, Dick, only I
-was so sad. I was alone, Dick, forgotten by you and by all. I felt my
-life was ended.</p>
-
-<p>RICHARD.<br/>
-It had not begun.</p>
-
-<p>BERTHA.<br/>
-And I used to look at the sky, so beautiful, without a cloud and the
-city you said was so old: and then I used to think of Ireland and about
-ourselves.</p>
-
-<p>RICHARD.<br/>
-Ourselves?</p>
-
-<p>BERTHA.<br/>
-Yes. Ourselves. Not a day passes that I do not see ourselves, you and
-me, as we were when we met first. Every day of my life I see that. Was I
-not true to you all that time?</p>
-
-<p>RICHARD.<br/>
-[<i>Sighs deeply.</i>] Yes, Bertha. You were my bride in exile.</p>
-
-<p>BERTHA.<br/>
-Wherever you go, I will follow you. If you wish to go away now I will go
-with you.</p>
-
-<p>RICHARD.<br/>
-I will remain. It is too soon yet to despair.</p>
-
-<p>BERTHA.<br/>
-[<i>Again caressing his hand.</i>] It is not true that I want to drive
-everyone from you. I wanted to bring you close together—you and
-him. Speak to me. Speak out all your heart to me. What you feel and what
-you suffer.</p>
-
-<p>RICHARD.<br/>
-I am wounded, Bertha.</p>
-
-<p>BERTHA.<br/>
-How wounded, dear? Explain to me what you mean. I will try to understand
-everything you say. In what way are you wounded?</p>
-
-<p>RICHARD.<br/>
-[<i>Releases his hand and, taking her head between his hands, bends it
-back and gazes long into her eyes.</i>] I have a deep, deep wound of
-doubt in my soul.</p>
-
-<p>BERTHA.<br/>
-[<i>Motionless.</i>] Doubt of me?</p>
-
-<p>RICHARD.<br/>
-Yes.</p>
-
-<p>BERTHA.<br/>
-I am yours. [<i>In a whisper.</i>] If I died this moment, I am
-yours.</p>
-
-<p>RICHARD.<br/>
-[<i>Still gazing at her and speaking as if to an absent person.</i>] I
-have wounded my soul for you—a deep wound of doubt which can never
-be healed. I can never know, never in this world. I do not wish to know
-or to believe. I do not care. It is not in the darkness of belief that I
-desire you. But in restless living wounding doubt. To hold you by no
-bonds, even of love, to be united with you in body and soul in utter
-nakedness—for this I longed. And now I am tired for a while,
-Bertha. My wound tires me.</p>
-
-<p>[<i>He stretches himself out wearily along the lounge.
-<span class="charname">Bertha</span> holds his hand still, speaking very
-softly.</i>]</p>
-
-<p>BERTHA.<br/>
-Forget me, Dick. Forget me and love me again as you did the first time.
-I want my lover. To meet him, to go to him, to give myself to him. You,
-Dick. O, my strange wild lover, come back to me again!</p>
-
-<p>[<i>She closes her eyes.</i>]</p>
-
-
-
-
-
-
-
-
-<pre>
-
-
-
-
-
-End of the Project Gutenberg EBook of Exiles, by James Joyce
-
-*** END OF THIS PROJECT GUTENBERG EBOOK EXILES ***
-
-***** This file should be named 55945-h.htm or 55945-h.zip *****
-This and all associated files of various formats will be found in:
- http://www.gutenberg.org/5/5/9/4/55945/
-
-Produced by Menno de Leeuw
-Updated editions will replace the previous one--the old editions will
-be renamed.
-
-Creating the works from print editions not protected by U.S. copyright
-law means that no one owns a United States copyright in these works,
-so the Foundation (and you!) can copy and distribute it in the United
-States without permission and without paying copyright
-royalties. Special rules, set forth in the General Terms of Use part
-of this license, apply to copying and distributing Project
-Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm
-concept and trademark. Project Gutenberg is a registered trademark,
-and may not be used if you charge for the eBooks, unless you receive
-specific permission. If you do not charge anything for copies of this
-eBook, complying with the rules is very easy. You may use this eBook
-for nearly any purpose such as creation of derivative works, reports,
-performances and research. They may be modified and printed and given
-away--you may do practically ANYTHING in the United States with eBooks
-not protected by U.S. copyright law. Redistribution is subject to the
-trademark license, especially commercial redistribution.
-
-START: FULL LICENSE
-
-THE FULL PROJECT GUTENBERG LICENSE
-PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
-
-To protect the Project Gutenberg-tm mission of promoting the free
-distribution of electronic works, by using or distributing this work
-(or any other work associated in any way with the phrase "Project
-Gutenberg"), you agree to comply with all the terms of the Full
-Project Gutenberg-tm License available with this file or online at
-www.gutenberg.org/license.
