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diff --git a/9971.txt b/9971.txt new file mode 100644 index 0000000..2c517c8 --- /dev/null +++ b/9971.txt @@ -0,0 +1,23066 @@ +The Project Gutenberg EBook of The Dramatic Works of Gerhart Hauptmann, by +Gerhart Hauptmann + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Dramatic Works of Gerhart Hauptmann + Volume I + +Author: Gerhart Hauptmann + +Posting Date: November 23, 2011 [EBook #9971] +Release Date: February, 2006 +First Posted: November 5, 2003 + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK WORKS OF GERHART HAUPTMANN, VOL 1 *** + + + + +Produced by Charles Aldarondo, Keren Vergon, Thomas Berger +and the Online Distributed Proofreading Team. + + + + + + + + + + + +THE DRAMATIC WORKS + +OF + +GERHART HAUPTMANN + +(Authorized Edition) + + + +Edited By LUDWIG LEWISOHN + +Assistant Professor in The Ohio State University + + + +VOLUME ONE: SOCIAL DRAMAS + + +1912 + + + + +PREFACE + + +The present edition of Hauptmann's works contains all of his plays with +the exception of a few inconsiderable fragments and the historical drama +_Florian Geyer_. The latter has been excluded by reason of its great +length, its divergence from the characteristic moods of Hauptmann's art, +and that failure of high success which the author himself has implicitly +acknowledged. The arrangement of the volumes follows, with such +modifications as the increase of material has made necessary, the method +used by Hauptmann in the first and hitherto the only collected edition of +his dramas. Five plays are presented here which that edition did not +include, and hence the present collection gives the completest view now +attainable of Hauptmann's activity as a dramatist. + +The translation of the plays, seven of which are written entirely in +dialect, offered a problem of unusual difficulty. The easiest solution, +that namely, of rendering the speech of the Silesian peasants or the +Berlin populace into some existing dialect of English, I was forced to +reject at once. A very definite set of associative values would thus have +been gained for the language of Hauptmann's characters, but of values +radically different from those suggested in the original. I found it +necessary, therefore, to invent a dialect near enough to the English of +the common people to convince the reader or spectator, yet not so near to +the usage of any class or locality as to interpose between him and +Hauptmann's characters an Irish or a Cockney, a Southern or a New England +atmosphere. Into this dialect, with which the work of my collaborators +has been made to conform, I have sought to render as justly and as +exactly as possible the intensely idiomatic speech that Hauptmann +employs. In doing this I have had to take occasional liberties with my +text, but I have tried to reduce these to a minimum, and always to make +them serve a closer interpretation of the original shade of thought or +turn of expression. The rendering of the plays written in normal literary +prose or verse needs no such explanation nor the plea for a measure of +critical indulgence which that explanation implies. + +I owe hearty thanks to Dr. Hauptmann for the promptness and cordiality +with which he has either rectified or confirmed my view of the +development and meaning of his thought and art as stated in the +Introduction, and to my wife for faithful assistance in the preparation +of these volumes. + + +LUDWIG LEWISOHN. + +COLUMBUS, O., June, 1912. + + + + +CONTENTS + + +INTRODUCTION +_By the Editor._ + +BEFORE DAWN (Vor Sonnenaufgang) +_Translated by the Editor._ + +THE WEAVERS (Die Weber) +_Translated by Mary Morison._ + +THE BEAVER COAT (Der Biberpelz) +_Translated by the Editor._ + +THE CONFLAGRATION (Der rote Hahn) +_Translated by the Editor._ + + + + +INTRODUCTION + + +I + +Gerhart Hauptmann, the most distinguished of modern German dramatists, +was born in the Silesian village of Obersalzbrunn on November 15, 1862. +By descent he springs immediately from the common people of his native +province to whose life he has so often given the graveness of tragedy and +the permanence of literature. His grandfather, Ehrenfried, felt in his +own person the bitter fate of the Silesian weavers and only through +energy and good fortune was enabled to change his trade to that of a +waiter. By 1824 he was an independent inn-keeper and was followed in the +same business by the poet's father, Robert Hauptmann. The latter, a man +of solid and not uncultivated understanding, married Marie Straehler, +daughter of one of the fervent Moravian households of Silesia, and had +become, when his sons Carl and Gerhart were born, the proprietor of a +well-known and prosperous hotel, _Zur Preussischen Krone_. + +From the village-school of Obersalzbrunn, where he was but an idle pupil, +Gerhart was sent in 1874 to the _Realschule_ at Breslau. Here, in the +company of his older brothers, Carl and Georg, the lad remained for +nearly four years, having impressed his teachers most strongly, it +appears, by a lack of attention. For this reason, but also perhaps +because his father, injured by competitors and by a change in local +conditions, had lost his independence, Gerhart was withdrawn from school +in 1878. He was next to become a farmer and, to this end, was placed in +the pious family of an uncle. Gradually, however, artistic impulses began +to disengage themselves--he had long modelled in a desultory way--and in +October, 1880, at the advice of his maturer brother Carl Hauptmann +proceeded to Breslau and was enrolled as a student in the Royal College +of Art. + +The value of this restless shifting in his early years is apparent. For +the discontent that marked his unquiet youth made for a firm retention of +impressions. Observation, in the saying of Balzac, springs from +suffering, and Hauptmann saw the Silesian country-folk and the artists of +Breslau with an almost morbid exactness of vision. Actual conflict +sharpened his insight. Three weeks after entering the art-school he +received a disciplinary warning and early in 1881 he was rusticated for +eleven weeks. Nevertheless he remained in Breslau until April, 1882, when +he joined his brother Carl and became a special student at the University +of Jena. Here he heard lectures by Liebmann, Eucken and Haeckel. But the +academic life did not hold him long. Scarcely a year passed and Hauptmann +is found at Hamburg, the guest of his future parents-in-law and his +brother's. Thence he set out on an Italian journey, travelling by way of +Spain and the South of France to Genoa, and visiting Naples, Capri and +Rome. Although his delight in these places was diminished by his keen +social consciousness, he returned to Italy the following year (1884) and, +for a time, had a sculptor's studio in Rome. Overtaken here by typhoid +fever, he was nursed back to health by his future wife, Marie Thienemann, +and returned to Germany to gather strength at the Thienemann country +house. + +So far, sculpture had held him primarily; it was now that the poetic +impulse asserted itself. Seeking a synthesis of these tendencies in a +third art, Hauptmann determined, for a time, to adopt the calling of an +actor. To this end he went to Berlin. Here, however, the interest in +literature soon grew to dominate every other and, in 1885, the year of +his marriage to Fraulein Thienemann, he published his first work: +_Promethidenlos_. + +The poem is romantic and amorphous and gives but the faintest promise of +the masterly handling of verse to be found in _The Sunken Bell_ and +_Henry of Aue_. Its interest resides solely in its confirmation of the +facts of Hauptmann's development. For the hero of _Promethidenlos_ +vacillates between poetry and sculpture, but is able to give himself +freely to neither art because of his overwhelming sense of social +injustice and human suffering. And this, in brief, was the state of +Hauptmann's mind when, in the autumn of 1885, he settled with his young +wife in the Berlin suburb of Erkner. + +The years of his residence here are memorable and have already become the +subject of study and investigation. And rightly so; for during this time +there took place that impact of the many obscure tendencies of the age +upon the most sensitive and gifted of German minds from which sprang the +naturalistic movement. That movement dominated literature for a few +years. Then, in Hauptmann's own temper and in his own work, arose a +vigorous idealistic reaction which, blending with the severe technique +and incorruptible observation of naturalism, went far toward +producing--for a second time--a new vision and a new art. The conditions +amid which this development originated are essential to a full +understanding of Hauptmann's work. + + + +II + +At the end of the Franco-Prussian war, united Germany looked forward to a +literary movement commensurate with her new greatness. That movement did +not appear. It was forgotten that men in the maturity of their years and +powers could not suddenly change character and method and that the rise +of a new generation was needed. So soon, however, as the first members of +that generation became articulate, a bitter and almost merciless warfare +arose in literature and in the drama. The brothers Heinrich and Julius +Hart, vigorous in both critical and creative activity, asserted as early +as 1882 that German literature was then, at its best, the faint imitation +of an outworn classicism, and the German drama a transference of the +basest French models. It is easy to see to-day that their view was +partisan and narrow. Neither Wilbrandt and Heyse, on the one hand, nor +Lindau and L'Arronge, on the other, represented the whole literary +activity of the empire. It is equally easy, however, to understand their +impatience with a literature which, upon the whole, lacked any breath of +greatness, and handled the stuff of human life with so little freshness, +incisiveness and truth. + +What direction was the new literature to take? The decisive influence +was, almost necessarily, that of the naturalistic writers of France. For +the tendencies of these men coincided with Germany's growing interest in +science and growing rejection of traditional religion and philosophy. +Tolstoi, Ibsen and Strindberg each contributed his share to the movement. +But all the young critics of the eighties fought the battles of Zola with +him and repeated, sometimes word for word, the memorable creed of French +naturalism formulated long before by the Goncourt brothers: "The +modern--everything for the artist is there: in the sensation, the +intuition of the contemporary, of this spectacle of life with which one +rubs elbows!" Such, with whatever later developments, was the central +doctrine of young Germany in the eighties; such the belief that gradually +expressed itself in a number of definite organisations and publications. + +The most noteworthy of these, prior to the founding of the _Freie Buehne_, +were the magazine _Die Gesellschaft_ (1885), edited by Michael Conrad, +the most ardent of German Zolaists, and the society _Durch_ (1886), in +which the revolutionary spirits of Berlin united to promulgate the art +canons of the future. "Literature and criticism," Conrad declared, must +first of all be "liberated from the tyranny of the conventional young +lady:" the programme of _Durch_ announced that the poet must give +creative embodiment to the life of the present, that he shall show us +human beings of flesh and blood and depict their passions with implacable +fidelity; that the ideal of art was no longer the Antique, but the +Modern. Nor was there wanting creative activity in the spirit of these +views. Franzos and Kretzer, to name but a few, originated the modern +realistic novel in Germany, and Liliencron brought back vigour and +concreteness to the lyric. + +Into the tense atmosphere of this literary battle Hauptmann was cast when +he took up his residence at Erkner. The house he occupied was the last in +the village, half buried in woods and with far prospects over the heaths +and deep green, melancholy waters of Brandenburg. Hither came, among many +others, the brothers Hart, the novelist Kretzer, Wilhelm Boelsche, the +inexhaustible prophet of the new science and the new art, and finally, +the founder of German naturalism as distinguished from that of +France--Arno Holz, The efforts of all these men harmonised with +Hauptmann's mood. Naturalistic art goes for its subject matter to the +forgotten and disinherited of the earth, and it was with these that +Hauptmann was primarily concerned. He read Darwin and Karl Marx, +Saint-Simon and Zola. He was absorbed not by any problem of art but by +the being and fate of humanity itself. + +Under these influences and governed by such thoughts, he began his career +as a man of letters anew. But his progress was slow and uncertain. In +1887 he published in Conrad's _Gesellschaft_ an episodic story, +_Bahnwaerter Thiel_, weak in narrative technique and obviously inspired by +Zola. Even the sudden expansion of human characters into demonic symbols +of their ruling passions is imitated. The medium clearly irked him and +gave him no opportunity for personal expression. For many months his +activity was tentative and fruitless. Early in 1889, however, Arno Holz, +known until then only by a volume of brave and resonant verse, visited +Erkner and brought with him his theory of "consistent naturalism" as +illustrated by _Papa Hamlet_ and _Die Familie Selicke_, sketches and a +drama in manuscript. This meeting gave Hauptmann one of those +illuminating technical hints which every creative artist knows. It +brought him an immediate method such as neither Tolstoi nor Dostoievsky +had been able to bring, and decided him for naturalism and for the drama. +He had found himself at last. During a visit to his parents he gave +himself up to intense labour and returned to Berlin in the spring of 1889 +with his first drama, _Before Dawn_, completed. + +The play might have waited indefinitely for performance, had not Otto +Brahm and Paul Schlenther, both critical thinkers of some significance, +founded the free stage society (_Freie Buehne_) earlier in the same year. +It was the aim of this society to give at least eight annual performances +in the city of Berlin which should be wholly free from the influence of +the censor and from the pressure of economic needs. The greater number of +the first series of performances had already been prepared for by a +selection of foreign plays--Tolstoi, Goncourt, Ibsen, Bjoernsen, +Strindberg--when, at the last moment, a young German dramatist presented +himself and succeeded in having his play accepted. Thus the society, long +since dead, had the good fortune of fulfilling the function for which it +was created: it launched the naturalistic movement; it cradled the modern +drama of Germany. + +The first performance of _Before Dawn_ (Oct. 20, 1889) was tumultuous. It +recalled the famous _Hernani_ battle of French romanticism. But the +victory of Hauptmann was not long in doubt. With his third play he +conquered the national stage of which he has since been, with whatever +variations of immediate success, the undisputed master. + + + +III + +The "consistent naturalism" of Holz and his collaborator Johannes Schlaf +is the technical foundation of Hauptmann's work. He has long transcended +its narrow theory and the shallow positivism on which it was based. It +discarded verse and he has written great verse; it banished the past from +art and he has gone to legend and history for his subjects; it forbade +the use of symbols and he has, at times, made an approach to his meaning +unnecessarily difficult. But Hauptmann has never quite abandoned the +practice of that form of art which resulted from the theories of Holz. +From history and poetry he has always returned to the naturalistic drama. +_Rose Bernd_ follows _Henry of Aue_, and _Griselda_ immediately preceded +_The Rats_. Nor is this all. The methods of naturalism have followed him +into the domains of poetry and of the past. His verse is scrupulously +devoid of rhetoric; the psychology of his historic plays is sober and +human. Hence it is clear that an analysis of the consistent naturalism of +German literature is, with whatever modifications, an analysis of +Hauptmann's work in its totality. Like nearly all the greater dramatists +he had his forerunners and his prophets: he proceeds from a school of art +and thought which, even in transcending, he illustrates. + +The consistent naturalists, then, aimed not to found a new art but, in +any traditional sense, to abandon it. They desired to reduce the +conventions of technique to a minimum and to eliminate the writer's +personality even where Zola had admitted its necessary presence--in the +choice of subject and in form. For style, the very religion of the French +naturalistic masters, there was held to be no place, since there was to +be, in this new literature, neither direct exposition, however +impersonal, nor narrative. In other words, none of the means of +representation were to be used by which art achieves the illusion of +life; since art, in fact, was no longer to create the illusion of +reality, but to _be_ reality. The founders of the school would have +admitted that the French had done much by the elimination of intrigue and +a liberal choice of theme. They would still have seen--and rightly +according to their premises--creative vision and not truth even in the +oppressive pathology of _Germinie Lacerteux_ and the morbid brutalities +of _La Terre_. The opinion of Flaubert that any subject suffices, if the +treatment be excellent, was modified into: there must be neither +intentional choice of theme nor stylistic treatment. For style supposes +rearrangement, personal vision, unjust selection of detail, and +literature must be an exact rendition of the actual. + +Stated so baldly the doctrine of consistent naturalism verges on the +absurd. Eliminate selection of detail and personal vision, and art +becomes not only coextensive with life, but shares its confusion and its +apparent purposelessness. It loses all interpretative power and ceases to +be art. Practically, however, the doctrine led to a very definite +form--the naturalistic drama. For, if all indirect treatment of life be +discarded, nothing is left but the recording of speech and, if possible, +of speech actually overheard. The juxtaposition of such blocks of +scrupulously rendered conversation constitutes, in fact, the earliest +experiments of Arno Holz. Under the creative energy of Hauptmann, +however, the form at once grew into drama, but a drama which sought to +rely as little as possible upon the traditional devices of dramaturgic +technique. There was to be no implication of plot, no culmination of the +resulting struggle in effective scenes, no superior articulateness on the +part of the characters. A succession of simple scenes was to present a +section of life without rearrangement or heightening. There could be no +artistic beginning, for life comes shadowy from life; there could be no +artistic ending, for the play of life ends only in eternity. + +The development of the drama in such a direction had, of course, been +foreshadowed. The plays of Ibsen's middle period