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diff --git a/old/sxfd10h.htm b/old/sxfd10h.htm new file mode 100644 index 0000000..91afaba --- /dev/null +++ b/old/sxfd10h.htm @@ -0,0 +1,13413 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01//EN"> +<html> +<head> +<meta http-equiv="Content-Type" content="text/html; charset=US-ASCII"> +<title>Six Plays</title> +</head> +<body> +<h2> +<a href="#startoftext">Six Plays, by Florence Henrietta Darwin</a> +</h2> +<pre> +The Project Gutenberg EBook of Six Plays, by Florence Henrietta Darwin +(#1 in our series by Florence Henrietta Darwin) + +Copyright laws are changing all over the world. Be sure to check the +copyright laws for your country before downloading or redistributing +this or any other Project Gutenberg eBook. + +This header should be the first thing seen when viewing this Project +Gutenberg file. Please do not remove it. Do not change or edit the +header without written permission. + +Please read the "legal small print," and other information about the +eBook and Project Gutenberg at the bottom of this file. Included is +important information about your specific rights and restrictions in +how the file may be used. You can also find out about how to make a +donation to Project Gutenberg, and how to get involved. + + +**Welcome To The World of Free Plain Vanilla Electronic Texts** + +**eBooks Readable By Both Humans and By Computers, Since 1971** + +*****These eBooks Were Prepared By Thousands of Volunteers!***** + + +Title: Six Plays + +Author: Florence Henrietta Darwin + +Release Date: May, 2004 [EBook #5618] +[Yes, we are more than one year ahead of schedule] +[This file was first posted on July 23, 2002] + +Edition: 10 + +Language: English + +Character set encoding: ASCII +</pre> +<p> +<a name="startoftext"></a> +Transcribed from the 1921 W. Heffer & Sons edition by David Price, +email ccx074@coventry.ac.uk<br> +<br> +<br> +<br> +<br> +SIX PLAYS BY FLORENCE HENRIETTA DARWIN<br> +<br> +<br> +<br> +<br> +Contents:<br> + The Lovers’ Tasks<br> + Bushes and Briars<br> + My man John<br> + Princess Royal<br> + The Seeds of Love<br> + The New Year<br> +<br> +<br> +<br> +<br> +THE LOVERS’ TASKS<br> +<br> +<br> +<br> +<br> +CHARACTERS<br> +<br> +FARMER DANIEL,<br> +ELIZABETH, <i>his wife.<br> +</i>MILLIE, <i>her daughter.<br> +</i>ANNET, <i>his niece.<br> +</i>MAY, <i>Annet</i>’<i>s sister</i>,<i> aged ten.<br> +</i>GILES, <i>their brother.<br> +</i>ANDREW, <i>a rich young farmer.<br> +</i>GEORGE, JOHN <i>servants to Giles.<br> +<br> +</i>AN OLD MAN.<br> +<br> +<br> +<br> +ACT I. - Scene 1.<br> +<br> +<br> +<br> +<i>The parlour at Camel Farm.<br> +<br> +Time</i>:<i> An afternoon in May.<br> +<br> +</i>ELIZABETH <i>is sewing by the table with </i>ANNET. <i>At +the open doorway </i>MAY <i>is polishing a bright mug.<br> +<br> +</i>ELIZABETH. [<i>Looking up</i>.] There’s Uncle, +back from the Fair.<br> +<br> +MAY. [<i>Looking out of the door</i>.] O Uncle’s got +some rare big packets in his arms, he has.<br> +<br> +ELIZABETH. Put down that mug afore you damage it, May; and, Annet, +do you go and help your uncle in.<br> +<br> +MAY. [<i>Setting down the mug</i>.] O let me go along of +her too - [ANNET <i>rises and goes to the door followed by </i>MAY, +<i>who has dropped her polishing leather upon the ground.<br> +<br> +</i>ELIZABETH. [<i>Picking it up and speaking to herself in exasperation</i>.] +If ever there was a careless little wench, ’tis she. I never +did hold with the bringing up of other folks children and if I’d +had my way, ’tis to the poor-house they’d have went, instead +of coming here where I’ve enough to do with my own.<br> +<br> +[<i>The </i>FARMER <i>comes in followed by </i>ANNET <i>and </i>MAY +<i>carrying large parcels.<br> +<br> +</i>DANIEL. Well Mother, I count I’m back a smartish bit +sooner nor what you did expect.<br> +<br> +ELIZABETH. I’m not one that can be taken by surprise, Dan. +May, lay that parcel on the table at once, and put away your uncle’s +hat and overcoat.<br> +<br> +DAN. Nay, the overcoat’s too heavy for the little maid - +I’ll hang it up myself.<br> +<br> +[<i>He takes off his coat and goes out into the passage to hang it up</i>. +<i>May runs after him with his hat.<br> +<br> +</i>ANNET. I do want to know what’s in all those great packets, +Aunt.<br> +<br> +ELIZABETH. I daresay you’ll be told all in good season. +Here, take up and get on with that sewing, I dislike to see young people +idling away their time.<br> +<br> +[<i>The </i>FARMER <i>and </i>MAY <i>come back.<br> +<br> +</i>MAY. And now, untie the packets quickly, uncle.<br> +<br> +DANIEL. [<i>Sinking into a big chair</i>.] Not so fast, +my little maid, not so fast - ’tis a powerful long distance as +I have journeyed this day, and ’tis wonderful warm for the time +of year.<br> +<br> +ELIZABETH. I don’t hold with drinking nor with taking bites +atween meals, but as your uncle has come a good distance, and the day +is warm, you make take the key of the pantry, Annet, and draw a glass +of cider for him.<br> +<br> +[<i>She takes the key from her pocket and hands it to </i>ANNET, <i>who +goes out.<br> +<br> +</i>DANIEL. That’s it, Mother - that’s it. And +when I’ve wetted my mouth a bit I’ll be able the better +to tell you all about how ’twas over there.<br> +<br> +MAY. O I’d dearly like to go to a Fair, I would. You +always said that you’d take me the next time you went, Uncle.<br> +<br> +DANIEL. Ah and so I did, but when I comed to think it over, Fairs +baint the place for little maids, I says to mother here - and no, that +they baint, she answers back. But we’ll see how ’tis +when you be growed a bit older, like. Us’ll see how ’twill +be then, won’t us Mother?<br> +<br> +ELIZABETH. I wouldn’t encourage the child in her nonsense, +if I was you, Dan. She’s old enough to know better than +to ask to be taken to such places. Why in all my days I never +set my foot within a fair, pleasure or business, nor wanted to, either.<br> +<br> +MAY. And never rode on the pretty wood horses, Aunt, all spotted +and with scarlet bridles to them?<br> +<br> +ELIZABETH. Certainly not. I wonder at your asking such a +question, May. But you do say some very unsuitable things for +a little child of your age.<br> +<br> +MAY. And did you get astride of the pretty horses at the Fair, +Uncle?<br> +<br> +DANIEL. Nay, nay, - they horses be set in the pleasure part of +the Fair, and where I goes ’tis all for doing business like.<br> +<br> +[ANNET <i>comes back with the glass of cider</i>. DANIEL <i>takes +it from her.<br> +<br> +</i>DANIEL. [<i>Drinking</i>.] You might as well have brought +the jug, my girl.<br> +<br> +ELIZABETH. No, Father, ’twill spoil your next meal as it +is.<br> +<br> +[<i>The girls sit down at the table</i>,<i> taking up their work.<br> +<br> +</i>DANIEL. [<i>Putting down his glass</i>.] But, bless +my soul, yon was a Fair in a hundred. That her was.<br> +<br> +BOTH GIRLS. O do tell us of all that you did see there, Uncle.<br> +<br> +DANIEL. There was a cow - well, ’tis a smartish lot of cows +as I’ve seen in my time, but this one, why, the King haven’t +got the match to she in all his great palace, and that’s the truth, +so ’tis.<br> +<br> +ANNET. O don ’t tell us about the cows, Uncle, we want to +know about all the other things.<br> +<br> +MAY. The shows of acting folk, and the wild animals, and the nice +sweets.<br> +<br> +ELIZABETH. They don’t want to hear about anything sensible, +Dan. They’re like all the maids now, with their thoughts +set on pleasuring and foolishness.<br> +<br> +DANIEL. Ah, the maids was different in our day, wasn’t they +Mother?<br> +<br> +ELIZABETH. And that they were. Why, when I was your age, +Annet, I should have been ashamed if I couldn’t have held my own +in any proper or suitable conversation.<br> +<br> +DANIEL. Ah, you was a rare sensible maid in your day, Mother. +Do you mind when you comed along of me to Kingham sale? “You’re +never going to buy an animal with all that white to it, Dan, you says +to me.<br> +<br> +ELIZABETH. Ah - I recollect.<br> +<br> +DANIEL. “’Tis true her has a whitish leg,” I +says, “but so have I, and so have you, Mother - and who’s +to think the worse on we for that?” Ah, I could always bring +you round to look at things quiet and reasonable in those days - that +I could.<br> +<br> +ELIZABETH. And a good thing if there were others of the same pattern +now, I’m thinking.<br> +<br> +DANIEL. So ’twould be - so ’twould be. But times +do bring changes in the forms of the cattle and I count ’tis the +same with the womenfolk. ’Tis one thing this year and ’tis +t’other in the next.<br> +<br> +MAY. Do tell us more of what you did see at the Fair, Uncle.<br> +<br> +DANIEL. There was a ram. My word! but the four feet of he +did cover a good two yards of ground; just as it might be, standing.<br> +<br> +ELIZABETH. Come, Father.<br> +<br> +DANIEL. And the horns upon the head of he did reach out very nigh +as far as might do the sails of one of they old wind-mills.<br> +<br> +MAY. O Uncle, and how was it with the wool of him?<br> +<br> +DANIEL. The wool, my wench, did stand a good three foot from all +around of the animal. You might have set a hen with her eggs on +top of it - and that you might. And now I comes to recollect how +’twas, you could have set a hen one side of the wool and a turkey +t’other.<br> +<br> +MAY. O Uncle, that must have been a beautiful animal! And +what was the tail of it?<br> +<br> +DANIEL. The tail, my little maid? Why ’twas longer +nor my arm and as thick again - ’twould have served as a bell +rope to the great bell yonder in Gloucester church - and so ’twould. +Ah, ’twas sommat like a tail, I reckon, yon.<br> +<br> +ELIZABETH. Come, Father, such talk is hardly suited to little +girls, who should know better than to ask so many teasing questions.<br> +<br> +ANNET. ’Tisn’t only May, Aunt, I do love to hear what +uncle tells, when he has been out for a day or two.<br> +<br> +ELIZABETH. And did you have company on the way home, Father?<br> +<br> +DANIEL. That I did. ’Twas along of young Andrew as +I did come back.<br> +<br> +ELIZABETH. Along of Andrew? Girls, you may now go outside +into the garden for a while. Yes, put aside your work.<br> +<br> +MAY. Can’t we stop till the packets are opened?<br> +<br> +ELIZABETH. You heard what I said? Go off into the garden, +and stop there till I send for you. And take uncle’s glass +and wash it at the spout as you go.<br> +<br> +ANNET. [<i>Taking the glass</i>.] I’ll wash it, Aunt. +Come May, you see aunt doesn’t want us any longer.<br> +<br> +MAY. Now they’re going to talk secrets together. O +I should dearly love to hear the secrets of grown-up people. [ANNET +<i>and </i>MAY <i>go out together.<br> +<br> +</i>DANIEL. Annet be got a fine big wench, upon my word. +Now haven’t her, Mother?<br> +<br> +ELIZABETH. She’s got old enough to be put to service, and +if I’d have had my way, ’tis to service she’d have +gone this long time since, and that it is.<br> +<br> +DANIEL. ’Twould be poor work putting one of dead sister’s +wenches out to service, so long as us have a roof over the heads of +we and plenty to eat on the table.<br> +<br> +ELIZABETH. Well, you must please yourself about it Father, as +you do most times. But ’tis uncertain work taking up with +other folks children as I told you from the first. See what a +lot of trouble you and me have had along of Giles.<br> +<br> +DANIEL. Giles be safe enough in them foreign parts where I did +send him. You’ve no need to trouble your head about he, +Mother - unless ’tis a letter as he may have got sending to Mill.<br> +<br> +ELIZABETH. No, Father, Giles has never sent a letter since the +day he left home. But very often there is no need for letters +to keep remembrance green. ’Tis a plant what thrives best +on a soil that is bare.<br> +<br> +DANIEL. Well, Mother, and what be you a-driving at? I warrant +as Mill have got over them notions as she did have once. And, +look you here, ’twas with young Andrew as I did journey back from +the Fair. And he be a-coming up presently for to get his answer.<br> +<br> +ELIZABETH. All I say is that I hope he may get it then.<br> +<br> +DANIEL. Ah, I reckon as ’tis rare put about as he have been +all this long while, and never a downright “yes” to what +he do ask.<br> +<br> +[MAY <i>comes softly in and hides behind the door</i>.<br> +<br> +ELIZABETH. Well, that’s not my fault, Father.<br> +<br> +DANIEL. But her’ll have to change her note this day, that +her’ll have. For I’ve spoke for she, and ’tis +for next month as I’ve pitched the wedding day.<br> +<br> +ELIZABETH. And you may pitch, Father. You may lead the mare +down to the pond, but she’ll not drink if she hasn’t the +mind to. You know what Millie is. ’Tisn’t from +my side that she gets it either.<br> +<br> +DANIEL. And ’tain’t from me. I be all for easy +going and each one to his self like.<br> +<br> +ELIZABETH. Yes, there you are, Father.<br> +<br> +DANIEL. But I reckon as the little maid will hearken to what I +says. Her was always a wonderful good little maid to her dad. +And her did always know, that when her dad did set his foot down, well, +there ’twas. ’Twas down.<br> +<br> +ELIZABETH. Well, if you think you can shew her that, Father, ’tis +a fortunate job on all sides.<br> +<br> +[<i>They suddenly see </i>MAY <i>who has been quiet behind the door.<br> +<br> +</i>ELIZABETH. May, what are you a-doing here I should like to +know? Didn’t I send you out into the garden along of your +sister?<br> +<br> +MAY. Yes, Auntie, but I’ve comed back.<br> +<br> +ELIZABETH. Then you can be off again, and shut the door this time, +do your hear?<br> +<br> +DANIEL. That’s it, my little maid. Run along - and +look you, May, just you tell Cousin Millie as we wants her in here straight +away. And who knows bye and bye whether there won’t be sommat +in yon great parcel for a good little wench.<br> +<br> +MAY. O Uncle - I’d like to see it now.<br> +<br> +DANIEL. Nay, nay - this is not a suitable time - Aunt and me has +business what’s got to be settled like. Nay - ’tis +later on as the packets is to be opened.<br> +<br> +ELIZABETH. Get along off, you tiresome child. - One word might +do for some, but it takes twenty to get you to move. - Run along now, +do you hear me?<br> +<br> +[MAY <i>goes.<br> +<br> +</i>Well, Father, I’ve done my share with Millie and she don’t +take a bit of notice of what I say. So now it’s your turn.<br> +<br> +DANIEL. Ah, I count ’tis more man’s work, this here, +so ’tis. There be things which belongs to females and there +be others which do not. You get and leave it all to me. +I’ll bring it off.<br> +<br> +ELIZABETH. All right, Father, just you try your way - I’ll +have nothing more to do with it. [MILLIE <i>comes in.</i>]<br> +<br> +MILLIE. Why, Father, you’re back early from the Fair.<br> +<br> +DANIEL. That’s so, my wench. See that package over +yonder?<br> +<br> +MILLIE. O, that I do, Father.<br> +<br> +DANIEL. Yon great one’s for you, Mill.<br> +<br> +MILLIE. O Father, what’s inside it?<br> +<br> +DANIEL. ’Tis a new, smart bonnet, my wench.<br> +<br> +MILLIE. For me, Father?<br> +<br> +DANIEL. Ah - who else should it be for, Mill?<br> +<br> +MILLIE. O Father, you are good to me.<br> +<br> +DANIEL. And a silk cloak as well.<br> +<br> +MILLIE. A silken cloak, and a bonnet - O Father, ’tis too +much for you to give me all at once, like.<br> +<br> +DANIEL. Young Andrew did help me with the choice, and ’tis +all to be worn on this day month, my girl.<br> +<br> +MILLIE. Why, Father, what’s to happen then?<br> +<br> +DANIEL. ’Tis for you to go along to church in, Mill.<br> +<br> +MILLIE. To church, Father?<br> +<br> +DANIEL. Ah, that ’tis - you in the cloak and bonnet, and +upon the arm of young Andrew, my wench.<br> +<br> +MILLIE. O no, Father.<br> +<br> +DANIEL. But ’tis “yes” as you have got to learn, +my wench. And quickly too. For ’tis this very evening +as Andrew be coming for his answer. And ’tis to be “yes” +this time.<br> +<br> +MILLIE. O no, Father.<br> +<br> +DANIEL. You’ve an hour before you, my wench, in which to +get another word to your tongue.<br> +<br> +MILLIE. I can’t learn any word that isn’t “no,” +Father.<br> +<br> +DANIEL. Look at me, my wench. My foot be down. I means +what I says - <br> +<br> +MILLIE. And I mean what I say, too, Father. And I say, No!<br> +<br> +DANIEL. Millie, I’ve set down my foot.<br> +<br> +MILLIE. And so have I, Father.<br> +<br> +DANIEL. And ’tis “yes” as you must say to young +Andrew when he do come a-courting of you this night.<br> +<br> +MILLIE. That I’ll never say, Father. I don’t +want cloaks nor bonnets, nor my heart moved by gifts, or tears brought +to my eyes by fair words. I’ll not wed unless I can give +my love along with my hand. And ’tis not to Andrew I can +give that, as you know.<br> +<br> +DANIEL. And to whom should a maid give her heart if ’twasn’t +to Andrew? A finer lad never trod in a pair of shoes. I’ll +be blest if I do know what the wenches be a-coming to.<br> +<br> +ELIZABETH. There, Father, I told you what to expect.<br> +<br> +DANIEL. But ’tis master as I’ll be, hark you, Mother, +hark you, Mill. And ’tis “Yes” as you have got +to fit your tongue out with my girl, afore ’tis dark. [<i>Rising</i>.] +I be a’going off to the yard, but, Mother, her’ll know what +to say to you, her will.<br> +<br> +MILLIE. Dad, do you stop and shew me the inside of my packet. +Let us put Andrew aside and be happy - do!<br> +<br> +DANIEL. Ah, I’ve got other things as is waiting to be done +nor breaking in a tricksome filly to run atween the shafts. ’Tis +fitter work for females, and so ’tis.<br> +<br> +ELIZABETH. And so I told you, Father, from the start. <br> +<br> +MILLIE. And ’tis “No” that I shall say.<br> +<br> +[<i>Curtain</i>.]<br> +<br> +<br> +<br> +ACT I. - Scene 2.<br> +<br> +<br> +<br> +<i>It is dusk on the same evening.<br> +<br> +</i>MILLIE <i>is standing by the table folding up the silken cloak</i>. +ANNET <i>sits watching her, on her knees lies a open parcel disclosing +a woollen shawl. In a far corner of the room </i>MAY <i>is seated +on a stool making a daisy chain.<br> +<br> +</i>ANNET. ’Twas very good of Uncle to bring me this nice +shawl, Millie.<br> +<br> +MILLIE. You should have had a cloak like mine, Annet, by rights.<br> +<br> +ANNET. I’m not going to get married, Millie.<br> +<br> +MILLIE. [<i>Sitting down with a sudden movement of despondence +and stretching her arms across the table</i>.] O don’t you +speak to me of that, Annet. ’Tis more than I can bear to-night.<br> +<br> +ANNET. But, Millie, he’s coming for your answer now. +You musn’t let him find you looking so.<br> +<br> +MILLIE. My face shall look as my heart feels. And that is +all sorrow, Annet.<br> +<br> +ANNET. Can’t you bring yourself round to fancy Andrew, Millie?<br> +<br> +MILLIE. No, that I cannot, Annet, I’ve tried a score of +times, I have - but there it is - I cannot.<br> +<br> +ANNET. Is it that you’ve not forgotten Giles, then?<br> +<br> +MILLIE. I never shall forget him, Annet. Why, ’tis +a five year this day since father sent him off to foreign parts, and +never a moment of all that time has my heart not remembered him.<br> +<br> +ANNET. I feared ’twas so with you, Millie.<br> +<br> +MILLIE. O I’ve laid awake of nights and my tears have wetted +the pillow all over so that I’ve had to turn it t’other +side up.<br> +<br> +ANNET. And Giles has never written to you, nor sent a sign nor +nothing?<br> +<br> +MILLIE. Your brother Giles was never very grand with the pen, +Annet. But, O, he’s none the worse for that.<br> +<br> +ANNET. Millie, I never cared for to question you, but how was +it when you and he did part, one with t’other?<br> +<br> +MILLIE. I did give him my ring, Annet - secret like - when we +were walking in the wood.<br> +<br> +ANNET. What, the one with the white stones to it?<br> +<br> +MILLIE. Yes, grandmother’s ring, that she left me. +And I did say to him - if ever I do turn false to you and am like to +wed another, Giles - look you at these white stones.<br> +<br> +ANNET. Seven of them, there were, Millie.<br> +<br> +MILLIE. And the day that I am like to wed another, Giles, I said +to him, the stones shall darken. But you’ll never see that +day. [<i>She begins to cry.<br> +<br> +</i>ANNET. Don’t you give way, Millie, for, look you, ’tis +very likely that Giles has forgotten you for all his fine words, and +Andrew, - well, Andrew he’s as grand a suitor as ever maid had. +And ’tis Andrew you have got to wed, you know.<br> +<br> +MILLIE. Andrew, Andrew - I’m sick at the very name of him.<br> +<br> +ANNET. See the fine house you’ll live in. Think on +the grand parlour that you’ll sit in all the day with a servant +to wait on you and naught but Sunday clothes on your back.<br> +<br> +MILLIE. I’d sooner go in rags with Giles at the side of +me.<br> +<br> +ANNET. Come, you must hearten up. Andrew will soon be here. +And Uncle says that you have got to give him his answer to-night for +good and all.<br> +<br> +MILLIE. O I cannot see him - I’m wearied to death of Andrew, +and that’s the very truth it is.<br> +<br> +ANNET. O Millie - I wonder how ’twould feel to be you for +half-an-hour and to have such a fine suitor coming to me and asking +for me to say Yes.<br> +<br> +MILLIE. O I wish ’twas you and not me that he was after, +Annet.<br> +<br> +ANNET. ’Tisn’t likely that anyone such as Master Andrew +will ever come courting a poor girl like me, Millie. But I’d +dearly love to know how ’twould feel.<br> +<br> +[MILLIE <i>raises her head and looks at her cousin for a few minutes +in silence</i>,<i> then her face brightens.<br> +<br> +</i>MILLIE. Then you shall, Annet.<br> +<br> +ANNET. Shall what, Mill?<br> +<br> +MILLIE. Know how it feels. Look here - ’Tis sick to +death I am with courting, when ’tis from the wrong quarter, and +if I’m to wed Andrew come next month, I’ll not be tormented +with him before that time, - so ’tis you that shall stop and talk +with him this evening, Annet, and I’ll slip out to the woods and +gather flowers.<br> +<br> +ANNET. How wild and unlikely you do talk, Mill.<br> +<br> +MILLIE. In the dusk he’ll never know that ’tisn’t +me. Being cousins, we speak after the same fashion, and in the +shape of us there’s not much that’s amiss.<br> +<br> +ANNET. But in the clothing of us, Mill - why, ’tis a grand +young lady that you look - whilst I -<br> +<br> +MILLIE. [<i>Taking up the silken cloak</i>.] Here - put +this over your gown, Annet.<br> +<br> +ANNET. [<i>Standing up</i>.] I don’t mind just trying +it on, like.<br> +<br> +MILLIE. [<i>Fastening it</i>.] There - and now the bonnet, +with the veil pulled over the face.<br> +<br> +[<i>She ties the bonnet and arranges the veil on </i>ANNET.<br> +<br> +MILLIE. [<i>Standing back and surveying her cousin</i>.] +There, Annet, there May, who is to tell which of us ’tis?<br> +<br> +MAY. [<i>Coming forward</i>.] O I should never know that +’twasn’t you, Cousin Mill.<br> +<br> +MILLIE. And I could well mistake her for myself too, so listen, +Annet. ’Tis you that shall talk with Master Andrew when +he comes to-night. And ’tis you that shall give him my answer. +I’ll not burn my lips by speaking the word he asks of me.<br> +<br> +ANNET. O Mill - I cannot - no I cannot.<br> +<br> +MILLIE. Don’t let him have it very easily, Annet. +Set him a ditch or two to jump before he gets there. And let the +thorns prick him a bit before he gathers the flower. You know +my way with him.<br> +<br> +MAY. And I know it too, Millie - Why, your tongue, ’tis +very near as sharp as when Aunt do speak.<br> +<br> +ANNET. O Millie, take off these things - I cannot do it, that’s +the truth.<br> +<br> +MAY. [<i>Looking out through the door</i>.] There’s +Andrew a-coming over the mill yard.<br> +<br> +MILLIE. Here, sit down, Annet, with the back of you to the light.<br> +<br> +[<i>She pushes </i>ANNET <i>into a chair beneath the window.<br> +<br> +</i>MAY. Can I get into the cupboard and listen to it, Cousin +Mill?<br> +<br> +MILLIE. If you promise to bide quiet and to say naught of it afterwards.<br> +<br> +MAY. O I promise, I promise - I’ll just leave a crack of +the door open for to hear well.<br> +<br> +[MAY <i>gets into the cupboard</i>. MILLIE <i>takes up </i>ANNET’S +<i>new shawl and puts it all over her.<br> +<br> +</i>MILLIE. No one will think that ’tisn’t you, in +the dusk.<br> +<br> +ANNET. O Millie, what is it that you’ve got me to do?<br> +<br> +MILLIE. Never you mind, Annet - you shall see what ’tis +to have a grand suitor and I shall get a little while of quiet out yonder, +where I can think on Giles.<br> +<br> +[<i>She runs out of the door just as </i>ANDREW <i>comes up</i>. +ANDREW <i>knocks and then enters the open door.<br> +<br> +</i>ANDREW. Where’s Annet off to in such a hurry?<br> +<br> +ANNET. [<i>Very faintly</i>.] I’m sure I don’t +know. [ANDREW <i>lays aside his hat and comes up to the window</i>. +<i>He stands before </i>ANNET <i>looking down on her</i>. <i>She +becomes restless under his gaze</i>,<i> and at last signs to him to +sit down.<br> +<br> +</i>ANDREW. [<i>Sitting down on a chair a little way from her</i>.] +The Master said that I might come along to-night, Millie - Otherwise +- [ANNET <i>is still silent.<br> +<br> +</i>Otherwise I shouldn’t have dared do so.<br> +<br> +[ANNET <i>sits nervously twisting the ribbons of her cloak.<br> +<br> +</i>The Master said, as how may be, your feeling for me, Millie, might +be changed like. [ANNET <i>is still silent.<br> +<br> +</i>And that if I was to ask you once more, very likely ’twould +be something different as you might say.<br> +<br> +[<i>A long silence.<br> +<br> +</i>Was I wrong in coming, Millie?<br> +<br> +ANNET. [<i>Faintly</i>.] ’Twould have been better +had you stayed away like.<br> +<br> +ANDREW. Then there isn’t any change in your feelings towards +me, Millie?<br> +<br> +ANNET. O, there’s a sort of a change, Andrew.<br> +<br> +ANDREW. [<i>Slowly</i>.] O Mill, that’s good hearing. +What sort of a change is it then?<br> +<br> +ANNET. ’Tis very hard to say, Andrew.<br> +<br> +ANDREW. Look you, Mill, ’tis more than a five year that +I’ve been a-courting of you faithful.<br> +<br> +ANNET. [<i>Sighing</i>.] Indeed it is, Andrew.<br> +<br> +ANDREW. And I’ve never got naught but blows for my pains.<br> +<br> +ANNET. [<i>Beginning to speak in a gentle voice and ending sharply</i>.] +O I’m so sorry - No - I mean - ’Tis your own fault, Andrew.<br> +<br> +ANDREW. But I would sooner take blows from you than sweet words +from another, Millie.<br> +<br> +ANNET. I could never find it in my heart to - I mean, ’tis +as well that you should get used to blows, seeing we’re to be +wed, Andrew.<br> +<br> +ANDREW. Then ’tis to be! O Millie, this is brave news +- Why, I do scarcely know whether I be awake or dreaming.<br> +<br> +ANNET. [<i>Very sadly</i>.] Very likely you’ll be +glad enough to be dreaming a month from now, poor Andrew.<br> +<br> +ANDREW. [<i>Drawing nearer</i>.] I am brave, Millie, now +that you speak to me so kind and gentle, and I’ll ask you to name +the day.<br> +<br> +ANNET. [<i>Shrinking back</i>.] O ’twill be a very +long distance from now, Andrew.<br> +<br> +ANDREW. Millie, it seems to be your pleasure to take up my heart +and play with it same as a cat does with the mouse.<br> +<br> +ANNET. [<i>Becoming gay and hard in her manner</i>.] Your +heart, Andrew? ’Twill go all the better afterwards if ’tis +tossed about a bit first.<br> +<br> +ANDREW. Put an end to this foolishness, Mill, and say when you’ll +wed me.<br> +<br> +ANNET. [<i>Warding him off with her hand</i>.] You shall +have my answer in a new song Andrew, which I have been learning.<br> +<br> +[ANDREW <i>sits down despondently and prepares to listen.<br> +<br> +</i>ANNET. Now hark you to this, Andrew, and turn it well over +in your mind. [<i>She begins to sing</i>:<br> +<br> +Say can you plough me an acre of land<br> +Sing Ivy leaf, Sweet William and Thyme.<br> +Between the sea and the salt sea strand<br> +And you shall be a true lover of mine?<br> +<br> +[<i>A slight pause</i>. ANNET <i>looks questioningly at </i>ANDREW, +<i>who turns away with a heavy sigh.<br> +<br> +</i>ANNET. [<i>Singing.</i>]<br> +<br> +Yes, if you plough it with one ram’s horn<br> +Sing Ivy Leaf, Sweet William and Thyme<br> +And sow it all over with one peppercorn<br> +And you shall be a true lover of mine.<br> +<br> +ANDREW. ’Tis all foolishness.<br> +<br> +ANNET. [<i>Singing.</i>]<br> +<br> +Say can you reap with a sickle of leather<br> +Sing Ivy Leaf, Sweet William and Thyme<br> +And tie it all up with a Tom-tit’s feather<br> +And you shall be a true lover of mine.<br> +<br> +ANDREW. [<i>Rises up impatiently</i>.] I can stand no more. +You’ve danced upon my heart till ’tis fairly brittle, and +ready to be broke by a feather.<br> +<br> +ANNET. [<i>Very gently</i>.] O Andrew, I’ll mend your +heart one day.<br> +<br> +ANDREW. Millie, the sound of those words has mended it already.<br> +<br> +ANNET. [<i>In a harder voice</i>.] But very likely there’ll +be a crack left to it always.<br> +<br> +[FARMER DANIEL <i>and </i>ELIZABETH <i>come into the room.<br> +<br> +</i>DANIEL. Well my boy, well Millie?<br> +<br> +ANDREW. [<i>Boldly</i>.] ’Tis for a month from now.<br> +<br> +DANIEL. Bless my soul. Hear that, Mother? Hear that?<br> +<br> +ELIZABETH. I’m not deaf, Father.<br> +<br> +DANIEL. [<i>Shaking </i>ANDREW’S <i>hand</i>.] Ah +my boy, I knowed as you’d bring the little maid to the senses +of she.<br> +<br> +ELIZABETH. Millie has not shown any backwardness in clothing herself +as though for church.<br> +<br> +DANIEL. ’Tis with the maids as ’tis with the fowls +when they be come out from moult. They be bound to pick about +this way and that in their new feathers.<br> +<br> +ELIZABETH. Well, ’tis to be hoped the young people have +fixed it up for good and all this time.<br> +<br> +DANIEL. Come Mill, my wench, you be wonderful quiet. Where’s +your tongue?<br> +<br> +ELIZABETH. I think we’ve all had quite enough of Millie’s +tongue, Father. Let her give it a rest if she’ve a mind.<br> +<br> +DANIEL. I warrant she be gone as shy as a May bettel when ’tis +daylight. But us’ll take it as she have fixed it up in her +own mind like. Come, Mother, such a time as this, you won’t +take no objection to the drawing of a jug of cider.<br> +<br> +ELIZABETH. And supper just about to be served? I’m +surprised at you, Father. No, I can’t hear of cider being +drawn so needless like.<br> +<br> +DANIEL. Well, well, - have it your own way - but I always says, +and my father used to say it afore I, a fine deed do call for a fine +drink, and that’s how ’twas in my time.<br> +<br> +ELIZABETH. Millie, do you call your cousins in to supper.<br> +<br> +DANIEL. Ah, and where be the maids gone off to this time of night, +Mother?<br> +<br> +ANDREW. Annet did pass me as I came through the yard, Master<br> +<br> +[MAY, <i>quietly opens the cupboard door and comes out.<br> +<br> +</i>ELIZABETH. So that’s where you’ve been, you deceitful +little wench.<br> +<br> +ANDREW. Well, to think of that, Millie.<br> +<br> +ELIZABETH. And how long may you have bid there, I should like +to know?<br> +<br> +DANIEL. Come, come, my little maid, ’tis early days for +you to be getting a lesson in courtship.<br> +<br> +MAY. O there wasn’t any courtship, Uncle, and I didn’t +hear nothing at all to speak of.<br> +<br> +ELIZABETH. There, run along quick and find your sister. +Supper’s late already, and that it is.<br> +<br> +ANNET. I’ll go with her.<br> +<br> +[<i>She starts forward and hurriedly moves towards the door.<br> +<br> +</i>ELIZABETH. Stop a moment, Millie. What are you thinking +of to go trailing out in the dew with that beautiful cloak and bonnet. +Take and lay them in the box at once, do you hear?<br> +<br> +DANIEL. That’s it, Mill. ’Twouldn’t do +for to mess them up afore the day. ’Twas a fair price as +I gived for they, and that I can tell you, my girl.<br> +<br> +[ANNET <i>stops irresolutely</i>. MAY <i>seizes her hand.<br> +<br> +</i>MAY. Come off, come off, “Cousin Millie”; ’tis +not damp outside, and O I’m afeared to cross the rickyard by myself.<br> +<br> +[<i>She pulls </i>ANNET <i>violently by the hand and draws her out of +the door.<br> +<br> +</i>ELIZABETH. Off with the cloak this minute, Millie.<br> +<br> +MAY. [<i>Calling back</i>.] She’s a-taking of it off, +Aunt, she is.<br> +<br> +ELIZABETH. I don’t know what’s come to the maid. +She don’t act like herself to-day.<br> +<br> +DANIEL. Ah, that be asking too much of a maid, to act like herself, +and the wedding day close ahead of she.<br> +<br> +ELIZABETH. I’d be content with a suitable behaviour, Father. +I’m not hard to please.<br> +<br> +DANIEL. Ah, you take and let her go quiet, same as I lets th’ +old mare when her first comes up from grass.<br> +<br> +ELIZABETH. ’Tis all very well for you to talk, Father but +’tis I who have got to do.<br> +<br> +DANIEL. Come Mother, come Andrew, I be sharp set. And ’tis +the feel of victuals and no words as I wants in my mouth.<br> +<br> +ELIZABETH. Well, Father, I’m not detaining you. There’s +the door, and the food has been cooling on the table this great while.<br> +<br> +DANIEL. Come you, Andrew, come you, Mother. Us’ll +make a bit of a marriage feast this night.<br> +<br> +[<i>He leads the way and the others follow him out.<br> +<br> +</i>[<i>Curtain.</i>]<br> +<br> +<br> +<br> +ACT II. - Scene 1.<br> +<br> +<br> +<br> +<i>A woodland path</i>. GILES <i>comes forward with his two servants</i>,<i> +</i>GEORGE <i>and </i>JOHN, <i>who are carrying heavy packets.<br> +<br> +</i>GILES. ’Tis powerful warm to-day. We will take +a bit of rest before we go further.<br> +<br> +GEORGE. [<i>Setting down his packet</i>.] That’s it, +master. ’Tis a rare weight as I’ve been carrying across +my back since dawn.<br> +<br> +JOHN. [<i>Also setting down his burden</i>.] Ah, I be pleased +for to lay aside yon. ’Tis wonderful heavy work, this journeying +to and fro with gold and silver.<br> +<br> +GILES. Our travelling is very nigh finished. There lies +the road which goes to Camel Farm.<br> +<br> +GEORGE. Oh, I count as that must be a rare sort of a place, master.<br> +<br> +JOHN. Seeing as us haven’t stopped scarce an hour since +us landed off the sea.<br> +<br> +GEORGE. But have come running all the while same as the fox may +run in th’ early morning towards the poultry yard.<br> +<br> +JOHN. Nor broke bread, nor scarce got a drop of drink to wet th’ +insides of we.<br> +<br> +GILES. ’Tis very little further that you have got to journey, +my good lads. We are nigh to the end of our wayfaring.<br> +<br> +GEORGE. And what sort of a place be we a-coming to, master?<br> +<br> +GILES. ’Tis the place out of all the world to me.<br> +<br> +JOHN. I count ’tis sommat rare and fine in that case, seeing +as we be come from brave foreign parts, master.<br> +<br> +GILES. ’Tis rarer, and finer than all the foreign lands +that lie beneath the sun, my lads.<br> +<br> +GEORGE. That’s good hearing, master. And is the victuals +like to be as fine as the place?<br> +<br> +GILES. O, you’ll fare well enough yonder.<br> +<br> +JOHN. I was never one for foreign victuals, nor for the drink +that was over there neither.<br> +<br> +GILES. Well, the both of you shall rest this night beneath the +grandest roof that ever sheltered a man’s head. And you +shall sit at a table spread as you’ve not seen this many a year.<br> +<br> +GEORGE. That’ll be sommat to think on, master, when us gets +upon our legs again.<br> +<br> +JOHN. I be thinking of it ahead as I lies here, and that’s +the truth.<br> +<br> +[<i>The two servants stretch themselves comfortably beneath the trees</i>. +<i>GILES</i> <i>walks restlessly backwards and forwards as though impatient +at any delay</i>. <i>From time to time he glances at a ring which +he wears</i>,<i> sighing heavily as he does so.<br> +<br> +</i>[<i>An old man comes up</i>,<i> leaning on his staff.<br> +<br> +</i>OLD MAN. Good-morning to you, my fine gentlemen.<br> +<br> +GILES. Good-morning, master.<br> +<br> +OLD MAN. ’Tis a wonderful warm sun to-day.<br> +<br> +GILES. You’re right there, master.<br> +<br> +OLD MAN. I warrant as you be journeying towards the same place +where I be going, my lord.<br> +<br> +GILES. And where is that, old master?<br> +<br> +OLD MAN. Towards Camel Farm.<br> +<br> +GILES. You’re right. ’Tis there and nowhere +else that we are going.<br> +<br> +OLD MAN. Ah, us’ll have to go smartish if us is to be there +in time.<br> +<br> +GILES. In time for what, my good man?<br> +<br> +OLD MAN. In time for to see the marrying, my lord.<br> +<br> +GILES. The marrying? What’s that you’re telling +me?<br> +<br> +OLD MAN. ’Tis at noon this day that she’s to be wed.<br> +<br> +GILES. Who are you speaking of, old man?<br> +<br> +OLD MAN. And where is your lordship journeying this day if ’tis +not to the marrying?<br> +<br> +GILES. Who’s getting wed up yonder, tell me quickly?<br> +<br> +OLD MAN. ’Tis th’ old farmer’s daughter what’s +to wed come noon-tide.<br> +<br> +GILES. [<i>Starting</i>.] Millie! O that is heavy +news. [<i>Looking at his hand</i>.] Then ’tis as I +feared, for since daybreak yesterday the brightness has all gone from +out of the seven stones. That’s how ’twould be, she +told me once.<br> +<br> +[<i>He turns away from the others in deep distress of mind.<br> +<br> +</i>GEORGE. Us’ll see no Camel Farm this day.<br> +<br> +JOHN. And th’ inside of I be crying out for victuals.<br> +<br> +OLD MAN. Then you be not of these parts, masters?<br> +<br> +GEORGE. No, us be comed from right over the seas, along of master.<br> +<br> +JOHN. Ah, ’tis a fine gentleman, master. But powerful +misfortunate in things of the heart.<br> +<br> +GEORGE. Ah, he’d best have stopped where he was. Camel +Farm baint no place for the like of he to go courting at.<br> +<br> +JOHN. Ah, master be used to them great palaces, all over gold +and marble with windows as you might drive a waggon through, and that +you might.<br> +<br> +GEORGE. All painted glass. And each chair with golden legs +to him, and a sight of silver vessels on the table as never you did +dream of after a night’s drinking, old man. [GILES <i>comes +slowly towards them.<br> +<br> +</i>GILES. And who is she to wed, old man?<br> +<br> +OLD MAN. Be you a-speaking of the young mistress up at Camel Farm, +my lord?<br> +<br> +GILES. Yes. With whom does she go to church to-day?<br> +<br> +OLD MAN. ’Tis along of Master Andrew that her do go. +What lives up Cranham way.<br> +<br> +GILES. Ah, th’ old farmer was always wonderful set on him. +[<i>A pause.<br> +<br> +</i>OLD MAN. I be a poor old wretch what journeys upon the roads, +master, and maybe I picks a crust here and gets a drink of water there, +and the shelter of the pig-stye wall to rest the bones of me at night +time.<br> +<br> +GILES. What matters it if you be old and poor, master, so that +the heart of you be whole and unbroken?<br> +<br> +OLD MAN. Us poor old wretches don’t carry no hearts to th’ +insides of we. The pains of us do come from the having of no victuals +and from the winter’s cold when snow do lie on the ground and +the wind do moan over the fields, and when the fox do bark.<br> +<br> +GILES. What is the pang of hunger and the cold bite of winter +set against the cruel torment of a disappointed love?<br> +<br> +OLD MAN. I baint one as can judge of that, my lord, seeing that +I be got a poor old badger of a man, and the days when I was young and +did carry a heart what could beat with love, be ahind of I, and the +feel of them clean forgot.<br> +<br> +GILES. Then what do you up yonder at the marrying this morning?<br> +<br> +OLD MAN. Oh, I do take me to those places where there be burying +or marriage, for the hearts of folk at these seasons be warmed and kinder, +like. And ’tis bread and meat as I gets then. Food +be thrown out to the poor old dog what waits patient at the door.<br> +<br> +GILES. [<i>Looks intently at him for a moment</i>.] See +here, old master. I would fain strike a bargain with you. +And ’tis with a handful of golden pieces that I will pay your +service.<br> +<br> +OLD MAN. Anything to oblige you, my young lord.<br> +<br> +GILES. [<i>To </i>GEORGE.] Take out a handful from the bag +of gold. And you, John, give him some of the silver.<br> +<br> +[GEORGE <i>and </i>JOHN <i>untie their bags and take out gold and silver</i>. +<i>They twist it up in a handkerchief which they give to the old man.</i>]<br> +<br> +OLD MAN. May all the blessings of heaven rest on you, my lord, +for ’tis plain to see that you be one of the greatest and finest +gentlemen ever born to the land.<br> +<br> +GILES. My good friend, you’re wrong there, I was a poor +country lad, but I had the greatest treasure that a man could hold on +this earth. ’Twas the love of my cousin Millie. And +being poor, I was put from out the home, and sent to seek my fortune +in parts beyond the sea.<br> +<br> +OLD MAN. Now, who’d have thought ’twas so, for the +looks of you be gentle born all over.<br> +<br> +GILES. “Come back with a bushel of gold in one hand and +one of silver in t’other” the old farmer said to me, “and +then maybe I’ll let you wed my daughter.”<br> +<br> +OLD MAN. And here you be comed back, and there lie the gold and +the silver bags.<br> +<br> +GILES. And yonder is Millie given in marriage to another.<br> +<br> +GEORGE. ’Taint done yet, master.<br> +<br> +JOHN. ’Tisn’t too late, by a long way, master.<br> +<br> +GILES. [<i>To </i>OLD MAN.] And so I would crave something +of you, old friend. Lend me your smock, and your big hat and your +staff. In that disguise I will go to the farm and look upon my +poor false love once more. If I find that her heart is already +given to another, I shall not make myself known to her. But if +she still holds to her love for me, then -<br> +<br> +GEORGE. Go in the fine clothes what you have upon you, master. +And even should the maid’s heart, be given to another, the sight +of so grand a cloth and such laces will soon turn it the right way again.<br> +<br> +JOHN. Ah, that’s so, it is. You go as you be clothed +now, master. I know what maids be, and ’tis finery and good +coats which do work more on the hearts of they nor anything else in +the wide world.<br> +<br> +GILES. No, no, my lads. I will return as I did go from yonder. +Poor, and in mean clothing. Nor shall a glint of all my wealth +speak one word for me. But if so be as her heart is true in spite +of everything, my sorrowful garments will not hide my love away from +her.<br> +<br> +OLD MAN. [<i>Taking off his hat</i>.] Here you are master.<br> +<br> +[GILES <i>hands his own hat to </i>GEORGE. <i>He then takes off +his coat and gives it to </i>JOHN. <i>The </i>OLD MAN <i>takes +off his smock</i>,<i> GILES puts it on.<br> +<br> +</i>OLD MAN. Pull the hat well down about the face of you, master, +so as the smooth skin of you be hid.<br> +<br> +GILES. [<i>Turning round in his disguise</i>.] How’s +that, my friends?<br> +<br> +GEORGE. You be a sight too straight in the back, master.<br> +<br> +GILES. [<i>Stooping</i>.] I’ll soon better that.<br> +<br> +JOHN. Be you a-going in them fine buckled shoes, master?<br> +<br> +GILES. I had forgot the shoes. When I get near to the house +’tis barefoot that I will go.<br> +<br> +GEORGE. Then let us be off, master, for the’ time be running +short.<br> +<br> +JOHN. Ah, that ’tis. I count it be close on noon-day +now by the look of the sun.<br> +<br> +OLD MAN. And heaven be with you, my young gentleman.<br> +<br> +GILES. My good friends, you shall go with me a little further. +And when we have come close upon the farm, you shall stop in the shelter +of a wood that I know of and await the signal I shall give you.<br> +<br> +GEORGE. And what’ll that be, master?<br> +<br> +GILES. I shall blow three times, and loudly from my whistle, here.<br> +<br> +JOHN. And be we to come up to the farm when we hears you?<br> +<br> +GILES. As quickly as you can run. ’Twill be the sign +that I need all of you with me.<br> +<br> +GEORGE <i>and </i>JOHN. That’s it, master. Us do understand +what ’tis as we have got to do.<br> +<br> +OLD MAR. Ah, ’tis best to be finished with hearts that beat +to the tune of a maid’s tongue, and to creep quiet along the roads +with naught but them pains as hunger and thirst do bring to th’ +inside. So ’tis.<br> +<br> +[<i>Curtain.</i>]<br> +<br> +<br> +<br> +ACT III. - Scene 1.<br> +<br> +<br> +<br> +<i>The parlour at Camel Farm</i>. ELIZABETH, <i>in her best dress</i>,<i> +is moving about the room putting chairs in their places and arranging +ornaments on the dresser</i>,<i> etc</i>. MAY <i>stands at the +door with a large bunch of flowers in her hands.<br> +<br> +</i>ELIZABETH. And what do you want to run about in the garden +for when I’ve just smoothed your hair and got you all ready to +go to church?<br> +<br> +MAY. I’ve only been helping Annet gather some flowers to +put upon the table.<br> +<br> +ELIZABETH. You should know better then. Didn’t I tell +you to sit still in that chair with your hands folded nicely till we +were ready to start.<br> +<br> +MAY. Why, I couldn’t be sitting there all the while, now +could I, Aunt?<br> +<br> +ELIZABETH. This’ll be the last time as I tie your ribbon, +mind.<br> +<br> +[<i>She smoothes </i>MAY’s <i>hair and ties it up for her</i>. +ANNET <i>comes into the room with more flowers.<br> +<br> +</i>ELIZABETH. What’s your cousin doing now, Annet?<br> +<br> +ANNET. The door of her room is still locked, Aunt. And what +she says is that she do want to bide alone there<br> +<br> +ELIZABETH. In all my days I never did hear tell of such a thing, +I don’t know what’s coming to the world, I don’t.<br> +<br> +MAY. I count that Millie do like to be all to herself whilst she +is a-dressing up grand in her white gown, and the silken cloak and bonnet.<br> +<br> +ANNET. Millie’s not a-dressing of herself up. I heard +her crying pitiful as I was gathering flowers in the garden.<br> +<br> +ELIZABETH. Crying? She’ll have something to cry about +if she doesn’t look out, when her father comes in, and hears how +she’s a-going on.<br> +<br> +MAY. I wonder why Cousin Millie’s taking on like this. +I shouldn’t, if ’twas me getting married.<br> +<br> +ELIZABETH. Look you, May, you get and run up, and knock at the +door and tell her that ’twill soon be time for us to set off to +church and that she have got to make haste in her dressing.<br> +<br> +MAY. I’ll run, Aunt, only ’tis very likely as she’ll +not listen to anything that I say. [MAY <i>goes out.<br> +<br> +</i>ELIZABETH. Now Annet, no idling here, if you please. +Set the nosegay in water, and when you’ve given a look round to +see that everything is in its place, upstairs with you, and on with +your bonnet, do you hear? Uncle won’t wish to be kept waiting +for you, remember.<br> +<br> +ANNET. I’m all ready dressed, except for my bonnet, Aunt. +’Tis Millie that’s like to keep Uncle waiting this morning. +[<i>She goes out.<br> +<br> +</i>[DANIEL <i>comes in.<br> +<br> +</i>DANIEL. Well, Mother - well, girls - but, bless my soul, where’s +Millie got to?<br> +<br> +ELIZABETH. Millie has not seen fit to shew herself this morning, +Father. She’s biding up in her room with the door locked, +and nothing that I’ve been able to say has been attended to, so +perhaps you’ll kindly have your try.<br> +<br> +DANIEL. Bless my soul - where’s May? Where’s +Annet? Send one of the little maids up to her, and tell her ’tis +very nigh time for us to be off.<br> +<br> +ELIZABETH. I’m fairly tired of sending up to her, Father. +You’d best go yourself.<br> +<br> +[MAY <i>comes into the room.<br> +<br> +</i>MAY. Please Aunt, the door, ’tis still locked, and Millie +is crying ever so sadly within, and she won’t open to me, nor +speak, nor nothing.<br> +<br> +ELIZABETH. There, Father, - perhaps you’ll believe what +I tell you another time. Millie has got that hardened and wayward, +there’s no managing of her, there’s not.<br> +<br> +DANIEL. Ah, ’twon’t be very long as us’ll have +the managing of she. ’Twill be young Andrew as’ll +take she in hand after this day.<br> +<br> +ELIZABETH. ’Tis all very well to talk of young Andrew, but +who’s a-going to get her to church with him I’d like to +know.<br> +<br> +DANIEL. Why, ’tis me as’ll do it, to be sure.<br> +<br> +ELIZABETH. Very well, Father, and we shall all be much obliged +to you.<br> +<br> +[DANIEL <i>goes to the door and shouts up the stairs</i>.<br> +<br> +DANIEL. Well, Millie, my wench. Come you down here. +’Tis time we did set out. Do you hear me, Mill. ’Tis +time we was off.<br> +<br> +[ELIZABETH <i>waits listening</i>. <i>No answer comes</i>.<br> +<br> +DANIEL. Don’t you hear what I be saying, Mill? Come +you down at once. [<i>There is no answer</i>.<br> +<br> +DANIEL. Millie, there be Andrew a-waiting for to take you to church. +Come you down this minute.<br> +<br> +ELIZABETH. You’d best take sommat and go and break open +the door, Father. ’Tis the sensiblest thing as you can do, +only you’d never think of anything like that by yourself.<br> +<br> +DANIEL. I likes doing things my own way, Mother. Women-folk, +they be so buzzing. ’Tis like a lot of insects around of +anyone on a summer’s day. A-saying this way and that - whilst +a man do go at anything quiet and calm-like. [ANNET <i>comes in.<br> +<br> +</i>ANNET. Please, Uncle, Millie says that she isn’t coming +down for no one.<br> +<br> +DANIEL. [<i>Roaring in fury</i>.] What! What’s +that, my wench - isn’t a-coming down for no one? Hear that, +Mother, hear that? I’ll have sommat to say to that, I will. +[<i>Going to the door.<br> +<br> +</i>DANIEL. [<i>Roaring up the stairs</i>.] Hark you, Mill, +down you comes this moment else I’ll smash the door right in, +and that I will.<br> +<br> +[DANIEL <i>comes back into the room</i>,<i> storming violently.<br> +<br> +</i>DANIEL. Ah, ’tis a badly bred up wench is Millie, and +her’d have growed up very different if I’d a-had the bringing +up of she. But spoiled she is and spoiled her’ve always +been, and what could anyone look for from a filly what’s been +broke in by women folk!<br> +<br> +ELIZABETH. There, there, Father - there’s no need to bluster +in this fashion. Take up the poker and go and break into the door +quiet and decent, like anyone else would do. And girls - off for +your bonnets this moment I tell you.<br> +<br> +[<i>She takes up a poker and hands it to </i>DANIEL, <i>who mops his +face and goes slowly out and upstairs</i>. ANNET <i>and </i>MAY +<i>leave the room</i>. <i>The farmer is heard banging at the door +of Millie</i>’<i>s bedroom.<br> +<br> +</i>[ELIZABETH <i>moves about the room setting it in order</i>. +ANDREW <i>comes in at the door</i>. <i>He carries a bunch of flowers</i>,<i> +which he lays on the table.<br> +<br> +</i>ANDREW. Good-morning to you, mistress.<br> +<br> +ELIZABETH. Good-morning, Andrew.<br> +<br> +ANDREW. What’s going on upstairs?<br> +<br> +ELIZABETH. ’Tis Father at a little bit of carpentering.<br> +<br> +ANDREW. I’m come too soon, I reckon.<br> +<br> +ELIZABETH. We know what young men be upon their wedding morn! +I warrant as the clock can’t run too fast for them at such a time.<br> +<br> +ANDREW. You’re right there, mistress. But the clock +have moved powerful slow all these last few weeks - for look you here, +’tis a month this day since I last set eyes on Mill or had a word +from her lips - so ’tis.<br> +<br> +ELIZABETH. You’ll have enough words presently. Hark, +she’s coming down with Father now.<br> +<br> +[ANDREW <i>turns eagerly towards the door</i>. <i>The farmer enters +with </i>MILLIE <i>clinging to his arm</i>,<i> she wears her ordinary +dress</i>. <i>Her hair is ruffled and in disorder</i>,<i> and +she has been crying.<br> +<br> +</i>DANIEL. Andrew, my lad, good morning to you.<br> +<br> +ANDREW. Good morning, master.<br> +<br> +DANIEL. You mustn’t mind a bit of an April shower, my boy. +’Tis the way with all maids on their wedding morn. Isn’t +that so, Mother?<br> +<br> +ELIZABETH. I wouldn’t make such a show of myself if I was +you, Mill. Go upstairs this minute and wash your face and smooth +your hair and put yourself ready for church.<br> +<br> +DANIEL. Nay, she be but just come from upstairs, Mother. +Let her bide quiet a while with young Andrew here; whilst do you come +along with me and get me out my Sunday coat. ’Tis time I +was dressed for church too, I’m thinking.<br> +<br> +ELIZABETH. I don’t know what’s come to the house this +morning, and that’s the truth. Andrew, I’ll not have +you keep Millie beyond a five minutes. ’Tis enough of one +another as you’ll get later on, like. Father, go you off +upstairs for your coat. ’Tis hard work for me, getting you +all to act respectable, that ’tis.<br> +<br> +[DANIEL <i>and </i>ELIZABETH <i>leave the room</i>. ANDREW <i>moves +near </i>MILLIE <i>and holds out both his hands</i>. <i>She draws +herself haughtily away.<br> +<br> +</i>ANDREW. Millie - ’tis our wedding day.<br> +<br> +MILLIE. And what if it is, Andrew.<br> +<br> +ANDREW. Millie, it cuts me to the heart to see your face all wet +with tears.<br> +<br> +MILLIE. Did you think to see it otherwise, Andrew?<br> +<br> +ANDREW. No smile upon your lips, Millie.<br> +<br> +MILLIE. Have I anything to smile about, Andrew?<br> +<br> +ANDREW. No love coming from your eyes, Mill.<br> +<br> +MILLIE. That you have never seen, Andrew.<br> +<br> +ANDREW. And all changed in the voice of you too.<br> +<br> +MILLIE. What do you mean by that, Andrew?<br> +<br> +ANDREW. Listen, Millie - ’tis a month since I last spoke +with you. Do you recollect? ’Twas the evening of the +great Fair.<br> +<br> +MILLIE And what if it was?<br> +<br> +ANDREW. Millie, you were kinder to me that night than ever you +had been before. I seemed to see such a gentle look in your eyes +then. And when you spoke, ’twas as though - as though - +well - ’twas one of they quists a-cooing up in the trees as I +was put in mind of.<br> +<br> +MILLIE. Well, there’s nothing more to be said about that +now, Andrew. That night’s over and done with.<br> +<br> +ANDREW. I’ve carried the thought of it in my heart all this +time, Millie.<br> +<br> +MILLIE. I never asked you to, Andrew.<br> +<br> +ANDREW. I’ve brought you a nosegay of flowers, Mill. +They be rare blossoms with grand names what I can’t recollect +to all of them.<br> +<br> +[MILLIE <i>takes the nosegay</i>,<i> looks at it for an instant</i>,<i> +and then lets it fall.<br> +<br> +</i>MILLIE. I have no liking for flowers this day, Andrew.<br> +<br> +ANDREW. O Millie, and is it so as you and me are going to our +marriage?<br> +<br> +MILLIE. Yes, Andrew. ’Tis so. I never said it +could be different. I have no heart to give you. My love +was given long ago to another. And that other has forgotten me +by now.<br> +<br> +ANDREW. O Millie, you shall forget him too when once you are wed +to me, I promise you.<br> +<br> +MILLIE. ’Tis beyond the power of you or any man to make +me do that, Andrew.<br> +<br> +ANDREW. Millie, what’s the good of we two going on to church +one with t’other?<br> +<br> +MILLIE. There’s no good at all, Andrew.<br> +<br> +ANDREW. Millie, I could have sworn that you had begun to care +sommat more than ordinary for me that last time we were together.<br> +<br> +MILLIE. Then you could have sworn wrong. I care nothing +for you, Andrew, no, nothing. But I gave my word I’d go +to church with you and be wed. And - I’ll not break my word, +I’ll not.<br> +<br> +ANDREW. And is this all that you can say to me to-day, Mill?<br> +<br> +MILLIE. Yes, Andrew, ’tis all. And now, ’tis +very late, and I have got to dress myself.<br> +<br> +ELIZABETH. [<i>Calling loudly from above</i>.] Millie, what +are you stopping for? Come you up here and get your gown on, do.<br> +<br> +[MILLIE <i>looks haughtily at </i>ANDREW <i>as she passes him</i>. +<i>She goes slowly out of the room.<br> +<br> +</i>[ANDREW <i>picks up the flowers and stands holding them</i>,<i> +looking disconsolately down upon them</i>. MAY <i>comes in</i>,<i> +furtively.<br> +<br> +</i>MAY. All alone, Andrew? Has Millie gone to put her fine +gown on?<br> +<br> +ANDREW. Yes, Millie’s gone to dress herself.<br> +<br> +MAY. O that’s a beautiful nosegay, Andrew. Was it +brought for Mill?<br> +<br> +ANDREW. Yes, May, but she won’t have it.<br> +<br> +MAY. Millie don’t like you very much, Andrew, do she?<br> +<br> +ANDREW. Millie’s got quite changed towards me since last +time.<br> +<br> +MAY. And when was that, Andrew?<br> +<br> +ANDREW. Why, last time was the evening of the Fair, May.<br> +<br> +MAY. When I was hid in the cupboard yonder, Andrew?<br> +<br> +ANDREW. So you were, May. Well, can’t you recollect +how ’twas that she spoke to me then?<br> +<br> +MAY. O yes, Andrew, and that I can. ’Twas a quist +a-cooing in the tree one time - and then - she did recollect herself +and did sharpen up her tongue and ’twas another sort of bird what +could drive its beak into the flesh of anyone - so ’twas.<br> +<br> +ANDREW. O May - you say she did recollect herself - what do you +mean by those words?<br> +<br> +MAY. You see, she did give her word that she would speak sharp +and rough to you.<br> +<br> +ANDREW. What are you talking about, May? Do you mean that +the tongue of her was not speaking as the heart of her did feel?<br> +<br> +MAY. I guess ’twas sommat like that, Andrew.<br> +<br> +ANDREW. O May, you have gladdened me powerful by these words.<br> +<br> +MAY. But, O you must not tell of me, Andrew.<br> +<br> +ANDREW. I will never do so, May - only I shall know better how +to be patient, and to keep the spirit of me up next time that she do +strike out against me.<br> +<br> +MAY. I’m not a-talking of Mill, Andrew.<br> +<br> +ANDREW. Who are you talking of then, I’d like to know?<br> +<br> +MAY. ’Twas Annet.<br> +<br> +ANDREW. What was?<br> +<br> +MAY. Annet who was dressed up in the cloak and bonnet of Millie +that night and who did speak with you so gentle and nice.<br> +<br> +ANDREW. Annet!<br> +<br> +ELIZABETH. [<i>Is heard calling</i>.] There, father, come +along down and give your face a wash at the pump.<br> +<br> +MAY. Let’s go quick together into the garden, Andrew, and +I’ll tell you all about it and how ’twas that Annet acted +so.<br> +<br> +[<i>She seizes </i>ANDREW’S <i>hand and pulls him out of the room +with her.<br> +<br> +</i>[<i>Curtain.</i>]<br> +<br> +<br> +<br> +ACT III. - Scene 2.<br> +<br> +<br> +<br> +<i>A few minutes later.<br> +<br> +</i>ELIZABETH <i>stands tying her bonnet strings before a small mirror +on the wall</i>. DANIEL <i>is mopping his face with a big</i>,<i> +bright handkerchief</i>. ANNET, <i>dressed for church</i>,<i> +is by the table</i>. <i>She sadly takes up the nosegay of flowers +which </i>ANDREW <i>brought for </i>MILLIE, <i>and moves her hand caressingly +over it.<br> +<br> +</i>ELIZABETH. If you think that your neckerchief is put on right +’tis time you should know different, Father.<br> +<br> +DANIEL. What’s wrong with it then, I’d like to know?<br> +<br> +ELIZABETH. ’Tis altogether wrong. ’Tis like +the two ears of a heifer sticking out more than anything else that I +can think on.<br> +<br> +DANIEL. Have it your own way, Mother - and fix it as you like.<br> +<br> +[<i>He stands before her and she rearranges it.<br> +<br> +</i>ANNET. These flowers were lying on the ground.<br> +<br> +ELIZABETH. Thrown there in a fine fit of temper, I warrant.<br> +<br> +DANIEL. Her was as quiet as a new born lamb once the door was +broke open and she did see as my word, well, ’twas my word.<br> +<br> +ELIZABETH. We all hear a great deal about your word, Father, but +’twould be better for there to be more do and less say about you.<br> +<br> +DANIEL. [<i>Going over to Annet and looking at her intently</i>.] +Why, my wench - what be you a-dropping tears for this day?<br> +<br> +ANNET. [<i>Drying her eyes</i>.] ’Twas - ’twas +the scent out of one of the flowers as got to my eyes, Uncle.<br> +<br> +DANIEL. Well, that’s a likely tale it is. Hear that, +Mother? ’Tis with her eyes that this little wench do snuff +at a flower. That’s good, bain’t it?<br> +<br> +ELIZABETH. I haven’t patience with the wenches now-a-days. +Lay down that nosegay at once, Annet, and call your cousin from her +room. I warrant she has finished tricking of herself up by now.<br> +<br> +DANIEL. Ah, I warrant as her’ll need a smartish bit of time +for to take the creases out of the face of she.<br> +<br> +[ANDREW <i>and </i>MAY <i>come in.</i>]<br> +<br> +DANIEL. Well, Andrew, my lad, ’tis about time as we was +on the way to church I reckon.<br> +<br> +ANDREW. I count as ’tis full early yet, master.<br> +<br> +[<i>He takes up the nosegay from the table and crosses the room to the +window where </i>ANNET <i>is standing</i>,<i> and trying to control +her tears.<br> +<br> +</i>ANDREW. Annet, Millie will have none of my blossoms. +I should like it well if you would carry them in your hand to church +this day.<br> +<br> +ANNET. [<i>Looking wonderingly at him</i>.] Me, Andrew?<br> +<br> +ANDREW. Yes, you, Annet. For, look you, they become you +well. They have sommat of the sweetness of you in them. +And the touch of them is soft and gentle. And - I would like you +to keep them in your hands this day, Annet.