-
-Section 1. General Terms of Use and Redistributing Project
-Gutenberg-tm electronic works
-
-1.A. By reading or using any part of this Project Gutenberg-tm
-electronic work, you indicate that you have read, understand, agree to
-and accept all the terms of this license and intellectual property
-(trademark/copyright) agreement. If you do not agree to abide by all
-the terms of this agreement, you must cease using and return or
-destroy all copies of Project Gutenberg-tm electronic works in your
-possession. If you paid a fee for obtaining a copy of or access to a
-Project Gutenberg-tm electronic work and you do not agree to be bound
-by the terms of this agreement, you may obtain a refund from the
-person or entity to whom you paid the fee as set forth in paragraph
-1.E.8.
-
-1.B. "Project Gutenberg" is a registered trademark. It may only be
-used on or associated in any way with an electronic work by people who
-agree to be bound by the terms of this agreement. There are a few
-things that you can do with most Project Gutenberg-tm electronic works
-even without complying with the full terms of this agreement. See
-paragraph 1.C below. There are a lot of things you can do with Project
-Gutenberg-tm electronic works if you follow the terms of this
-agreement and help preserve free future access to Project Gutenberg-tm
-electronic works. See paragraph 1.E below.
-
-1.C. The Project Gutenberg Literary Archive Foundation ("the
-Foundation" or PGLAF), owns a compilation copyright in the collection
-of Project Gutenberg-tm electronic works. Nearly all the individual
-works in the collection are in the public domain in the United
-States. If an individual work is unprotected by copyright law in the
-United States and you are located in the United States, we do not
-claim a right to prevent you from copying, distributing, performing,
-displaying or creating derivative works based on the work as long as
-all references to Project Gutenberg are removed. Of course, we hope
-that you will support the Project Gutenberg-tm mission of promoting
-free access to electronic works by freely sharing Project Gutenberg-tm
-works in compliance with the terms of this agreement for keeping the
-Project Gutenberg-tm name associated with the work. You can easily
-comply with the terms of this agreement by keeping this work in the
-same format with its attached full Project Gutenberg-tm License when
-you share it without charge with others.
-
-1.D. The copyright laws of the place where you are located also govern
-what you can do with this work. Copyright laws in most countries are
-in a constant state of change. If you are outside the United States,
-check the laws of your country in addition to the terms of this
-agreement before downloading, copying, displaying, performing,
-distributing or creating derivative works based on this work or any
-other Project Gutenberg-tm work. The Foundation makes no
-representations concerning the copyright status of any work in any
-country outside the United States.
-
-1.E. Unless you have removed all references to Project Gutenberg:
-
-1.E.1. The following sentence, with active links to, or other
-immediate access to, the full Project Gutenberg-tm License must appear
-prominently whenever any copy of a Project Gutenberg-tm work (any work
-on which the phrase "Project Gutenberg" appears, or with which the
-phrase "Project Gutenberg" is associated) is accessed, displayed,
-performed, viewed, copied or distributed:
-
- This eBook is for the use of anyone anywhere in the United States and
- most other parts of the world at no cost and with almost no
- restrictions whatsoever. You may copy it, give it away or re-use it
- under the terms of the Project Gutenberg License included with this
- eBook or online at www.gutenberg.org. If you are not located in the
- United States, you'll have to check the laws of the country where you
- are located before using this ebook.
-
-1.E.2. If an individual Project Gutenberg-tm electronic work is
-derived from texts not protected by U.S. copyright law (does not
-contain a notice indicating that it is posted with permission of the
-copyright holder), the work can be copied and distributed to anyone in
-the United States without paying any fees or charges. If you are
-redistributing or providing access to a work with the phrase "Project
-Gutenberg" associated with or appearing on the work, you must comply
-either with the requirements of paragraphs 1.E.1 through 1.E.7 or
-obtain permission for the use of the work and the Project Gutenberg-tm
-trademark as set forth in paragraphs 1.E.8 or 1.E.9.
-
-1.E.3. If an individual Project Gutenberg-tm electronic work is posted
-with the permission of the copyright holder, your use and distribution
-must comply with both paragraphs 1.E.1 through 1.E.7 and any
-additional terms imposed by the copyright holder. Additional terms
-will be linked to the Project Gutenberg-tm License for all works
-posted with the permission of the copyright holder found at the
-beginning of this work.
-
-1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
-License terms from this work, or any files containing a part of this
-work or any other work associated with Project Gutenberg-tm.
-
-1.E.5. Do not copy, display, perform, distribute or redistribute this
-electronic work, or any part of this electronic work, without
-prominently displaying the sentence set forth in paragraph 1.E.1 with
-active links or immediate access to the full terms of the Project
-Gutenberg-tm License.