tend to a simpler +rendering of life, and the cold intellect of Strindberg had rejected the +"symmetrical dialogue" of the French drama in order "to let the brains of +men work unhindered." But Hauptmann carries the same methods +extraordinarily far and achieves a poignant verisimilitude that rivals +the pity and terror of the most memorable drama of the past. + +These methods lead, naturally, to the exclusion of several devices. Thus +Hauptmann, like Ibsen and Shaw, avoids the division of acts into scenes. +The coming and going of characters has the unobtrusiveness but seldom +violated in life, and the inevitable artifices are held within rigid +bounds. In some of his earlier dramas he also observed the unities of +time and place, and throughout his work practices a close economy in +these respects. It goes without saying that he rejects the monologue, the +unnatural reading of letters, the _raisonneur_ or commenting and +providential character, the lightly motivised confession--all the +devices, in brief, by which the conventional playwright blandly +transports information across the footlights, or unravels the artificial +knot which he has tied. + +In dialogue, the medium of the drama, Hauptmann shows the highest +originality and power. Beside the speech of his characters all other +dramatic speech, that of Ibsen, of Tolstoi in _The Power of Darkness_, or +of Pinero, seems conscious and unhuman. Nor is that power a mere control +of dialect. Johannes Vockerat and Michael Kramer, Dr. Scholz and +Professor Crampton speak with a human raciness and native truth not +surpassed by the weavers or peasants of Silesia. Hauptmann has heard the +inflections of the human voice, the faltering and fugitive eloquence of +the living word not only with his ear but with his soul. + +External devices necessarily contribute to this effect. Thus Hauptmann +renders all dialect with phonetic accuracy and correct differentiation. +In _Before Dawn_, Hoffmann, Loth, Dr. Schimmelpfennig and Helen speak +normal High German; all the other characters speak Silesian except the +imported footman Edward, who uses the Berlin dialect. In _The Beaver +Coat_ the various gradations of that dialect are scrupulously set down, +from the impudent vulgarity of Leontine and Adelaide, to the occasional +consonantal slips of Wehrhahn. The egregious Mrs. Wolff, in the same +play, cannot deny her Silesian origin. Far finer shades of character are +indicated by the amiable elisions of Mrs. Vockerat Senior in _Lonely +Lives_, the recurrent crassness of Mrs. Scholz in _The Reconciliation_, +and the solemn reiterations of Michael Kramer. Nor must it be thought +that such characterisation has anything in common with the set phrases of +Dickens. From the richness and variety of German colloquial speech, from +the deep brooding of the German soul over the common things and the +enduring emotions of life, Hauptmann has caught the authentic accents +that change dramatic dialogue into the speech of man. + + + +IV + +In the structure of his drama Hauptmann met and solved an even more +difficult problem than in the character of his dialogue. The whole +tradition of structural technique rests upon a more or less arbitrary +rearrangement of life. _Othello_, the noblest of tragedies, no less than +the most trivial French farce, depends for the continuity of its mere +action on an improbable artifice. Desdemona's handkerchief may almost be +taken to symbolise that element in the drama which Hauptmann studiously +denies himself. And he does so by reason of his more intimate contact +with the normal truth of things. In life, for instance, the conflict of +will with will, the passionate crises of human existence are but rarely +concentrated into a brief space of time or culminate in a highly salient +situation. Long and wearing attrition, and crises that are seen to have +been such only in the retrospect of calmer years are the rule. In so +telling a bit of dramatic writing as the final scene in Augier's _Le +gendre de M. Poirier_ the material of life has been dissected into mere +shreds and these have been rewoven into a pattern as little akin to +reality as the flowers and birds of a Persian rug. Instead of such +effective rearrangement Hauptmann contents himself with the austere +simplicity of that succession of action which observation really affords. +He shapes his material as little as possible. The intrusion of a new +force into a given setting, as in _Lonely Lives_, is as violent an +interference with the sober course of things as he admits. From his +noblest successes, _The Weavers_, _Drayman Henschel_, _Michael Kramer_, +the artifice of complication is wholly absent. + +It follows that his fables are simple and devoid of plot, that comedy and +tragedy must inhere in character and that conflict must grow from the +clash of character with environment or of character with character in its +totality. In other words: since the adventurous and unwonted are rigidly +excluded, dramatic complication can but rarely, with Hauptmann, proceed +from action. For the life of man is woven of "little, nameless, +unremembered acts" which possess no significance except as they +illustrate character and thus, link by link, forge that fate which is +identical with character. The constant and bitter conflict in the world +does not arise from pointed and opposed notions of honour and duty held +at some rare climacteric moment, but from the far more tragic grinding of +a hostile environment upon man or of the imprisonment of alien souls in +the cage of some social bondage. + +These two motives, appearing sometimes singly, sometimes blended, are +fundamental to Hauptmann's work. In _The Reconciliation_ an unnatural +marriage has brought discord and depravity upon earth; in _Lonely Lives_ +a seeker after truth is throttled by a murky world; in _The Weavers_ the +whole organization of society drives men to tragic despair; in _Colleague +Crampton_ a cold blooded woman all but destroys the gentle-hearted +painter; in _The Beaver Coat_ the motive is ironically inverted and a +base shrewdness triumphs over the stupid social machine; in _Rose Bernd_ +traditional righteousness hounds a pure spirit out of life; and in +_Gabriel Schilling's Flight_, his latest play, Hauptmann returns to a +favourite motive: woman, strong through the narrowness and intensity of +her elemental aims, destroying man, the thinker and dreamer, whose will, +dissipated in a hundred ideal purposes, goes under in the unequal +struggle. + +The fable and structure of _Michael Kramer_ illustrate Hauptmann's +typical themes and methods well. The whole of the first act is +exposition. It is not, however, the exposition of antecedent actions or +events, but wholly of character. The conditions of the play are entirely +static. Kramer's greatness of soul broods over the whole act. Mrs. +Kramer, the narrow-minded, nagging wife, and Arnold, the homely, wretched +boy with a spark of genius, quail under it. Michaline, the brave, +whole-hearted girl, stands among these, pitying and comprehending all. In +the second act one of Arnold's sordid and piteous mistakes comes to +light. An inn-keeper's daughter complains to Kramer of his son's +grotesque and annoyingly expressed passion for her. Kramer takes his son +to task and, in one of the noblest scenes in the modern drama, wrestles +with the boy's soul. In the third act the inn is shown. Its rowdy, +semi-educated habitues deride Arnold with coarse gibes. He cannot tear +himself away. Madly sensitive and conscious of his final superiority over +a world that crushes him by its merely brutal advantages, he is goaded to +self-destruction. In the last act, in the presence of his dead son, +Michael Kramer cries out after some reconciliation with the silent +universe. The play is done and nothing has happened. The only action is +Arnold's suicide and that action has no dramatic value. The significance +of the play lies in the unequal marriage between Kramer and his wife, in +Arnold's character--in the fact that such things _are_, and that in our +outlook upon the whole of life we must reckon with them. + +Hauptmann's simple management of a pregnant fable may be admirably +observed, finally, by comparing _Lonely Lives_ and _Rosmersholm_. +Hauptmann was undoubtedly indebted to Ibsen for his problem and for the +main elements of the story: a modern thinker is overcome by the orthodox +and conservative world in which he lives. And that world conquers largely +because he cannot be united to the woman who is his inspiration and his +strength. In handling this fable two difficult questions were to be +answered by the craftsman: by what means does the hostile environment +crush the protagonist? Why cannot he take the saving hand that is held +out to him? Ibsen practically shirks the answer to the first question. +For it is not the bitter zealot Kroll, despite his newspaper war and his +scandal-mongering, who breaks Rosmer's strength. It is fate, fate in the +dark and ancient sense. "The dead cling to Rosmersholm"--that is the +keynote of the play. The answer to the second question is interwoven with +an attempt to rationalise the fatality that broods over Rosmersholm. The +dead cling to it because a subtle and nameless wrong has been committed +against them. And that sin has been committed by the woman who could save +Rosmer. At the end of the second act Rebecca refuses to be his wife. The +reason for that refusal, dimly prefigured, absorbs his thoughts, and +through two acts of consummate dramaturgic suspense the sombre history is +gradually unfolded. And no vague phrases concerning the ennobling of +humanity can conceal the central fact: the play derives its power from a +traditional plot and a conventional if sound motive--crime and its +discovery, sin and its retribution. + +In _Lonely Lives_ the two questions apparently treated in _Rosmersholm_ +are answered, not in the terms of effective dramaturgy, but of life +itself. Johannes Vockerat lives in the midst of the world that must undo +him--subtly irritated by all to which his heart clings. Out of that world +he has grown and he cannot liberate himself from it. His good wife and +his admirable parents are bound to the conventional in no base or +fanatical sense. He dare scarcely tell them that their preoccupations, +that their very love, slay the ideal in his soul. And so the pitiless +attrition goes on. There is no action: there is being. The struggle is +rooted in the deep divisions of men's souls, not in unwonted crime or +plotting. And Anna Mahr, the free woman of a freer world, parts from +Johannes because she recognises their human unfitness to take up the +burden of tragic sorrow which any union between them must create. The +time for such things has not come, and may never come. Thus Johannes is +left desolate, powerless to face the unendurable emptiness and decay that +lie before him, destroyed by the conflicting loyalties to personal and +ideal ends which are fundamental to the life of creative thought. + + + +V + +Drama, then, which relies so little upon external action, but finds +action rather in "every inner conflict of passions, every consequence +of diverging thoughts," must stress the obscurest expression of such +passions and such thoughts. Since its fables, furthermore, are to arise +from the immediate data of life, it must equally emphasise the +significant factor of those common things amid which man passes his +struggle. And so the naturalistic drama was forced to introduce elements +of narrative and exposition usually held alien to the _genre_. Briefly, +it has dealt largely and powerfully with atmosphere, environment and +gesture; it has expanded and refined the stage-direction beyond all +precedent and made of it an important element in dramatic art. + +The playwrights of the middle of the last century who made an effort to +lead the drama back to reality, knew nothing of this element. Augier +does not even suspect its existence; in Robertson it is a matter of +"properties" and "business." Any appearance of this kind Hauptmann +avoids. The play is not to remind us of the stage, but of life. A +difference in vision and method difficult to estimate divides Robertson's +direction: "Sam. (astonished L. corner)" from Hauptmann's "Mrs. John +rises mechanically and cuts a slice from a loaf of bread, as though under +the influence of suggestion." Robertson indicates the conventionalised +gesture of life; Hauptmann its moral and spiritual density. + +The descriptive stage direction, effectively used by Ibsen, is further +expanded by Hauptmann. But it remains impersonal and never becomes direct +comment or even argument as in Shaw. It is used not only to suggest the +scene but, above all, its atmosphere, its mood. Through it Hauptmann +shows his keen sense of the interaction of man and his world and of the +high moral expressiveness of common things. To define the mood more +clearly he indicates the hour and the weather. The action of _Rose Bernd_ +opens on a bright Sunday morning in May, that of _Drayman Henschel_ +during a bleak February dawn. The desperate souls in _The Reconciliation_ +meet on a snow-swept Christmas Eve; the sun has just set over the lake in +which Johannes Vockerat finds final peace. In these indications Hauptmann +rarely aims at either irony or symbolism. He is guided by a sense for the +probabilities of life which he expresses through such interactions +between the moods of man and nature as experience seems to offer. Only in +_The Maidens of the Mount_ has the suave autumnal weather a deeper +meaning, for it was clearly Hauptmann's purpose in this play + + "To build a shadowy isle of bliss + Midmost the beating of the steely sea." + +Hauptmann has also become increasingly exacting in demanding that the +actor simulate the personal appearance of his characters as they arose in +his imagination. In his earlier plays the descriptions of men and women +are at times brief; in _The Rats_ even minor figures are visualised with +remarkable completeness. Pastor Spitta, for instance, is thus introduced: +"Sixty years old. A village parson, somewhat 'countrified.' One might +equally well take him to be a surveyor or a landowner in a small way. He +is of vigorous appearance--short-necked, well-nourished, with a squat, +broad face like Luther's. He wears a slouch hat, spectacles, and carries +a cane and a coat over his arm. His clumsy boots and the state of his +other garments show that they have long been accustomed to wind and +weather." Such directions obviously tax the mimetic art of the stage to +the very verge of its power. Thus, by the precision of his directions +both for the scenery and the persons of each play, and by unmistakable +indications of gesture and expression at all decisive moments of dramatic +action, Hauptmann has placed within narrow limits the activity of both +stage manager and actor. He alone is the creator of his drama, and no +alien factitiousness is allowed to obscure its final aim--the creation of +living men. + + + +VI + +In the third act of Hauptmann's latest naturalistic play, _The Rats_ +(1911), the ex-stage manager Hassenrenter is drawn by his pupil, young +Spitta, into an argument on the nature of tragedy. "Of the heights of +humanity you know nothing," Hassenrenter hotly declares. "You asserted +the other day that in certain circumstances a barber or a scrubwoman +could as fitly be the subject of tragedy as Lady Macbeth or King Lear." +And Spitta reaffirms his heresy in the sentence: "Before art as before +the law all men are equal." From this doctrine Hauptmann has never +departed, although his interpretation of it has not been fanatical. +Throughout his work, however, there is a careful disregard of several +classes of his countrymen: the nobility, the bureaucracy (with the +notable exception of Wehrhahn in _The Beaver Coat_), the capitalists. He +has devoted himself in his prose plays to the life of the common people, +of the middle classes, and of creative thinkers. + +The delineation of all these characters has two constant qualities: +objectivity and justice. The author has not merged the sharp outlines of +humanity into the background of his own idiosyncrasy. Ibsen's characters +speak and act as though they had suddenly stepped from another world and +were still haunted by a breath of their strange doom; the people of Shaw +are often eloquent exponents of a theory of character and society which +would never have entered their minds. Hauptmann's men and women are +themselves. No trick of speech, no lurking similarity of thought unites +them. The nearer any two of them tend to approach a recognisable type, +the more magnificently is the individuality of each vindicated. The +elderly middle-class woman, harassed by ignoble cares ignobly borne, +driven by a lack of fortitude into querulousness, and into injustice by +the selfishness of her affections, is illustrated both in Mrs. Scholz and +Mrs. Kramer. But, in the former, bodily suffering and nervous terror have +slackened the moral fibre, and this abnormality speaks in every word and +gesture. Mrs. Kramer is simply average, with the tenacity and the +corroding power of the average. + +Another noteworthy group is that of the three Lutheran clergymen: Kolin +in _Lonely Lives_, Kittelhaus in _The Weavers_, and Spitta in _The Rats_. +Kolin has the utter sincerity which can afford to be trivial and not +cease to be lovable; Kittelhaus is the conscious time-server whose +opinions might be anything; Spitta struggles for his official +convictions, half blinded by the allurements of a world which it is his +duty to denounce. Each is wholly himself; no hint of critical irony +defaces his character; and thus each is able, implicitly, to put his case +with the power inherent in the genuinely and recognisably human. From the +same class of temperaments--one that he does not love--Hauptmann has had +the justice to draw two characters of basic importance in _Lonely Lives_. +The elder Vockerats are excessively limited in their outlook upon life. +It is, indeed, in its time and place, an impossible outlook. These two +people have nothing to recommend them save their goodness, but it is a +goodness so keenly felt, so radiantly human, that the conflict of the +play is deepened and complicated by the question whether the real tragedy +be not the pain felt by these kindly hearts, rather than the destruction +of their more arduous son. + +All these may be said to be minor characters. Some of them are, in that +they scarcely affect the fable involved. But in no other sense are there +minor figures in Hauptmann's plays. A few lines suffice, and a human +being stands squarely upon the living earth, with all his mortal +perplexities in his words and voice. Such characters are the tutor +Weinhold in _The Weavers_, the painter Lachmann in _Michael Kramer_, Dr. +Boxer in _The Conflagration_ and Dr. Schimmelpfennig in _Before Dawn_. + +In his artists and thinkers Hauptmann has illustrated the excessive +nervousness of the age. Michael Kramer rises above it; Johannes Vockerat +and Gabriel Schilling succumb. And beside these men there usually arises +the sharply realised figure of the destroying woman--innocent and +helpless in Kaethe Vockerat, trivial and obtuse in Alwine