<br> +<br> +ANNET. O Andrew, I never was given anything like this before.<br> +<br> +ANDREW. [<i>Slowly</i>.] I should like to give you a great +deal more, Annet - only I cannot. And ’tis got too late.<br> +<br> +ELIZABETH. Too late - I should think it was. What’s +come to the maid! In my time girls didn’t use to spend a +quarter of the while afore the glass as they do now. Suppose you +was to holler for her again, Father.<br> +<br> +DANIEL. Anything to please you, Mother -<br> +<br> +MAY. I hear her coming, Uncle. I hear the noise of the silk.<br> +<br> +[MILLIE <i>comes slowly into the room in her wedding clothes</i>. +<i>She holds herself very upright and looks from one to another quietly +and coldly.<br> +<br> +</i>MAY. Andrew’s gived your nosegay to Annet, Millie.<br> +<br> +MILLIE. ’Twould have been a pity to have wasted the fresh +blossoms.<br> +<br> +MAY. But they were gathered for you, Mill.<br> +<br> +MILLIE. Annet seems to like them better than I did.<br> +<br> +DANIEL. Well, my wench - you be tricked out as though you was +off to the horse show. Mother, there bain’t no one as can +beat our wench in looks anywhere this side of the country.<br> +<br> +ELIZABETH. She’s right enough in the clothing of her, but +’twould be better if her looks did match the garments more. +Come, Millie, can’t you appear pleasanter like on your wedding +day?<br> +<br> +MILLIE. I’m very thirsty, Mother. Could I have a drink +of water before we set out?<br> +<br> +ELIZABETH. And what next, I should like to know?<br> +<br> +MILLIE. ’Tis only a drink of water that I’m asking +for.<br> +<br> +DANIEL. Well, that’s reasonable, Mother, bain’t it?<br> +<br> +ELIZABETH. Run along and get some for your cousin, May. +[MAY <i>runs out of the room.<br> +<br> +</i>DANIEL. Come you here, Andrew, did you ever see a wench to +beat ourn in looks, I say?<br> +<br> +ANDREW. [<i>Who has remained near </i>ANNET <i>without moving</i>.] +’Tis very fine that Millie’s looking.<br> +<br> +DANIEL. Fine, I should think ’twas. You was a fine +looking wench, Mother, the day I took you to church, but ’tis +my belief that Millie have beat you in the appearance of her same as +the roan heifer did beat th’ old cow when the both was took along +to market. Ah, and did fetch very near the double of what I gived +for the dam.<br> +<br> +[MAY <i>returns carrying a glass bowl full of water.<br> +<br> +</i>MAY. Here’s a drink of cold water, Millie. I took +it from the spring.<br> +<br> +[MILLIE <i>takes the bowl</i>. <i>At the same moment a loud knocking +is heard at the outside door.<br> +<br> +</i>ELIZABETH. Who’s that, I should like to know?<br> +<br> +[MILLIE <i>sets down the bowl on the table</i>. <i>She listens +with a sudden intent</i>,<i> anxiety on her face as the knock is repeated.<br> +<br> +</i>DANIEL. I’ll learn anyone to come meddling with me on +a day when ’tis marrying going on.<br> +<br> +[<i>The knocking is again heard.<br> +<br> +</i>MILLIE. [<i>To </i>MAY, <i>who would have opened the door</i>.] +No, no. ’Tis I who will open the door.<br> +<br> +[<i>She raises the latch and flings the door wide open</i>. GILES +<i>disguised as a poor and bent old man</i>,<i> comes painfully into +the room.<br> +<br> +</i>ELIZABETH. We don’t want no beggars nor roadsters here +to-day, if you please.<br> +<br> +DANIEL. Ah, and that us don’t. Us be a wedding party +here, and ’tis for you to get moving on, old man.<br> +<br> +MILLIE. He is poor and old. And he has wandered far, in +the heat of the morning. Look at his sad clothing.<br> +<br> +ANDREW. [<i>To </i>ANNET.] I never heard her put so much +gentleness to her words afore.<br> +<br> +MILLIE. And ’tis my wedding day. He shall not go uncomforted +from here.<br> +<br> +ELIZABETH. I never knowed you so careful of a poor wretch afore, +Millie. ’Tis quite a new set out, this.<br> +<br> +MILLIE. I am in mind of another, who may be wandering, and hungered, +and in poor clothing this day.<br> +<br> +MAY. Give him something quick, Aunt, and let him get off so that +we can start for the wedding.<br> +<br> +MILLIE. [<i>Coming close to </i>GILES.] What is it I can +do for you, master?<br> +<br> +GILES. ’Tis only a drink of water that I ask, mistress.<br> +<br> +MILLIE. [<i>Taking up the glass bowl</i>.] Only a drink +of water, master? Then take, and be comforted.<br> +<br> +[<i>She holds the bowl before him for him to drink</i>. <i>As +he takes it</i>,<i> he drops a ring into the water</i>. <i>He +then drinks and hands the bowl back to </i>MILLIE<i>. For a moment +she gazes speechless at the bottom of the bowl</i>. <i>Then she +lifts the ring from it and would drop the bowl but for </i>MAY, <i>who +takes it from her.<br> +<br> +</i>MILLIE. Master, from whom did you get this?<br> +<br> +GILES. Look well at the stones of it, mistress, for they are clouded +and dim.<br> +<br> +MILLIE. And not more clouded than the heart which is in me, master. +O do you bring me news?<br> +<br> +GILES. Is it not all too late for news, mistress?<br> +<br> +MILLIE. Not if it be the news for which my heart craves, master.<br> +<br> +GILES. And what would that be, mistress?<br> +<br> +[MILLIE <i>goes to </i>GILES, <i>and with both hands slowly pushes back +his big hat and gazes at him.<br> +<br> +</i>MILLIE. O Giles, my true love. You are come just in +time. Another hour and I should have been wed.<br> +<br> +GILES. And so you knew me, Mill?<br> +<br> +MILLIE. O Giles, no change of any sort could hide you from the +eyes of my love.<br> +<br> +GILES. Your love, Millie. And is that still mine?<br> +<br> +MILLIE. It always has been yours, Giles. O I will go with +you so gladly in poor clothing and in hunger all over the face of the +earth.<br> +<br> +[<i>She goes to him and clasps his arm</i>;<i> and</i>,<i> standing +by his side</i>,<i> faces all those in the room.<br> +<br> +</i>ELIZABETH. [<i>Angrily</i>.] Please to come to your +right senses, Millie.<br> +<br> +DANIEL. Come, Andrew, set your foot down as I’ve set mine.<br> +<br> +ANDREW. Nay, master. There’s naught left for me to +say. The heart does shew us better nor all words which way we +have to travel.<br> +<br> +MAY. And are you going to marry a beggar man instead of Andrew, +who looks so brave and fine in his wedding clothes, Millie?<br> +<br> +MILLIE. I am going to marry him I have always loved, May - and +- O Andrew, I never bore you malice, though I did say cruel and hard +words to you sometimes. - But you’ll not remember me always - +you will find gladness too, some day.<br> +<br> +ANDREW. I count as I shall, Millie.<br> +<br> +DANIEL. Come, come, I’ll have none of this - my daughter +wed to a beggar off the highway! Mother, ’tis time you had +a word here.<br> +<br> +ELIZABETH. No, Father, I’ll leave you to manage this affair. +’Tis you who have spoiled Mill and brought her up so wayward and +unruly, and ’tis to you I look for to get us out of this unpleasant +position.<br> +<br> +MAY. Dear Millie - don’t wed my brother Giles. Why, +look at his ragged smock and his bare feet.<br> +<br> +MILLIE. I shall be proud to go bare too, so long as I am by his +side, May.<br> +<br> +[GILES <i>goes to the door and blows his whistle three times and loudly.<br> +<br> +</i>MAY. What’s that for, Giles?<br> +<br> +GILES. You shall soon see, little May.<br> +<br> +DANIEL. I’ll be hanged if I’ll stand any more of this +caddling nonsense. Here, Mill - the trap’s come to the door. +Into it with you, I say.<br> +<br> +GILES. I beg you to wait a moment, master.<br> +<br> +DANIEL. Wait! - ’Tis a sight too long as we have waited +this day. If all had been as I’d planned, we should have +been to church by now. But womenfolk, there be no depending on +they. No, and that there bain’t.<br> +<br> +[GEORGE, JOHN <i>and the </i>OLD MAN <i>come up</i>. GEORGE <i>and +</i>JOHN <i>carry their packets and the </i>OLD MAN <i>has </i>GILES’ +<i>coat and hat over his arm.<br> +<br> +</i>ELIZABETH. And who are these persons, Giles?<br> +<br> +[GEORGE <i>and </i>JOHN <i>set down their burdens on the floor and begin +to mop their faces</i>. <i>The </i>OLD MAN <i>stretches out his +fine coat and hat and buckled shoes to </i>GILES.<br> +<br> +OLD MAN. Here they be, my lord, and I warrant as you’ll +feel more homely like in they, nor what you’ve got upon you now. +[GILES <i>takes the things from him.<br> +<br> +</i>GILES. Thank you, old master. [<i>He turns to </i>MILLIE.] +Let me go into the other room, Millie. I will not keep you waiting +longer than a few moments.<br> +<br> +[<i>He goes out.<br> +<br> +</i>ELIZABETH. [<i>To </i>GEORGE.] And who may you be, I +should like to know? You appear to be making very free with my +parlour.<br> +<br> +GEORGE. We be the servants what wait upon Master Giles, old Missis.<br> +<br> +ELIZABETH. Old Missis, indeed. Father, you shall speak to +these persons.<br> +<br> +DANIEL. Well, my men. I scarce do know whether I be a-standing +on my head or upon my heels, and that’s the truth ’tis.<br> +<br> +GEORGE. Ah, and that I can well understand, master, for I’m +a married man myself, and my woman has a tongue to her head very similar +to that of th’ old missis yonder - so I know what ’tis.<br> +<br> +ELIZABETH. Put them both out of the door, Father, do you hear +me? ’Tis to the cider as they’ve been getting. +That’s clear.<br> +<br> +MILLIE. My good friends, what is it that you carry in those bundles +there?<br> +<br> +GEORGE. ’Tis gold in mine.<br> +<br> +JOHN. And silver here.<br> +<br> +ELIZABETH. Depend upon it ’tis two wicked thieves we have +got among us, flying from justice.<br> +<br> +MILLIE. No, no - did not you hear them say, their master is Giles.<br> +<br> +GEORGE. And a better master never trod the earth.<br> +<br> +JOHN. And a finer or a richer gentleman I never want to see.<br> +<br> +ELIZABETH. Do you hear that, Father? O you shocking liars +- ’tis stolen goods that you’ve been and brought to our +innocent house this day. But, Father, do you up and fetch in the +constable, do you hear?<br> +<br> +MAY. O I’ll run. I shall love to see them going off +to gaol.<br> +<br> +MILLIE. Be quiet, May. Can’t you all see how ’tis. +Giles has done the cruel hard task set him by Father - and is back again +with the bushel of silver and that of gold to claim my hand. [GILES +<i>enters</i>.] But Giles - I’d have given it to you had +you come to me poor and forlorn and ragged, for my love has never wandered +from you in all this long time.<br> +<br> +ANDREW. No, Giles - and that it has not. Millie has never +given me one kind word nor one gentle look all the years that I’ve +been courting of her, and that’s the truth. And you can +call witness to it if you care.<br> +<br> +GILES. Uncle, Aunt, I’ve done the task you set me years +ago - and now I claim my reward. I went from this house a poor +wretch, with nothing but the hopeless love in my heart to feed and sustain +me. I have returned with all that the world can give me of riches +and prosperity. Will you now let me be the husband of your daughter?<br> +<br> +MILLIE. O say ye, Uncle, for look how fine and grand he is in +his coat - and the bags are stuffed full to the brim and ’tis +with gold and silver.<br> +<br> +ELIZABETH. Well - ’tis a respectabler end than I thought +as you’d come to, Giles. And different nor what you deserved.<br> +<br> +DANIEL. Come, come, Mother. - The fewer words to this, the better. +Giles, my boy - get you into the trap and take her along to the church +and drive smart.<br> +<br> +ANDREW. Annet - will you come there with me too?<br> +<br> +ANNET. O Andrew - what are you saying?<br> +<br> +DANIEL. Come, come. Where’s the wind blowing from +now? Here, Mother, do you listen to this.<br> +<br> +ELIZABETH. I shall be deaf before I’ve done, but it appears +to me that Annet’s not lost any time in making the most of her +chances.<br> +<br> +DANIEL. Ah, and she be none the worse for that. ’Tis +what we all likes to do. Where’d I be in the market if I +did let my chances blow by me? Hear that, Andrew?<br> +<br> +ANDREW. I’m a rare lucky man this day, farmer.<br> +<br> +DANIEL. Ah, and ’tis a rare good little wench, Annet - though +she bain’t so showy as our’n. A rare good little maid. +And now ’tis time we was all off to church, seeing as this is +to be a case of double harness like.<br> +<br> +MAY. O Annet, you can’t be wed in that plain gown.<br> +<br> +ANNET. May, I’m so happy that I feel as though I were clothed +all over with jewels.<br> +<br> +ANDREW. Give me your hand, Annet.<br> +<br> +MAY. [<i>Mockingly</i>.] Millie - don’t you want to +give a drink of water to yon poor old man?<br> +<br> +MILLIE. That I will, May? Here - fetch me something that’s +better than water for him.<br> +<br> +ELIZABETH. I’ll have no cider drinking out of meal times +here.<br> +<br> +MILLIE. Then ’twill I have to be when we come back from +church.<br> +<br> +OLD MAN. Bless you, my pretty lady, but I be used to waiting. +I’ll just sit me down outside in the sun till you be man and wife.<br> +<br> +ELIZABETH. And that’ll not be till this day next year if +this sort of thing goes on any longer.<br> +<br> +DANIEL. That’s right, Mother. You take and lead the +way. ’Tis the womenfolk as do keep we back from everything. +But I knows how to settle with they - [<i>roaring</i>] - come Mill, +come Giles, Andrew, Annet, May. Come Mother, out of th’ +house with all of you and to church, I say.<br> +<br> +[<i>He gets behind them all and drives them before him and out of the +room</i>. <i>When they have gone</i>,<i> the </i>OLD MAN <i>sinks +on a bench in the door-way.<br> +<br> +</i>OLD MAN. I’m done with all the foolishness of life and +I can sit me down and sleep till it be time to eat.<br> +<br> +[<i>Curtain.</i>]<br> +<br> +<br> +<br> +<br> +BUSHES AND BRIARS<br> +<br> +<br> +<br> +<br> +CHARACTERS<br> +<br> +THOMAS SPRING, <i>a farmer</i>,<i> aged </i>35.<br> +EMILY, <i>his wife</i>,<i> the same age.<br> +</i>CLARA, <i>his sister</i>,<i> aged </i>21.<br> +JESSIE AND ROBIN, <i>the children of Thomas and Emily</i>,<i> aged </i>10 +<i>and </i>8.<br> +JOAN, <i>maid to Clara.<br> +</i>MILES HOOPER, <i>a rich draper.<br> +</i>LUKE JENNER, <i>a farmer.<br> +</i>LORD LOVEL.<br> +GEORGE, <i>aged </i>28.<br> +<br> +<br> +<br> +ACT I. - Scene 1.<br> +<br> +<br> +<br> +<i>A wood</i>. <i>It is a morning in June.<br> +<br> +</i>GEORGE, <i>carrying an empty basket</i>,<i> comes slowly through +the wood</i>. <i>On reaching a fallen tree he sits down on it</i>,<i> +placing his basket on the ground</i>. <i>With his stick he absently +moves the grass and leaves that lie before him</i>,<i> and is so deeply +lost in his own thoughts that he does not hear the approach of </i>MILES +<i>and </i>LUKE <i>until they are by his side.<br> +<br> +</i>MILES. Here’s the very man to tell us all we want to +know.<br> +<br> +LUKE. Why, if ’tisn’t George from Ox Lease.<br> +<br> +[GEORGE <i>half rises.<br> +<br> +</i>MILES. No, sit you down again, my lad, and we’ll rest +awhile by the side of you.<br> +<br> +LUKE. That’s it, Miles. Nothing couldn’t have +fallen out better for us, I’m thinking.<br> +<br> +MILES. You’re about right, Luke. Now, George, my man, +we should very much appreciate a few words with you.<br> +<br> +GEORGE. [<i>Taking up his basket</i>.] Morning baint the +time for words, masters. I count as words will keep till the set +of sun. ’Tis otherwise with work.<br> +<br> +MILES. Work, why, George, ’tis clear you are come out but +to gather flowers this morning.<br> +<br> +LUKE. ’Tis the very first time as ever I caught George an +idling away of his time like this.<br> +<br> +GEORGE. ’Tis over to Brook as I be going, masters, to fetch +back a couple of young chicken. Ourn be mostly old fowls, or pullets +what do lay.<br> +<br> +LUKE. I never heard tell of young chicken being ate up at Ox Lease +afore July was in.<br> +<br> +GEORGE. Nor me neither, master. Never heared nor seed such +a thing. But mistress, her says, you can’t sit a maid from +town at table unless there be poultry afore of she. They be rare +nesh in their feeding, maids from town, so mistress do say.<br> +<br> +MILES. That just brings us to our little matter, George. +When is it that you expect the young lady?<br> +<br> +GEORGE. The boxes of they be stacked mountains high in the bedroom +since yesterday. And I count as the maids will presently come +on their own feet from where the morning coach do set them down.<br> +<br> +LUKE. Nay, but there’s only one maid what’s expected.<br> +<br> +GEORGE. Miss Clara, what’s master’s sister; and the +serving wench of she.<br> +<br> +MILES. Well, George, ’twas a great day for your master when +old Madam Lovel took little Miss Clara to be bred up as one of the quality.<br> +<br> +GEORGE. A water plant do grow best by the stream, and a blossom, +from the meadows, midst the grass. Let each sort bide in the place +where ’twas seeded.<br> +<br> +MILES. No, no, George, you don’t know what you’re +talking about. A little country wench may bloom into something +very modish and elegant, once taken from her humble home and set amongst +carpets of velvet and curtains of satin. You’ll see.<br> +<br> +GEORGE. ’Twould be a poor thing for any one to be so worked +upon by curtains, nor yet carpets, master.<br> +<br> +MILES. Take my word for it, George, Ox Lease will have to smarten +up a bit for this young lady. I know the circles she has been +moving in, and ’tis to the best of everything that she has been +used.<br> +<br> +GEORGE. [<i>Rising</i>.] That’s what mistress do say. +And that’s why I be sent along down to Brook with haymaking going +on and all. Spring chicken with sparrow grass be the right feeding +for such as they. So mistress do count.<br> +<br> +MILES. Stop a moment, George. You have perhaps heard the +letters from Miss Clara discussed in the family from time to time.<br> +<br> +GEORGE. Miss Clara did never send but two letters home in all +the while she was gone. The first of them did tell as how th’ +old lady was dead and had left all of her fortune to Miss Clara. +And the second was to say as how her was coming back to the farm this +morning.<br> +<br> +LUKE. And hark you here, George, was naught mentioned about Miss +Clara’s fine suitors in neither of them letters?<br> +<br> +GEORGE. That I cannot say, Master Jenner.<br> +<br> +MILES. Nothing of their swarming thick around her up in London, +George?<br> +<br> +GEORGE. They may be swarming by the thousand for aught as I do +know. They smells gold as honey bees do smell the blossom. +Us’ll have a good few of them a-buzzing round the farm afore we’re +many hours older, so I counts.<br> +<br> +MILES. Well, George, that’ll liven up the place a bit, I +don’t doubt.<br> +<br> +LUKE. ’Tis a bit of quiet and no livening as Ox Lease do +want. Isn’t that so, George, my lad?<br> +<br> +GEORGE. [<i>Preparing to set off</i>.] I’ll say good +morning to you, masters. I count I’ve been and wasted a +smartish time already on the road. We be a bit hard pressed up +at the farm this day.<br> +<br> +MILES. But George, my man, we have a good many questions to ask +of you before you set off.<br> +<br> +GEORGE. Them questions will have to bide till another time, I +reckon. I’m got late already, master.<br> +<br> +[<i>He hurries off.<br> +<br> +</i>MILES. Arriving by the morning coach! I shall certainly +make my call to the farm before sunset. What do you say, Jenner?<br> +<br> +LUKE. You’re a rich man, Miles, and I am poor. But +we have always been friends.<br> +<br> +MILES. And our fathers before us, Luke.<br> +<br> +LUKE. And the courting of the same maid shall not come between +us.<br> +<br> +MILES. [<i>Slowly</i>.] That’ll be all right, Luke.<br> +<br> +LUKE. What I do say is, let’s start fair. Neck to +neck, like.<br> +<br> +MILES. As you please, my good Luke.<br> +<br> +LUKE. Then, do you tell me honest, shall I do in the clothes I’m +a-wearing of now, Miles?<br> +<br> +MILES. [<i>Regarding him critically</i>.] That neckerchief +is not quite the thing, Luke.<br> +<br> +LUKE. ’Tis my Sunday best.<br> +<br> +MILES. Step over to the High Street with me, my lad. I’ve +got something in the shop that will be the very thing. You shall +have it half price for ’tis only a bit damaged in one of the corners.<br> +<br> +LUKE. I’m sure I’m very much obliged to you, Miles.<br> +<br> +MILES. That’s all right, Luke.<br> +<br> +LUKE. George would look better to my thinking if there was a new +coat to the back of him.<br> +<br> +MILES. Ah, poor beggar, he would, and no mistake.<br> +<br> +LUKE. I warrant as Emily do keep it afore him as how he was took +in from off the road by th’ old farmer in his day.<br> +<br> +MILES. I flatter myself that I have a certain way with the ladies. +They come to me confidential like and I tell them what’s what, +and how that, this or t’other is worn about town. But with +Missis Spring ’tis different. That’s a woman I could +never get the right side of no how.<br> +<br> +LUKE. Ah, poor Thomas! There’s a man who goes down +trod and hen scratched if you like.<br> +<br> +MILES. ’Tis altogether a very poor place up at Ox Lease, +for young Miss.<br> +<br> +LUKE. [<i>Pulling out his watch</i>.] Time’s slipping +on. What if we were to stroll on to the shop and see about my +neckerchief, Miles?<br> +<br> +MILES. I’m sure I’m quite agreeable, Luke. ’Twill +help to pass away the morning.<br> +<br> +[<i>He puts his arm in </i>LUKE’S <i>and they go briskly off in +the direction of the village.<br> +<br> +<br> +<br> +</i>ACT I. - Scene 2.<br> +<br> +<br> +<br> +CLARA, <i>followed by </i>JOAN, <i>comes through the wood</i>. +CLARA <i>is dressed in a long</i>,<i> rich cloak and wears a bonnet +that is brightly trimmed with feathers and ribbons</i>. JOAN <i>wears +a cotton bonnet and small shawl</i>. <i>She carries her mistress</i>’<i>s +silken bag over her arm.<br> +<br> +</i>CLARA. [<i>Pointing to the fallen tree</i>.] There is +the very resting place for us. We will sit down under the trees +for a while. [<i>She seats herself.<br> +<br> +</i>JOAN. [<i>Dusting the tree with her handkerchief before she +sits on it</i>.] Have we much further to go, mistress?<br> +<br> +CLARA. Only a mile or two, so far as I can remember.<br> +<br> +JOAN. ’Tis rough work for the feet, down in these parts, +mistress.<br> +<br> +CLARA. If London roads were paved with diamonds I’d sooner +have my feet treading this rugged way that leads to home.<br> +<br> +JOAN. What sort of a place shall we find it when we gets there, +mistress.<br> +<br> +CLARA. I was but seven when I left them all, Joan. And that +is fourteen years ago to-day.<br> +<br> +JOAN. So many years may bring about some powerful big changes, +mistress.<br> +<br> +CLARA. But I dream that I shall find all just as it was when I +went away. Only that Gran’ma won’t be there.<br> +<br> +[<i>There is a short silence during which </i>CLARA <i>seems lost in +thought</i>. JOAN <i>flicks the dust off her shoes with a branch +of leaves.<br> +<br> +</i>JOAN. ’Tis the coaches I do miss down in these parts.<br> +<br> +CLARA. I would not have driven one step of the way this morning, +Joan. In my fancy I have been walking up from the village and +through the wood and over the meadows since many a day. I have +not forgotten one turn of the path.<br> +<br> +JOAN. The road has not changed then, mistress?<br> +<br> +CLARA. No. But it does not seem quite so broad or so fine +as I remembered it to be. That is all.<br> +<br> +JOAN. And very likely the house won’t seem so fine neither, +mistress, after the grand rooms which you have been used to.<br> +<br> +JOAN. What company shall we see there, mistress?<br> +<br> +CLARA. Well, there’s Thomas, he is my brother, and Emily +his wife. Then the two children.<br> +<br> +CLARA. [<i>After a short silence</i>,<i> and as though to herself</i>.] +And there was George.<br> +<br> +JOAN. Yes, mistress<br> +<br> +CLARA. Georgie seemed so big and tall to me in those days. +I wonder how old he really was, when I was seven.<br> +<br> +JOAN. Would that be a younger brother of yours, like, mistress<br> +<br> +CLARA. No, George minded the horses and looked after the cows +and poultry. Sometimes he would drive me into market with him +on a Saturday. And in the evenings I would follow him down to +the pool to see the cattle watered.<br> +<br> +JOAN. I’m mortal afeared of cows, mistress. I could +never abide the sight nor the sound of those animals.<br> +<br> +CLARA. You’ll soon get over that, Joan.<br> +<br> +JOAN. And I don’t care for poultry neither, very much. +I goes full of fear when I hears one of they old turkey cocks stamping +about.<br> +<br> +CLARA. [<i>Pulling up the sleeve of her left arm</i>.] There, +do you see this little scar? I was helping George to feed the +ducks and geese when the fierce gander ran after me and knocked me down +and took a piece right out of my arm.<br> +<br> +JOAN. [<i>Looking intently on the scar</i>.] I have often +seen that there mark, mistress. And do you think as that old gander +will be living along of the poultry still?<br> +<br> +CLARA. I wish he might be, Joan.<br> +<br> +JOAN. What with the cows and the horses and the ganders, we shall +go with our lives in our hands, as you might say.<br> +<br> +CLARA. [<i>As though to herself</i>.] When the days got +colder, we would sit under the straw rick, George and I. And he +would sing to me. Some of his songs, I could say off by heart +this day.<br> +<br> +JOAN. [<i>Looking nervously upward</i>.] O do look at that +nasty little thing dropping down upon us from a piece of thread silk. +Who ever put such a thing up in the tree I’d like to know.<br> +<br> +CLARA. [<i>Brushing it gently aside</i>.] That won’t +hurt you - a tiny caterpillar.<br> +<br> +JOAN. [<i>After a moment</i>.] What more could the farm +hand do, mistress?<br> +<br> +CLARA. He would clasp on his bells and dance in the Morris on +certain days, Joan.<br> +<br> +JOAN. ’Tis to be hoped as there’ll be some dancing +or something to liven us all up a bit down here.<br> +<br> +CLARA. Why, Joan, I believe you’re tired already of the +country.<br> +<br> +JOAN. ’Tis so powerful quiet and heavy like, mistress.<br> +<br> +CLARA. ’Tis full of sounds. Listen to the doves in +the trees and the lambs calling from the meadow.<br> +<br> +JOAN. I’d sooner have the wheels of the coaches and the +cries upon the street, and the door bell a ringing every moment and +fine gentlemen and ladies being shewn up into the parlour.<br> +<br> +CLARA. [<i>Stretching out her arms</i>.] O how glad I am +to be free of all that. And most of all, how glad to be ridded +of one person.<br> +<br> +JOAN. His lordship will perhaps follow us down here, mistress.<br> +<br> +CLARA. No, I have forbidden it. I must have a month of quiet, +and he is to wait that time for his answer.<br> +<br> +JOAN. O mistress, you’ll never disappoint so fine a gentleman.<br> +<br> +CLARA. You forget that Lord Lovel and I have played together as +children. It is as a brother that I look upon him.<br> +<br> +JOAN. His lordship don’t look upon you as a sister, mistress.<br> +<br> +CLARA. [<i>Rising</i>.] That is a pity, Joan. But +see, it is getting late and we must be moving onwards.<br> +<br> +[JOAN <i>rises and smoothes and shakes out her skirt.<br> +<br> +</i>CLARA. Here, loosen my cloak, Joan, and untie the ribbons +of my bonnet.<br> +<br> +JOAN. O mistress, keep the pretty clothes upon you till you have +got to the house.<br> +<br> +CLARA. No, no - such town garments are not suited to the woods +and meadows. I want to feel the country breeze upon my head, and +my limbs must be free from the weight of the cloak. I had these +things upon me during the coach journey. They are filled with +road dust and I dislike them now.<br> +<br> +JOAN. [<i>Unfastening the cloak and untying the bonnet</i>.] +They are fresh and bright for I brushed and shook them myself this morning.<br> +<br> +CLARA. [<i>Retying a blue ribbon which she wears in her hair</i>.] +I have taken a dislike to them. See here, Joan, since you admire +them, they shall be yours.<br> +<br> +JOAN. Mine? The French bonnet and the satin cloak?<br> +<br> +CLARA. To comfort you for the pains of the country, Joan.<br> +<br> +JOAN. O mistress, let us stop a moment longer in this quiet place +so that I may slip them on and see how they become me.<br> +<br> +CLARA. As you will. Listen, that is the cuckoo singing.<br> +<br> +JOAN. [<i>Throwing off her cotton bonnet and shawl and dressing +herself hastily in the bonnet and cloak</i>.] O what must it feel +like to be a grand lady and wear such things from dawn to bed time.<br> +<br> +CLARA. I am very glad to be without them for a while. How +good the air feels on my head.<br> +<br> +JOAN. There, mistress, how do I look?<br> +<br> +CLARA. Very nicely, Joan. So nicely that if you like, you +may keep them upon you for the remainder of the way.<br> +<br> +JOAN. O mistress, may I really do so?<br> +<br> +CLARA. Yes. And Joan, do you go onwards to the farm by the +quickest path which is through this wood and across the high road. +Anyone will shew you where the place is. I have a mind to wander +about in some of the meadows which I remember. But I will join +you all in good time.<br> +<br> +JOAN. Very well, mistress. If I set off in a few moments +it will do, I suppose? I should just like to take a peep at myself +as I am now, in the little glass which you carry in your silk bag.<br> +<br> +CLARA. [<i>Going off</i>.] Don’t spend too much time +looking at what will be shewn you, Joan.<br> +<br> +JOAN. Never fear, mistress. I’ll be there afore you, +if I have to run all the way. [CLARA <i>wanders off.<br> +<br> +</i>[JOAN <i>sits down again on the trunk of the fallen tree</i>. +<i>She opens the silken bag</i>,<i> draws out a small hand glass and +looks long and steadily at her own reflection</i>. <i>Then she +glances furtively around and</i>,<i> seeing that she is quite alone</i>,<i> +she takes a small powder box from the bag and hastily opening it</i>,<i> +she gives her face several hurried touches with the powder puff.<br> +<br> +</i>JOAN. [<i>Surveying the effect in the glass</i>.] Just +to take off the brown of my freckles. Now if any one was to come +upon me sitting here they wouldn’t know as I was other than a +real, high lady. All covered with this nice cloak as I be, the +French bonnet on my head, and powder to my face, who’s to tell +the difference? But O - these must be hid first.<br> +<br> +[<i>She perceives her cotton bonnet and little shawl on the ground</i>. +<i>She hastily rolls them up in a small bundle and stuffs them into +the silken bag</i>. <i>Then she takes up the glass and surveys +herself again.<br> +<br> +</i>JOAN. How should I act now if some grand gentleman was to +come up and commence talking to me? Perhaps he might even take +me for a lady of title in these fine clothes, and ’twould be a +pity to have to undeceive him.<br> +<br> +[<i>She arranges her hair a little under the bonnet and then lowers +the lace veil over her face.<br> +<br> +</i>[MILES <i>and </i>LUKE <i>come slowly up behind her</i>. MILES +<i>nudges </i>LUKE <i>with his elbow</i>,<i> signing to him to remain +where he is whilst he steps forward in front of </i>JOAN.<br> +<br> +MILES. Pardon me, madam, but you appear to have mistook the way. +Allow me to set you on the right path for Ox Lease.<br> +<br> +JOAN. [<i>Letting the mirror fall on her lap and speaking very +low</i>.] How do you know I am going to Ox Lease, sir?<br> +<br> +MILES. You see, madam, I happen to know that a stylish young miss +from town is expected there to-day.<br> +<br> +LUKE. [<i>Coming forward and speaking in a loud whisper</i>.] +Now Miles. I count as you made one of the biggest blunders of +the time. Our young lady be journeying along of her servant wench. +This one baint she.<br> +<br> +MILES. If we have made a small error, madam, allow me to beg your +pardon.<br> +<br> +JOAN. Don’t mention it, sir. Everyone is mistaken +sometimes.<br> +<br> +LUKE. Well, I’m powerful sorry if we have given any offence, +mam.<br> +<br> +JOAN. [<i>Looking up at </i>LUKE <i>with sudden boldness and speaking +in a slow</i>,<i> affected voice</i>.] There’s nothing to +make so much trouble about, sir.<br> +<br> +MILES. Can we be of any assistance to you, madam? The wood +may appear rather dense at this point.<br> +<br> +JOAN. That it does. Dense and dark - and the pathway! +My goodness, but my feet have never travelled over such rough ground +before.<br> +<br> +Muss. That I am sure of, madam. I have no doubt that the +delicate texture of your shoes has been sadly treated by our stones +and ruts.<br> +<br> +JOAN. [<i>Insensibly pulling her skirts over her thick walking +shoes</i>.] Well, it’s vastly different to London streets, +where I generally take exercise - at least when I’m not a-riding +in the coach.<br> +<br> +MILES. The country is but a sad place at the best, Miss Clara +Spring.<br> +<br> +JOAN. [<i>Looking round furtively and speaking in a whisper</i>.] +O, how did you guess my - my name?<br> +<br> +LUKE. Come, ’twasn’t a hard matter, that.<br> +<br> +MILES. Missey can command my services.<br> +<br> +JOAN. [<i>Rallying</i>,<i> and standing up</i>.] Then gentlemen, +do you walk a bit of the road with me and we could enjoy some conversation +as we go along.<br> +<br> +LUKE. [<i>Offering his arm</i>.] You take my arm, Miss Clara +- do - .<br> +<br> +MILES. [<i>Also offering his arm</i>.] I shall also give +myself the pleasure of supporting Miss.<br> +<br> +JOAN. [<i>Taking an arm of each</i>.] O thank you, kindly +gentlemen. Now we shall journey very comfortably, I am sure.<br> +<br> +[<i>They all set out walking in the direction of the farm.<br> +<br> +<br> +<br> +</i>ACT II. - Scene 1.<br> +<br> +<br> +<br> +<i>The kitchen of Ox Lease Farm</i>. <i>There are three doors</i>. +<i>One opens to the staircase</i>,<i> one to the garden and a third +into the back kitchen</i>. <i>At a table in the middle of the +room </i>EMILY <i>stands ironing some net window curtains</i>. +JESSIE <i>and </i>ROBIN <i>lean against the table watching her</i>. +<i>By the open doorway</i>,<i> looking out on the garden</i>,<i> stands +</i>THOMAS, <i>a mug of cider in one hand and a large slice of bread +in the other</i>. <i>As he talks</i>,<i> he takes alternate drinks +and bites.<br> +<br> +</i>EMILY. [<i>Speaking in a shrill</i>,<i> angry voice</i>.] +Now Thomas, suppose you was to take that there bread a step further +away and eat it in the garden, if eat it you must, instead of crumbling +it all over my clean floor.<br> +<br> +THOMAS. Don’t you be so testy, Emily. The dogs’ll +lick the crumbs up as clean as you like presently.<br> +<br> +EMILY. Dogs? I’d like to see the dog as’ll shew +its nose in here to-day when I’ve got it all cleaned up against +the coming of fine young madam.<br> +<br> +THOMAS. [<i>Finishing his bread and looking wistfully at his empty +hand</i>.] The little maid’ll take a brush and sweep up +her daddy’s crumbs, now, won’t her?<br> +<br> +EMILY. I’ll give it to any one who goes meddling in my brush +cupboard now that I’ve just put all in order against the prying +and nozzling of the good-for-nothing baggage what’s coming along +with your sister.<br> +<br> +ROBIN. What’s baggage, Mother?<br> +<br> +EMILY. [<i>Sharply</i>.] Never you mind. Get and take +your elbow off my ironing sheet.<br> +<br> +JESSIE. [<i>Looking at her father</i>.] I count as you’d +like a piece more bread, Dad?<br> +<br> +THOMAS. Well, I don’t say but ’twouldn’t come +amiss. ’Tis hungry work in th’ hayfield. And +us be to go without our dinners this day, isn’t that so, Emily?<br> +<br> +EMILY. [<i>Slamming down her iron on the stand</i>.] If +I’ve told you once, I’ve told you twenty times, ’twas +but the one pair of hands as I was gived at birth. Now, what have +you got to say against that, Thomas?<br> +<br> +THOMAS. [<i>Sheepishly</i>.] I’m sure I don’t +know.<br> +<br> +EMILY. And if so be as I’m to clean and wash and cook, and +run, and wait, and scour, and mend, for them lazy London minxes, other +folk must go without hot cooking at mid-day.<br> +<br> +THOMAS. [<i>Faintly</i>.] ’Twasn’t nothing cooked, +like. ’Twas a bit of bread as I did ask for.<br> +<br> +JESSIE. [<i>Getting up</i>.] I’ll get it for you, +Dad. I know where the loaf bides and the knife too. I’ll +cut you, O such a large piece.<br> +<br> +EMILY. [<i>Seizing her roughly by the hand</i>.] You’ll +do nothing of the sort. You’ll take this here cold iron +into Maggie and you’ll bring back one that is hot. How am +I to get these curtains finished and hung and all, by the time the dressed +up parrots come sailing in, I’d like to know.<br> +<br> +[JESSIE <i>runs away with the iron.<br> +<br> +</i>THOMAS. [<i>Setting down his mug and coming to the table</i>.] +I’d leave the windows bare if it was me, Emily. The creeping +rose do form the suitablest shade for they, to my thinking.<br> +<br> +EMILY. That shews how much you know about it, Thomas. No, +take your hands from off my table. Do you think as I wants dirty +thumbs shewing all over the clean net what I’ve washed and dried +and ironed, and been a-messing about with since ’twas light?<br> +<br> +THOMAS. Now that’s what I be trying for to say. There’s +no need for you to go and work yourself into the fidgets, Emily, because +of little Clara coming back. Home’s home. And ’twon’t +be neither the curtains nor the hot dinner as Clara will be thinking +of when her steps into th’ old place once more.<br> +<br> +JESSIE. [<i>Running back with the hot iron which she sets down +on the table</i>.] What will Aunt Clara be thinking of then, Dad?<br> +<br> +THOMAS. [<i>Shy and abashed under a withering glance from </i>EMILY +<i>who has taken up the iron and is slamming it down on the net</i>.] +Her’ll remember, very like, how ’twas when her left - some +fourteen year ago. And her’ll have her eyes on Gran’ma’s +chair, what’s empty.<br> +<br> +ROBIN. I should be thinking of the hot fowl and sparrow grass +what’s for dinner.<br> +<br> +THOMAS. And her’ll look up to th’ old clock, and different +things what’s still in their places. The grand parts where +she have been bred up will be forgot. ’Twill be only home +as her’ll think on.<br> +<br> +EMILY. I haven’t patience to listen to such stuff. +<br> +<br> +THOMAS. [<i>After a pause</i>.] I count that ’tisn’t +likely as a young woman what’s been left riches as Clara have, +would choose to make her home along of such as we for always, like.<br> +<br> +EMILY. We have perches and plenty of them for barn door poultry, +but when it comes to roosting spangled plumes and fancy fowls, no thank +you, Thomas, I’m not going to do it.<br> +<br> +ROBIN. Do let us get and roost some fancy fowls, Mother.<br> +<br> +JESSIE. What are spangled plumes, Mother? <br> +<br> +EMILY. [<i>Viciously</i>.] You’ll see plenty of them +presently.<br> +<br> +ROBIN. Will Aunt Clara bring the fowls along of she?<br> +<br> +[<i>A slight pause during which </i>EMILY <i>irons vigorously.<br> +<br> +</i>EMILY. [<i>As she irons</i>.] Some folk have all the +honey. It do trickle from the mouths of them and down to the ground.<br> +<br> +ROBIN. Has Aunt Clara got her mouth very sticky, then?<br> +<br> +EMILY. And there be others what are born to naught but crusts +and the vinegar.<br> +<br> +JESSIE. Like you, Mother - Least, that’s what Maggie said +this morning.<br> +<br> +EMILY. What’s that?<br> +<br> +JESSIE. That ’twas in the vinegar jar as your tongue had +growed, Mother.<br> +<br> +EMILY. I’ll learn that wench to keep her thoughts to herself +if she can’t fetch them out respectful like. [<i>Shouting</i>.] +Mag, come you here this minute - what are you after now, I’d like +to know, you ugly, idle piece of mischief?<br> +<br> +[MAGGIE, <i>wiping a plate comes from the back kitchen.<br> +<br> +</i>MAGGIE. Was you calling, mistress?<br> +<br> +EMILY. What’s this you’ve got saying to Miss Jessie, +I should like to know.<br> +<br> +JESSIE. [<i>Running to </i>MAGGIE <i>and laying her hand on her +arm</i>.] Dear Maggie, ’tis only what you did tell about +poor mother’s tongue being in the vinegar jar.<br> +<br> +MAGGIE. O Miss Jessie.<br> +<br> +EMILY. Hark you here, my girl - if ’twasn’t hay time +you should bundle up your rags and off with you this minute. But +as ’tis awkward being short of a pair of hands just now, you’ll +bide a week or two and then you’ll get outside of my door with +no more character to you nor what I took you with.<br> +<br> +THOMAS. Come, come Emily. The girl’s a good one for +to work, and that she is.<br> +<br> +EMILY. Be quiet, Thomas. This is my business, and you’ll +please to keep your words till they’re wanted.<br> +<br> +MAGGIE. O mistress, I didn’t mean no harm, I didn’t.<br> +<br> +EMILY. I don’t want no words nor no tears neither. +<br> +<br> +MAGGIE. [<i>Beginning to cry loudly</i>.] I be the only +girl as have stopped with you more nor a month, I be. T’others +wouldn’t bide a day, some of them.<br> +<br> +EMILY. Be quiet. Back to your work with you. And when +the hay is all carried, off with you, ungrateful minx, to where you +came from.<br> +<br> +JESSIE. O let us keep her always, Mother, she’s kind. +<br> +<br> +ROBIN. Don’t you cry, Mag. I’ll marry you when +I’m a big man like Daddy.<br> +<br> +THOMAS. Harken to them, Emily! She’s been a good maid +to the children. I’d not part with any one so hasty, if +’twas me.<br> +<br> +EMILY. [<i>Very angrily</i>.] When I want your opinion, +Thomas, I’ll ask for it. Suppose you was to go out and see +after something which you do understand.<br> +<br> +THOMAS. O I’ll go down to the field fast enough, I can tell +you. ’Twas only being hungered as drove me into the hornets’ +nest, as you might say.<br> +<br> +EMILY. [<i>Ironing fiercely</i>.] What’s that?<br> +<br> +THOMAS. Nothing. I did only say as I was a-going back to +the field when George do come home.<br> +<br> +EMILY. There again. Did you ever know the man to be so slow +before. I warrant as he have gone drinking or mischiefing down +at the Spotted Cow instead of coming straight home with they chicken.<br> +<br> +THOMAS. Nay, nay. George is not the lad to do a thing like +that. A quieter more well bred up lad nor George never trod in +shoes.<br> +<br> +EMILY [<i>Glancing at </i>MAGGIE.] What are you tossing your head +like that for, Maggie? Please to recollect as you’re a lazy, +good-for-nothing little slut of a maid servant, and not a circus pony +all decked out for the show.<br> +<br> +JESSIE. Maggie’s fond of Georgie. And Georgie’s +kind to Mag.<br> +<br> +MAGGIE. [<i>Fearfully</i>.] O don’t, Miss Jessie, +for goodness sake.<br> +<br> +EMILY. [<i>Viciously</i>.] I’ll soon put an end to +anything in that quarter.<br> +<br> +THOMAS. Now, Emily - take it quiet. Why, we shall have Clara +upon us before us knows where we are.<br> +<br> +EMILY. [<i>Folding the curtains</i>.] I’ll settle +her too, if she comes before I’m ready for her.<br> +<br> +ROBIN. [<i>Pointing through the open</i>.] There’s +George, coming with the basket.<br> +<br> +[GEORGE <i>comes into the room</i>. <i>He carefully rubs his feet +on the mat as he enters</i>. <i>Then he advances to the table</i>. +MAGGIE <i>dries her eyes with the back of her hand</i>. JESSIE +<i>is standing with her arm in </i>MAGGIE’S.<br> +<br> +EMILY. Well, and where have you been all this while, I’d +like to know?<br> +<br> +GEORGE. To Brook Farm, mam, and home.<br> +<br> +EMILY. You’ve been up to some mischief on the way, I warrant.<br> +<br> +THOMAS. Come, Emily.<br> +<br> +[GEORGE <i>looks calmly into </i>EMILY’S <i>face</i>. <i>Then +his gaze travels leisurely round the room.<br> +<br> +</i>GEORGE. I was kept waiting while they did pluck and dress +the chicken.<br> +<br> +EMILY. [<i>Lifting the cloth covering the basket</i>,<i> and looking +within it</i>.] I’d best have gone myself. Of all +the thick-headed men I ever did see, you’re the thickest. +Upon my word you are.<br> +<br> +GEORGE. What’s wrong now, mistress?<br> +<br> +EMILY. ’Taint chicken at all what you’ve been and +fetched me.<br> +<br> +GEORGE. I’ll be blowed if I do know what ’tis then.<br> +<br> +EMILY. If I’d been given a four arms and legs at birth same +as th’ horses, I’d have left a pair of them at home and +gone and done the job myself, I would. And then you should see +what I’d have brought back.<br> +<br> +GEORGE. You can’t better what I’ve got here. +From the weight it might be two fat capons. So it might.<br> +<br> +EMILY. [<i>Seizing the basket roughly</i>.] Here, Mag, off +into the pantry with them. A couple of skinny frogs from out the +road ditch would have done as well. And you, Jess, upstairs with +these clean curtains and lay them careful on the bed. I’ll +put them to the windows later.<br> +<br> +THOMAS. George, my boy, did you meet with any one on the way, +like?<br> +<br> +EMILY. You’d best ask no questions if you don’t want +to be served with lies, Thomas.<br> +<br> +GEORGE. [<i>Throwing a glance of disdain at </i>EMILY.] +Miles Hooper and Farmer Jenner was taking the air ’long of one +another in the wood, master.<br> +<br> +THOMAS. Miles Hooper and Luke a-taking of the air, and of a weekday +morning!<br> +<br> +GEORGE. That they was, master. And they did stop I -<br> +<br> +EMILY. Ah, now you’ve got it, Thomas. Now we shall +know why George was upon the road the best part of the day and me kept +waiting for the chicken.<br> +<br> +GEORGE. [<i>Steadily</i>.] Sunday clothes to the back of +both of them. And, when was Miss Clara expected up at home.<br> +<br> +THOMAS. Ah, ’tis a fair commotion all over these parts already, +I warrant. There wasn’t nothing else spoke of in market +last time, but how as sister Clara with all her money was to come home.<br> +<br> +JESSIE. [<i>Coming back</i>.] I’ve laid the curtains +on the bed, shall I gather some flowers and set them on the table, mother?<br> +<br> +EMILY. I’d like to see you! Flowers in the bedroom? +I never heard tell of such senseless goings on. What next, I’d +like to know?<br> +<br> +GEORGE. Miss Clara always did fill a mug of clover blooms and +set it aside of her bed when her was a little thing - so high.<br> +<br> +JESSIE. Do you remember our fine aunt, then, Georgie?<br> +<br> +GEORGE. I remembers Miss Clara right enough.<br> +<br> +EMILY. Don’t you flatter yourself, George, as such a coxsy +piece of town goods will trouble herself to remember you.<br> +<br> +THOMAS. The little maid had a good enough heart to her afore she +was took away from us.<br> +<br> +JESSIE. Do you think our aunt Clara has growed into a coxsy town +lady, George?<br> +<br> +GEORGE. No, I do not, Miss Jessie.<br> +<br> +EMILY. [<i>Beginning to stir about noisily as she sets the kitchen +in order</i>.] Get off with you to the field, Thomas, can’t +you. I’ve had enough to do as ’tis without a great +hulking man standing about and taking up all the room.<br> +<br> +THOMAS. Come, George, us’ll clear out down to th’ +hay field, and snatch a bite as we do go.<br> +<br> +GEORGE. That’s it, master.<br> +<br> +EMILY. [<i>Calling angrily after them</i>.] There’s +no dinner for no one to-day, I tell you.<br> +<br> +[THOMAS <i>and </i>GEORGE <i>go out of the back kitchen door</i>. +EMILY <i>begins putting the irons away</i>,<i> folding up the ironing +sheet and setting the chairs back against the wall.<br> +<br> +</i>[JESSIE <i>and </i>ROBIN, <i>from their places at the table</i>,<i> +watch her intently.<br> +<br> +</i>EMILY. [<i>As she moves about</i>.] ’Twouldn’t +be half the upset if the wench was coming by herself, but to have a +hussy of a serving maid sticking about in the rooms along of us, is +more nor I can stand.<br> +<br> +[<i>She begins violently to sweep up the hearth</i>.<br> +<br> +[<i>Steps are heard outside.<br> +<br> +</i>JESSIE. Hark, what’s that, mother?<br> +<br> +EMILY. I’ll give it to any one who wants to come in here.<br> +<br> +JESSIE. [<i>Running to the open door</i>.] They’re +coming up the path. ’Tis our fine auntie and two grand gentlemen +either side of she.<br> +<br> +ROBIN. [<i>Running also to the door</i>.] O I want to look +on her too.<br> +<br> +EMILY. [<i>Putting the broom in a corner</i>.] ’Tis +no end to the vexation. But she’ll have to wait on herself. +I’ve no time to play the dancing bear. And that I’ve +not.<br> +<br> +[JOAN, <i>between </i>MILES HOOPER <i>and </i>LUKE JENNER, <i>comes +up to the open door.<br> +<br> +</i>MILES. [<i>To Jessie</i>.] See here, my little maid, +what’ll you give Mister Hooper for bringing this pretty lady safe +up to the farm?<br> +<br> +JESSIE. I know who ’tis you’ve brought. ’Tis +my Aunt Clara.<br> +<br> +LUKE. You’re a smart little wench, if ever there was one.<br> +<br> +ROBIN. I know who ’tis, too, ’cause of the spangled +plumes in the bonnet of she. Mother said as there’d be some.<br> +<br> +EMILY. [<i>Coming forward</i>.] Well, Clara, if ’twas +by the morning coach as you did come, you’re late. If ’twas +by th’ evening one, you’re too soon by a good few hours.<br> +<br> +MILES. Having come by the morning coach, Miss Clara had the pleasant +fancy to stroll here through the woodlands, Missis Spring.<br> +<br> +LUKE. Ah, and ’twas lost on the way as we did find her, +like a strayed sheep.<br> +<br> +MILES. And ours has been the privilege to bring the fair wanderer +safely home.<br> +<br> +EMILY. [<i>Scornfully looking </i>JOAN <i>over from head to foot</i>.] +Where’s that serving wench of yours got to, Clara?<br> +<br> +MILES. Our young missy had a wish for solitude. She sent +her maid on by another road.<br> +<br> +EMILY. The good-for-nothing hussy. I warrant as she have +found something of mischief for her idle hands to do.<br> +<br> +MILES. If I may venture to say so, our Miss Clara is somewhat +fatigued by her long stroll. London young ladies are very delicately +framed, Missis Spring.<br> +<br> +EMILY. [<i>Pointing ungraciously</i>.] There’s chairs +right in front of you.<br> +<br> +[MILES <i>and </i>LUKE <i>lead </i>JOAN <i>forward</i>,<i> placing her +in an armchair with every attention</i>. JOAN <i>sinks into it</i>,<i> +and</i>,<i> taking a little fan from the silken bag on her arm</i>,<i> +begins to fan herself violently.<br> +<br> +</i>EMILY. [<i>Watching her with fierce contempt</i>.] Maybe +as you’d like my kitchen wench to come and do that for you, Clara, +seeing as your fine maid is gadding about the high roads instead of +minding what it concerns her to attend to.<br> +<br> +JOAN. [<i>Faintly</i>.] O no, thank you. The day is +rather warm - that’s all.<br> +<br> +EMILY. Warm, I should think it was warm in under of that great +white curtain.<br> +<br> +JESSIE. Aunt Clara, I’m Jessie.<br> +<br> +JOAN. Are you, my dear?<br> +<br> +ROBIN. And I’m Robin.<br> +<br> +MILES. Now, I wager, if you are both good little children, this +pretty lady will give you each a kiss.<br> +<br> +JOAN. [<i>Faintly</i>.] To be sure I will.<br> +<br> +JESSIE. Then you’ll have to take off that white thing from +your face. ’Tis like what mother do spread over the currant +bushes to keep the birds from the fruit.<br> +<br> +[JOAN <i>slowly raises her veil</i>,<i> showing her face</i>.<br> +<br> +JESSIE. Shall I give you a kiss, Aunt?<br> +<br> +EMILY. I’d be careful if I was you, Jess. Fine ladies +be brittle as fine china.<br> +<br> +JESSIE. O I’ll kiss her very lightly, Mother.<br> +<br> +[<i>She goes up to </i>JOAN <i>and kisses her</i>. ROBIN <i>then +reaches up his face and </i>JOAN <i>kisses him.<br> +<br> +</i>ROBIN. [<i>Rubbing his mouth</i>.] The flour do come +from Aunt same as it does from a new loaf.<br> +<br> +MILES. [<i>To </i>JOAN.] You must pardon these ignorant +little country brats, Miss Clara.<br> +<br> +JOAN. O there’s nothing amiss, thank you.<br> +<br> +EMILY. Amiss, who said as there was? When folks what can +afford to lodge at the inn do come down and fasten theirselves on the +top of poor people, they must take things as they do find them and not +start grumbling at the first set off.<br> +<br> +LUKE. There, there, Missis Spring. There wasn’t naught +said about grumbling. But Miss Clara have come a smartish long +distance, and it behoves us all as she should find summat of a welcome +at the end of her journey, like.<br> +<br> +MILES. [<i>Aside to </i>JOAN.] How strange this country +tongue must fall on your ears, Miss Clara!<br> +<br> +JOAN. I don’t understand about half of what they say.<br> +<br> +EMILY. [<i>Overhearing her</i>.] O, you don’t, don’t +you. Well, Clara, I was always one for plain words, and I say +’tis a pity when folks do get above the position to which they +was bred, and for all the fine satins and plumes upon you, the body +what’s covered by them belongs to Clara Spring, what’s sister +to Thomas. And all the world knows what Thomas is - A poor, mean +spirited, humble born man with but two coats to the back of him, and +with not a thought to the mind of him which is not foolishness. +And I judge from by what they be in birth, and not by the bags of gold +what have been left them by any old madams in their dotage. So +now you see how I takes it all and you and me can start fair, like.<br> +<br> +JOAN. [<i>To </i>LUKE.] O Mister - Mister Jenner, I feel +so faint.<br> +<br> +MILES. [<i>Taking her fan</i>.] Allow me. [<i>He begins +to fan her</i>.] I assure you she means nothing by it. It’s +her way. You see, she knows no better.<br> +<br> +LUKE. I’d fetch out summat for her to eat if I was you, +missis. ’Tis famished as the poor young maid must be.<br> +<br> +EMILY. She should have come when ’twas meal time then. +I don’t hold with bites nor drinks in between whiles.<br> +<br> +JOAN. O I’m dying for a glass of milk - or water would do +as well.<br> +<br> +MILES. My dear young lady - anything to oblige. [<i>Turning +to Jessie</i>.] Come, my little maid, see if you can’t make +yourself useful in bringing a tray of refreshment for your auntie. +And you [<i>turning to Robin</i>]<i> </i>trot off and help sister.<br> +<br> +EMILY. Not if I know it. Stop where you are, Jess. +Robin, you dare to move. If Clara wants to eat and drink I’m +afeared she must wait till supper time.<br> +<br> +ROBIN. There be chicken and sparrow grass for supper, Aunt.<br> +<br> +JESSIE. And a great pie of gooseberries.<br> +<br> +JOAN. [<i>Faintly</i>.] O I couldn’t touch a mouthful +of food, don’t speak to me about it.<br> +<br> +ROBIN. I likes talking of dinner. After I’ve done +eating of it, I likes next best to talk about it.<br> +<br> +LUKE. See here, missis. Let’s have a glass of summat +cool for Miss Clara.<br> +<br> +EMILY. [<i>Calling angrily</i>.] Maggie, Maggie, where are +you, you great lazy-boned donkey?<br> +<br> +MAGGIE. [<i>Comes in from the back kitchen</i>,<i> her apron held +to her eyes</i>.] Did you call me, mistress?<br> +<br> +EMILY. Get up a bucket of water from the well. Master’s +sister wants a drink.<br> +<br> +MAGGIE. [<i>Between sobs</i>.] Shall I bring it in the bucket, +or would the young lady like it in a jug?<br> +<br> +EMILY. [<i>With exasperation</i>.] There’s no end +to the worriting that other folks do make.<br> +<br> +JESSIE. Let me go and help poor Maggie, mother.<br> +<br> +ROBIN. [<i>To </i>JOAN.] Do you know what Maggie’s +crying for, Aunt Clara?<br> +<br> +JOAN. I’m sure I don’t, little boy.<br> +<br> +ROBIN. ’Tis because she’s got to go. Mother’s +sent her off. ’Twas what she said of mother’s tongue.<br> +<br> +EMILY. [<i>Roughly taking hold of </i>ROBIN <i>and </i>JESSIE.] +Come you along with me, you ill-behaved little varmints. ’Tis +the back kitchen and the serving maid as is the properest place for +such as you. I’ll not have you bide ’mongst the company +no longer. [<i>She goes out with the children and followed by +</i>MAGGIE.]<br> +<br> +[<i>Directly they have left the room </i>JOAN, <i>whose manner has been +nervously shrinking</i>,<i> seems to recover herself and she assumes +a languid</i>,<i> artificial air</i>,<i> badly imitating the ways of +a lady of fashion.<br> +<br> +</i>JOAN. [<i>Fanning herself with her handkerchief and her fan</i>.] +Well, I never did meet with such goings on before.<br> +<br> +MILES. You and I know how people conduct themselves in London, +Miss Clara. We must not expect to find the same polite ways down +here.<br> +<br> +LUKE. Come now, ’tisn’t so bad as all that with we. +There baint many what has the tongue of mistress yonder.<br> +<br> +JOAN. I’m quite unused to such people.<br> +<br> +LUKE. And yet, Miss Clara, ’tisn’t as though they +were exactly strangers to you like.<br> +<br> +JOAN. They feel as good as strangers to me, any way.<br> +<br> +MILES. Ah, how well I understand that, Miss. ’Tisn’t +very often as we lay a length of fine silken by the side of unbleached +woollen at my counters.<br> +<br> +JOAN. I could go through with it better perhaps, if I didn’t +feel so terrible faint and sinking.<br> +<br> +LUKE. [<i>Going to the back kitchen door</i>.] Here, Maggie, +stir yourself up a bit. The lady is near fainting, I do count.<br> +<br> +JESSIE. [<i>Runs in with a tray on which is a jug of water and +a glass</i>.] I’m bringing the drink for Aunt, Mr. Jenner. +Maggie’s crying ever so badly, and Mother’s sent her upstairs +to wash her face and put her hair tidy.<br> +<br> +[JESSIE <i>puts the tray on the table near to where </i>JOAN <i>is sitting</i>. +MILES HOOFER <i>busies himself in pouring out a glass of water and in +handing it with a great deal of exaggerated deference to </i>JOAN.<br> +<br> +JOAN. [<i>Drinking</i>.] Such a coarse glass!<br> +<br> +MILES. Ah, you must let me send you up one from my place during +your stay here. Who could expect a lady to drink from such a thing +as that?<br> +<br> +JOAN. [<i>Laying aside the glass</i>.] There’s a taste +of mould in the water too.<br> +<br> +JESSIE. It’s fresh. Mother drawed it up from the well, +she did.<br> +<br> +JOAN. [<i>Looking disdainfully round on the room</i>.] Such +a strange room. So very common.<br> +<br> +LUKE. Nay, you mustn’t judge of the house by this. +Don’t you recollect the parlour yonder, with the stuffed birds +and the chiney cupboard?<br> +<br> +JOAN. [<i>Looking round again</i>.] Such an old-fashioned +place as this I never did see. ’Tis a low sort of room too, +no carpet on the boards nor cloth to the table, nor nothing elegant.<br> +<br> +MILES. Ah, we find the mansions in town very different to a country +farm house, don’t we Miss?<br> +<br> +JOAN. I should think we did, Mister Hooper. Why, look at +that great old wooden chair by the hearth? Don’t it look +un-stylish, upon my word, with no cushions to it nor nothing.<br> +<br> +JESSIE. [<i>Coming quite close to </i>JOAN <i>and looking straight +into her face</i>.] That’s great gran’ma’s chair, +what Dad said you’d be best pleased for to see.<br> +<br> +[JOAN <i>looks very confused and begins to fan herself hastily.<br> +<br> +</i>JESSIE. And th’ old clock’s another thing what +Dad did say as you’d look upon.<br> +<br> +JOAN. O the old clock’s well enough, to be sure.<br> +<br> +JESSIE. I did want to gather a nosegay of flowers to set in your +bedroom, Aunt, but Mother, she said, no.<br> +<br> +JOAN. [<i>Languidly</i>.] I must say I don’t see any +flowers blooming here that I should particular care about having in +my apartment.<br> +<br> +JESSIE. And Father said as how you’d like to smell the blossoms +in the garden. And Georgie told as how you did use to gather the +clover blooms when you was a little girl and set them by you where you +did sleep.<br> +<br> +JOAN. [<i>Crossly</i>.] O run away, child, I’m tired +to death with all this chatter. How would you like to be so pestered +after such a travel over the rough country roads as I have had?<br> +<br> +LUKE. Now, my little maid, off you go. Take back the tray +to Mother, and be careful as you don’t break the glasses on it.<br> +<br> +JESSIE. [<i>Taking up the tray</i>.] I’m off to play +in the hayfield along of Robin, then.<br> +<br> +[LUKE <i>opens the back kitchen door for her and she goes out</i>. +<i>Meanwhile </i>MILES <i>has taken up the fan and is fanning </i>JOAN, +<i>who leans back in her chair with closed eyes and exhausted look.<br> +<br> +</i>LUKE. [<i>Coming to her side and sitting down</i>.] +’Twill seem more homelike when Thomas do come up from the field.<br> +<br> +JOAN. [<i>Raising herself and looking at him</i>.] You mustn’t +trouble about me, Mister Jenner. I shall be quite comfortable +presently.<br> +<br> +[<i>The back door opens and </i>MAGGIE <i>comes hurriedly in.<br> +<br> +</i>MAGGIE. Please, mistress, there be a young person a-coming +through the rick yard.<br> +<br> +JOAN. [<i>Nervously</i>.] A young person?<br> +<br> +MAGGIE. Mistress be at the gooseberries a-gathering of them, and +the children be gone off to th’ hay field.<br> +<br> +MILES. ’Tis very likely your serving maid, dear Miss. +Shall I fetch the young woman in to you?<br> +<br> +JOAN. My maid, did you say? My maid?<br> +<br> +LUKE. Ah, depend on it, ’tis she.<br> +<br> +MAGGIE. The young person do have all the looks of a serving wench, +mistress. She be tramping over the yard with naught but a white +handkerchief over the head of she and a poking into most of the styes +and a-calling of the geese and poultry.<br> +<br> +LUKE. That’s her, right enough. Bring her in, Mag.