-
-1.E.6. You may convert to and distribute this work in any binary,
-compressed, marked up, nonproprietary or proprietary form, including
-any word processing or hypertext form. However, if you provide access
-to or distribute copies of a Project Gutenberg-tm work in a format
-other than "Plain Vanilla ASCII" or other format used in the official
-version posted on the official Project Gutenberg-tm web site
-(www.gutenberg.org), you must, at no additional cost, fee or expense
-to the user, provide a copy, a means of exporting a copy, or a means
-of obtaining a copy upon request, of the work in its original "Plain
-Vanilla ASCII" or other form. Any alternate format must include the
-full Project Gutenberg-tm License as specified in paragraph 1.E.1.
-
-1.E.7. Do not charge a fee for access to, viewing, displaying,
-performing, copying or distributing any Project Gutenberg-tm works
-unless you comply with paragraph 1.E.8 or 1.E.9.
-
-1.E.8. You may charge a reasonable fee for copies of or providing
-access to or distributing Project Gutenberg-tm electronic works
-provided that
-
-* You pay a royalty fee of 20% of the gross profits you derive from
- the use of Project Gutenberg-tm works calculated using the method
- you already use to calculate your applicable taxes. The fee is owed
- to the owner of the Project Gutenberg-tm trademark, but he has
- agreed to donate royalties under this paragraph to the Project
- Gutenberg Literary Archive Foundation. Royalty payments must be paid
- within 60 days following each date on which you prepare (or are
- legally required to prepare) your periodic tax returns. Royalty
- payments should be clearly marked as such and sent to the Project
- Gutenberg Literary Archive Foundation at the address specified in
- Section 4, "Information about donations to the Project Gutenberg
- Literary Archive Foundation."
-
-* You provide a full refund of any money paid by a user who notifies
- you in writing (or by e-mail) within 30 days of receipt that s/he
- does not agree to the terms of the full Project Gutenberg-tm
- License. You must require such a user to return or destroy all
- copies of the works possessed in a physical medium and discontinue
- all use of and all access to other copies of Project Gutenberg-tm
- works.
-
-* You provide, in accordance with paragraph 1.F.3, a full refund of
- any money paid for a work or a replacement copy, if a defect in the
- electronic work is discovered and reported to you within 90 days of
- receipt of the work.
-
-* You comply with all other terms of this agreement for free
- distribution of Project Gutenberg-tm works.
-
-1.E.9. If you wish to charge a fee or distribute a Project
-Gutenberg-tm electronic work or group of works on different terms than
-are set forth in this agreement, you must obtain permission in writing
-from both the Project Gutenberg Literary Archive Foundation and The
-Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm
-trademark. Contact the Foundation as set forth in Section 3 below.
-
-1.F.
-
-1.F.1. Project Gutenberg volunteers and employees expend considerable
-effort to identify, do copyright research on, transcribe and proofread
-works not protected by U.S. copyright law in creating the Project
-Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm
-electronic works, and the medium on which they may be stored, may
-contain "Defects," such as, but not limited to, incomplete, inaccurate
-or corrupt data, transcription errors, a copyright or other
-intellectual property infringement, a defective or damaged disk or
-other medium, a computer virus, or computer codes that damage or
-cannot be read by your equipment.
-
-1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
-of Replacement or Refund" described in paragraph 1.F.3, the Project
-Gutenberg Literary Archive Foundation, the owner of the Project
-Gutenberg-tm trademark, and any other party distributing a Project
-Gutenberg-tm electronic work under this agreement, disclaim all
-liability to you for damages, costs and expenses, including legal
-fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
-LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
-PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
-TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
-LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
-INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
-DAMAGE.
-
-1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
-defect in this electronic work within 90 days of receiving it, you can
-receive a refund of the money (if any) you paid for it by sending a
-written explanation to the person you received the work from. If you
-received the work on a physical medium, you must return the medium
-with your written explanation. The person or entity that provided you
-with the defective work may elect to provide a replacement copy in
-lieu of a refund. If you received the work electronically, the person
-or entity providing it to you may choose to give you a second
-opportunity to receive the work electronically in lieu of a refund. If
-the second copy is also defective, you may demand a refund in writing
-without further opportunities to fix the problem.
-
-1.F.4. Except for the limited right of replacement or refund set forth
-in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO
-OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
-LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
-
-1.F.5. Some states do not allow disclaimers of certain implied
-warranties or the exclusion or limitation of certain types of
-damages. If any disclaimer or limitation set forth in this agreement
-violates the law of the state applicable to this agreement, the
-agreement shall be interpreted to make the maximum disclaimer or
-limitation permitted by the applicable state law. The invalidity or
-unenforceability of any provision of this agreement shall not void the
-remaining provisions.