Lachmann, or +impelled by a devouring sexual egotism in Eveline Schilling and Hanna +Elias. + +Hauptmann's creative power culminates, however, as he approaches the +common folk. These are of two kinds: the Berlin populace and the Silesian +peasants. The world of the former in all its shrewdness, impudence and +varied lusts he has set down with quiet and cruel exactness in _The +Beaver Coat_ and _The Conflagration_. Mrs. Wolff, the protagonist of both +plays, rises into a figure of epic breadth--a sordid and finally almost +tragic embodiment of worldliness and cunning. When he approaches the +peasants of his own countryside his touch is less hard, his method not +quite so remorseless. And thus, perhaps, it comes about that in the face +of these characters the art of criticism can only set down a +confirmatory: "They are!" Old Deans in _The Heart of Midlothian_, +Tulliver and the Dodson sisters in _The Mill on the Floss_ illustrate the +nature of Hauptmann's incomparable projection of simple men and women. +Here, in Dryden's phrase, is God's plenty: the morose pathos of Beipst +(_Before Dawn_); the vanity and faithfulness of Friebe (_The +Reconciliation_); the sad fatalism of Hauffe (_Drayman Henschel_); the +instinctive kindliness of the nurse and the humorous fortitude of Mrs. +Lehmann (_Lonely Lives_); the vulgar good nature of Liese Baensch +(_Michael Kramer_); the trivial despair of Pauline and the primitive +passion of Mrs. John (_The Rats_); the massive greatness of old Hilse's +rock-like patience and the sudden impassioned protest of Luise (_The +Weavers_); the deep trouble of Henschel's simple soul and the hunted +purity of Rose Bernd--these qualities and these characters transcend the +convincingness of mere art. Like the rain drenched mould, the black trees +against the sky, the noise of the earth's waters, they are among the +abiding elements of a native and familiar world. + + + +VII + +Such, then, is the naturalistic drama of Hauptmann. By employing the real +speech of man, by emphasising being rather than action, by creating the +very atmosphere and gesture of life, it succeeds in presenting characters +whose vital truth achieves the intellectual beauty and moral energy of +great art. + +Early in his career, however, an older impulse stirred in Hauptmann. He +remembered that he was a poet. Pledged to naturalism by personal loyalty +and public combat he broke through its self-set limitations tentatively +and invented for that purpose the dream-technique of _The Assumption of +Hannele_(1893). Pure imagination was outlawed in those years and verse +was a pet aversion of the consistent naturalists. Hence both were +transferred to the world of dreams which has an unquestionable reality, +however subjective, but in which the will cannot govern the shaping +faculties of the soul. The letter of the naturalistic law was adhered to, +though Hannele's visions have a richness and sweetness, the verses of the +angels a winsomeness and majesty which transcend any possible dream of +the poor peasant child, The external encouragement which the attempt met +was great, for with it Hauptmann conquered the Royal Playhouse in Berlin. + +Three years later he openly vindicated the possibility of the modern +poetic drama by writing _The Sunken Bell_, his most far-reaching success +both on the stage and in the study. In it appears for the first time the +disciplinary effect of naturalism upon literature in its loftiest mood. +The blank verse is the best in the German drama, the only German blank +verse, in truth, that satisfies an ear trained on the graver and more +flexible harmony of English; the lyrical portions are of sufficient if +inferior beauty. But there is no trace of the pseudo-heroic psychology of +the romantic play. The interpretation of life is thoroughly poetic, but +it is based on fact. The characters have tangible reality; they have the +idiosyncrasies of men. The pastor is profoundly true, and so is Magda, +though the interpretative power of poetry raises both into the realm of +the enduringly significant. Similarly Heinrich is himself, but also the +creative worker of all time. Driven by his ideal from the warm +hearthstones of men, he falters upon that frosty height: seeking to +realise impersonal aims and rising to a hardy rapture, he is broken in +strength at last by the "still, sad music of humanity." + +Except for the half humorous and not wholly successful interlude of +_Schluck and Jau_, Hauptmann neglected the poetic drama until 1902, when +he presented on the boards of the famous _Burgtheater_ at Vienna, _Henry +of Aue_. There is little doubt but that this play will ultimately rank as +the most satisfying poetic drama of its time. Less derivative and +uncertain in quality than the plays of Stephen Phillips, less fantastic +and externally brilliant than those of Rostand, it has a soundness of +subject matter, a serene nobility of mood, a solidity of verse technique +above the reach of either the French or the English poet. Hauptmann chose +as his subject the legend known for nearly seven hundred years through +the beautiful Middle High German poem of Hartmann von der Aue--the legend +of that great knight and lord who was smitten with leprosy, and whom, +according to the mediaeval belief, a pure maiden desired to heal through +the shedding of her blood. But God, before the sacrifice could be +consummated, cleansed the knight's body and permitted to him and the +maiden a united temporal happiness. This story Hauptmann takes exactly as +he finds it. But the characters are made to live with a new life. The +stark mediaeval conventions are broken and the old legend becomes living +truth. The maiden is changed from an infant saint fleeing a vale of tears +into a girl in whom the first sweet passions of life blend into an +exaltation half sexual and half religious, but pure with the purity of a +great flame. The miracle too remains, but it is the miracle of love that +subdues the despairing heart, that reconciles man to his universe, and +that slays the imperiousness of self. Thus Henry, firmly individualised +as he is, becomes in some sense, like all the greater protagonists of the +drama, the spirit of man confronting eternal and recurrent problems. The +minor figures--Gottfried, Brigitte, Ottacker--have the homely and +delightful truth that is the gift of naturalism to modern, literature. + +Hauptman's next play was a naturalistic tragedy, one of the best in that +order, _Rose Bernd._ Then followed, from 1905 to 1910, a series of plays +in which he let the creative imagination range over time and space. In +_Elga_ he tells the story of an old sorrow by means of the dream-technique +of _Hannele;_ in _And Pippa Dances,_ he lets the flame of life and love +flicker its iridescent glory before man and super-man, savage and artist; +in _The Maidens of the Mount_ he celebrates the dream of life which is +life's dearest part; in _Charlemagne's Hostage_ and in _Griselda_ he +returns to the interpretation and humanising of history and legend. + +The last of these plays is the most characteristic and important. It +takes up the old story of patient Grizzel which the Clerk of Oxford told +Chaucer's pilgrims on the way to Canterbury. But a new motive animates +the fable. Not to try her patience, not to edify womankind, does the +count rob Griselda of her child. His burning and exclusive love is +jealous of the pangs and triumphs of her motherhood in which he has no +share. It is passion desiring the utter absorption of its object that +gives rise to the tragic element of the story. But over the whole drama +there plays a blithe and living air in which, once more, authentic human +beings are seen with their smiling or earnest faces. + +A stern and militant naturalistic drama, _The Rats_ (1911), and yet +another play of the undoing of the artist through the woman, _Gabriel +Schilling's Flight_ (1912), close, for the present, the tale of +Hauptmann's dramatic works. + + + +VIII + +These works, viewed in their totality, take on a higher significance than +resides in the literary power of any one of them. Hauptmann's career +began in the years when the natural sciences, not content with their +proper triumphs, threatened to engulf art, philosophy and religion; in +the years when a keen and tender social consciousness, brooding over the +temporal welfare of man, lost sight of his eternal good. And so Hauptmann +begins by illustrating the laws of heredity and pleading, through a +creative medium, for social justice. The tacit assumptions of these early +plays are stringently positivistic: body and soul are the obverse and +reverse of a single substance; earth is the boundary of man's hopes. + +With _The Assumption of Hannele_ a change comes over the spirit of his +work. A thin, faint voice vibrates in that play--the voice of a soul +yearning for a warmer ideal. But the rigorous teachers of Hauptmann's +youth had graven their influence upon him, and the new faith announced by +Heinrich in _The Sunken Bell_ is still a kind of scientific paganism. In +_Michael Kramer_ (1900), however, he has definitely conquered the +positivistic denial of the overwhelming reality of the ultimate problems. +For it is after some solution of these that the great heart of Kramer +cries out. In _Henry of Aue_ the universe, no longer a harsh and +monstrous mechanism, irradiates the human soul with the spirit of its own +divinity. These utterances are, to be sure, dramatic and objective. But +the author chooses his subject, determines the spirit of its treatment +and thus speaks unmistakably. + +Nor is directer utterance lacking, "The Green Gleam," Hauptmann writes in +the delicately modelled prose of his _Griechischer Fruehling_, "the Green +Gleam, which mariners assert to have witnessed at times, appears at the +last moment before the sun dips below the horizon.... The ancients must +have known the Green Gleam.... I do not know whether that be true, but I +feel a longing within me to behold it. I can imagine some Pure Fool, +whose life consisted but in seeking it over lands and seas, in order to +perish at last in the radiance of that strange and splendid light. Are we +not all, perhaps, upon a similar quest? Are we not beings who have +exhausted the realm of the senses and are athirst for other delights for +both our senses and our souls?" The author of _Before Dawn_ has gone a +long journey in the land of the spirit to the writing of these words, and +of still others in _Gabriel Schilling's Flight_: "Behind this visible +world another is hidden, so near at times that one might knock at its +gate...." But it is the journey which man himself has gone upon during +the intervening years. + +Thus Hauptmann's work has not only created a new technique of the drama; +it has not only added unforgettable figures to the world of the +imagination: it has also mirrored and interpreted the intellectual +history of its time. His art sums up an epoch--an epoch full of knowledge +and the restraints of knowledge, still prone, so often, before the +mechanical in life and thought; but throughout all its immedicable +scepticism full of strange yearnings and visited by flickering dreams; +and even in its darkest years and days still stretching out hands in love +of a farther shore. Once more the great artist, his vision fixed +primarily upon his art, has most powerfully interpreted man to his own +mind. + +LUDWIG LEWISOHN. + + + + +BEFORE DAWN + + + + + _The first performance of this drama took place on October 20 in the + Lessing Theatre under the management of the Free Stage society. I + take the occasion of the appearance of a new edition to express my + hearty thanks to the directors of that society and, more especially, + to Messrs. Otto Brahm and Paul Schlenther. May the future prove that, + by defying petty considerations and by helping to give life to a work + that had its origin in pure motives, they have deserved well of + German art. + + GERHART HAUPTMANN + + Charlottenburg, October 20, 1889_ + + + + +_ACTING CHARACTERS_ + + +KRAUSE, _Farmer._ + +MRS. KRAUSE, _his second wife._ + +HELEN, MARTHA, _KRAUSE'S daughters by his first marriage._ + +HOFFMANN, _Engineer, MARTHA'S husband._ + +WILHELM KAHL, _MRS. KRAUSE'S nephew._ + +MRS. SPILLER, _MRS. KRAUSE'S companion._ + +ALFRED LOTH. + +DR. SCHIMMELPFENNIG. + +BEIPST, _Workingman on KRAUSE'S farm._ + +GUSTE, LIESE, MARIE _Maid-servants on KRAUSE'S farm._ + +BAER, _called "Hopping Baer."_ + +EDWARD, _HOFFMANN'S servant._ + +MIELE, _MRS. KRAUSE'S housemaid._ + +THE COACHMAN'S WIFE. + +GOLISCH, _a Cowherd._ + +A PACKET POST CARRIER. + + + + +THE FIRST ACT + + + _The room is low: the floor is covered with excellent rugs. Modern + luxury seems grafted upon the bareness of the peasant. On the wall, + behind the dining-table, hangs a picture which represents a waggon + with four horses driven by a carter in a blue blouse._ + + _MIELE, a vigorous peasant girl with a red, rather slow-witted face, + opens the middle door and permits ALFRED LOTH to enter. LOTH is of + middle height, broad-shouldered, thick-set, decided but somewhat + awkward in his movements. His hair is blond, his eyes blue, his small + moustache thin and very light; his whole face is bony and has an + equably serious expression. His clothes are neat but nothing less + than fashionable: light summer overcoat, a wallet hanging from the + shoulder; cane._ + +MIELE + +Come in, please. I'll call Mr. Hoffmann right off. Won't you take a seat? + + [_The glass-door that leads to the conservatory is violently thrust + open, and a peasant woman, her face bluish red with rage, bursts in. + She is not much better dressed than a washerwoman: naked, red arms, + blue cotton-skirt and bodice, red dotted kerchief. She is in the + early forties; her face is hard, sensual, malignant. The whole figure + is, otherwise, well preserved._ + +MRS. KRAUSE + +[_Screams._] The hussies!... That's right!... The vicious critters!... +Out with you! We don't give nothin'!... [_Half to MIELE, half to LOTH._] +He can work, he's got arms. Get out! You don't get nothin' here! + +LOTH + +But Mrs.... Surely you will ... my name is Loth ... I am ... I'd like to +... I haven't the slightest in.... + +MIELE + +He wants to speak to Mr. Hoffmann. + +MRS. KRAUSE + +Oho! beggin' from my son-in-law. We know that kind o' thing! He ain't got +nothin'; everything he's got he gets from us. Nothin' is his'n. + + [_The door to the right is opened and HOFFMANN thrusts his head in._ + +HOFFMANN + +Mother, I must really beg of you! [_He enters and turns to LOTH._] What +can I ... Alfred! Old man! Well, I'll be blessed. You? That certainly is +... well, that certainly is a great notion! + + [_HOFFMANN is thirty-three years old, slender, tall, thin. In his + dress he affects the latest fashion, his hair is carefully tended; he + wears costly rings, diamond-studs in his shirt-front and charms on + his watch chain. His hair and moustache are black; the latter is + luxurious and is most scrupulously cared for. His face is pointed, + bird-like, the expression blurred, the eyes dark, lively, at times + restless._ + +LOTH + +It's by the merest accident, you know ... + +HOFFMANN + +[_Excited._] Nothing pleasanter could have ... Do take your things off, +first of all! [_He tries to help him off with his wallet._]--Nothing +pleasanter or more unexpected could possibly--[_he has relieved LOTH of +his hat and cane and places both on a chair near the door_]--could +possibly have happened to me just now--[_coming back_]--no, decidedly, +nothing. + +LOTH + +[_Taking off his wallet himself._] It's by the merest chance that I've +come upon you. + + [_He places his wallet on the table in the foreground._ + +HOFFMANN + +Sit down. You must be tired. Do sit down--please! D'you remember when you +used to come to see me you had a way of throwing yourself full-length on +the sofa so that the springs groaned. Sometimes they broke, too. Very +well, then, old fellow. Do as you used to do. + + [_MRS. KRAUSE'S face has taken on an expression of great + astonishment. She has withdrawn. LOTH sits down on one of the chairs + that stand around the table in the foreground._ + +HOFFMANN + +Won't you drink something? Whatever you say? Beer? Wine? Brandy? Coffee? +Tea? Everything's in the house. + + [_HELEN comes reading from the conservatory. Her tall form, somewhat + too plump, the arrangement of her blond, unusually luxuriant hair, + the expression of her face, her modern gown, her gestures--in brief, + her whole appearance cannot quite hide the peasant's daughter._ + +HELEN + +Brother, you might.... [_She discovers LOTH and withdraws quickly._] Oh, +I beg pardon. + + [_Exit._ + +HOFFMANN + +Stay here, do! + +LOTH + +Your wife? + +HOFFMANN + +No; her sister. Didn't you hear how she addressed me? + +LOTH + +No. + +HOFFMANN + +Good-looking, eh? But now, come on. Make up your mind. Coffee? Tea? Grog? + +LOTH + +No, nothing, thank you. + +HOFFMANN + +[_Offers him cigars._] Here's something for you then. No!... Not even +that? + +LOTH + +No, thank you. + +HOFFMANN + +Enviable frugality! [_He lights a cigar for himself and speaks the +while._] The ashes ... I meant to say, tobacco ... h-m ... smoke of +course ... doesn't bother you, does it? + +LOTH + +No. + +HOFFMANN + +Ah, if I didn't get that much ... Good Lord, life anyhow!--But now, do me +a favour; tell me something. Ten years--you've hardly changed much, +though--ten years, a nasty slice of time. How's Schn ... Schnurz? That's +what we called him, eh? And Fips, and the whole jolly bunch of those +days? Haven't you been able to keep your eye on any of them? + +LOTH + +Look here, is it possible you don't know? + +HOFFMANN + +What? + +LOTH + +That he shot himself. + +HOFFMANN + +Who? Who's done that sort o' thing again? + +LOTH + +Fips. Friedrich Hildebrandt. + +HOFFMANN + +Oh come, that's impossible. + +LOTH + +It's a fact. Shot himself in the Grunewald, on a very beautiful spot on +the shore of the Havelsee. I was there. You have a view toward Spandau. + +HOFFMANN + +Hm. Wouldn't have believed it of him. He wasn't much of a hero in other +ways. + +LOTH + +That's the very reason why he shot himself.