<br> +<br> +JOAN. [<i>Agitatedly</i>.] No, no - I mean - I want to see +her particular - and alone. I’ll go to meet her. You +- gentlemen - [MAGGIE <i>goes slowly into the back kitchen.<br> +<br> +</i>MILES. [<i>Placing a chair for </i>JOAN.] Delicate ladies +should not venture out into the heat at this time of day.<br> +<br> +JOAN. [<i>With sudden resolution ignoring the chair and going +to the window</i>.] Then, do you two kind gentlemen take a stroll +in the garden. I have need of the services of my - my young woman. +But when she has put me in order after the dusty journey, I shall ask +you to be good enough to come back and while away an hour for me in +this sad place.<br> +<br> +MILES. [<i>Fervently</i>.] Anything to oblige a lady, miss.<br> +<br> +LUKE. That’s right. Us’ll wait while you do +lay aside your bonnet.<br> +<br> +[MILES <i>and </i>LUKE <i>go out through the garden door</i>. +MILES, <i>turning to bow low before he disappears</i>. JOAN <i>stands +as though distraught in the middle of the room</i>. <i>Through +the open door of the back kitchen the voices of </i>CLARA <i>and </i>MAGGIE +<i>are distinctly heard.<br> +<br> +</i>CLARA. Is no one at home then?<br> +<br> +MAGGIE. Ah, go you straight on into the kitchen, you’ll +find whom you be searching for in there. I’d take and shew +you in myself only I’m wanted down to th’ hayfield now.<br> +<br> +CLARA. Don’t put yourself to any trouble about me. +I know my way.<br> +<br> +[CLARA <i>comes into the kitchen</i>. <i>She has tied a white +handkerchief over her head</i>,<i> and carries a bunch of wildflowers +in her hands.<br> +<br> +</i>CLARA. Still in your cloak and bonnet! Why, I thought +by now you would have unpacked our things and made yourself at home.<br> +<br> +JOAN. [<i>Joining her hands supplicatingly and coming towards +</i>CLARA, <i>speaking almost in a whisper</i>.] O mistress, you’ll +never guess what I’ve been and done. But ’twasn’t +all my fault at the commencement.<br> +<br> +CLARA. [<i>Looking her over searchingly</i>.] You do look +very disturbed, Joan, what has happened?<br> +<br> +JOAN. ’Twas the fine bonnet and cloak, mam. ’Twas +they as did it.<br> +<br> +CLARA. Did what?<br> +<br> +JOAN. Put the thought into my head, like.<br> +<br> +CLARA. What thought?<br> +<br> +JOAN. As how ’twould feel to be a real grand lady, like +you, mistress.<br> +<br> +CLARA. What then, Joan?<br> +<br> +JOAN. So I began to pretend all to myself as how that I was one, +mistress.<br> +<br> +CLARA. Come, tell me all.<br> +<br> +JOAN. And whilst I was sat down upon that fallen tree, and sort +of pretending to myself, the two gentlemen came along.<br> +<br> +CLARA. What gentlemen?<br> +<br> +JOAN. Gentlemen as was after courting you, mistress.<br> +<br> +CLARA. Courting me?<br> +<br> +JOAN. Yes, and they commenced speaking so nice and respectful +like.<br> +<br> +CLARA. Go on, Joan, don’t be afraid.<br> +<br> +JOAN. It did seem to fall in with the game I was a-playing with +myself. And then, before I did know how, ’twas they was +both of them a-taking me for you, mam.<br> +<br> +CLARA. And did you not un-deceive them, Joan?<br> +<br> +JOAN. [<i>Very ashamedly</i>.] No, mam.<br> +<br> +CLARA. You should have told them the truth about yourself at once.<br> +<br> +JOAN. O I know I should have, mistress. But there was something +as held me back when I would have spoke the words.<br> +<br> +CLARA. I wonder what that could have been?<br> +<br> +JOAN. ’Twas them being such very nice and kind gentlemen. +And, O mistress, you’ll not understand it, because you’ve +told me many times as the heart within you have never been touched by +love.<br> +<br> +CLARA. [<i>Suddenly sitting down</i>.] And has yours been +touched to-day, Joan, by love?<br> +<br> +JOAN. That it have, mistress. Love have struck at it heavily.<br> +<br> +CLARA. Through which of the gentlemen did it strike, Joan?<br> +<br> +JOAN. Through both. Leastways, ’tis Mister Jenner +that my feelings do go out most quickly to, mistress. But ’tis +Mister Hooper who do court the hardest and who has the greatest riches +like.<br> +<br> +CLARA. Well, and what do you want me to do or to say now, Joan?<br> +<br> +JOAN. See here, mistress, I want you to give me a chance. +They’ll never stoop to wed me if they knows as I’m but a +poor serving maid.<br> +<br> +CLARA. Your dressing up as a fine lady won’t make you other +than what you are, Joan.<br> +<br> +JOAN. Once let me get the fish in my net, mistress.<br> +<br> +CLARA. Are you proposing to catch the two, Joan?<br> +<br> +JOAN. I shall take the one as do offer first, mistress.<br> +<br> +CLARA. That’ll be Mister Hooper, I should think.<br> +<br> +JOAN. I should go riding in my own chaise, mistress, if ’twas +him.<br> +<br> +CLARA. But, Joan, either of these men would have to know the truth +before there could be any marriage.<br> +<br> +JOAN. I knows that full well, mistress. But let one of them +just offer hisself. By that time my heart and his would be so +closely twined together like, ’twould take more nor such a little +thing as my station being low to part us.<br> +<br> +[CLARA <i>sits very still for a few moments</i>,<i> looking straight +before her</i>,<i> lost in thought</i>. JOAN <i>sinks on to a +chair by the table as though suddenly tired out</i>,<i> and she begins +to cry gently.<br> +<br> +</i>CLARA. Listen, Joan. I’m one for the straight +paths. I like to walk in open fields and over the bare heath. +Only times come when one is driven to take to the ways which are set +with bushes and with briars.<br> +<br> +JOAN. [<i>Lifting her head and drying her eyes</i>.] O mistress, +I feel to be asking summat as is too heavy for you to give.<br> +<br> +CLARA. But for a certain thing, I could never have lent myself +to this acting game of yours, Joan.<br> +<br> +JOAN. No, mistress?<br> +<br> +CLARA. Only that, to-day, my heart too has gone from my own keeping.<br> +<br> +JOAN. O mistress, you don’t mean to say as his lordship +have followed us down already.<br> +<br> +CLARA. [<i>Scornfully</i>.] His lordship! As if I +should be stirred by him!<br> +<br> +JOAN. [<i>Humbly</i>.] Who might it be, mistress, if I may +ask?<br> +<br> +CLARA. ’Tis one who would never look upon me with thoughts +of love if I went to him as I am now, Joan.<br> +<br> +JOAN. I can’t rightly understand you, mam.<br> +<br> +CLARA. My case is just the same as yours, Joan. You say +that your fine gentlemen would not look upon a serving maid.<br> +<br> +JOAN. I’m certain of it, mistress.<br> +<br> +CLARA. And the man I - I love will never let his heart go out +to mine with the heaviness of all these riches lying between us.<br> +<br> +JOAN. I count that gold do pave the way for most of us, mistress.<br> +<br> +CLARA. So for this once, I will leave the clear high road, Joan. +And you and I will take a path that is set with thorns. Pray God +they do not wound us past healing at the end of our travel.<br> +<br> +JOAN. O mistress, ’twill be a lightsome journey for me.<br> +<br> +CLARA. But the moment that you reach happiness, Joan, remember +to confess.<br> +<br> +JOAN. There won’t be nothing to fear then, mistress.<br> +<br> +CLARA. Make him love you for yourself, Joan. O we must each +tie the heart of our true love so tightly to our own that naught shall +ever be able to cut the bonds.<br> +<br> +JOAN. Yes, mistress, and I’m sure I’m very much obliged +to you.<br> +<br> +CLARA. Ah, I am lending myself to all this, because I, too, have +something to win or lose.<br> +<br> +JOAN. Where did you meet him, mistress?<br> +<br> +CLARA. I did not meet him. I stood on the high ground, and +he passed below. His face was raised to the light, and I saw its +look. I think my love for him has always lain asleep in my heart, +Joan. But when he passed beneath me in the meadow, it awoke.<br> +<br> +JOAN. O mistress, what sort of an appearance has the gentleman?<br> +<br> +CLARA. I don’t know how to answer you, Joan.<br> +<br> +JOAN. I count as it would take a rare, grand looking man for to +put his lordship into the shadow, like.<br> +<br> +CLARA. You are right there, Joan. But now we must talk of +your affairs. Your fine courtiers will be coming in presently +and you must know how to receive them in a good way.<br> +<br> +JOAN. That’s what do hamper me dreadful, my speech and other +things. How would it be if you was to help me a little bit, like?<br> +<br> +CLARA. With all my heart.<br> +<br> +JOAN. How should I act so not to be found out, mistress?<br> +<br> +CLARA. You must speak little, and low. Do not show haste +in your goings and comings. Put great care into your way of eating +and drinking.<br> +<br> +JOAN. O that will be a fearsome hard task. What else?<br> +<br> +CLARA. You must be sisterly with Thomas.<br> +<br> +JOAN. I’d clean forgot him. I don’t doubt but +what he’ll ferret out the truth in no time.<br> +<br> +CLARA. I don’t think so. I was but a little child +when I left him. He will not remember how I looked. And +our colouring is alike, Joan.<br> +<br> +JOAN. ’Tis the eating and drinking as do play most heavily +upon my mind, mistress.<br> +<br> +CLARA. Then think of these words as you sit at table. Eat +as though you were not hungry and drink as though there were no such +thing as thirst. Let your hands move about your plate as if they +were too tired to lift the knife and fork.<br> +<br> +[JOAN, <i>darts to the dresser - seizes up a plate with a knife and +fork</i>,<i> places them on the table and sits down before them</i>,<i> +pretending to cut up meat</i>. CLARA <i>watches her smilingly.<br> +<br> +</i>JOAN. [<i>Absently</i>,<i> raising the knife to her mouth</i>.] +How’s that, mistress?<br> +<br> +CLARA. Not so, not so, Joan. That might betray you.<br> +<br> +JOAN. What, mistress?<br> +<br> +CLARA. ’Tis the fork which journeys to the mouth, and the +knife stops at home on the plate.<br> +<br> +JOAN. [<i>Dispiritedly</i>.] ’Tis almost more than +I did reckon for when I started.<br> +<br> +CLARA. Well, we mustn’t think of that now. We must +hold up our spirits, you and I.<br> +<br> +JOAN. [<i>Getting up and putting away the crockery</i>.] +I’d best take off the bonnet and the cloak, mistress, hadn’t +I?<br> +<br> +CLARA. Yes, that you had. We will go upstairs together and +I will help you change into another gown. Come quickly so that +we may have plenty of time.<br> +<br> +[<i>They go towards the staircase door</i>,<i> </i>CLARA <i>leading +the way</i>. <i>With her hand on the latch of the door she gives +one look round the kitchen</i>. <i>Then with a sudden movement +she goes up to the wooden armchair at the hearth and bends her head +till her lips touch it</i>,<i> she then runs upstairs</i>,<i> followed +by </i>JOAN.<br> +<br> +<br> +<br> +ACT II. - Scene 2.<br> +<br> +<br> +<br> +<i>After a few moments </i>MILES HOOPER <i>and </i>LUKE JENNER <i>come +into the kitchen</i>. <i>They both look round the room enquiringly.<br> +<br> +</i>LUKE. Ah, she be still up above with that there serving wench +what’s come.<br> +<br> +MILES. My good man, you didn’t expect our fair miss to have +finished her toilet under an hour, did you?<br> +<br> +LUKE. I don’t see what there was to begin on myself, let +alone finish.<br> +<br> +MILES. ’Tis clear you know little of the ways of our town +beauties, Luke.<br> +<br> +LUKE. Still, I mean to have my try with her, Miles Hooper.<br> +<br> +MILES. [<i>Sarcastically</i>.] I’m quite agreeable, +Mister Jenner.<br> +<br> +[THOMAS <i>and </i>GEORGE <i>come in</i>. GEORGE <i>carries a +bucket of water.<br> +<br> +</i>THOMAS. Where’s the little maid got to? George +and me be come up from the field on purpose for to bid her welcome home.<br> +<br> +MILES. Miss is still at her toilet, farmer.<br> +<br> +[JOAN, <i>in a flowered silk gown</i>,<i> comes slowly and carefully +into the room</i>,<i> followed by </i>CLARA, <i>who carries a lace shawl +over one arm</i>. <i>She has put on a large white apron</i>,<i> +but wears nothing on her head but the narrow blue ribbon</i>. +<i>During the following scene she stands quietly</i>,<i> half hidden +by the door.<br> +<br> +</i>[JOAN <i>looks nervously round the room</i>,<i> then she draws herself +up very haughtily</i>. MILES <i>comes forward and bows low.<br> +<br> +</i>THOMAS. [<i>Looking </i>JOAN <i>up and down</i>.] Well, +bless my soul, who’d have guessed at the change it do make in +a wench?<br> +<br> +JOAN. [<i>Holding out her hand</i>,<i> very coldly</i>.] +A good afternoon to you, sir.<br> +<br> +THOMAS. [<i>Taking her hand slowly</i>.] Upon my word, but +you might knock me over.<br> +<br> +MILES. Miss has grown into a very superb young lady, Thomas.<br> +<br> +THOMAS. [<i>Still looking at her</i>.] That may be so, yet +’twasn’t as such I had figured she in the eye of my mind, +like. [<i>There is a moment</i>’<i>s silence.<br> +<br> +</i>THOMAS. George, my boy, you and sister Clara used to be up +to rare games one with t’other once on a time. [<i>Turning +to </i>JOAN.] There, my wench, I count you’ve not forgotten +Georgie?<br> +<br> +JOAN. I’m afeared I’ve not much of a memory.<br> +<br> +THOMAS. Shake hands, my maid, and very like as the memory will +come back to roost same as the fowls do.<br> +<br> +JOAN. [<i>Bowing coldly</i>.] Good afternoon, George.<br> +<br> +MILES. [<i>Aside to Luke</i>.] Now that’s what I call +a bit of stylish breeding.<br> +<br> +[GEORGE <i>has made no answer to </i>JOAN’s <i>bow</i>. +<i>He quietly ignores it</i>,<i> and takes up his pail of water</i>. +<i>As he does so he catches sight of </i>CLARA, <i>who has been watching +the whole scene from the corner where she is partly concealed</i>. +<i>He looks at her for one moment</i>,<i> and then sets the bucket down +again.<br> +<br> +</i>THOMAS. Why, George - I guess as it’s took you as it +took me, us didn’t think how ’twould appear when Miss Clara +was growed up.<br> +<br> +GEORGE. [<i>Quietly</i>.] No, us did not, master.<br> +<br> +[<i>He carries his pail into the back kitchen as </i>EMILY <i>and the +children come in.<br> +<br> +</i>EMILY. What’s all this to-do in my kitchen, I should +like to know?<br> +<br> +THOMAS. Us did but come up for to - to give a handshake to sister +Clara, like.<br> +<br> +EMILY. Well, now you can go off back to work again. And +you -<i> </i>[<i>turning to </i>JOAN] - now that you’ve finished +curling of your hair and dressing of yourself up, you can go and sit +down in the best parlour along with your fancy gentlemen.<br> +<br> +MILES. [<i>Offering his arm to </i>JOAN.] It will be my +sweet pleasure to conduct Missy to the parlour.<br> +<br> +[LUKE <i>offers his arm on the other side</i>,<i> and </i>JOAN <i>moves +off with both the young men.<br> +<br> +</i>JOAN. [<i>As she goes</i>.] Indeed, I shall be glad +to rest on a comfortable couch. I’m dead tired of the country +air already.<br> +<br> +ROBIN. [<i>Calling after her</i>.] You’ll not go off +to sleep afore the chicken and sparrow grass is ate, will you, Aunt?<br> +<br> +[MILES, LUKE <i>and </i>JOAN <i>having gone out</i>,<i> </i>EMILY <i>begins +to bang the chairs back in their places and to arrange the room</i>,<i> +watched by the two children</i>. CLARA, <i>who has remained half +hidden by the door</i>,<i> now goes quietly upstairs.<br> +<br> +</i>EMILY. [<i>Calling</i>.] Here, George, Mag.<br> +<br> +[GEORGE <i>comes in.<br> +<br> +</i>EMILY. Well, George, ’tisn’t much worse nor I +expected.<br> +<br> +JESSIE. I don’t like Aunt Clara.<br> +<br> +ROBIN. I hates her very much.<br> +<br> +GEORGE. [<i>Slowly</i>.] And I don’t seem to fancy +her neither.<br> +<br> +[<i>Curtain.</i>]<br> +<br> +<br> +<br> +ACT III. - Scene 1.<br> +<br> +<br> +<br> +<i>Two days have passed by.<br> +<br> +It is morning</i>. CLARA, <i>wearing an apron and a muslin cap +on her head</i>,<i> sits by the kitchen table mending a lace handkerchief</i>. +MAGGIE, <i>who is dusting the plates on the dressers</i>,<i> pauses +to watch her.<br> +<br> +</i>MAGGIE. I’d sooner sweep the cow sheds out and that +I would, nor have to set at such a niggly piece of sewing work as you.<br> +<br> +CLARA. I cannot do it quickly, it is so fine.<br> +<br> +MAGGIE. I count ’tis very nigh as bad as the treadmills, +serving a young miss such as yourn be.<br> +<br> +CLARA. What makes you say that, Maggie?<br> +<br> +MAGGIE. Missis be very high in her ways and powerful sharp in +the tongue, but I declare as your young lady will be worser nor missis +when she do come to that age.<br> +<br> +CLARA. Why do you think this, Mag?<br> +<br> +MAGGIE. O she do look at any one as though they was lower nor +the very worms in the ground. And her speaks as though each word +did cost she more nor a shilling to bring it out. And see how +destructive she be with her fine clothing. A laced petticoat tore +to ribbons last night, and to-day yon handkerchief.<br> +<br> +CLARA. These things are soon mended.<br> +<br> +[MAGGIE <i>continues to dust for a few moments.<br> +<br> +</i>MAGGIE. The day you comed here, ’twas a bit of ribbon +as you did have around of your hair.<br> +<br> +CLARA. [<i>After a moment</i>’<i>s hesitation</i>.] +I put it on to keep my hair neat on the journeying.<br> +<br> +MAGGIE. [<i>Coming nearer</i>.] I count as you’ve +not missed it, have you?<br> +<br> +CLARA. Indeed I have, and I think I must have lost it in the hayfield.<br> +<br> +MAGGIE. ’Tain’t lost.<br> +<br> +CLARA. Where is it then?<br> +<br> +MAGGIE. Look here, I could tell you, but I shan’t.<br> +<br> +CLARA. If you have found it, Maggie, you may keep it.<br> +<br> +MAGGIE. ’Twould be a fine thing to be a grand serving maid +as you be, and to give away ribbons, so ’twould.<br> +<br> +[CLARA <i>takes no notice of her and goes on sewing.<br> +<br> +</i>MAGGIE. [<i>More insistently</i>.] ’Twasn’t +me as found the ribbon.<br> +<br> +CLARA. Who was it then?<br> +<br> +MAGGIE. I daresay you’d like for to know, but I’m +not going to say nothing more about it.<br> +<br> +[MAGGIE <i>leans against the table watching </i>CLARA <i>as she sews.<br> +<br> +</i>[EMILY <i>with both the children now come in</i>. EMILY <i>carries +a basket of potatoes</i>,<i> and </i>JESSIE <i>a large bowl.<br> +<br> +</i>EMILY. [<i>Setting down the basket</i>.] Maggie, you +idle, bad girl, whatever are you doing here when master expects you +down in the meadow to help with the raking?<br> +<br> +MAGGIE. I be just a-going off yonder, mistress.<br> +<br> +EMILY. I’d thank other folk not to bring dressed up fine +young serving minxes down here - you was bad enough afore, Maggie, but +you’ll be a hundred times worser now.<br> +<br> +MAGGIE. I’ll be off and help master. I’ve been +and put the meat on to boil as you said, missis.<br> +<br> +[MAGGIE <i>goes off.<br> +<br> +</i>[CLARA <i>continues to sew</i>,<i> quietly</i>. JESSIE <i>has +put her bowl down on the table</i>,<i> and now comes to her side</i>. +ROBIN <i>also comes close to her</i>. EMILY <i>flings herself +into a chair for a moment and contemptuously watches them.<br> +<br> +</i>JESSIE. We don’t care much about our new aunt, Joan.<br> +<br> +ROBIN. Dad said as how Aunt would be sure to bring us sommat good +from London town in them great boxes.<br> +<br> +JESSIE. And Aunt has been here two days and more, and she hasn’t +brought us nothing.<br> +<br> +EMILY. Your fine aunt have been too much took up with her fancy +gentlemen to think of what would be suitable behaviour towards you children.<br> +<br> +JESSIE. Will Aunt Clara get married soon?<br> +<br> +EMILY. ’Tis to be hoped as she will be. Such a set +out in the house I have never seen afore in all my days. Young +women as is hale and hearty having their victuals took up to their rooms +and a-lying in bed till ’tis noon or later.<br> +<br> +JESSIE. ’Tis only one of them as lies in bed.<br> +<br> +ROBIN. [<i>To </i>CLARA.] Do you think Aunt has got sommat +for us upstairs, Joan?<br> +<br> +CLARA. [<i>Rising and putting down her work</i>.] I know +she has, Robin.<br> +<br> +EMILY. Don’t let me catch you speaking to Master Spring +as though you and he was of the same station, young person.<br> +<br> +CLARA. Master Robin, and Miss Jessie, I will go upstairs and fetch +the gifts that your aunt has brought for you.<br> +<br> +[<i>She goes leisurely towards the staircase door</i>,<i> smiling at +the children.<br> +<br> +</i>EMILY. Ah, and you may tell your young madam that ’tis +high time as she was out of bed and abroad. Hear that? [CLARA +<i>goes out.<br> +<br> +</i>JESSIE. I like her. She speaks so gentle. Not +like Aunt.<br> +<br> +EMILY. She’s a stuck up sort of fine lady herself like. +Look at the hands of her, ’tis not a day’s hard work as +they have done in her life, I’ll warrant.<br> +<br> +ROBIN. What will she bring us from out of the great boxes, do +you think?<br> +<br> +EMILY. Sommat what you don’t need, I warrant. ’Tis +always so. When folks take it into their heads to give you aught, +’tis very nigh always sommat which you could do better without.<br> +<br> +[EMILY <i>gets up and begins settling the pots on the fire</i>,<i> and +fetching a jug of cold water from the back kitchen and a knife which +she lays on the table.<br> +<br> +</i>[CLARA <i>enters carrying some parcels</i>. <i>She brings +them to the table</i>. <i>Both the children run to her.<br> +<br> +</i>CLARA. [<i>Holding out a long parcel to </i>EMILY <i>and speaking +to the children</i>.] The first is for your mother, children.<br> +<br> +EMILY. [<i>With an angry exclamation</i>.] Now, you mark +my words, ’twill be sommat as I shall want to fling over the hedge +for all the use ’twill be.<br> +<br> +[<i>She comes near</i>,<i> opens the parcel and perceives it to be a +length of rich black silk.<br> +<br> +</i>CLARA. My mistress thought it might be suitable.<br> +<br> +EMILY. Suitable? I’ll suitable her. When shall +my two hands find time to sew me a gown out of it, I’d like to +know? And if ’twas sewn, when would my limbs find time to +sit down within of it? [<i>Flinging it down on the table</i>.] +Suitable? You can tell your mistress from me as she can keep her +gifts to herself if she can’t do better nor this.<br> +<br> +JESSIE. [<i>Stroking the silk</i>.] O Mother, the feel of +it be softer nor a dove’s feather.<br> +<br> +ROBIN. [<i>Feeling it too</i>.] ’Tis better nor the +new kittens’ fur.<br> +<br> +EMILY. Let us see if your aunt have done more handsomely towards +you children.<br> +<br> +CLARA. I am afraid not. These coral beads are for Miss Jessie, +with her aunt’s dear love. And this book of pictures is +for Master Robin.<br> +<br> +JESSIE. [<i>Seizing the beads with delight</i>.] I love +a string of beads. [<i>Putting them on</i>.] How do they +look on me?<br> +<br> +EMILY. Off with them this moment. I’ll learn her to +give strings of rubbish to my child.<br> +<br> +JESSIE. [<i>Beginning to cry</i>.] O do let me wear it just +a little while, just till dinner, Mother.<br> +<br> +EMILY. Have done with that noise. Off with it at once, do +you hear.<br> +<br> +JESSIE. [<i>Taking the necklace off</i>.] I love the feel +of it - might I keep it in my hand then?<br> +<br> +EMILY. [<i>Seizing it</i>.] ’Twill be put by with +the silk dress. So there. ’Tis not a suitable thing +for a little girl like you.<br> +<br> +ROBIN. [<i>Looking up from the pages of his book</i>.] No +one shan’t take my book from me. There be pictures of great +horses and sheep and cows in it - and no one shan’t hide it from +me.<br> +<br> +EMILY. [<i>Putting the silk dress and necklace on another table</i>.] +Next time your aunt wants to throw her money into the gutter I hope +as she’ll ask me to come and see her a-doing of it.<br> +<br> +JESSIE. [<i>Coming up to </i>CLARA <i>very tearfully</i>.] +And was there naught for Dad in the great box?<br> +<br> +CLARA. Perhaps there may be.<br> +<br> +ROBIN. And did Aunt Clara bring naught for Georgie?<br> +<br> +CLARA. I don’t know.<br> +<br> +JESSIE. Poor Georgie. He never has nothing gived him.<br> +<br> +ROBIN. And Mother puts the worst of the bits on his plate at dinner.<br> +<br> +EMILY. [<i>Sharply</i>.] Look you here, young woman. +Suppose you was to take and do something useful with that idle pair +of hands as you’ve got.<br> +<br> +CLARA. Yes, mistress, I should like to help you in something.<br> +<br> +EMILY. Us knows what fine promises lead to.<br> +<br> +CLARA. But I mean it. Do let me help a little.<br> +<br> +EMILY. See them taters?<br> +<br> +CLARA. Yes.<br> +<br> +EMILY. Take and peel and wash them and get them ready against +when I wants to cook them.<br> +<br> +CLARA. [<i>A little doubtfully</i>.] Yes - I’ll - +I’ll try -<br> +<br> +EMILY. Ah, ’tis just as I thought. You’re one +of them who would stir the fire with a silver spoon rather nor black +their hands with the poker.<br> +<br> +CLARA. [<i>Eagerly</i>.] No, no - it isn’t that. +I’ll gladly do them. Come, Miss Jessie, you will shew me +if I do them wrongly, won’t you?<br> +<br> +JESSIE. O yes, I’ll help you because I like you, Joan.<br> +<br> +ROBIN. I’ll help too, when I have finished looking at my +book.<br> +<br> +[EMILY <i>goes out</i>. CLARA <i>sits down by the table and takes +up a potato and the knife and slowly and awkwardly sets to work</i>. +JESSIE <i>stands by her watching.<br> +<br> +</i>JESSIE. You mustn’t take no account of Mother when she +speaks so sharp. ’Tis only her way.<br> +<br> +ROBIN. Could you come and be our serving maid when Maggie’s +sent off?<br> +<br> +CLARA. O I should be too slow and awkward at the work, I think.<br> +<br> +JESSIE. Yes, you don’t do them taters very nice.<br> +<br> +ROBIN. That don’t matter, I like you, and you can tell me +fine things about other parts.<br> +<br> +JESSIE. Georgie can tell of fine things too. See, there +he comes with the vegetables from the garden.<br> +<br> +[GEORGE <i>comes in with a large basket of vegetables</i>,<i> which +he sets down in the back kitchen</i>. <i>Then he stands at the +door</i>,<i> silently watching the group near the table.<br> +<br> +</i>JESSIE. Come here, Georgie, and let Joan hear some of the +tales out of what you do sing.<br> +<br> +GEORGE. What would mistress say if she was to catch me at my songs +this time of day?<br> +<br> +JESSIE. Mother’s gone upstairs, she won’t know nothing.<br> +<br> +ROBIN. Come you here, George, and look at my fine book what Aunt +have brought me.<br> +<br> +GEORGE. [<i>Slowly approaching the table</i>.] That be a +brave, fine book of pictures, Master Robin.<br> +<br> +ROBIN. [<i>Holding up the open book</i>.] I don’t +fancy Aunt Clara much, but I likes her better nor I did because of this +book.<br> +<br> +[GEORGE’S <i>eyes wander from the book to </i>CLARA <i>as she +bends over her work.<br> +<br> +</i>JESSIE. Joan doesn’t know how to do them very nicely, +does she George!<br> +<br> +GEORGE. ’Tis the first time you’ve been set down to +such work, may be, mistress.<br> +<br> +JESSIE. You mustn’t say “mistress” to Joan, +you know. Why, Mother would be ever so angry if she was to hear +you. Joan’s only a servant.<br> +<br> +CLARA. [<i>Looking up</i>.] Like you, George.<br> +<br> +GEORGE. [<i>Steadily</i>.] What I was saying is - ’Tis +the first time as you have been set afore a bowl of taters like this.<br> +<br> +CLARA. You are right, George. It is the first time since +- since I was quite a little child. And I think I’m very +clumsy at my work.<br> +<br> +GEORGE. No one could work with them laces a-falling down all over +their fingers.<br> +<br> +JESSIE. You should turn back your sleeves for kitchen work, Joan, +same as Maggie does.<br> +<br> +GEORGE. Yes, you should turn back your sleeves, Miss Joan.<br> +<br> +[JOAN <i>puts aside the knife and basket</i>,<i> turns back her sleeves</i>,<i> +and then resumes her work</i>. GEORGE’S <i>eyes are rivetted +on her hands and arms for a moment</i>. <i>Then he turns as though +to go away.<br> +<br> +</i>JESSIE. Don’t go away, Georgie. Come and tell +us how you like Aunt Clara now that she’s growed into such a grand +lady.<br> +<br> +GEORGE. [<i>Coming back to the table</i>.] I don’t +like nothing about her, Miss Jessie.<br> +<br> +JESSIE. Is Aunt very much changed from when she did use to ride +the big horses to the trough, Georgie?<br> +<br> +ROBIN. And from the time when th’ old gander did take a +big piece right out of her arm, Georgie?<br> +<br> +GEORGE. [<i>His eyes on </i>CLARA’S <i>bent head</i>.] +I count her be wonderful changed, like.<br> +<br> +JESSIE. So that you would scarce know her?<br> +<br> +GEORGE. So that I should scarce know she.<br> +<br> +JESSIE. She have brought Mother a silken gown and me a string +of coral beads. But naught for you, Georgie.<br> +<br> +GEORGE. I reckon as Miss Clara have not kept me in her remembrance +like.<br> +<br> +CLARA. [<i>With sudden earnestness</i>.] O that she has, +George.<br> +<br> +JESSIE. She didn’t seem to know him by her looks.<br> +<br> +CLARA. Looks often speak but poorly for the heart.<br> +<br> +ROBIN. [<i>Who has been watching </i>CLARA.] See there, +Joan. You’ve been and cut that big tater right in half. +Mother will be cross.<br> +<br> +CLARA. O dear, I am thoughtless. One cannot work and talk +at the same time.<br> +<br> +GEORGE. [<i>Taking basket and knife from her and seating himself +on the edge of the table</i>.] Here, - give them all to me. +I understand such work, and ’tis clear that you do not. +I’ll finish them off in a few minutes, and mistress will never +be the wiser.<br> +<br> +CLARA. O thank you, George, but am I to go idle?<br> +<br> +GEORGE. You can take up with that there white sewing if you have +a mind. ’Tis more suited to your hands nor this rough job.<br> +<br> +[CLARA <i>puts down her sleeves and takes up her needlework.<br> +<br> +</i>JESSIE. Sing us a song, George, whilst you do the taters.<br> +<br> +GEORGE. No, Miss Jessie. My mood is not a singing mood this +day.<br> +<br> +JESSIE. You ask him, Joan.<br> +<br> +CLARA. Will not you sing one little verse, George?<br> +<br> +GEORGE. Nay - strangers from London town would have no liking +for the songs we sing down here among the fields.<br> +<br> +CLARA. There was a song I once heard in the country that pleased +me very well.<br> +<br> +JESSIE. What was it called?<br> +<br> +CLARA. I cannot remember the name - but there was something of +bushes and of briars in it.<br> +<br> +JESSIE. I know which that is. ’Tis a pretty song. +Sing it, Georgie.<br> +<br> +GEORGE. Nay - sing it yourself, Miss Jessie.<br> +<br> +JESSIE. ’Tis like this at the beginning. - [<i>she</i> <i>sings +or repeats</i>]<i> -<br> +<br> +</i>“Through bushes and through briars<br> +I lately took my way,<br> +All for to hear the small birds sing<br> +And the lambs to skip and play.”<br> +<br> +CLARA. That is the song I was thinking of, Jessie.<br> +<br> +GEORGE. Can you go on with it, Miss Jessie.<br> +<br> +JESSIE. I can’t say any more.<br> +<br> +CLARA. [<i>Gently singing or speaking.</i>]<br> +<br> +I overheard my own true love,<br> +Her voice it was so clear.<br> +“Long time I have been waiting for<br> +The coming of my dear.”<br> +<br> +GEORGE. [<i>Heaving a sigh</i>.] That’s it.<br> +<br> +JESSIE. Go on, Joan, I do like the sound of it.<br> +<br> +CLARA. Shall I go on with the song, George?<br> +<br> +GEORGE. As you please.<br> +<br> +CLARA.<br> +<br> +“Sometimes I am uneasy<br> +And troubled in my mind,<br> +Sometimes I think I’ll go to my love<br> +And tell to him my mind.”<br> +<br> +“And if I would go to my love<br> +My love he will say nay<br> +If I show to him my boldness<br> +He’ll ne’er love me again.”<br> +<br> +JESSIE. When her love was hid a-hind of the bushes and did hear +her a-singing so pitiful, what did he do then?<br> +<br> +CLARA. I don’t know, Jessie.<br> +<br> +JESSIE. I reckon as he did come out to show her as he knowed all +what she did keep in her mind.<br> +<br> +CLARA. Very likely the briars were so thick between them, Jess, +that he never got to the other side for her to tell him.<br> +<br> +GEORGE. Yes, that’s how ’twas, I count.<br> +<br> +JESSIE. [<i>Running up to </i>ROBIN.] I’m going to +look at your book along of you, Robin.<br> +<br> +ROBIN. But I’m the one to turn the leaves, remember. +[<i>The children sit side by side looking at the picture book</i>. +CLARA <i>sews</i>. GEORGE <i>goes on with the potatoes</i>. +<i>As the last one is finished and tossed into the water</i>,<i> he +looks at </i>CLARA <i>for the first time</i>. <i>A long silence.<br> +<br> +</i>GEORGE. Miss Clara and me was good friends once on a time.<br> +<br> +CLARA. Tell me how it was then, George.<br> +<br> +GEORGE. I did used to put her on the horse’s back, and we +would go down to the water trough in the evening time and -<br> +<br> +CLARA. What else did you and Miss Clara do together, George?<br> +<br> +GEORGE. Us would walk in the woods aside of one another - And +I would lift she to a high branch in a tree - and pretend for to leave +her there.<br> +<br> +CLARA. And then?<br> +<br> +GEORGE. Her would call upon me pitiful - and I would come back +from where I was hid.<br> +<br> +CLARA. And did her crying cease?<br> +<br> +GEORGE. She would take and spring as though her was one of they +little wild squirrels as do dance about in the trees.<br> +<br> +CLARA. Where would she spring to, George?<br> +<br> +GEORGE. I would hold out my two arms wide to her, and catch she.<br> +<br> +CLARA. And did she never fall, whilst springing from the tree, +George?<br> +<br> +GEORGE. I never let she fall, nor get hurted by naught so long +as her was in the care of me.<br> +<br> +CLARA. [<i>Slowly</i>,<i> after a short pause</i>.] I do +not think she can have forgotten those days, George.<br> +<br> +GEORGE. [<i>Getting up and speaking harshly</i>.] They’re +best forgot. Put them away. There be briars and brambles +and thorns and sommat of all which do hurt the flesh of man atween that +time and this’n.<br> +<br> +[CLARA <i>turns her head away and furtively presses her handkerchief +to her eyes</i>. GEORGE <i>looks gloomily on the floor</i>. +EMILY <i>enters.<br> +<br> +</i>EMILY. George, what are you at sitting at the kitchen table +I’d like to know?<br> +<br> +[GEORGE <i>gets hastily off</i>. <i>Both children look up from +their book.<br> +<br> +</i>EMILY. [<i>Looking freezingly at </i>CLARA.] ’Tis +plain as a turnpike what you’ve been after, young person. +If you was my serving wench, ’tis neck and crop as you should +be thrown from the door.<br> +<br> +CLARA. What for, mistress?<br> +<br> +EMILY. What for? You have the impudence to ask what for? +I’ll soon tell you. For making a fool of George and setting +your cap at him and scandalising of my innocent children in their own +kitchen.<br> +<br> +GEORGE. This be going a bit too far, missis. I’ll +not have things said like that.<br> +<br> +EMILY. Then you may turn out on to the roads where you were took +from - a grizzling little roadsters varmint. You do cost more’n +what you eats nor what we get of work from out of your body, you great +hulk.<br> +<br> +CLARA. [<i>Springing up angrily</i>.] O I’ll not hear +such things said. I’ll not.<br> +<br> +EMILY. Who asked you to speak? Get you upstairs and pull +your mistress out of bed - and curl the ringlets of her hair and dust +the flour on to her face. ’Tis about all you be fit for.<br> +<br> +CLARA. [<i>Angrily going to the stair door</i>.] Very well. +’Tis best that I should go. I might say something you would +not like.<br> +<br> +GEORGE. [<i>Advancing towards </i>EMILY.] Look you here, +mistress. I’ve put up with it going on for fifteen years. +But sometimes ’tis almost more nor I can bear. If ’twasn’t +for Master Thomas I’d have cleared out this long time ago.<br> +<br> +EMILY. Don’t flatter yourself as Thomas needs you, my man.<br> +<br> +GEORGE. We has always been good friends, farmer and me. +’Tis not for what I gets from he nor for what he do get out of +I as we do hold together. But ’tis this - as he and I do +understand one another.<br> +<br> +EMILY. We’ll see what master has to say when I tell him +how you was found sitting on the kitchen table and love-making with +that saucy piece of London trash.<br> +<br> +GEORGE. I’m off. I’ve no patience to listen +any longer. You called me roadster varmint. Well, let it +be so. On the road I was born and on the road I was picked from +my dead mother’s side, and I count as ’tis on the road as +I shall breathe my last. But for all that, I’ll not have +road dirt flung on me by no one. For, roadsters varmint though +I be, there be things which I do hold brighter nor silver and cleaner +nor new opened leaves, and I’ll not have defilement throwed upon +them.<br> +<br> +EMILY. [<i>Seizing the arms of </i>JESSIE <i>and </i>ROBIN.] +The lad’s raving. ’Tis plain as he’s been getting +at the cider. Come you off with me to the haymaking, Robin and +Jess.<br> +<br> +ROBIN. May I take my book along of me?<br> +<br> +EMILY. [<i>Flinging the book down violently</i>.] I’ll +book you! What next?<br> +<br> +JESSIE. Poor Georgie. He was not courting Joan, mother. +He was only doing the taters for her.<br> +<br> +EMILY. [<i>As they go out</i>.] The lazy good-for-nothing +cat. I’ll get her packed off from here afore another sun +has set, see if I don’t.<br> +<br> +[GEORGE <i>is left alone in the kitchen</i>. <i>When all sounds +of </i>EMILY <i>and the children have died away</i>,<i> he sighs</i>. +<i>Then</i>,<i> looking furtively round the room</i>,<i> he draws a +blue ribbon slowly from his pocket</i>. <i>He spreads it out on +one hand and stands looking down on it</i>,<i> sadly and longingly</i>. +<i>Then he slowly raises it to his lips and kisses it</i>. <i>Just +as he is doing this </i>THOMAS <i>comes into the room.<br> +<br> +</i>THOMAS. Why, George, my lad.<br> +<br> +GEORGE. [<i>Confusedly putting the ribbon back into his pocket</i>.] +Yes, Master Thomas.<br> +<br> +THOMAS. [<i>Looking meaningly at </i>GEORGE.] ’Tis +a pretty enough young maid, George.<br> +<br> +GEORGE. What did you say, Master?<br> +<br> +THOMAS. That one with the bit of blue round the head of her.<br> +<br> +GEORGE. Blue?<br> +<br> +THOMAS. Ah, George. I was a young man myself once on a time.<br> +<br> +GEORGE. Yes, master.<br> +<br> +THOMAS. ’Twasn’t a piece of blue ribbon as I did find +one day, but ’twas a blossom dropped from her gown.<br> +<br> +GEORGE. Whose gown, master? I’ll warrant ’twasn’t +missus’s.<br> +<br> +THOMAS. Bless my soul, no. No, no, George. ’Twasn’t +the mistress then.<br> +<br> +GEORGE. Ah, I count as it could not have been she.<br> +<br> +THOMAS. First love, ’tis best, George.<br> +<br> +GEORGE. Ah, upon my word, that ’tis.<br> +<br> +THOMAS. But my maid went and got her married to another.<br> +<br> +GEORGE. More’s the pity, Master Thomas.<br> +<br> +THOMAS. [<i>Sighing</i>.] Ah, I often thinks of how it might +have been - with her and me, like.<br> +<br> +GEORGE. Had that one a soft tongue to her mouth, master?<br> +<br> +THOMAS. Soft and sweet as the field lark, George.<br> +<br> +GEORGE. Then that had been the one for you to have wed, Master +Thomas.<br> +<br> +THOMAS. Ah, George, don’t you never run into the trap, no +matter whether ’tis baited with the choicest thing you ever did +dream on. Once in, never out. There ’tis.<br> +<br> +GEORGE. No one would trouble to set a snare for me, master. +I baint worth trapping.<br> +<br> +THOMAS. You be a brave, fine country lad, George, what a pretty +baggage from London town might give a year of her life to catch, so +be it her had the fortune.<br> +<br> +GEORGE. No, no, Master Thomas. Nothing of that. There +baint nothing.<br> +<br> +THOMAS. There be a piece of blue ribbon, George.<br> +<br> +GEORGE. They be coming down and into the room now, master. +[<i>Steps are heard in the staircase</i>.<br> +<br> +THOMAS. We’ll off to the meadow then, George.<br> +<br> +[GEORGE <i>and </i>THOMAS <i>go out.<br> +<br> +</i>[JOAN, <i>dressed as a lady of fashion</i>,<i> and followed by </i>CLARA, +<i>comes into the kitchen.<br> +<br> +</i>CLARA. Now, Joan, if I were you, I should go out into the +garden, and let the gentlemen find you in the arbour. Your ways +are more easy and natural when you are in the air.<br> +<br> +JOAN. O I’m very nigh dead with fright when I’m within +doors. ’Tis so hard to move about without knocking myself +against sommat. But at table ’tis worst of all.<br> +<br> +CLARA. You’ve stopped up in your room two breakfasts with +the headache, and yesterday we took our dinner to the wood.<br> +<br> +JOAN. But to-night ’twill be something cruel, for Farmer +Thomas have asked them both to supper again.<br> +<br> +CLARA. Luke Jenner and the other man?<br> +<br> +JOAN. I beg you to practise me in my ways, a little, afore the +time, mistress.<br> +<br> +CLARA. That I will. We will find out what is to be upon +the table, and then I will shew you how it is to be eaten.<br> +<br> +JOAN. And other things as well as eating. When I be sitting +in the parlour, Miss Clara, and Hooper, he comes up and asks my pleasure, +what have I got to say to him?<br> +<br> +CLARA. O, I shouldn’t trouble about that. I’d +open my fan and take no notice if I were you.<br> +<br> +JOAN. I do feel so awkward like in speech with Farmer Thomas, +mistress. And with the children, too.<br> +<br> +CLARA. Come, you must take heart and throw yourself into the acting. +Try to be as a sister would with Thomas. Be lively, and kind in +your way with the children.<br> +<br> +JOAN. I tries to be like old Madam Lovel was, when I talks with +them.<br> +<br> +CLARA. That cross, rough mode of hers sits badly on any one young, +Joan. Be more of yourself, but make little changes in your manner +here and there.<br> +<br> +JOAN. [<i>With a heavy sigh</i>.] ’Tis the here and +the there as I finds it so hard to manage.<br> +<br> +JESSIE. [<i>Running in breathlessly</i>.] A letter, a letter +for Aunt Clara. [CLARA <i>involuntarily puts out her hand</i>.] +No, Joan. I was to give it to Aunt Clara herself. I’ve +run all the way.<br> +<br> +[JOAN <i>slowly takes the letter</i>,<i> looking confused</i>.<br> +<br> +JESSIE. Will you read it now, Aunt?<br> +<br> +JOAN. Run away, little girl, I don’t want no children worriting +round me now. [<i>Suddenly recollecting herself and forcing herself +to speak brightly</i>.] I mean - no, my dear little girl, I’d +rather wait to read it till I’m by myself; but thank you very +kindly all the same, my pet.<br> +<br> +JESSIE. O, but I should like to hear the letter read, so much.<br> +<br> +JOAN. Never mind. Run along back to mother, there’s +a sweet little maid.<br> +<br> +JESSIE. I’d sooner stop with you now, you look so much kinder, +like.<br> +<br> +CLARA. [<i>Taking </i>JESSIE’S <i>hand and leading her to +the door</i>.] Now, Miss Jessie, your aunt must read her letter +in quiet, but if you will come back presently I will have a game with +you outside.<br> +<br> +JESSIE. [<i>As she runs off</i>.] Mother won’t let +me talk with you any more, alone. She says as you’ve made +a fool of Georgie and you’ll do the same by us all.<br> +<br> +JOAN. [<i>When </i>JESSIE <i>has run off</i>.] There now, +how did I do that, mistress?<br> +<br> +CLARA. Better, much better.<br> +<br> +JOAN. ’Tis the feeling of one thing and the speaking of +another, with you ladies and gentlemen. So it appears to me.<br> +<br> +CLARA. [<i>After a moment</i>’<i>s thought</i>.] No. +It is not quite like that. But ’tis, perhaps, the dressing +up of an ugly feeling in better garments.<br> +<br> +JOAN. [<i>Handing the letter to </i>CLARA.] There, mistress, +’tis yours, not mine.<br> +<br> +CLARA. [<i>Glancing at it</i>.] Lord Lovel’s writing. +[CLARA <i>opens the letter and reads it through</i>.] He will +not wait longer for my answer. And he is coming here as fast as +horses can bring him.<br> +<br> +JOAN. O, mistress, whatever shall we do?<br> +<br> +CLARA. We had better own to everything at once. It will +save trouble in the end.<br> +<br> +JOAN. Own to everything now, and lose all just as my hand was +closing upon it, like!<br> +<br> +CLARA. Poor Joan, it will not make any difference in the end, +if the man loves you truly.<br> +<br> +JOAN. Be kind and patient just to the evening, mistress. +Hooper is coming up to see me now. I’d bring him to offer +his self, if I was but left quiet along of him for a ten minutes or +so.<br> +<br> +CLARA. And then, Joan?<br> +<br> +JOAN. And then, when was all fixed up comfortable between us, +mistress, maybe as you could break it gently to him so as he wouldn’t +think no worse of me.<br> +<br> +[CLARA <i>gets up and goes to the window</i>,<i> where she looks out +for a few minutes in silence</i>. JOAN <i>cries softly meanwhile.<br> +<br> +</i>CLARA. [<i>Turning towards </i>JOAN.] As you will, Joan. +Very likely ’twill be to-morrow morning before my lord reaches +this place.<br> +<br> +JOAN. O bless you for your goodness, mistress. And I do +pray as all may go as well with you as ’tis with me.<br> +<br> +CLARA. [<i>Sadly</i>.] That is not likely, Joan.<br> +<br> +JOAN. What is it stands in the way, mistress?<br> +<br> +CLARA. Briars, Joan. Thorns of pride, and many another sharp +and hurting thing.<br> +<br> +JOAN. Then take you my counsel, mistress, and have his lordship +when he do offer next.<br> +<br> +CLARA. I’ll think of what you say, Joan. There comes +a moment when the heart is tired of being spurned, and it would fain +get into shelter. [<i>A slight pause.<br> +<br> +</i>JOAN. [<i>Looking through the window</i>.] Look up quickly, +mistress. There’s Hooper.<br> +<br> +CLARA. [<i>Getting up</i>.] Then I’ll run away. +May all be well with you, dear Joan. [CLARA <i>goes out.<br> +<br> +</i>[JOAN <i>seats herself in a high-backed chair and opens her fan</i>. +MILES <i>enters</i>,<i> carrying a small box.<br> +<br> +</i>MILES. Already astir, Miss Clara. ’Tis early hours +to be sure for one of our London beauties.<br> +<br> +[<i>He advances towards her</i>,<i> and she stretches out her hand without +rising</i>. <i>He takes it ceremoniously.<br> +<br> +</i>JOAN. You may sit down, if you like, Mister Hooper.<br> +<br> +[MILES <i>places a chair in front of </i>JOAN, <i>and sits down on it.<br> +<br> +</i>MILES. [<i>Untying the parcel</i>.] I’ve been +so bold as to bring you a little keepsake from my place in town, Missy.<br> +<br> +JOAN. How kind you are, Mister Miles.<br> +<br> +MILES. You’ll be able to fancy yourself in Bond Street when +you see it, Miss Clara.<br> +<br> +JOAN. Now, you do excite me, Mister Hooper.<br> +<br> +MILES. [<i>Opening the box and taking out a handsome spray of +bright artificial flowers</i>.] There, what do you say to that, +Miss? And we can do you the same in all the leading tints.<br> +<br> +JOAN. O, ’tis wonderful modish. I declare I never +did see anything to beat it up in town.<br> +<br> +MILES. Now I thought as much. I flatter myself that we can +hold our own with the best of them in Painswick High Street.<br> +<br> +JOAN. I seem to smell the very scent of the blossoms, Mister Hooper.<br> +<br> +[<i>She puts out her hand shyly and takes the spray from </i>MILES, +<i>pretending to smell it.<br> +<br> +</i>MILES. Well - and what’s the next pleasure, Madam?<br> +<br> +[JOAN <i>drops the spray and begins to fan herself violently.<br> +<br> +</i>MILES. [<i>Very gently</i>.] What’s Missy’s +next pleasure?<br> +<br> +JOAN. I’m sure I don’t know, Mr. Miles.<br> +<br> +MILES. Miles Hooper would like Missy to ask for all that is his.<br> +<br> +JOAN. O, Mister Hooper, how kind you are.<br> +<br> +MILES. Ladies never like the sound of business, so we’ll +set that aside for a moment and discuss the music of the heart in place +of it.<br> +<br> +JOAN. Ah, that’s a thing I do well understand, Mister Hooper.<br> +<br> +MILES. I loved you from the first, Miss. There’s the +true, high born lady for you, says I to myself. There’s +beauty and style, elegance and refinement.<br> +<br> +JOAN. Now, did you really think all that, Mister Hooper?<br> +<br> +MILES. Do not keep me in suspense, Miss Clara.<br> +<br> +JOAN. What about, sir?<br> +<br> +MILES. The answer to my question, Missy.<br> +<br> +JOAN. And what was that, I wonder?<br> +<br> +MILES. I want my pretty Miss to take the name of Hooper. +Will she oblige her Miles?<br> +<br> +JOAN. O that I will. With all my heart.<br> +<br> +MILES. [<i>Standing up</i>.] I would not spoil this moment, +but by and bye my sweet Missy shall tell me all the particulars of her +income, and such trifles.<br> +<br> +JOAN. [<i>Agitatedly</i>.] O let us not destroy to-day by +thoughts of anything but our dear affection one for t’other.<br> +<br> +MILES. Why, my pretty town Miss is already becoming countrified +in her speech.<br> +<br> +JOAN. ’Tis from hearing all the family. But, dear +Miles, promise there shan’t be nothing but - but love talk between +you and me this day. I could not bear it if we was to speak of, +of other things, like.<br> +<br> +MILES. [<i>Getting up and walking about the room</i>.] As +you will - as you will. Anything to oblige a lady.<br> +<br> +[<i>He stops before the table</i>,<i> on which is laid </i>EMILY’S +<i>silk dress</i>,<i> and begins to finger it.<br> +<br> +</i>JOAN. What’s that you’re looking at?<br> +<br> +MILES. Ten or fifteen shillings the yard, and not a penny under, +I’ll be bound.<br> +<br> +JOAN. O do come and talk to me again and leave off messing with +the old silk.<br> +<br> +MILES. No, no, Missy, I’m a man of business habits, and +’tis my duty to go straight off to the meadow and seek out brother +Thomas. He and I have got to talk things over a bit, you know.<br> +<br> +JOAN. Off so soon! O you have saddened me.<br> +<br> +MILES. Nay, what is it to lose a few minutes of sweet company, +when life is in front of us, Miss Clara?<br> +<br> +[<i>He raises her hand</i>,<i> kisses it</i>,<i> and leaves her</i>. +<i>As he goes out by the door </i>CLARA <i>enters.<br> +<br> +</i>JOAN. O, Mistress - stop him going down to Farmer Thomas at +the meadow!<br> +<br> +CLARA. Why, Joan, what has happened?<br> +<br> +JOAN. All has happened. But stop him going to the farmer +to talk about the - the wedding and the money.<br> +<br> +CLARA. The money?<br> +<br> +JOAN. The income which he thinks I have.<br> +<br> +CLARA. I’ll run, but all this time I’ve been keeping +Master Luke Jenner quiet in the parlour.<br> +<br> +JOAN. O what does he want now?<br> +<br> +CLARA. Much the same as the other one wanted.<br> +<br> +JOAN. Must I see him?<br> +<br> +CLARA. Yes, indeed he will wait no longer for his answer. +He’s at boiling point already.<br> +<br> +JOAN. Then send him in. But do you run quickly, Miss Clara, +and keep Miles Hooper from the farmer.<br> +<br> +CLARA. I’ll run my best, never fear. [<i>She goes +out.<br> +<br> +</i>[LUKE JENNER <i>comes in</i>,<i> a bunch of homely flowers in his +hand.<br> +<br> +</i>JOAN. [<i>Seating herself</i>.] You are early this morning, +Mister Jenner.<br> +<br> +LUKE. [<i>Sitting opposite to her</i>.] I have that to say +which would not bide till sunset, Miss Clara.<br> +<br> +JOAN. Indeed, Mister Jenner. I wonder what that can be.<br> +<br> +LUKE. ’Tis just like this, Miss Clara. The day I first +heard as you was coming down here - “I could do with a rich wife +if so be as I could win her,” I did tell myself.<br> +<br> +JOAN. O, Mister Jenner, now did you really?<br> +<br> +LUKE. But when I met you in the wood - saw you sitting there, +so still and yet so bright, so fine and yet so homely. “That’s +the maid for me,” I says to myself.<br> +<br> +JOAN. [<i>Tearfully</i>.] O, Mister Jenner!<br> +<br> +LUKE. And if it had been beggar’s rags upon her in the place +of satin, I’d have said the same.<br> +<br> +JOAN. [<i>Very much stirred</i>.] O, Mister Jenner, and +did you really think like that?<br> +<br> +LUKE. If all the gold that do lie atween me and you was sunk in +the deep ocean, ’twould be the best as could happen. There!<br> +<br> +JOAN. [<i>Faintly</i>.] O, Mister Jenner, why?<br> +<br> +LUKE. Because, very like ’twould shew to you as ’tis +yourself I’m after and not the fortune what you’ve got.<br> +<br> +JOAN. Mister Jenner, I’m mighty sorry.<br> +<br> +LUKE. Don’t say I’m come too late, Miss Clara.<br> +<br> +JOAN. You are. Mister Hooper was before you. And now, +’tis he and I who are like to be wed.<br> +<br> +LUKE. I might have known I had no chance.<br> +<br> +JOAN. [<i>Rising and trying to hide her emotion</i>.] I +wouldn’t have had it happen so for the world, Mr. Jenner.<br> +<br> +LUKE. [<i>Laying his bunch of flowers on the table</i>,<i> his +head bent</i>,<i> and his eyes on the ground</i>.] ’Twas +none of your doing, Miss Clara. You’ve naught to blame yourself +for. ’Tis not your fault as you’re made so - so beautiful, +and yet so homely.<br> +<br> +[JOAN <i>looks at him irresolutely for a moment and then precipitately +leaves the room.<br> +<br> +</i>[LUKE <i>folds his arms on the table and rests his head on them +in an attitude of deepest despondency</i>. <i>After a few moments +</i>CLARA <i>enters.<br> +<br> +</i>CLARA. O, Mister Jenner, what has happened to you?<br> +<br> +LUKE. [<i>Raising his head and pointing to the window</i>.] +There she goes, through the garden with her lover.<br> +<br> +CLARA. I wish that you were in his place.<br> +<br> +LUKE. [<i>Bitterly</i>.] I’ve no house with golden +rails to offer her. Nor any horse and chaise.<br> +<br> +CLARA. But you carry a heart within you that is full of true love.<br> +<br> +LUKE. What use is the love which be fastened up in a man’s +heart and can spend itself on naught, I’d like to know. +[<i>He rises as though to go and take up the bunch of flowers which +has been lying on the table</i>. <i>Brokenly.</i>] I brought +them for her. But I count as he’ll have given her something +better nor these.<br> +<br> +[CLARA <i>takes the flowers gently from his hand</i>,<i> and as she +does so</i>,<i> </i>EMILY <i>enters.<br> +<br> +</i>EMILY. What now if you please! First with George and +then with Luke. ’Twould be Thomas next if he wasn’t +an old sheep of a man as wouldn’t know if an eye was cast on him +or no. But I’ll soon put a stop to all this. Shame +on you, Luke Jenner. And you, you fine piece of London vanity, +I wants my kitchen to myself, do you hear, so off with you upstairs.<br> +<br> +[<i>She begins to move violently about the kitchen as the curtain falls.<br> +<br> +<br> +<br> +</i>ACT IV. - Scene 1.<br> +<br> +<br> +<br> +<i>The kitchen is decorated with bunches of flowers</i>. <i>A +long table is spread with silver</i>,<i> china and food</i>. CLARA +<i>is setting mugs to each place</i>. MAGGIE <i>comes in from +the back kitchen with a large dish of salad.<br> +<br> +</i>MAGGIE. When folks do come down to the countryside they likes +to enjoy themselves among the vegetables.<br> +<br> +CLARA. [<i>Placing the last mug</i>.] There - Now all is +ready for them.<br> +<br> +MAGGIE. [<i>Bending over a place at the end of the table</i>.] +Come you and look at this great old bumble-dore, Joan, what have flyed +in through the window.<br> +<br> +CLARA. [<i>Goes to </i>MAGGIE’S <i>side and bends down over +the table</i>.] O what a beautiful thing. Look at the gold +on him, and his legs are like feathers.<br> +<br> +MAGGIE. [<i>Taking the bee carefully up in a duster and letting +it fly through the window</i>.] The sign of a stranger, so they +do say.<br> +<br> +CLARA. A stranger, Maggie?<br> +<br> +MAGGIE. You mind my words, ’tis a stranger as’ll sit +where yon was stuck, afore the eating be finished.<br> +<br> +CLARA. I don’t believe in such signs, myself.<br> +<br> +MAGGIE. I never knowed it not come true.<br> +<br> +[THOMAS <i>comes in</i>. <i>He is wearing his best clothes and +looks pleased</i>,<i> yet nervous.<br> +<br> +</i>THOMAS. Well, maids. Upon my word ’tis a spread. +Never saw so many different vituals brought together all at a time afore +in this house.<br> +<br> +MAGGIE. ’Tis in honour of Miss Clara’s going to be +married like, master.<br> +<br> +THOMAS. So ’tis, so ’tis. Well - A single rose +upon the bush. Bound to be plucked, you know. Couldn’t +be left to fade in the sun, eh, girls?<br> +<br> +CLARA. Where shall Maggie and me stop whilst the supper is going +on, master? Mistress has not told us yet.<br> +<br> +THOMAS. [<i>Nervously</i>.] Mistress haven’t told +you - haven’t she? Well - well - at such a time we must +all - all rejoice one with t’other, like. No difference +made t’wixt master and man. Nor t’wixt maid and missus. +Down at the far end of the table you can sit yourselves, my wenches. +Up against George - How’s that?<br> +<br> +CLARA. That will do very well for us, Master.<br> +<br> +MAGGIE. I don’t expect as missus will let we bide there +long.<br> +<br> +THOMAS. Look here, my wench, I be master in my own house, and +at the asking in marriage of my only sister like, ’tis me as shall +say what shall sit down with who. And there’s an end of +it. That’s all.<br> +<br> +MAGGIE. I hear them a coming in, master.<br> +<br> +[EMILY, <i>holding the hands of </i>JESSIE <i>and </i>ROBIN, <i>comes +into the room</i>. <i>Her eyes fall on </i>THOMAS <i>who is standing +between </i>CLARA <i>and </i>MAGGIE, <i>looking suddenly sheepish and +nervous.<br> +<br> +</i>EMILY. [<i>In a voice of suppressed anger</i>.] Thomas! +O, if I catch any more of these goings on in my kitchen.<br> +<br> +[JOAN, <i>very elegantly dressed and hanging on the arm of </i>MILES +HOOPER, <i>follows </i>EMILY <i>into the room.<br> +<br> +</i>EMILY. I’ll not have the food kept back any longer for +Luke Jenner. If folk can’t come to the time when they’re +asked, they baint worth waiting for, so sit you down, all of you.<br> +<br> +[<i>She sits down at the head of the table</i>,<i> a child on either +side of her</i>. JOAN <i>languidly sinks into a chair and </i>MILES +<i>puts himself at her right</i>. <i>A place at her left remains +empty</i>. THOMAS <i>sits opposite</i>. <i>Three places +at the end of the table are left vacant</i>. <i>As they sit down</i>,<i> +</i>GEORGE, <i>wearing a new smock and neck handkerchief</i>,<i> comes +in.<br> +<br> +</i>EMILY. [<i>Beginning to help a dish</i>.] You need not +think you’re to be helped first, Clara, for all that the party +is given for you, like. The poor little children have been kept +waiting a sad time for their supper, first because you was such a while +a having your head curled and puffed out, and then ’twas Luke +Jenner as didn’t come.<br> +<br> +[CLARA <i>sits down at a place at the end of the table</i>. GEORGE +<i>and </i>MAGGIE <i>still remain standing.<br> +<br> +</i>EMILY. [<i>Perceiving </i>CLARA’S <i>movement</i>.] +Well, I never did see anything so forward. Who told you to sit +yourself down along of your betters, if you please, madam serving maid?<br> +<br> +[GEORGE <i>comes involuntarily forward and stands behind </i>CLARA’S +<i>chair</i>. CLARA <i>does not move.<br> +<br> +</i>EMILY. Get you out of that there place this instant, do you +hear? [<i>Turning to </i>MILES.] To see the way the young person +acts one might think as she fancied herself as something uncommon rare +and high. But you’ll not take any fool in, not you, for +all that you like to play the fine lady. Us can see through your +game very clear, can’t us, Mr. Hooper?<br> +<br> +MILES. O certainly, to be sure, Missis Spring. No one who +has the privilege of being acquainted with a real lady of quality could +be mistook by any of the games played by this young person.<br> +<br> +[CLARA <i>looks him gravely in the face without moving.<br> +<br> +</i>EMILY. Get up, do you hear, and help Maggie pass the dishes!<br> +<br> +THOMAS. [<i>Nervously</i>.] Nay, nay, ’twas my doing, +Emily. I did tell the wenches as they might sit their-selves along +of we, just for th’ occasion like.<br> +<br> +EMILY. And who are you, if you please, giving orders and muddling +about like a lord in my kitchen?<br> +<br> +THOMAS. [<i>Faintly</i>.] Come, Emily, I’m the master.<br> +<br> +EMILY. And I, the mistress. Hear that, you piece of London +impudence?<br> +<br> +GEORGE. [<i>Comes forward</i>.] Master Luke be coming up +the garden, mistress.<br> +<br> +[LUKE JENNER <i>enters</i>. <i>He goes straight up to </i>JOAN +<i>and holds out his hand to her</i>,<i> and then to </i>MILES.<br> +<br> +LUKE. I do wish you happiness with all my heart, Miss Clara. +Miles, my lad, ’tis rare - rare pleased as I be to shake your +hand this day.<br> +<br> +EMILY. Come, come, Luke Jenner, you’ve been and kept us +waiting more nor half an hour. Can’t you sit yourself down +and give other folk a chance of eating their victuals quiet? There’s +naught to make all this giddle-gaddle about as I can see.<br> +<br> +LUKE. [<i>Sitting down in the empty place by </i>JOAN’S +<i>side</i>.] Beg pardon, mistress, I know I’m a bit late. +But the victuals as are waited for do have a better flavour to them +nor those which be ate straight from the pot like.<br> +<br> +THOMAS. That’s true ’tis. And ’tis hunger +as do make the best sauce.<br> +<br> +[GEORGE <i>and </i>MAGGIE <i>quietly seat themselves on either side +of </i>CLARA. EMILY <i>is too busy dispensing the food to take +any notice</i>. GEORGE <i>hands plates and dishes to </i>CLARA, +<i>and silently cares for her comfort throughout the meal.