-
-1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
-trademark owner, any agent or employee of the Foundation, anyone
-providing copies of Project Gutenberg-tm electronic works in
-accordance with this agreement, and any volunteers associated with the
-production, promotion and distribution of Project Gutenberg-tm
-electronic works, harmless from all liability, costs and expenses,
-including legal fees, that arise directly or indirectly from any of
-the following which you do or cause to occur: (a) distribution of this
-or any Project Gutenberg-tm work, (b) alteration, modification, or
-additions or deletions to any Project Gutenberg-tm work, and (c) any
-Defect you cause.
-
-Section 2. Information about the Mission of Project Gutenberg-tm
-
-Project Gutenberg-tm is synonymous with the free distribution of
-electronic works in formats readable by the widest variety of
-computers including obsolete, old, middle-aged and new computers. It
-exists because of the efforts of hundreds of volunteers and donations
-from people in all walks of life.
-
-Volunteers and financial support to provide volunteers with the
-assistance they need are critical to reaching Project Gutenberg-tm's
-goals and ensuring that the Project Gutenberg-tm collection will
-remain freely available for generations to come. In 2001, the Project
-Gutenberg Literary Archive Foundation was created to provide a secure
-and permanent future for Project Gutenberg-tm and future
-generations. To learn more about the Project Gutenberg Literary
-Archive Foundation and how your efforts and donations can help, see
-Sections 3 and 4 and the Foundation information page at
-www.gutenberg.org
-
-
-
-Section 3. Information about the Project Gutenberg Literary Archive Foundation
-
-The Project Gutenberg Literary Archive Foundation is a non profit
-501(c)(3) educational corporation organized under the laws of the
-state of Mississippi and granted tax exempt status by the Internal
-Revenue Service. The Foundation's EIN or federal tax identification
-number is 64-6221541. Contributions to the Project Gutenberg Literary
-Archive Foundation are tax deductible to the full extent permitted by
-U.S. federal laws and your state's laws.
-
-The Foundation's principal office is in Fairbanks, Alaska, with the
-mailing address: PO Box 750175, Fairbanks, AK 99775, but its
-volunteers and employees are scattered throughout numerous
-locations. Its business office is located at 809 North 1500 West, Salt
-Lake City, UT 84116, (801) 596-1887. Email contact links and up to
-date contact information can be found at the Foundation's web site and
-official page at www.gutenberg.org/contact
-
-For additional contact information:
-
- Dr. Gregory B. Newby
- Chief Executive and Director
- gbnewby@pglaf.org
-
-Section 4. Information about Donations to the Project Gutenberg
-Literary Archive Foundation
-
-Project Gutenberg-tm depends upon and cannot survive without wide
-spread public support and donations to carry out its mission of
-increasing the number of public domain and licensed works that can be
-freely distributed in machine readable form accessible by the widest
-array of equipment including outdated equipment. Many small donations
-($1 to $5,000) are particularly important to maintaining tax exempt
-status with the IRS.
-
-The Foundation is committed to complying with the laws regulating
-charities and charitable donations in all 50 states of the United
-States. Compliance requirements are not uniform and it takes a
-considerable effort, much paperwork and many fees to meet and keep up
-with these requirements. We do not solicit donations in locations
-where we have not received written confirmation of compliance. To SEND
-DONATIONS or determine the status of compliance for any particular
-state visit www.gutenberg.org/donate
-
-While we cannot and do not solicit contributions from states where we
-have not met the solicitation requirements, we know of no prohibition
-against accepting unsolicited donations from donors in such states who
-approach us with offers to donate.
-
-International donations are gratefully accepted, but we cannot make
-any statements concerning tax treatment of donations received from
-outside the United States. U.S. laws alone swamp our small staff.
-
-Please check the Project Gutenberg Web pages for current donation
-methods and addresses. Donations are accepted in a number of other
-ways including checks, online payments and credit card donations. To
-donate, please visit: www.gutenberg.org/donate
-
-Section 5. General Information About Project Gutenberg-tm electronic works.
-
-Professor Michael S. Hart was the originator of the Project
-Gutenberg-tm concept of a library of electronic works that could be
-freely shared with anyone. For forty years, he produced and
-distributed Project Gutenberg-tm eBooks with only a loose network of
-volunteer support.
-
-Project Gutenberg-tm eBooks are often created from several printed
-editions, all of which are confirmed as not protected by copyright in
-the U.S. unless a copyright notice is included. Thus, we do not
-necessarily keep eBooks in compliance with any particular paper
-edition.
-
-Most people start at our Web site which has the main PG search
-facility: www.gutenberg.org
-
-This Web site includes information about Project Gutenberg-tm,
-including how to make donations to the Project Gutenberg Literary
-Archive Foundation, how to help produce our new eBooks, and how to
-subscribe to our email newsletter to hear about new eBooks.
-
-
-
-</pre>
-
-</body>
-
-</html>
|