--He was conscientious, very +conscientious. + +HOFFMANN + +Conscientious? I don't see. + +LOTH + +That was the very reason ... otherwise he would probably not have done +it. + +HOFFMANN + +I'm still in the dark. + +LOTH + +Well, you know what the colour of his political views was? + +HOFFMANN + +Oh, yes--green. + +LOTH + +Put it so, if you want to. You'll have to admit, at all events, that he +was a very gifted fellow. And yet for five years he had to work as a +stucco-worker, and for another five years he had to starve along, so to +speak, on his own hook, and in addition he modelled his little statues. + +HOFFMANN + +And they were revolting. I want to be cheered by art ... No, that kind of +art wasn't a bit to my taste. + +LOTH + +Not exactly to mine either. Certain ideas had bitten themselves into his +mind. However, last spring there was a competition for a monument. Some +two-penny princeling was to be immortalised, I believe. Fips competed +and--won. Shortly afterward, he killed himself. + +HOFFMANN + +I don't see that that throws any ray of light on his so-called +conscientiousness. I call that sort of thing silly and highfalutin. + +LOTH + +That is the common view. + +HOFFMANN + +I'm very sorry, but I'm afraid I can't help sharing it. + +LOTH + +Well, it can make no difference to him now, what.... + +HOFFMANN + +Oh, anyhow, let's drop the subject. At bottom I'm just as sorry for him +as you can be. But now that he is dead, the good fellow, tell me +something of yourself. What have you been doing? How has the world used +you? + +LOTH + +It has used me as it was my business to expect. Didn't you hear anything +about me at all? From the papers, I mean? + +HOFFMANN + +[_Somewhat embarrassed._] Not that I know of. + +LOTH + +Nothing of that business at Leipzig? + +HOFFMANN + +Ah, yes, that! Yes, yes ... I believe so ... but nothing definite. + +LOTH + +Well, then, the matter was as follows-- + +HOFFMANN + +[_Laying his hand on LOTH'S arm._] Before you begin, won't you take +anything at all? + +LOTH + +Perhaps later. + +HOFFMANN + +Not even a little glass of brandy? + +LOTH + +No; that least of all. + +HOFFMANN + +Well, then I'll take a little ... There's nothing better for the stomach. +[_He gets a bottle and two little glasses from the sideboard and places +them on the table before LOTH._] Grand champagne, finest brand. I can +recommend it. Won't you really? + +LOTH + +No, thank you. + +HOFFMANN + +[_Tilting the contents of the glass into his mouth._] Ah-h--well, now I'm +all ears. + +LOTH + +To put it briefly, I got into a nasty mess. + +HOFFMANN + +The sentence was two years, wasn't it? + +LOTH + +Quite right. You seem to be informed after all. Yes, I was sentenced to +two years' imprisonment, and afterwards they expelled me from the +university too. And at that time I was just--twenty-one. However, during +those two years I wrote my first book on economics. In spite of that I +couldn't truthfully say that it was very good fun to be behind the bars. + +HOFFMANN + +Lord, what idiots we were! It's queer. And we had really taken the thing +into our heads in good earnest. I can't help thinking, old man, that it +was sheer puerility. The idea! A dozen green kids like ourselves to go to +America and found ... _we_ found ... a model state. Delicious notion! + +LOTH + +Puerility? Ah well, in some ways no doubt it was. We certainly +underestimated the difficulty of such an undertaking. + +HOFFMANN + +And that you really did go to America, in all seriousness, and with empty +hands ... Why, think, man, what it means to acquire land and foundation +for a model state with empty hands. That was almost cr ... At all events +it was unique in its naivete. + +LOTH + +And yet I'm particularly satisfied with the result of my American trip. + +HOFFMANN + +[_Laughing with a touch of boisterousness._] Cold water treatment. That +was an excellent result, if that's what you mean.... + +LOTH + +It may well be that I cooled down quite a little. But that process is +hardly peculiar to myself. It is one which every human being undergoes. +But it's a far cry from that to failing to realise the value of those ... +well, let's call them, our hotheaded days. And it wasn't so frightfully +simple-minded, as you represent it. + +HOFFMANN + +Well, I don't know about that. + +LOTH + +All you have to do is to think of the average silliness that surrounded +us in those days: the fraternity goings on at the universities, the +swilling, the duelling. And what was all the noise about? It was about +Hecuba, as Fips used to say. Well, we at least, didn't make a fuss about +Hecuba; we had our attention, fixed on the highest aims of humanity. And, +in addition to that, those silly times cleared me thoroughly of all +prejudices. I took my leave of sham religion and sham morality and a good +deal else.... + +HOFFMANN + +I'm perfectly prepared to admit that much. If, when all's said and done, +I am an open-minded, enlightened man to-day, I owe it, as I wouldn't +dream of denying, to the days of our intercourse! I am the last man to +deny that. In fact I'm not in _any_ respect a monster. Only you mustn't +try to run your head through a stone wall.--You mustn't try to force out +the evils under which, more's the pity, the present generation suffers, +only to replace them by worse ones. What you've got to do is--to let +things take their natural course. What is to be, will be! You've got to +proceed practically, practically! And you will recall that I emphasised +that just as much in those days as now. And that principle has paid. And +that's just it. All of you, yourself included, proceed in a most +unpractical way. + +LOTH + +I wish you'd explain just how you mean that. + +HOFFMANN + +It's as simple as ... You don't make use of your capabilities. Take +yourself, for instance: a fellow with your knowledge, energy and what +not! What road would have been closed to you? Instead of going ahead, +what is it you do? You _compromise_ yourself, at the very start, to +_such_ a degree, that ... well, honestly, old man, didn't you regret it +once in a while? + +LOTH + +I can't very well regret the fact that I was condemned innocently. + +HOFFMANN + +As to that, of course, I can't judge. + +LOTH + +You will be able to do so at once when I tell you that the indictment +declared that I had called our club, "Vancouver Island," into being +purely for purposes of party agitation. In addition I was said to have +collected funds for party purposes. Now you know very well that we were +thoroughly in earnest in regard to our ambitions of founding a colony. +And, as far as collecting money goes--you have said yourself that we were +all empty-handed together. The indictment was a misrepresentation from +beginning to end, and, as a former member, you ought to.... + +HOFFMANN + +Hold on, now. I wasn't really a member. As to the rest, of course, I +believe you. Judges are, after all, only human. You must consider that. +In any event, to proceed quite practically, you should have avoided the +very _appearance_ of that sort of thing. Take it all in all: I have +wondered at you often enough since then--editor of the _Workingmen's +Tribune_, the obscurest of hole and corner sheets--parliamentary +candidate of the dear mob! And what did you get out of it all? Don't +misunderstand me! I am the last man to be lacking in sympathy with the +common people. But _if_ something is to be effected, it must be effected +from above. In fact that's the only way in which anything can be done. +The people never know what they really need. It's this trying to lift +things from beneath that I call--running your head through a stone wall. + +LOTH + +I'm afraid I don't get a very clear notion of your drift. + +HOFFMANN + +What I mean? Well now, look at me! My hands are free: I am in a position +to do something for an ideal end.--I think I can say that the practical +part of my programme has been pretty well carried out. And all you +fellows, always with empty hands--what can you do? + +LOTH + +True. From what one hears you are in a fair way to become a Rothschild. + +HOFFMANN + +[_Flattered._] You do me too much honour--at least, for the present. Who +said that, anyhow? A man sticks to a good thing, and that, naturally, +brings its reward. But who was it said that? + +LOTH + +It was over there in Jauer. Two gentlemen were conversing at the next +table. + +HOFFMANN + +Aha! H-m. I have enemies. And what did they have to say? + +LOTH + +Nothing of importance. But I heard from them that you had retired for the +present to the estate of your parents-in-law. + +HOFFMANN + +People have a way of finding things out; haven't they? My dear friend, +you'd never believe how a man in my position is spied on at every step. +That's another one of the evils of wealth ... But it is this way, you +see: I'm expecting the confinement of my wife in the quiet and the +healthy air here. + +LOTH + +What do you do for a physician? Surely in such cases a good physician is +of the highest importance. And here, in this village.... + +HOFFMANN + +Ah, but that's just it! The physician here is an unusually capable one. +And, do you know, I've found this out: in a doctor, conscientiousness +counts for more than genius. + +LOTH + +Perhaps it is an essential concomitant of a physician's genius. + +HOFFMANN + +Maybe so. Anyhow, our doctor _has_ a conscience. He's a bit of an +idealist--more or less our kind. His success among the miners and the +peasants is simply phenomenal! Sometimes, I must say, he isn't an easy +man to bear, he's got a mixture of hardness and sentimentality. But, as I +said before, I know how to value conscientiousness; no doubt about that. +But before I forget ... I do attach some importance to it ... a man ought +to know what he has to look out for ... Listen!... Tell me ... I see it +in your face. Those gentlemen at the next table had nothing good to say +of me? Tell me, please, what they did say. + +LOTH + +I really ought not to do that, for I was going to beg one hundred crowns +of you, literally beg, for there is hardly any chance of my ever being +able to return them. + +HOFFMANN + +[_Draws a cheque-book from his inner pocket, makes out a cheque and hands +it to LOTH._] Any branch of the Imperial Bank will cash it ... It's +simply a pleasure.... + +LOTH + +Your promptness surpasses all expectation. Well, I accept it with, +gratitude, and you know--it could be worse spent. + +HOFFMANN + +[_Somewhat rhetorically._] A labourer is worthy of his hire. But now, +Loth, have the goodness to tell me what the gentlemen in question.... + +LOTH + +I dare say they talked nonsense. + +HOFFMANN + +Tell me in spite of that, please. I'm simply interested, quite simply +interested--that's all. + +LOTH + +They discussed the fact that you had violently forced another man out of +his position here--a contractor named Mueller. + +HOFFMANN + +_Of_ course! The same old story. + +LOTH + +The man, they said, was betrothed to your present wife. + +HOFFMANN + +So he was. And what else? + +LOTH + +I tell you these things just as I heard them, for I assume that it is of +some importance to you to be acquainted with the exact nature of the +slander. + +HOFFMANN + +Quite right. And so? + +LOTH + +So far as I could make out this Mueller was said to have had the contract +for the construction of a stretch of mountain railroad here. + +HOFFMANN + +Yes, with a wretched capital of ten thousand crowns. When he came to see +that the money wouldn't go far enough, he was in haste to make a catch of +one of the Witzdorf farmers' daughters; the honour was to have fallen to +my wife. + +LOTH + +They said that he had his arrangement with the daughter, and you had made +yours with the father.--Next he shot himself, didn't he?--And you +finished the construction of his section of the road and made a great +deal of money out of it? + +HOFFMANN + +There's an element of truth in all that. Of course, I could give you a +very different notion of how those things hung together. Perhaps they +knew a few more of these edifying anecdotes. + +LOTH + +There was one thing, I am bound to tell you, that seemed to excite them +particularly: they computed what an enormous business you were doing in +coal now, and they called you--well, it wasn't exactly flattering. In +short they asserted that you had persuaded the stupid farmers of the +neighbourhood, over some champagne, to sign a contract by which the +exploitation of all the coal mined on their property was turned over to +you at a ridiculously small rental. + +HOFFMANN + +[_Touched on the raw, gets up._] I'll tell you something, Loth ... Pshaw, +why concern oneself with it at all. I vote that we think of supper. I'm +savagely hungry--yes, quite savagely. + + [_He presses the button of an electric connection, the wire of which + hangs down over the sofa in the form of a green cord. The ringing of + an electric bell is heard._ + +LOTH + +Well, if you want to keep me here, then have the kindness ... I'd like to +brush up a bit first. + +HOFFMANN + +In a moment--everything that's necessary ... [_EDWARD, a servant in +livery, enters._] Edward, take this gentleman to the guest chamber. + +EDWARD + +Very, well, sir. + +HOFFMANN + +[_Pressing LOTH'S hand._] I wonder if you'd mind coming down to supper in +about fifteen minutes--at most. + +LOTH + +That's ample time. See you later. + +HOFFMANN + +Yes, see you later. + + [_EDWARD opens the door and lets LOTH precede him. Both go out. + HOFFMANN scratches the back of his head, looks thoughtfully at the + floor and then approaches the door at the right. He has just touched + the knob when HELEN, who has entered hastily by the glass door, calls + to him._ + +HELEN + +Brother! Who was that? + +HOFFMANN + +That was one of my college chums, in fact, the oldest of them, Alfred +Loth. + +HELEN + +[_Quickly._] Has he gone again? + +HOFFMANN + +No; he's going to eat supper with us. Possibly ... yes, possibly he may +spend the night here. + +HELEN + +Heavens! Then I shan't come to supper. + +HOFFMANN + +But Helen! + +HELEN + +What is the use of my meeting cultivated people! I might just as well get +as boorish as all the rest here! + +HOFFMANN + +Oh, these eternal fancies! In fact you will do me a real favour if you +will order the arrangements for supper. Be so kind. I'd like to have +things a bit festive, because I believe that he has something up his +sleeve. + +HELEN + +What do you mean by that: has something up his sleeve? + +HOFFMANN + +Mole's work ... digging, digging.--You can't possibly understand that. +Anyhow, I may be mistaken, for I've avoided touching on that subject so +far. At all events, have everything as inviting as possible. That's the +easiest way, after all, of accomplishing something with people ... +Champagne, of course. Have the lobsters come from Hamburg? + +HELEN + +I believe they came this morning. + +HOFFMANN + +Very well. Then--lobsters! [_A violent knocking is heard._] Come in! + +PARCEL POST CARRIER + +[_Enters with a box under his arm. His voice has a sing-song +inflection._] A box. + +HELEN + +Where from? + +PARCEL POST CARRIER + +Ber-lin. + +HOFFMANN + +Quite right. No doubt the baby's outfit from Hertzog. [_He looks at the +package and takes the bill._] Yes, these are the things from Hertzog. + +HELEN + +This whole box full. Oh, that's overdoing! + + _HOFFMANN pays the carrier._ + +PARCEL POST CARRIER + +[_Still in his sing-song._] I wish you a good evening. + + [_Exit._ + +HOFFMANN + +Why is that overdoing? + +HELEN + +Why, because there's enough here to fit out at least three babies. + +HOFFMANN + +Did you take a walk with my wife? + +HELEN + +What am I to do if she's so easily tired? + +HOFFMANN + +Nonsense! Easily tired! She makes me utterly wretched! An hour and a half +... I wish, for goodness' sake, she would do as the doctor orders. What +is the use of having a doctor, if.... + +HELEN + +Then put your foot down and get rid of that Spiller woman! What am I to +do against an old creature like that who always confirms her in her own +notions! + +HOFFMANN + +But what can I do--a man--a mere man? And, furthermore, you know my +mother-in-law! Don't you? + +HELEN + +[_Bitterly._] I do. + +HOFFMANN + +Where is she now? + +HELEN + +Spiller has been getting her up in grand style ever since Mr. Loth came. +She will probably go through one of her performances at supper. + +HOFFMANN + +[_Once more absorbed in his own thoughts and pacing the room, +violently._] This is the last time, I give you my word, that I'm going to +await such things in this house--the last time, so help me! + +HELEN + +Yes, you're lucky. You can go where you please. + +HOFFMANN + +In my house the wretched relapse into that frightful vice would most +certainly not have occurred. + +HELEN + +Don't make me responsible for it. She did not get the brandy from me! Get +rid of the Spiller woman, I tell you. Oh, if only I were a man! + +HOFFMANN + +[_Sighing._] Oh, if only it were over and done with!--[_Speaking from the +door to the right._] Anyhow, sister, do me the favour and have the +supper-table really appetising. I'll just attend to a little matter +meanwhile. + +HELEN + +[_Rings the electric bell. MIELE enters._] Miele, set the table, and tell +Edward to put champagne on ice and open four dozen oysters. + +MIELE + +[_With sullen impudence._] You c'n tell him yer-self. He don't take +orders from me. He's always sayin' he was hired by Mr. Hoffmann. + +HELEN + +Then, at least, send him in to me. + + [_MIELE goes. HELEN steps in front of the mirror and adjusts various + details in her toilet. In the meantime EDWARD enters._ + +HELEN + +[_Still before the mirror._] Edward, put champagne on ice and open +oysters. Mr. Hoffmann wishes it. + +EDWARD + +Very well, Miss. + + [_As EDWARD leaves, a knocking is heard at the middle door._ + +HELEN + +[_Startled._] Dear me! [_Timidly._] Come in! [_Louder and more firmly._] +Come in! + +LOTH + +[_Enters without bowing._] Ah, I beg pardon. I didn't mean to intrude. My +name is Loth. + + _HELEN bows. Her gesture smacks of the dancing school._ + +HOFFMANN + +[_His voice is heard through the closed door._] My dear people: don't be +formal! I'll be with you in a moment. Loth, my sister-in-law, Helen +Krause! And, sister, my friend, Alfred Loth! Please consider yourselves +introduced. + +HELEN + +Oh, what a way of.... + +LOTH + +I don't take it ill of him. As I have often been told, I am myself more +than half a barbarian when correct manners are concerned. But if I +intruded upon you, I.... + +HELEN + +Not in the least; oh, not in the least, believe me. [_A pause of +constraint._] Indeed, indeed, it is most kind of you to have looked up my +brother-in-law. He often complains that ... rather, regrets that the +friends of his youth have forgotten him so entirely. + +LOTH + +Yes, it just happened so this time. I've always been in Berlin and +thereabouts and had no idea what had become of Hoffmann. I haven't been +back in Silesia since my student days at Breslau. + +HELEN + +And so you came upon him quite by chance. + +LOTH + +Yes, quite--and, what is more, in the very spot where I've got to pursue +my investigations. + +HELEN + +Investigations in Witzdorf! In this wretched little hole. Ah, you're +jesting. It isn't possible. + +LOTH + +You say: wretched? Yet there is a very unusual degree of wealth here. + +HELEN + +Oh, of course, in that respect.... + +LOTH + +I've been continually astonished. I can assure you that such farms are +not to be found elsewhere; they seem literally steeped in abundance. + +HELEN + +You are quite right. There's more than one stable here in which the cows +and horses feed from marble mangers and racks of German silver! It is all +due to the coal which was found under our fields and which turned the +poor peasants rich almost in the twinkling of an eye. [_She points to the +picture in the background._] Do you see--my grandfather was a freight +carter. The little property here belonged to him, but he could not get a +living out of his bit of soil and so he had to haul freight. That's a +picture of him in his blue blouse; they still wore blouses like that in +those days. My father, when he was young, wore one too.