<br> +<br> +</i>THOMAS. Well, Emily; well, Luke. I didn’t think +to lose my little sister afore she’d stopped a three days in the +place. That I did not. But I don’t grudge her to a +fine prospering young man like friend Hooper, no, I don’t.<br> +<br> +EMILY. No one called upon you for a speech, Thomas. See +if you can’t make yourself of some use in passing the green stuff. +[<i>Turning to </i>LUKE.] We have two serving maids and a man, +Mister Jenner, but they’re to be allowed to act the quality to-day, +so we’ve got to wait upon ourselves.<br> +<br> +LUKE. A man is never so well served as by his own two hands, mistress. +That’s my saying at home.<br> +<br> +THOMAS. And a good one too, Luke, my boy, for most folk, but with +me ’tis otherwise. I’ve got another pair of hands +in the place as do for me as well, nor better than my own.<br> +<br> +EMILY. Yes, Thomas, I often wonders where you’d be without +mine.<br> +<br> +THOMAS. I wasn’t thinking of yourn, Emily. ’Tis +George’s hands as I was speaking of.<br> +<br> +EMILY. [<i>Contemptuously</i>.] George! You’ll +all find out your mistake one day, Thomas.<br> +<br> +MILES. [<i>To </i>JOAN, <i>who has been nervously handling her +knife and fork and watching </i>CLARA’S <i>movements furtively</i>.] +My sweet Miss is not shewing any appetite.<br> +<br> +JOAN. I’m - I’m not used to country fare.<br> +<br> +EMILY. O, I hear you, Clara. Thomas, this is very fine. +Clara can’t feed ’cause she’s not used to country +fare! What next, I’d like to know!<br> +<br> +ROBIN. [<i>Who has been watching </i>JOAN.] Why does Aunt +sometimes put her knife in her mouth, Mother?<br> +<br> +MILES. My good boy, ’tis plain you’ve never mixed +among the quality or you would know that each London season has its +own new fashion of acting. This summer ’tis the stylish +thing to put on a countryfied mode at table.<br> +<br> +JESSIE. Joan don’t eat like that, Mister Hooper.<br> +<br> +MILES. Joan’s only a maid servant, Miss Jessie. You +should learn to distinguish between such people and fine ladles like +your aunt.<br> +<br> +JOAN. [<i>Forcing herself to be more animated</i>.] Give +me some fruit, Miles - I have no appetite to-day for heavy food. +’Tis far too warm.<br> +<br> +MILES. As for me, the only food I require is the sweet honey of +my Missy’s voice.<br> +<br> +THOMAS. Ah, ’tis a grand thing to be a young man, Miles +Hooper. There was a day when such things did come handy to my +tongue, like.<br> +<br> +EMILY. [<i>Sharply</i>.] I don’t seem to remember +that day, Thomas.<br> +<br> +THOMAS. [<i>Sheepishly</i>,<i> his look falling</i>.] Ah +- ’twas afore - afore our courting time, Emily.<br> +<br> +LUKE. [<i>Energetically</i>.] Prime weather for the hay, +farmer. I count as this dry will last until the whole of it be +carried. [<i>A knock is heard at the door.<br> +<br> +</i>THOMAS. Now who’ll that be? Did you see anyone +a-coming up the path, Mother?<br> +<br> +EMILY. Do you expect me to be carving of the fowls and a-looking +out of the window the same time, Thomas?<br> +<br> +THOMAS. George, my lad, do you open the door and see who ’tis.<br> +<br> +[JOAN <i>looks anxiously across the table at </i>CLARA. <i>Then +she drops her spoon and fork and takes up her fan</i>,<i> using it violently +whilst </i>GEORGE <i>slowly gets up and opens the door</i>. LORD +LOVEL <i>is seen standing on the threshold.<br> +<br> +</i>LORD LOVEL. [<i>To </i>GEORGE.] Kindly tell me, my man, +is this the farm they call Ox Lease?<br> +<br> +GEORGE. Ah, that’s right enough.<br> +<br> +LORD LOVEL. I’m sorry to break in upon a party like this, +but I want to see Miss Clara Spring if she is here.<br> +<br> +THOMAS. [<i>Standing up</i>.] You’ve come at the very +moment, master. This be a giving in marriage supper. And +’tis Miss Clara, what’s only sister to me, as is to be wed.<br> +<br> +LORD LOVEL. Impossible, my good sir!<br> +<br> +THOMAS. Ah, that’s it. Miles Hooper, he’s the +happy man. If you be come by Painswick High Street you’ll +have seen his name up over the shop door.<br> +<br> +LORD LOVEL. Miss Clara - Miles Hooper - No, I can’t believe +it.<br> +<br> +THOMAS. [<i>Pointing towards </i>JOAN <i>and </i>MILES.] +There they be - the both of them. Turtle doves on the same branch. +You’re right welcome, master, to sit down along of we as one of +the family on this occasion.<br> +<br> +LORD LOVEL. [<i>Looking at </i>JOAN <i>who has suddenly dropped +her fan and is leaning back with a look of supplication towards </i>CLARA.] +I must have come to the wrong place - that’s not the Miss Clara +Spring I know.<br> +<br> +MILES. [<i>Bending over </i>JOAN.] My sweet Missy has no +acquaintance with this gentleman, I am sure.<br> +<br> +[LORD LOVEL <i>suddenly turns round and perceives </i>CLARA <i>seated +by </i>MAGGIE <i>at the table</i>. <i>He quickly goes towards +her</i>,<i> holding out his hand.<br> +<br> +</i>LORD LOVEL. Miss Clara. Tell me what is going on. +[<i>Looking at her cap and apron</i>.] Why have you dressed yourself +like this?<br> +<br> +THOMAS. Come, come. There seems to be some sort of a hitch +here. The young gentleman has very likely stopped a bit too long +at the Spotted Cow on his way up.<br> +<br> +JOAN. [<i>Very faintly</i>,<i> looking at </i>CLARA.] O +do you stand by me now.<br> +<br> +CLARA. [<i>Lays her hand on </i>LORD LOVEL’s <i>arm</i>.] +Come with me, my lord. I think I can explain everything if you +will only step outside with me. Come - [<i>She leads him swiftly +through the door which </i>GEORGE <i>shuts behind them.</i>]<br> +<br> +[JOAN <i>leans back in her chair as though she were going to faint.<br> +<br> +</i>THOMAS. Well, now - but that’s a smartish wench, getting +him out so quiet, like. George, you’d best step after them +to see as the young man don’t annoy her in any way.<br> +<br> +EMILY. That young person can take good care of herself. +Sit you down, Thomas and George, and get on with your eating, if you +can.<br> +<br> +JESSIE. Why did he think Joan was our aunt, mother?<br> +<br> +EMILY. ’Cause he was in that state when a man don’t +know his right leg from his left arm.<br> +<br> +GEORGE. [<i>Who has remained standing</i>.] Look you here, +Master Thomas - see here mistress. ’Tis time as there was +an end of this cursed play acting, or whatever ’tis called.<br> +<br> +EMILY. Play acting there never has been in my house, George, I’d +like for you to know.<br> +<br> +GEORGE. O yes there have been, mistress. And ’tis +time it was finished. [<i>Pointing to </i>JOAN.] You just +take and ask that young person what she do mean by tricking herself +out in Miss Clara’s gowns and what not, and by having herself +called by Miss Clara’s own name.<br> +<br> +MILES. [<i>Taking </i>JOAN’S <i>hand in his</i>.] +My sweet Miss must pay no attention to the common fellow. I dare +him to speak like that of my little lady bride.<br> +<br> +GEORGE. A jay bird in peacock’s feathers, that’s what +’tis. And she’s took you all in, the every one of +you.<br> +<br> +JESSIE. O George, isn’t she really our aunt from London?<br> +<br> +GEORGE. No, that she baint, Miss Jessie.<br> +<br> +THOMAS. Come, come, my lad. I never knew you act so afore.<br> +<br> +EMILY. ’Tis clear where he have spent his time this afternoon.<br> +<br> +LUKE. Nay, nay, I never did see George inside of the Spotted Cow +in all the years I’ve known of him. George baint made to +that shape.<br> +<br> +ROBIN. Then who is Aunt Clara, George?<br> +<br> +GEORGE. She who be just gone from out of the room, Master Robin, +and none other.<br> +<br> +THOMAS. Come, George, this talk do sound so foolish.<br> +<br> +GEORGE. I can’t help that, master. Foolish deeds do +call for foolish words, may be.<br> +<br> +MILES. My pretty Miss is almost fainting, I declare. [<i>He +pours out water for </i>JOAN <i>and bends affectionately over her</i>.] +Put the drunken fellow outside and let’s have an end of this.<br> +<br> +GEORGE. [<i>Advancing</i>.] Yes, us’ll have an end +to it very shortly. But I be going to put a straight question +to the maid first, and ’tis a straight answer as her’ll +have to give me in reply.<br> +<br> +MILES. Not a word, not a word. Miss is sadly upset by your +rude manners.<br> +<br> +GEORGE. Do you ask of the young lady but one thing, Master Hooper, +and then I’ll go when you will.<br> +<br> +MILES. Well, my man, what’s that?<br> +<br> +GEORGE. Do you get her to speak the name as was given she at baptism, +Mister Hooper.<br> +<br> +MILES. This is madness. My pretty Miss shall not be teased +by such a question. Thomas, you’ll have to get this stupid +fellow locked up, or something.<br> +<br> +GEORGE. [<i>Angrily</i>.] Her shall say it, if I stands +here all night.<br> +<br> +[JOAN <i>suddenly bends forward and hides her face in her hands</i>,<i> +her form shaken by violent weeping</i>. <i>The door opens and +</i>CLARA <i>enters followed by </i>LORD LOVEL. <i>She has taken +off her cap and apron.<br> +<br> +</i>JOAN. [<i>Raising her head and stretching out her hands to +</i>CLARA.] O speak for me, mistress. Speak for me and help.<br> +<br> +CLARA. I am Clara, she is Joan. Thomas, Emily, I pray you +to forgive us both for taking you in like this.<br> +<br> +THOMAS. Well, I never did hear tell of such a thing.<br> +<br> +EMILY. I’m not going to believe a word the young person +says.<br> +<br> +LORD LOVEL. She has told you but the truth, my good friends.<br> +<br> +EMILY. And who are you, to put your tongue into the basin, I’d +like to know?<br> +<br> +CLARA. This is the nephew of my dear godmother. Lord Lovel +is his name.<br> +<br> +EMILY. If you think I’m going to be took in with such nonsense, +the more fool you, I says.<br> +<br> +LORD LOVEL. But all that Miss Clara tells you is true, Missis +Spring. She and her serving maid, for certain reasons of their +own, agreed to change parts for a few days.<br> +<br> +THOMAS. [<i>Turning to </i>JOAN.] Is this really so, my +maid?<br> +<br> +[JOAN <i>bows her head</i>,<i> her handkerchief still covering her face.<br> +<br> +</i>THOMAS. [<i>To </i>CLARA.] Who ever would have thought +on such a thing?<br> +<br> +CLARA. ’Twas a foolish enough thing, but no harm is done. +Look up, Joan, and do not cry so pitifully.<br> +<br> +JOAN. [<i>Looking up at </i>MILES.] You’ll never go +and change towards me now that we’re most as good as wed, will +you, Mister Hooper?<br> +<br> +MILES. [<i>Rising and speaking with cold deliberation</i>.] +Ladies and gentlemen, I have the honour to wish you all a very pleasant +evening.<br> +<br> +THOMAS. Come, come Miles, we be all a bit turned in the head, +it seems. But things’ll settle back to their right places +if you gives them a chance. Sit you down and take a drink of sommat.<br> +<br> +EMILY. Don’t be so foolish, Thomas. As if a man what’s +been stung by a wasp would care to sit himself down on a hornet’s +nest.<br> +<br> +MILES. You are perfectly right, madam. This is no place +for me. I have been sported with. My good name has been +treated as a jest.<br> +<br> +JOAN. O Mister Hooper, ’twas my doing, all of it, but I +did it for the best, I did.<br> +<br> +MILES. [<i>Going to the door</i>.] Thank you, my good woman. +Next time you want to play a little prank like this, I beg that you +will select your partner with more care. The name of Hooper is +not a suitable one to toy with, let me tell you.<br> +<br> +ROBIN. Aren’t you going to marry her then, Mister Hooper?<br> +<br> +MILES. I am not, Master Robin.<br> +<br> +JESSIE. You said as you could tell a real lady by her ways, but +you couldn’t very well, could he, Mother?<br> +<br> +[MILES, <i>covering his mortification with sarcastic bows made to the +right and left</i>,<i> goes out</i>. JOAN <i>leans back almost +fainting in her chair.<br> +<br> +</i>LUKE. [<i>Taking her hand</i>.] This is the finest hearing +in all the world for me, Miss - Miss Joan.<br> +<br> +JOAN. O Mr. Jenner, how deep you must despise me.<br> +<br> +LUKE. And that I’d never do, though I’m blest if I +know why you did it.<br> +<br> +CLARA. It was as much my fault as hers, Mister Jenner. There +were things that each of us wanted, and that we thought we might get, +by changing places, one with the other.<br> +<br> +THOMAS. [<i>To </i>CLARA.] Well, my maid, I’m blessed +if I do know what you was a hunting about for, dressed up as a serving +wench.<br> +<br> +CLARA. [<i>Turning a little towards </i>GEORGE.] I thought +to find something which was mine when I was a little child, but which +I lost.<br> +<br> +JESSIE. O Georgie do know how to find things which is lost. +’Twas he as brought back the yellow pullet when her had strayed +off.<br> +<br> +ROBIN. Yes. And ’twas George as did find your blue +hair ribbon Aunt Clara, when it was dropped in the hayfield.<br> +<br> +JESSIE. I believe as Georgie knowed which of them was our aunt +all the time.<br> +<br> +ROBIN. I believe it too.<br> +<br> +THOMAS. Why, George, you sly dog, what put you on the scent, like?<br> +<br> +GEORGE. ’Twas not one, but many things. And if you +wants a clear proof [<i>Turning to </i>CLARA] - put back the laces of +your sleeve, Miss Clara.<br> +<br> +CLARA. What for, George?<br> +<br> +GEORGE. Whilst you was a-doing of the taters, this morning, you +did pull up your sleeves. ’Twas then I held the proof. +Not that ’twas needed for me, like.<br> +<br> +[CLARA <i>pushes up both her sleeves</i>,<i> and holds out her arms +towards </i>GEORGE.<br> +<br> +GEORGE. [<i>Pointing to the scar</i>.] There ’tis +- there’s where th’ old gander have left his mark.<br> +<br> +THE CHILDREN. [<i>Getting up</i>.] Where, where! O +do let us see!<br> +<br> +[<i>They run round to where </i>CLARA <i>stands and look eagerly at +the mark on her arm which she shews to them.<br> +<br> +</i>THOMAS. George, my lad, you baint th’ only one as can +play fox.<br> +<br> +EMILY. Don’t you be so set up as to think as you can, Thomas. +For a more foolish figure of a goose never was cut. A man might +tell when ’twas his own sister, if so be as he had his full senses +upon him.<br> +<br> +THOMAS. Never you mind, Emily. What I says to George is, +he baint th’ only fox. How now, my lad?<br> +<br> +GEORGE. I don’t see what you be driving at, master.<br> +<br> +THOMAS. [<i>Slyly</i>.] What about that bit of blue ribbon, +George?<br> +<br> +CLARA. Yes, Thomas. Ask Georgie if he will give it back +to me.<br> +<br> +GEORGE. [<i>Stepping forward till he is by </i>CLARA’S <i>side</i>.] +No, and that I will not do. ’Tis little enough as I holds, +but what little, I’ll keep it.<br> +<br> +CLARA. [<i>To </i>GEORGE.] Those words are like a frail +bridge on which I can stand for a moment. Georgie, do you remember +the days when you used to lead me by the hand into the deep parts of +the wood, lifting me over the briars and the brambles so that I should +not be hurt by their thorns?<br> +<br> +GEORGE. Hark you here, Clara. This once I’ll speak. +I never had but one true love, and that was a little maid what would +run through the woods and over all the meadows, her hand in mine. +I learnt she the note of every bird. And when th’ evening +was come, us would watch together till th’ old mother badger did +get from out of her hole, and start hunting in the long grasses.<br> +<br> +CLARA. [<i>Taking </i>GEORGE’S <i>hand</i>.] Then, +Georgie, there was no need for the disguise that I put upon myself.<br> +<br> +GEORGE. Do you think as the moon can hide her light when there +baint no cloud upon the sky, Clara?<br> +<br> +CLARA. Georgie, I went in fear of what this gold and silver might +raise up between you and me.<br> +<br> +THOMAS. That’s all finished and done with now, my maid. +If I’d a hundred sisters, George should have the pick of them, +he should.<br> +<br> +EMILY. Thank you. Thomas. One of your sisters is about +enough.<br> +<br> +LUKE. [<i>Who has been sitting with </i>JOAN’S <i>hand in +his</i>.] Hark you here, mistress. There’s many a +cloudy morning turns out a sunshiny day. Baint that a true saying, +Joan?<br> +<br> +JOAN. [<i>Looking up radiantly</i>.] O that it is, dear +Luke.<br> +<br> +LORD LOVEL. Miss Clara, it seems that there is nothing more to +be said.<br> +<br> +EMILY. And that’s the most sensible thing as has been spoke +this long while. Thomas, your sister favours you in being a poor, +grizzling sort of a muddler. She might have took up with this +young man, who has a very respectable appearance.<br> +<br> +LORD LOVEL. [<i>Coming forward to </i>GEORGE <i>and shaking his +hand</i>.] I’m proud to make your acquaintance, sir.<br> +<br> +EMILY. [<i>Rising angrily</i>.] Come Thomas, come Luke, +come Clara. Us might be a barn full of broody hens the way we +be set around of this here table. ’Twill be midnight afore +the things is cleared away and washed up.<br> +<br> +THOMAS. What if it be, Emily. ’Tisn’t very often +as I gets the chance of minding how ’twas in times gone past. +Ah, I was a young man in those days, too, I was.<br> +<br> +EMILY. And ’tis a rare old addle head as you be got now, +Thomas.<br> +<br> +JESSIE. [<i>Slipping her hand into </i>THOMAS’S.] +O do let us sit up till midnight, Dad.<br> +<br> +ROBIN. I shall eat a smartish lot more if we does.<br> +<br> +[<i>Curtain</i>.]<br> +<br> +<br> +<br> +<br> +MY MAN JOHN<br> +<br> +<br> +<br> +<br> +CHARACTERS<br> +<br> +MRS. GARDNER.<br> +WILLIAM, <i>her son.<br> +</i>JOHN, <i>his farm hand.<br> +</i>SUSAN, <i>their maid.<br> +</i>JULIA, <i>the owner of Luther’s Farm.<br> +</i>LAURA, CHRIS, NAT, TANSIE, <i>gipsies.<br> +<br> +<br> +<br> +</i>ACT I. - Scene 1.<br> +<br> +<br> +<br> +<i>The garden of the Road Farm. To the right an arbour covered +with roses</i>. MRS. GARDNER<i> is seated in it</i>,<i> knitting. +</i>WILLIAM <i>is tying up flowers and watering them.<br> +<br> +</i>MRS. GARDNER. And you have come to a ripe age when ’tis +the plain duty of a man to turn himself towards matrimony, William.<br> +<br> +WILLIAM. ’Tis a bit of quiet that I’m after, Mother.<br> +<br> +MRS. GARDNER. Quiet! ’tis a good shaking up as you want, +William. Why, you have got as set in your ways as last season’s +jelly.<br> +<br> +WILLIAM. Then let me bide so. ’Tis all I ask.<br> +<br> +MRS. GARDNER. No, William. I’m got to be an old woman +now, and ’tis time that I had someone at my side to help in the +house-keeping and to share the work.<br> +<br> +WILLIAM. What’s Susan for, if ’tisn’t to do +that?<br> +<br> +MRS. GARDNER. Susan? As idle a piece of goods as ever was +seen on a summer’s day! No. ’Tisn’t a +serving maid that I was thinking of, but someone who should be of more +account in the house. ’Tis a daughter that I’m wanting, +William, and I’ve picked out the one who is to my taste.<br> +<br> +WILLIAM. Then you’ve done more than I have, Mother.<br> +<br> +MRS. GARDNER. ’Tis the young person whom Luther Smith has +left his farm and all his money to. I’ve got my eye on her +for you, William.<br> +<br> +WILLIAM. Then you’ll please to put your eye somewhere else, +Mother, for I’ve seen them, and they don’t suit me.<br> +<br> +MRS. GARDNER. Come, this is news, William. Pray where did +you meet?<br> +<br> +WILLIAM. ’Twas when I was in church last Sunday. In +they came, the two young maids from Luthers, like a couple of gallinie +fowls, the way they did step up over the stones and shake the plumes +of them this way and that. I don’t hold with fancy tricks. +I never could abide them. No foreign wenches for me. And +that’s about all.<br> +<br> +MRS. GARDNER. ’Tis true they are from town, but none the +worse for that, William. You have got sadly rude and cumbersome +in your ways, or you wouldn’t feel as you do towards a suitable +young person. ’Tis from getting about with John so much, +I think.<br> +<br> +WILLIAM. Now look you here, Mother, I’ve got used to my +own ways, and when a man’s got set in his own ways, ’tis +best to leave him there. I’m past the age for marrying, +and you ought to know this better than anyone.<br> +<br> +MRS. GARDNER. I know that ’tis a rare lot of foolishness +that you do talk, William, seeing as you’re not a year past thirty +yet. But if you can’t be got to wed for love of a maid, +perhaps you’ll do so for love of a purse, when ’tis fairly +filled.<br> +<br> +WILLIAM. There’s always been enough for you and me so far, +Mother.<br> +<br> +MRS. GARDNER. Ah, but that won’t last for ever. I’m +got an old woman, and I can’t do with the dairy nor the poultry +as I was used to do. And things have not the same prices to them +as ’twas a few years gone by. And last year’s season +was the worst that I remember.<br> +<br> +WILLIAM. So ’twas. But so long as there’s a +roof over our heads and a loaf of bread and a bit of garden for me to +work on, where’s the harm, Mother?<br> +<br> +MRS. GARDNER. O you put me out of all patience, William. +Where’s the rent to come from if we go on like this? And +the clothing, and the food? And John’s wages, and your flower +seeds, if it comes to that, for you have got terrible wasteful over +the flowers.<br> +<br> +WILLIAM. I wish you’d take it quieter, Mother. Look +at you bed of musk, ’tis a grand smell that comes up from it all +around.<br> +<br> +MRS. GARDNER. No, William. I’ve no eye for musk, nor +nose to smell at it either till you’ve spoken the word that I +require.<br> +<br> +WILLIAM. Best let things bide as they are, Mother.<br> +<br> +MRS. GARDNER. I’ll leave you no rest till you do as I wish, +William. I’m got an old woman, and ’tis hard I should +be denied in aught that I’ve set my heart upon.<br> +<br> +WILLIAM. Please to set it upon something different, Mother, for +I’m not a marrying man, and John he’ll tell you the same +thing.<br> +<br> +MRS. GARDNER. John! I’m sick of the very name of him. +I can’t think how ’tis that you can lower yourself by being +so close with a common farm hand, William.<br> +<br> +WILLIAM. Ah, ’twould be a rare hard matter to find the equal +to John, Mother. ’Tis of gold all through, and every bit +of him, that he is made. You don’t see many like John these +days, that’s the truth.<br> +<br> +MRS. GARDNER. Well, then, John, won’t be here much longer, +for we shan’t have anything to give him if things go on like this.<br> +<br> +WILLIAM. I’d wed forty wives sooner than lose John - and +that I would.<br> +<br> +MRS. GARDNER. I’m not asking you to wed forty. ’Tis +only one.<br> +<br> +WILLIAM. And that one?<br> +<br> +MRS. GARDNER. The young person who’s got Luther’s +farm. Her name is Julia.<br> +<br> +WILLIAM. [<i>Leaving his flower border and walking up and down +thoughtfully.</i>] Would she be the one with the cherry colour +ribbons to her gown?<br> +<br> +MRS. GARDNER. I’m sure I don’t know. I was not +at church last Sunday.<br> +<br> +WILLIAM. Or t’other one in green?<br> +<br> +MRS. GARDNER. You appear to have used your eyes pretty well, William.<br> +<br> +WILLIAM. O, I can see a smartish bit about me when I choose.<br> +<br> +MRS. GARDNER. T’other wench is but the housekeeper.<br> +<br> +WILLIAM. Where did you get that from?<br> +<br> +MRS. GARDNER. ’Twas Susan who told me. She got it +off someone down in the village.<br> +<br> +WILLIAM. Well, which of the maids would have had the cherry-coloured +ribbons to her, Mother?<br> +<br> +MRS. GARDNER. I’m sure I don’t know, but if you go +up there courting this afternoon, may happen that you’ll find +out.<br> +<br> +WILLIAM. This afternoon? O, that’s much too sudden +like.<br> +<br> +MRS. GARDNER. Not a bit of it. Recollect, your fancy has +been set on her since Sunday.<br> +<br> +WILLIAM. Come, Mother, you can’t expect a man to jump into +the river all of a sudden like this.<br> +<br> +MRS. GARDNER. I expect you to go up there this very day and to +commence telling her of your feelings.<br> +<br> +WILLIAM. But I’ve got no feelings that I can tell her of, +Mother.<br> +<br> +MRS. GARDNER. Then you’ll please to find some, William.<br> +<br> +WILLIAM. ’Tis a thing that in all my life I’ve never +done as to go visiting of a strange wench of an afternoon.<br> +<br> +MRS. GARDNER. Then ’tis time you did begin.<br> +<br> +WILLIAM. And what’s more, I’ll not do it, neither.<br> +<br> +MRS. GARDNER. Then I must tell John that we have no further need +of his services, for where the money to pay him is to come from, I don’t +know.<br> +<br> +[<i>She rolls up her knitting and rises.<br> +<br> +</i>WILLIAM. Stop a moment, Mother - stop a moment. Maybe +’twon’t be so bad when I’ve got more used to the idea. +You’ve pitched it upon me so sudden like.<br> +<br> +MRS. GARDNER. Rent day has pitched upon me more sudden, William.<br> +<br> +WILLIAM. Look you, Mother, I’ll get and turn it about in +my mind a bit. And, maybe, I’ll talk it over with John. +I can’t do more, can I now?<br> +<br> +MRS. GARDNER. Talk it over with whom you please, William. +But remember ’tis this very afternoon that you have to start courting. +I’ve laid your best clothes out all ready on your bed.<br> +<br> +WILLIAM. [<i>Sighing heavily.</i>] O then I count there’s +no way out of it. But how am I to bring it off? ’Tis +that I’d like to know.<br> +<br> +MRS. GARDNER. Maybe your man will be able to give you some suitable +advice. Such things are beyond me, I’m afraid.<br> +<br> +[<i>She gathers up her work things</i>,<i> and with a contemptuous look +at her son</i>,<i> she goes slowly out of the garden.<br> +<br> +</i>[WILLIAM <i>remains on the path lost in perturbed thought. +Suddenly he goes to the gate and calls loudly.<br> +<br> +</i>WILLIAM. John, John!<br> +<br> +JOHN. [<i>From afar.</i>] Yes, master.<br> +<br> +WILLIAM. [<i>Calling.</i>] Come you here, John, as quick +as you can run.<br> +<br> +JOHN. That I will, master.<br> +<br> +[JOHN <i>hurries into the garden.<br> +<br> +</i>WILLIAM. John, I’m powerful upset.<br> +<br> +JOHN. Mistress’s fowls bain’t got among the flowers +again, be they, Master William?<br> +<br> +WILLIAM. No, no, John. ’Tisn’t so bad as that. +But I’m in a smartish fix, I can tell you.<br> +<br> +JOHN. How’s that, master?<br> +<br> +WILLIAM. John, did you ever go a’courting?<br> +<br> +JOHN. Well, master, that’s a thing to ask a man!<br> +<br> +WILLIAM. ’Tis a terrible serious matter, John. Did +you ever go?<br> +<br> +JOHN. Courting?<br> +<br> +WILLIAM. Yes.<br> +<br> +JOHN. Why, I count as I have went a score of times, master.<br> +<br> +WILLIAM. A score of times, John! But that was before you +were got to the age you are now?<br> +<br> +JOHN. Before that, and now, master.<br> +<br> +WILLIAM. And now, John?<br> +<br> +JOHN. To be sure, master.<br> +<br> +WILLIAM. Then you know how ’tis done?<br> +<br> +JOHN. Ah, that I does, master.<br> +<br> +WILLIAM. Well, John, you’re the man for me.<br> +<br> +JOHN. Lord bless us, master, but what have you to do with courting?<br> +<br> +WILLIAM. You may well ask me, John. Why, look you here - +until this very morning, you would say I was a quiet and a peaceable +man, with the right place for everything and everything in its place.<br> +<br> +JOHN. Ah, and that you was, Master William. And a time for +all things too, and a decenter, proper gentleman no man ever served +- that’s truth.<br> +<br> +WILLIAM. Ah, John - the mistress has set her will to change all +this.<br> +<br> +JOHN. Now, you’d knock me down with a feather.<br> +<br> +WILLIAM. That she has, John. I’ve got to set out courting +- a thing I’ve never thought to do in all my living days.<br> +<br> +JOHN. That I’ll be bound you have not, Master William, though +a finer gentleman than yourself is not to be found in all the country +side.<br> +<br> +WILLIAM. [<i>With shy eagerness.</i>] Is that how I appear +to you, John?<br> +<br> +JOHN. Ah, and that you does, master. And ’tis the +wonder with all for miles around as how you’ve been and kept yourself +to yourself like this, so many years.<br> +<br> +WILLIAM. Well, John, it appears that I’m to pass out of +my own keeping. My Sunday clothes are all laid out upon the bed.<br> +<br> +JOHN. Bless my soul, Master William, and ’tis but Thursday +too.<br> +<br> +WILLIAM. Isn’t that a proper day for this sort of business, +John?<br> +<br> +JOHN. I’ve always been used to Saturday myself, but with +a gentleman ’tis different like.<br> +<br> +WILLIAM. Well, John, there’s nothing in this day or that +as far as I can see. A bad job is a bad job, no matter what, and +the day of it does make but very little difference.<br> +<br> +JOHN. You’re right there, master. But if I may be +so bold, where is it as you be going off courting this afternoon?<br> +<br> +WILLIAM. Ah - now you and me will have a straight talk one with +another - for ’tis to you I look, John, for to pull me out of +this fix where the mistress has gone and put me.<br> +<br> +JOHN. And that I’ll do, master - with all the will in the +world.<br> +<br> +WILLIAM. Well then, John, ’tis to be one of those maids +from strange parts who are come to live at old Luther’s, up yonder.<br> +<br> +JOHN. Ah, I seed the pair of them in church last Sunday. +Fine maids, the both of them, and properly suitable if you was to ask +me.<br> +<br> +WILLIAM. ’Tis only the one I’ve got to court, John.<br> +<br> +JOHN. And I reckon that’s one too many, Master William.<br> +<br> +WILLIAM. You’re right there, John. ’Tis Mistress +Julia I’ve to go at.<br> +<br> +JOHN. And which of the pair would that be, Master William?<br> +<br> +WILLIAM. That one with the cherry colour ribbons to her gown, +I believe.<br> +<br> +JOHN. Ah, t’other was plainer in her dressing, and did keep +the head of her bent smartish low on her book, so that a man couldn’t +get a fair look upon she.<br> +<br> +WILLIAM. That would be the housekeeper or summat. ’Tis +Julia, who has the old man’s money, I’m to court.<br> +<br> +JOHN. Well, master, I’ll come along with you a bit of the +road, to keep your heart up like.<br> +<br> +WILLIAM. You must do more than that for me, John. You’ve +got to learn me how the courting is done before I set off.<br> +<br> +JOHN. Why, master, courting baint a thing what wants much learning, +that’s the truth.<br> +<br> +WILLIAM. ’Tis all new to me, John. I’m blessed +if I know how to commence. Why, the thought of it at once sends +me hot all over; and then as cold again.<br> +<br> +JOHN. You start and get your clothes on, master. ’Tis +half the battle - clothes. What a man cannot bring out of his +mouth of a Saturday will fall out easy as anything on the Sunday with +his best coat to his back.<br> +<br> +WILLIAM. No, John. The clothes won’t help me in this +fix. You must tell me how to start once I get to the farm and +am by the door.<br> +<br> +JOHN. You might take a nosegay with you, master.<br> +<br> +WILLIAM. I might. And yet, ’tis a pity to cut the +blooms for naught.<br> +<br> +JOHN. I always takes a nosegay with me, of a Saturday night.<br> +<br> +WILLIAM. Why, John, who is it that you are courting then?<br> +<br> +JOHN. ’Tis that wench Susan, since you ask me, master. +But not a word of it to th’ old mistress.<br> +<br> +WILLIAM. I’ll not mention it, John.<br> +<br> +JOHN. Thank you kindly, master.<br> +<br> +WILLIAM. And now, John, when the nosegay’s all gathered +and the flowers bunched, what else should I do?<br> +<br> +JOHN. Well, then you gives it her when you gets to the door. +And very like she’ll ask you into the parlour, seeing as you be +a particular fine looking gentleman.<br> +<br> +WILLIAM. I could not stand that, John. I’ve no tongue +to me within a strange house.<br> +<br> +JOHN. Well then, maybe as you and she will sit aside of one another +in an arbour in the garden, or sommat of the sort.<br> +<br> +WILLIAM. Yes, John. And what next?<br> +<br> +JOHN. I’m blessed if I do know, master. You go along +and commence.<br> +<br> +WILLIAM. No, John, and that I won’t. Not till I know +more about it like.<br> +<br> +JOHN. Well, master, I’m fairly puzzled hard to tell you.<br> +<br> +WILLIAM. I have the very thought, John. Do you bring Susan +out here. I’ll place myself behind the shrubs, and do you +get and court her as well as you know how; and maybe that will learn +me something.<br> +<br> +JOHN. Susan’s a terrible hard wench to court, Master William.<br> +<br> +WILLIAM. ’Twill make the better lesson, John.<br> +<br> +JOHN. ’Tis a stone in place of a heart what Susan’s +got.<br> +<br> +WILLIAM. ’Twill very likely be the same with Julia. +Go and bring her quickly, John.<br> +<br> +[WILLIAM <i>places himself behind the arbour.<br> +<br> +</i>JOHN. As you will, master - but Susan have been wonderful +nasty in her ways with me of late. ’Tis my belief as she +have took up with one of they low gipsy lads what have been tenting +up yonder, against the wood.<br> +<br> +WILLIAM. Well, ’twill be your business to win her back to +you, John. See - am I properly hid, behind the arbour?<br> +<br> +JOHN. Grandly hid, master - I’ll go and fetch the wench. +[JOHN <i>leaves the garden.<br> +<br> +</i>[WILLIAM <i>remains hidden behind the arbour. After a few +minutes </i>JOHN <i>returns pulling </i>SUSAN <i>by the hand.<br> +<br> +</i>SUSAN. And what are you about, bringing me into master’s +flower garden at this time of the morning? I should like for mistress +to look out of one of the windows - you’d get into fine trouble, +and me too, John.<br> +<br> +JOHN. Susan, my dear, you be a passing fine wench to look upon, +and that’s the truth.<br> +<br> +SUSAN. And is it to tell me such foolishness that you’ve +brought me all the way out of the kitchen?<br> +<br> +JOHN. [<i>Stooping and picking a dandelion.</i>] And to +give you this flower, dear Susan.<br> +<br> +SUSAN. [<i>Throwing it down.</i>] A common thing like that! +I’ll have none of it.<br> +<br> +JOHN. ’Tis prime you looks when you be angered, Susan. +The blue fire do fairly leap from your eyes.<br> +<br> +SUSAN. O you’re enough to anger a saint, John. What +have you brought me here for?<br> +<br> +JOHN. I thought I’d like to tell you as you was such a fine +wench, Susan. And that I did never see a finer.<br> +<br> +SUSAN. You do look at me as though I was yonder prize heifer what +Master William’s so powerful set on.<br> +<br> +JOHN. Ah - and ’tis true as you have sommat of the look +of she when you stands a pawing of the ground as you be now.<br> +<br> +SUSAN. Is it to insult me that you’ve got me away from the +kitchen, John?<br> +<br> +JOHN. Nay - ’tis to tell you that you be a rare smartish +wench - and I’ll go along to the church with you any day as you +will name, my dear.<br> +<br> +SUSAN. That you won’t, John. I don’t mind taking +a nosegay of flowers from you now and then, and hearing you speak nice +to me over the garden gate of an evening, but I’m not a-going +any further along the road with you. That’s all. [<i>She +moves towards the house.<br> +<br> +</i>JOHN. Now, do you bide a moment longer, Susan - and let me +say sommat of all they feelings which be stirring like a nest of young +birds in my heart for you.<br> +<br> +SUSAN. They may stir within you like an old waspes’ nest +for all I care, John.<br> +<br> +JOHN. Come, Susan, put better words to your tongue nor they. +You can speak honey sweet when it do please you to.<br> +<br> +SUSAN. ’Tis mustard as is the right food for you this morning, +John.<br> +<br> +JOHN. I gets enough of that from mistress - I mean - well - I +mean - [<i>in a loud, clear voice</i>] - O mistress is a wonderful +fine woman and no mistake.<br> +<br> +SUSAN. You won’t say as much when she comes round the corner +and catches you a wasting of your time like this, John.<br> +<br> +JOHN. Is it a waste of time to stand a-drinking in the sweetness +of the finest rose what blooms, Susan?<br> +<br> +SUSAN. Is that me, John?<br> +<br> +JOHN. Who else should it be, Susan?<br> +<br> +SUSAN. Well, John - sometimes I think there’s not much amiss +with you.<br> +<br> +JOHN. O Susan, them be grand words.<br> +<br> +SUSAN. But then again - I do think as you be getting too much +like Master William.<br> +<br> +JOHN. And a grander gentleman than he never went upon the earth.<br> +<br> +SUSAN. Cut and clipped and trimmed and dry as that box tree yonder. +And you be getting sommat of the same fashion about you, John.<br> +<br> +JOHN. Then make me differenter, Susan, you know the way.<br> +<br> +SUSAN. I’m not so sure as I do, John.<br> +<br> +JOHN. Wed me come Michaelmas, Susan.<br> +<br> +SUSAN. And that I’ll not. And what’s more, I’m +not a-going to stop here talking foolish with you any longer. +I’ve work to do within. [SUSAN <i>goes off.<br> +<br> +</i>[JOHN, <i>mopping his face and speaking regretfully as </i>WILLIAM +<i>steps from behind the arbour.<br> +<br> +</i>JOHN. There, master. That’s courting for you. +That’s the sort of thing. And a caddling thing it is too.<br> +<br> +WILLIAM. But ’tis a thing that you do rare finely and well, +John. And ’tis you and none other who shall do the job for +me this afternoon, there - that’s what I’ve come to in my +thoughts.<br> +<br> +JOHN. Master, master, whatever have you got in your head now?<br> +<br> +WILLIAM. See here, John - we’ll cut a nosegay for you to +carry - some of the best blooms I’ll spare. And you, who +know what courting is, and who have such fine words to your tongue, +shall step up at once and do the business for me.<br> +<br> +JOHN. Master, if ’twas an acre of stone as you’d asked +me to plough, I’d sooner do it nor a job like this.<br> +<br> +WILLIAM. John, you’ve been a good friend to me all the years +that you have lived on the farm, you’ll not go and fail me now.<br> +<br> +JOHN. Why not court the lady with your own tongue, Master William? +’Twould have better language to it nor what I can give the likes +of she.<br> +<br> +WILLIAM. Your words are all right, John. ’Tisn’t +as though sensible speech was needed. You do know what’s +wanted with the maids, whilst I have never been used to them in any +way whatever. So let’s say no more about it, but commence +gathering the flowers.<br> +<br> +JOHN. [<i>Heavily</i>,<i> but resigned.</i>] Since you say +so, master. [<i>They begin to gather flowers.<br> +<br> +</i>WILLIAM. What blooms do young maids like the best, John?<br> +<br> +JOHN. Put in a sprig of thyme, master.<br> +<br> +WILLIAM. Yes - I can well spare that.<br> +<br> +JOHN. And a rose that’s half opened, master.<br> +<br> +WILLIAM. It goes to my heart to have a rose wasted on this business, +John.<br> +<br> +JOHN. ’Tain’t likely as you can get through courtship +without parting with sommat, master. Lucky if it baint gold as +you’re called upon to spill.<br> +<br> +WILLIAM. That’s true, John - I’ll gather the rose +-<br> +<br> +JOHN. See here, master, the lily and the pink. Them be brave +flowers, the both of them, and with a terrible fine scent coming out +of they.<br> +<br> +WILLIAM. Put them into the nosegay, John - And now - no more - +’Tis enough waste for one day.<br> +<br> +JOHN. ’Tis a smartish lot of blooms as good as done for, +says I.<br> +<br> +WILLIAM. A slow sowing and a quick reaping, John.<br> +<br> +JOHN. ’Tis to be hoped as ’twill be the same with +the lady, master.<br> +<br> +WILLIAM. There, off you go, John. And mind, ’tis her +with the cherry ribbon to her gown and bonnet.<br> +<br> +JOHN. Why, master, and her might have a different ribbon to her +head this day, being that ’tis Thursday?<br> +<br> +WILLIAM. An eye like - like a bullace, John. And a grand +colour to the face of her like yon rose.<br> +<br> +JOHN. That’s enough, Master William. I’ll not +pitch upon the wrong maid, never fear. And now I’ll clean +myself up a bit at the pump, and set off straight away.<br> +<br> +WILLIAM. [<i>Shaking </i>JOHN’s <i>hand.</i>] Good +luck to you, my man. And if you can bring it off quiet and decent +like without me coming in till at the last, why, ’tis a five pound +note that you shall have for your trouble.<br> +<br> +JOHN. You be a grand gentleman to serve, Master William, and no +mistake about that.<br> +<br> +[<i>Curtain.</i>]<br> +<br> +<br> +<br> +ACT II. - Scene 1.<br> +<br> +<br> +<br> +<i>A wood. To the right a fallen tree </i>(<i>or a bench</i>). +JOHN <i>comes from the left</i>,<i> a large bunch of flowers in his +hand.<br> +<br> +</i>JOHN. Out, and a taking of the air in the wood, be they? +Well, bless my soul, but ’tis a rare caddling business what master’s +put upon I. ’Tis worse nor any job he have set me to in +all the years I’ve been along of him, so ’tis. But +I’m the one to bring it off slick and straight, and, bless me, +if I won’t take and hide myself by yon great bush till I see the +wenches a-coming up. That’ll give me time to have a quiet +look at the both and pick out she what master’s going a-courting +of.<br> +<br> +[JOHN <i>puts himself behind some thick bushes as </i>JULIA <i>and </i>LAURA +<i>come forward</i>. JULIA <i>is very simply dressed. Her +head is bare</i>,<i> and she is carrying her white cotton sunbonnet</i>. +LAURA <i>wears finer clothes and her bonnet is tied by bright ribbons +of cherry colour.<br> +<br> +</i>LAURA. [<i>Stopping by the bench.</i>] We’ll sit +down - ’Tis a warm day, and I’ve had enough of walking.<br> +<br> +[<i>She sinks down on the seat.<br> +<br> +</i>JULIA. [<i>Looking all round her.</i>] ’Tis beautiful +and quiet here. O this is ever so much better than the farm.<br> +<br> +LAURA. The farm! What’s wrong with that, I should +like to know?<br> +<br> +JULIA. Everything. ’Tis more like a prison than a +home to me. Within the house there’s always work crying +out to be done - and outside I believe ’tis worse - work - nothing +else speaking to me.<br> +<br> +LAURA. You’re a sad ungrateful girl. Why, there’s +many would give their eyes to change with you.<br> +<br> +JULIA. But out here ’tis all peace, and freedom. There’s +naught calling out to be done. The flowers grow as they like, +and the breezes move them this way, and that. The ground is thick +with leaves and blossoms and no one has got to sweep it, and the hard +things with great noises to them, like pails and churns, are far away +and clean forgot.<br> +<br> +LAURA. ’Tisn’t much use as you’ll be on the +farm.<br> +<br> +JULIA. I wish I’d never come nigh to it. I was happier +far before.<br> +<br> +LAURA. ’Tis a grand life. You’ll see it as I +do one of these days.<br> +<br> +JULIA. No, that I shall not. Every day that I wake and hear +the cattle lowing beneath my window I turn over on my pillow, and ’tis +a heart of lead that turns with me. The smell of the wild flowers +in the fields calls me, but ’tis to the dairy I must go, to work. +And at noonday, when the shade of the woodland makes me thirsty for +its coolness, ’tis the kitchen I must be in - or picking green +stuff for the market. And so on till night, when the limbs of +me can do no more and the spirit in me is like a bird with the wing +of it broken.<br> +<br> +LAURA. You’ll harden to it all by winter time right enough.<br> +<br> +JULIA. O I’ll never harden to it. ’Tis not that +way I am made. Some girls can set themselves down with four walls +round them, and do their task nor ask for anything beyond, but ’tis +not so with me.<br> +<br> +LAURA. How is it then with you?<br> +<br> +JULIA. [<i>Pointing.</i>] There - see that blue thing yonder +flying from one blossom to another. That’s how ’tis +with me. Shut me up close in one place, I perish. Let me +go free, and I can fly and live.<br> +<br> +LAURA. You do talk a powerful lot of foolishness that no one could +understand.<br> +<br> +JULIA. O, do not let us talk at all. Let us bide still, +and get ourselves refreshed by the sweetness and the wildness of the +forest.<br> +<br> +JULIA <i>turns away and gives herself up to the enjoyment of the wood +around her</i>.<br> +<br> +LAURA <i>arranges her ribbons and smoothes out her gown. Neither +of them speak for a few minutes.<br> +<br> +</i>LAURA. [<i>Looking up and pointing.</i>] See those strange +folk over there? What are they?<br> +<br> +JULIA. [<i>Looking in the same direction.</i>] I know them. +They are gipsies from the hill near to us.<br> +<br> +LAURA. They should be driven away then. I don’t like +such folk roosting around.<br> +<br> +JULIA. But I do. They are friends to me. Many’s +the time I have run out at dusk to speak with them as they sit round +their fire.<br> +<br> +LAURA. Then you didn’t ought to have done so. Let’s +get off now, before they come up.<br> +<br> +JULIA. No, no. Let us talk to them all. [<i>Calling.</i>] +Tansie and Chris, come you here and sit down alongside of us. +[CHRIS, NAT, <i>and </i>TANSIE <i>come up.<br> +<br> +</i>CHRIS. Good morning to you, mistress. ’Tis a fine +brave day, to-day.<br> +<br> +JULIA. That it is, Chris. There never was so fine a day. +And we have come to spend all of it in this forest.<br> +<br> +TANSIE. Ah, but ’tis warm upon the high road.<br> +<br> +NAT. We be come right away from the town, mistress.<br> +<br> +JULIA. Then sit down, all of you, and we will talk in the cool +shade.<br> +<br> +LAURA. Not here, if you please. I am not used to such company.<br> +<br> +JULIA. Not here? Very well, my friends, let us go further +into the wood and you shall stretch yourselves under the green trees +and we will all rest there together.<br> +<br> +LAURA. Well, what next! You might stop to consider how ’twill +look in the parish.<br> +<br> +JULIA. How what will look?<br> +<br> +LAURA. How ’twill look for you to be seen going off in such +company like this.<br> +<br> +JULIA. The trees have not eyes, nor have the grass, and flowers. +There’s no one to see me but you, and you can turn your head t’other +way. Come Tansie, come<br> +<br> +Chris. [<i>She turns towards the three gipsies.<br> +<br> +</i>TANSIE. Nat’s in a sorry way, this morning - baint you, +Nat?<br> +<br> +NAT. Let I be. You do torment anyone till they scarce do +know if they has senses to them or no.<br> +<br> +TANSIE. You’re not one to miss what you never had, Nat.<br> +<br> +CHRIS. Let the lad bide in quiet, will you. ’Tis a +powerful little nagging wench as you be.<br> +<br> +JULIA. Why are you heavy and sad this fine day, Nat?<br> +<br> +TANSIE. ’Tis love what’s the matter with he, mistress.<br> +<br> +JULIA. Love? O, that’s not a thing that should bring +heaviness or gloom, but lightness to the heart, and song to the lips.<br> +<br> +TANSIE. Ah, but when there’s been no meeting in the dusk +since Sunday, and no message sent!<br> +<br> +CHRIS. Keep that tongue of your’n where it should be, and +give over, Tansie. Susan’s not one as would play tricks +with her lad.<br> +<br> +JULIA. Now I have a thirst to hear all about this, Nat, so come +off further into the wood, all of you, where we can speak in quiet.<br> +<br> +[<i>She holds out her hand to </i>NAT.<br> +<br> +LAURA. Upon my word, but something must be done to bring these +goings on to an end.<br> +<br> +JULIA. Come, Nat - you shall tell me all your trouble. I +understand the things of the heart better than Tansie, and I shall know +how to give you comfort in your distress - come<br> +<br> +[JULIA <i>and </i>NAT, <i>followed by </i>CHRIS <i>and </i>TANSIE, <i>move +off out of sight</i>. LAURA <i>is left sitting on the bench alone. +Presently </i>JOHN <i>comes out carefully from behind the bushes</i>,<i> +holding his bunch of flowers.<br> +<br> +</i>JOHN. A good day to you, mistress.<br> +<br> +LAURA. The same to you, master.<br> +<br> +JOHN. Folks do call me John.<br> +<br> +LAURA. Indeed? Good morning, John.<br> +<br> +JOHN. A fine brave sun to-day, mistress.<br> +<br> +LAURA. But pleasant enough here in the shade.<br> +<br> +JOHN. Now, begging your pardon, but what you wants over the head +of you baint one of these great trees full of flies and insects, but +an arbour trailed all about with bloom, such as my master has down at +his place yonder.<br> +<br> +LAURA. Indeed? And who may your master be, John?<br> +<br> +JOHN. ’Tis Master William Gardner, what’s the talk +of the country for miles around, mistress. And that he be.<br> +<br> +LAURA. Master William Gardner! What, he of Road Farm?<br> +<br> +JOHN. The very same, mistress. And as grand a gentleman +as anyone might wish for to see.<br> +<br> +LAURA. Yes - I seem to have heard something told about him, but +I don’t rightly remember what ’twas.<br> +<br> +JOHN. You may have heard tell as the finest field of beans this +season, that’s his.<br> +<br> +LAURA. I don’t think ’twas of beans that I did hear.<br> +<br> +JOHN. Or that ’twas his spotted hilt what fetched the highest +price of any in the market Saturday?<br> +<br> +LAURA. No, ’twasn’t that neither.<br> +<br> +JOHN. Or that folks do come as thick as flies on a summer’s +day from all parts of the country for to buy the wheat what he do grow. +Ah, and before ’tis cut or like to be, they be a fighting for +it, all of them, like a pack of dogs with a bone. So ’tis.<br> +<br> +LAURA. ’Twasn’t that, I don’t think.<br> +<br> +JOHN. Or ’twas that th’ old missis - she as is mother +to Master William - her has a tongue what’s sharper nor longer +than any vixen’s going. But that’s between you and +I, missis.<br> +<br> +LAURA. Ah - ’Twas that I did hear tell of. Now I remember +it.<br> +<br> +JOHN. But Master William - the tongue what he do keep be smooth +as honey, and a lady might do as she likes with him if one got the chance.<br> +<br> +LAURA. Indeed? He must be a pleasant sort of a gentleman.<br> +<br> +JOHN. For he could be led with kindness same as anything else. +But try for to drive him, as old Missis do - and very likely ’tis +hoofed as you’ll get for your pains.<br> +<br> +LAURA. I like a man with some spirit to him, myself.<br> +<br> +JOHN. Ah, Master William has a rare spirit to him, and that he +has. You should hear him when th’ old Missis’s fowls +be got into his flower garden. ’Tis sommat as is not likely +to be forgot in a hurry. That ’tisn’t.<br> +<br> +LAURA. You carry a handsome nosegay of blossoms there, John. +Are they from your master’s garden?<br> +<br> +JOHN. Ah, there’re not amiss. I helped for to raise +they too.<br> +<br> +LAURA. And to whom are you taking them now, John?<br> +<br> +JOHN. To the lady what my master’s a-courting of, mistress.<br> +<br> +LAURA. And whom may that be, John?<br> +<br> +JOHN. Why, ’tis yourself, mistress.<br> +<br> +LAURA. Me, John? Why, I’ve never clapped eyes on Master +William Gardner so far as I know of.<br> +<br> +JOHN. But he’ve clapped eyes on you, mistress - ’twas +at Church last Sunday. And ’tis not a bit of food, nor a +drop of drink, nor an hour of sleep, as Master William have taken since.<br> +<br> +LAURA. O, you do surprise me, John?<br> +<br> +JOHN. That’s how ’tis with he, mistress. ’Tis +many a year as I’ve served Master William - but never have I seen +him in the fix where he be in to-day.<br> +<br> +LAURA. Why - how is it with him then?<br> +<br> +JOHN. As it might be with the cattle when the flies do buzz about +they, thick in the sunshine. A-lashing this way and that, a-trampling +and a-tossing, and never a minute’s rest.<br> +<br> +LAURA. Well, now - to think of such a thing. Indeed!<br> +<br> +JOHN. I’ve seen a horse right up to the neck of him in that +old quag ahind of our place - a-snorting and a-clapping with his teeth +and a-plunging so as ’twould terrify anyone to harken to it. +And that’s how ’tis to-day with Master William up at home, +so ’tis.<br> +<br> +LAURA. And only saw me once - at Church last Sunday, John?<br> +<br> +JOHN. Ah - and they old maid flies do sting but once, but ’tis +a terrible big bump as they do raise on the flesh of anyone, that ’tis.<br> +<br> +LAURA. O John - ’tis a fine thing to be loved like that.<br> +<br> +JOHN. So I should say - ah, ’tisn’t every day that +a man like Master William goes a-courting.<br> +<br> +LAURA. But he hasn’t set out yet, John.<br> +<br> +JOHN. You take and hold the nosegay, mistress, and I’ll +go straight off and fetch him, so being as you’re agreeable.<br> +<br> +LAURA. O yes, and that I am, John - You go and fetch him quick. +I’ll bide here gladly, waiting till he comes.<br> +<br> +JOHN. That’s it. I knowed you for a sensible lady +the moment I pitched my eyes on to you. And when master do come +up, you take and talk to him nicely and meek-like and lead him on from +one thing to t’other: and you’ll find as he’ll go +quiet as a sheep after the first set off, spite of the great spirit +what’s at the heart of he.<br> +<br> +LAURA. John, I’ll do all as you say, and more than all. +Only, you get along and send him quickly to me. And - yes, you +might give him a good hint, John - I’m not averse to his attentions.<br> +<br> +JOHN. Ah, and I should think you wasn’t, for ’twould +be a hard job to find a nicer gentleman nor Master William.<br> +<br> +LAURA. That I know it would. Why, John, my heart’s +commenced beating ever so fast, it has.<br> +<br> +JOHN. Then you may reckon how ’tis with the poor master! +Why, ’tis my belief as ’twill be raving madness as’ll +be the end of he if sommat don’t come to put a finish to this +unrest.<br> +<br> +LAURA. O John, ’twould never do for such a fine gentleman +to go crazy. Do you set off quick and send him along to me, and +I’ll take and do my very best for to quiet him, like.<br> +<br> +JOHN. [<i>Rising and about to set off.</i>] Ah, ’tis +a powerful lot of calming as Master William do require. But you +be the one for to give it him. You just bide where you do sit +now whilst I goes and fetches him, mistress.<br> +<br> +LAURA. O that I will, my good, dear John.<br> +<br> +[<i>Curtain</i>.]<br> +<br> +<br> +<br> +ACT II. - Scene 2.<br> +<br> +<br> +<br> +<i>The same wood.<br> +<br> +</i>WILLIAM <i>and </i>JOHN <i>come up</i>. WILLIAM <i>carries +a large market basket containing vegetables.<br> +<br> +</i>JOHN. [<i>Looking round and seeing no one.</i>] Bless +my soul, but ’twas on the seat as I did leave she.<br> +<br> +WILLIAM. We have kept her waiting a bit too long whilst we were +cutting the green stuff. And now ’twill be best to let matters +bide over till to-morrow.<br> +<br> +JOHN. Why, master ’tis my belief as you be all of a-tremble +like.<br> +<br> +WILLIAM. I wish we were well out of this business, John. +’Tis not to my liking in any way.<br> +<br> +JOHN. ’Tis a fine looking lady, and that ’tis. +You take and court her, Master William.<br> +<br> +WILLIAM. How am I to court the wench when she’s not here?<br> +<br> +JOHN. [<i>Pointing.</i>] Look yonder, master, there she +comes through them dark trees.<br> +<br> +WILLIAM. You’ve got to bide somewhere nigh me, John. +I could not be left alone with a wench who’s a stranger to me.<br> +<br> +JOHN. Don’t you get flustered, Master William. See +here, I’ll hide me ahind of yon bushes, and if so be as you should +want me, why, there I’m close at hand.<br> +<br> +WILLIAM. I’d rather you did stand at my side, John.<br> +<br> +[JOHN <i>hides himself behind the bushes</i>. LAURA <i>comes slowly +up</i>. WILLIAM <i>stands awkwardly before her</i>,<i> saying +nothing. Presently he takes off his hat and salutes her clumsily +and she bows to him. For some moments they stand embarrassed</i>,<i> +looking at one another.<br> +<br> +</i>WILLIAM. [<i>Suddenly bringing out a bunch of carrots from +his basket and holding them up.</i>] See these young carrots, +mistress.<br> +<br> +LAURA. Indeed I do, master.<br> +<br> +WILLIAM. ’Tisn’t everywhere that you do see such fine +grown ones for the time of year.<br> +<br> +LAURA. You’re right there, master. We have none of +them up at our place.<br> +<br> +WILLIAM. [<i>Holding them towards her.</i>] Then be pleased +to accept these, mistress.<br> +<br> +LAURA. [<i>Taking the carrots.</i>] Thank you kindly, master. +[<i>There is another embarrassed silence</i>. WILLIAM <i>looks +distractedly from </i>LAURA <i>to his basket. Then he takes out +a bunch of turnips.<br> +<br> +</i>WILLIAM. You couldn’t beat these nowhere, not if you +were to try.<br> +<br> +LAURA. I’m sure you could not, master.<br> +<br> +WILLIAM. They do call this sort the Early Snowball. ’Tis +a foolish name for a table root.<br> +<br> +LAURA. ’Tis a beautiful turnip.<br> +<br> +WILLIAM. [<i>Giving her the bunch.</i>] You may as well +have them too.<br> +<br> +LAURA. O you’re very kind, master.<br> +<br> +[<i>There is another long silence</i>. WILLIAM <i>shuffles on +his feet </i>- LAURA <i>bends admiringly over her gifts.<br> +<br> +</i>WILLIAM. There’s young beans and peas and a spring cabbage +too, within the basket. I do grow a little of most everything.<br> +<br> +LAURA. O shall we sit down and look at the vegetables together?<br> +<br> +WILLIAM. [<i>Visibly relieved.</i>] We might do worse nor +that. [<i>They sit down side by side with the basket between them.<br> +<br> +</i>LAURA. [<i>Lifting the cabbage.</i>] O, this is quite +a little picture! See how the leaves do curl backwards - so fresh +and green!<br> +<br> +WILLIAM. Ah, and that one has a rare white heart to it, it has.<br> +<br> +LAURA. I do love the taste of a spring cabbage, when it has a +slice of fat bacon along with it.<br> +<br> +WILLIAM. I might have brought a couple of pounds with me if I’d +have thought. Mother do keep some rare mellow jowls a-hanging +in the pantry.<br> +<br> +LAURA. [<i>Shyly.</i>] Next time, maybe.<br> +<br> +WILLIAM. [<i>Eagerly.</i>] ’Twouldn’t take ten +minutes for me to run back.<br> +<br> +LAURA. Not now - O no master - not now. Do you bide a little +longer here and tell me about - about t’other things in the basket.<br> +<br> +WILLIAM. [<i>Mopping his face with a handkerchief.</i>] +Well - there’s the beans - I count that yours haven’t come +up very smart this year.<br> +<br> +LAURA. That they’ve not. The whole place has been +let to run dreadful wild.<br> +<br> +WILLIAM. I’d - I’d like to show you how ’tis +in my garden, one of these days.<br> +<br> +LAURA. I’d be very pleased to walk along with you there.<br> +<br> +WILLIAM. [<i>Hurriedly.</i>] Ah - you should see it later +on when the - the - the parsnips are a bit forrarder.<br> +<br> +LAURA. I’d like to see the flower garden now, where this +nosegay came from.<br> +<br> +WILLIAM. [<i>Looking round uneasily.</i>] I don’t +know what the folks would say if they were to see you and me a-going +on the road in broad day - I’m sure I don’t.<br> +<br> +LAURA. Why, what should they say, Master Gardner?<br> +<br> +WILLIAM. They might get saying - they might say as - as I’d +got a-courting, or sommat foolish.<br> +<br> +LAURA. Well - and would that be untrue?<br> +<br> +WILLIAM. [<i>Looking at her very uncomfortably.</i>] I’m +blessed if I do know - I mean -<br> +<br> +LAURA. This nosegay - and look, those young carrots - and the +turnips and beans, why did you bring them for me, master, unless it +was that you intended something by it?<br> +<br> +WILLIAM. [<i>Very confused.</i>] That’s so. +So ’tis. That’s true. I count you have got hold +of the sow by the ear right enough this time. And the less said +about it the better. [<i>A slight silence.<br> +<br> +</i>LAURA. [<i>Looking up shyly in </i>WILLIAM’s face.] +What was it drew you to me first, master?<br> +<br> +WILLIAM. I believe ’twas in Church on Sunday that I chanced +to take notice of you, like.<br> +<br> +LAURA. Yes, but what was it about me that took your fancy in Church +on Sunday?<br> +<br> +WILLIAM. I’m blessed if I know, unless ’twas those +coloured ribbons that you have got to your bonnet.<br> +<br> +LAURA. You are partial to the colour?<br> +<br> +WILLIAM. Ah, ’tis well enough.<br> +<br> +LAURA. See here. [<i>Taking a flower from her dress.</i>] +This is of the same colour. I will put it in your coat.<br> +<br> +[<i>She fastens it in his coat</i>. WILLIAM <i>looks very uncomfortable +and nervous.<br> +<br> +</i>WILLIAM. Well, bless my soul, but women folk have got some +powerful strange tricks to them.<br> +<br> +LAURA. [<i>Pinning the flower in its place.</i>] There - +my gift to you, master.<br> +<br> +WILLIAM. You may call me by my name, if you like, ’tis more +suitable, seeing that we might go along to Church together one of these +days.<br> +<br> +LAURA. O William, you have made me very happy - I do feel all +mazy like with my gladness.<br> +<br> +WILLIAM. Well, Julia, we might do worse than to - to - name the +day.<br> +<br> +LAURA. Why do you call me Julia?<br> +<br> +WILLIAM. Seeing that I’ve given you leave to call me William +’tis only suitable that I should use your name as well.<br> +<br> +LAURA. But my name is not Julia.<br> +<br> +WILLIAM. What is it then, I should like to know?<br> +<br> +LAURA. ’Tis Laura, William.<br> +<br> +WILLIAM. Folks did tell me that you were named Julia.<br> +<br> +LAURA. No - Laura is my name; but I live with Mistress Julia up +at Luther’s Farm, and I help her with the work. House-keeping, +dairy, poultry, garden. O there’s nothing I can’t +turn my hand to, Master William.<br> +<br> +WILLIAM. [<i>Starts up from the seat in deepest consternation.</i>] +John, John - Come you here, I say! Come here.<br> +<br> +JOHN. [<i>Emerges from the bushes.</i>] My dearest master!<br> +<br> +WILLIAM. What’s this you’ve been and done, John?<br> +<br> +JOHN. Why, master - the one with the cherry ribbons, to her you +did say.<br> +<br> +WILLIAM. [<i>Disgustedly.</i>] ’Tis the wrong one.<br> +<br> +LAURA. What are you two talking about? William, do you mean +to say as that man of yours was hid in the bushes all the while?<br> +<br> +WILLIAM. Now, John, you’ve got to get me out of the fix +where I’m set.<br> +<br> +JOHN. O my dear master, don’t you take on so. ’Tis +a little bit of misunderstanding to be sure, but one as can be put right +very soon.