--No! When I said +"wretched" I didn't mean that. Only it's so desolate here. There's +nothing, nothing for the mind. Life is empty ... it's enough to kill one. + + _MIELE and EDWARD pass to and fro, busy laying the table to the right + in the background._ + +LOTH + +Aren't there balls or parties once in a while? + +HELEN + +Not even that! The farmers gamble, hunt, drink ... What is there to be +seen all the long day? [_She has approached the window and points out._] +_Such_ figures, mainly. + +LOTH + +H-m! Miners. + +HELEN + +Some are going to the mine, some are coming from the mine: all day, all +day ... At least, I seem always to see them. Do you suppose I even care +to go into the street alone? At most I slip through the back gate out +into the fields. And they are such a rough set! The way they stare at +one--so menacing and morose as if one were actually guilty of some crime. +Sometimes, in winter, when we go sleighing, they come in the darkness, in +great gangs, over the hills, through the storm, and, instead of making +way, they walk stubbornly in front of the horses. Then, sometimes the +farmers use the handles of their whips; it's the only way they can get +through. And then the miners curse behind us. Ugh! I've been so terribly +frightened sometimes! + +LOTH + +And isn't it strange that I have come here for the sake of these very +people of whom you are so much afraid. + +HELEN + +Oh, surely not.... + +LOTH + +Quite seriously. These people interest me more than any one else here. + +HELEN + +No one excepted? + +LOTH + +No one. + +HELEN + +Not even my brother-in-law? + +LOTH + +No! For my interest in these people is different and of an altogether +higher nature. But you must forgive me ... You can't be expected to +follow me there. + +HELEN + +And why not? Indeed, I understand you very well ... [_She drops a letter +inadvertently which LOTH stoops to pick up._] Don't bother ... it's of no +importance; only an indifferent boarding-school correspondence. + +LOTH + +So you went to boarding-school? + +HELEN + +Yes, in Herrnhut. You mustn't think that I'm so wholly ... No, no, I do +understand. + +LOTH + +You see, these workingmen interest me for their own sake. + +HELEN + +To be sure. And a miner like that is very interesting, if you look upon +him in that way. Why, there are places where you never see one; but If +you have them daily before your eyes ... + +LOTH + +Even if you have them daily before your eyes, Miss Krause. Indeed. I +think that is necessary if one is to discover what is truly interesting +about them. + +HELEN + +Dear me! If it's so hard to discover--I mean what is interesting about +them! + +LOTH + +Well; it is interesting, for instance that these people, as you say, +always look so menacing and so morose. + +HELEN + +Why do you think that _that_ is particularly interesting? + +LOTH + +Because it is not the usual thing. The rest of us look that way only +sometimes and by no means always. + +HELEN + +Yes, but why do they always look so ... so full of hatred and so surly? +There must be some reason for that. + +LOTH + +Just so. And it is this very reason that I am anxious to discover. + +HELEN + +Oh, don't!... Now you're making fun of me! What good would it do you, +even if you knew that? + +LOTH + +One might perhaps find ways and means to remove the cause that makes +these people so joyless and so full of hatred; one might perhaps make +them happier. + +HELEN + +[_Slightly confused._] I must confess freely that now ... And yet perhaps +just now I begin to understand you a little. Only it is so strange, so +new, so utterly new ... + +HOFFMANN + +[_Entering through the door at the right. He has a number of letters in +his hand._] Well, here I am again.--Edward, see to it that these letters +reach the post-office before eight o'clock. [_He hands the letters to the +servant, who withdraws._] Well, dear people, now we can eat! Outrageously +hot here! September and such heat! [_He lifts a bottle of champagne from +the cooler. _] Veuve Cliquot! Edward knows my secret passions! [_He turns +to LOTH._] You've had quite a lively argument, eh? [_Approaches the +table, which has now been laid and which groans under delicacies. Rubbing +his hands._] Well, that looks very good indeed! [_With a sly look in +LOTH'S direction._] Don't you think it does?--By the way, sister! We're +going to have company: William Kahl. He has been seen in the yard. + + _HELEN makes a gesture of disgust._ + +HOFFMANN + +My dear girl! You almost act as if I ... How can I help it? D'you suppose +I invited him? [_Heavy steps are heard in the outer hall._] Ah! +"Misfortune strides apace!" + + _KAHL enters without having first knocked. He is twenty-four years + old: a clumsy peasant who is evidently concerned, so far as possible, + to make a show not only as a refined but, more especially, as a + wealthy man. His features are coarse; his predominant expression is + one of stupid cunning. He wears a green jacket, a gay velvet + waist-coat, dark trousers and patent-leather top-boots. His + head-covering is a green forester's hat with a cock's feather. His + jacket has buttons of stag's horn and stag's teeth depend from his + watch-chain. He stammers._ + +KAHL + +G-good evening everybody! + + [_He sees LOTH, is much embarrassed and, standing still, cuts a + rather sorry figure._ + +HOFFMANN + +[_Steps up to him and shakes hands with him encouragingly._] Good +evening, Mr. Kahl. + +HELEN + +[_Ungraciously._] Good evening. + +KAHL + +[_Strides with heavy steps diagonally across the room to HELEN and takes +her hand._] Evenin' t'you, Nellie. + +HOFFMANN + +[_To LOTH._] Permit me to introduce our neighbour's son, Mr. Kahl. + + [_KAHL grins and fidgets with his hat. Constrained silence._ + +HOFFMANN + +Come, let's sit down, then. Is anybody missing? Ah, our mama! Miele, +request Mrs. Krause to come to supper. + + [_MIELE leaves by the middle door._ + +MIELE + +[_Is heard in the hall, calling out._] Missus! Missus!! You're to come +down--to come'n eat! + + [_HELEN and HOFFMANN exchange a look of infinite comprehension and + laugh. Then, by a common impulse, they look at LOTH._ + +HOFFMANN + +[_To LOTH._] Rustic simplicity! + + _MRS. KRAUSE appears, incredibly overdressed. Silk and costly jewels. + Her dress and bearing betray hard arrogance, stupid pride and + half-mad vanity._ + +HOFFMANN + +Ah, there is mama! Permit me to introduce to you my friend Dr. Loth. + +MRS. KRAUSE + +[_Half-curtsies, peasant-fashion._] I take the liberty! [_After a brief +pause._] Eh, but Doctor, you mustn't bear me a grudge, no, you mustn't at +all. I've got to excuse myself before you right away--[_she speaks with +increasing fluency_]--excuse myself on account o' the way I acted a while +ago. You know, y'understan', we' get a powerful lot o' tramps here right +along ... 'Tain't reasonable to believe the trouble we has with them +beggars. And they steals exackly like magpies. It ain't as we're stingy. +We don't have to be thinkin' and thinkin' before we spends a penny, no, +nor before we spends a pound neither. Now, old Louis Krause's wife, she's +a close one, worst kind you see, she wouldn't give a crittur that much! +Her old man died o' rage because he lost a dirty little two-thousand, +playin' cards. No, we ain't that kind. You see that sideboard over there. +That cost me two hundred crowns, not countin' the freight even. Baron +Klinkow hisself couldn't have nothin' better. + + _MRS. SPILLER has entered shortly after MRS. KRAUSE. She is small, + slightly deformed and gotten up in her mistress's cast-off garments. + While MRS. KRAUSE is speaking she looks up at her with a certain + devout attention. She is about fifty-five years old. Every time she + exhales her breath she utters a gentle moan, which is regularly + audible, even when she speaks, as a soft_--m. + +MRS. SPILLER + +[_In a servile, affectedly melancholy, minor tone. Very softly._] His +lordship has exactly the identical sideboard--m--. + +HELEN + +[_To MRS. KRAUSE._] Mama, don't you think we had better sit down first +and then-- + +MRS. KRAUSE + +[_Turns with lightning-like rapidity to HELEN and transfixes her with a +withering look; harshly and masterfully._] Is that proper? + + [_She is about to sit down but remembers that grace has not been + said. Mechanically she folds her hands without, however, mastering + her malignity._ + +MRS. SPILLER + +Come, Lord Jesus, be our guest. May thy gifts to us be blest. + + [_All take their seats noisily. The embarrassing situation is tided + over by the passing and repassing of dishes, which takes some time._ + +HOFFMANN + +[_To LOTH._] Help yourself, old fellow, won't you? Oysters? + +LOTH + +I'll try them. They're the first I've ever eaten. + +MRS. KRAUSE + +[_Has just sucked down an oyster noisily._] This season, you mean. + +LOTH + +No, I mean at all. + + [_MRS. KRAUSE and MRS. SPILLER exchange a look._ + +HOFFMANN + +[_To KAHL, who is squeezing a lemon with his teeth._] Haven't seen you +for two days, Mr. Kahl. Have you been busy shooting mice? + +KAHL + +N-naw ... + +HOFFMANN + +[_To LOTH._] Mr. Kahl, I must tell you, is passionately fond of hunting. + +KAHL + +M-m-mice is i-infamous amphibies. + +HELEN + +[_Bursts out._] It's too silly. He can't see anything wild or tame +without killing it. + +KAHL + +Las' night I sh-shot our ol' s-sow. + +LOTH + +Then I suppose that shooting is your chief occupation. + +MRS. KRAUSE + +Mr. Kahl, he just does that fer his own private pleasure. + +MRS. SPILLER + +Forest, game and women--as his Excellency the Minister von Schadendorf +often used to say. + +KAHL + +'N d-day after t-t'morrow we're g-goin' t' have p-pigeon sh-sh-shooting. + +LOTH + +What is that--pigeon shooting? + +HELEN + +Ah, I can't bear such things. Surely it's a very merciless sport. Rough +boys who throw stones at window panes are better employed. + +HOFFMANN + +You go too far, Helen. + +HELEN + +I don't know. According to my feeling it's far more sensible to break +windows, than to tether pigeons to a post and then shoot bullets into +them. + +HOFFMANN + +Well, Helen, after all, you must consider ... + +LOTH + +[_Using his knife and fork with energy._] It is a shameful barbarity. + +KAHL + +Aw! _Them_ few pigeons! + +MRS. SPILLER + +[_To LOTH._] Mr. Kahl, you know, has m-more than two-hundred of them in +his dove-cote. + +LOTH + +All hunting is barbarity. + +HOFFMANN + +But an ineradicable one. Just now, for instance, five hundred live foxes +are wanted in the market, and all foresters in this neighbourhood and in +other parts of Germany are busy snaring the animals. + +LOTH + +What are all those foxes wanted for? + +HOFFMANN + +They are sent to England, where they will enjoy the honour of being +hunted from their very cages straight to death by members of the +aristocracy. + +LOTH + +Mohammedan or Christian--a beast's a beast. + +HOFFMANN + +May I pass you some lobster, mother? + +MRS. KRAUSE + +I guess so. They're good this here season. + +MRS. SPILLER + +Madame has such a delicate palate. + +MRS. KRAUSE + +[_To LOTH._] I suppose you ain't ever et lobsters neither, Doctor? + +LOTH + +Yes, I have eaten lobsters now and then--in the North, by the sea, in +Warnemuende, where I was born. + +MRS. KRAUSE + +[_To KAHL._] Times an' times a person don't know what _to_ eat no more. +Eh, William. + +KAHL + +Y-y're r-right there, cousin, G-God knows. + +EDWARD + +[_Is about to pour champagne into LOTH'S glass._] Champagne, sir. + +LOTH + +[_Covers his glass with his hand._] No, thank you. + +HOFFMANN + +Come now, don't be absurd. + +HELEN + +What? Don't you drink? + +LOTH + +No, Miss Krause. + +HOFFMANN + +Well, now, look here, old man. That is, you must admit, rather tiresome. + +LOTH + +If I were to drink I should only grow more tiresome. + +HELEN + +That is most interesting, Doctor. + +LOTH + +[_Untactfully._] That I grow even more tiresome when I drink wine? + +HELEN + +[_Somewhat taken aback._] No, oh, no. But that you do not drink ... do +not drink at all, I mean. + +LOTH + +And why is that particularly interesting? + +HELEN + +[_Blushing._] It is not the usual thing. + + [_She grows redder and more embarrassed._ + +LOTH + +[_Clumsily._] You are quite right, unhappily. + +MRS. KRAUSE + +[_To LOTH._] It costs us fifteen shillin's a bottle. You needn't be +scared to drink it. We gets it straight from Rheims; we ain't givin' you +nothin' cheap; we wouldn't want it ourselves. + +MRS. SPILLER + +Ah, you can believe--m-me, Doctor: if his Excellency, the Minister von +Schadendorf, had been able to keep _such_ a table ... + +KAHL + +I couldn't live without my wine. + +HELEN + +[_To LOTH._] Do tell us why you don't drink? + +LOTH + +I'll do that very gladly, I ... + +HOFFMANN + +Oh, pshaw, old fellow. [_He takes the bottle from the servant in order to +press the wine upon LOTH._] Just think how many merry hours we used to +spend in the old days ... + +LOTH + +Please don't take the trouble ... + +HOFFMANN + +Drink to-day--this one time. + +LOTH + +It's quite useless. + +HOFFMANN + +As a special favour to me. + + [_HOFFMANN is about to pour the wine; LOTH resists. A slight conflict + ensues._ + +LOTH + +No, no ... as I said before ... No!... no, thank you. + +HOFFMANN + +Don't be offended, but that, surely, is a mere foolish whim. + +KAHL + +[_To MRS. SPILLER._] A man that don't want nothin' has had enough. + + [_MRS. SPILLER nods resignedly._ + +HOFFMANN + +Anyhow, if you let a man have his will what more can you do for him. But +I can tell you this much: without a glass of wine at dinner ... + +LOTH + +And a glass of beer at breakfast ... + +HOFFMANN + +Very well; why not? A glass of beer is a very healthy thing. + +LOTH + +And a nip of brandy now and then ... + +HOFFMANN + +Ah, well, if one couldn't get that much out of life! You'll never succeed +in making an ascetic of me. You can't rob life of every stimulus. + +LOTH + +I'm not so sure of that. I am thoroughly content with the normal stimuli +that reach my nervous system. + +HOFFMANN + +And a company that sit together with dry throats always has been and +always will be a damnably weary and boresome one--with which, as a rule, +I'd care to have very little to do. + +MRS. KRAUSE + +An' all them aristocrats drinks a whole lot. + +MRS. SPILLER + +[_Devoutly confirming her mistress' remark by an inclination of her +body._] It is easy for gentlemen to drink a great deal of wine. + +LOTH + +[_To HOFFMANN._] My experience is quite to the contrary. As a rule, I am +bored at a table where a great deal is drunk. + +HOFFMANN + +Oh, of course, it's got to be done in moderation. + +LOTH + +What do you call moderation? + +HOFFMANN + +Well, so long as one is in possession of one's senses ... + +LOTH + +Aha! Then you do admit that, in general, the consumption of alcohol does +endanger the possession of one's senses? And for that reason, you see, I +find tavern parties such a bore. + +HOFFMANN + +Are you afraid of losing possession of your senses so easily? + +KAHL + +T'-t'other d-day I drank a b-bottle o' R-Rhine-wine, _an'_ another o' +ch-champagne. An' on top o' that an-n-nother o' B-Bordeaux--an' I wan't +drunk by half. + +LOTH + +[_To HOFFMANN._] Oh no. You know well enough that it was I who took you +fellows home when you'd been taking too much. And I still have the same +tough old system. No, I'm not afraid on that account. + +HOFFMANN + +Well, then, what is it? + +HELEN + +Yes, why is it really that you don't drink? Do tell us! + +LOTH + +[_To HOFFMANN._] In order to satisfy you then: I do not drink to-day, if +for no other reason but because I have given my word of honour to avoid +spirituous liquors. + +HOFFMANN + +In other words, you've sunk to the level of a temperance fanatic. + +LOTH + +I am a total abstainer. + +HOFFMANN + +And for how long, may one ask, have you gone in for this-- + +LOTH + +For life. + +HOFFMANN + +[_Throws down his knife and fork and half starts up from his chair._] +Well, I'll be ... [_He sits down again._] Now, frankly, you must forgive +me, but I never thought you so--childish. + +LOTH + +You may call it so if you please. + +HOFFMANN + +But how in the world did you get into that kind of thing? + +HELEN + +Surely, for such a resolution you must have a very weighty cause--it +seems so to me, at least. + +LOTH + +Undoubtedly such a reason exists. You probably do not know, Miss Krause, +nor you either, Hoffmann, what an appalling part alcohol plays in modern +life ... Read Bunge, if you desire to gain an idea of it. I happen to +remember the statements of a writer named Everett concerning the +significance of alcohol in the life of the United States. His facts cover +a space of ten years. In these ten years, according to him, alcohol has +devoured directly a sum of three thousand millions of dollars and +indirectly of six hundred millions. It has killed three hundred thousand +people, it has driven thousands of others into prisons and poor-houses; +it has caused two thousand suicides at the least. It has caused the loss +of at least ten millions through fire and violent destruction; it has +rendered no less than twenty thousand women, widows, and no less than one +million children, orphans. Worst of all, however, are the far-reaching +effects of alcohol which extend to the third and fourth generation.--Now, +had I pledged myself never to marry, I might perhaps drink, but as it +is--My ancestors, as I happen to know, were all not only healthy and +robust but thoroughly temperate people. Every movement that I make, every +hardship that I undergo, every breath that I draw brings what I owe them +more deeply home to me. And that, you see, is the point; I am absolutely +determined to transmit undiminished to my posterity this heritage which +is mine. + +MRS. KRAUSE + +Look here, son-in-law, them miners o' ours do drink a deal too much. I +guess that's true. + +KAHL + +They swills like pigs. + +HELEN + +And such, things are hereditary? + +LOTH + +There are families who are ruined by it--families of dipsomaniacs. + +KAHL + +[_Half to MRS. KRAUSE; half to HELEN._] Your old man--he's goin' it +pretty fast, too. + +HELEN + +[_White as a sheet, vehemently._] Oh, don't talk nonsense. + +MRS. KRAUSE + +Eh, but listen to the impident hussy. You might think she was a princess! +You're tryin' to play bein' a grand lady, I s'ppose! That's the way she +goes fer her future husband. [_To LOTH, pointing to KAHL._] That's him, +you know; they're promised; it's all arranged. + +HELEN + +[_Jumping up._] Stop! or ... _Stop_, mother, or I ... + +MRS. KRAUSE + +Well, I do declare! Say, Doctor, is that what you call eddication, eh? +God knows, I treat her as if she was my own child, but that's a little +too much. + +HOFFMANN + +[_Soothingly._] Ah, mother, do me the favour.... + +MRS. KRAUSE + +No-o! I don't see why. Such a goose like that ... That's an end o' all +justice ... such a sl...! + +HOFFMANN + +Oh, but mother, I must really beg of you to control-- + +MRS. KRAUSE + +[_Doubly enraged._] Instead o' sich a crittur takin' a hand on the +farm.... God forbid! She pulls her sheets 'way over her ears. But her +Schillers and her Goethes and sich like stinkin' dogs--that can't do +nothin' but lie; they c'n turn her head. It's enough to make you sick! + + [_She stops, quivering with rage._ + +HOFFMANN + +[_Trying to pacify her._] Well, well--she will be all right now ... +perhaps it wasn't quite right ... perhaps.... + + [_He beckons to HELEN, who in her excitement has drawn aside, and the + girl, fighting down her tears, returns to her place._ + +HOFFMANN + +[_Interrupting the painful silence that has followed, to LOTH._] Ah, yes +... what were we talking about? To be sure, of good old alcohol. [_He +raises his glass._] Well, mother, let us have peace. Come,--we'll drink a +toast in peace, and honour alcohol by being peaceful. [_MRS. KRAUSE, +although somewhat rebelliously, clinks glasses with him._] What, Helen, +and your glass is empty.... I say, Loth, you've made a proselyte. + +HELEN + +Ah ... no ... I.... + +MRS. SPILLER + +But, dear Miss Helen, that looks sus-- + +HOFFMANN + +You weren't always so very particular. + +HELEN + +[_Pertly._] I simply have no inclination to drink to-day. That's all. + +HOFFMANN + +Oh, I beg your pardon, very humbly indeed ... Let me see, what were we +talking about? + +LOTH + +We were saying that there were whole families of dipsomaniacs. + +HOFFMANN + +[_Embarrassed anew._] To be sure, to be sure, but ... er.... + + [_Growing anger is noticeable in the behaviour of MRS. KRAUSE. KAHL + is obviously hard put to it to restrain his laughter concerning + something that seems to furnish him immense inner amusement. HELEN + observes KAHL with burning eyes and her threatening glance has + repeatedly restrained him from saying something that is clearly on + the tip of his tongue. LOTH, peeling an apple with a good deal of + equanimity, has taken no notice of all this._ + +LOTH + +What is more, you seem to be rather blessed with that sort of thing +hereabouts. + +HOFFMANN + +[_Almost beside himself._] Why? How? Blessed with what? + +LOTH + +With drunkards, of course. + +HOFFMANN + +H-m! Do you think so ... ah ... yes ... I dare say--the miners.... + +LOTH + +Not only the miners. Here, in the inn, where I stopped before I came to +you, there sat a fellow, for instance, this way. + + [_He rests both elbows on the table, supports his head, with his + hands and stares at the table._ + +HOFFMANN + +Really? + + [_His embarrassment has now reached its highest point; MRS. KRAUSE + coughs; HELEN still commands KAHL with her eyes. His whole body + quivers with internal laughter, but he is still capable of enough + self-command not to burst out._ + +LOTH + +I'm surprised that you don't know this, well, one might almost say, this +matchless example of his kind. It's the inn next door to your house. I +was told that the man is an immensely rich farmer of this place who +literally spends his days and years in the same tap-room drinking +whiskey. Of course he's a mere animal to-day. Those frightfully vacant, +drink-bleared eyes with which he stared at me! + + [_KAHL, who has restrained himself up to this point, breaks out in + coarse, loud, irrepressible laughter, so that LOTH and HOFFMANN, dumb + with astonishment, stare at him._ + +KAHL + +[_Stammering out through his laughter._] By the Almighty, that was.... +Oh, sure, sure--that was the ol' man. + +HELEN + +[_Jumps up, horrified and indignant. She crushes her napkin and flings it +on the table._] You are.... [_With a gesture of utter loathing._] Oh, you +are.... + + [_She withdraws swiftly._ + +KAHL + +[_Violently breaking through the constraint which arises from his +consciousness of having committed a gross blunder._] Oh, pshaw!... It's +too dam' foolish! I'm goin' my own ways. [_He puts on his hat and says, +without turning back:_] Evenin'. + +MRS. KRAUSE + +[_Calls out after him._] Don' know's I c'n blame you, William. [_She +folds her napkin and calls_:] Miele! [_MIELE enters._] Clear the table! +[_To herself, but audibly._] Sich a goose! + +HOFFMANN + +[_Somewhat angry._] Well, mother, honestly, I must say.... + +MRS. KRAUSE + +You go and...! + + [_Arises; exits quickly._ + +MRS. SPILLER + +Madame--m--has had a good many domestic annoyances to-day--m--. I will +now respectfully take my leave. + + [_She rises, prays silently with upturned eyes for a moment and then + leaves._ + + _MIELE and EDWARD clear the table. HOFFMANN has arisen and comes to + the foreground. He has a toothpick in his mouth. LOTH follows him._ + +HOFFMANN + +Well, you see, that's the way women are. + +LOTH + +I can't say that I understand what it was about. + +HOFFMANN + +It isn't worth mentioning. Things like that happen in the most refined +families. It mustn't keep you from spending a few days with us.... + +LOTH + +I should like to have made your wife's acquaintance. Why doesn't she +appear at all? + +HOFFMANN + +[_Cutting off the end of a fresh cigar._] Well, in her condition, you +understand ... women won't abandon their vanity. Come, let's go and take +a few turns in the garden.--Edward, serve coffee in the arbour! + +EDWARD + +Very well, sir. + + [_HOFFMANN and LOTH disappear by way of the conservatory. EDWARD + leaves by way of the middle door and MIELE, immediately thereafter, + goes out, carrying a tray of dishes, by the same door. For a few + seconds the room is empty. Then enters_ + +HELEN + +[_Wrought up, with tear-stained eyes, holding her handkerchief against +her mouth. From the middle door, by which she has entered, she takes a +few hasty steps to the left and listens at the door of HOFFMANN'S room._] +Oh, don't go! [_Hearing nothing there, she hastens over to the door of +the conservatory, where she also listens for a few moments with tense +expression. Folding her hands and in a tone of impassioned beseeching._] +Oh, don't go! Don't go! + +THE CURTAIN FALLS + + + + +THE SECOND ACT + + + _It is about four o'clock in the morning. The windows in the inn are + still lit. Through the gateway comes in the twilight of a pallid dawn + which, in the course of the action, develops into a ruddy glow, and + this, in its turn, gradually melts into bright daylight. Under the + gateway, on the ground, sits BEIPST and sharpens his scythe. As the + curtain rises, little more is visible than his dark outline which is + defined against the morning sky, but one hears the monotonous, + uninterrupted and regular beat of the scythe hammer on the anvil. For + some minutes this is the only sound audible. Then follows the solemn + silence of the morning, broken by the cries of roysterers who are + leaving the inn. The inn-door is slammed with a crash. The lights in + the windows go out. A distant barking of dogs is heard and a loud, + confused crowing of cocks. On the path from the inn to the house a + dark figure becomes visible which reels in zigzag lines toward the + farmyard. It is FARMER KRAUSE, who, as always, has been the last to + leave the inn._ + +FARMER KRAUSE + +[_Has reeled against the fence, clings to it for support with both hands, +and roars with a somewhat nasal, drunken voice back at the inn._] The +garden'sh mine ... the inn'sh mi-ine ... ash of a' inn-keeper! Hi-hee! +[_After mumbling and growling unintelligibly he frees himself from the +fence and staggers into the yard, where, luckily, he gets hold of the +handles of a plough._] The farm'sh mi'ine. [_He drivels, half singing._] +Drink ... o ... lil' brother, drink ... o ... lil' brother ... brandy'sh +good t' give courash. Hi-hee--[_roaring aloud_]--ain' I a han'some man +... Ain' I got a han'some wife?... Ain' I got a couple o' han'some gals? + +HELEN + +[_Comes swiftly from the house. It is plain that she has only slipped on +such garments as, in her hurry, she could find._] Papa!... dear papa!! Do +come in! [_She supports him by one arm, tries to lead him and draw him +toward the house._] Oh, do come ... do please come ... quick ... quick +... Come, oh, do, _do_ come! + +FARMER KRAUSE + +[_Has straightened himself up and tries to stand erect. Fumbling with +both hands he succeeds, with great pains, in extracting from his +breeches-pocket a purse bursting with coins. As the morning brightens, it +is possible to see the shabby garb of KRAUSE, which is in no respects +better than that of the commonest field labourer. He is about fifty years +old. His head is bare, his thin, grey hair is uncombed and matted. His +dirty shirt is open down to his waist. His leathern breeches, tied at the +ankles, were once yellow but are now shiny with dirt. They are held up by +a single embroidered suspender. On his naked feet he wears a pair of +embroidered bedroom slippers, the embroidery on which seems to be quite +new. He wears neither coat nor waist-coat and his shirtsleeves are +unbuttoned. After he has finally succeeded in extracting the purse, he +holds it in his right hand and brings it down repeatedly on the palm of +his left so that the coins ring and clatter, At the same time he fixes a +lascivious look on his daughter._] Hi-hee! The money'sh mi-ine! Hey? +How'd y' like couple o' crownsh? + +HELEN + +Oh, merciful God! [_She makes repeated efforts to drag him with her. At +one of these efforts he embraces her with the clumsiness of a gorilla and +makes several indecent gestures. HELEN utters suppressed cries for +help._] Let go! This minute! Let go-o!! Oh, please, papa, Oh-o!! [_She +weeps, then suddenly cries out in an extremity of fear, loathing and +rage:_] Beast! Swine! + + [_She pushes him from her and KRAUSE falls to his full length on the + ground. BEIPST comes limping up from his seat under the gateway. He + and HELEN set about lifting KRAUSE._ + +FARMER KRAUSE + +[_Stammers._] Drink ... o ... lil' brothersh ... drrr ... + + [_KRAUSE is half-lifted up and tumbles into the house, dragging + BEIPST and HELEN with him. For a moment the stage remains empty. In + the house voices are heard and the slamming of doors. A single window + is lit, upon which BEIPST comes out of the house again. He strikes a + match against his leathern breeches in order to light the short pipe + that rarely leaves his mouth. While he is thus employed, KAHL is seen + slinking out of the house. He is in his stocking feet, but has slung + his coat loosely over his left arm and holds his bedroom slippers in + his left hand. In his right hand he holds his hat and his collar in + his teeth. When he has reached the middle of the yard, he sees the + face of BEIPST turned upon him. For a moment he seems undecided; then + he manages to grasp his hat and collar also with his left hand, dives + into his breeches' pocket and going up to BEIPST presses a coin into + the latter's hand._ + +KAHL + +There, you got a crown ... but shut yer mouth! + + [_He hastens across the yard and climbs over the picket fence at the + right._ + + [_BEIPST has lit his pipe with a fresh match. He limps to the gate, + sits down and begins sharpening his scythe anew. Again nothing is + heard for a time but the monotonous hammer blows and the groans of + the old man, which he interrupts by short oaths when his work will + not go to his liking. It has grown considerably lighter._ + +LOTH + +[_Steps out of the house door, stands still, stretches himself, and +breathes deeply several times._] Ah! The morning air. [_Slowly he goes +toward the background until he reaches the gateway. To BEIPST._] Good +morning! Up so early? + +BEIPST + +[_Squinting at LOTH suspiciously. In a surly tone._] 'Mornin'. [_A brief +pause, whereupon BEIPST addresses his scythe which he pulls to and fro in +his indignation._] Crooked beast! Well, are ye goin' to? Eksch! Well, +well, I'll be ... + + [_He continues to sharpen it._ + +LOTH + +[_Has taken a seat between the handles of a cultivator._] I suppose +there's hay harvesting to-day? + +BEIPST + +[_Roughly._] Dam' fools go a-cuttin' hay this time o' year. + +LOTH + +Well, but you're sharpening a scythe? + +BEIPST + +[_To the scythe._] Eksch! You ol'...! + + [_A brief pause._] + +LOTH + +Won't you tell me, though, why you are sharpening your scythe if it is +not time for the hay harvest? + +BEIPST + +Eh? Don't you need a scythe to cut fodder? + +LOTH + +So that's it. You're going to cut fodder? + +BEIPST + +Well, what else? + +LOTH + +And is it cut every morning? + +BEIPST + +Well, d' you want the beasts to starve? + +LOTH + +You must show me a little forbearance. You see, I'm a city man; and it +isn't possible for me to know things about farming very exactly. + +BEIPST + +City folks! Eksh! All of 'em I ever saw thought they knew it +all--better'n country folks. + +LOTH + +That isn't the case with me.--Can you explain to me, for instance, what +kind of an implement this is? I have seen one like it before, to be sure, +but the name-- + +BEIPST + +That thing that ye're sittin' on? Why, they calls that a cultivator. + +LOTH + +To be sure--a cultivator. Is it used here? + +BEIPST + +Naw; more's the pity. He lets everything go to hell ... all the land ... +lets it go, the farmer does. A poor man would like to have a bit o' +land--you can't have grain growin' in your beard, you know. But no! He'd +rather let it go to the devil! Nothin' grows excep' weeds an' thistles. + +LOTH + +Well, but you can get those out with the cultivator, too. I know that the +Icarians had them, too, in order to weed thoroughly the land that had +been cleared. + +BEIPST + +Where's them I-ca ... what d'you, call 'em? + +LOTH + +The Icarians? In America. + +BEIPST + +They've got things like that there, too? + +LOTH + +Certainly. + +BEIPST + +What kind of people is them I-I-ca...? + +LOTH + +The Icarians? They are not a special people at all, but men of all +nations who have united for a common purpose. They own a considerable +tract of land in America which they cultivate together. They share both +the work and the profits equally. None of them is poor and there are no +poor people among them. + +BEIPST + +[_Whose expression had become a little more friendly, assumes, during +LOTH'S last speech, his former hostile and suspicious look. Without +taking further notice of LOTH he has, during the last few moments, given +his exclusive attention to his work._] Beast of a scythe! + + [_LOTH, still seated, first observes the old man with a quiet smile + and then looks out into the awakening morning._ + + _Through the gateway are visible far stretches of clover field and + meadow. Between them meanders a brook whose course is marked by + alders and willows. A single mountain peak towers on the horizon. All + about, larks have begun their song, and their uninterrupted trilling + floats, now from near, now from far, into the farm yard._ + +LOTH + +[_Getting up._] One ought to take a walk. The morning is magnificent. + + [_The clatter of wooden shoes is heard. Some one is rapidly coming + down the stairs that lead from the stable loft. It is GUSTE._ + +GUSTE + +[_A rather stout maid-servant. Her neck is bare, as are her arms and legs +below the knee. Her naked feet are stuck in wooden shoes. She carries a +burning lantern._] Good morning father Beipst! + + [_BEIPST growls._] + +GUSTE + +[_Shading her eyes with her hand looks after LOTH through the gate._] +What kind of a feller is that? + +BEIPST + +[_Embittered._] He can make fools o' beggars ... He can lie like a parson +... Jus' let him tell you his stories. [_He gets up._] Get the +wheelbarrows ready, girl! + +GUSTE + +[_Who has been washing her legs at the well gets through before +disappearing into the cow stable._] Right away, father Beipst. + +LOTH + +[_Returns and gives BEIPST a tip._] There's something for you. A man can +always use that. + +BEIPST + +[_Thawing at once, quite changed and with sincere companionableness._] +Yes, yes, you're right there, and I thank ye kindly.--I suppose you're +the company of the son-in-law over there? [_Suddenly very voluble._] You +know, if you want to go walkin' out there, you know, toward the hill, +then you want to keep to the left, real close to the left, because to the +right, there's clefts. My son, he used to say, the reason of it was, he +used to say, was because they didn't board the place up right, the miners +didn't. They gets too little pay, he used to say, and then folks does +things just hit or miss, in the shafts you know.--You see? Over yonder? +Always to the left! There's holes on t'other side. It wasn't but only +last year and a butter woman, just as she was, sudden, sunk down in the +earth, I don't know how many fathoms down. Nobody knew whereto. So I'm +tellin' you--go to the left, to the left and you'll be safe. + + [_A shot is heard. BEIPST starts up as though he had been struck and + limps out a few paces into the open._ + +LOTH + +Who, do you think, is shooting so early? + +BEIPST + +Who would it be excep' that rascal of a boy? + +LOTH + +What boy? + +BEIPST + +Will Kahl--our neighbour's son here ... You just wait, you! I've seen +him, I tell you. He shoots larks. + +LOTH + +Why, you limp! + +BEIPST + +Yes, the Lord pity me. [_He shakes a threatening fist toward the +fields._] Eh, wait, you ... you...! + +LOTH + +What happened to your leg? + +BEIPST + +My leg? + +LOTH + +Yes. + +BEIPST + +Eh? Somethin' got into it. + +LOTH + +Do you suffer pain? + +BEIPST + +[_Grasping his leg._] There's a tugging pain in it, a confounded pain. + +LOTH + +Do you see a doctor about it? + +BEIPST + +Doctors? Eh, you know, they're all monkeys--one like another. Only our +doctor here--he's a mighty good man. + +LOTH + +And did he help you? + +BEIPST + +A little, maybe, when all's said. He kneaded my leg, you see, he squeezed +it, an' he punched it. But no,'t'ain't on that account. He is ... well, I +tell you, he's got compassion on a human bein', that's it. He buys the +medicine an' asks nothin'. An' he'll come to you any time ... + +LOTH + +Still, you must have come by that trouble somehow. Or did you always +limp? + +BEIPST + +Not a bit of it! + +LOTH + +Then I don't think I quite understand. There must have been some cause +... + +BEIPST + +How do I know? [_Once more he raises a menacing fist._] You jus' wait, +you--with your rattling! + +KAHL + +[_Appears within his own garden. In his right hand he carries a rifle by +the barrel, his left hand is closed. He calls across._] Good mornin', +Doctor! + + _LOTH walks diagonally across the yard up to KAHL. In the meantime + GUSTE as well as another maid-servant named LIESE have each made + ready a wheel-barrow on which lie rakes and pitch-forks. They trundle + their wheel-barrows past BEIPST out into the fields. The latter, + sending menacing glances toward KAHL and making furtive gestures of + rage, shoulders his scythe and limps after them. BEIPST and the maids + disappear._ + +LOTH + +[_To KAHL._] Good morning. + +KAHL + +D'you want for to see somethin' fine? + + [_He stretches his closed hand across the fence._ + +LOTH + +[_Going nearer._] What have you there? + +KAHL + +Guess! + + [_He opens his hand at once._ + +LOTH + +What? Is it really true--you shoot the larks. You good for nothing! Do +you know that you deserve to be beaten for such mischief? + +KAHL + +[_Stares at LOTH for some seconds in stupid amazement. Then, clenching +his fist furtively he says:_] You son of a...! + + [_And swinging around, disappears toward the right._ + + [_For some moments the yard remains empty._] + + _HELEN steps from the house door. She wears a light-coloured summer + dress and a large garden hat. She looks all around her, walks a few + paces toward the gate-way, stands still and gazes out. Hereupon she + saunters across the yard toward the right and turns into the path + that leads to the inn. Great bundles of various tea-herbs are slung + across the fence to dry. She stops to inhale their odours. She also + bends downward the lower boughs of fruit trees and admires the low + hanging, red-cheeked apples. When she observes LOTH coming toward her + from the inn, a yet greater restlessness comes over her, so that she + finally turns around and reaches the farm yard before LOTH. Here she + notices that the dove-cote is still closed and goes thither through + the little gate that leads into the orchard. While she is still busy + pulling down the cord which, blown about by the wind, has become + entangled somewhere, she is addressed by LOTH, who has come up in the + meantime._ + +LOTH + +Good morning, Miss Krause. + +HELEN + +Good morning. See, the wind has blown the cord up there! + +LOTH + +Let me help you. + + [_He also passes through the little gate, gets the cord down and + opens the dove-cote. The pigeons flutter out._ + +HELEN + +Thank you so much! + +LOTH + +[_Has passed out by the little gate once more and stands there, leaning +against the fence. HELEN is on the other side of it. After a brief +pause._] Do you make a habit of rising so early? + +HELEN + +I was just going to ask you the same thing. + +LOTH + +I? Oh, no! But after the first night in a strange place it usually +happens so. + +HELEN + +Why does that happen? + +LOTH + +I have never thought about it. To what end? + +HELEN + +Oh, wouldn't it serve some end? + +LOTH + +None, at least, that is apparent and practical. + +HELEN + +And so everything that you do or think must have some practical end in +view. + +LOTH + +Exactly. Furthermore ... + +HELEN + +I would not have thought that of you. + +LOTH + +What, Miss Krause? + +HELEN + +It was with those very words that, day before yesterday, my stepmother +snatched "The Sorrows of Werther" from my hand. + +LOTH + +It is a foolish book. + +HELEN + +Oh, don't say that. + +LOTH + +Indeed, I must repeat it, Miss Krause. It is a book for weaklings. + +HELEN + +That may well be. + +LOTH + +How do you come across just that book? Do you quite understand it? + +HELEN + +I hope I do--at least, in part. It rests me to read it. [_After a +pause._] But if it _is_ a foolish book, as you say, could you recommend +me a better one? + +LOTH + +Read ... well, let me see ... do you know Dahn's "Fight for Rome"? + +HELEN + +No, but I'll buy the book now. Does it serve a practical end? + +LOTH + +No, but a rational one. It depicts men not as they are but such as, some +day, they ought to be. Thus it sets up an ideal for our imitation. + +HELEN + +[_Deeply convinced._] Ah, that is noble. [_A brief pause._] But perhaps +you can tell me something else. The papers talk so much about Zola and +Ibsen. Are they great authors? + +LOTH + +In the sense of being artists they are not authors at all, Miss Krause. +They are necessary evils. I have a genuine thirst for the beautiful and I +demand of art a clear, refreshing draught.