<br> +<br> +WILLIAM. Then you get to work and set it right, John, for ’tis +beyond the power of me to do so. I’ll be blessed if I’ll +ever get meddling with this sort of job again.<br> +<br> +JOHN. Now don’t you get so heated, master, but leave it +all to me. [<i>Turning to </i>LAURA.] My good wench, it +seems that there has been a little bit of misunderstanding between you +and my gentleman here.<br> +<br> +LAURA. [<i>Angrily.</i>] So that’s what you call it +- misunderstanding ’tis a fine long word, but not much of meaning, +to it, I’m thinking.<br> +<br> +JOHN. Then you do think wrong. Suppose you was to go to +market for to buy a nice spring chicken and when you was got half on +the way to home you was to see as they had put you up a lean old fowl +in place of it, what would you do then?<br> +<br> +LAURA. I don’t see that chickens or fowls have anything +to do with the matter.<br> +<br> +JOHN. Then you’re not the smart maid I took you for. +’Tis not you as would be suitable in my master’s home. +And what’s more, ’tis not you as my master’s come +a-courting of.<br> +<br> +LAURA. If ’tis not me, who is it then?<br> +<br> +[WILLIAM <i>looks at her sheepishly and then turns away.<br> +<br> +</i>JOHN. ’Tis your mistress, since you wants to know.<br> +<br> +LAURA. [<i>Indignantly.</i>] O, I see it all now - How could +I have been so misled!<br> +<br> +JOHN. However could poor master have been so mistook, I say.<br> +<br> +LAURA. [<i>Turning away passionately.</i>] O, I’ve +had enough of you and - and your master.<br> +<br> +JOHN. Now that’s what I do like for to hear. Because +me and master have sommat else to do nor to stand giddle-gaddling in +this old wood the rest of the day. Us have got a smartish lot +of worry ahead of we, haven’t us, master?<br> +<br> +WILLIAM. You never said a truer word, John.<br> +<br> +JOHN. Come along then Master William. You can leave the +spring vegetables to she. ’Tis more nor she deserves, seeing +as her might have known as ’twas her mistress the both of us was +after, all the time.<br> +<br> +[LAURA <i>throws herself on the seat and begins to cry silently</i>,<i> +but passionately.<br> +<br> +</i>WILLIAM. O John, this courting, ’tis powerful heavy +work.<br> +<br> +JOHN. [<i>Taking </i>WILLIAM’S <i>arm.</i>] Come you +along with me, master, and I’ll give you a helping hand with it +all.<br> +<br> +LAURA. [<i>Looking up and speaking violently.</i>] I warrant +you will, you clown. But let me advise you to look better afore +you leap next time, or very likely ’tis in sommat worse than a +ditchful of nettles as you’ll find yourself.<br> +<br> +JOHN. [<i>Looking back over his shoulders as he goes off with +</i>WILLIAM.] I reckon as you’ve no call to trouble about +we, mistress. Us is they what can look after theirselves very +well. Suppose you was to wash your face and dry your eyes and +set about the boiling of yon spring cabbage. ’Twould be +sensibler like nor to bide grizzling after one as is beyond you in his +station, so ’twould.<br> +<br> +[JOHN <i>and </i>WILLIAM <i>go out</i>,<i> leaving </i>LAURA <i>weeping +on the bench</i>,<i> the basket of vegetables by her side.<br> +<br> +</i>[<i>Curtain.</i>]<br> +<br> +<br> +<br> +ACT II. - Scene 3.<br> +<br> +<br> +<br> +JULIA <i>is sitting at the foot of a tree in the wood</i>. CHRIS, +NAT <i>and </i>TANSIE <i>are seated near her on the ground.<br> +<br> +</i>JULIA. I wish this day might last for always.<br> +<br> +CHRIS. Why, when to-morrow’s come, ’twill be the same.<br> +<br> +JULIA. That it will not. To-day is a holiday. To-morrow’s +work.<br> +<br> +TANSIE. One day ’tis much the same as t’other with +me.<br> +<br> +NAT. ’Tis what we gets to eat as do make the change.<br> +<br> +TANSIE. I should have thought as how a grand young mistress like +yourself might have had the days to your own liking.<br> +<br> +JULIA. Ah, and so I did once. But that was before Uncle +died and left me the farm. Now, ’tis all different with +the days.<br> +<br> +CHRIS. How was it with you afore then, mistress?<br> +<br> +JULIA. Much the same as ’tis with that bird flying yonder. +I did so as I listed. If I had a mind to sleep when the sun was +up, then I did sleep. And if my limbs would not rest when ’twas +dark, why, then I did roam. There was naught to hold me back from +my fancy.<br> +<br> +TANSIE. And how is it <i>now </i>with you, mistress?<br> +<br> +JULIA. ’Tis all said in one word.<br> +<br> +CHRIS. What’s that?<br> +<br> +JULIA. ’Tis “work.”<br> +<br> +NAT. Work?<br> +<br> +CHRIS. Work?<br> +<br> +TANSIE. Work! And yet ’tis a fine young lady as you +do look in your muslin gown with silky ribbons to it and all.<br> +<br> +JULIA. I’m a farmer, Tansie. And for a farmer ’tis +work of one sort, or t’other from when the sun is up till the +candle has burned itself short. If ’tisn’t working +with my own hands, ’tis driving of the hands of another.<br> +<br> +CHRIS. I’ve heard tell as a farmer do spin gold all the +day same as one of they great spiders as go putting out silk from their +mouths.<br> +<br> +JULIA. And what is gold to me, Chris, who have no one but myself +to spend it on<br> +<br> +CHRIS. Folks do say as the laying up of gold be one of the finest +things in the world.<br> +<br> +JULIA. It will never bring happiness to me, Chris.<br> +<br> +CHRIS. Come, mistress, ’tis a fine thing to have a great +stone roof above the head of you.<br> +<br> +JULIA. I’d sooner get my shelter from the green leaves.<br> +<br> +NAT. And a grand thing to have your victuals spread afore you +each time ’stead of having to go lean very often.<br> +<br> +JULIA. O, a handful of berries and a drink of fresh water is enough +for me.<br> +<br> +TANSIE. And beautiful it must be to stretch the limbs of you upon +feathers when night do come down, with a fine white sheet drawn up over +your head.<br> +<br> +JULIA. O, I could rest more sweetly on the grass and moss yonder.<br> +<br> +NAT. I did never sleep within four walls but once, and then ’twas +in gaol.<br> +<br> +JULIA. O Nat, you were never in gaol, were you?<br> +<br> +NAT. ’Twas that they mistook I for another. And when +the morning did come, they did let I go again.<br> +<br> +CHRIS. I count ’twas a smartish long night, that!<br> +<br> +NAT. ’Twas enough for to shew me how it do feel when anyone +has got to bide sleeping with the walls all around of he.<br> +<br> +JULIA. And the ceiling above, Nat. And locked door. +And other folk lying breathing in the house, hard by. All dark +and close.<br> +<br> +CHRIS. And where us may lie, the air do run swift over we. +We has the smell of the earth and the leaves on us as we do sleep. +There baint no darkness for we, for the stars do blink all night through +up yonder.<br> +<br> +TANSIE. And no sound of other folk breathing but the crying of +th’ owls and the foxes’ bark.<br> +<br> +JULIA. Ah, that must be a grand sound, the barking of a fox. +I never did hear one. Never.<br> +<br> +CHRIS. Ah, ’tis a powerful thin sound, that - but one to +raise the hair on a man’s head and to clam the flesh of he, at +dead of night.<br> +<br> +NAT. You come and bide along of we one evening, and you shall +hearken to the fox, and badger too, if you’ve the mind.<br> +<br> +JULIA. O that would please me more than anything in the world.<br> +<br> +TANSIE. And when ’twas got a little lighter, so that the +bushes could be seen, and the fields, I’d shew you where the partridge +has her nest beneath the hedge; where we have gotten eggs, and eaten +them too.<br> +<br> +CHRIS. And I’ll take and lead you to a place what I do know +of, where the water flows clear as a diamond over the stones. +And if you bides there waiting quiet you may take the fish as they come +along - and there’s a dinner such as the Queen might not get every +day of the week.<br> +<br> +JULIA. O Chris, who is there to say I must bide in one place when +all in me is thirsting to be in t’other!<br> +<br> +CHRIS. I’m sure I don’t know.<br> +<br> +NAT. I should move about where I did like, if ’twas me.<br> +<br> +TANSIE. A fine young lady like you can do as she pleases.<br> +<br> +JULIA. Well then, it pleases me to bide with you in the free air.<br> +<br> +CHRIS. Our life, ’tis a poor life, and wandering. +’Tis food one day, and may be going without the next. ’Tis +the sun upon the faces of us one hour - and then the rain. But +’tis in freedom that us walks, and we be the masters of our own +limbs.<br> +<br> +JULIA. Will you be good to me if I journey with you?<br> +<br> +CHRIS. Ah, ’tis not likely as I’ll ever fail you, +mistress.<br> +<br> +JULIA. Do not call me mistress any longer, Chris, my name is Julia.<br> +<br> +CHRIS. ’Tis a well-sounding name, and one as runs easy as +clear water upon the tongue.<br> +<br> +JULIA. Tansie, how will it be for me to go with you?<br> +<br> +TANSIE. ’Twill be well enough with the spirit of you I don’t +doubt, but how’ll it be with the fine clothes what you have on?<br> +<br> +NAT. [<i>Suddenly looking up.</i>] Why, there’s Susan +coming.<br> +<br> +JULIA. [<i>Looking in the same direction.</i>] So that is +Susan?<br> +<br> +TANSIE. I count as her has had a smartish job to get away from +th’ old missis so early in the day.<br> +<br> +CHRIS. ’Tis a rare old she cat, and handy with the claw’s +of her, Susan’s missis.<br> +<br> +[SUSAN <i>comes shyly forward.<br> +<br> +</i>NAT. Come you here, Susan, and sit along of we.<br> +<br> +JULIA. Yes, sit down with us in this cool shade, Susan. +You look warm from running.<br> +<br> +SUSAN. O, I didn’t know you was here, Mistress Julia.<br> +<br> +JULIA. Well, Susan, and so you live at Road Farm. Are you +happy there?<br> +<br> +SUSAN. I should be if ’twern’t for mistress.<br> +<br> +JULIA. No mistress could speak harshly to you, Susan - you are +so young and pretty.<br> +<br> +SUSAN. Ah, but mistress takes no account of aught but the work +you does, and the tongue of her be wonderful lashing.<br> +<br> +JULIA. Then how comes it that you have got away to the forest +so early on a week day?<br> +<br> +SUSAN. ’Tis that mistress be powerful took up with sommat +else this afternoon, and so I was able to run out for a while and her +didn’t notice me.<br> +<br> +TANSIE. Why Su, what’s going on up at the farm so particular +to-day?<br> +<br> +SUSAN. ’Tis courting.<br> +<br> +ALL. Courting?<br> +<br> +SUSAN. Yes. That ’tis. ’Tis our Master +William what’s dressed up in his Sunday clothes and gone a-courting +with a basket of green stuff on his arm big enough to fill the market, +very nigh.<br> +<br> +CHRIS. Well, well, who’d have thought he had it in him?<br> +<br> +NAT. He’s a gentleman what’s not cut out for courting, +to my mind.<br> +<br> +SUSAN. Indeed he isn’t, Nat. And however the mistress +got him dressed and set off on that business, I don’t know.<br> +<br> +JULIA. But you have not told us who the lady is, Susan.<br> +<br> +SUSAN. [<i>Suddenly very embarrassed.</i>] I - I - don’t +think as I do rightly know who ’tis, mistress.<br> +<br> +CHRIS. Why, look you, Susan, you’ll have to take and hide +yourself if you don’t want for them to know as you be got along +of we.<br> +<br> +SUSAN. What’s that, Chris?<br> +<br> +CHRIS. [<i>Pointing.</i>] See there, that man of Master +Gardner’s be a-coming along towards us fast. Look yonder +-<br> +<br> +SUSAN. O whatever shall I do? ’Tis John, and surely +he will tell of me when he gets back.<br> +<br> +SAT. Come you off with me afore he do perceive you, Susan. +I’ll take you where you shall bide hid from all the Johns in the +world if you’ll but come along of me.<br> +<br> +JULIA. That’s it. Take her off, Nat; take her, Tansie. +And do you go along too, Chris, for I have a fancy to bide alone in +the stillness of the wood for a while.<br> +<br> +[SUSAN, TANSIE <i>and </i>NAT <i>go out.<br> +<br> +</i>CHRIS. Be I to leave you too, Julia?<br> +<br> +JULIA. [<i>Slowly.</i>] Only for a little moment, Chris; +then you can come for me again. I would like to stay with myself +in quiet for a while. New thoughts have come into my mind and +I cannot rightly understand what they do say to me, unless I hearken +to them alone.<br> +<br> +CHRIS. Then I’ll leave you, Julia. For things be stirring +powerful in my mind too, and I’d give sommat for to come to an +understanding with they. Ah, that I would.<br> +<br> +[<i>They look at one another in silence for a moment</i>,<i> then </i>CHRIS +<i>slowly follows the others</i>,<i> leaving </i>JULIA <i>alone</i>. +JULIA <i>sits alone in the wood. Presently she begins to sing.<br> +<br> +</i>JULIA. [<i>Singing.</i>]<br> +<br> +I sowed the seeds of love,<br> +It was all in the Spring;<br> +In April, in May, and in June likewise<br> +When small birds they do sing.<br> +<br> +[JOHN <i>with a large basket on his arm comes up to her.<br> +<br> +</i>JOHN. A good day to you, mistress.<br> +<br> +JULIA. Good afternoon.<br> +<br> +JOHN. Now I count as you would like to know who ’tis that’s +made so bold in speaking to you, Mistress.<br> +<br> +JULIA. Why, you’re Master Gardner’s farm hand, if +I’m not mistaken.<br> +<br> +JOHN. Ah, that’s right enough. And there be jobs as +I wish Master William would get and do for hisself instead of putting +them on I.<br> +<br> +JULIA. Well, and how far may you be going this afternoon?<br> +<br> +JOHN. I baint going no further than where I be a-standing now, +mistress.<br> +<br> +JULIA. It would appear that your business was with me, then?<br> +<br> +JOHN. Ah, you’ve hit the right nail, mistress. ’Tis +with you. ’Tis a straight offer as my master have sent me +out for to make.<br> +<br> +JULIA. Now I wonder what sort of an offer that might be!<br> +<br> +JOHN. ’Tis master’s hand in marriage, and a couple +of pigs jowls, home-cured, within this here basket.<br> +<br> +JULIA. O my good man, you’re making game of me.<br> +<br> +JOHN. And that I baint, mistress. ’Twas in the church +as Master William seed you first. And ’tis very nigh sick +unto death with love as he have been since then.<br> +<br> +JULIA. Is he too sick to come and plead his cause himself, John?<br> +<br> +JOHN. Ah, and that he be. Do go moulting about the place +with his victuals left upon the dish - a sighing and a grizzling so +that any maid what’s got a heart to th’ inside of she would +be moved in pity, did she catch ear of it, and would lift he out of +the torment.<br> +<br> +JULIA. Well, John, I’ve not seen or heard any of this sad +to-do, so I can’t be moved in pity.<br> +<br> +JOHN. An, do you look within this basket at the jowls what Master +William have sent you. Maybe as they’ll go to your heart +straighter nor what any words might.<br> +<br> +[JOHN <i>sits down on the bench by </i>JULIA <i>and opens the basket. +</i>JULIA <i>looks in.<br> +<br> +</i>JULIA. I have no liking for pigs’ meat myself.<br> +<br> +JOHN. Master’s pig meat be different to any in the county, +mistress. “Tell her,” says Master William, “’tis +a rare fine bit of mellow jowl as I be a sending she.”<br> +<br> +JULIA. O John, I’m a very poor judge of such things.<br> +<br> +JOHN. And look you here. I never seed a bit of Master William’s +home-cured sent out beyond the family to no one till this day. +No, that I have not, mistress.<br> +<br> +JULIA. [<i>Shutting the basket.</i>] Well - I have no use +for such a gift, John, so it may be returned again to the family. +I am sorry you had the trouble of bringing it so far.<br> +<br> +JOHN. You may not be partial to pig meat, mistress, but you’ll +send back the key of Master William’s heart same as you have done +the jowls.<br> +<br> +JULIA. I have no use for the key of Master William’s heart +either, John. And you may tell him so, from me.<br> +<br> +JOHN. Why, mistress. You don’t know what you be a +talking of. A man like my master have never had to take a No in +place of Yes in all the born days of him.<br> +<br> +JULIA. [<i>Rising.</i>] Then he’ll have to take it +now, John. And I’m thinking ’tis time you set off +home again with your load.<br> +<br> +JOHN. Well, mistress, I don’t particular care to go afore +you have given me a good word or sommat as’ll hearten up poor +Master William in his love sickness.<br> +<br> +JULIA. Truly, John, I don’t know what you would have me +say.<br> +<br> +JOHN. I warrant there be no lack of words to the inside of you, +if so be as you’d open you mouth a bit wider. ’Tis +not silence as a maid is troubled with in general.<br> +<br> +JULIA. O, I have plenty of words ready, John, should you care +to hear them.<br> +<br> +JOHN. Then out with them, Mistress Julia, and tell the master +as how you’ll take the offer what he have made you.<br> +<br> +JULIA. I’ve never seen your master, John, but I know quite +enough about him to say I’ll never wed with him. Please +to make that very clear when you get back.<br> +<br> +JOHN. ’Tis plain as you doesn’t know what you be a +talking of. And ’tis a wonder as how such foolishness can +came from the mouth of a sensible looking maid like yourself.<br> +<br> +JULIA. I shall not marry Master William Gardner.<br> +<br> +JOHN. I reckon as you’ll be glad enough to eat up every +one of them words the day you claps eyes on Master William, for a more +splendid gentleman nor he never fetched his breath.<br> +<br> +JULIA. I’ll never wed a farmer, John.<br> +<br> +JOHN. And then, look at the gift what Master William’s been +and sent you. ’Tisn’t to everyone as master do part +with his pig meat. That ’tisn’t.<br> +<br> +JULIA. [<i>Rising.</i>] Well, you can tell your master I’m +not one that can be courted with a jowl, mellow or otherwise. +And that I’ll not wed until I can give my heart along with my +hand.<br> +<br> +JOHN. I’d like to know where you would find a better one +nor master for to give your heart to, mistress?<br> +<br> +JULIA. May be I have not far to search.<br> +<br> +JOHN. [<i>Taking up the basket.</i>] You’re a rare +tricksy maid as ever I did see. Tricksy and tossy too.<br> +<br> +JULIA. There - that’s enough, John. Suppose you set +off home and tell your master he can hang up his meat again in the larder, +for all that it concerns me.<br> +<br> +JOHN. I’ll be blowed if I do say anything of the sort, mistress. +I shall get and tell Master William as you be giving a bit of thought +to the matter, and that jowls not being to your fancy, ’tis very +like as a dish of trotters may prove acceptabler.<br> +<br> +JULIA. Say what you like, John. Only let me bide quiet in +this good forest now. I want to be with my thoughts.<br> +<br> +JOHN. [<i>Preparing to go and speaking aloud to himself.</i>] +Her’s a wonderful contrary bird to be sure. And bain’t +a shy one neither, what gets timid and flustered and is easily netted. +My word, but me and master has a job before us for to catch she.<br> +<br> +JULIA. I hear you, and ’tis very rudely that you talk. +There’s an old saying that I never could see the meaning of before, +but now I think ’tis clear, “Like master, like man,” +they say. I’ll have none of Master William, and you can +tell him so.<br> +<br> +[JOHN <i>goes out angrily</i>. JULIA <i>sits down again on the +bench and begins to sing.<br> +<br> +</i>JULIA. [<i>Singing.</i>]<br> +<br> +My gardener stood by<br> +And told me to take great care,<br> +For in the middle of a red rose-bud<br> +There grows a sharp thorn there.<br> +<br> +[LAURA <i>comes slowly forward</i>,<i> carrying the basket of vegetables +on one arm. She holds a handkerchief to her face and is crying.<br> +<br> +</i>JULIA. Why, Laura, what has made you cry so sadly?<br> +<br> +LAURA. O, Julia, ’twas a rare red rose as I held in my hand, +and a rare cruel thorn that came from it and did prick me.<br> +<br> +JULIA. And a rare basket of green stuff that you have been getting.<br> +<br> +LAURA. [<i>Sinking down on the seat</i>,<i> and weeping violently.</i>] +His dear gift to me!<br> +<br> +JULIA. [<i>Looking into the basket.</i>] O a wonderful fine +gift, to be sure. Young carrots and spring cabbage. I’ve +had a gift offered too - but mine was jowls.<br> +<br> +LAURA. Jowls. O, and did you not take them?<br> +<br> +JULIA. No, I sent them back to the giver, with the dry heart which +was along with them in the same basket.<br> +<br> +LAURA. O Julia, how could you be so hard and cruel?<br> +<br> +JULIA. Come, wouldn’t you have done the same?<br> +<br> +LAURA. [<i>Sobbing vehemently.</i>] That I should not, Julia.<br> +<br> +JULIA. Perhaps you’ve seen the gentleman then?<br> +<br> +LAURA. I have. And O, Julia, he is a beautiful gentleman. +I never saw one that was his like.<br> +<br> +JULIA. The rare red rose with its thorn, Laura.<br> +<br> +LAURA. He did lay the heart of him before me - thinking my name +was Julia.<br> +<br> +JULIA. And did he lay the vegetables too?<br> +<br> +LAURA. ’Twas all the doing of a great fool, that man of +his.<br> +<br> +JULIA. And you - did you give him what he asked of you - before +he knew that your name was not Julia?<br> +<br> +LAURA. O, I did - that I did. [<i>A short silence</i>.<br> +<br> +JULIA. And could you forget the prick of the thorn, did you hold +the rose again, Laura?<br> +<br> +LAURA. O that I could. For me there’d be naught but +the rose, were it laid once more in my hand. But ’tis not +likely to be put there, since ’tis you he favours.<br> +<br> +JULIA. But I don’t favour him.<br> +<br> +LAURA. You’ll favour him powerful well when you see him, +Julia.<br> +<br> +JULIA. I’ve given my heart already, but ’tis not to +him.<br> +<br> +LAURA. You’ve given your heart?<br> +<br> +JULIA. Yes, Chris has all of it, Laura. There is nothing +left for anyone else in the world.<br> +<br> +LAURA. O Julia, think of your position.<br> +<br> +JULIA. That I will not do. I am going to think of yours.<br> +<br> +LAURA. [<i>Beginning to cry.</i>] I’m no better in +my station than a serving maid, like Susan.<br> +<br> +JULIA. [<i>Pointing.</i>] There she comes [<i>calling</i>] +Susan, Susan!<br> +<br> +[SUSAN <i>comes up. During the next sentences </i>LAURA <i>takes +one bunch of vegetables after another from the basket</i>,<i> smoothing +each in turn with a fond caressing movement.<br> +<br> +</i>SUSAN. Did you call, mistress?<br> +<br> +JULIA. Yes, Susan. That I did.<br> +<br> +SUSAN. Can I help you in any way, Miss Julia?<br> +<br> +JULIA. Yes, and that you can. You have got to run quickly +back to the farm.<br> +<br> +SUSAN. Be it got terrible late, mistress?<br> +<br> +JULIA. ’Tis not only that. You have got to find your +master and tell him to expect a visit from me in less than an hour’s +time from now. Do you understand?<br> +<br> +SUSAN. O, yes, mistress, and that I do - to tell master as you +be coming along after he as fast as you can run.<br> +<br> +JULIA. Well - I should not have put it in that way, but ’tis +near enough may be. So off, and make haste, Susan.<br> +<br> +SUSAN. Please, mistress, I could make the words have a more loving +sound to them if you do wish it.<br> +<br> +JULIA. My goodness, Susan, what are you thinking of? Say +naught, but that I’m coming. Run away now, and run quickly. +[SUSAN <i>goes off.<br> +<br> +</i>LAURA. [<i>Looking up</i>,<i> a bunch of carrots in her hands.</i>] +What are you going to do now, Julia?<br> +<br> +JULIA. You shall see, when you have done playing with those carrots.<br> +<br> +LAURA. He pulled them, every one, with his own hands, Julia.<br> +<br> +JULIA. My love has gathered something better for me than a carrot. +See, a spray of elder bloom that was tossing ever so high in the wind.<br> +<br> +[<i>She takes a branch of elder flower from her dress</i>,<i> and shews +it to </i>LAURA.<br> +<br> +LAURA. The roots that lie warm in the earth do seem more homely +like to me.<br> +<br> +JULIA. Well - each one has their own way in love - and mine lies +through the dark woods, and yours is in the vegetable garden. +And ’tis your road that we will take this afternoon - so come +along quickly with me, Laura, for the sun has already begun to change +its light.<br> +<br> +[LAURA <i>replaces the vegetables in her basket and rises from the seat +as the curtain falls.<br> +<br> +<br> +<br> +</i>ACT III. - Scene 1.<br> +<br> +<br> +<br> +<i>The Garden of Road Farm as in Act I.<br> +<br> +</i>MRS. GARDNER <i>is knitting in the Arbour</i>. WILLIAM <i>strolls +about gloomily</i>,<i> his hands in his pockets.<br> +<br> +</i>MRS. GARDNER. And serve you right, William, for sending the +man when you should have gone yourself.<br> +<br> +WILLIAM. John has a tongue that is better used to this sort of +business than mine.<br> +<br> +MRS. GARDNER. Nonsense, when was one of our family ever known +to fail in the tongue?<br> +<br> +WILLIAM. If she that was asked first had only been the right one, +all would have been over and done with now.<br> +<br> +MRS. GARDNER. ’Tis John that you have got to thank for the +blunder.<br> +<br> +WILLIAM. [<i>Sighing.</i>] That was a rare fine maid, and +no mistake.<br> +<br> +MRS. GARDNER. And a rare brazen hussy, from all that has reached +my ears.<br> +<br> +WILLIAM. Well - I’ve done with courting - now and for all +time, that I have. And you may roast me alive if I’ll ever +go nigh to a maid again.<br> +<br> +MRS. GARDNER. That you shall, William - and quickly too. +There’s no time like the present, and your Sunday clothes are +upon you still.<br> +<br> +WILLIAM. I was just going up to change, Mother.<br> +<br> +MRS. GARDNER. Then you’ll please to remain as you are. +You may take what gift you like along with you this time, so long as +it’s none of my home-cured meat.<br> +<br> +WILLIAM. I’m blessed if I do stir out again this day. +Why, look at the seedlings crying for water, and the nets to lay over +the fruit and sommat of everything wanting to be done all around of +me. I’ll not stir.<br> +<br> +[JOHN <i>comes towards them.<br> +<br> +</i>MRS. GARDNER. Here’s John. Suppose he were to +make himself useful in the garden for once instead of meddling in things +that are none of his business.<br> +<br> +JOHN. I’ll be blowed if ’tis any more courting as +I’ll do, neither for Master William nor on my own account.<br> +<br> +WILLIAM. Why, John, ’twasn’t your fault that the lady +wouldn’t take me, you did your best with her, I know.<br> +<br> +JOHN. An that I did, Master William, but a more contrary coxsy +sort of a maid I never did see. “I baint one as fancies +pig meat,” her did say. And the nose of she did curl away +up till it could go no higher. That’s not the wench for +me, I says to myself.<br> +<br> +MRS. GARDNER. Is the jowl hung up in its right place again, John?<br> +<br> +JOHN. That ’tis, mistress. I put it back myself, and +a good job for that ’taint went out of the family and off to the +mouths of strangers, so says I.<br> +<br> +MRS. GARDNER. Do you tend to Master William’s garden John, +instead of talking. We’ve had enough of your tongue for +one day.<br> +<br> +JOHN. Why, be Master William goin’ out for to court again, +this afternoon?<br> +<br> +WILLIAM. No, John - No, I’ve had enough of that for my life +time.<br> +<br> +JOHN. So have I, master, and more nor enough. I don’t +care particular if I never set eyes on a maid again.<br> +<br> +WILLIAM. [<i>Pointing to a plot of ground.</i>] That’s +where I pulled the young carrots this morning.<br> +<br> +JOHN. Ah, and so you did, master.<br> +<br> +WILLIAM. And there’s from where I took the Early Snowballs.<br> +<br> +JOHN. And a great pity as you did. There be none too many +of that sort here.<br> +<br> +WILLIAM. She had a wonderful soft look in her eyes as she did +handle them and the spring cabbage, John.<br> +<br> +JOHN. Ah, and a wonderful hard tongue when her knowed ’twasn’t +for she as they was pulled.<br> +<br> +WILLIAM. Was t’other maid anything of the same pattern, +John?<br> +<br> +JOHN. Upon my word, if t’other wasn’t the worst of +the two, for she did put a powerful lot of venom into the looks as she +did give I, and the words did fall from she like so many bricks on my +head.<br> +<br> +WILLIAM. Pity the first was not the right maid.<br> +<br> +JOHN. Ah, a maid what can treat a prime home-cured jowl as yon +did baint the sort for to mistress it over we, I’m thinking.<br> +<br> +MRS. GARDNER. See here, John - suppose you were to let your tongue +bide still in its home awhile, and start doing something with your hands.<br> +<br> +JOHN. That’s right enough, mistress. What’s +wanted, Master William?<br> +<br> +WILLIAM. I’m blessed if I can recollect, John. This +courting business lies heavy on me, and I don’t seem able to get +above it, like.<br> +<br> +JOHN. I’d let it alone, master, if I was you. They +be all alike, the maids. And ’twouldn’t be amiss if +we was to serve they as we serves the snails when they gets to the young +plants.<br> +<br> +[SUSAN <i>comes hurriedly into the garden.<br> +<br> +</i>SUSAN. Please master, please mistress.<br> +<br> +MRS. GARDNER. What do you mean, Susan, by coming into the garden +without your cap? Go and put it on at once.<br> +<br> +SUSAN. The wind must have lifted it from me, mistress, for I was +running ever so fast.<br> +<br> +MRS. GARDNER. Do you expect me to believe that, Susan - and not +a breath stirring the flowers or trees, or anything?<br> +<br> +SUSAN. ’Twas the lady I met as - as - as I was coming across +the field from feeding the fowls.<br> +<br> +MRS. GARDNER. What lady, Susan?<br> +<br> +SUSAN. Her from Luther’s, mistress.<br> +<br> +JOHN. And what of she; out with it, wench.<br> +<br> +SUSAN. She did tell I to say as she be coming along as fast as +she may after Master William.<br> +<br> +WILLIAM. [<i>As though to himself with an accent of despair.</i>] +No. No.<br> +<br> +JOHN. There, master, didn’t I tell you so?<br> +<br> +WILLIAM. [<i>Very nervously.</i>] What did you tell me, +John?<br> +<br> +JOHN. That, let her abide and her’d find the senses of she +presently.<br> +<br> +WILLIAM. O I’m blessed if I do know what to do.<br> +<br> +[JOHN <i>takes his master’s arm and draws him aside.<br> +<br> +</i>JOHN. You pluck up your heart, my dearest master, and court +she hard. And in less nor a six months ’tis along to church +as you’ll be a-driving she.<br> +<br> +WILLIAM. But John, ’tis t’other with the cherry ribbons +that has taken all my fancy.<br> +<br> +JOHN. No, no, Master William. You take and court the mistress. +You take and tame the young vixen, and get the gold and silver from +she. T’other wench is but the serving maid.<br> +<br> +SUSAN. The lady’s coming along ever so quickly, master.<br> +<br> +[MRS. GARDNER, <i>rising and folding up her knitting.<br> +<br> +</i>MRS. GARDNER. You’ll please to come indoors with me, +William, and I’ll brush you down and make you look more presentable +than you appear just now. Susan, you’ll get a cap to you +head at once, do you hear me! And John, take and water master’s +seedlings. Any one can stand with their mouths open and their +eyes as big as gooseberries if they’ve a mind. ’Tis +not particular sharp to do so. Come, William.<br> +<br> +WILLIAM. I’d like a word or two with John first, Mother.<br> +<br> +MRS. GARDNER. You come along with me this moment, William. +’Tis a too many words by far that you’ve had with John already, +and much good they’ve done to you. Come you in with me.<br> +<br> +WILLIAM. O I’m blessed if I do know whether ’tis on +my head or on my feet that I’m standing.<br> +<br> +[WILLIAM <i>follows his mother slowly and gloomily into the house.<br> +<br> +</i>JOHN. Well - if ever there was a poor, tormented animal ’tis +the master.<br> +<br> +SUSAN. Ah, mistress should have been born a drover by rights. +’Tis a grand nagging one as her’d have made, and sommat +what no beast would ever have got the better of.<br> +<br> +JOHN. I wouldn’t stand in Master William’s shoes, +not if you was to put me knee deep in gold.<br> +<br> +SUSAN. Nor I.<br> +<br> +JOHN. Ah, this courting business, ’tis a rare caddling muddle +when ’tis all done and said.<br> +<br> +SUSAN. ’Tis according as some folks do find it, Master John.<br> +<br> +JOHN. ’Tis a smartish lot as you’ll get of it come +Sunday night, my wench. You wait and see.<br> +<br> +SUSAN. That shews how little you do know. ’Twill be +better nor ever with me then.<br> +<br> +JOHN. ’Twill be alone by yourself as you’ll go walking, +Su.<br> +<br> +SUSAN. We’ll see about that when the time comes, John.<br> +<br> +JOHN. All I says is that I baint a-going walking with you.<br> +<br> +SUSAN. I never walk with two, John.<br> +<br> +JOHN. You’ll have to learn to go in your own company.<br> +<br> +SUSAN. I shall go by the side of my husband by then, very likely.<br> +<br> +JOHN. Your husband? What tales be you a-giving out now?<br> +<br> +SUSAN. ’Tis to Nat as I’m to be wed come Saturday.<br> +<br> +JOHN. Get along with you, Susan, and put a cap to your head. +Mistress will be coming out presently, and then you know how ’twill +be if her catches you so. Get along in with you.<br> +<br> +SUSAN. Now you don’t believe what I’m telling you +- but it’s true, O it’s true.<br> +<br> +JOHN. Look here - There’s company at the gate, and you a-standing +there like any rough gipsy wench on the road. Get you in and make +yourself a decenter appearance and then go and tell the mistress as +they be comed.<br> +<br> +SUSAN. [<i>Preparing to go indoors and speaking over her shoulder.</i>] +’Tis in the parson’s gown as you should be clothed, Master +John. Ah, ’tis a wonderful wordy preacher as you would make, +to be sure. And ’tis a rare crop as one might raise with +the seed as do fall from your mouth.<br> +<br> +[<i>She goes indoors</i>. JULIA <i>comes leisurely into the garden.<br> +<br> +</i>JULIA. Well, John, and how are you feeling now?<br> +<br> +JOHN. Nicely, thank you, mistress. See yon arbour?<br> +<br> +JULIA. And that I do, John.<br> +<br> +JOHN. Well, you may go and sit within it till the master has leisure +to come and speak with you.<br> +<br> +JULIA. Thank you, John, but I would sooner stop and watch you +tend the flowers.<br> +<br> +JOHN. ’Tis all one to me whether you does or you does not.<br> +<br> +JULIA. Now, John, you are angry with me still.<br> +<br> +JOHN. I likes a wench as do know the mind of she, and not one +as can blow hot one moment and cold the next.<br> +<br> +JULIA. There was never a moment when I did not know my own mind, +John. And that’s the truth.<br> +<br> +JOHN. Well, us won’t say no more about that. ’Taint +fit as there should be ill feeling nor quarrelling ’twixt me and +you.<br> +<br> +JULIA. You’re right, John. And there was something +that I had it in my mind to ask you.<br> +<br> +JOHN. You can say your fill. There baint no one but me in +the garden.<br> +<br> +JULIA. John, you told me that since Sunday your master has been +sick with love.<br> +<br> +JOHN. That’s right enough, mistress. I count as we +shall bury he if sommat don’t come to his relief.<br> +<br> +JULIA. Now, John, do you look into my eyes and tell me if ’tis +for love of Julia or of Laura that your master lies sickening.<br> +<br> +JOHN. You’d best go and ask it of his self, mistress. +’Tis a smartish lot of work as I’ve got to attend to here.<br> +<br> +JULIA. You can go on working, John. I am not hindering you.<br> +<br> +JOHN. No more than one of they old Juney bettels a-roaring and +a-buzzin round a man’s head.<br> +<br> +JULIA. Now, John - you must tell me which of the two it is. +Is it Laura whom your master loves, or Julia?<br> +<br> +JOHN. ’Tis Julia, then, since you will have it out of me.<br> +<br> +JULIA. No, John, you’re not looking straight at me. +You are looking down at the flower bed. Let your eyes meet mine.<br> +<br> +JOHN. [<i>Looking up crossly.</i>] I’ve got my work +to think of. I’m not one to stand cackling with a maid.<br> +<br> +JULIA. Could you swear me it is Julia?<br> +<br> +JOHN. ’Tis naught to I which of you it be. There bide +over, so as I can get the watering finished.<br> +<br> +JULIA. [<i>Seizes the watering can.</i>] Now, John, you +have got to speak the truth to me.<br> +<br> +JOHN. Give up yon can, I tell you. O you do act wonderful +unseemly for a young lady.<br> +<br> +JULIA. [<i>Withholding the can.</i>] Not till I have the +truth from you.<br> +<br> +JOHN. [<i>Angrily.</i>] Well then, is it likely that my +master would set his fancy on such a plaguy, wayward maid? Why, +Master William do know better nor to do such a thing, I can tell you.<br> +<br> +JULIA. Then ’tis for Laura that he is love-sick, John.<br> +<br> +JOHN. Give I the watering can.<br> +<br> +JULIA. [<i>Giving him the can.</i>] Here it is, dear John. +O I had a fancy all the time that ’twas to Laura your master had +lost his heart. And now I see I made no mistake.<br> +<br> +JOHN. I shouldn’t have spoke as I did if you hadn’t +a buzzed around I till I was drove very nigh crazy. Master William, +he’ll never forgive me this.<br> +<br> +JULIA. That he will, I’m sure, when he has listened to what +I have got to say to him.<br> +<br> +JOHN. You do set a powerful store on what your tongue might say, +but I’d take and bide quiet at home if I was you and not come +hunting of a nice reasonable gentleman like master, out of his very +garden.<br> +<br> +JULIA. O John, you’re a sad, ill-natured man, and you misjudge +me very unkindly. But I’ll not bear malice if you will just +run in and tell your master that I want a word with him.<br> +<br> +JOHN. A word? Why not say fifty? When was a maid ever +satisfied with one word I’d like to know?<br> +<br> +JULIA. Well - I shan’t say more than six, very likely, so +fetch him to me now, John, and I’ll wait here in the garden. +[JOHN <i>looks at her with exasperated contempt. Then he slowly +walks away towards the house</i>. JULIA <i>goes in the opposite +direction to the garden gate.<br> +<br> +</i>JULIA. [<i>Calling.</i>] Chris! [CHRIS <i>comes +in.<br> +<br> +</i>JULIA. [<i>Pointing.</i>] O Chris, look at this fine +garden - and yon arbour - see the fine house, with lace curtains to +the windows of it.<br> +<br> +CHRIS. [<i>Sullenly.</i>] Ah - I sees it all very well.<br> +<br> +JULIA. And all this could be mine for the stretching out of a +hand.<br> +<br> +CHRIS. Then stretch it.<br> +<br> +JULIA. ’Twould be like putting a wild bird into a gilded +cage, to set me here in this place. No, I must go free with you, +Chris - and we will wander where our spirits lead us - over all the +world if we have a mind to do so.<br> +<br> +CHRIS. Please God you’ll not grieve at your choice.<br> +<br> +JULIA. That I never shall. Now call to Laura. Is she +in the lane outside?<br> +<br> +CHRIS. There, she be come to the gate now.<br> +<br> +[LAURA <i>comes in</i>,<i> followed by </i>NAT <i>and </i>TANSIE.<br> +<br> +JULIA. [<i>Pointing to a place on the ground.</i>] Laura, +see, here is the place from which your young carrots were pulled.<br> +<br> +LAURA. O look at the flowers, Julia - Lillies, pinks and red roses.<br> +<br> +JULIA. ’Tis a fine red rose that shall be gathered for you +presently, Laura. [JOHN <i>comes up.<br> +<br> +</i>JOHN. The master’s very nigh ready now, mistress.<br> +<br> +[SUSAN <i>follows him.<br> +<br> +</i>SUSAN. The mistress says, please to be seated till she do +come.<br> +<br> +JOHN. [<i>To </i>CHRIS <i>and </i>NAT.] Now, my men, we +don’t want the likes of you in here. You had best get off +afore Master William catches sight of you.<br> +<br> +JULIA. No, John. These are my friends, and I wish them to +hear all that I have to say to your master.<br> +<br> +JOHN. Ah, ’tis in the grave as poor Master William will +be landed soon if you don’t have a care.<br> +<br> +LAURA. [<i>Anxiously.</i>] O is he so delicate as that, +John?<br> +<br> +JOHN. Ah - and that he be. And these here love matters and +courtings and foolishness have very nigh done for he. I don’t +give him but a week longer if things do go on as they be now.<br> +<br> +[WILLIAM <i>and </i>MRS. GARDNER <i>come in</i>. WILLIAM <i>looks +nervously round him</i>. MRS. GARDNER <i>perceives the gipsies</i>,<i> +and </i>SUSAN <i>talking to </i>NAT.<br> +<br> +MRS. GARDNER. Susan, get you to your place in the kitchen, as +quick as you can. John, put yon roadsters through the gate, if +you please. [<i>Turning to </i>JULIA.] Now young Miss?<br> +<br> +JULIA. A very good evening to you, mistress. And let me +make Chris known to you for he and I are to be wed to-morrow.<br> +<br> +[<i>She takes </i>CHRIS <i>by the hand and leads him forward.<br> +<br> +</i>MRS. GARDNER. What’s this? William, do you understand +what the young person is telling us?<br> +<br> +JULIA. [<i>Taking </i>LAURA <i>with her other hand.</i>] +And here is Laura to whom I have given all my land and all my money. +She is the mistress of Luther’s now.<br> +<br> +JOHN. [<i>Aside to </i>WILLIAM.] Now master, hearken to +that. Can’t you lift your spirits a bit.<br> +<br> +JULIA. [<i>To </i>MRS. GARDNER.] And I beg you to accept +her as a daughter. She will make a better farmer’s wife +than ever I shall.<br> +<br> +JOHN. [<i>In a loud whisper.</i>] Start courting, master.<br> +<br> +WILLIAM. O I dare not quite so sudden, John.<br> +<br> +MRS. GARDNER. [<i>Sitting down.</i>] It will take a few +moments for me to understand this situation.<br> +<br> +JULIA. There is no need for any hurry. We have all the evening +before us.<br> +<br> +JOHN. [<i>Hastily gathers a rosebud and puts it into </i>WILLIAM’S +<i>hand.</i>] Give her a blossom, master. ’Tis an +easy start off.<br> +<br> +WILLIAM. [<i>Coming forward shyly with the flower.</i>] +Would you fancy a rosebud, mistress?<br> +<br> +LAURA. O that I would, master.<br> +<br> +WILLIAM. Should you care to see - to see where the young celery +is planted out?<br> +<br> +LAURA. O, I’d dearly love to see the spot.<br> +<br> +WILLIAM. I’ll take you along to it then. [<i>He gives +her his arm</i>,<i> very awkwardly</i>,<i> and they move away.<br> +<br> +</i>MRS. GARDNER. [<i>Sitting down.</i>] Well - things have +changed since I was young.<br> +<br> +JOHN. [<i>Looking viciously at </i>NAT <i>and </i>SUSAN.] +Ah, I counts they have, mistress, and ’tis all for the worse.<br> +<br> +SUSAN. [<i>Comes forward timidly.</i>] And me and Nat are +to be married too, mistress.<br> +<br> +MRS. GARDNER. I should have given you notice anyhow to-night, +Susan, so perhaps it’s just as well you have made sure of some +sort of a roof to your head.<br> +<br> +NAT. ’Twill be but the roof of th’ old cart, mistress; +but I warrant as her’ll sleep bravely under it, won’t you, +Su.<br> +<br> +SUSAN. That I shall, dear Nat.<br> +<br> +TANSIE. Well, Master John, have you a fancy to come tenting along +of we.<br> +<br> +JOHN. Upon my word, but I don’t know how ’tis with +the young people nowadays, they be so bold.<br> +<br> +JULIA. [<i>Who has been standing apart</i>,<i> her hand in that +of </i>CHRIS.] New days, new ways, John.<br> +<br> +JOHN. Bless my soul, but ’tis hard to keep up with all these +goings on, and no mistake.<br> +<br> +JULIA. No need for you to try, John. If you are too old +to run with us you must abide still and watch us as we go.<br> +<br> +CHRIS. But there, you needn’t look downhearted, master, +for I knows someone as’ll give you a rare warm welcome if so be +as you should change your mind and take your chance in the open, same +as we.<br> +<br> +TANSIE. You shall pay for that, Chris.<br> +<br> +JOHN. [<i>Stiffly.</i>] I hope as I’ve a properer +sense of my duty nor many others what I could name.<br> +<br> +MRS. GARDNER. Those are the first suitable words that have been +spoken in my hearing this afternoon.<br> +<br> +[WILLIAM, <i>with </i>LAURA <i>on his arm</i>,<i> returns</i>. +LAURA <i>carries a small cucumber very lovingly.<br> +<br> +</i>LAURA. Julia, look! The first one of the season! +O, isn’t it a picture!<br> +<br> +JULIA. O Laura, ’tis a fine wedding gift to be sure.<br> +<br> +WILLIAM. [<i>Stepping up to </i>JOHN.] John, my man, here’s +a five pound note to your pocket. I’d never have won this +lady here if it hadn’t been for you.<br> +<br> +JOHN. [<i>Taking the note.</i>] Don’t name it, dear +master. ’Tis a long courtship what has no ending to it, +so I always says.<br> +<br> +MRS. GARDNER. ’Tis one upset after another, but suppose +you were to make yourself useful for once, Susan, and bring out the +tray with the cake and glasses on it.<br> +<br> +JOHN. Ah, that’s it, and I’ll go along of she and +help draw the cider. Courtship be powerful drying work.<br> +<br> +LAURA. [<i>Looking into </i>WILLIAM’S <i>eyes.</i>] +O William, ’twas those Early Snowballs that did first stir up +my heart.<br> +<br> +WILLIAM. ’Twas John who thought of them. Why, John +has more sensible thoughts to the mind of him than any other man in +the world - and when the cider is brought, ’tis to John’s +health we will all drink.<br> +<br> +[<i>Curtain.</i>]<br> +<br> +<br> +<br> +<br> +PRINCESS ROYAL<br> +<br> +<br> +<br> +<br> +CHARACTERS IN THE PLAY<br> +<br> +ROSE, MARION, <i>village girls.<br> +</i>LADY MILLICENT.<br> +ALICE, <i>her maid.<br> +</i>LEAH, <i>an old gipsy.<br> +</i>SUSAN, <i>otherwise Princess Royal</i>,<i> her grand-daughter.<br> +</i>JOCKIE, <i>a little swine herd.<br> +</i>LADY CULLEN.<br> +<i>Her ladies in waiting (or one lady only).<br> +</i>LORD CULLEN, <i>her only son.<br> +As many girls as are needed for the dances should be in this Play.<br> +<br> +The parts of Lord Cullen and Jockie may be played by girls.<br> +<br> +<br> +<br> +</i>ACT I. - Scene 1.<br> +<br> +<br> +<br> +<i>A village green. Some girls with market baskets come on to +it</i>,<i> each one carrying a leaflet which she is earnestly reading.<br> +<br> +Gradually all the girls approach from different sides reading leaflets.<br> +<br> +Under a tree at the far end of the green the old gipsy is sitting - +she lights a pipe and begins to smoke as </i>ROSE, <i>her basket full +of market produce</i>,<i> comes slowly forward reading her sheet of +paper. She is followed by </i>MARION - <i>also reading.<br> +<br> +</i>ROSE. Well, ’tis like to be a fine set out, this May +Day.<br> +<br> +MARION. I can make naught of it myself.<br> +<br> +ROSE. Why, ’tis Lord Cullen putting it about as how he be +back from the war and thinking of getting himself wed, like.<br> +<br> +MARION. I understands that much, I do.<br> +<br> +ROSE. Only he can’t find the maid what he’s lost his +heart to.<br> +<br> +MARION. [<i>Reading.</i>] The wench what his lordship did +see a-dancing all by herself in the forest when he was hid one day all +among the brambles, a-rabbiting or sommat.<br> +<br> +ROSE. And when my lord would have spoke with her, the maid did +turn and fled away quick as a weasel.<br> +<br> +MARION. And his lordship off to the fighting when ’twas +next morn.<br> +<br> +ROSE. So now, each maid of us in the village and all around be +to dance upon the green come May Day so that my lord may see who ’twas +that pleased his fancy.<br> +<br> +[SUSAN <i>comes up and stands quietly listening. She is bare foot +and her skirt is ragged</i>,<i> she wears a shawl over her shoulders +and her hair is rough and untidy. On her arm she carries a basket +containing a few vegetables and other marketings.<br> +<br> +</i>MARION. And when he do pitch upon the one, ’tis her +as he will wed.<br> +<br> +ROSE. ’Twill be a thing to sharpen the claws of th’ +old countess worse nor ever - that marriage.<br> +<br> +MARION. Ah, I reckon as her be mortal angered with all the giddle-gaddle +this business have set up among the folk.<br> +<br> +ROSE. [<i>Regretfully.</i>] I’ve never danced among +the trees myself.<br> +<br> +MARION. [<i>Sadly.</i>] Nor I, neither, Rose.<br> +<br> +ROSE. I’d dearly like to be a countess, Marion.<br> +<br> +MARION. His lordship might think I was the maid. I’m +spry upon my feet you know.<br> +<br> +[SUSAN <i>comes still nearer.<br> +<br> +</i>MARION. [<i>Turning to her and speaking rudely.</i>] +Well, Princess Rags, ’tisn’t likely as ’twas you a-dancing +one of your Morris dances in the wood that day!<br> +<br> +ROSE. [<i>Mockingly.</i>] ’Tisn’t likely as +his lordship would set his thoughts on a wench what could caper about +like a Morris man upon the high road. So there.<br> +<br> +SUSAN. [<i>Indifferently.</i>] I never danced upon the high +road, I dances only where ’tis dark with gloom and no eyes upon +me. No mortal eyes.<br> +<br> +MARION. [<i>Impudently.</i>] Get along with you, Princess +Royal. Go off to th’ old gipsy Gran’ma yonder. +We don’t want the likes of you along of us.<br> +<br> +ROSE. Go off and dance to your own animals, Miss Goatherd. +All of us be a-going to practise our steps against May Day. Come +along girls.<br> +<br> +[<i>She signs to the other girls who all draw near and arrange themselves +for a Country Dance</i>. SUSAN <i>goes slowly towards her </i>GRANDMOTHER +<i>and sits on the ground by her side</i>,<i> looking sadly and wistfully +at the dancers. At the end of the dance</i>,<i> the girls pick +up their baskets and go off in different directions across the green</i>. +SUSAN <i>and her </i>GRANDMOTHER <i>remain in their places. The +gipsy continues to smoke and </i>SUSAN <i>absently turns over the things +in her basket.<br> +<br> +</i>SUSAN. They mock me in the name they have fixed to me - Princess +Royal.<br> +<br> +GRANDMOTHER. Let them mock. I’ll bring the words back +to them like scorpions upon their tongues.<br> +<br> +[<i>There is a little silence and then </i>SUSAN <i>begins to sing as +though to herself.<br> +<br> +</i>SUSAN. [<i>Singing.</i>]<br> +<br> +“As I walked out one May morning,<br> +So early in the Spring;<br> +I placed my back against the old garden gate,<br> +And I heard my true love sing.” <a name="citation1"></a><a href="#footnote1">{1}</a><br> +<br> +GRANDMOTHER. [<i>At the end of the singing.</i>] It might +be the blackcap a-warbling all among of the branches. So it might.<br> +<br> +SUSAN. Ah, ’twas I that was a-dancing in the shade of the +woods that day.<br> +<br> +GRANDMOTHER. He’ll never look on the likes of you - that’s +sure enough, my little wench.<br> +<br> +SUSAN. I wish he was a goat-herd like myself - O that I do.<br> +<br> +GRANDMOTHER. Then there wouldn’t be no use in your wedding +yourself with him as I can see.<br> +<br> +SUSAN. ’Tis himself, not his riches that I want.<br> +<br> +GRANDMOTHER. You be speaking foolishness. What do you know +of him - what do us blind worms know about the stars above we?<br> +<br> +SUSAN. I see’d him pass by upon his horse one day. +All there was of him did shine like the sun upon the water - I was very +near dazed by the brightness. So I was.<br> +<br> +[<i>The </i>GRANDMOTHER <i>continues to smoke in silence.<br> +<br> +</i>SUSAN. [<i>Softly.</i>] And ’twas then I lost +the heart within me to him.<br> +<br> +[JOCKIE <i>runs up beating his tabor.<br> +<br> +</i>SUSAN. [<i>Springing up.</i>] Come, Jockie, I have a +mind to dance a step or two. [<i>Rubbing her eyes with the back +of her hands.</i>] Tears be for them as have idle times and not +for poor wenches what mind cattle and goats. Come, play me my +own music, Jock. And play it as I do like it best.<br> +<br> +[JOCKIE <i>begins to play the tune of</i> “<i>Princess Royal</i>” +<i>and </i>SUSAN <i>dances. Whilst </i>SUSAN <i>is dancing </i>LADY +MILLICENT <i>and her waiting maid come slowly by and stand watching</i>. +SUSAN <i>suddenly perceives them and throws herself on the ground</i>. +JOCKIE <i>stops playing.<br> +<br> +</i>LADY MILLICENT. [<i>Fanning herself.</i>] A wondrous +bold dance, upon my word - could it have been that which captivated +my lord, Alice?<br> +<br> +ALICE. O no, mistress. His lordship has no fancy for boldness +in a maid.<br> +<br> +LADY MILLICENT. Immodest too. A Morris dance. The +girl should hide her face in shame.<br> +<br> +ALICE. And there she is, looking at your ladyship with her gipsy +eyes, bold as a brass farthing.<br> +<br> +SUSAN. [<i>Starting up and speaking passionately.</i>] I’ll +not be taunted for my dancing - I likes to dance wild, and leap with +my body when my spirit leaps, and fly with my limbs when my heart flies +and move in the air same as the birds do move when ’tis mating +time.<br> +<br> +GRANDMOTHER. Ah, ’tis so with she. She baint no tame +mouse what creeps from its hole along of t’others and who do go +shuffle shuffle, in and out of the ring, mild as milk and naught in +the innards of they but the squeak.<br> +<br> +SUSAN. [<i>Defiantly.</i>] ’Twas my dance gained his +lordship’s praise - so there, fine madam.<br> +<br> +LADY MILLICENT. Your dance? Who are you then?<br> +<br> +ALICE. A gipsy wench, mistress, who minds the goats and pigs for +one of they great farms.<br> +<br> +GRANDMOTHER. Have a care for that tongue of yours, madam waiting +maid. For I know how to lay sommat upon it what you won’t +fancy.<br> +<br> +LADY MILLICENT. [<i>Coming up to </i>SUSAN <i>and laying her hand +on her arm.</i>] Now tell me your name, my girl.<br> +<br> +SUSAN. They call me Princess Royal.<br> +<br> +LADY MILLICENT. O that must be in jest. Why, you are clothed +in rags, poor thing.<br> +<br> +SUSAN. [<i>Shaking herself free.</i>] I’d sooner wear +my own rags nor the laces which you have got upon you.<br> +<br> +LADY MILLICENT. Now why do you say such a thing?<br> +<br> +SUSAN. ’Twas in these rags as I danced in the wood that +day, and ’tis by these rags as my lord will know me once more.<br> +<br> +LADY MILLICENT. Listen, I will cover you in silk and laces, Princess +Royal.<br> +<br> +ALICE. Susan is the maid’s name.<br> +<br> +SUSAN. I don’t want none of your laces or silks.<br> +<br> +LADY MILLICENT. And feed you with poultry and cream and sweetmeats.<br> +<br> +SUSAN. I want naught but my crust of bread.<br> +<br> +LADY MILLICENT. I’ll fill your hands with gold pieces.<br> +<br> +GRANDMOTHER. Do you hear that, Sue?<br> +<br> +SUSAN. [<i>Doggedly.</i>] I hear her well enough, Gran.<br> +<br> +LADY MILLICENT. If you’ll teach me your dance against May +Day. Then, I’ll clothe myself much after your fashion and +dance upon the green with the rest.<br> +<br> +SUSAN. I’ll not learn you my dance. Not for all the +gold in the world. You shan’t go and take the only thing +I have away from me.<br> +<br> +LADY MILLICENT. [<i>Angrily.</i>] Neither shall a little +gipsy wretch like you take my love from me. We were as good as +promised to each other at our christening.<br> +<br> +ALICE. Don’t put yourself out for the baggage, madam. +His lordship would never look on her.<br> +<br> +GRANDMOTHER. Gold, did you say, mistress?<br> +<br> +LADY MILLICENT. Gold? O yes - an apron full of gold, and +silver too.<br> +<br> +GRANDMOTHER. Do you hear that, Susan?<br> +<br> +SUSAN. [<i>Doggedly</i>.] I’ll not do it for a King’s +ransom.<br> +<br> +GRANDMOTHER. You will. You’ll do it for the sake of +poor old Gran, what’s been father and mother to you - and what’s +gone hungered and thirsty so that you might have bread and drink.<br> +<br> +SUSAN. [<i>Distractedly.</i>] O I can never give him up.<br> +<br> +GRANDMOTHER. He’ll never be yourn to give - Dance till your +legs is off and he’ll have naught to say to a gipsy brat when +’tis all finished.<br> +<br> +ALICE. Whilst my lady belongs to his lordship’s own class, +’tis but suitable as she should be the one to wed with him - knowing +the foreign tongues and all, and playing so sweetly on her instruments. +There’s a lady anyone would be proud to take before the Court +in London.<br> +<br> +[SUSAN <i>turns away with a movement of despair. The </i>GRANDMOTHER +<i>begins to smoke again</i>. LADY MILLICENT <i>fans herself and +</i>ALICE <i>arranges her own shawl.<br> +<br> +</i>GRANDMOTHER. I could do with a little pig up at our place +if I’d the silver to take into the market for to buy him with. +[<i>A silence.<br> +<br> +</i>GRANDMOTHER. And I could do with a pair of good shoes to my +poor old feet come winter time when ’tis snowing. [<i>Another +silence.<br> +<br> +</i>GRANDMOTHER. And ’twould be good not to go to bed with +the pain of hunger within my lean old body - so ’twould. +[SUSAN <i>turns round suddenly.<br> +<br> +</i>SUSAN. I’ll do it, Gran. I’ll do it for +your sake. ’Tis very likely true what you do say, all of +you. I’d but dance my feet off for naught. When he +came to look into my gipsy eyes, ’twould all be over and done +with.<br> +<br> +LADY MILLICENT. Sensible girl.<br> +<br> +ALICE. ’Tis time she should see which way her bread was +spread.<br> +<br> +SUSAN. Come, Jockie, come ladies - come Gran - we’ll be +off to the quiet of our own place where I can learn her ladyship the +steps and capers.<br> +<br> +GRANDMOTHER. [<i>Rising and pointing to an advancing figure.</i>] +You’d best make haste. The mice be a-running from their +holes once more - t’wouldn’t do for they to know aught about +this.<br> +<br> +SUSAN. Let us go quickly then.<br> +<br> +[<i>The </i>GRANDMOTHER, SUSAN, LADY MILLICENT <i>with </i>ALICE <i>and +</i>JOCKIE <i>go out as a crowd of village girls come on to the green</i>,<i> +and laughing and talking together</i>,<i> arrange themselves to practise +a Country Dance.<br> +<br> +End of Act I.<br> +<br> +<br> +<br> +</i>ACT II. - Scene 1.<br> +<br> +<br> +<br> +<i>Groups of village girls are sitting or standing about on the green. +A dais has been put up at one end of it.<br> +<br> +</i>MARION. How slow the time do pass, this May Day.<br> +<br> +ROSE. Let’s while it away with a song or two.<br> +<br> +[<i>They all join in singing. At the end of the song the gipsy +comes slowly and painfully across the green</i>,<i> casting black looks +to right and to left. She is followed by </i>SUSAN, <i>who appears +weighed down by sadness.<br> +<br> +</i>ROSE. Good afternoon, Princess Royal Rags. Are we to +see you cutting capers before his lordship this afternoon?<br> +<br> +MARION. Get along and hide your bare feet behind the tree, Royal. +I’d be ashamed to go without shoes if ’twas me.<br> +<br> +SUSAN. O leave me alone - you be worse nor a nest of waspes - +that you be.<br> +<br> +GRANDMOTHER. [<i>Turning fiercely round.</i>] Us’ll +smoke them out of their holes one day - see if us do not.<br> +<br> +[<i>They pass over to the tree where the </i>GRANDMOTHER <i>sits down +and </i>SUSAN <i>crouches by her side. Presently they are joined +by </i>JOCKIE. <i>The girls sing a verse or two of another song</i>,<i> +and during this </i>LADY MILLICENT, <i>enveloped in a big cloak</i>,<i> +goes over to the tree</i>,<i> followed by </i>ALICE, <i>also wearing +a long cloak and they sit down by the side of </i>SUSAN.<br> +<br> +MARION. [<i>Pointing.</i>] Who are those yonder, Rose?<br> +<br> +ROSE. I’m sure I don’t know, Marion - strangers, may +be.<br> +<br> +MARION. O my heart goes wild this afternoon.<br> +<br> +ROSE. Mine too. Look, there they come.<br> +<br> +[<i>The Music begins to play and old </i>LADY CULLEN, <i>followed by +her lady companions</i>,<i> comes slowly towards the dais</i>,<i> on +which she seats herself.<br> +<br> +</i>LADY CULLEN. Dear me, what a gathering to be sure.<br> +<br> +HER LADY. Indeed it is an unusual sight.<br> +<br> +LADY CULLEN. And O what a sad infatuation on the part of my poor +boy.<br> +<br> +HER LADY. The war has been known to turn many a brain.<br> +<br> +LADY CULLEN. And yet my son holds his own with the brightest intelligences +of the day.<br> +<br> +HER LADY. Only one little spot of his lordship’s brain seems +to be affected.<br> +<br> +LADY CULLEN. Just so. But here he comes, poor misguided +youth.<br> +<br> +[LORD CULLEN <i>comes slowly over the green</i>,<i> looking to right +and to left. He mounts the dais and sits down by his mother</i>,<i> +and the music plays for a country dance</i>. “<i>The Twenty +Ninth of May</i>.” <i>The girls arrange themselves</i>,<i> +and during the dance </i>LORD CULLEN <i>scans each face very eagerly. +The dance ends and the girls pass in single file before the dais.<br> +<br> +</i>LORD CULLEN. No, no - that was not the music of it, that was +not the dance - not a face among them resembles the image I carry in +my heart.<br> +<br> +LADY CULLEN. [<i>Aside.</i>] Thank goodness. May that +face never be seen again.<br> +<br> +[<i>A fresh group come up and another dance is formed and danced.<br> +<br> +</i>LORD CULLEN. [<i>At the end of it.</i>] Worse and worse. +Could I have dreamed both the music and the dance and the dancer?<br> +<br> +LADY CULLEN. [<i>Soothingly.</i>] I am sure this was the +case, my dear son.<br> +<br> +LORD CULLEN. [<i>Rallying.</i>] I heard her voice singing +in the forest before ever she began to dance. It was the sweetest +voice and song I ever heard. [<i>Looking around.</i>] Can +any of these maid, sing to me, I wonder?<br> +<br> +MARION. [<i>Steps forward.</i>] I only know one song, my +lord.<br> +<br> +[LORD CULLEN <i>signs to her to sing</i>,<i> and she stands before the +dais and sings a verse of</i> “<i>Bedlam</i>.”<br> +<br> +LORD CULLEN. [<i>Impatiently.</i>] No, no - that is not +in the least what I remember. [<i>Turning to </i>ROSE.] +You try now.<br> +<br> +ROSE. I don’t sing, my lord - but - [<i>Indicating another +girl in the group</i>] she has a sweet voice, and she knows a powerful +lot of songs.<br> +<br> +[<i>A girl steps out from the others and sings a verse of</i> “<i>The +Lark in the Morn</i>.”<br> +<br> +LORD CULLEN. Not that. Mine was a song to stir the depths +of a man’s heart and bring tears up from the fountains of it.