--I am not ill; and what Zola +and Ibsen offer me is medicine. + +HELEN + +[_Quite involuntarily._] Ah, then perhaps, they might help me. + +LOTH + +[_Who has become gradually absorbed in his vision of the dewy orchard and +who now yields to it wholly._] How very lovely it is here. Look, how the +sun emerges from behind the mountain peak.--And you have so many apples +in your garden--a rich harvest. + +HELEN + +Three-fourths of them will be stolen this year just as last. There is +such great poverty hereabouts. + +LOTH + +I can scarcely tell you how deeply I love the country. Alas, the greater +part of _my_ harvest must be sought in cities. But I must try to enjoy +this country holiday thoroughly. A man like myself needs a bit of +sunshine and refreshment more than most people. + +HELEN + +[_Sighing._] More than others ... In what respect? + +LOTH + +It is because I am in the midst of a hard conflict, the end of which I +will not live to see. + +HELEN + +But are we not all engaged in such a conflict? + +LOTH + +No. + +HELEN + +Surely we are all engaged in some conflict? + +LOTH + +Naturally, but in one that may end. + +HELEN + +It _may_. Yon are right. But why cannot the other end--I mean the one in +which you are engaged, Mr. Loth? + +LOTH + +Your conflict, after all, can only be one for your personal happiness. +And, so far as is humanly speaking possible, the individual can attain +this. My struggle is a struggle for the happiness of all men. The +condition of my happiness would be the happiness of all; nothing could +content me until I saw an end of sickness and poverty, of servitude and +spiritual meanness. I could take my place at the banquet table of life +only as the last of its guests. + +HELEN + +[_With deep conviction._] Ah, then you are a truly, truly good, man! + +LOTH + +[_Somewhat embarrassed._] There is no merit in my attitude: it is an +inborn one. And I must also confess that my struggle in the interest of +progress affords me the highest satisfaction. And the kind of happiness I +thus win is one that I estimate far more highly than the happiness which +contents the ordinary self-seeker. + +HELEN + +Still there are very few people in whom such a taste is inborn. + +LOTH + +Perhaps it isn't wholly inborn. I think that we are constrained to it by +the essential wrongness of the conditions of life. Of course, one must +have a sense for that wrongness. There is the point. Now if one has that +sense and suffers consciously under the wrongness of the conditions in +question--why, then one becomes, necessarily, just what I am. + +HELEN + +Oh, if it were only clearer to me ... Tell me, what conditions, for +instance, do you call wrong? + +LOTH + +Well, it is wrong, for instance, that he who toils in the sweat of his +brow suffers want while the sluggard lives in luxury. It is wrong to +punish murder in times of peace and reward it in times of war. It is +wrong to despise the hangman and yet, as soldiers do, to bear proudly at +one's side a murderous weapon whether it be rapier or sabre. If the +hangman displayed his axe thus he would doubtless be stoned. It is wrong, +finally, to support as a state religion the faith of Christ which teaches +long-suffering, forgiveness and love, and, on the other hand, to train +whole nations to be destroyers of their own kind. These are but a few +among millions of absurdities. It costs an effort to penetrate to the +true nature of all these things: one must begin early. + +HELEN + +But how did you succeed in thinking of all this? It seems so simple and +yet one never thinks of it. + +LOTH + +In various ways: the course of my own personal development, conversation +with friends, reading and independent thinking. I found out the first +absurdity when I was a little boy. I once told a rather flagrant lie and +my father flogged me most soundly. Shortly thereafter I took a railroad +journey with my father and I discovered that my father lied, too, and +seemed to take the action quite as a matter of course. I was five years +old at that time and my father told the conductor that I was not yet four +in order to secure free transportation for me. Again, our teacher said to +us: be industrious, be honourable and you will invariably prosper in +life. But the man had uttered folly, and I discovered that soon enough. +My father was honourable, honest, and thoroughly upright, and yet a +scoundrel who is alive and rich to-day cheated him of his last few +thousands. And my father, driven by want, had to take employment under +this very scoundrel who owned a large soap factory. + +HELEN + +People like myself hardly dare think of such a thing as wrong. At most +one feels it to be so in silence. Indeed, one feels it often--and then--a +kind of despair takes hold of one. + +LOTH + +I recall one absurdity which presented itself to me as such with especial +clearness. I had always believed that murder is punished as a crime under +whatever circumstances. After the incident in question, however, it grew +to be clear to me that only the milder forms of murder are unlawful. + +HELEN + +How is that possible? + +LOTH + +My father was a boilermaster. We lived hard by the factory and our +windows gave on the factory yard. I saw a good many things there. There +was a workingman, for instance, who had worked in the factory for five +years. He began to have a violent cough and to lose flesh ... I recall +how my father told us about the man at table. His name was Burmeister and +he was threatened with pulmonary consumption if he worked much longer in +the soap factory. The doctor had told him so. But the man had eight +children and, weak and emaciated as he was, he couldn't find other work +anywhere. And so he _had_ to stay In the soap factory and his employer +was quite self-righteous because he kept him. He seemed to himself an +extraordinarily humane person.--One August afternoon--the heat was +frightful--Burmeister dragged himself across the yard with a wheelbarrow +full of lime. I was just looking out of the window when I noticed him +stop, stop again, and finally pitch over headlong on the cobblestones. I +ran up to him--my father came, other workingmen came up, but he could +barely gasp and his month was filled with blood. I helped carry him into +the house. He was a mass of limy rags, reeking with all kinds of +chemicals. Before we had gotten him into the house, he was dead. + +HELEN + +Ah, that is terrible. + +LOTH + +Scarcely a week later we pulled his wife out of the river into which the +waste lye of our factory was drained. And, my dear young lady, when one +knows things of that kind as I know them now--believe me--one can find no +rest. A simple little piece of soap, which makes no one else in the world +think of any harm, even a pair of clean, well-cared-for hands are enough +to embitter one thoroughly. + +HELEN + +I saw something like that once. And oh, it was frightful, frightful! + +LOTH + +What was that? + +HELEN + +The son of a workingman was carried in here half-dead. It's about--three +years ago. + +LOTH + +Had he been injured? + +HELEN + +Yes, over there in the Bear shaft. + +LOTH + +So it was a miner? + +HELEN + +Oh, yes. Most of the young men around here go to work in the mines. +Another son of the same man was also a trammer and also met with an +accident. + +LOTH + +And were they both killed? + +HELEN + +Yes, both ... Once the lift broke; the other time it was fire damp.--Old +Beipst has yet a third son and he has gone down to the mine too since +last Easter. + +LOTH + +Is it possible? And doesn't the father object? + +HELEN + +No, not at all. Only he is even more morose than he used to be. Haven't +you seen him yet? + +LOTH + +How could I? + +HELEN + +Why, he sat near here this morning, under the gateway. + +LOTH + +Oh! So he works on the farm here? + +HELEN + +He has been with us for years. + +LOTH + +Does he limp? + +HELEN + +Yes, quite badly, indeed. + +LOTH + +Ah--ha! And what was it that happened to his leg? + +HELEN + +That's a delicate subject. You have met Mr. Kahl?... But I must tell you +this story very softly. [_She draws nearer to LOTH._] His father, you +know, was just as silly about hunting as he is. When wandering +apprentices came into his yard he shot at them--sometimes only into the +air in order to frighten them. He had a violent temper too, and +especially when he had been drinking. Well, I suppose Beipst grumbled one +day--he likes to grumble, you know--and so the farmer snatched up his +rifle and fired at him. Beipst, you know, used to be coachman at the +Kahls. + +LOTH + +Outrage and iniquity wherever one goes. + +HELEN + +[_Growing more uncertain and excited in her speech._] Oh, I've had my own +thoughts often and often ... and I've felt so sick with pity for them +all, for old Beipst and ... When the farmers are so coarse and brutish +like--well, like Streckmann, who--lets his farm hands starve and feeds +sweetmeats to the dogs. I've often felt confused in my mind since I came +home from boarding-school ... I have my burden too!--But I'm talking +nonsense. It can't possibly interest you, and you will only laugh at me +to yourself. + +LOTH + +But, my dear Miss Krause, how can you think that? Why should I? + +HELEN + +How can you help it? You'll think anyhow: she's no better than the rest +here! + +LOTH + +I think ill of no one. + +HELEN + +Oh, you can't make me believe that--ever! + +LOTH + +But what occasion have I given, you to make you ... + +HELEN + +[_Almost in tears._] Oh, don't talk. You despise us; you may be sure that +you do. Why, how can you help despising us--[_tearfully_]--even my +brother-in-law, even me. Indeed, me above all, and you have--oh, you have +truly good reasons for it! + + [_She quickly turns her back to LOTH, no longer able to master her + emotion, and disappears through the orchard into the background. LOTH + passes through the little gate and follows her slowly._ + +MRS. KRAUSE + +[_In morning costume, ridiculously over-dressed, comes out of the house. +Her face is crimson with rage. She screams._] The low-lived hussy! Marie! +Marie!! Under my roof! Out with the brazen hussy! + + [_She runs across the yard and disappears in the stable. MRS. SPILLER + appears in the house-door; she is crocheting. From within the stable + resound scolding and howling._ + +MRS. KRAUSE + +[_Comes out of the stable driving the howling maid before her._] Slut of +a wench!--[_The maid almost screams._]--Git out o' here this minute! Pack +yer things 'n then git out! + +THE MAID + +[_Catching sight of MRS. SPILLER, hurls her milking stool and pail from +her._] That's your doin'! I'll git even with you! + + [_Sobbing, she runs up the stairs to the loft._ + +HELEN + +[_Joining MRS. KRAUSE._] Why, what did she do? + +MRS. KRAUSE + +[_Roughly._] Any o' your business? + +HELEN + +[_Passionately, almost weeping._] Yes, it is my business. + +MRS. SPILLER + +[_Coming up quickly._] Dear Miss Helen, it's nothing fit for the ear of a +young lady ... + +MRS. KRAUSE + +An' I'd like to know why not! She ain't made o' sugar. The wench lay abed +with the hired man. Now you know it! + +HELEN + +[_In a commanding voice._] The maid shall stay for all that! + +MRS. KRAUSE + +Wench! + +HELEN + +Good! Then I'll tell father that you spend your nights just the same way +with William Kahl. + +MRS. KRAUSE + +[_Strikes her full in the face._] There you got a reminder! + +HELEN + +[_Deathly pale, but even more firmly._] And I say the maid shall stay! +Otherwise I'll make it known--you ... with William Kahl ... your cousin, +my betrothed ... I'll tell the whole world. + +MRS. KRAUSE + +[_Her assurance breaking down._] Who can say it's so! + +HELEN + +I can. For I saw him this morning coming out of your bed-room ... + + [_She goes swiftly into the house._ + + [_MRS. KRAUSE totters, almost fainting. MRS. SPILLER hurries to her + with smelling-salts._ + +MRS. SPILLER + +Oh, Madame, Madame! + +MRS. KRAUSE + +Sp--iller; the maid c'n ss-stay! + + +THE CURTAIN FALLS QUICKLY + + + + +THE THIRD ACT + + + _Time: a few minutes after the incident between HELEN and her + step-mother in the yard. The scene is that of the first act._ + + _Dr. SCHIMMELPFENNIG sits at the table in the foreground to the left. + He is writing a prescription. His slouch hat, cotton gloves and cane + lie on the table before him. He is short and thick-set of figure; his + hair is black and clings in small, firm curls to his head; his + moustache is rather heavy. He wears a black coat after the pattern of + the Jaeger reform garments. He has the habit of stroking or pulling + his moustache almost uninterruptedly; the more excited he is, the + more violent is this gesture. When he speaks to HOFFMANN his + expression is one of enforced equanimity, but a touch of sarcasm + hovers about the corners of his mouth. His gestures, which are + thoroughly natural, are lively, decisive and angular. HOFFMANN walks + up and down, dressed in a silk dressing-gown and slippers. The table + in the background to the right is laid for breakfast: costly + porcelain, dainty rolls, a decanter with rum, etc._ + +HOFFMANN + +Are you satisfied with my wife's appearance, doctor? + +DR. SCHIMMELPFENNIG + +She's looking well enough. Why not? + +HOFFMANN + +And do you think that everything will pass favourably? + +DR. SCHIMMELPFENNIG + +I hope so. + +HOFFMANN + +[_After a pause, with hesitation._] Doctor, I made up my mind--weeks +ago--to ask your advice in a very definite matter as soon as I came here. + +DR. SCHIMMELPFENNIG + +[_Who has hitherto talked and written at the same time, lays his pen +aside, arises, and hands HOFFMANN the finished prescription._] Here ... I +suppose you'll have that filled quite soon. [_Taking up his hat, cane and +gloves._] Your wife complains of headaches, and so--[_looking into his +hat and adopting a dry, business-like tone_]--and so, before I forget: +try, if possible, to make it clear to your wife that she is in a measure +responsible for the new life that is to come into the world. I have +already said something to her of the consequences of tight lacing. + +HOFFMANN + +Certainly, doctor ... I'll do my very best to make it clear to her that +... + +DR. SCHIMMELPFENNIG + +[_Bowing somewhat awkwardly._] Good morning. [_He is about to go but +stops again._] Ah, yes, you wanted my advice ... + + [_He regards HOFFMANN coldly._ + +HOFFMANN + +If you can spare me a little while ... [_With a touch of affectation._] +You know about the frightful death of my first boy. You were near enough +to watch it. You know also what my state of mind was.--One doesn't +believe it at first, but--time does heal!... And, after all, I have cause +to be grateful now, since it seems that my dearest wish is about to be +fulfilled. You understand that I must do everything, everything--it has +cost me sleepless nights and yet I don't know yet, not even yet, just +what I must do to guard the unborn child from the terrible fate of its +little brother. And that is what I wanted to ask ... + +DR. SCHIMMELPFENNIG + +[_Dryly and business-like._] Separation from the mother is the +indispensable condition of a healthy development. + +HOFFMANN + +So it is that! Do you mean complete separation?... Is the child not even +to be in the same house with its mother? + +DR. SCHIMMELPFENNIG + +Not if you are seriously concerned for the preservation of your child. +And your wealth permits you the greatest freedom of movement in this +respect. + +HOFFMANN + +Yes, thank God. I have already bought a villa with a very large park in +the neighbourhood of Hirschberg. Only I thought that my wife too ... + +DR. SCHIMMELPFENNIG + +[_Pulls at his moustache and stares at the floor. Thoughtfully._] Why +don't you buy a villa somewhere else for your wife? + + [_HOFFMANN shrugs his shoulders._ + +DR. SCHIMMELPFENNIG + +[_As before._] Could you not, perhaps, engage the interest of your +sister-in-law for the task of bringing up this child? + +HOFFMANN + +If you knew, doctor, how many obstacles ... and, after all, she is a +young, inexperienced girl, and a mother _is_ a mother. + +DR. SCHIMMELPFENNIG + +You have my opinion. Good morning. + +HOFFMANN + +[_Overwhelming the doctor with excessive courtesy._] Good morning. I am +extremely grateful to you ... + + [_Both withdraw through the middle door._ + + _HELEN enters. Her handkerchief is pressed to her mouth; she is + sobbing, beside herself, and lets herself fall on the sofa in the + foreground to the left. After a few moments, HOFFMANN reenters, his + hands full of newspapers._ + +HOFFMANN + +Why, what is that? Tell me, sister, are things to go on this way much +longer? Since I came here not a day has passed on which I haven't seen +you cry. + +HELEN + +Oh!