<br> +<br> +[<i>He leans back in deep dejection - and at this moment </i>LADY MILLICENT +<i>and </i>ALICE <i>come forward.<br> +<br> +</i>LORD CULLEN. [<i>Eagerly.</i>] I seem to know that russet +skirt - those bare, small feet. [<i>Standing up quickly.</i>] +Mother, look at that maid with the red kerchief on her head.<br> +<br> +LADY CULLEN. Some sort of a gipsy dress, to all appearance.<br> +<br> +LORD CULLEN. [<i>Doubtfully.</i>] The skirt she wore was +torn and ragged - that day in the forest. She had no gold rings +to her ears, nor silken scarf upon her head - But this might be her +dress for holidays.<br> +<br> +[JOCKIE <i>advances and begins to play the tune of </i>“<i>Princess +Royal</i>.”<br> +<br> +LORD CULLEN. [<i>Eagerly.</i>] That is the right music - +O is it possible my quest is ended!<br> +<br> +[LADY MILLICENT <i>and </i>ALICE, <i>standing opposite one to another +begin to dance - slowly and clumsily</i>,<i> and in evident doubt as +to their steps</i>. LORD CULLEN <i>watches them for a moment and +then claps his hands angrily as a sign for the music to stop. +The dancers pause.<br> +<br> +</i>LORD CULLEN. This is a sad mimicry of my beautiful love. +But there lies something behind the masquerade which I shall probe.<br> +<br> +[<i>He leaves the dais and goes straight towards </i>LADY MILLICENT, +<i>who turns from him in confusion.<br> +<br> +</i>LORD CULLEN. From whom did you take the manner and the colour +of your garments, my maid?<br> +<br> +[LADY MILLICENT <i>remains obstinately silent</i>.<br> +<br> +LORD CULLEN. [<i>To </i>ALICE.] Perhaps you have a tongue +in your head. From whom did you try to learn those steps?<br> +<br> +[ALICE <i>turns sulkily away</i>. JOCKIE <i>comes forward.<br> +<br> +</i>JOCKIE. I’ll tell your lordship all about it, and I’ll +take your lordship straight to the right wench, that I will, if so be +as your lordship will give a shilling to a poor little swine-herd what +goes empty and hungered most of the year round.<br> +<br> +LORD CULLEN. A handful of gold, my boy, if you lead me rightly.<br> +<br> +[JOCKIE <i>leads the way to the tree where </i>SUSAN <i>is sitting. +She stands up as </i>LORD CULLEN <i>approaches</i>,<i> and for a moment +they gaze at one another in silence.<br> +<br> +</i>GRANDMOTHER. You might curtsey to the gentleman, Susan.<br> +<br> +LORD CULLEN. No - there’s no need of that, from her to me. +[<i>Turning to </i>JOCKIE <i>and putting his hand in his pocket.</i>] +Here, my boy, is a golden pound for you - and more shall follow later.<br> +<br> +[<i>He then takes </i>SUSAN’S <i>hand and leads her to the foot +of the dais.<br> +<br> +</i>LORD CULLEN. Will you dance for me again, Susan?<br> +<br> +SEVERAL OF THE GIRLS. [<i>Mockingly.</i>] Princess Royal +is her name.<br> +<br> +MARION. [<i>Rudely.</i>] Or Princess Rags.<br> +<br> +SUSAN. ’Tis all took out of my hands now, I can but do as +your lordship says. Jockie, play me my music, and play it bravely +too.<br> +<br> +[JOCKIE <i>places himself near her and begins to play</i>. SUSAN +<i>dances by herself. At the end of her dance </i>LORD CULLEN +<i>leads the applause</i>,<i> and even the ladies on the dais join faintly +in it. He then takes </i>SUSAN <i>by the hand and mounts the dais +with her and presents her to his mother.<br> +<br> +</i>LADY CULLEN. [<i>Aside</i>,<i> to her companion.</i>] +I wonder if the young person understands that my poor boy is a little +touched in the brain?<br> +<br> +LORD CULLEN. Here is your daughter, mother.<br> +<br> +[LADY CULLEN <i>and </i>SUSAN <i>look at one another in silence. +After a moment </i>SUSAN <i>turns to </i>LORD CULLEN.<br> +<br> +SUSAN. I’m a poor ragged thing to be daughter to the likes +of she. But the heart within of me is grander nor that of any +queen, because of the love that it holds for you, my lord.<br> +<br> +[LORD CULLEN <i>takes her hand and leads her to the front of the dais.<br> +<br> +</i>LORD CULLEN. We will be married to-morrow, my princess. +And all these good people shall dance at our wedding.<br> +<br> +MARION. [<i>Springing up.</i>] And we’ll do a bit +of dancing now as well. Come, Jockie, give us the tune of “Haste +to the Wedding.”<br> +<br> +ROSE. That’s it. Come girls -<br> +<br> +LADY MILLICENT. [<i>To </i>ALICE.] I pray he won’t +find out about me.<br> +<br> +[<i>The old </i>GRANDMOTHER <i>has come slowly towards the middle of +the green.<br> +<br> +</i>GRANDMOTHER. Ah, and my little wench will know how to pay +back some of the vipers tongues which slandered her, when she sits on +her velvet chair as a countess, the diamonds a-trickling from her neck +and the rubies a-crowning of her head. Her’ll not forget +the snakes what did lie in the grass. Her’ll have her heel +upon they, so that their heads be put low and there shan’t go +no more venom from their great jaws to harm she, my pretty lamb - my +little turtle.<br> +<br> +[<i>The music begins to play and all those on the green form themselves +for the dance</i>. LORD CULLEN <i>and </i>SUSAN <i>stand side +by side in front of the dais</i>,<i> and the </i>GRANDMOTHER <i>lights +a pipe and smokes it as she watches the dance from below. At the +end of the dance </i>LORD CULLEN, <i>leading </i>SUSAN, <i>comes down +from the dais and</i>,<i> followed by </i>LADY CULLEN <i>and her ladies</i>,<i> +passes between two lines of girls and so off the stage. The girls +follow in procession</i>,<i> and lastly the </i>GRANDMOTHER <i>preceded +by </i>JOCKIE, <i>beating his drum.<br> +<br> +</i>[<i>Curtain.</i>]<br> +<br> +<br> +<br> +<br> +THE SEEDS OF LOVE<br> +<br> +<br> +<br> +<br> +CHARACTERS<br> +<br> +JOHN DANIEL, <i>aged </i>30, <i>a Miller.<br> +</i>ROSE-ANNA <i>his sister.<br> +</i>KITTY, <i>aged </i>16, <i>his sister</i>.<br> +ROBERT PEARCE, <i>aged </i>26.<br> +LIZ, JANE <i>elderly cousins of Robert.<br> +</i>JEREMY, <i>John’s servant - of middle age.<br> +</i>MARY MEADOWS, <i>aged </i>24, <i>a Herbalist.<br> +</i>LUBIN.<br> +ISABEL.<br> +<br> +<i>The time is Midsummer.<br> +<br> +<br> +<br> +</i>ACT I<br> +<br> +<br> +<br> +<i>A woodland road outside </i>MARY’S <i>cottage. There +are rough seats in the porch and in front of the window. Bunches +of leaves and herbs hang drying around door and window</i>. MARY +<i>is heard singing within.<br> +<br> +</i>MARY. [<i>Singing.</i>]<br> +<br> +I sowed the seeds of Love,<br> +And I sowed them in the Spring.<br> +I gathered them up in the morning so soon.<br> +While the sweet birds so sweetly sing,<br> +While the sweet birds so sweetly sing. <a name="citation2"></a><a href="#footnote2">{2}</a><br> +<br> +[MARY <i>comes out of the cottage</i>,<i> a bundle of enchanter</i>’<i>s +nightshade in her arms. She hangs it by a string to the wall and +then goes indoors.<br> +<br> +</i>MARY. [<i>Singing.</i>]<br> +<br> +The violet I did not like,<br> +Because it bloomed so soon;<br> +The lily and the pink I really over think,<br> +So I vowed I would wait till June,<br> +So I vowed I would wait till June.<br> +<br> +[<i>During the singing </i>LUBIN <i>comes slowly and heavily along the +road. He wears the dress of a farm labourer and carries a scythe +over his shoulder. In front of the cottage he pauses</i>,<i> looks +round doubtfully</i>,<i> and then sits stiffly and wearily down on the +bench beneath the window.<br> +<br> +</i>MARY. [<i>Coming to the doorway with more plants and singing.</i>]<br> +<br> +“For the grass that has oftentimes been trampled underfoot,<br> +Give it time, it will rise up again.”<br> +<br> +LUBIN. [<i>Looking up gloomily.</i>] And that it won’t, +mistress.<br> +<br> +MARY. [<i>Suddenly perceiving him and coming out.</i>] O +you are fair spent from journeying. Can I do anything for you, +master?<br> +<br> +LUBIN. [<i>Gazing at her fixedly.</i>] You speak kindly +for a stranger, but ’tis beyond the power of you nor anyone to +do aught for me.<br> +<br> +MARY. [<i>Sitting down beside him and pointing to the wall of +the house.</i>] See those leaves and flowers drying in the sun? +There’s medicine for every sort of sickness there, sir.<br> +<br> +LUBIN. There’s not a root nor yet a herb on the face of +the earth that could cure the sickness I have within me.<br> +<br> +MARY. That must be a terrible sort of a sickness, master.<br> +<br> +LUBIN. So ’tis. ’Tis love.<br> +<br> +MARY. Love?<br> +<br> +LUBIN. Yes, love; wicked, unhappy love. Love what played +false when riches fled. Love that has given the heart what was +all mine to another.<br> +<br> +[ISABEL <i>has been slowly approaching</i>,<i> she wears a cotton handkerchief +over her head and carries a small bundle tied up in a cloth on her arm. +Her movements are languid and sad.<br> +<br> +</i>MARY. I know of flowers that can heal even the pains of love.<br> +<br> +ISABEL. [<i>Coming forward and speaking earnestly.</i>] +O tell me of them quickly, mistress.<br> +<br> +MARY. Why, are you sick of the same complaint?<br> +<br> +ISABEL. [<i>Sinking down on the grass at </i>MARY’S <i>feet.</i>] +So bruised and wounded in the heart that the road from Framilode up +here might well have been a hundred miles or more.<br> +<br> +LUBIN. Framilode? ’Tis there you come from?<br> +<br> +ISABEL. I was servant at the inn down yonder. Close upon +the ferry. Do you know the place, master?<br> +<br> +LUBIN. [<i>In deep gloom.</i>] Ah, the place and the ferry +man too.<br> +<br> +MARY. [<i>Leaning forward and clasping her hands.</i>] Him +as is there to-day, or him who was?<br> +<br> +LUBIN. He who was there and left for foreign parts a good three +year ago.<br> +<br> +[ISABEL <i>covers her face and is shaken by sobs</i>. LUBIN <i>leans +his elbow on his knee</i>,<i> shading his eyes with his hand.<br> +<br> +</i>MARY. I have help for all torments in my flowers. Such +things be given us for that.<br> +<br> +ISABEL. [<i>Looking up.</i>] You be gentle in your voices +mistress. ’Tis like when a quist do sing, as you speaks.<br> +<br> +MARY. Then do both of you tell your sorrow. ’Twill +be strange if I do not find sommat that will lighten your burdens for +you.<br> +<br> +LUBIN. ’Twas at Moat Farm I was born and bred.<br> +<br> +MARY. Close up to Daniels yonder?<br> +<br> +LUBIN. The same. Rose-Anna of the Mill and I - we courted +and was like to marry. But there came misfortune and I lost my +all. She would not take a poor man, so I left these parts and +got to be what you do see me now - just a day labourer.<br> +<br> +ISABEL. Mine, ’tis the same tale, very nigh. Robert +the ferry-man and me, we loved and was to have got us wedded, only there +came a powerful rich gentleman what used to go fishing along of Robert. +’Twas he that ’ticed my lover off to foreign parts.<br> +<br> +LUBIN. [<i>With a heavy sigh.</i>] These things are almost +more than I can bear.<br> +<br> +ISABEL. At first he wrote his letters very often. Then ’twas +seldom like. Then ’twas never. And then there comed +a day - [<i>She is interrupted by her weeping.<br> +<br> +</i>MARY. Try to get out your story - you can let the tears run +afterwards if you have a mind.<br> +<br> +ISABEL. There comed a day when I did meet a fisherman from Bristol. +He brought me news of Robert back from the seas, clothed in fine stuff +with money in the pockets of him, horse and carriage, and just about +to wed.<br> +<br> +LUBIN. Did he name the maid?<br> +<br> +ISABEL. Rose-Anna she was called, of Daniel’s mill up yonder.<br> +<br> +LUBIN. Rose-Anna - She with whom I was to have gone to church.<br> +<br> +MARY. Here is a tangle worse nor any briar rose.<br> +<br> +ISABEL. O ’twas such beautiful times as we did have down +by the riverside, him and me.<br> +<br> +LUBIN. She would sit, her hand in mine by the hour of a Sunday +afternoon.<br> +<br> +[<i>A pause during which </i>LUBIN <i>and </i>ISABEL <i>seem lost in +their own sad memories</i>. MARY <i>gets up softly and goes within +the cottage.<br> +<br> +</i>ISABEL. And when I heared as ’twas to-morrow they were +to wed, though ’twas like driving a knife deeper within the heart +of me, I up and got me upon the road and did travel along by starlight +and dawn and day just for one look upon his face again.<br> +<br> +LUBIN. ’Twas so with me. From beyond Oxford town I +am come to hurt myself worse than ever, by one sight of the eyes that +have looked so cruel false into mine.<br> +<br> +ISABEL. If I was to plead upon my knees to him ’twould do +no good - poor wench of a serving maid like me.<br> +<br> +LUBIN. [<i>Looking down at himself.</i>] She’d spurn +me from the door were I to stand there knocking - in the coat I have +upon me now. No - let her go her way and wed her fancy man.<br> +<br> +[LUBIN <i>shades his eyes with one hand</i>. ISABEL <i>bows her +head on her knees weeping</i>. MARY <i>comes out of the house +carrying two glass bowls of water.<br> +<br> +</i>MARY. Leave your sorrowful tears till later, my friends. +This fresh water from the spring will revive you from your travelling.<br> +<br> +LUBIN. [<i>Looking up.</i>] The heart of me is stricken +past all remedy, mistress.<br> +<br> +ISABEL. I could well lie me down and die.<br> +<br> +[MARY <i>giving to each one a bowl from which they begin to drink slowly.<br> +<br> +</i>MARY. I spoke as you do, once. My lover passed me by +for another. A man may give all his love to the gilly flower, +but ’tis the scarlet rose as takes his fancy come to-morrow.<br> +<br> +ISABEL. And has your heart recovered from its sickness, mistress?<br> +<br> +MARY. [<i>Slowly.</i>] After many years.<br> +<br> +LUBIN. And could you wed you to another?<br> +<br> +MARY. [<i>Still more slowly.</i>] Give the grass that has +been trampled underfoot a bit of time, ’twill rise again. +There’s healing all around of us for every ill, did we but know +it.<br> +<br> +LUBIN. I’d give sommat to know where ’tis then.<br> +<br> +MARY. There isn’t a herb nor a leaf but what carries its +message to them that are in pain.<br> +<br> +ISABEL. Give me a bloom that’ll put me to sleep for always, +mistress.<br> +<br> +MARY. There’s evil plants as well, but ’tisn’t +a many. There’s hen bane which do kill the fowls and fishes +if they eat the seed of it. And there’s water hemlock which +lays dumbness upon man.<br> +<br> +LUBIN. I’ve heard them tell of that, I have.<br> +<br> +MARY. And of the good leaves there is hounds tongue. Wear +it at the feet of you against dogs what be savage. Herb Benet +you nail upon the door. No witch nor evil thing can enter to your +house.<br> +<br> +LUBIN. And have you naught that can deaden the stab of love upon +the heart, mistress<br> +<br> +ISABEL. [<i>Speaking in anguish.</i>] Aught that can turn +our faithless lovers back again to we?<br> +<br> +MARY. That I have. See these small packages - you that love +Robert, take you this - and you who courted Rose-Anna, stretch out your +hand.<br> +<br> +[<i>She puts a small paper packet into the hand</i>s<i> of each.<br> +<br> +</i>LUBIN. [<i>Looking uncertainly at his packet.</i>] What’ll +this do for me, I’d like to know?<br> +<br> +MARY. ’Tis an unfailing charm. A powder from roses, +fine as dust, and another seed as well. You put it in her glass +of water - and the love comes back to you afore next sun-rise.<br> +<br> +ISABEL. And will it be the same with I?<br> +<br> +MARY. You have the Herb of Robert there. Be careful of it. +To-morrow at this hour, his heart will be all yours again, and you shall +do what you will with it.<br> +<br> +ISABEL. O I can’t believe in this. ’Tis too +good to be true, and that it be - A fine gentleman as Robert be now +and a poor little wretch like me!<br> +<br> +LUBIN. [<i>Slowly.</i>] ’Tis but a foolish dream like. +How are folks like us to get mixing and messing with the drinks of they? +Time was when I did sit and eat along of them at the table, the same +as one of theirselves. But now! Why, they’d take and +hound me away from the door.<br> +<br> +ISABEL. And me too.<br> +<br> +MARY. [<i>Breaking off a spray of the enchanters nightshade from +the bunch drying.</i>] That’ll bring luck, may be.<br> +<br> +[ISABEL <i>takes it and puts it in her dress and then wraps the packet +in her bundle</i>. LUBIN <i>puts his packet away also. Whilst +they are doing this</i>,<i> </i>MARY <i>strolls a little way on the +road.<br> +<br> +</i>MARY. [<i>Returning.</i>] The man from Daniels be coming +along.<br> +<br> +LUBIN. [<i>Hastily.</i>] What, old Andrews?<br> +<br> +MARY. No. This is another. Folk do marvel how Miller +John do have the patience to keep in with him.<br> +<br> +LUBIN. How’s that?<br> +<br> +MARY. So slow and heavy in his ways. But he can drink longer +at the cider than any man in the county afore it do fly to his head, +and that’s why master do put up with him.<br> +<br> +[JEREMY <i>comes heavily towards them</i>,<i> a straw in his mouth. +His hat is pushed to the back of his head. His expression is still +and impassive. He comes straight towards </i>MARY, <i>then halts.<br> +<br> +</i>MARY. Come, Jeremy, I reckon ’tis not for rue nor tea +of marjoram you be come here this morning?<br> +<br> +JEREMY. [<i>Looking coldly and critically at the travellers and +pointing to them.</i>] Who be they?<br> +<br> +MARY. Travellers on the road, seeking a bit of rest.<br> +<br> +[JEREMY <i>continues to look them all over in silence.<br> +<br> +</i>MARY. How be things going at the Mill to-day, Jerry?<br> +<br> +JEREMY. Powerful bad.<br> +<br> +MARY. O I am grieved to hear of it. What has happened?<br> +<br> +[LUBIN <i>and </i>ISABEL <i>lean forward</i>,<i> listening eagerly.<br> +<br> +</i>JEREMY. ’Tis a pretty caddle, that’s all.<br> +<br> +MARY. The mistress isn’t took ill? or Miss Kitty?<br> +<br> +JEREMY. I almost wish they was, for then there wouldn’t +be none of this here marrying to-morrow.<br> +<br> +MARY. What has upset you against the wedding, Jerry?<br> +<br> +JEREMY. One pair of hands baint enough for such goings on.<br> +<br> +MARY. ’Tis three you’ve got up there.<br> +<br> +JEREMY. There you’re mistook. Th’ idle wench +and the lad be both away - off afore dawn to the Fair and took their +clothes along of they. I be left with all upon me like, and ’tis +too much.<br> +<br> +MARY. What shall you do, Jerry?<br> +<br> +JEREMY. I’ll be blowed if I’m agoin’ to do anything. +There.<br> +<br> +MARY. But you’ll have to stir yourself up and deck the house +and set the table and wait upon the visitors and look to the traps and +horses and all, Jerry - seeing as you’re the only one.<br> +<br> +JEREMY. I’ll not. I’m not one as steps beyond +my own work, and master do know it too.<br> +<br> +MARY. Then how are they going to manage?<br> +<br> +JEREMY. I’m out to find them as’ll manage for them. +[<i>Turning sharply to </i>LUBIN.] Be you in search of work, young +man?<br> +<br> +LUBIN. I - I count as I’ve nothing particular in view.<br> +<br> +JEREMY. [<i>Turning to </i>ISABEL.] And you, wench?<br> +<br> +ISABEL. [<i>Faintly.</i>] I’ve gone from the place +where I was servant.<br> +<br> +JEREMY. Then you’ll come along of me - the both of you.<br> +<br> +ISABEL. [<i>Shrinking.</i>] O no - I couldn’t go among +- among strangers.<br> +<br> +JEREMY. I never takes no count of a female’s vapours. +You’ll come along of me. You’ll curl the mistress’s +hair and lace her gown and keep her tongue quiet - and you [<i>turning +to </i>LUBIN] my man, will set the tables and wait upon the quality +what we expect from Bristol town this dinner-time.<br> +<br> +LUBIN. [<i>Angrily.</i>] I never waited on man nor woman +in my life, and I’ll not start now.<br> +<br> +JEREMY. You will. I’m not agoin’ a half mile +further this warm morning. Back to the Mill you goes along of +me, the two of you.<br> +<br> +MARY. [<i>Looking fixedly at </i>ISABEL.] This is a chance +for you, my dear. You’ll not find a better.<br> +<br> +JEREMY. Better? I count as you’ll not better this’n. +Good money for your pains - victuals to stuff you proper, and cider, +all you can drink on a summer’s day. I count you’ll +not better that.<br> +<br> +LUBIN. [<i>As though to himself.</i>] I could not go.<br> +<br> +JEREMY. Some cattle want a lot of driving.<br> +<br> +ISABEL. [<i>Timidly to </i>LUBIN.] If I go, could not you +try and come along with me, master?<br> +<br> +LUBIN. You’ll never have the heart to go through with it.<br> +<br> +JEREMY. ’Tis a fine fat heart as her has within of she. +Don’t you go and put fancies into the head of her.<br> +<br> +ISABEL. [<i>To </i>LUBIN.] I’ll go if so be as you’ll +come along of me too.<br> +<br> +[LUBIN <i>bends his head and remains thinking deeply.<br> +<br> +</i>JEREMY. ’Tis thirsty work this hiring of men and wenches +- I’ll get me a drop of cider down at the Red Bull. Mayhap +you’ll be ready time I’ve finished.<br> +<br> +MARY. I’ll see that you’re not kept waiting, Jeremy.<br> +<br> +JEREMY. [<i>Turning back after he has started.</i>] What +be they called, Mary?<br> +<br> +[MARY <i>looks doubtfully towards </i>LUBIN <i>and </i>ISABEL.<br> +<br> +ISABEL. My name - they calls me Isabel.<br> +<br> +JEREMY. [<i>Turning to </i>LUBIN.] And yourn?<br> +<br> +LUBIN. [<i>In confusion.</i>] I don’t rightly recollect.<br> +<br> +JEREMY. [<i>Impassively.</i>] ’Tis of no account, +us’ll call you William like the last one.<br> +<br> +ISABEL. O, and couldn’t I be called like the last one too?<br> +<br> +JEREMY. Then us’ll call you Lucy. And a rare bad slut +her was, and doubtless you’ll not prove much worser.<br> +<br> +[<i>He goes away.<br> +<br> +</i>MARY. This is your chance. A good chance too -<br> +<br> +LUBIN. They’ll know the both of us. Love isn’t +never quite so dead but what a sound in the speech or a movement of +the hand will bring some breath to it again.<br> +<br> +ISABEL. You’re right there, master - sommat’ll stir +in the hearts of them when they sees we - and ’tis from the door +as us’ll be chased for masking on them like this.<br> +<br> +MARY. But not before the seeds of love have done their work. +Come, Isabel; come, Lubin - I will so dress you that you shall not be +recognised.<br> +<br> +[MARY <i>goes indoors</i>. ISABEL <i>slowly rises and takes up +her bundle</i>. LUBIN <i>remains seated</i>,<i> looking gloomily +before him.<br> +<br> +</i>ISABEL. Come, think what ’twill feel to be along of +our dear loves and look upon the forms of them and hear the notes of +their voices once again.<br> +<br> +LUBIN. That’s what I am a-thinking of. ’Twill +be hot iron drove right into the heart all the while. Ah, that’s +about it.<br> +<br> +ISABEL. I’ll gladly bear the pain.<br> +<br> +LUBIN. [<i>After a pause.</i>] Then so will I. We’ll +go.<br> +<br> +[<i>He raises his eyes to her face and then gets heavily up and follows +her into the cottage.<br> +<br> +<br> +<br> +</i>ACT II. - Scene 1.<br> +<br> +<br> +<br> +<i>The living room at Daniel’s Mill. In the window </i>ROSE-ANNA +<i>is seated awkwardly sewing some bright ribbons on to a muslin gown</i>. +KITTY <i>is moving about rapidly dusting chairs and ornaments which +are in disorder about the room and </i>JOHN <i>stands with his back +to the grate gravely surveying them.<br> +<br> +</i>ROSE. [<i>Petulantly.</i>] Whatever shall we do, John! +Me not dressed, everything no how, and them expected in less nor a half +hour’s time<br> +<br> +KITTY. There! I’ve finished a-dusting the chairs. +Now I’ll set them in their places.<br> +<br> +ROSE. No one is thinking of me! Who’s going to help +me on with my gown and curl my hair like Robert was used to seeing me +wear it at Aunt’s?<br> +<br> +KITTY. Did you have it different down at Bristol, Rose?<br> +<br> +ROSE. Of course I did. ’Twouldn’t do to be countrified +in the town.<br> +<br> +JOHN. Your hair’s well enough like that. ’Tisn’t +of hair as anyone’ll be thinking when they comes in, but of victuals. +And how we’re a-going to get the table and all fixed up in so +short a time do fairly puzzle me.<br> +<br> +KITTY. I’ll do the table.<br> +<br> +ROSE. No. You’ve got to help me with my gown. +O that was a good-for-nothing baggage, leaving us in the lurch!<br> +<br> +JOHN. Well, I’ve done my best to get us out of the fix.<br> +<br> +ROSE. And what would that be, pray?<br> +<br> +KITTY. Why John, you’ve done nothing but stand with your +back to the grate this last hour.<br> +<br> +JOHN. I’ve sent off Jerry.<br> +<br> +ROSE. [<i>Scornfully.</i>] Much good that’ll do.<br> +<br> +KITTY. We know just how far Jerry will have gone.<br> +<br> +JOHN. I told him not to shew hisself unless he could bring a couple +of servants back along with him.<br> +<br> +ROSE. [<i>Angrily.</i>] You’re more foolish than I +took you to be, John. Get you off at once and fetch Jerry from +his cider at the Red Bull. He’s not much of a hand about +the house, but he’s better than no one.<br> +<br> +JOHN. [<i>Sighing heavily.</i>] Jeremy’s not the man +to start his drinking so early in the day.<br> +<br> +ROSE. I’ve caught him at the cask soon after dawn.<br> +<br> +KITTY. And so have I, John. How you put up with his independent +ways I don’t know.<br> +<br> +JOHN. Ah, ’tisn’t everyone as has such a powerful +strong head as Jerry’s. He’s one that can be trusted +to take his fill, and none the worse with him afterwards.<br> +<br> +[<i>A knock at the door</i>,<i> which is pushed open by </i>JEREMY.<br> +<br> +JEREMY. [<i>From the doorway.</i>] Well, Master John - well, +mistress?<br> +<br> +ROSE. [<i>Sharply.</i>] Master was just starting out for +to fetch you home, Jerry.<br> +<br> +JEREMY. [<i>Ignoring her.</i>] Well, master, I’ve +brought a couple back along of me.<br> +<br> +ROSE. Ducklings or chickens?<br> +<br> +JEREMY. I’ve gotten them too.<br> +<br> +KITTY. Do you mean that you’ve found some servants for us, +Jerry?<br> +<br> +JEREMY. Two outside. Female and male.<br> +<br> +JOHN. Didn’t I tell you so! There’s naught that +Jerry cannot do. You’ll have a drink for this, my man<br> +<br> +ROSE. You may take my word he’s had that already, John.<br> +<br> +JEREMY. I have, mistress. Whilst they was a packing up the +poultry in my basket. Down at the Bull.<br> +<br> +ROSE. What sort of a maid is it?<br> +<br> +JEREMY. Ah, ’tis for you to tell me that, mistress, when +you’ve had her along of you a bit.<br> +<br> +ROSE. And the man?<br> +<br> +JEREMY. Much the same as any other male.<br> +<br> +ROSE. [<i>Impatiently.</i>] Do you step outside, John, and +have a look at them, and if they’re suitable bring them in and +we’ll set them about their work.<br> +<br> +[JOHN <i>goes out</i>. KITTY <i>peers through the window.<br> +<br> +</i>JEREMY. I reckon I can go off and feed the hilts now. +’Tis the time.<br> +<br> +ROSE. Feed the hilts! Indeed you can’t do no such +thing. O I’m mad with vexation that nothing is well ordered +or suitably prepared for Mr. Robert and his fine cousins from Bristol +town. Whatever will they say to such a house when they do see +it?<br> +<br> +JEREMY. I’m sure I don’t know.<br> +<br> +KITTY. [<i>From the window.</i>] I see the new servants. +John is bringing them up the walk. The man’s face is hid +by his broad hat, but the girl looks neat enough in her cotton gown +and sun-bonnet.<br> +<br> +[JOHN <i>comes into the room</i>,<i> followed by </i>LUBIN <i>and </i>ISABEL. +LUBIN <i>shuffles off his hat</i>,<i> but holds it between his face +and the people in the room.<br> +<br> +</i>JEREMY. [<i>Pointing to them and speaking to </i>ROSE.] +There you are, mistress - man-servant and maid.<br> +<br> +ROSE. What do we know about them? Folk picked up by Jerry +at the Red Bull.<br> +<br> +JEREMY. No, from the roadside.<br> +<br> +ROSE. Worser far.<br> +<br> +JOHN. No, no, Rose. These young persons were spoken for +by Mary Meadows. And ’tis rare fortunate for we to obtain +their services at short notice like this.<br> +<br> +ROSE. [<i>To </i>ISABEL.] What are you called, my girl?<br> +<br> +ISABEL. [<i>Faintly.</i>] Isabel is my name, but I’d +sooner you called me Lucy.<br> +<br> +ROSE. And that I will. My tongue is used to Lucy. +The other is a flighty, fanciful name for a servant.<br> +<br> +KITTY. And what is the man called, John?<br> +<br> +LUBIN. [<i>Harshly.</i>] I am called William.<br> +<br> +KITTY. William and Lucy! Like the ones that ran away this +morning.<br> +<br> +ROSE. O do not let us waste any more time! Jerry, do you +take the man and shew him his work in the back kitchen; and Lucy, come +to me and help me with my gown and my hair dressing. We have not +a minute to lose.<br> +<br> +KITTY. They may be upon us any time now. I’ll go out +and gather the flowers for the parlour, since you don’t want me +any more within, Rose.<br> +<br> +JOHN. And I’ll get and finish Jeremy’s work in the +yard. ’Tis upside down and round about and no how to-day. +But we’ll come out of it some time afore next year I reckon.<br> +<br> +JEREMY. Don’t you ever go for to get married, master. +There could never come a worser caddle into a man’s days nor matrimony, +I count.<br> +<br> +[JOHN, <i>on his way to the door</i>,<i> pauses - as though momentarily +lost in thought.<br> +<br> +</i>JOHN. Was Mary Meadows asked to drop in at any time to-day, +Rose?<br> +<br> +ROSE. [<i>Who is taking up her gown and ribbons to show to </i>ISABEL, +<i>and speaking crossly.</i>] I’m sure I don’t know, +nor care. I’ve enough to think about as ’tis.<br> +<br> +KITTY. [<i>Taking </i>JOHN’s <i>arm playfully.</i>] +You’re terribly took up with Mary Meadows, John.<br> +<br> +JOHN. There isn’t many like her, Kitty. She do rear +herself above t’others as - as a good wheat stalk from out the +rubbish.<br> +<br> +[JOHN <i>and </i>KITTY <i>go slowly out.<br> +<br> +</i>JEREMY. [<i>As though to himself.</i>] I sees as how +I shall have to keep an eye on master - [<i>turning to </i>LUBIN <i>and +signing to him.</i>] But come, my man, us has no time for romance, +’tis dish washing as lies afore you now.<br> +<br> +[LUBIN <i>jerks his head haughtily and makes a protesting gesture. +Then he seems to remember himself and follows </i>JEREMY <i>humbly from +the room</i>. ROSE <i>takes up some ribbons and laces.<br> +<br> +</i>ROSE. [<i>To </i>ISABEL, <i>who is standing near.</i>] +Now, Lucy, we must look sharp; Mister Robert and his cousins from Bristol +town will soon be here. I have not met with the cousins yet, but +I’ve been told as they’re very fine ladies - They stood +in place of parents to my Robert, you know. ’Tis unfortunate +we should be in such a sad muddle the day they come.<br> +<br> +ISABEL. When I have helped you into your gown, mistress, I shall +soon have the dinner spread and all in order. I be used to such +work, and I’m considered spry upon my feet.<br> +<br> +ROSE. ’Tis more serious that you should be able to curl +my hair in the way that Mr. Robert likes.<br> +<br> +ISABEL. [<i>Sadly.</i>] I don’t doubt but that I shall +be able to do that too, mistress.<br> +<br> +ROSE. Very well. Take the gown and come with me up to my +room.<br> +<br> +[<i>They go out together</i>,<i> </i>ISABEL <i>carrying the gown.<br> +<br> +<br> +<br> +</i>ACT II. - Scene 2.<br> +<br> +<br> +<br> +<i>The same room. The table is laid for dinner and </i>ISABEL +<i>is putting flowers upon it</i>. LUBIN <i>wearing his hat</i>,<i> +enters with large jugs of cider</i>,<i> which he sets upon a side table.<br> +<br> +</i>ISABEL. [<i>Looking up from her work.</i>] Shall us +ever have the heart to go on with it, Master Lubin?<br> +<br> +LUBIN. [<i>Bitterly.</i>] Do not you “Master” +me, Isabel. I’m only a common servant in the house where +once I was lover and almost brother.<br> +<br> +ISABEL. [<i>Coming up to him.</i>] O do not take it so hard, +Lubin - Us can do naught at this pass but trust what the young woman +did tell me.<br> +<br> +LUBIN. [<i>Gloomily.</i>] The sight of Rose has stirred +up my love so powerful that I do hardly know how to hold the tears back +from my eyes.<br> +<br> +ISABEL. [<i>Pressing her eyes with her apron.</i>] What’ll +it be for me when Robert comes in?<br> +<br> +LUBIN. We’ll have to help one another, Isabel, in the plight +where we stand.<br> +<br> +ISABEL. That’s it. And perchance as them seeds’ll +do the rest.<br> +<br> +[<i>They spring apart as a sound of voices and laughter is heard outside.<br> +<br> +</i>KITTY. [<i>Runs in.</i>] They’ve come. All +of them. And do you know that Robert’s cousins are no fine +ladies at all, as he said, but just two common old women dressed grand-like.<br> +<br> +ISABEL. That will be a sad shock to poor mistress.<br> +<br> +KITTY. O, she is too much taken up with Mister Robert to notice +yet. But quick! They are all sharp set from the drive. +Fetch in the dishes, William and Lucy.<br> +<br> +ISABEL. All shall be ready in a moment, Miss Kitty.<br> +<br> +[<i>She goes hurriedly out followed by </i>LUBIN. KITTY <i>glances +round the room and then stands at the side of the front door. +</i>JOHN, <i>giving an arm to each of </i>ROBERT’S <i>cousins</i>,<i> +enters. The cousins are dressed in coloured flowered dresses</i>,<i> +and wear bonnets that are heavy with bright plumes. They look +cumbered and ill at ease in their clothes</i>,<i> and carry their sunshades +and gloves awkwardly.<br> +<br> +</i>LIZ. [<i>Looking round her.</i>] Very comfortable, I’m +sure. But I count as that there old-fashioned grate do take a +rare bit of elbow grease.<br> +<br> +JANE. Very pleasant indeed. But I didn’t reckon as +the room would be quite the shape as ’tis.<br> +<br> +LIZ. Come to that, I didn’t expect the house to look as +it do.<br> +<br> +JANE. Very ancient in appearance, I’m sure.<br> +<br> +JOHN. Ah, the house has done well enough for me and my father +and grandfather afore me.<br> +<br> +[ROSE, <i>very grandly dressed</i>,<i> comes in hanging on </i>ROBERT’S +<i>arm</i>. ROBERT <i>is clothed in the fashion of the town.<br> +<br> +</i>ROSE. Please to remove your bonnet, Miss Eliza. Please +to remove yours, Miss Jane.<br> +<br> +JOHN. [<i>Heartily.</i>] Ah, that’s so - ’Twill +be more homely like for eating.<br> +<br> +ROSE. There’s a glass upon the wall.<br> +<br> +LIZ. I prefer to remain as I be.<br> +<br> +JANE. Sister and me have our caps packed up in the tin box.<br> +<br> +KITTY. [<i>Bringing the tin box from the doorway.</i>] Shall +I take you upstairs to change? Dinner’s not quite ready +yet.<br> +<br> +LIZ. That will suit us best, I’m sure. Come, sister.<br> +<br> +[KITTY <i>leads the way out</i>,<i> followed by both sisters.<br> +<br> +</i>JOHN. I’ll just step outside and see that Jerry’s +tending to the horse.<br> +<br> +[<i>He hurries out</i>,<i> and </i>ROBERT <i>is left alone with </i>ROSE.<br> +<br> +ROSE. [<i>Coming towards him and holding out her hands.</i>] +O, Robert, is it the same between us as it was last time?<br> +<br> +ROBERT. [<i>Looking at her critically.</i>] You’ve +got your hair different or something.<br> +<br> +ROSE. [<i>Putting her hand to her head.</i>] The new maid. +A stupid country wench.<br> +<br> +ROBERT. You’ve got my meaning wrong. ’Tis that +I’ve never seen you look so well before.<br> +<br> +ROSE. O dear Robert!<br> +<br> +ROBERT. You’ve got my fancy more than ever, Rose.<br> +<br> +ROSE. O, I’m so happy to be going off with you to-morrow, +and I love it down at Bristol. Robert, I’m tired and sick +of country life.<br> +<br> +ROBERT. We’ll make a grand fine lady of you there, Rose.<br> +<br> +ROSE. [<i>A little sharply.</i>] Am I not one in looks already, +Robert?<br> +<br> +ROBERT. You’re what I do dote upon. I can’t +say no more.<br> +<br> +[LUBIN <i>and </i>ISABEL <i>enter carrying dishes</i>,<i> which they +set upon the table</i>. ROBERT <i>and </i>ROSE <i>turn their backs +to them and look out into the garden. The staircase door is opened</i>,<i> +and </i>LIZ, JANE <i>and </i>KITTY <i>come into the room</i>. +LIZ <i>and </i>JANE <i>are wearing gaudy caps trimmed with violet and +green ribbons.<br> +<br> +</i>ROSE. We’ll sit down, now. John won’t be +a moment before he’s here.<br> +<br> +[<i>She sits down at one end of the table and signs to </i>ROBERT <i>to +place himself next to her. The sisters and </i>KITTY <i>seat themselves</i>. +JOHN <i>comes hurriedly in.<br> +<br> +</i>JOHN. That’s right. Everyone in their places? +But no cover laid for Mary?<br> +<br> +ROSE. [<i>Carelessly.</i>] We can soon have one put, should +she take it into her head to drop in.<br> +<br> +JOHN. That’s it. Now ladies, now Robert - ’tis +thirsty work a-driving upon the Bristol road at midsummer. We’ll +lead off with a drink of home-made cider. The eating’ll +come sweeter afterwards.<br> +<br> +ROBERT. That’s it, Miller.<br> +<br> +[LUBIN <i>and </i>ISABEL <i>come forward and take the cider mugs from +each place to the side table</i>,<i> where </i>LUBIN <i>fills them from +a large jug. In the mugs of </i>ROSE-ANNA <i>and </i>ROBERT, ISABEL +<i>shakes the contents of the little packets. Whilst they are +doing this the following talk is carried on at the table.<br> +<br> +</i>LIZ [<i>Taking up a spoon.</i>] Real plated, sister.<br> +<br> +JANE. Upon my word, so ’tis.<br> +<br> +ROSE. And not so bright as I should wish to see it neither. +I’ve had a sad trouble with my maids of late.<br> +<br> +LIZ. Sister and I don’t keep none of them, thank goodness.<br> +<br> +JANE. We does our work with our own hands. We’d be +ashamed if ’twas otherwise.<br> +<br> +ROBERT. [<i>Scowling at them.</i>] I’ve been and engaged +a house-full of servants for Rose-Anna. She shall know what ’tis +to live like a lady once she enters our family.<br> +<br> +JOHN. Servants be like green fly on the bush. They do but +spoil th’ home and everything they do touch. All save one.<br> +<br> +KITTY. And that one’s Jerry, I suppose.<br> +<br> +JOHN. You’re right there, Kitty, that you are. A harder +head was never given to man than what Jerry do carry twixt his shoulders.<br> +<br> +[LUBIN <i>and </i>ISABEL <i>here put round the mugs of cider</i>,<i> +and everyone drinks thirstily</i>. ISABEL <i>stands behind the +chairs of </i>ROSE <i>and </i>ROBERT <i>and </i>LUBIN <i>at </i>JOHN’S +<i>side.<br> +<br> +</i>ROBERT. [<i>Setting down his mug.</i>] There’s +a drink what can’t be got in foreign parts.<br> +<br> +ROSE. [<i>Looking fondly at him.</i>] Let the maid fill +your mug again, my dear one.<br> +<br> +ROBERT. [<i>Carelessly handing it to </i>ISABEL.] I don’t +mind if I do have another swill.<br> +<br> +[ISABEL <i>fills the mug and puts it by his side</i>.<br> +<br> +LIZ. As good as any I ever tasted.<br> +<br> +JANE. Couldn’t better it at the King’s Head up our +way.<br> +<br> +JOHN. Good drink - plenty of it. Now we’ll start upon +the meat I reckon.<br> +<br> +[<i>He takes up a knife and fork and begins to carve</i>,<i> and </i>LUBIN +<i>hands round plates. During this </i>ROBERT’S <i>gaze +restlessly wanders about the room</i>,<i> finally fixing itself on </i>ISABEL, +<i>who presently goes out to the back kitchen with plates.<br> +<br> +</i>ROBERT. The new serving maid you’ve got there, Rose, +should wear a cap and not her bonnet.<br> +<br> +ROSE. How sharp you are to notice anything.<br> +<br> +ROBERT. A very pretty looking wench, from what I can see.<br> +<br> +ROSE. [<i>Speaking more to the cousins than to </i>ROBERT.] +O she’s but a rough and untrained girl got in all of a hurry. +Not at all the sort I’ve been used to in this house, I can tell +you.<br> +<br> +[ISABEL <i>comes back with fresh plates and stands at the side table.<br> +<br> +</i>LIZ. [<i>To </i>JANE.] A mellower piece of pig meat +I never did taste, sister.<br> +<br> +JANE. I’m sorry I went and took the poultry.<br> +<br> +KITTY. John will carve you some ham if you’d like to try +it, Miss Jane.<br> +<br> +JANE. I’m sure I’m much obliged.<br> +<br> +[JEREMY <i>comes in.</i>]<br> +<br> +JEREMY. [<i>Coming to the back of </i>JANE’S <i>chair.</i>] +Don’t you get mixing of your meats is what I says. Commence +with ham and finish with he. That’s what do suit the inside +of a delicate female.<br> +<br> +JANE. [<i>Looking up admiringly.</i>] Now that’s just +what old Uncle he did used to say.<br> +<br> +JEREMY. Old uncle did know what he was a-talking about then.<br> +<br> +LIZ. [<i>Warming and looking less awkward and ill at ease.</i>] +’Twas the gout what kept Uncle so low in his eating, ’twas +not th’ inclination of him.<br> +<br> +JEREMY. Ah ’twouldn’t be the gout nor any other disease +as would keep me from a platter of good food.<br> +<br> +JOHN. Nor from your mug of drink neither, Jerry.<br> +<br> +[JEREMY <i>laughs and moves off to the side table</i>.<br> +<br> +LIZ. A very pleasant sort of man.<br> +<br> +JANE. I do like anyone what’s homely.<br> +<br> +JOHN. [<i>Calling out heartily.</i>] Do you listen to that, +Jerry! The ladies here do find you pleasant and homely, and I +don’t know what else.<br> +<br> +JEREMY. The mugs want filling once more.<br> +<br> +[<i>He stolidly goes round the table refilling the mugs</i>. ROSE’S +<i>gaze wanders about her.<br> +<br> +</i>ROSE. [<i>To </i>ROBERT.] That’s not a bad looking +figure of a man -<br> +<br> +ROBERT. Who?<br> +<br> +ROSE. Well - the new farm hand.<br> +<br> +ROBERT. A sulky looking brute. I’d not let him wear +his hat to table if I was master here.<br> +<br> +ROSE. He puts me in mind of - well - there, I can’t recollect +who ’tis. [<i>A knock is heard at the door.<br> +<br> +</i>ROSE. [<i>Sharply to </i>ISABEL.] Go and see who ’tis, +Lucy.<br> +<br> +[ISABEL <i>opens the door</i>,<i> and </i>MARY MEADOWS <i>stands on +the threshold</i>,<i> a large nosegay of beautiful wild flowers in her +hand.<br> +<br> +</i>JOHN. [<i>Rising up in great pleasure.</i>] You’re +late, Mary. But you’re welcome as the - as the very sunshine.<br> +<br> +ROSE. Set another place, Lucy.<br> +<br> +MARY. Not for me, Rose. I did not come here to eat or drink, +but to bring you these few blossoms and my love.<br> +<br> +ROSE. [<i>Rises from the table and takes the nosegay</i>.] +I’m sure you’re very kind, Mary - Suppose we were all to +move into the parlour now we have finished dinner, and then we could +enjoy a bit of conversation.<br> +<br> +LIZ. Very pleasant, I’m sure.<br> +<br> +JANE. I see no objection.<br> +<br> +KITTY. [<i>Running round to look at the flowers.</i>] And +Mary shall tell us how to make charms out of the flowers - and the meanings +of the blossoms and all the strange things she knows about them.<br> +<br> +JOHN. [<i>Taking a flower from the bunch and putting it into his +coat.</i>] Yes, and how to brew tea as’ll curl up anyone’s +tongue within the mouth for a year - and fancy drinks for sheep with +foot rot, and powders against the murrain and any other nonsense that +you do please.<br> +<br> +MARY. Now, John, I’ll not have you damage my business like +this.<br> +<br> +LIZ. Maybe as the young person’s got sommat what’ll +be handy with your complaint, sister.<br> +<br> +JANE. Or for when you be took with th’ air in your head +so bad, Jane.<br> +<br> +ROSE. Yes, I reckon that Mary has a charm for every ill beneath +the sun. Let’s go off to the parlour along of her. +You’re not coming with us, John, are you?<br> +<br> +JOHN. I’d not miss the telling of these things for anything +in the world, foolishness though they be.<br> +<br> +ROSE. Come along then - all of you.<br> +<br> +[<i>They all go out</i>. JEREMY <i>holds the door open for them</i>. +<i>As she passes through it </i>LIZ <i>says</i>,<i> looking at him.<br> +<br> +</i>LIZ. We shall hope for your company, too.<br> +<br> +JANE. To be sure, mister.<br> +<br> +JEREMY. [<i>Haughtily.</i>] I bain’t one for parlours, +nor charms, ma’am. I be here for another purpose.<br> +<br> +[<i>They leave the room.<br> +<br> +</i>JEREMY. [<i>Having watched the party out</i>,<i> moves towards +the cider jug.</i>] Now, my man, now, my wench - us’ll see +what can be done with the victuals and drink they’ve been and +left. ’Tis a fair heavy feed and drink as I do need. +Sommat as’ll lift me up through all the trials of this here foolish +matrimony and stuff.<br> +<br> +[<i>He raises the jug of cider to his mouth as the Curtain falls.<br> +<br> +<br> +<br> +</i>ACT III. - Scene 1.<br> +<br> +<br> +<br> +<i>The next morning</i>. ROBERT’S <i>cousins are standing +by the fire-place of the same room.<br> +<br> +</i>LIZ. ’Tis powerful unhomely here, Jane.<br> +<br> +JANE. And that ’tis. I wish as Robert had never brought +us along of him.<br> +<br> +LIZ. She’s a stuck-up jay of a thing what he’s about +to wed if ever I seed one.<br> +<br> +JANE. That her be. He’ll live to wish hisself dead +and buried one day.<br> +<br> +LIZ. There bain’t but one sensible tongue in the whole place +to my mind.<br> +<br> +JANE. Ah, he’s a man to anyone’s liking, sister.<br> +<br> +LIZ. ’Tis homelike as he do make I to feel among all these +strangers.<br> +<br> +JANE. Here he comes.<br> +<br> +[JEREMY <i>with a yoke and two pails stands at the doorway.<br> +<br> +</i>LIZ. Now do you come in, mister, and have a bit of talk along +of we.<br> +<br> +JANE. Set down them pails and do as sister says, Mister Jeremy.<br> +<br> +[JEREMY <i>looks them all over and then slowly and deliberately sets +down his pails.<br> +<br> +</i>LIZ. That’s right, sister and me was feeling terribly +lonesome here this morning.<br> +<br> +JANE. And we was wishing as we’d never left home to come +among all these stranger folk.<br> +<br> +LIZ. Not that we feels you to be a stranger, dear Mister Jeremy.<br> +<br> +JANE. You be a plain homely man such as me and sister be accustomed +to.<br> +<br> +JEREMY. Anything more?<br> +<br> +LIZ. I suppose you’ve put by a tidy bit - seeing as you +be of a certain age.<br> +<br> +JANE. Although your looks favour you well, don’t they, sister?<br> +<br> +LIZ. To be sure they do.<br> +<br> +JANE. And I reckon as you could set up a home of your own any +day, mister.<br> +<br> +JEREMY. [<i>Pointing through the window.</i>] See that there +roof against the mill?<br> +<br> +LIZ. Indeed I do.<br> +<br> +JEREMY. That’s where I do live.<br> +<br> +[<i>Both sisters move quickly to the window</i>.<br> +<br> +JANE. A very comfortable looking home indeed.<br> +<br> +LIZ. I likes the looks of it better nor this great old house.<br> +<br> +JANE. [<i>Archly.</i>] Now I daresay there’s but one +thing wanted over there, Mister Jeremy.<br> +<br> +JEREMY. What’s that?<br> +<br> +JANE. A good wife to do and manage for you.<br> +<br> +JEREMY. I never was done for nor managed by a female yet, and +blowed if I will be now.<br> +<br> +LIZ. [<i>Shaking her finger at him.</i>] Sister an’ +me knows what comes of such words, don’t us, sister? ’Tis +an old saying in our family as one wedding do make a many.<br> +<br> +JEREMY. Give me a woman’s tongue for foolishness. +I’ve heared a saying too in my family, which be - get a female +on to your hearth and ’tis Bedlam straight away.<br> +<br> +JANE. Now, sister, did you ever hear the like of that?<br> +<br> +LIZ. Us’ll have to change his mind for him, Jane.<br> +<br> +JEREMY. I reckon ’twould take a rare lot of doing to change +that, mistress.<br> +<br> +JANE. Bain’t you a-goin’ to get yourself ready for +church soon?<br> +<br> +JEREMY. Dashed if I ever heard tell of such foolishness. +Who’s to mind the place with all the folk gone fiddle-faddling +out?<br> +<br> +LIZ. There’s the man William.<br> +<br> +JEREMY. I bain’t a-goin’ to leave the place to a stranger.<br> +<br> +JANE. Why, sister, us’ll feel lost and lonesome without +mister, shan’t us, Liz?<br> +<br> +LIZ. That us will. What if us stayed at home and helped +to mind the house along of he?<br> +<br> +JANE. [<i>Slowly.</i>] And did not put our new gowns upon +the backs of we after all the money spent?<br> +<br> +JEREMY. Ah, there you be. ’Tis the same with all females. +Creatures of vanity - even if they be got a bit long in the tooth. +’Tis all the same.<br> +<br> +[JANE <i>and </i>LIZ <i>draw themselves up</i>,<i> bridling</i>,<i> +but </i>LIZ <i>relaxes.<br> +<br> +</i>LIZ. He must have his little joke, sister, man-like, you know.<br> +<br> +[JOHN <i>enters.</i>]<br> +<br> +JOHN. Jerry, and I’ve been seeking you everywhere. +Come you off to the yard. ’Tis as much as we shall do to +be ready afore church time. I never knew you to idle in the house +afore.<br> +<br> +JEREMY. [<i>Taking up his pails</i>,<i> sarcastically.</i>] +’Twas the females as tempted I, master, but ’twon’t +occur again, so there. [<i>He hurries off</i>,<i> followed by +</i>JOHN.<br> +<br> +LIZ. [<i>With dignity.</i>] Us’ll go upstairs and +dress, sister.<br> +<br> +JANE. ’Tis time we did so. All them new-fashioned +things be awkward in the fastenings.<br> +<br> +[<i>They go upstairs.<br> +<br> +</i>[ROBERT <i>and </i>ROSE <i>come in from the garden</i>. ROBERT +<i>carries a little card-board box in his hand</i>,<i> which he places +on the table</i>. ROSE <i>sits down listlessly on a chair leaning +her arms on the table.<br> +<br> +</i>ROBERT. [<i>Undoing the box.</i>] This is the bouquet +what I promised to bring from town.<br> +<br> +ROSE. [<i>Her gaze wandering outside.</i>] Well, we might +as well look at it afore I go to dress.<br> +<br> +[ROBERT <i>uncovers the box and takes out a small bouquet of white flowers +surrounded by a lace frill.<br> +<br> +</i>ROSE. [<i>Taking it from him carelessly and raising it to +her face.</i>] Why, they are false ones.<br> +<br> +ROBERT. [<i>Contemptuously.</i>] My good girl, who ever +went to church with orange blossom that was real, I’d like to +know?<br> +<br> +ROSE. [<i>Languidly dropping the bouquet on the table.</i>] +I’m sure I don’t care. I reckon that one thing’s +about as good as another to be married with.<br> +<br> +ROBERT. [<i>Going to the window and looking out.</i>] Ah +- I daresay ’tis so.<br> +<br> +ROSE. I feel tired of my wedding day already - that I do.<br> +<br> +ROBERT. There’s a plaguey, fanciful kind of feel about the +day, what a man’s hardly used to, so it seems to me.<br> +<br> +ROSE. [<i>Wildly.</i>] O, I reckon we may get used to it +in time afore we die.<br> +<br> +ROBERT. Now - if ’twas with the right -<br> +<br> +ROSE. Right what, Robert?<br> +<br> +ROBERT. [<i>Confused.</i>] I hardly know what I was a-going +to say, Rose. Suppose you was to take up your flowers and go to +dress yourself. We might as well get it all over and finished +with.<br> +<br> +ROSE. [<i>Rising slowly.</i>] Perhaps ’twould be best. +I’ll go to my room, and you might call the girl Lucy and send +her up to help me with my things.<br> +<br> +ROBERT. Won’t you take the bouquet along of you?<br> +<br> +ROSE. No - let it bide there. I can have it later.<br> +<br> +[<i>She goes slowly from the room.<br> +<br> +</i>[<i>Left to himself</i>,<i> </i>ROBERT <i>strolls to the open door +and looks gloomily out on the garden</i>. <i>Suddenly his face +brightens.<br> +<br> +</i>ROBERT. Lucy, Lucy, come you in here a moment.<br> +<br> +LUCY. [<i>From outside.</i>] I be busy just now hanging +out my cloths, master.<br> +<br> +ROBERT. Leave your dish cloths to dry themselves. Your mistress +wants you, Lucy.<br> +<br> +LUCY. [<i>Coming to the door.</i>] Mistress wants me, did +you say?<br> +<br> +ROBERT. Yes, you’ve got to go and dress her for the church. +But you can spare me a minute or two first.<br> +<br> +ISABEL. [<i>Going quickly across the room to the staircase door.</i>] +Indeed, that is what I cannot do, master. ’Tis late already.<br> +<br> +ROBERT. [<i>Catches her hand and pulls her back.</i>] I’ve +never had a good look at your face yet, my girl - you act uncommon coy, +and that you do.<br> +<br> +ISABEL. [<i>Turning her head away and speaking angrily.</i>] +Let go of my hand, I tell you. I don’t want no nonsense +of that sort.<br> +<br> +ROBERT. Lucy, your voice do stir me in a very uncommon fashion, +and there’s sommat about the appearance of you -<br> +<br> +ISABEL. Let go of me, master. Suppose as anyone should look +through the window.<br> +<br> +ROBERT. Let them look. I’d give a good bit for all +the world to see us now.<br> +<br> +ISABEL. O, whatever do you mean by that, Mister Robert?<br> +<br> +ROBERT. What I say. ’Tis with you as I’d be +going along to church this morning. Not her what’s above.<br> +<br> +ISABEL. But I wouldn’t go with you - No, not for all the +gold in the world.<br> +<br> +ROBERT. Ah, you’ve changed since yesterday. When I +caught your eye at dinner, ’twas gentle as a dove’s - and +your hand, when it gave me my mug of cider did seem - well did seem +to put a caress upon me like.<br> +<br> +ISABEL. O there lies a world of time twixt yesterday and to-day, +Master Robert.<br> +<br> +ROBERT. So it do seem. For to-day ’tis all thorns +and thistles with you - But I’m a-goin’ to have my look +at your pretty face and my kiss of it too.<br> +<br> +ISABEL. I shall scream out loud if you touches me - that I shall.<br> +<br> +ROBERT. [<i>Pulling her to him.</i>] Us’ll see about +that.<br> +<br> +[<i>He tries to get a sight of her face</i>,<i> but she twists and turns</i>. +<i>Finally he seizes both her hands and covers them with kisses as </i>KITTY +<i>enters.<br> +<br> +</i>KITTY. O whatever’s going on! Rose, Rose, John +- come you in here quickly, do. [<i>To </i>LUCY.] O you +bad, wicked girl. I knew you couldn’t be a very nice servant +brought in off the road by Jeremy.<br> +<br> +[ISABEL, <i>released by </i>ROBERT, <i>goes over to the window arranging +her disordered sun-bonnet and trying to hide her tears</i>. ROBERT +<i>watches her sullenly.<br> +<br> +</i>KITTY. [<i>Goes to the staircase door and calls loudly.</i>] +Rose, Rose - come you down as quick as you can run.<br> +<br> +ROSE. [<i>Coming down.</i>] What’s all this, I’d +like to know?<br> +<br> +KITTY. It’s Lucy, behaving dreadful - O you must send her +straight away from the house, Rose.<br> +<br> +ROSE. What has she done, then?<br> +<br> +KITTY. Going on with Robert. Flirting, Rose, and kissing.<br> +<br> +ISABEL. O no, mistress, twasn’t so, I do swear to you.<br> +<br> +ROBERT. [<i>Brutally.</i>] Yes ’twas. The maid +so put me powerful in mind of someone who - who -<br> +<br> +ROSE. [<i>Coldly.</i>] I understand you, Robert. Well, +’tis lucky that all this didn’t come off an hour or so later.<br> +<br> +KITTY. [<i>Tearfully.</i>] O Rose, what do you mean?<br> +<br> +ROSE. I mean that what’s not broken don’t need no +mending. Robert can go to church with someone else to-day, he +can. And no harm done.<br> +<br> +[<i>She takes up the bunch of orange flowers and begins pulling it to +pieces and throwing it all about the room.<br> +<br> +</i>KITTY. O Rose, Rose, don’t take it so hard. ’Twasn’t +Robert’s fault. ’Twas the girl off the road what led +him on. I know it. Tell her to get out of the house. +I’ll dress you - I’ll do the work. Only be just and +sensible again; dear Rose.<br> +<br> +ROSE. Let the girl bide. It makes no difference to me. +There’ll be no marrying for me to-day.<br> +<br> +[JOHN <i>comes in at the door.<br> +<br> +</i>KITTY. [<i>Running to him.</i>] O John, John - do you +quiet down Rose and tell her to get upstairs and dress. She’s +a-saying that she won’t marry Robert because of his goings on +with the new servant - But, O, you’ll talk her into reason again, +won’t you, dear John?<br> +<br> +JOHN. Come, come, what’s all this cackle about, Rose?<br> +<br> +ROSE. I’m breaking off with Robert, that’s all, John.<br> +<br> +JOHN. Robert, can’t you take and explain a bit what ’tis.<br> +<br> +ROBERT. [<i>Sullenly.</i>] A little bit of play ’twixt +me and the wench there, and that’s about all, I reckon.<br> +<br> +JOHN. Now that’s an unsensible sort of thing to get doing +on your marriage day, to my thinking.<br> +<br> +KITTY. ’Twasn’t Robert’s fault, I know. +’Twas the maid off the road who started it.<br> +<br> +[<i>Here </i>ISABEL <i>sinks down on a chair by the window</i>,<i> leaning +her arms on the table and bowing her head</i>,<i> in tears.<br> +<br> +</i>JOHN. [<i>Going to the door.</i>] Jeremy - Jeremy - +come you in here a minute.<br> +<br> +[<i>Instead of </i>JEREMY, LUBIN <i>comes in.<br> +<br> +</i>JOHN. ’Twas Jeremy I did call - not you.<br> +<br> +LUBIN. He’s gone off the place for a few minutes.<br> +<br> +JOHN. [<i>Vexedly.</i>] Ah, ’tis early for the Red +Bull.<br> +<br> +LUBIN. Can I - can I do anything for you, master?<br> +<br> +JOHN. Not unless you can account for the sort of serving wench +off the roadside what Jerry has put upon us.<br> +<br> +LUBIN. What is there to account for in her, master?<br> +<br> +ROSE. [<i>Passionately.</i>] O I don’t particular +mind about what’s happened. Let her kiss with Robert if +she has the mind. ’Tis always the man who commences.<br> +<br> +JOHN. ’Tis not. There are some wenches who don’t +know how to leave anyone alone. Worser than cattle flies, that +sort.<br> +<br> +ISABEL. [<i>Going across the room to </i>LUBIN’S <i>side.</i>] +O you shame me by them words, I bain’t that sort of maid - you’ll +answer for me - William?<br> +<br> +[LUBIN <i>silently takes her hand.<br> +<br> +</i>ROSE. [<i>Her eyes fixed on </i>LUBIN.] I’ll tell +you what, John; I’ll tell you, Kitty. I wish I’d held +me to my first lover and I wish ’twas with Lubin that I was a-going +to the church to-day.<br> +<br> +ROBERT. [<i>Sullenly.</i>] Then I’ll say sommat, Rose. +I wish ’twas with Isabel that I was getting wed.<br> +<br> +JOHN. Now, now - ’Tis like two children a quarrelling over +their playthings. Suppose you was to go and get yourself dressed, +Rose-Anna - And you too, Robert. Why, the traps will be at the +door afore you’re ready if you don’t quicken yourselves +up a bit. Kitty, you go and help your sister.<br> +<br> +ROSE. [<i>With a jealous glance at Isabel.</i>] No, I’ll +have Lucy with me.<br> +<br> +JOHN. That’s it, you keep her out of mischief<br> +<br> +KITTY. I’ve got my own dress to put on.<br> +<br> +JOHN. And Robert, you and me will have a drink after all this +caddle. ’Tis dry work getting ready for marriage so it appears.<br> +<br> +ROBERT. ’Tis fiery dry to my thinking.<br> +<br> +ROSE. [<i>Crossing the room and going up to </i>LUBIN.] +I have no flowers to take to church with me, William; go you to the +waterside, I have a mind to carry some of the blue things what grow +there.<br> +<br> +KITTY. Forget-me-nots, you mean!<br> +<br> +ROSE. Forget-me-nots, I mean. And none but you to gather +them for me, William. Because - because - well, you do put me +in thoughts of someone that I once held and now have lost. That’s +all.<br> +<br> +[<i>Curtain.<br> +<br> +<br> +<br> +</i>ACT III. - Scene 2.<br> +<br> +<br> +<br> +<i>The same room half an hour later</i>. ISABEL <i>is picking +up the scattered orange blossom which she ties together and lays on +the window sill</i>. LUBIN <i>comes in with a large bunch of river +forget-me-nots.<br> +<br> +</i>LUBIN. I didn’t think to find you here, Isabel.<br> +<br> +ISABEL. O but that is a beautiful blue flower. I will take +the bunch upstairs. She is all dressed and ready for it.<br> +<br> +LUBIN. [<i>Putting it on the table.</i>] No - do you bide +a moment here with me.<br> +<br> +[ISABEL <i>looks helplessly at </i>LUBIN <i>who takes her hands slowly +in his.<br> +<br> +</i>LUBIN. What are we going to do?<br> +<br> +ISABEL. I wish as we had never touched the seeds.<br> +<br> +LUBIN. O cursed seeds of love - Far better to have left all as +’twas yesterday in the morning.<br> +<br> +ISABEL. He has followed me like my shadow, courting and courting +me hard and all the time, Lubin.<br> +<br> +LUBIN. She sought me out in the yard at day-break, and what I’d +have given twenty years of life for yester eve I could have thrown into +the stream this morning.<br> +<br> +ISABEL [<i>Sadly.</i>] So ’tis with my feelings.<br> +<br> +LUBIN. She has altered powerful, to my fancy, in these years.<br> +<br> +ISABEL. And Robert be differenter too from what I do remember. +[<i>A long silence.<br> +<br> +</i>LUBIN. Have you thought as it might be in us two these changes +have come about, Isabel?<br> +<br> +ISABEL. I was just the maid as ever I was until -<br> +<br> +LUBIN. And so was I unchanged, until I started travelling up on +the same road as you, Isabel.<br> +<br> +[<i>For a few minutes they look gravely into one another</i>’<i>s +eyes.<br> +<br> +</i>LUBIN. [<i>Taking </i>ISABEL’S <i>hands</i>.] +So that’s how ’tis with you and me.<br> +<br> +ISABEL. O Lubin - a poor serving maid like I am.<br> +<br> +LUBIN. I’ll have no one else in the whole world.<br> +<br> +ISABEL. What could I have seen in him, times gone by?<br> +<br> +LUBIN. And was it ever true that I did sit through a long Sunday +her hand in mine? [<i>Another silence.<br> +<br> +</i>ISABEL. But how’s us ever to get out of the caddle where +we be?<br> +<br> +LUBIN. [<i>Gaily.</i>] We’ll just run away off to +the Fair as t’other servants did.<br> +<br> +ISABEL. And leave them in their hate for one another? No +- ’twould be too cruel. Us’ll run to the young mistress +what knows all about them herbs. I count as there be seeds or +sommat which could set the hearts of them two back in the right places +again. Come -<br> +<br> +LUBIN. Have it your own way then. But ’twill have +to be done very quickly if ’tis done at all.<br> +<br> +ISABEL. Us’ll fly over the ground like.<br> +<br> +[<i>She puts her hand impetuously in </i>LUBIN’S <i>and they go +out together</i>. <i>As they do so</i>,<i> </i>ISABEL’S +<i>bonnet falls from her head and lies unheeded on the floor.<br> +<br> +<br> +<br> +</i>ACT III. - Scene 3.<br> +<br> +<br> +<br> +<i>A few minutes later</i>. LIZ <i>and </i>JANE <i>wearing gay +sprigged dresses and feathered bonnets</i>,<i> come to the room</i>. +<i>They carry fans and handkerchiefs in their hands</i>. <i>It +is seen that their gowns are not fastened at the back.<br> +<br> +</i>LIZ. Such a house I never heard tell of. Ring, ring +at the bell and no one to come nigh.<br> +<br> +JANE. Being unused to bells, sister, maybe as us did pull them +wrong or sommat.<br> +<br> +LIZ. I wish we’d had the gowns made different.<br> +<br> +JANE. To do up in the front - sensible like.<br> +<br> +[<i>They twist and turn in front of the glass on the wall</i>,<i> absorbed +in their dress</i>,<i> they do not notice that </i>JEREMY <i>has come +in and is watching them sarcastically.<br> +<br> +</i>JEREMY. Being as grey as th’ old badger don’t +keep a female back from vanity.<br> +<br> +LIZ. O dear, Master Jeremy, what a turn you did give me, to be +sure.<br> +<br> +JANE. We can’t find no one in this house to attend upon +we.<br> +<br> +JEREMY. I count as you can not. Bain’t no one here.<br> +<br> +LIZ. We rang for the wench a many time.<br> +<br> +JEREMY. Ah, and you might ring.<br> +<br> +JANE. We want someone as’ll fasten them niggly hooks to +our gowns.<br> +<br> +JEREMY. Ah, and you may want.<br> +<br> +LIZ. Our sight bain’t clear enough to do one for t’other, +the eyelets be made so small.<br> +<br> +JEREMY. Count as you’ll have to go unfastened then.<br> +<br> +JANE. O now you be a laughing at us. Call the wench down, +or we shall never be ready in time.<br> +<br> +JEREMY. Man and maid be both gone off. Same as t’others, +us’ll have to do without service<br> +<br> +LIZ. Gone off!<br> +<br> +JANE. Runned clean away?<br> +<br> +JEREMY. That’s about it.<br> +<br> +JANE. Well now, sister, us’ll have to ask the little Miss +to help we.<br> +<br> +JEREMY. I’ve harnessed the mare a many time. Don’t +see why I shouldn’t get the both of you fixed into the shafts +like.<br> +<br> +LIZ and JANE. [<i>Fanning themselves coyly.</i>] O Master +Jeremy -<br> +<br> +JEREMY. Come now. Let’s have a try. I count +as no one have a steadier hand nor me this side of the river, nor a +finer eye for seeing as everything be in its place. I’ll +settle the both of you afore I gets out the horse and trap. Turn +round.<br> +<br> +[<i>The sisters turn awkwardly</i>,<i> and with very self-conscious +airs begin to flutter their fans</i>. JEREMY <i>quickly hooks +each gown in succession</i>. <i>As he finishes the fastening of +</i>JANE’S <i>dress </i>ROSE, <i>followed by </i>KITTY, <i>comes +into the room</i>. <i>She is wearing her bridal gown and veil.<br> +<br> +</i>ROSE. [<i>Pausing.</i>] What’s this, Jeremy?<br> +<br> +JEREMY. The servants be runned away same as t’others - that’s +all, mistress.<br> +<br> +ROSE. Run away?<br> +<br> +JEREMY. So I do reckon. Bain’t anywhere about the +place.<br> +<br> +ROSE. [<i>Flinging herself down on a chair by the table</i>,<i> +in front of the bunch of forget-me-nots.</i>] Let them be found. +Let them be brought back at once.<br> +<br> +KITTY. For my part I’m glad they’ve gone off. +The girl was a wild, bad thing. I saw how she went on with Robert.<br> +<br> +ROSE. [<i>Brokenly to </i>JEREMY.] You found them. +Bring them back, Jerry.<br> +<br> +KITTY. No - wait till you and Robert are made man and wife, Rose. +Then ’twon’t matter quite so much.<br> +<br> +ROSE. I’ll never wed me to Robert, I’ll only wed me +to him who gathered these blue flowers here.<br> +<br> +KITTY. Good heavens, Rose, ’twas the man William.<br> +<br> +[KITTY <i>looks in consternation from </i>ROSE <i>to the cousins and +then to </i>JEREMY, <i>who remains impassive and uninterested</i>,<i> +sucking a straw</i>. ROSE <i>clasps her hands round the forget-me-nots +and sits gazing at them</i>,<i> desolately unhappy</i>. ROBERT +<i>enters</i>. <i>He is very grandly dressed for the wedding</i>,<i> +but as he comes into the room he sees </i>ISABEL’S <i>cotton bonnet +on the floor</i>. <i>He stoops</i>,<i> picks it up and laying +it reverently on the table</i>,<i> sinks into a chair opposite </i>ROSE +<i>and raising one of its ribbons</i>,<i> kisses this with passion.<br> +<br> +</i>ROBERT. There - I’d not change this for a thousand sacks +of gold - I swear I’d not.<br> +<br> +KITTY. Now Robert - get up, the two of you. Are you bewitched +or sommat - O Jerry, stir them, can’t you.<br> +<br> +LIZ. Robert, ’tisn’t hardly suitable - with the young +miss so sweetly pretty in her white gown.<br> +<br> +JANE. And wedding veil and all. And sister and me hooked +up into our new sprigs, ready for the ceremony.<br> +<br> +JEREMY. [<i>Looking at them with cold contempt.</i>] Let +them bide. The mush’ll swim out of they same as ’twill +swim off the cider vat. Just let the young fools bide.<br> +<br> +KITTY. O this’ll never do. Jerry forgetting of his +manners and all. [<i>Calling at the garden door.</i>] John, +John, come you here quickly, there’s shocking goings on. +[JOHN, <i>in best clothes comes in.<br> +<br> +</i>JOHN. What’s the rattle now, Kitty? I declare +I might be turning round on top of my own mill wheel such times as these.<br> +<br> +KITTY. Rose says she won’t wed Robert, and Robert’s +gone off his head all along of that naughty servant maid.<br> +<br> +[JOHN <i>stands contemplating </i>ROSE <i>and </i>ROBERT. ROSE +<i>seems lost to the outside world and is gazing with tears at her forget-me-nots</i>,<i> +whilst </i>ROBERT, <i>in sullen gloom</i>,<i> keeps his eyes fixed on +the sun-bonnet.<br> +<br> +</i>JOHN. Come, Rose, ’tis time you commenced to act a bit +different. [ROSE <i>does not answer.<br> +<br> +</i>JOHN. Come, Robert, if you play false to my sister at the +last moment, you know with whom you’ll have to reckon like. +[ROBERT <i>pays no heed to him.<br> +<br> +</i>JOHN. [<i>To </i>JEREMY.] Can you do naught to work +upon them a bit, Jerry?<br> +<br> +JEREMY. I’d have a jug of cider in, master. ’Twill +settle them all. Folks do get ’sterical and vapourish face +to face with matrimony. Put some drink afore of them, and see +how ’twill act.<br> +<br> +LIZ. O what a wise thought, Master Jerry.<br> +<br> +JANE. Most suitable, I call it.<br> +<br> +[<i>Here </i>MARY MEADOWS <i>comes in</i>,<i> </i>JOHN <i>turns eagerly +to her.<br> +<br> +</i>JOHN. O Mary - have you come to help us in the fix where we +are? [<i>He signs to </i>ROSE <i>and </i>ROBERT.<br> +<br> +MARY. What has happened, John?<br> +<br> +JEREMY. I’ll tell you in a couple of words, mistress.<br> +<br> +LIZ. No - do you fetch the cider, dear Mister Jeremy.<br> +<br> +JOHN. ’Tis more than I can do with, Mary. Rose is +set against Robert, and Robert is set against Rose. Rose - well +I’m fairly ashamed to mention it - Rose has lost her senses and +would wed the servant William - and Robert is a-courting of the maid.<br> +<br> +JEREMY. Ah, let each fool follow their own liking, says I.<br> +<br> +LIZ. And sister and me all dressed in our new gowns for the church.<br> +<br> +JANE. And Jerry had to do the hooking for we, both of the servants +having runned away.<br> +<br> +MARY. Well, now I’m here I’ll lend a hand. I’ll +help with the dinner time you’re at church. You shall not +need to trouble about anything, Mr. John.<br> +<br> +JOHN. O once I do get them to the church and the ring fixed and +all I shan’t trouble about nothing, Mary. But ’tis +how to move them from where they be! That’s the puzzle.<br> +<br> +ROSE. I’ll never move till the hand that gathered these +flowers be here to raise me.<br> +<br> +ROBERT. I’ll sit here to the end of the world sooner nor +go along to be wed with Miss over there.<br> +<br> +MARY. ’Tis midsummer heat have turned their brains. +But I know a cooling draught that will heal them of their sickness. +Jeremy, do you step into the garden and bring me a handful of fresh +violet leaves, one blossom from the heartsease and a sprig of rosemary.<br> +<br> +JEREMY. [<i>Sighing.</i>] What next?<br> +<br> +JOHN. Get gone at once, Jerry.<br> +<br> +[JEREMY <i>goes to the door - as he does so </i>LIZ <i>and </i>JANE +<i>start up and follow him</i>.<br> +<br> +LIZ. Sister and me will come along and help you, dear Mr. Jeremy.<br> +<br> +JANE. And that us will, if our new gowns bain’t hooked too +tight for we to bend.<br> +<br> +[<i>They follow </i>JEREMY <i>to the garden</i>. KITTY <i>silently +leaves the room also</i>. ROSE <i>and </i>ROBERT <i>remain lost +in their sorrowful reflections</i>. JOHN <i>and </i>MARY <i>look +at them for a moment and then turn to one another.<br> +<br> +</i>JOHN. Mary, I never thought to see such a thing as this.<br> +<br> +MARY. You take my word for it, John, the storm will soon be blown +away.<br> +<br> +JOHN. I don’t know how I should stand up against the worry +of it all, wasn’t it for you, Mary.<br> +<br> +[<i>A short silence.<br> +<br> +</i>JOHN. [<i>Taking </i>MARY’S <i>hand.</i>] ’Twill +be a bit lonesome for me here, when they’ve gone off, Mary.<br> +<br> +MARY. You’ll have Kitty to do for you then.<br> +<br> +JOHN. Kitty be going to live along of them at Bristol too, after +a while.<br> +<br> +MARY. [<i>Looking round the room.</i>] Then I count as it +might feel a bit desolate like in this great house alone.<br> +<br> +JOHN. [<i>Taking </i>MARY’S <i>hand.</i>] I cannot +face it, Mary. I’ve loved you many years, you know.<br> +<br> +MARY. I know you have, dear John.<br> +<br> +JOHN. Can’t you forget he what was false to you, days gone +by, and take me as your husband now?<br> +<br> +MARY. [<i>Doubtfully.</i>] I don’t hardly know.<br> +<br> +JOHN. You used to sing sommat - the grass that was trampled under +foot, give it time, it will rise up again.<br> +<br> +MARY. [<i>Drying her eyes.</i>] Ah, it has risen, dear John +- and I count it have covered the wound of those past days - my heart +do tell me so, this minute.<br> +<br> +JOHN. [<i>Holding both her hands.</i>] Then ’tis one +long midsummer afore you and me, Mary.<br> +<br> +MARY. That’s how ’twill be, dear John.<br> +<br> +[JEREMY, <i>followed by the cousins</i>,<i> enters</i>. <i>He +holds a bunch of leaves towards </i>MARY.<br> +<br> +JEREMY. There you be, mistress. Fools’ drink for fools. +A mug of good cider would have fetched them to their senses quicker.<br> +<br> +[MARY <i>takes the bunch</i>,<i> and still holding </i>JOHN’S +<i>hand</i>,<i> leads him to the kitchen</i>. JEREMY <i>watches +the pair sarcastically.<br> +<br> +</i>JEREMY. ’Tis all finished with the master, then.<br> +<br> +[<i>The sisters seat themselves on the couch and mop their faces with +handkerchiefs.<br> +<br> +</i>LIZ. Dear me, ’tis warm.<br> +<br> +JANE. I hope my face don’t show mottled, sister?<br> +<br> +JEREMY. I was saying as how ’twas all finished with the +master.<br> +<br> +[MARY, <i>followed by </i>JOHN, <i>comes forward carrying two glasses</i>. +<i>She gives one to </i>ROSE <i>and the other to </i>ROBERT.<br> +<br> +MARY. Now do you take a good draught of this, the both of you. +With violet leaves the fever of the mind is calmed, and heartsease lightens +every trouble caused by love. Rosemary do put new life to anyone +with its sweetness, and cold spring water does the rest.<br> +<br> +[<i>She leaves the table and stands far back in the room by </i>JOHN’S +<i>side</i>. ROSE <i>slowly lifts her glass and begins to drink</i>. +ROBERT <i>does the same</i>. <i>They are watched with anxiety +by all in the room</i>. <i>When they have emptied their glasses +</i>ROSE <i>dries her tears and pushes the flowers a little way from +her</i>. ROBERT <i>shakes himself and moves the cotton bonnet +so that it falls unheeded to the floor</i>. <i>Meanwhile </i>KITTY +<i>has come quietly to the garden door and stands there watching the +scene intently.<br> +<br> +</i>LIZ. Bain’t we going to get a drink too?<br> +<br> +JANE. Seems as though master have been and forgot we.<br> +<br> +JEREMY. [<i>Starting up and going to the kitchen.</i>] If +I’ve been and forgot you two old women, I’ve remembered +myself. Be blowed if I can get through any more of this foolishness +without a wet of my mouth.<br> +<br> +[<i>He goes out</i>.<br> +<br> +ROSE. [<i>Speaking faintly.</i>] Does it show upon my face, +the crying, Robert?<br> +<br> +ROBERT. [<i>Looking at her.</i>] No, no, Rose, your eyes +be brighter nor ever they were.<br> +<br> +ROSE. [<i>Pushing the forget-me-nots yet further away.</i>] +Those flowers are dying. My fancy ones were best.<br> +<br> +KITTY. [<i>Coming forward with the orange blossoms.</i>] +Here they are, dear Rose.<br> +<br> +ROSE. [<i>Taking them.</i>] O how beautiful they do look. +I declare I can smell the sweetness coming out from them, Robert.<br> +<br> +ROBERT. All the orange blossom in the world bain’t so sweet +as one kiss from your lips, Rose.<br> +<br> +ROSE. Now is that truly so?<br> +<br> +ROBERT. Ah, ’tis heavy work a-waiting for the coach, Rose.<br> +<br> +JOHN. [<i>Coming forward and taking </i>MARY’S <i>hand.</i>] +And yours won’t be the only marriage Rose-Anna. Did you +never think that me and Mary might -<br> +<br> +KITTY. [<i>Running forward.</i>] But I did - O so many times, +John. [JEREMY <i>enters with </i>LUBIN <i>and </i>ISABEL.<br> +<br> +JEREMY. Servants be comed back. Man was to the Red Bull, +I count. Female a-washing and a-combing of herself in the barn.<br> +<br> +ROSE. [<i>Coldly.</i>] I don’t care whether they be +here or not. Set them to work, Jerry, whilst we are to church.<br> +<br> +LIZ. That’s it, Master Jeremy. I was never so put +out in my life, as when sister did keep on ringing and the wench was +not there to help us on with our gowns.<br> +<br> +[ROSE <i>and </i>ROBERT <i>get up and go towards the door</i>. +<i>They pause before </i>LUBIN <i>and </i>ISABEL.<br> +<br> +ROSE. The man puts me in mind of someone whom I knew before, called +Lubin. I thought I had a fancy for him once - but ’twasn’t +really so.<br> +<br> +ROBERT. And the girl do favour a little servant wench from Framilode.<br> +<br> +ROSE. [<i>Jealously.</i>] You never went a-courting with +a servant wench, now did you, my heart’s dearest?<br> +<br> +ROBERT. Never in all my days, Rose. ’Twas but the +fanciful thoughts of a boy towards she, that I had.<br> +<br> +ROSE. [<i>Putting her arm in </i>ROBERT’S.] Well, +we have nothing to do with anything more of it now, dear Robert.<br> +<br> +ROBERT. You’re about right, my true love, we’ll get +us off to the church.<br> +<br> +JEREMY. Ah, coach have been waiting a smartish while, I reckon. +’Tis on master as expense’ll fall.<br> +<br> +[ROSE <i>and </i>ROBERT <i>with cold glances at </i>LUBIN <i>and </i>ISABEL, +<i>pass out of the door.<br> +<br> +</i>JOHN. [<i>Giving his arm to </i>MARY.] Now, Mary - now, +Kitty. [<i>They pass out.<br> +<br> +</i>LIZ. Now, Jeremy, sister and me bain’t going off all +alone.<br> +<br> +JEREMY. [<i>Offering an arm to each.</i>] No further than +the church door, I say. I’ve better things to do nor a-giving +of my arm to females be they never so full of wiles. And you two +do beat many what bain’t near so long in the tusk, ah, that you +does.<br> +<br> +[JEREMY <i>goes out with the sisters.<br> +<br> +</i>LUBIN. [<i>To </i>ISABEL.] And shall we go off into +the meadows, Isabel, seeing that we are quite forgot?<br> +<br> +ISABEL. No - ’tis through these faithless ones as us have +learnt to understand the hearts within of we. Let’s bide +and get the marriage dinner ready for them first.<br> +<br> +[<i>She stretches both her hands towards </i>LUBIN, <i>who takes them +reverently in his as the Curtain falls.<br> +<br> +<br> +<br> +<br> +</i>THE NEW YEAR<br> +<br> +<br> +<br> +<br> +CHARACTERS<br> +<br> +STEVE BROWNING, <i>a Blacksmith</i>,<i> also Parish Clerk.<br> +</i>GEORGE DAVIS, <i>a Carpenter.<br> +</i>HARRY MOSS, <i>a young Tramp.<br> +</i>MAY BROWNING.<br> +JANE BROWNING.<br> +DORRY BROWNING, <i>aged twelve.<br> +</i>ANNIE SIMS.<br> +ROSE SIMS.<br> +VASHTI REED.<br> +<br> +<br> +<br> +ACT I. - Scene 1.<br> +<br> +<br> +<br> +<i>A country roadside</i>. <i>It is late afternoon and already +dusk.<br> +<br> +</i>MAY BROWNING <i>with </i>HARRY MOSS <i>come slowly forward</i>. +<i>Close to a stile which is a little off the road</i>,<i> </i>MAY <i>stops.<br> +<br> +</i>MAY. There, you don’t need to come no further with I, +Harry Moss. You get on quick towards the town afore the night +be upon you, and the snow, too.<br> +<br> +HARRY. I don’t care much about leaving you like this on +the roadside, May. And that’s the truth, ’tis.<br> +<br> +MAY. Don’t you take no more thought for I, Harry. +’Tis a good boy as you’ve been to I since the day when we +fell in together. But now there bain’t no more need for +you to hold back your steps, going slow and heavy when you might run +spry and light. For ’tis home as I be comed to now, I be. +You go your way.<br> +<br> +HARRY. I see naught of any house afore us or behind. ’Tis +very likely dusk as is upon us, or may happen ’tis the fog getting +up from the river.<br> +<br> +MAY. [<i>Coughing.</i>] Look you across that stile, Harry. +There be a field path, bain’t there?<br> +<br> +HARRY. [<i>Taking a few steps to the right and peering through +the gloom.</i>] Ah, and that there be.<br> +<br> +MAY. And at t’other end of it a house what’s got a +garden fence all round.<br> +<br> +HARRY. Ah - and ’tis so. And now as I comes to look +there be a light shining from out the windows of it, too, though ’tis +shining dim-like in the mist.<br> +<br> +MAY. ’Tis that yonder’s my home, Harry. There’s +the door where I must stand and knock.<br> +<br> +[<i>For a moment she draws the shawl over her face and is shaken with +weeping.<br> +<br> +</i>HARRY. I wouldn’t take on so, if ’twas me.<br> +<br> +MAY. And did you say as how there was a light in the window? +’Twill be but fire light then, for th’ old woman she never +would bring out the lamp afore ’twas night, close-handed old she-cat +as her was, what’d lick up a drop of oil on to the tongue of her +sooner nor it should go wasted.<br> +<br> +HARRY. There, ’tis shining better now - or maybe as the +fog have shifted.<br> +<br> +MAY. ’Tis nigh to home as I be, Harry.<br> +<br> +HARRY. Then get and stand up out of the wet grass there, and I’ll +go along of you a bit further. ’Twill not be much out of +my way. Nothing to take no count of.<br> +<br> +MAY. No, no, Harry. I bain’t going to cross that field, +nor yet stand at the door knocking till the dark has fallen on me. +Why, is it like as I’d let them see me coming over the meadow +and going through the gate in this? [<i>Holding up a ragged shawl.</i>] +In these? [<i>Pointing to her broken shoes.</i>] And - as +I be to-day.<br> +<br> +[<i>Spreading out her arms and then suddenly bending forward in a fit +of anguished coughing.<br> +<br> +</i>HARRY. There, there, you be one as is too handy with the tongue, +like. Don’t you go for to waste the breath inside of you +when you’ll be wanting all your words for they as bides up yonder +and as doesn’t know that you be coming back.<br> +<br> +MAY. [<i>Throwing apart her shawl and struggling with her cough.</i>] +Harry, you take the tin and fill it at the ditch and give I to drink. +’Tis all live coals within I here, so ’tis.<br> +<br> +HARRY. You get along home, and maybe as them’ll find summat +better nor water from the ditch to give you.<br> +<br> +MAY. No, no, what was I a-saying to you? The dark must fall +and cover me, or I won’t never go across the field nor a-nigh +the house. Give I to drink, give I to drink. And then let +me bide in quiet till all of the light be gone.<br> +<br> +HARRY. [<i>Taking out a tin mug from the bundle beside her.</i>] +Where be I to find drink, and the frost lying stiff upon the ground?<br> +<br> +MAY. [<i>Pointing.</i>] Up yonder, where the ash tree do +stand. Look you there, ’tis a bit of spouting as do come +through the hedge, and water from it, flowing downwards away to the +ditch.<br> +<br> +[HARRY <i>goes off with the can</i>. MAY <i>watches him</i>,<i> +drawing her shawl again about her and striving to suppress a fit of +coughing.<br> +<br> +</i>[HARRY <i>returns and holds out the can.<br> +<br> +</i>MAY. ’Tis not very quick as you’ve been, Harry +Moss. Here - give it to I fast. Give!<br> +<br> +[HARRY <i>puts the can towards her and she takes it in her hands</i>,<i> +which shake feverishly</i>,<i> and she drinks with sharp avidity.<br> +<br> +</i>MAY. ’Tis the taste as I have thought on these many +a year. Ah, and have gotten into my mouth, too, when I did lay +sleeping, that I have. Water from yonder spout, with the taste +of dead leaves sharp in it. Drink of it, too, Harry.<br> +<br> +HARRY. ’Tis no water as I wants, May. Give I summat +as’ll lie more warm and comfortable to th’ inside like. +I bain’t one for much water, and that’s the truth, ’tis. +[<i>He empties the water on the ground.<br> +<br> +</i>MAY. Then go you out upon your way, Harry Moss, for the dark +be gathering on us fast, and there be many a mile afore you to the town, +where the lamps do shine and ’tis bright and warm in the places +where they sells the drink.<br> +<br> +HARRY. Once I sets off running by myself, I’ll get there +fast enough, May. But I be going to stop along of you a bit more, +for I don’t care much about letting you bide lonesome on the road, +like.<br> +<br> +MAY. Then sit you down aside of me, Harry, and the heat in my +body, which is like flames, shall maybe warm yourn, too.<br> +<br> +HARRY. [<i>Sitting down by her side.</i>] ’Tis a fine +thing to have a home what you can get in and go to, May, with a bit +of fire to heat the limbs of you at, and plenty of victuals as you can +put inside. How was it as you ever came away from it, like?<br> +<br> +MAY. Ah, and that’s what I be asking of myself most of the +time, Harry! For, ’tis summat like a twelve or eleven year +since I shut the door behind me and went out.<br> +<br> +[<i>A slight pause.<br> +<br> +</i>MAY. Away from them all, upon the road - so ’twas.<br> +<br> +HARRY. And never see’d no more of them, nor sent to say +how ’twas with you, nor nothing?<br> +<br> +MAY. Nor nothing, Harry. Went out and shut the door behind +me. And ’twas finished.<br> +<br> +[<i>A long pause</i>,<i> during which the darkness has gathered.<br> +<br> +</i>HARRY. Whatever worked on you for to do such a thing, May?<br> +<br> +MAY. [<i>Bitterly.</i>] Ah now, whatever did!<br> +<br> +HARRY. ’Tweren’t as though you might have been a young +wench, flighty like, all for the town and for they as goes up and about +the streets of it. For, look you here, ’tis an old woman +as you be now, May, and has been a twenty year or more, I don’t +doubt.<br> +<br> +MAY. An old woman be I, Harry? Well, to the likes of you +’tis so, I count. But a twelve year gone by, O, ’twas +a fine enough looking maid as I was then - Only a wild one, Harry, a +wild one, all for the free ways of the road and the lights of the fair +- And for the sun to rise in one place where I was, and for I to be +in t’other when her should set.<br> +<br> +HARRY. I’d keep my breath for when ’twas wanted, if +’twas me.<br> +<br> +MAY. Come, look I in the face, Harry Moss, and tell I if so be +as they’ll be likely to know I again up at home?<br> +<br> +HARRY. How be I to tell you such a thing, May, seeing that ’tis +but a ten days or less as I’ve been along of you on the road? +And seeing that when you was a young wench I never knowed the looks +of you neither?<br> +<br> +MAY. Say how the face of I do seem to you now, Harry, and then +I’ll tell you how ’twas in the days gone by?<br> +<br> +HARRY. ’Tis all too dark like for to see clear, May. +The night be coming upon we wonderful fast.<br> +<br> +MAY. The hair, ’twas bright upon my head eleven years gone +by, Harry. ’Twas glancing, as might be the wing of a thrush, +so ’twas.<br> +<br> +HARRY. Well, ’tis as the frost might lie on a dead leaf +now, May, that it be.<br> +<br> +MAY. And the colour on me was as a rose, and my limbs was straight. +’Twas fleet like a rabbit as I could get about, the days that +was then, Harry.<br> +<br> +HARRY. ’Tis a poor old bent woman as you be now, May.<br> +<br> +MAY. Ah, Death have been tapping on the door of my body this long +while, but, please God, I can hold me with the best of them yet, Harry, +and that I can. Victuals to th’ inside of I and a bit of +clothing to my bones, with summat to quiet this cough as doubles of +I up. Why, there, Harry, you won’t know as ’tis me +when I’ve been to home a day or two - or may be as ’twill +take a week.<br> +<br> +HARRY. I count ’twill take a rare lot of victuals afore +you be set up as you once was, May.<br> +<br> +MAY. Look you in my eyes, Harry. They may not know me up +at home by the hair, which is different to what ’twas, or by the +form of me, which be got poor and nesh like. But in the eye there +don’t come never no change. So look you at they, Harry, +and tell I how it do appear to you.<br> +<br> +HARRY. There be darkness lying atween you and me, May.<br> +<br> +MAY. Then come you close to I, Harry, and look well into they.<br> +<br> +HARRY. Them be set open wonderful wide and ’tis as though +a heat comed out from they. ’Tis not anyone as might care +much for to look into the eyes what you’ve got.<br> +<br> +MAY. [<i>With despondence.</i>] Maybe then, as them’ll +not know as ’tis me, Harry Moss.<br> +<br> +HARRY. I count as they’ll be hard put to, and that’s +the truth.<br> +<br> +MAY. The note of me be changed, too, with this cold what I have, +and the breath of me so short, but ’twon’t be long, I count, +afore they sees who ’tis. Though all be changed to th’ +eye like, there’ll be summat in me as’ll tell they. +And ’tis not a thing of shape, nor of colour as’ll speak +for I - But ’tis summat what do come straight out of the hearts +of we and do say better words for we nor what the looks nor tongues +of us might tell. You mind me, Harry, there’s that which +will come out of me as’ll bring they to know who ’tis.<br> +<br> +HARRY. Ah, I reckon as you’ll not let them bide till they +does.<br> +<br> +MAY. And when they do know, and when they sees who ’tis, +I count as they’ll be good to me, I count they will. I did +used to think as Steve, he was a hard one, and th’ old woman what’s +his mother, hard too - And that it did please him for to keep a rein +on me like, but I sees thing different now.<br> +<br> +HARRY. Ah, ’tis one thing to see by candle and another by +day.<br> +<br> +MAY. For ’twas wild as I was in the time gone by. +Wild after pleasuring and the noise in the town, and men a-looking at +the countenance of I, and a-turning back for to look again. But, +hark you here, ’tis powerful changed as I be now.<br> +<br> +HARRY. Ah, I count as you be. Be changed from a young woman +into an old one.<br> +<br> +MAY. I’m finished with the road journeying and standing +about in the streets on market days and the talk with men in the drinking +places - Men what don’t want to look more nor once on I now, and +what used to follow if ’twasn’t only a bit of eyelid as +I’d lift on them, times that is gone.<br> +<br> +HARRY. Ah, ’twould take a lot of looking to see you as you +was.<br> +<br> +MAY. Yes, I be finished with all of it now, and willing for to +bide quiet at the fireside and to stay with the four walls round I and +the door shut.<br> +<br> +HARRY. I reckon as you be.<br> +<br> +MAY. And I’m thinking as they’ll be rare pleased for +to have I in the house again. ’Twill be another pair of +hands to the work like. And when I was young, ’twas not +on work as I was set much.<br> +<br> +HARRY. Ah, I did guess as much.<br> +<br> +MAY. But when I gets a bit over this here nasty cough, ’tis +a strong arm as them’ll have working for they; Steve, th’ +old woman what’s his mother, and little Dorry, too.<br> +<br> +HARRY. Dorry? I han’t heard tell of she.<br> +<br> +MAY. That’s my little baby as was, Harry Moss. I left +she crawling on the floor, and now I count as she be growed into a rare +big girl. Bless the innocent heart of her!<br> +<br> +HARRY. Whatever led you to do such a thing, I can’t think! +You must have been drove to it like, wasn’t you?<br> +<br> +MAY. ’Twas summat inside of me as drove I, then. ’Twas +very likely the blood of they gipsies which did leap in I, so that when +I was tied up to Steve, ’twas as if they had got I shut in a box. +’Twas the bridle on my head and the bit in the mouth of I; and +to be held in where once I had gone free. [<i>A short pause.<br> +<br> +</i>MAY. And I turned wild, Harry, for the very birds seemed to +be calling I from the hedges to come out along of they, and the berries +tossing in the wind, and the leaves blowing away quick from where they’d +been stuck all summer. All of it spoke to I, and stirred I powerful, +so that one morning when the sun was up and the breeze running, I comed +out into the air, Harry, and shut the door behind I. And ’twas +done - so ’twas.<br> +<br> +HARRY. And didn’t they never try for to stop you, nor for +to bring you back, May?<br> +<br> +MAY. No, Harry, they did not.<br> +<br> +HARRY. And where was it you did go to, May, once you was out and +the door shut ahind of you?<br> +<br> +MAY. Ah - where! To the east, to the south, every part. +’Twas morning with I in that time, and the heart of I was warm. +And them as went along of I on the road, did cast but one look into +the countenance of I. Then ’twas the best as they could +give as I might take; and ’twas for no lodging as I did want when +dark did come falling.<br> +<br> +HARRY. And yet, look you here, you be brought down terrible low, +May.<br> +<br> +MAY. The fine looks of a woman be as grass, Harry, and in the +heat of the day they do wither and die. And that what has once +been a grand flower in the hand of a man is dropped upon the ground +and spat upon, maybe. So ’twas with I.<br> +<br> +[<i>She bows her head on her knees</i>,<i> and for a moment is shaken +with sudden grief.<br> +<br> +</i>HARRY. Don’t you take on so, May. Look you here, +you be comed to the end of your journeying this day, and that you be.<br> +<br> +MAY. [<i>Raising her head.</i>] Ah, ’tis so, ’tis +so. And ’tis rare glad as them’ll be to see I once +again. Steve, he’s a hard man, but a good one - And I’ll +tell you this, Harry Moss, he’ll never take up with no woman what’s +not me - and that he won’t - I never knowed him much as look on +one, times past; and ’twill be the same as ever now, I reckon. +And little Dorry, ’twill be fine for her to get her mammy back, +I warrant - so ’twill.<br> +<br> +[<i>A slight pause.<br> +<br> +</i>MAY. Th’ old woman - well - I shan’t take it amiss +if her should be dead, like. Her was always a smartish old vixen +to I, that her was, and her did rub it in powerful hard as Steve was +above I in his station and that. God rest the bones of she, for +I count her’ll have been lying in the churchyard a good few years +by now. But I bain’t one to bear malice, and if so be as +her’s above ground, ’tis a rare poor old wretch with no +poison to the tongue of she, as her’ll be this day - so ’tis.<br> +<br> +HARRY. Look you here - the snow’s begun to fall and ’tis +night. Get up and go in to them all yonder. ’Tis thick +dark now and there be no one on the road to see you as you do go.<br> +<br> +MAY. Help I to get off the ground then, Harry, for the limbs of +me be powerful weak.<br> +<br> +HARRY. [<i>Lifting her up.</i>] The feel of your body be +as burning wood, May.<br> +<br> +MAY. [<i>Standing up.</i>] Put me against the stile, Harry, +and then let I bide alone.<br> +<br> +HARRY. Do you let me go over the field along of you, May, just +to the door.<br> +<br> +MAY. No, no, Harry, get you off to the town and leave me to bide +here a while in the quiet of my thoughts. ’Tis of little +Dorry, and of how pleased her’ll be to see her mammy once again, +as I be thinking. But you, Harry Moss, as han’t got no home +to go to, nor fireside, nor victuals, you set off towards the town. +And go you quick.<br> +<br> +HARRY. There’s summat in me what doesn’t care about +leaving you so, May.<br> +<br> +MAY. And if ever you should pass this way come spring-time, Harry, +when the bloom is white on the trees, and the lambs in the meadows, +come you up to the house yonder, and may be as I’ll be able to +give you summat to keep in remembrance of me. For to-day, ’tis +empty-handed as I be.<br> +<br> +HARRY. I don’t want nothing from you, May, I don’t.<br> +<br> +MAY. [<i>Fumbling in her shawl.</i>] There, Harry - ’tis +comed back to my mind now. [<i>She takes out part of a loaf of +bread.</i>] Take you this bread. And to-night, when you +eats of it, think on me, and as how I be to home with Steve a-holding +of my hand and little Dorry close against me; and plenty of good victuals, +with a bed to lie upon warm. There, Harry, take and eat.<br> +<br> +[<i>She holds the bread to him<br> +<br> +</i>HARRY. [<i>Taking the bread.</i>] I count ’twill +all be well with you now, May?<br> +<br> +MAY. I warrant as ’twill, for I be right to home. +But go you towards the town, Harry, for ’tis late. And God +go with you, my dear, now and all time.<br> +<br> +HARRY. I’ll set off running then. For the night, ’tis +upon us, May, and the snow, ’tis thick in the air.<br> +<br> +[MAY <i>turns to the stile and leans on it heavily</i>,<i> gazing across +the field</i>. HARRY <i>sets off quickly down the road.<br> +<br> +<br> +<br> +</i>ACT II. - Scene 1.<br> +<br> +<br> +<br> +<i>The living room in the Brownings</i>’<i> cottage</i>. +<i>The room is divided by a curtain which screens the fireside end from +the draught of the principal door.<br> +<br> +To the right of the fireplace is a door leading upstairs</i>. +<i>Chairs are grouped round the hearth</i>,<i> and there is a table +at which </i>JANE BROWNING <i>is ironing a dress by the light of one +candle</i>. DORRY <i>leans against the table</i>,<i> watching +her.<br> +<br> +</i>JANE. [<i>Putting aside the iron.</i>] There, you take +and lay it on the bed upstairs, and mind you does it careful, for I’m +not a-going to iron it twice.<br> +<br> +[<i>She lays the dress carefully across </i>DORRY’S <i>arms.<br> +<br> +</i>DORRY. Don’t the lace look nice, Gran’ma?<br> +<br> +JANE. You get along upstairs and do as I says, and then come straight +down again.<br> +<br> +DORRY. Couldn’t I put it on once, Gran’ma, just to +see how it do look on me?<br> +<br> +JANE. And get it all creased up afore to-morrow! Whatever +next! You go and lay it on the bed this minute, do you hear?<br> +<br> +DORRY. [<i>Leaving the room by the door to the right.</i>] +I’d like to put it on just once, I would.<br> +<br> +[JANE BROWNING <i>blows out the candle and puts away the iron and ironing +cloth</i>. <i>She stirs up the fire and then sits down by it as +</i>DORRY <i>comes back.<br> +<br> +</i>DORRY. Dad’s cleaning of himself ever so - I heard the +water splashing something dreadful as I went by his door.<br> +<br> +JANE. ’Tis a-smartening of hisself up for this here dancing +as he be about, I reckon.<br> +<br> +DORRY. [<i>Sitting down on a stool.</i>] I’d like +to go along, too, and see the dancing up at the schools to-night, I +would.<br> +<br> +JANE. And what next, I should like to know!<br> +<br> +DORRY. And wear my new frock what’s ironed, and the beads +what Miss Sims gived me.<br> +<br> +JANE. [<i>Looking out at the window.</i>] I’m thinking +as we shall get some snow by and bye. ’Tis come over so +dark all of a sudden.<br> +<br> +DORRY. Couldn’t I go along of they, Gran’ma, and wear +my new frock, and the beads, too? I never see’d them dance +th’ old year out yet, I haven’t.<br> +<br> +JANE. Get along with you, Dorry. ’Tis many a year +afore you’ll be of an age for such foolishness. And that’s +what I calls it, this messing about with dancing and music and I don’t +know what.<br> +<br> +DORRY. Katie Sims be younger nor me and she’s let to go, +she is.<br> +<br> +JANE. You bain’t Katie Sims, nor she you. And if the +wedding what’s to-morrow isn’t enough to stuff you up with +nonsense, I don’t know what is.<br> +<br> +DORRY. I wish it was to-morrow now, Gran’ma, I do. +Shall you put on your Sunday gown first thing, or wait till just afore +we goes to church?<br> +<br> +JANE. How your tongue do go! Take and bide quiet a bit, +if you knows how.<br> +<br> +DORRY. I shall ask Dad if I may go along of him and Miss Sims +to the dance, I shall. Dad’s got that kind to me since last +night - he gived me a sixpence to buy sweets this morning when I hadn’t +asked. And won’t it be nice when Miss Sims comes here to +live, and when you has someone to help you in the work, Gran’ma?<br> +<br> +JANE. Well - ’tis to be hoped as ’twill be all right +this time.<br> +<br> +DORRY. This time, Gran’ma! Why, wasn’t it all +right when Dad was married afore, then?<br> +<br> +JANE. [<i>Getting the lamp from a shelf.</i>] I don’t +light up as a rule till ’tis six o’clock, but I count it’s +a bit of snow coming as have darkened the air like.<br> +<br> +DORRY. Gran’ma, isn’t Miss Sims nice-looking, don’t +you think? I’d like to wear my hair like hers and have earrings +a-hanging from me and a-shaking when I moves my head, I would.<br> +<br> +JANE. [<i>Setting the lamp on the table.</i>] Here, fetch +me the matches, do.<br> +<br> +DORRY. [<i>Bringing the matches.</i>] Was my mammy nice-looking, +like Miss Sims, Gran’ma?<br> +<br> +JANE. I’m one as goes by other things nor looks - For like +as not ’tis fine looks as is the undoing of most girls as has +them - give me a plain face and a heart what’s pure, I says, and +’tis not far out as you’ll be.<br> +<br> +DORRY. Was my mammy’s heart pure, Gran’ma? [<i>A +moment</i>’<i>s silence</i>. JANE <i>lights the lamp</i>. +DORRY <i>leans at the table</i>,<i> watching her.<br> +<br> +</i>DORRY. Was my mammy’s - [<i>A loud knock on the outside +door.<br> +<br> +</i>JANE. Who’s that come bothering round! Run and +see, Dorry, there’s a good child.<br> +<br> +DORRY. It’ll be Gran’ma Vashti, I daresay. She +do mostly knock at the door loud with her stick.<br> +<br> +[DORRY <i>runs to the window and looks out.<br> +<br> +</i>DORRY. ’Tis her, and the snow white all upon her.<br> +<br> +[DORRY <i>goes to the door to open it.<br> +<br> +</i>JANE. [<i>To herself.</i>] Of all the meddlesome old +women - why can’t her bide till her’s wanted.<br> +<br> +[DORRY <i>opens the door wide</i>,<i> and </i>VASHTI <i>Comes slowly +in to the room</i>,<i> leaning on a big staff.<br> +<br> +</i>JANE. Well, Vashti Reed, and what brings you down from the +hill to-day? ’Twould have been better had you bid at home, +with the dark coming on and the snow.<br> +<br> +DORRY. [<i>Who has closed the door.</i>] Sit down, Granny +- there, close against the fire, do.<br> +<br> +[VASHTI <i>stands in the middle of the room</i>,<i> looking from one +to another.<br> +<br> +</i>DORRY. Sit down, Granny, by the fire, do.<br> +<br> +VASHTI. ’Tis in the house and out of it as I have went. +And down to the pool where the ice do lie, and up on the fields where +’tis fog, And there be summat in I what drives I onward, as might +the wind. And no where may the bones of me rest this day.<br> +<br> +JANE. If ’tis to talk your foolishness as you be come, you’d +best have stopped away. Here, sit you down, Vashti Reed, and behave +sensible, and maybe as I’ll get you summat warm to drink presently.<br> +<br> +DORRY. Yes, Grannie, sit you down along of we.<br> +<br> +[VASHTI <i>sits stiffly down by the hearth</i>,<i> leaning on her stick</i>. +JANE <i>resumes her place</i>,<i> and </i>DORRY <i>puts her little stool +between them.<br> +<br> +</i>VASHTI. And in the night when I was laid down, against the +windowpane it fled a three times. A three time it fled and did +beat the pane as though ’twould get in. And I up and did +open the window. And the air it ran past I, and ’twas black, +with naught upon it but the smell of a shroud. So I knowed.<br> +<br> +DORRY. What did you know, Granny?<br> +<br> +VASHTI. [<i>Leaning forward and warming her hands at the fire</i>,<i> +speaking as though to herself.</i>] Summat lost - summat lost, +and what was trying to get safe away.<br> +<br> +DORRY. Safe away? From what, Granny?<br> +<br> +VASHTI. And there be one what walks abroad in the night time, +what holds in the hand of him a stick, greater nor this staff what I +holds here, and the knife to it be as long again by twice.<br> +<br> +DORRY. O, Granny, I’ll be a-feared to go across the garden +after dark, I shall.<br> +<br> +JANE. What do you want to go and put that there into the child’s +head for? I’d like for Steve to hear you talking of such +stuff.<br> +<br> +VASHTI. I sat me down at the table, but the victuals was as sand +in the mouth, and the drink did put but coldness within I. And +when the door was closed, ’twas as if one did come running round +the house and did beat upon it for to be let in. Then I did go +for to open it, but the place outside was full of emptiness, and ’twas +they old carrion crows what did talk to I out of the storm.<br> +<br> +JANE. How you do go on, to be sure! Why don’t you +speak of summat what’s got some sense to it? Come, don’t +you know as Steve, his wedding day, ’tis to-morrow as ever is.<br> +<br> +DORRY. ’Tis the New Year, too, Granny, as well as Dad’s +marriage.<br> +<br> +VASHTI. [<i>Suddenly.</i>] Be this house made ready for +a-marrying, then?<br> +<br> +DORRY. Why, of course it be, Granny. Don’t you see +how ’tis cleaned and the new net curtains in the windows, and +the bit of drugget ’gainst the door where the old one always tripped +me up?<br> +<br> +VASHTI. I see naught but what ’tis more like a burial here. +So ’tis. And ’tis a burial as I’ve carried in +my heart as I comed down from the hills.<br> +<br> +DORRY. [<i>Looking out of the window.</i>] Granny, you’ll +be forced to bide the night along of we, ’cause the snow be falling +thick, and ’twill be likely as not as you’ll lose your way +if you start for to go home again when ’tis snowing.<br> +<br> +JANE. Th’ old thing may as well bide the night now she be +come. Hark you, Vashti, ’twill save you the journey down +to-morrow like, if you bides the night, and the chimney corner is all +as you ever wants.<br> +<br> +VASHTI. And what should I be journeying down to-morrow for, Jane +Browning?<br> +<br> +DORRY. Why, Granny, ’tis Dad’s wedding day to-morrow, +and ’tis a white frock with lace to it as I’m going to wear, +and beads what Miss Sims gived me, and the shoes what was new except +for being worn to church three times. Shall I fetch them all and +show to you, Granny?<br> +<br> +JANE. Yes, run along and get them, Dorry; very likely ’twill +give her thoughts a turn, looking at the things, seeing as she be in +one of her nasty moods to-day when you can’t get a word what isn’t +foolishness out of her. [DORRY <i>runs upstairs.<br> +<br> +</i>VASHTI. [<i>Leaning forward.</i>] Was her telling of +a marriage?<br> +<br> +JANE. Why, yes, Vashti Reed. And you know all about it, +only you don’t trouble for to recollect nothing but what you dreams +of yourself in the night. ’Tis our Steve what’s going +to marry Annie Sims to-morrow.<br> +<br> +VASHTI. Steve Browning?<br> +<br> +JANE. I haven’t patience with th’ old gipsy! +Yes - Steve. And ’tis a twelvemonth or more as you’d +knowed of it.<br> +<br> +VASHTI. Our Steve, what’s husband to my May?<br> +<br> +JANE. ’Tis a fine thing to fetch up May this evening, that +’tis. May, what went out trolloping along the roads ’stead +of she biding at home to mind the house and child! ’Tis +how you did breed she up, Vashti Reed, what led her to act as her did. +And if you’d have bred her different, ’twould have been +all the same; for what’s in the blood is bound to out and show; +and when you picks a weed and sets it in the room, ’tain’t +no flower as you must look for.<br> +<br> +VASHTI. ’Tis summat like a twelve year since her went. +But in the blinking of an eye the latch might be raised, and she come +through the door again. God bless the head an feet of she!<br> +<br> +JANE. There you are, Vashti, talking so foolish. A bad herb +like she, was bound for to meet her doom. And ’twas in the +river up London way where the body of her was catched, floating, and +the same petticoat to it as I’ve seed on May a score of times. +Don’t you recollect how ’twas parson as brought the news +to we?<br> +<br> +VASHTI. ’Taint with no parsons as I do hold, nor with what +may come from the mouths of they, neither.<br> +<br> +JANE. And Steve, I knowed what was in his mind when parson was +gone out. ’Twas not much as he did say, being a man what +hasn’t many words to his tongue. But he took and fetched +down his big coat what do hang up yonder, and told I to put a bit of +black to the sleeve of it. Leastways, he didn’t speak the +words, but I seed what he was after, and I took and sewed a bit on, +and he’s wore it ever since till yesterday - And that’s +eleven year ago it be - so there.<br> +<br> +VASHTI. Her be moving about upon the earth, her be. And +I seems to feel the tread of she at night time, and by day as well. +Her bain’t shrouded, nor boxed, nor no churchyard sod above the +limbs of she - you take my words - and there shall come a day when the +latch shall rise and her be standing among us and a-calling on her child +and husband what’s forgotten she.<br> +<br> +JANE. For goodness sake, Vashti, have done speaking about such +things to-night. If Steve was to hear you, why I shouldn’t +wonder if he was to put you out of the door and into the snow - and +’tis most unfitting for to talk so afore the child.<br> +<br> +VASHTI. [<i>Calling out loudly.</i>] Come back to I, May +- you come back to I - there bain’t no one what thinks on the +name of you, or what wants you but your old mother. You come back +to I!<br> +<br> +JANE. I’ll thank you for to shut your mouth, old Vashti! +’Tain’t nothing to be proud on as you’ve got, and +’twould be better if you was to be less free in your hollering. +Look, here’s Dorry coming.<br> +<br> +[DORRY <i>comes into the kitchen</i>;<i> she is wearing her new white +frock.<br> +<br> +</i>DORRY. See, Granny, I’ve been and put it on for to show +you better. See the lace? Isn’t it nice? And +the beads, too. I didn’t stop for to put on my shoes, nor +my new stockings. Nor my hat, what’s got a great long feather +all round of it.<br> +<br> +JANE. You bad, naughty girl, Dorry, you’ll crease and tumble +that frock so as it’s not fit to be seen to-morrow! Whatever +did you go to put it on for?<br> +<br> +DORRY. So as that Gran should see something pretty, and so as +she should come out of her trouble. Gran’s always got some +trouble in her mind, han’t you, Granny?<br> +<br> +VASHTI. A twelve year gone by, my child.<br> +<br> +JANE. I’ll give it you if you starts off again.<br> +<br> +VASHTI. A twelve year gone by -<br> +<br> +DORRY. A twelve year gone by, what then, Granny?<br> +<br> +VASHTI. ’Tis more’n eleven years since her wented +out of the door, my child - your poor mammy. Out of the door, +out of the door! And likely as not ’twill be feet first +as her shall be brought in again.<br> +<br> +DORRY. Granny, was my poor mammy, what’s dead, nice looking +like Miss Sims as is going for to marry Dad, to-morrow?<br> +<br> +VASHTI. ’Twas grand as a tree in full leaf and the wind +a-moving all the green of it as was your mammy, my dear.<br> +<br> +DORRY. And did she have fine things to her, nice gowns and things, +like Miss Sims, Granny?<br> +<br> +JANE. ’Twas the looks of her and the love of finery and +pleasuring what was her undoing, as ’twill be the undoing of you, +too, Dorry, if you don’t take care. ’Tis she as you +favours, and none of your father’s people, more’s the pity, +and ’tis more thoughtful and serious as you’ll have to grow +if you don’t want to come to harm. You take and go right +up, and off with that frock, do you hear me?<br> +<br> +DORRY. O, I wanted to be let to go to the dancing now I’d +got it on, I did.<br> +<br> +JANE. Dancing, there you are! Dancing and finery, ’tis +all as you do think on, and ’tis plain to see what’s got +working in the inside of you, Dorry. ’Tis the drop of bad +blood as you has got from she what bore you. But I might as well +speak to that door for all you cares. Only, hark you here, you’ll +be sorry one of these days as you han’t minded me better. +And then ’twill be too late.<br> +<br> +[STEVE <i>comes down the stairs</i>,<i> pushes open the door and enters.<br> +<br> +</i>STEVE. Well, Mother, what’s up now? Gran, you +here? Why, Dorry, what be you a-crying for?<br> +<br> +DORRY. I wants to be let to go to the dancing, Dad - now that +I’ve got my frock on and all. - O, I wants to be let to go.<br> +<br> +STEVE. Well, Mother - what do you say? ’Twouldn’t +hurt for she to look in about half an hour, and Annie and me we could +bring her back betimes.<br> +<br> +DORRY. O, Dad, I wants to go if ’twas only for a minute.<br> +<br> +STEVE. There, there - you shall go and we’ll say no more +about it.<br> +<br> +JANE. I never knowed you give in to her so foolish like this afore, +Steve.<br> +<br> +STEVE. Well, Mother, ’tain’t every day as a man’s +married, that ’tain’t.<br> +<br> +VASHTI. And so you’re to be wed come to-morrow, Steve? +They tells me as you’re to be wed.<br> +<br> +STEVE. That’s right enough, Gran.<br> +<br> +VASHTI. [<i>Rising.</i>] And there be no resting in me to-day, +Steve. There be summat as burns quick in the bones of my body +and that will not let me bide. - And ’tis steps as I hears on +the roadside and in the fields - and ’tis a bad taste as is in +my victuals, and I must be moving, and peering about, and a-taking cold +water into my mouth for to do away with the thing on my tongue, which +is as the smell of death - So ’tis.<br> +<br> +JANE. Now she’s off again! Come, sit you down, Vashti +Reed, and I’ll give you summat as’ll very likely warm you +and keep you quiet in your chair a while. Just you wait till I +gets the water boiling.<br> +<br> +[<i>She begins to stir up the fire and sets a kettle on it.<br> +<br> +</i>DORRY. [<i>From the window.</i>] Here’s Miss Sims +coming up the path, and Rosie too. O, they’re wrapped up +all over ’cause ’tis snowing. I’ll open, I’ll +open.<br> +<br> +[<i>She runs to the door and unlatches it</i>. ANNIE <i>and </i>ROSE +SIMS <i>come in</i>,<i> shaking the snow from them and unbuttoning their +cloaks</i>,<i> which </i>STEVE <i>takes from them and hangs on the door.<br> +<br> +<br> +<br> +</i>ACT II. - Scene 2.<br> +<br> +<br> +<br> +ANNIE. [<i>As </i>STEVE <i>takes off her cloak.</i>] ’Tis +going to be a dreadful night. The snow’s coming down something +cruel.<br> +<br> +ROSE. There won’t be many to the dance if it keeps on like +this, will there?<br> +<br> +STEVE. Get you to the fire, both of you, and warm yourselves before +we sets out again.<br> +<br> +DORRY. Miss Sims, Miss Sims - Miss Rosie - I’m going along +with you to the dance, Dad says as I may.<br> +<br> +JANE. Bless the child! However her has worked upon her father, +and he so strict, I don’t know.<br> +<br> +ANNIE. Well, you be got up fine and grand, Dorry - I shouldn’t +hardly know ’twas you. [<i>Turning to </i>VASHTI REED.] +Good evening, Mrs. Reed, my eyes was very near blinded when I first +got in out of the dark, and I didn’t see as you was there.<br> +<br> +ROSE. Good evening, Mrs. Reed, and how be you keeping this cold +weather?<br> +<br> +VASHTI. [<i>Peering into their faces as they stand near her.</i>] +What be you a-telling I of?<br> +<br> +ANNIE. We was saying, how be you in this sharp weather, Mrs. Reed?<br> +<br> +VASHTI. How be I?<br> +<br> +ROSE. Yes, Mrs. Reed, how be you a-keeping now ’tis come +over such nasty weather?<br> +<br> +VASHTI. And how should an old woman be, and her one child out +in the rain and all the wind, and driv’ there too by them as was +laid like snakes in the grass about the feet of she, ready for to overthrow +she when her should have gotten to a time of weakness.<br> +<br> +JANE. Take no account of what she do say, girls, but sit you down +in the warm and bide till I gets the time to take and look on the clothes +which you have upon you. [<i>Moving about and putting tea things +on the table.</i>] I be but just a-going to make a cup of tea +for th’ old woman, with a drop of summat strong to it as will +keep her from using of her tongue so free till morning time.<br> +<br> +ANNIE. [<i>Sitting down.</i>] Poor old woman, ’tis +a sad thing when folks do come to such a pass as she.<br> +<br> +ROSE. And han’t got their proper sense to them, nor nothing. +But she’s better off nor a poor creature what we saw crouching +below the hedge as we was coming across the meadow. “Why,” +I says to Annie, “it must be bad to have no home to bide in such +a night as this!” Isn’t that so, Mrs. Browning?<br> +<br> +STEVE. Ah, you’re right there, you’re right.<br> +<br> +ROSE. I wouldn’t much care to be upon the road to-night, +would you, Steve?<br> +<br> +VASHTI. And at that hour when th’ old year be passing out, +and dark on all the land, the graves shall open and give up the dead +which be in they. And, standing in the churchyard you may read +the face to each, as the corpses do go by. There’s many +a night as I have stood and have looked into they when them did draw +near to I, but never the face I did seek.<br> +<br> +[<i>Here </i>JANE, <i>who has been making a cup of tea</i>,<i> and who +has poured something in it from a bottle</i>,<i> advances to </i>VASHTI.<br> +<br> +JANE. Here, Vashti Reed, here’s a nice cup of hot tea for +you. Take and drink it up and very likely ’twill warm th’ +inside of you, for I’ll lay as you haven’t seen a mouthful +of naught this day.<br> +<br> +STEVE. Ah, that’s it, that’s it. When folks +do go leer ’tis a powerful lot of fancies as do get from the stomach +to the heads of they.<br> +<br> +[VASHTI <i>takes the cup and slowly drinks.<br> +<br> +</i>DORRY. O, Miss Sims, you do look nice. Look, Gran’ma, +at what Miss Sims have got on!<br> +<br> +VASHTI. [<i>Putting down her cup and leaning forward.</i>] +Which of you be clothed for marriage?<br> +<br> +JANE. Get along of you, Gran, ’tis for the dance up at the +school as they be come.<br> +<br> +VASHTI. Come you here - her what’s to wed our Steve. +Come you here and let I look at you. My eyes bain’t so quick +as they was once. Many tears have clouded they. But come +you here.<br> +<br> +DORRY. Go along to her, Miss Sims, Granny wants to look at your +nice things.<br> +<br> +ANNIE. [<i>Steps in front of </i>VASHTI.] Here I be, Mrs. +Reed.<br> +<br> +VASHTI. Be you the one what’s going to wed our Steve come +New Year.<br> +<br> +ANNIE. That’s it, Mrs. Reed, that’s it.<br> +<br> +VASHTI. And be these garments which you be clothed in for marriage +or for burial?<br> +<br> +STEVE. Come, Granny, have another cup of tea. Annie, don’t +you take no account of she. ’Tis worry and that as have +caused the mind of she to wander a bit, but she don’t mean nothing +by it.<br> +<br> +ANNIE. All right, Steve. She don’t trouble me at all. +[<i>To </i>VASHTI.] ’Tis to be hoped as I shall make a good +wife to Steve, Mrs. Reed.<br> +<br> +VASHTI. Steve! What do Steve want with another wife? +Han’t he got one already which is as a rose among the sow-thistles. +What do Steve want for with a new one then?<br> +<br> +STEVE. Come on, girls. I can’t stand no more of this. +Let’s off, and call in to George’s as we do go by.<br> +<br> +ROSE. We did meet Mr. Davis as we was coming along and he said +as how ’twouldn’t be many minutes afore he joined us here, +Steve.<br> +<br> +STEVE. That’s right, then we’ll bide a bit longer +till George do call for we, only ’tis more nor I can stand when +th’ old lady gets her tongue moving.<br> +<br> +DORRY. Why, look, Gran’s fell asleep! O, Miss Sims, +now that Gran’s dropped off and can’t say none of her foolish +things any more, do stand so as Dad and Gran’ma can see the frock +which you’ve got for the dance.<br> +<br> +ANNIE. O, Dorry, you’re a little torment, that’s the +truth.<br> +<br> +[<i>She gets up and turns slowly round so that all can see what she +has on.<br> +<br> +</i>ROSE. Well, Steve?<br> +<br> +STEVE. Well, Rosie.<br> +<br> +ROSE. Haven’t you got nothing as you can say, Steve?<br> +<br> +STEVE. What be I to say, Rose?<br> +<br> +ROSE. Well, something of how you thinks she looks, of course.<br> +<br> +STEVE. O, ’tis all right, I suppose.<br> +<br> +ROSE. All right! And is that about all as you’ve seen? +Why, bless you, Steve, where have you gone and hid your tongue I should +like to know!<br> +<br> +STEVE. Well, there bain’t nothing wrong, be there?<br> +<br> +ROSE. Of course there isn’t. But I never did see such +a man as you, Steve. Why, I don’t believe as you’d +know whether Annie haves a pair of eyes to her face or not, nor if they +be the same colour one to t’other.<br> +<br> +STEVE. I sees enough for me. I sees as Annie is the girl +as I’ve picked out of the whole world. And I know that to-morrow +she and I is to be made man and wife. And that be pretty nigh +enough for me this night, I reckon.<br> +<br> +DORRY. O, Miss Sims, do you hear what Dad is saying? O, +I wonder what I should feel if ’twas me that was going to be married!<br> +<br> +ROSE. You get and ask Annie how ’tis with her, Dorry. +I could tell a fine tale of how as she do lie tossing half the nights, +and of the candles that’s burned right down to the very end of +them, I could.<br> +<br> +ANNIE. Don’t you go for to listen to her, Dorry, nor Steve, +neither. She’s that flustered herself about the dance to-night +that she scarce do know what she’s a-saying of. But suppose +you was just to ask her what she’s got wrapped so careful in that +there paper in her hand.<br> +<br> +DORRY. O, Rosie, whatever is it?<br> +<br> +STEVE. What’s that you’ve got hold on now, Rosie?<br> +<br> +ANNIE. Come, show them all, Rose.<br> +<br> +[ROSE <i>slowly unfolds the paper and shows them all a hothouse carnation +and a fern.<br> +<br> +</i>ROSE. There ’tis, then.<br> +<br> +DORRY. O my, Rosie - isn’t it beautiful. Be you going +to wear it to the dance?<br> +<br> +ROSE. No, Dorry, ’tisn’t for me.<br> +<br> +ANNIE. You just ask her for whom it is, then, Dorry.<br> +<br> +DORRY. O, who is it for, Rosie - who is it for?<br> +<br> +ROSE. No - I’m not a-going to tell none of you.<br> +<br> +[<i>She wraps it up carefully again.<br> +<br> +</i>ANNIE. I’ll tell then, for you.<br> +<br> +ROSE. No, you shan’t, Annie - that you shan’t!<br> +<br> +ANNIE. That I shall, then - come you here, Dorry - I’ll +whisper it to your ear. [<i>Whispers it to </i>DORRY.<br> +<br> +DORRY. [<i>Excitedly.</i>] I know who ’tis - I know +- ’tis for Mr. Davis - for Mr. Davis! Think of that, Dad +- the flower ’tis for George Davis.<br> +<br> +ROSE. O, Annie, how you could!<br> +<br> +STEVE. George -<br> +<br> +VASHTI. [<i>Suddenly roused.</i>] Who named George? +There was but one man as was called by that name - and he courted my +girl till her was faint and weary of the sound and shape of he, and +so on a day when he was come -<br> +<br> +DORRY. There’s Gran gone off on her tales again.<br> +<br> +[JANE <i>crosses the hearth and puts a shawl over the head of </i>VASHTI, +<i>who relapses again into sleep.<br> +<br> +</i>STEVE. [<i>Sitting down by </i>ROSE.] What’s this, +Rose? I han’t heard tell of this afore. Be there aught +a-going on with you and George, then?<br> +<br> +ROSE. No, Steve, there isn’t nothing in it much, except +that George and me we walked out last Sunday in the evening like - and +a two or three time before.<br> +<br> +STEVE. And is it that you be a-keeping of that flower for to give +to George, then?<br> +<br> +ROSE. Well - ’tis for George as I’ve saved it out +of some what the gardener up at Squire’s gived me.<br> +<br> +STEVE. [<i>As though to himself.</i>] ’Tis a powerful +many years since George he went a-courting. I never knowed him +so much as look upon a maid, I didn’t since -<br> +<br> +ROSE. Well, Steve, I’m sure there’s no need for you +to be upset over it. ’Tis nothing to you who George walks +out with, or who he doesn’t.<br> +<br> +STEVE. Who said as I was upset, Rose?<br> +<br> +ROSE. Look at the long face what you’ve pulled. Annie, +if ’twas me, I shouldn’t much care about marrying a man +with such a look to him.<br> +<br> +ANNIE. What’s up, Steve? What’s come over you +like, all of a minute?<br> +<br> +STEVE. ’Tis naught, Annie, naught. ’Twas summat +of past times what comed into the thoughts of me. But ’tis +naught. And, Rose, if so be as ’twas you as George is after, +I’d wish him to have luck, with all my heart, I would, for George +and me - well, we too has always stuck close one to t’other, as +you knows.<br> +<br> +JANE. Ah - that you has, George and you - you and George.<br> +<br> +ANNIE. Hark - there’s someone coming up now.<br> +<br> +DORRY. O, let me open the door - let me open it!<br> +<br> +[<i>She runs across the room and lifts the latch</i>. GEORGE <i>stands +in the doorway shaking the snow from him</i>. <i>Then he comes +into the room.<br> +<br> +</i>DORRY. I’m going to the dance, Mr. Davis. Look, +haven’t I got a nice frock on?<br> +<br> +STEVE. Good evening, George, and how be you to-night?<br> +<br> +GEORGE. Nicely, Steve, nicely. Good evening, Mrs. Browning. +Miss Sims, good evening - Yes, Steve, I’ll off with my coat, for +’tis pretty well sprinkled with snow, like.<br> +<br> +[STEVE <i>helps </i>GEORGE <i>to take off his overcoat.<br> +<br> +</i>ROSE. A happy New Year to you, Mr. Davis.<br> +<br> +JANE. And that’s a thing which han’t no luck to it, +if ’tis said afore the proper time, Rosie.<br> +<br> +ROSE. Well, but ’tis New Year’s Eve, isn’t it?<br> +<br> +GEORGE. Ah, so ’tis - and a terrible nasty storm as ever +I knowed! ’Twas comed up very nigh to my knees, the snow, +as I was a-crossing of the meadow. And there lay some poor thing +sheltering below the hedge, with a bit of sacking throwed over her. +I count ’tis very near buried alive as anyone would be as slept +out in such a night.<br> +<br> +STEVE. I reckon ’twould be so - so ’twould. +But come you in and give yourself a warm; and Mother, what do you say +to getting us a glass of cider all round afore we sets out to the dancing.<br> +<br> +JANE. What do you want to be taking drinks here for, when ’tis +free as you’ll get them up at the school?<br> +<br> +STEVE. Just a drop for to warm we through. Here, I’ll +fetch it right away.<br> +<br> +JANE. No, you don’t. I’ll have no one meddling +in the pantry save it’s myself. Dorry, give me that there +jug.<br> +<br> +DORRY. [<i>Taking a jug from the dresser.</i>] Here ’tis, +Gran’ma, shall I light the candle?<br> +<br> +JANE. So long as you’ll hold the matches careful.<br> +<br> +ANNIE. Well - ’tis to be hoped as the weather’ll change +afore morning.<br> +<br> +ROSE. We shall want a bit of sunshine for the bride.<br> +<br> +GEORGE. That us shall, but it don’t look much as though +we should get it.<br> +<br> +[JANE BROWNING <i>and </i>DORRY <i>go out of the room.<br> +<br> +</i>STEVE. Sit you down, George, along of we. ’Tis +right pleased as I be for to see you here to-night.<br> +<br> +GEORGE. Well, Steve, I bain’t one for a lot of words but +I be powerful glad to see you look as you does, and ’tis all joy +as I wishes you and her what’s to be your wife, to-morrow.<br> +<br> +ANNIE. Thank you kindly, Mr. Davis. I shall do my best for +Steve, and a girl can’t do no more, can she?<br> +<br> +ROSE. And so you’re going to church along of Steve, Mr. +Davis?<br> +<br> +GEORGE. ’Tis as Steve do wish, but I be summat after a cow +what has broke into the flower gardens, places where there be many folk +got together and I among they.<br> +<br> +ROSE. O, come, Mr. Davis!<br> +<br> +GEORGE. ’Tis with me as though t’were all hoof and +horn as I was made of. But Steve, he be more used to mixing up +with the quality folks and such things, and he do know better nor I +how to carry his self in parts when the ground be thick on them.<br> +<br> +ANNIE. Very likely ’tis a-shewing of them into their places +of a Sunday and a-ringing of the bell and a-helping of the vicar along +with the service, like, as has made Steve so easy.<br> +<br> +ROSIE. But, bless you, Mr. Davis, you sees a good bit of the gentry, +too, in your way, when you goes in to houses, as it might be the Squire’s +for to put up a shelf, or mend a window, and I don’t know what.<br> +<br> +GEORGE. Ah, them caddling sort of jobs don’t much agree +with I, Miss Rose. And when I gets inside one of they great houses, +where the maids do pad about in boots what you can’t hear, and +do speak as though ’twere church and parson at his sermon, I can’t +think of naught but how ’twill feel for to be out in the open +again. Why, bless you, I do scarce fetch my breath in one of they +places from fear as there should be too much sound to it, and the noise +of my own hammer do very near scare I into fits.<br> +<br> +ROSE. Well, Mr. Davis, who would ever have thought it?<br> +<br> +[MRS. BROWNING <i>and </i>DORRY <i>come back and the cider is put upon +the table</i>,<i> </i>DORRY <i>and </i>ANNIE <i>getting glasses from +the dresser.<br> +<br> +</i>GEORGE. [<i>Drinking.</i>] Your health, Steve, and yours, +too, Miss Sims. And many years of happiness to you both.<br> +<br> +STEVE. Thank you kindly, George.<br> +<br> +ANNIE. Thank you, Mr. Davis.<br> +<br> +DORRY. Hasn’t Miss Sims got a nice frock on her for the +dance, Mr. Davis?<br> +<br> +GEORGE. Well, I’m blessed if I’d taken no notice of +it, Dorry.<br> +<br> +DORRY. Why, you’re worse nor Dad, I do declare! But +you just look at Rosie, now, Mr. Davis, and ask her what she’s +got wrapped up in that there paper in her hand.<br> +<br> +ROSE. O, Dorry, you little tease, you!<br> +<br> +DORRY. You just ask her, Mr. Davis.<br> +<br> +ROSE. [<i>Undoing the parcel.</i>] There, ’tis nothing +to make such a commotion of! Just a flower - see, Mr. Davis? +I knowed as it was one what you was partial to, and so I just brought +it along with me.<br> +<br> +GEORGE. That there bain’t for I, be it?<br> +<br> +ROSE. Indeed ’tis - if so as you’ll accept of it.<br> +<br> +GEORGE. O, ’tis best saved against to-morrow. The +freshness will be most gone from it, if I was to wear it now.<br> +<br> +DORRY. No, no, Mr. Davis, ’tis for now! To wear at +the dance. Put it on him, Rosie, put it on him.<br> +<br> +ROSE. [<i>Tossing the flower across the table to </i>GEORGE.] +He can put it on hisself well enough, Dorry.<br> +<br> +GEORGE. [<i>After a moment</i>’<i>s hesitation.</i>] +I don’t know so well about that.<br> +<br> +ANNIE. Go on, Rosie - pin it into his coat. Come, ’tis +getting late.<br> +<br> +DORRY. O, pin it in quick, Rosie - come along - and then we can +start to the dancing.<br> +<br> +ROSE. Shall I, Mr. Davis?<br> +<br> +[GEORGE <i>gets up and crosses the room</i>;<i> </i>ROSE <i>takes the +flower and </i>DORRY <i>hands her a pin</i>. <i>She slowly pins +the flower in his coat.<br> +<br> +</i>STEVE. [<i>Stretching out his hand to </i>ANNIE.] You +be so quiet like to-night, Annie. There isn’t nothing wrong, +is there, my dear?<br> +<br> +ANNIE. ’Tis only I’m that full of gladness, Steve, +as I don’t seem to find words to my tongue for the things what +I can talk on most days.<br> +<br> +STEVE. And that’s how ’tis with I, too, Annie. +’Tis as though I was out in the meadows, like - And as though +’twere Sunday, and such a stillness all around that I might think +’twas only me as was upon the earth. But then summat stirs +in me sudden and I knows that you be there, too, and ’tis my love +for you what has put me right away from the rest of them.<br> +<br> +ANNIE. Steve, you’ve had a poor, rough time, I know, but +I’ll do my best for to smooth it like for you, I will.<br> +<br> +STEVE. See here, Annie - I be comed out of the rain and into the +sun once more.<br> +<br> +DORRY. [<i>Leading </i>GEORGE <i>forward.</i>] See how fine +Mr. Davis do look - see, isn’t he grand? O, Miss Sims, see +how nice the flower do look what Rosie has pinned in his coat! +See, Gran’ma.<br> +<br> +JANE. I’ve enough to do putting away all these glasses which +have been messed up. What I wants to know is when I shall get +off to bed this night, seeing as ’tis late already and you none +of you gone off yet.<br> +<br> +DORRY. O, let us be off, let us be off - and what am I to put +over my dress, Gran’ma, so as the snow shan’t get to it?<br> +<br> +JANE. If you go careful and don’t drop it in the snow may +be as I’ll wrap my big shawl around of you, Dorry, what’s +hanging behind the door.<br> +<br> +ROSE. Give me my cloak, Steve - O, how I do love a bit of dancing, +don’t you, Mr. Davis?<br> +<br> +GEORGE. I be about as much use in the ball room as one of they +great drag horses, Miss Rose.<br> +<br> +ROSE. O, get on, Mr. Davis! I don’t believe half what +you do say, no more does Annie.<br> +<br> +ANNIE. If Mr. Davis don’t know how to dance right, you’re +the one to learn him, Rose. Come, Dorry, you take hold of my hand, +and I’ll look after you on the way. Good-night, Mrs. Browning. +Good-night, Mrs. Reed.<br> +<br> +DORRY. Why, Granny’s sound asleep, Miss Sims, you know.<br> +<br> +JANE. And about time, too. ’Tis to be hoped as we +shan’t have no more trouble with her till morning.<br> +<br> +DORRY. [<i>Her eyes raised to the door latch.</i>] Just +look, why the latch is up.<br> +<br> +ANNIE. Whoever’s that, I wonder?<br> +<br> +ROSE. ’Tis very likely someone with a horse what’s +lost a shoe, Steve.<br> +<br> +JANE. I guess as ’tis a coffin wanted sudden, George Davis.<br> +<br> +STEVE. I bain’t a-going to shoe no horses this time of night, +not if ’twas the King hisself what stood at the door.<br> +<br> +GEORGE. If ’tis a corpse, I guess her’ll have to wait +till the dancing’s finished, then.<br> +<br> +[VASHTI <i>groans in her sleep and turns over in the chair</i>,<i> her +face to the fire.<br> +<br> +</i>STEVE. [<i>Going to the door and speaking loudly.</i>] +Who’s there?<br> +<br> +GEORGE. Us’ll soon see.<br> +<br> +[GEORGE <i>unbolts the door and opens it</i>,<i> first a little way</i>,<i> +and then wide</i>. MAY <i>is seen standing in the doorway</i>. +<i>Her shawl is drawn over head and the lower part of her face.<br> +<br> +</i>GEORGE. Here’s someone what’s missed their way, +I count.<br> +<br> +ROSE. Why, ’tis like the poor thing we seed beneath the +hedge, I do believe.<br> +<br> +ANNIE Whatever can she want a-coming-in here at this time of night!<br> +<br> +JANE. [<i>Advancing firmly.</i>] ’Tis one of they +dirty roadsters what there’s too many of all about the country. +Here, I’ll learn you to come to folks’ houses this time +of night, disturbing of a wedding party. You take and get gone. +We don’t want such as you in here, we don’t.<br> +<br> +[MAY <i>looks fixedly into </i>JANE’S <i>face.<br> +<br> +</i>GEORGE. I count ’tis very nigh starved by the cold as +she be.<br> +<br> +STEVE. Looks like it, and wetted through to the bone.<br> +<br> +JANE. Put her out and shut the door, George, and that’ll +learn the likes of she to come round begging at folks’ houses +what’s respectable.<br> +<br> +GEORGE. ’Tis poor work shutting the door on such as her +this night.<br> +<br> +STEVE. And that ’tis, George, and what’s more, I bain’t +a-going for to do it. ’Tis but a few hours to my wedding, +and if a dog was to come to me for shelter I’d not be one to put +him from the door.<br> +<br> +JANE. ’Tain’t to be expected as I shall let a dirty +tramp bide in my kitchen when ’tis all cleaned up against to-morrow, +Steve.<br> +<br> +STEVE. To-morrow, ’tis my day, Mother, and I’ll have +the choosing of my guests, like. [<i>Turning to </i>MAY.] +Come you in out of the cold. This night you shall bide fed and +warmed, so that, may be, in years to come, ’twill please you to +think back upon the eve afore my wedding.<br> +<br> +[STEVE <i>stands back</i>,<i> holding the door wide open</i>. +MAY, <i>from the threshold</i>,<i> has been looking first on one face +and then on another</i>. <i>Suddenly her eyes fall on </i>ANNIE, +<i>who has moved to </i>STEVE’S <i>side</i>,<i> laying her hand +on his arm</i>,<i> and with a sudden defiance</i>,<i> she draws herself +up and comes boldly into the room as the curtain falls.<br> +<br> +<br> +<br> +</i>ACT II. - Scene 3.<br> +<br> +<br> +<br> +<i>The same room</i>,<i> two hours later</i>. VASHTI REED <i>seems +to be sleeping as before by the fireside</i>. <i>On the settle +</i>MAY <i>is huddled</i>,<i> her head bent</i>,<i> the shawl drawn +over her face</i>. JANE BROWNING <i>moves about</i>,<i> putting +away work things</i>,<i> cups and plates</i>,<i> seeing that the window +is closed</i>,<i> winding the clock</i>,<i> etc</i>. <i>There +is a tap at the outer door and </i>JANE <i>opens it</i>. STEVE, +ANNIE <i>and </i>DORRY <i>enter.<br> +<br> +</i>JANE. Whatever kept you so late, Steve, and me a-sitting up +for to let you all in and not able to get away to my bed?<br> +<br> +DORRY. O, Gran’ma, it was beautiful, I could have stopped +all night, I could. We comed away early ’cause Miss Sims, +she said as the dancing gived her the headache, but the New Year han’t +been danced in yet, it han’t.<br> +<br> +JANE. You get and dance off to bed, Dorry, that’s what you’ve +got to do - and quickly.<br> +<br> +DORRY. All right, Gran’ma. Good-night, Miss Sims; +good-night, Dad. O, why, there’s Granny! But her’s +tight asleep so I shan’t say nothing to her. O, I do wish +as there was dancing, and lamps, and music playing every night, I do!<br> +<br> +[DORRY <i>goes towards the staircase door.<br> +<br> +</i>JANE. [<i>Calling after her.</i>] I’m a-coming +along directly. Be careful with the candle, Dorry.<br> +<br> +[JANE <i>opens the door and </i>DORRY <i>goes upstairs</i>. STEVE +<i>and </i>ANNIE <i>come towards the fireplace.<br> +<br> +</i>STEVE. Was there aught as you could do for yonder poor thing?<br> +<br> +JANE. Poor thing, indeed! A good-for-nothing roadster what’s +been and got herself full of the drink, and that’s what’s +the matter with she. See there, how she do lie, snoring asleep +under the shawl of her; and not a word nor sound have I got out of she +since giving her the drop of tea a while back.<br> +<br> +STEVE. Well, well - she won’t do us no harm where she do +bide. Leave her in the warm till ’tis daylight, then let +her go her way.<br> +<br> +JANE. She and Gran’ be about right company one for t’other, +I’m thinking.<br> +<br> +STEVE. Ah, that they be. Let them sleep it off and you get +up to bed, Mother.<br> +<br> +JANE. That I will, Steve. Be you a-going to see Annie safe +to home?<br> +<br> +ANNIE. Do you bide here, Steve, and let me run back - ’tis +but a step - and I don’t like for you to come out into the snow +again.<br> +<br> +STEVE. I’m coming along of you, Annie. Get off to +bed, Mother. I’ll be back to lock up and all that in less +nor ten minutes.<br> +<br> +JANE. All right, Steve, and do you cast an eye around to see as +I han’t left nothing out as might get took away, for ’tis +poor work leaving the kitchen to roadsters and gipsies and the like.<br> +<br> +[JANE <i>lights a candle and goes upstairs</i>. STEVE <i>takes +</i>ANNIE’S <i>hand and they go together towards the outer door</i>. +<i>As they pass to the other side of the curtain which is drawn across +the room</i>,<i> </i>MAY <i>suddenly rears herself up on the settle</i>,<i> +throwing back her shawl</i>,<i> and she leans forward</i>,<i> listening +intently.<br> +<br> +</i>STEVE. To-morrow night, Annie!<br> +<br> +ANNIE. There’ll be no turning out into the snow for us both, +Steve.<br> +<br> +STEVE. You’ll bide here, Annie, and ’tis more gladness +than I can rightly think on, that ’tis.<br> +<br> +ANNIE. Steve!<br> +<br> +STEVE. Well, Annie.<br> +<br> +ANNIE. There’s summat what’s been clouding you a bit +this night. You didn’t know as how I’d seen it, but +’twas so.<br> +<br> +STEVE. Why, Annie, I didn’t think as how you’d take +notice as I was different from ordinary.<br> +<br> +ANNIE. But I did, Steve. And at the dancing there was summat +in the looks of you which put me in mind of a thing what’s hurted. +Steve, I couldn’t abide for to see you stand so sad with the music +going on and all. So I told you as I’d the headache.<br> +<br> +STEVE. O Annie, ’twas thoughts as was too heavy for me, +and I couldn’t seem to get them pushed aside, like.<br> +<br> +ANNIE. How’d it be if you was to tell me, Steve.<br> +<br> +STEVE. I don’t much care for to, Annie. But ’twas +thoughts what comed out of the time gone by, as may be I’d been +a bit too hard with - with her as was Dorry’s mother.<br> +<br> +ANNIE. O, I’m sure, from all I hear, as she had nothing +to grumble at, Steve.<br> +<br> +STEVE. And there came a fearsome thought, too, Annie, as you might +go the same way through not getting on comfortable with me, and me being +so much older nor you, and such-like. Annie, I couldn’t +bear for it to happen so, I could not. For I holds to having you +aside of me always stronger nor I holds to anything else in the world, +and I could not stand it if ’twas as I should lose you.<br> +<br> +ANNIE. There’s nothing in the world as could make you lose +me, Steve. For, look you here, I don’t think as there’s +a woman on the earth what’s got such a feeling as is in my heart +this night, of quiet, Steve, and of gladness, because that you and me +is to be wed and to live aside of one another till death do part us.<br> +<br> +STEVE. Them be good words, Annie, and no mistake.<br> +<br> +ANNIE. And what you feels about the days gone by don’t count, +Steve, ’cause they bain’t true of you. You was always +a kind husband, and from what I’ve hear-ed folks say, she was +one as wasn’t never suited to neither you nor yours.<br> +<br> +STEVE. Poor soul, she be dead and gone now, and what I thinks +one way or t’other can’t do she no good. Only ’tis +upon me as I could take you to-morrow more glad-like, Annie, if so be +as I had been kinder to she, the time her was here.<br> +<br> +ANNIE. Do you go off to bed, Steve, you’re regular done +up, and that’s what ’tis. I never hear-ed you take +on like this afore.<br> +<br> +STEVE. All right, my dear, don’t you mind what I’ve +been saying. Very like ’tis a bit unnerved as I be this +night. But ’tis a good thought, bain’t it, Annie, +that come to-morrow at this time, there won’t be no more need +for us to part?<br> +<br> +ANNIE. [<i>As he opens the door.</i>] O, ’tis dark +outside!<br> +<br> +[<i>They both leave the cottage</i>. MAY <i>throws back her shawl +as though stifled</i>. <i>She gets up and first stands bending +over </i>VASHTI. S<i>eeing that she is still sleeping heavily</i>,<i> +she goes to the door</i>,<i> opens it gently and looks out</i>. +<i>After a moment she closes it and walks about the kitchen</i>,<i> +examining everything with a fierce curiosity</i>. <i>She takes +up the shawl </i>DORRY <i>has been wearing</i>,<i> looks at it hesitatingly</i>,<i> +and then clasps it passionately to her face</i>. <i>Hearing steps +outside she flings it down again on the chair and returns to the settle</i>,<i> +where she sits huddled in the corner</i>,<i> having wrapped herself +again in her shawl</i>,<i> only her eyes looking out unquietly from +it</i>. STEVE <i>re-enters</i>. <i>He bolts the door</i>,<i> +then goes up to the table in front of the fire to put out the lamp.<br> +<br> +</i>STEVE. Can I get you an old sack or summat for to cover you +up a bit this cold night?<br> +<br> +[MAY <i>looks at him for a moment and then shakes her head.<br> +<br> +</i>STEVE. All right. You can just bide where you be on +the settle. ’Tis warmer within nor upon the road to-night, +and I’ll come and let you out when ’tis morning.<br> +<br> +[MAY <i>raises both her hands in an attitude of supplication.<br> +<br> +</i>STEVE. [<i>Pausing</i>,<i> with his hand on the burner of +the lamp.</i>] Be there summat as you wants what I can give to +you?<br> +<br> +[MAY <i>looks at him for a moment and then speaks in a harsh whisper.<br> +<br> +</i>MAY. Let I bide quiet in the dark, ’tis all I wants +now. [STEVE <i>puts out the lamp.<br> +<br> +</i>STEVE. [<i>As though to himself</i>,<i> as he goes towards +the door upstairs.</i>] Then get off to your drunken sleep again, +and your dreams.<br> +<br> +[<i>Curtain.<br> +<br> +<br> +<br> +</i>ACT II. - Scene 4.<br> +<br> +<br> +<br> +<i>The fire is almost out</i>. <i>A square of moonlight falls +on the floor from the window</i>. VASHTI <i>still sleeps in the +chimney corner</i>. MAY <i>is rocking herself to and fro on the +settle.<br> +<br> +</i>MAY. Get off to your drunken sleep and to your dreams! +Your dreams - your dreams - Ah, where is it as they have gone, I’d +like for to know. The dreams as comed to I when I was laid beneath +the hedge. Dreams!<br> +<br> +[<i>She gets up</i>,<i> feels down the wall in a familiar way for the +bellows - blows up the fire and puts some coal on it gently</i>. +<i>Then she draws forward a chair and sits down before it.<br> +<br> +</i>MAY. [<i>Muttering to herself.</i>] ’Tis my own +hearth when ’tis all said and done.<br> +<br> +[<i>She turns up the front of her skirt and warms herself</i>,<i> looking +sharply at </i>VASHTI REED <i>now and then.<br> +<br> +</i>[<i>Presently </i>VASHTI’S <i>eyes open</i>,<i> resting</i>,<i> +at first unseeingly</i>,<i> and then with recognition</i>,<i> on </i>MAY’S +<i>face.<br> +<br> +</i>VASHTI. So you be comed back, May. I always knowed as +you would.<br> +<br> +MAY. How did you know ’twas me, then?<br> +<br> +VASHTI. ’Cause I knowed. There ’tis.<br> +<br> +MAY. I be that changed from the times when I would sit a-warming +of myself by this here fire.<br> +<br> +VASHTI. Ah, and be you changed, May? My eyes don’t +see nothing of it, then.<br> +<br> +MAY. Ah, I be got into an ugly old woman now, mother, and Steve +- Steve, he looked in the face of I and didn’t so much as think +who ’twas. “Get off to the drunken sleep of you and +to your dreams.” ’Twas that what he did say to I.<br> +<br> +VASHTI. Your old mother do know better nor Steve. Ah, ’tweren’t +in no shroud as I seed you, May, nor yet with the sod upon the face +of you, but stepping, stepping up and down on the earth, through the +water what layed on the roads, and on the dry where there be high places, +and in the grass of the meadows. That’s how ’twas +as I did see you, May.<br> +<br> +MAY. And I would like to know how ’twas as Steve saw I.<br> +<br> +VASHTI. Ah, and there was they as did buzz around as thick as +waspes in summer time and as said, “She be under ground and rotting +now - that her be.” And they seed in I but a poor old woman +what was sleeping in the chimney corner, with no hearing to I. +“Rotting yourself,” I says, and I rears up sudden, “She +be there as a great tree and all the leaves of it full out - and you +- snakes in the grass, snakes in the grass, all of you! There +’tis.<br> +<br> +MAY. [<i>Mockingly.</i>] “It’s a good thought, +bain’t it, Annie, that to-morrow this time there won’t be +no need for us to part?” And in the days when I was a young +woman and all the bloom of I upon me, ’twouldn’t have been +once as he’d have looked on such as her.<br> +<br> +VASHTI. And ’tis full of bloom and rare fine and handsome +as you appear now, May, leastways to my old eyes. And when you +goes up to Steve and shows yourself, I take it the door’ll be +shut in the face of the mealy one what they’ve all been so took +up with this long while. I count that ’twill and no mistake. +So ’tis.<br> +<br> +MAY. [<i>Fiercely.</i>] Hark you here, Mother, and ’tis +to be wed to-morrow as they be! Wed - the both of them, the both +of them! And me in my flesh, and wife to Steve! “Can +I cover you up with a bit of old sack or summat?” Old sack! +When there be a coverlet with feathers to it stretched over where he +do lie upstairs. “I’ll let you out when ’tis +morning.” Ah, you will, will you, Steve Browning? +Us’ll see how ’twill be when ’tis morning - Us’ll +see, just won’t us then!<br> +<br> +VASHTI. Ah, ’tis in her place as th’ old woman will +be set come morning - And that her’ll be - I count as ’tis +long enough as her have mistressed it over the house. [<i>Shaking +her fist towards the ceiling.</i>] You old she fox, you may gather +the pads of you in under of you now, and crouch you down t’other +side of the fire like any other old woman of your years - for my May’s +comed back, and her’ll show you your place what you’ve not +known where ’twas in all the days of your old wicked life. +So ’tis.<br> +<br> +MAY. Her han’t changed a hair of her, th’ old stoat! +Soon as I heard the note of she, the heat bubbled up in I, though ’twas +chattering in the cold as I had been but a moment afore. “One +of they dirty roadsters - I’ll learn you to come disturbing of +a wedding party, I will.” [<i>Shaking her fist towards the +ceiling.</i>] No, you bain’t changed, you hardened old sinner +- but the words out of the cruel old mouth of you don’t hurt I +any more - not they. I be passed out of the power of such as you. +I knowed I’d have to face you when I comed back, but I knowed, +too, as I should brush you out of the way of me, like I would brush +one of they old maid flies.<br> +<br> +VASHTI. Ah, and so I telled she many a time. “You +bide till my May be comed home,” I says. “She be already +put safe to bed and ’tis in the churchyard where her do take her +rest,” says she. Ah, what a great liar that is, th’ +old woman what’s Steve’s mother! And the lies they +do grow right out of she tall as rushes, and the wind do blow they to +the left and to the right. So ’tis.<br> +<br> +MAY. Ah, she han’t any more power for to hurt I in the ugly +old body of her. I be got beyond she. There be but one or +two things as can touch I now - But one or two. And I be struck +to the heart, I be, struck to the heart.<br> +<br> +[<i>She bends forwards</i>,<i> rocking herself to and fro and weeping.<br> +<br> +</i>MAY. [<i>As though speaking to herself.</i>] Back and +fro, back and fro - On the dark of the earth and where ’twas light. +When ’twas cold and no sound but the steps of I on the road, and +the fox’s bark; when ’twas hot and the white dust smouldered +in the mouth of I, and things flying did plague I with the wings of +they - But ’twas always the same thought as I had - “Some +day I shall come back to Steve,” I did tell me. And then +again - “Some day I shall get and hold Dorry in my arms.” +And now I be comed. And Steve - and Steve - Ah, I be struck deep +to the heart, ’tis so. Struck deep!<br> +<br> +VASHTI. You get upstairs to Steve, May. Get you up there +and take the place what’s yours.<br> +<br> +MAY. My place, my place! Where’s that I want to know! +’Tis another what’s got into the nest now, to lie snug and +warm within. And ’tis for I to spread the wings of me and +to go out into the storm again. So ’tis.<br> +<br> +VASHTI. Get you to Steve, May, and let him but look on the form +of you and on the bloom, and us’ll see what he will do with t’other +hussy then. Ah, they sneaking, mealy wenches what have got fattened +up and licked over by th’ old woman till ’tis queens as +they fancies theirselves, you shall tell they summat about what they +be, come morning. And your poor old mother, her’ll speak, +too, what hasn’t been let sound her tongue these years gone by. +Ah, hern shall know what us do think of they, hern shall squat upon +the floor and hear the truth.<br> +<br> +MAY. He thought as I was sleeping; but I looked out on her and +seed the way his eyes was cast upon the girl. Steve, if you had +cast your eyes on me like that but once, in days gone by - maybe, maybe +I’d not have gone out and shut the door behind I.<br> +<br> +VASHTI. Get you to Steve and let him see you with the candle lit. +Her bain’t no match for he, the young weasel! ’Tis +you as has the blood of me and my people what was grand folk in times +gone by, ’tis you, May, as is the mate for he, above all them +white-jowled things what has honey at the mouth of they, but the heart +running over with poison - Ah, and what throws you the bone and keeps +the meat for their own bellies. What sets the skin afore you and +laps the cream theirselves. Vipers, all of them, and she-cats. +There ’tis.<br> +<br> +MAY. Sit you down, Mother, and keep the tongue of you quiet. +We don’t want for to waken they.<br> +<br> +VASHTI. [<i>Sitting down heavily.</i>] But we’ve got +to waken Steve for he to know as how you be comed home again.<br> +<br> +MAY. And where’s the good of that, when there bain’t +so much as a board nor a rag, but what’s been stole from I?<br> +<br> +VASHTI. You go and say to him as ’tis his wife what have +come back to her place. And put th’ old woman against the +chimney there, and let her see you a-cutting of the bread and of the +meat, and a-setting out of the food so as that they who be at the table +can loose the garments of them when the eating ’tis finished, +if they has a mind to, ’stead of drawing they together so not +to feel ’tis leer. Ah, ’tis time you be comed, May, +’tis time.<br> +<br> +MAY. [<i>Bitterly.</i>] I’m thinking ’tis time!<br> +<br> +VASHTI. ’Tis the lies of they be growed big as wheat stalks +and the hardness of their hearts be worse nor death. But ’tis +to judgment as they shall be led, now you be comed home, May, and the +hand of God shall catch they when they do crawl like adders upon the +earth. “Ah, and do you mind how ’twas you served old +Vashti, what never did harm to no one all the life of her,” I +shall call out to th’ old woman in that hour when her shall be +burning in the lake. And her shall beg for a drop of water to +lay upon the withered tongue of she, and it shall be denied, for other +hands nor ours be at work, and ’tis the wicked as shall perish +- yes, so ’tis.<br> +<br> +MAY. [<i>Who has been bending forward</i>,<i> looking steadily +into the fire.</i>] Stop that, Mother, I wants to get at my thoughts.<br> +<br> +VASHTI. Be you a-going to set on I, too, May, now that you be +comed home. ’Tis poor work for an old woman like I.<br> +<br> +MAY. [<i>As though to herself.</i>] And as I was laid beneath +the hedge - “’Tis cold as my limbs is, now,” I says, +“but I shall be warm this night.” And the pangs what +was in the body of me did fairly quail I - “’Tis my fill +of victuals as I shall soon put within,” thinks I. And they +was laid a bit. The bleakness of the tempest fell on I, but “I +shan’t feel lonesome no longer than this hour,” I telled +me. For to my thinking, Steve, he was waiting all the time till +I should be comed back. And Dorry, too. There ’tis. +[<i>A long silence.<br> +<br> +</i>MAY. I’d have been content to bide with the door shut +- so long as it was shut with they two and me inside the room - th’ +old woman - well, I count I shouldn’t have took many thought for +she - she could have bided in her place if she’d had a mind - +I’d have set me down, when once my clothes was decent and clean, +and put my hands to the work and made a tidy wife for Steve, as good +nor better than that there dressed-up thing out yonder - And bred Dorry +up the right way, too, I would. But ’tis done with now, +so ’tis.<br> +<br> +VASHTI. [<i>As though to herself.</i>] And when ’tis +morning and she gets her down - “There, ’tis my girl as +is mistress here, I’ll say to her - and ’tis my girl as +shall sit cup end of the table - and you get you to the fire corner +and bide there, like the poor old woman as you be, spite that you do +slip about so spry on the wicked old legs of you.”<br> +<br> +MAY. And I could set she back in her place, too, that tricked-up, +flashy thing over the way. I’ve but to climb the stairs +and clap my hand on Steve - “Get you from your dreams,” +I have got but to say, “the woman what’s yourn be comed +home. Her have tasted the cup of death, very near, and her have +been a-thirst and an hungered. But her has carried summat for +you in her heart all the way what you wouldn’t find in the heart +of t’other, no, not if you was to cut it open and search it through.” +And the right belongs to I to shut the door on t’other hussey, +holding Steve to I till death divides we.<br> +<br> +VASHTI. Going on the road I seed the eyes of they blinking as +I did pass by. “And may the light from out the thunder cloud +fall upon you,” I says to them, “for ’tis a poor old +woman as I be what has lost her child; and what’s that to you +if so be as the shoes on her feet be broken or no? ’Tis +naked as the toes of you shall go, that hour when the days of this world +shall be rolled by. Ah, ’tis naked and set on the lake of +burning fire as the hoofs of you shall run!”<br> +<br> +MAY. I could up and screech so that the house should ring with +the sound of me, “I be your wife, Steve, comed back after these +many years. What’s this that you’ve got doing with +another?” I could take hold on him and make him look into +the eyes of I, yes, and th’ old woman, too. “See here, +your ‘dirty roadster,’ look well on to her.” +“Why, ’tis May.” But the eyes of him would then +be cast so that I should see no more than a house what has dead within, +and the blind pulled down. And I, what was thinking as there might +be a light in the window!<br> +<br> +VASHTI. “And you may holler,” I says to them, “you +may holler till you be heard over the face of all the earth, but no +one won’t take no account of you.” And the lies of +them which have turned into ropes of hempen shall come up and strangle +they. But me and my child shall pass by all fatted up and clothed, +and with the last flick, afore the eyelids of they drop, they shall +behold we, and, a-clapping of the teeth of them shall they repent them +of their sins. Too late, too late! There ’tis.<br> +<br> +MAY. Too late! There ’tis, I be comed home too late.<br> +<br> +[<i>She rises and takes up her shawl</i>,<i> wrapping it about her shoulders</i>,<i> +and muttering.<br> +<br> +</i>MAY. But I know a dark place full of water - ’Tis Simon’s +pool they calls it - And I warrant as any poor wretch might sleep yonder +and be in quiet.<br> +<br> +VASHTI. Be you a-going up to Steve now?<br> +<br> +MAY. No, I bain’t. ’Tis out from here that I +be going. And back on to the road.<br> +<br> +VASHTI. May, my pretty May, you’re never going for to leave +I, what’s such a poor old woman and wronged cruel. You step +aloft and rouse up Steve. He’ll never have you go upon the +roads again once he do know as you’ve comed back.<br> +<br> +MAY. Steve! What’s it to Steve whether the like of +I do go or bide? What be there in I for to quell the love of she +which Steve’s got in him? Dead leaves for new. Ditch +water for the clear spring.<br> +<br> +VASHTI. Give him to drink of it, May.<br> +<br> +MAY. [<i>Looking upwards to the ceiling.</i>] No, Steve. +Hark you here. I bain’t a-going to do it. I bain’t +going to knock over the spoonful of sweet what you be carrying to your +mouth. You take and eat of it in quiet and get you filled with +the honey. ’Tain’t my way to snatch from no one so +that the emptiness which I has in me shall be fed. There, ’tis +finished now, very nigh, and the sharpness done. And, don’t +you fear, Steve, as ever I’ll trouble you no more.<br> +<br> +VASHTI. [<i>Rising.</i>] I be a-going to fetch him down, +and that’s what I’m a-going for to do.<br> +<br> +MAY. [<i>Pushing her back into her chair.</i>] Harken you, +Steve, he’s never got to know as I’ve been here.<br> +<br> +VASHTI. I tell you, May, I’ll screech till he do come!<br> +<br> +MAY. [<i>Sitting down by </i>VASHTI <i>and laying her hand on +her.</i>] I’ll put summat in your mouth as’ll stop +you if you start screeching, mother. Why, hark you here. +’Tis enough of this old place as I’ve had this night, and +’tis out upon the roads as I be going. Th’ old woman +- there’s naught much changed in she - And Steve - well, Steve +be wonderful hard in the soul of him. “Can I get you an +old sack,” says he - and never so much as seed ’twas I - +Ah - ’tis more than enough to turn the stomach in anyone - that +it is. [<i>A slight pause.<br> +<br> +</i>MAY. I was never a meek one as could bide at the fireside +for long. The four walls of this here room have very near done +for me now, so they have. And ’tis the air blowing free +upon the road as I craves - Ah, and the wind which hollers, so that +the cries of we be less nor they of lambs new born.<br> +<br> +VASHTI. God bless you, May, and if you goes beyond the door ’tis +the mealy-faced jade will get in come morning, for Steve to wed.<br> +<br> +MAY. So ’tis. And if I stopped ’twould be the +same, her’d be between us always, the pretty cage bird - For look +you here on I, Mother, and here - [<i>pointing to her feet</i>] - and +here - and here - See what’s been done to I what’s knocked +about in the world along the roads, and then think if I be such a one +as might hold the love of Steve.<br> +<br> +VASHTI. [<i>Beginning to whine desolately.</i>] O, do not +you go for to leave your old mammy again what has mourned you as if +you was dead all the years. Do not you go for to leave I and the +wicked around of I as might be the venomous beasts in the grass. +Stop with I, my pretty child - Stop along of your old mother, for the +days of I be few and numbered, and the enemies be thick upon the land.<br> +<br> +MAY. Hark you here, Mother, and keep your screeching till another +time. I wants to slip out quiet so as Steve and th’ old +woman won’t never know as I’ve been nigh. And if you +keeps your mouth shut, maybe I’ll drop in at our own place on +the hill one of these days and bide comfortable along of you, only now +- I’m off, do you hear?<br> +<br> +VASHTI. I can’t abide for you to go. ’Tis more +nor I can stand. Why, if you goes, May, ’tis t’other +wench and th’ old woman what’ll get mistressing it here +again in your place. [<i>Rising up.</i>] No - you shan’t +go. I’ll holler till I’ve waked them every one - you +shan’t! My only child, my pretty May! Ah, ’tis +not likely as you shall slip off again. ’Tis not.<br> +<br> +MAY. Look you here, Mother - bide still, I say. [<i>Looking +round the room distractedly.</i>] See here - ’tis rare dry +as I be. You bide quiet and us’ll have a drink together, +that us will. Look, th’ old woman’s forgot to put +away the bottle, us’ll wet our mouths nice and quiet, mother - +she won’t hear I taking out the cork, nor nothing. See!<br> +<br> +[MAY <i>gets up and crosses the room</i>;<i> she takes the bottle off +the shelf where she has just perceived it</i>,<i> and also two glasses</i>; +<i>she fills one and hands it to her mother.<br> +<br> +</i>VASHTI. [<i>Stretching out her hand.</i>] ’Tis +rare dry and parched as I be, now I comes to think on it, May.<br> +<br> +MAY. That’s right - drink your fill, Mother.<br> +<br> +VASHTI. ’Tis pleasant for I to see you mistressing it here +again, May.<br> +<br> +MAY. Ah, ’tis my own drink and all, come to that.<br> +<br> +VASHTI. So ’tis. And the tea what she gived me was +but ditch water. I seed her spoon it in the pot, and ’twas +not above a half spoon as her did put in for I, th’ old badger. +My eye was on she, though, and her’ll have it cast up at she when +the last day shall come and the trumpet sound and all flesh stand quailing, +and me and mine looking on at her as is brought to judgment. How +will it be then, you old sinner, says I.<br> +<br> +MAY. [<i>Re-filling the glass.</i>] Take and drink this +little drop more, mother.<br> +<br> +[VASHTI <i>drinks and then leans back in her chair again with half closed +eyes.<br> +<br> +</i>MAY. [<i>Putting away the bottle and glasses.</i>] Her’ll +sleep very like, now. And when her wakes, I take it ’twill +appear as though she’d been and dreamt summat.<br> +<br> +VASHTI. Do you sit a-nigh me, May. The night be a wild one. +I would not have you be on the roads.<br> +<br> +MAY. [<i>Sitting down beside her.</i>] O, the roads be fine +on nights when the tempest moves in the trees above and the rain falls +into the mouth of you and lies with a good taste on your tongue. +And you goes quick on through it till you comes to where the lights +do blink, and ’tis a large town and there be folk moving this +way and that and the music playing, and great fowls and horses what’s +got clocks to the inside of they, a-stirring them up for to run, and +girls and men a-riding on them - And the booths with red sugar and white, +all lit and animals that’s wild a-roaring and a-biting in the +tents - And girls what’s dancing, standing there in satin gowns +all over gold and silver - And you walks to and fro in it all and ’tis +good to be there and free - And ’tis better to be in such places +and to come and to go where you have a mind than to be cooped in here, +with th’ old woman and all - ’Tis a fine life as you lives +on the roads - and ’tis a better one nor this, I can tell you, +Mother.<br> +<br> +VASHTI. [<i>Who has gradually been falling into sleep.</i>] +I count ’tis so. ’Tis prime in the freshening of the +day. I count I’ll go along of you, come morning.<br> +<br> +MAY. That’s it, Mother, that’s it. Us’ll +take a bit of sleep afore we sets off, won’t us? And when +morning comes, us’ll open the door and go out.<br> +<br> +VASHTI. That’s it, when ’tis day.<br> +<br> +[<i>Her head falls to one side of the chair and she is presently asleep.<br> +<br> +</i>[MAY <i>watches her for some moments</i>. <i>Then she gets +up softly and wraps her shawl round her</i>. <i>The window shews +signs of a gray light outside</i>,<i> </i>MAY <i>goes quietly towards +the outer door</i>. <i>As she reaches it</i>,<i> </i>DORRY <i>comes +into the room from the staircase.<br> +<br> +</i>DORRY. [<i>Going up to </i>VASHTI.] Granny, ’tis +the New Year! I’m come down to see to the fire and to get +breakfast for Dad and Gran’ma. Why, Granny, you’re +sleeping still. And where’s that poor tramp gone off to? +[<i>She looks round the room and then sees </i>MAY <i>by the door.<br> +<br> +</i>DORRY. O, there you are. Are you going out on the road +afore ’tis got light?<br> +<br> +MAY. [<i>In a hoarse whisper.</i>] And that I be. +’Tis very nigh to daybreak, so ’tis.<br> +<br> +DORRY. Stop a moment. [<i>Calling up the stairs.</i>] +Daddy, the tramp woman, she’s moving off already.<br> +<br> +STEVE. [<i>From upstairs.</i>] Then give her a bit of bread +to take along of she. I don’t care that anyone should go +an-hungered this day.<br> +<br> +DORRY. [<i>Turning to </i>MAY.] There - you bide a minute +whilst I cuts the loaf. My Dad’s going to get married this +day, and he don’t care that anyone should go hungry.<br> +<br> +[MAY <i>comes slowly back into the room and stands watching </i>DORRY, +<i>who fetches a loaf from the pantry and cuts it at the table</i>. +<i>Then she pulls aside the curtain and a dim light comes in.<br> +<br> +</i>DORRY. The snow’s very nigh gone, and ’tis like +as not as the sun may come out presently. Here’s a piece +of bread to take along of you. There, it’s a good big piece, +take and eat it.<br> +<br> +[MAY <i>hesitates an instant</i>,<i> then she stretches out her hand +and takes the bread and puts it beneath her shawl.<br> +<br> +</i>MAY. And so there’s going to be a wedding here to-day?<br> +<br> +DORRY. ’Tis my Dad as is to be married.<br> +<br> +MAY. ’Tis poor work, is twice marrying.<br> +<br> +DORRY. My Dad’s ever so pleased, I han’t seen him +so pleased as I can remember. I han’t.<br> +<br> +MAY. Then maybe the second choosing be the best.<br> +<br> +DORRY. Yes, ’tis - Gran’ma says as ’tis - and +Dad, he be ever so fond of Miss Sims - and I be, too.<br> +<br> +MAY. Then you’ve no call to wish as her who’s gone +should come back to you, like?<br> +<br> +DORRY. What’s that you’re saying?<br> +<br> +MAY. You don’t never want as your mammy what you’ve +lost should be amongst you as afore?<br> +<br> +DORRY. I never knowed my mammy. Gran’ma says she had +got summat bad in her blood. And Granny’s got the same. +But Miss Sims, she’s ever so nice to Dad and me, and I’m +real pleased as she’s coming to stop along of us always after +that they’re married, like.<br> +<br> +MAY. And th’ old woman what’s your gran’ma, +Dorry?<br> +<br> +DORRY. However did you know as I was called “Dorry”?<br> +<br> +MAY. I heard them call you so last night.<br> +<br> +DORRY. And whatever do you want to know about Gran’ma?<br> +<br> +MAY. What have her got to say ’bout the - the - wench what’s +going to marry your dad?<br> +<br> +DORRY. O, Gran’ma, she thinks ever such a lot of Miss Sims, +and she says as how poor Dad, what’s been served so bad, will +find out soon what ’tis to have a real decent wife, what’ll +help with the work and all, and what won’t lower him by her ways, +nor nothing.<br> +<br> +MAY. Look you here - ’tis growing day. I must be getting +off and on to the road.<br> +<br> +DORRY. [<i>Moving to the door.</i>] I’ll unbolt the +door, then. O, ’tis fine and daylight now.<br> +<br> +MAY. [<i>Turning back at the doorway and looking at the room.</i>] +I suppose you wouldn’t like to touch me, for good luck, Dorry?<br> +<br> +DORRY. No, I shouldn’t. Gran’ma, she don’t +let me go nigh road people as a rule. She’s a-feared as +I should take summat from them, I suppose.<br> +<br> +MAY. [<i>Hoarsely</i>,<i> her hand on the door.</i>] Then +just say as you wishes me well, Dorry.<br> +<br> +DORRY. I’ll wish you a good New Year, then, and Gran’ma +said as I was to watch as you cleared off the place. [MAY <i>goes +out softly and quickly</i>. DORRY <i>watches her until she is +out of sight</i>,<i> and then she shuts the door.<br> +<br> +<br> +<br> +</i>ACT III. - Scene 1.<br> +<br> +<br> +<br> +<i>The same room</i>. <i>It is nearly mid-day</i>,<i> and the +room is full of sunshine</i>. JANE BROWNING, <i>in her best dress</i>,<i> +is fastening </i>DORRY’S <i>frock</i>,<i> close to the window.<br> +<br> +</i>DORRY. Dad’s been a rare long time a-cleaning of his +self up, Gran.<br> +<br> +JANE. Will you bide still! However’s this frock to +get fastened and you moving this way and that like some live eel - and +just see what a mark you’ve made on the elbow last night, putting +your arm down somewhere where you didn’t ought to - I might just +as well have never washed the thing.<br> +<br> +DORRY. Granny’s sound asleep still - she’ll have to +be waked time we goes along to the church.<br> +<br> +JANE. That her shan’t be. Her shall just bide and +sleep the drink out of her, her shall. Do you think as I didn’t +find out who ’twas what had got at the bottle as Dad left on the +dresser last night.<br> +<br> +DORRY. Poor Gran, she do take a drop now and then.<br> +<br> +JANE. Shame on th’ old gipsy. Her shall be left to +bide till she have slept off some of the nonsense which is in her.<br> +<br> +DORRY. Granny do say a lot of funny things sometimes, don’t +she, now?<br> +<br> +JANE. You get and put on your hat and button your gloves, and +let the old gipsy be. We can send her off home when ’tis +afternoon, and us back from church. Now, where did I lay that +bonnet? Here ’tis.<br> +<br> +[<i>She begins to tie the strings before a small mirror in the wall</i>. +STEVE <i>comes downstairs in his shirt sleeves</i>,<i> carrying his +coat.<br> +<br> +</i>DORRY. Why, Dad, you do look rare pleased at summat.<br> +<br> +STEVE. And when’s a man to look pleased if ’tis not +on his wedding morn, Dorry?<br> +<br> +DORRY. The tramp what was here did say as how ’twas poor +work twice marrying, but you don’t find it be so, Dad, do you +now?<br> +<br> +STEVE. And that I don’t, my little wench. ’Tis +as nigh heaven as I be like to touch - and that’s how ’tis +with me.<br> +<br> +JANE. [<i>Taking </i>STEVE’S <i>coat from him.</i>] +Ah, ’tis a different set out altogether this time. That +’tis. ’Tis a-marrying into your own rank, like, and +no mixing up with they trolloping gipsies.<br> +<br> +DORRY. Was my own mammy a trolloping gipsy, Gran?<br> +<br> +JANE. [<i>Beginning to brush </i>STEVE’S <i>coat.</i>] +Ah, much in the same pattern as th’ old woman what’s drunk +asleep against the fireside. Here, button up them gloves, ’tis +time we was off.<br> +<br> +DORRY. I do like Miss Sims. She do have nice things on her. +When I grows up I’d like to look as she do, so I would.<br> +<br> +STEVE. [<i>To </i>JANE.] There, Mother, that’ll do. +I’d best put him on now.<br> +<br> +JANE. [<i>Holding out the coat for him.</i>] Well, and you +be got yourself up rare smart, Steve.<br> +<br> +STEVE. ’Tis rare smart as I be feeling, Mother. I’m +all a kind of a dazzle within of me, same as ’tis with the sun +upon the snow out yonder.<br> +<br> +JANE. Why, look you, there’s George a-coming up the path +already.<br> +<br> +DORRY. He’s wearing of the flower what Rosie gived him last +night.<br> +<br> +STEVE. [<i>Opening the door.</i>] Good morning, George. +A first class New Year to you. You’re welcome, if ever a +man was.<br> +<br> +JANE. You bide where you do stand, George, till your feet is dry. +My floor was fresh wiped over this morning.<br> +<br> +GEORGE. [<i>Standing on the door mat.</i>] All right, Mrs. +Browning. Don’t you fluster. Good morning, Dorry. +How be you to-day, Steve?<br> +<br> +JANE. Dorry, come you upstairs along with me and get your coat +put on, so as your frock bain’t crushed.<br> +<br> +DORRY. O, I wish I could go so that my nice frock was seen and +no coat.<br> +<br> +[<i>They go upstairs</i>. GEORGE <i>rubs his feet on the mat and +comes into the room</i>,<i> walking up and down once or twice restlessly +and in evident distress of mind.<br> +<br> +</i>STEVE. [<i>Who has lit a pipe and is smoking.</i>] Why, +George, be you out of sorts this morning? You don’t look +up to much, and that’s the truth.<br> +<br> +GEORGE. [<i>Stopping before </i>STEVE.] Hark you, Steve. +’Tis on my mind to ask summat of you. Did you have much +speech with the poor thing what you took in from the snow last night?<br> +<br> +STEVE. No, George, and that I didn’t. Her was mostly +in a kind of drunken sleep all the time, and naught to be got out from +she. Mother, her tried. But ’twas like trying to get +water from the pump yonder, when ’tis froze.<br> +<br> +GEORGE. Your mother’s a poor one at melting ice, Steve, +and ’tis what we all knows.<br> +<br> +STEVE. Ah, ’twasn’t much as we could do for the likes +of she - what was a regular roadster. Bad herbs, all of them. +And if it hadn’t been so as ’twas my wedding eve, this one +shouldn’t have set foot inside of the house. But ’tis +a season when a man’s took a bit soft and foolish, like, the night +afore his marriage. Bain’t that so, George?<br> +<br> +GEORGE. And when was it, Steve, as she went off from here?<br> +<br> +STEVE. That I couldn’t rightly say, George, but I counts +’twas just upon daybreak. And ’twas Dorry what seed +her off the place and gived her a piece of bread to take along of her.<br> +<br> +GEORGE. And do you think as she got talking a lot to Dorry, Steve?<br> +<br> +STEVE. I’m blest if I do know, George. I never gived +another thought to she. What’s up?<br> +<br> +GEORGE. They was getting the body of her from out of Simon’s +Pool as I did come by. That’s all.<br> +<br> +STEVE. From Simon’s Pool, George?<br> +<br> +GEORGE. I count her must have went across the plank afore ’twas +fairly daylight. And, being slippery, like, from the snow, and +her - her - as you did say.<br> +<br> +STEVE. In liquor.<br> +<br> +GEORGE. I reckon as her missed her footing, like.<br> +<br> +STEVE. Well, upon my word, George, who’d have thought on +such a thing!<br> +<br> +GEORGE. I count as her had been in the water and below the ice +a smartish while afore they catched sight of she.<br> +<br> +STEVE. Well, ’tis a cold finish to a hot life.<br> +<br> +GEORGE. They took and laid her on the grass, Steve, as I comed +by.<br> +<br> +STEVE. If it had been me, I’d have turned the head of me +t’other side.<br> +<br> +GEORGE. There was summat in the fashion her was laid, Steve, as +drawed I near for to get a sight of the face of she.<br> +<br> +STEVE. Well, I shouldn’t have much cared for that, George.<br> +<br> +GEORGE. Steve - did you get a look into the eyes of yon poor thing +last night?<br> +<br> +STEVE. No, nor wanted for to, neither.<br> +<br> +GEORGE. There was naught to make you think of -<br> +<br> +STEVE. Of what, George?<br> +<br> +GEORGE. There - Steve, I can’t get it out, I can’t.<br> +<br> +STEVE. Then let it bide in.<br> +<br> +GEORGE. ’Twas the way her was laid, and the long arms of +she, and the hands which was clapped one on t’other, as it might +be in church.<br> +<br> +STEVE. [<i>Looking through the window.</i>] You shut up, +George. Here’s Annie with Rose a-coming up to the door. +Don’t you get saying another word about yon poor wretch nor the +end of her. I wouldn’t have my Annie upset for all the world +to-day. ’Tis a thing as must not be spoke of afore they, +nor Dorry neither, do you hear?<br> +<br> +[<i>He moves towards the door and puts his hand to the latch.<br> +<br> +</i>GEORGE. Hold back, Steve, a minute. There’s summat +more as I’ve got to say.<br> +<br> +STEVE. You take and shut your mouth up, old George, afore I opens +the door to the girls.<br> +<br> +GEORGE. ’Tis bound for to come from me afore you goes along +to church, Steve.<br> +<br> +STEVE. I warrant ’twill keep till us do come home again, +George.<br> +<br> +[<i>He throws the door wide open with a joyous movement</i>. ANNIE +<i>and </i>ROSE <i>in white dresses stand outside.<br> +<br> +</i>STEVE. Well, Annie, this is a rare surprise, and that’s +the truth. [ANNIE <i>and </i>ROSE <i>come into the room.<br> +<br> +</i>ROSE. Father, he’s outside, and Jim and Bill and Katie, +and all the rest. We said as ’twould be pleasanter if we +was all to go up together along to the church.<br> +<br> +STEVE. So ’twould be - so ’twould be - ’Twas +a grand thought of yourn, Rosie.<br> +<br> +ANNIE. Steve -<br> +<br> +STEVE. [<i>Taking her hand.</i>] Annie, I’m fair beside +myself this day.<br> +<br> +ANNIE. O, Steve, there was never a day in my life like this one. +[DORRY <i>and </i>JANE <i>come down.<br> +<br> +</i>DORRY. O, Miss Sims, you do look nice! Gran’ma, +don’t Miss Sims look nice? And Rosie, too. O, they +have nice gowns and hats on, haven’t they, Dad?<br> +<br> +STEVE. I don’t see no gowns nor hats, and that’s the +truth. But I sees summat what’s like - what’s like +a meadow of grass in springtime afore the sun’s got on to it.<br> +<br> +DORRY. Why, Dad, ’tis white, not green, as Miss Sims is +wearing.<br> +<br> +STEVE. ’Tis in the eyes of her as I finds my meadow.<br> +<br> +DORRY. O, let me see, Dad, let me look, too!<br> +<br> +ROSE. [<i>Going up to </i>GEORGE, <i>who has been standing aloof +and moody in the background.</i>] Come, Mr. Davis, we must have +a look, too.<br> +<br> +JANE. ’Get along, get along. We han’t time for +such foolishness. It be close on twelve already.<br> +<br> +ANNIE. O, let me be, all of you! I declare, I don’t +know which way to look, I don’t.<br> +<br> +STEVE. I’ll show you, Annie, then.<br> +<br> +ROSE. [<i>To </i>GEORGE.] Well, Mr. Davis, you don’t +seem over bright this morning.<br> +<br> +STEVE. ’Tis with the nerves as he be took!<br> +<br> +DORRY. Look at what he’s wearing in his buttonhole, Rosie.<br> +<br> +ROSE. ’Tis kept beautiful and fresh.<br> +<br> +STEVE. Come on, come on, all of you. ’Tis time we +was at the church.<br> +<br> +ROSE. Hark to him! He’s in a rare hurry for to get +out of the house to-day.<br> +<br> +GEORGE. Bain’t the old lady a-coming?<br> +<br> +JANE. That she bain’t, the old drinking gipsy - ’tis +at the spirits as her got in the night - and put away very near the +best part of a bottle. Now she’s best left to sleep it off, +she be.<br> +<br> +STEVE. Come on, George. Come, Dorry.<br> +<br> +DORRY. O, isn’t it a pity as Granny will get at the drink, +Mr. Davis? And isn’t Miss Sims nice in her white dress? +And don’t Dad look smiling and pleased? I never did know +Dad smile like this afore.<br> +<br> +GEORGE. [<i>Heavily.</i>] Come on, Dorry - you take hold +of me. You and me, we’ll keep nigh one to t’other +this day, won’t us?<br> +<br> +ROSE. [<i>Calling from outside.</i>] Come on, Mr. Davis.<br> +<br> +[<i>They all go out.<br> +<br> +<br> +<br> +</i>ACT III. - Scene 2.<br> +<br> +<br> +<br> +<i>Nearly an hour later</i>. <i>The cottage room is full of sunlight.<br> +<br> +</i>VASHTI REED <i>is awake and gazing vacantly about her from the same +chair by the fire</i>. <i>Someone knocks repeatedly at the door +from outside.<br> +<br> +</i>VASHTI. And ’tis no bit of rest as I gets for my bones, +but they must come and hustle I and call I from the dreams which was +soft. [<i>The knocking is heard again.<br> +<br> +</i>VASHTI. And I up and says to they, “Ah, and you would +hustle a poor old woman what’s never harmed so much as a hair +out of the ugly heads of you. You would hunt and drive of her +till she be very nigh done to death. But there shall come a day +when you shall be laid down and a-taking of your bit of rest, and the +thing what you knows of shall get up upon you and smite you till you +do go screeching from the house, and fleeing to the uttermost part of +the land - whilst me and mine -<br> +<br> +[<i>The door opens and </i>HARRY MOSS <i>enters.<br> +<br> +</i>HARRY. Beg pardon, old Missis, but I couldn’t make no +one hear me.<br> +<br> +VASHTI. Seeing as them be sick of the abomination which was inside +of they. [<i>Perceiving </i>HARRY.] Well, and what be you +as is comed into this room?<br> +<br> +HARRY. ’Tis Moss as I be called, old Missis. And as +I was a-going by this place, I thought as I’d look in a moment, +just for to ask how ’twas with May.<br> +<br> +VASHTI. They be all gone out from the house. All of them. +They be in clothes what do lie in boxes most of the time with lumps +of white among they. Them be set out in the best as they has, +and in grand things of many colours. There ’tis.<br> +<br> +HARRY. And be you th’ old lady what’s Steve’s +mother?<br> +<br> +VASHTI. I be not, sir. ’Tis mother to May as I be. +May, what’s comed back, and what’ll set t’other old +vixen in her place soon as they get home.<br> +<br> +HARRY. Then May, she be gone out, too, have her?<br> +<br> +VASHTI. [<i>Looking round vaguely.</i>] Ah, I counts as +her be gone to church along of t’other.<br> +<br> +HARRY. To church, Missis?<br> +<br> +VASHTI. There’s marrying being done down here to-day.<br> +<br> +HARRY. Marrying, be there? Well, but I was ’most feared +as how it might have been t’other thing.<br> +<br> +VASHTI. Ah, that there be - marrying. But there bain’t +no more victuals got into the house as I knows of. Th’ old +woman’s seen to that.<br> +<br> +HARRY. And be May gone out, too, along of them to see the marrying?<br> +<br> +VASHTI. Ah, I counts as her be. But her’s a-coming +back in a little while, and you may sit down and bide till she does.<br> +<br> +HARRY. I’d sooner be about and on my way, Missis, if ’tis +all the same to you. But I thanks you kindly. And you get +and tell May when she do come home, that ’tis particular glad +I be for to know as her bain’t took worse, nor nothing. +And should I happen in these parts again, ’tis very likely as +I’ll take a look in on she some day.<br> +<br> +VASHTI. Ah, her’ll have got t’other old baggage set +in the right place by then.<br> +<br> +HARRY. [<i>Looking round him.</i>] Well, I be rare pleased +to think of May so comfortable, like, for her was got down terrible +low.<br> +<br> +VASHTI. T’other’ll be broughted lower.<br> +<br> +HARRY. Look you here, old Missis, ’tis a stomach full of +naught as I carries. If so be as you has a crust to spare -<br> +<br> +VASHTI. [<i>Pointing to a door.</i>] There be a plate of +meat inside of that cupboard. You take and fill your belly with +it.<br> +<br> +HARRY. Thank you kindly, Missis, but I counts I han’t the +time for heavy feeding this morning.<br> +<br> +VASHTI. ’Twould serve she right, th’ old sinner, for +the place to be licked up clean, against the time when her was come’d +back, so ’twould.<br> +<br> +HARRY. Well, Missis, you can tell May ’tis a brave New Year +as I do wish she.<br> +<br> +VASHTI. [<i>Listening to bells which are heard suddenly ringing.</i>] +There, there they be! Harken to them! ’Tis with bells +as they be coming out. Bells what’s ringing. I count +’tis fine as May do look now in her marriage gown. Harken, +’tis the bells a-shaking of the window pane. I be an old +woman, but the hearing of me bain’t spoiled.<br> +<br> +HARRY. I warrant it bain’t, Missis. Why, they’re +ringing wonderful smart. ’Tis enough, upon my word, for +to fetch down every stone of the old place.<br> +<br> +VASHTI. Get you out upon the garden path and tell I if you sees +them a-coming.<br> +<br> +HARRY. That’s it, old Missis, and so I will.<br> +<br> +[<i>He goes outside the house.<br> +<br> +</i>VASHTI. [<i>Sitting upright and looking with fixed vacancy +before her.</i>] And when they was all laid low and the heads +of them bowed. “You would, would you,” I says, for +they was lifting the ends of their ugly mouths at I. And I passed +among they and them did quail and crouch, being with fear. And +me and mine did reach the place what was on the top. “See +now yourselves,” I says, “if so be that you do not go in +blindness and in dark.” ’Twas May what stood there +aside of I. And “Look you,” I says, “over the +bended necks of you my child shall pass. For you be done to death +by the lies which growed within you and waxed till the bodies of you +was fed with them and the poison did gush out from your lips.” +But my little child stood in the light, and the hands of her was about +the stars.<br> +<br> +HARRY. [<i>Coming in.</i>] Look, they be all a-coming over +the meadow, old Missis. But May han’t comed with they - +May han’t come too.<br> +<br> +[<i>The wedding party enters the room as the curtain falls.</i>]<br> +<br> +<br> +Footnotes:<br> +<br> +<a name="footnote1"></a><a href="#citation1">{1}</a> “<i>As +I walked Out</i>.” <i>From Folk Songs from Essex collected +by R. Vaughan Williams. The whole</i>,<i> or two verses can be +sung.<br> +<br> +</i><a name="footnote2"></a><a href="#citation2">{2}</a> “The +Seeds of Love,” “Folk Songs from Somerset,” edited +by Cecil J. Sharp and Charles L. Marsden.<br> +<br> +<br> +<br> +<br> +<br> +*** END OF THE PROJECT GUTENBERG EBOOK, SIX PLAYS ***<br> +<pre> + +******This file should be named sxfd10h.htm or sxfd10h.zip****** +Corrected EDITIONS of our EBooks get a new NUMBER, sxfd11h.htm +VERSIONS based on separate sources get new LETTER, sxfd10ah.htm + +Project Gutenberg eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the US +unless a copyright notice is included. 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