--what do _you_ know? If you had any sense for such things you'd be +surprised that you ever saw me when I didn't cry! + +HOFFMANN + +That isn't clear to me. + +HELEN + +Oh, but it is to me! + +HOFFMANN + +Look here, something must have happened! + +HELEN + +[_Jumps up and stamps her foot._] Ugh ... but I won't bear it any longer +... it's got to stop! I won't endure such things any more! I don't see +why ... I ... + + [_Her sobs choke her._ + +HOFFMANN + +Won't you tell me at least what the trouble is, so that I ... + +HELEN + +[_Bursting out with renewed passion._] I don't care what happens to me! +Nothing worse _could_. I've got a drunkard for a father, a beast--with +whom his ... his own daughter isn't safe.--An adulterous step-mother who +wants to turn me over to her lover ... And this whole life.--No, I don't +see that anyone can force me to be bad in spite of myself. I'm going +away! I'll run away! And if the people here won't let me go, then ... +rope, knife, gun ... I don't care! I don't want to take to drinking +brandy like my sister. + +HOFFMANN + +[_Frightened, grasps her arm._] Nellie, keep still, I tell you; keep +still about that. + +HELEN + +I don't care; I don't care one bit! I ... I'm ashamed of it all to the +very bottom of my soul. I wanted to learn something, to be something, to +have a chance--and what am I now? + +HOFFMANN + +[_Who has not released her arm, begins gradually to dram the girl over +toward the sofa. The tone of his voice now takes on an excessive +softness, an exaggerated, vibrant gentleness._] Nellie! Ah, I know right +well that you have many things to suffer here. But be calm...! You need +not tell one who knows. [_He puts his right hand caressingly upon her +shoulder and brings his face close to hers._] I can't bear to see you +weep. Believe me--it hurts me. But don't, don't see things in a worse +light than is needful--; and then: have you forgotten, that we are +both--you and I--so to speak--in the same position?--I have gotten into +this peasant atmosphere--do I fit into it? As little as you do yourself, +surely. + +HELEN + +If my--dear little mother had suspected this--when she ... when she +directed--that I should be--educated at Herrnhut! If she had rather ... +rather left me at home, then at least ... at least I wouldn't have known +anything else, and I would have grown up in this corruption, But now ... + +HOFFMANN + +[_Has gently forced HELEN down upon the sofa and now sits, pressed close, +beside her. In his consolations the sensual element betrays itself more +and more strongly._] Nellie! Look at me; let those things be. Let me be +your consolation, I needn't talk to you about your sister. [_He embraces +her more firmly. Passionately and feelingly._] Oh, if she were what you +are!... But as it is ... tell me: what can she be to me? Did you ever +hear of a man, Nellie, of a cultured man whose wife--[_he almost +whispers_]--is a prey to such an unhappy passion? One is afraid to utter +it aloud: a woman--and--brandy ... Now, do you think I am any happier?... +Think of my little Freddie! Well, am I, when all's said, any better off +than you are?... [_With increasing passion._] And so, you see, fate has +done us one kindness anyhow. It has brought us together. And we belong +together. Our equal sorrows have predestined us to be friends. Isn't it +so, Nellie? + + [_He puts his arms wholly around her. She permits it but with an + expression which shows that she forces herself to mere endurance. She + has grown quite silent and seems, with quivering tension of soul, to + be awaiting some certainty, some consummation that is inevitably + approaching._ + +HOFFMANN + +[_Tenderly._] You should consent to my plan; you should leave this house +and live with us. The baby that is coming needs a mother. Come and be a +mother to it; otherwise--[_passionately moved and sentimentally_]--it +will have no mother. And then: bring a little, oh, only a very little +brightness into my life! Do that! Oh, do that! + + [_He is about to lean his head upon her breast. She jumps up, + indignant. In her expression are revealed contempt, surprise, + loathing and hatred._ + +HELEN + +Oh, but you are, you are ... Now I know you thoroughly! Oh, I've felt it +dimly before. But now I am certain. + +HOFFMANN + +[_Surprised, put out of countenance._] What? Helen ... you're +unique--really. + +HELEN + +Now I know that you're not by one hair's breadth better ... indeed, +you're much worse--the worst of them all here! + +HOFFMANN + +[_Arises. With assumed coldness._] D'you know, your behaviour to-day is +really quite peculiar. + +HELEN + +[_Approaches him._] You have just one end in view. [_Almost whispering._] +But you have very different weapons from father and from my stepmother, +or from my excellent betrothed--oh, quite different. They are all lambs, +all of them, compared to you. Now, now, suddenly, that has become clear +as day to me. + +HOFFMANN + +[_With hypocritical indignation._] Helen, you seem really not to be in +your right mind; you're, suffering under a delusion.... [_He interrupts +himself and strikes his forehead._] Good Lord, of course! I see it all. +You have ... it's very early in the day, to be sure, but I'd wager ... +Helen! Have you been talking to Alfred Loth this morning? + +HELEN + +And why should I not have been talking to him? He is the kind of man +before whom we should all be hiding in shame if things went by rights. + +HOFFMANN + +So I was right!... That's it ... Aha ... well, to be sure ... then I have +no further cause for surprise. So he actually used the opportunity to go +for his benefactor a bit. Of course, one should really be prepared for +things of that kind. + +HELEN + +Do you know, I think that is really caddish. + +HOFFMANN + +I'm inclined to think so myself. + +HELEN + +He didn't breathe one syllable, not one, about you. + +HOFFMANN + +[_Slurring HELEN'S argument._] If things have reached that pass, then it +is really my duty, my duty, I say, as a relative toward an inexperienced +young girl like you ... + +HELEN + +Inexperienced girl! What is the use of this pretence? + +HOFFMANN + +[_Enraged._] Loth came into this house on my responsibility. Now I want +you to know that he is, to put it mildly, an exceedingly dangerous +fanatic--this Mr. Loth. + +HELEN + +To hear you saying that of Mr. Loth strikes me as so absurd, so laughably +absurd! + +HOFFMANN + +And he is a fanatic, furthermore, who has the gift of muddling the heads +not only of women, but even of sensible people, + +HELEN + +Well, now, you see, that again strikes me as so absurd. I only exchanged +a few words with Mr. Loth and ever since I feel a clearness about things +that does me so much good ... + +HOFFMANN + +[_In a rebukeful tone._] What I tell you is by no means absurd! + +HELEN + +One has to have a sense for the absurd, and that's what you haven't. + +HOFFMANN + +[_In the same manner._] That isn't what we're discussing. I assure you +once more that what I tell you is not at all absurd, but something that I +must ask you to take as actually true ... I have my own experience to +guide me. Notions like that befog one's mind; one rants of universal +brotherhood, of liberty and equality and, of course, transcends every +convention and every moral law.... In those old days, for the sake of +this very nonsense, we were ready to walk over the bodies of our parents +to gain our ends ... Heaven knows it. And he, I tell you, would be +prepared, in a given case, to do the same thing to-day. + +HELEN + +And how many parents, do you suppose, walk year in and out over the +bodies of their children without anybody's ... + +HOFFMANN + +[_Interrupting her._] That is _nonsense_! Why, that's the end of all.... +I tell you to take care, in every ... I tell you emphatically, in _every_ +respect. You won't find a trace of moral scrupulousness in that quarter. + +HELEN + +Oh, dear, how absurd that sounds again. I tell you, when once you begin +to take notice of things like that ... it's awfully interesting. + +HOFFMANN + +You may say what you please. I have warned you. Only I will tell you +quite in confidence: at the time of that incident I very nearly got into +the same damnable mess myself. + +HELEN + +But if he's such a dangerous man, why were you sincerely delighted +yesterday when he ... + +HOFFMANN + +Good Lord, I knew him when I was young. And how do you know that I didn't +have very definite reasons for ... + +HELEN + +Reasons? Of what kind? + +HOFFMANN + +Never mind.--Though, if he came; to-day, and if I knew what I do know +to-day-- + +HELEN + +What is it that you know? I've told you already that he didn't utter one +word about you. + +HOFFMANN + +Well, you may depend on it that if that had been the case, I would have +thought it all over very carefully, and would probably have taken good +care not to keep him here. Loth is now and always will be a man whose +acquaintance compromises you. The authorities have an eye on him. + +HELEN + +Why? Has he committed a crime? + +HOFFMANN + +The less said about it the better. Just let this assurance be sufficient +for you: to go about the world to-day, entertaining his opinions, is far +worse and, above all, far more dangerous than stealing. + +HELEN + +I will remember.--But now--listen! After all your talk about Mr. Loth, +you needn't ask me any more what I think of you.--Do you hear? + +HOFFMANN + +[_With cold cynicism._] Do you suppose that I'm so greatly concerned to +know that? [_He presses the electric button._] And, anyhow, I hear him +coming in. + + LOTH _enters._ + +HOFFMANN + +Hallo! Did you sleep well, old man? + +LOTH + +Well, but not long. Tell me this, though: I saw a gentleman leaving the +house a while ago. + +HOFFMANN + +Probably the doctor. He was here a while ago. I told you about him, +didn't I?--this queer mixture of hardness and sentimentality. + + _HELEN gives instructions to EDWARD, who has just entered. He leaves + and returns shortly, serving tea and coffee._ + +LOTH + +This mixture, as you call him, happened to resemble an old friend of my +student days most remarkably. In fact, I could have taken my oath that it +was a certain--Schimmelpfennig. + +HOFFMANN + +[_Sitting down at the breakfast table._] That's quite +right--Schimmelpfennig. + +LOTH + +Quite right? You mean? + +HOFFMANN + +That his name is really Schimmelpfennig. + +LOTH + +Who? The doctor here? + +HOFFMANN + +Yes, certainly, the doctor. + +LOTH + +Now that is really strange enough. Then of course, it's he? + +HOFFMANN + +Well, you see, beautiful souls find each other on sea and shore. You'll +pardon me, won't you, if I begin? We were just about to sit down to +breakfast. Do take a seat yourself. You haven't had breakfast anywhere +else, have you? + +LOTH + +No. + +HOFFMANN + +Very well. Then sit down. [_Remaining seated himself he draws out a chair +for LOTH hereupon addressing EDWARD, who enters with tea and coffee._] +Ah, by the way, is Mrs. Krause coming down? + +EDWARD + +The madame and Mrs. Spiller are taking their breakfast upstairs. + +HOFFMANN + +Why, that has never before ... + +HELEN + +[_Pushing the dishes to rights._] Never mind. There's a reason. + +HOFFMANN + +Is that so?... Loth, help yourself!... Egg? Tea? + +LOTH + +I wonder if I could have a glass of milk? + +HOFFMANN + +With all the pleasure in the world. + +HELEN + +Edward, tell Miele to get some fresh milk. + +HOFFMANN + +[_Peeling an egg._] Milk--brrr! Horrible! [_Helping himself to salt and +pepper._] By the way, Loth, what brings you into these parts? Up to now +I've forgotten to ask you. + +LOTH + +[_Spreading butter on a roll._] I would like to study the local +conditions. + +HOFFMANN + +[_Looking up sharply._] That so?... What kind of conditions? + +LOTH + +To be precise: I want to study the condition of your miners. + +HOFFMANN + +Ah! In general that condition is a very excellent one, surely. + +LOTH + +Do you think so?--That would be a very pleasant fact ... Before I forget, +however. You can be of some service to me in the matter. You will deserve +very well of political economy, if you ... + +HOFFMANN + +I? How exactly? + +LOTH + +Well, you have the sole agency for the local mines? + +HOFFMANN + +Yes; and what of it? + +LOTH + +It will be very easy for you, in that case, to obtain permission for me +to inspect the mines. That is to say: I would like to go down into them +daily for at least a month, in order that I may gain a fairly accurate +notion of the management. + +HOFFMANN + +[_Carelessly._] And then, I suppose, you will describe what you've seen +down there? + +LOTH + +Yes, my work is to be primarily descriptive. + +HOFFMANN + +I'm awfully sorry, but I've nothing to do with that side of things. So +you just want to write about the miners, eh? + +LOTH + +That question shows how little of an economist you are. + +HOFFMANN + +[_Whose vanity is stung._] I beg your pardon! I hope you don't think ... +Why? I don't see why that isn't a legitimate question?... And, anyhow: it +wouldn't be surprising. One can't know everything. + +LOTH + +Oh, calm yourself. The matter stands simply thus: if I am to study the +situation of the miners in this district, it is of course unavoidably +necessary that I touch upon all the factors that condition their +situation. + +HOFFMANN + +Writings of that kind are sometimes full of frightful exaggerations. + +LOTH + +That is a fault which I hope to guard against. + +HOFFMANN + +That will be very praiseworthy. [_He has several times already cast brief +and searching glances at HELEN, who hangs with naive devoutness upon +LOTH'S lips. He does so again now and continues._] I say ... it's just +simply too queer for anything--how things will suddenly pop into a man's +mind. I wonder how things like that are brought about in the brain? + +LOTH + +What is it that has occurred to you so suddenly? + +HOFFMANN + +It's about you.--I thought of your be--... No, maybe it's tactless to +speak of your heart's secrets in the presence of a young lady. + +HELEN + +Perhaps it would be better for me to.... + +LOTH + +Please stay. Miss Krause! By all means stay, at least as far as I'm +concerned. I've seen for some time what he's aiming at. There's nothing +in the least dangerous about it. [_To HOFFMANN._] You're thinking of my +betrothal, eh? + +HOFFMANN + +Since you mention it yourself, yes. I was, as a matter of fact, thinking +of your betrothal to Anna Faber. + +LOTH + +That was broken off, naturally, when I was sent to prison. + +HOFFMANN + +That wasn't very nice of your.... + +LOTH + +It was, at least, honest in her! The letter in which she broke with me +showed her true face. Had she shown that before she would have spared +herself and me, too, a great deal. + +HOFFMANN + +And since that time your affections haven't taken root anywhere? + +LOTH + +No. + +HOFFMANN + +_Of_ course! I suppose you've capitulated along the whole line--forsworn +marriage as well as drink, eh? Ah, well, _a chacun son gout_. + +LOTH + +It's not my taste that decides in this matter, but perhaps my fate. I +told you once before, I believe, that I have made no renunciation in +regard to marriage. What I fear is this, that I won't find a woman who is +suitable for me, + +HOFFMAN + +That's a big order, Loth! + +LOTH + +I'm quite serious, though. It may be that one grows too critical as the +years go on and possesses too little healthy instinct. And I consider +instinct the best guarantee of a suitable choice. + +HOFFMANN + +[_Frivolously._] Oh, it'll be found again some day--[_laughing_]--the +necessary instinct, I mean. + +LOTH + +And, after all, what have I to offer a woman? I doubt more and more +whether I ought to expect any woman to content herself with that small +part of my personality which does not belong to my life's work. Then, +too, I'm afraid of the cares which a family brings. + +HOFFMANN + +Wh-at? The cares of a married man? Haven't you a head, and arms, eh? + +LOTH + +Obviously. But, as I've tried to tell you, my productive power belongs, +for the greater part, to my life's work and will always belong to it. +Hence it is no longer mine. Then, too, there would be peculiar +difficulties ... + +HOFFMANN + +Listen! Hasn't some one been sounding a gong? + +LOTH + +You consider all I've said mere phrase-making? + +HOFFMANN + +Honestly, it does sound a little hollow. After all, other people are not +necessarily savages, even if they are married. But some men act as though +they had a monopoly of all the good deeds that are to be done in the +world. + +LOTH + +[_With some heat._] Not at all! I'm not thinking of such a thing. If you +hadn't abandoned your life's work, your happy material situation would be +of the greatest assistance ... + +HOFFMANN + +[_Ironically._] So that would be one of your demands, too? + +LOTH + +Demands? How? What? + +HOFFMANN + +I mean that, in marrying, you would have an eye on money. + +LOTH + +Unquestionably. + +HOFFMANN + +And then--if I know you at all--there's quite a list of demands still to +come. + +LOTH + +So there is. The woman, for instance, must have physical and mental +health. That's a _conditio sine qua non_. + +HOFFMANN + +[_Laughing._] Better and better! I suppose then that a previous medical +examination of the lady would be necessary. + +LOTH + +[_Quite seriously_.] You must remember that I make demands upon myself +too. + +HOFFMANN + +[_More and more amused._] I know, I know! I remember your going through +all the literature of love once in order to determine quite +conscientiously whether that which you felt at that time for a certain +lady was really the tender passion. So, let's hear a few more of your +demands. + +LOTH + +My wife, for instance, would have to practice renunciation. + +HELEN + +If ... if ... Ah, I don't know whether it's right to ... but I merely +wanted to say that women, as a rule, are accustomed to renounce. + +LOTH + +For heaven's sake! You understand me quite wrongly. I did not mean +renunciation in the vulgar sense. I would demand renunciation only in so +far, or, rather, I would simply ask my wife to resign voluntarily and +gladly that part of myself which belongs to my chosen work. No, no, in +regard to every thing else, it is my wife who is to make demands--to +demand all that her sex has forfeited in the course of thousands of +years. + +HOFFMANN + +Oho, oho! Emancipation of woman! Really, that sudden turn was +admirable--now you are in the right channel. Fred Loth, or the agitator +in a vest-pocket edition. How would you formulate your demands in this +respect, or rather: to what degree would yam wife have to be +emancipated?--It really amuses me to hear you talk! Would she have to +smoke cigars? Wear breeches? + +LOTH + +Hardly that. I would want her, to be sure, to have risen above certain +social conventions. I should not want her, for instance, to hesitate, if +she felt genuine love for me, to be the first to make the avowal. + +HOFFMANN + +[_Has finished his breakfast. He jumps up in half-humorous, half-serious +indignation._] Do you know? That ... that is a really _shameless_ demand. +And I prophesy, too, that you'll go about with it unfulfilled to your +very end--unless you prefer to drop it first. + +HELEN + +[_Mastering her deep emotion with difficulty._] If you gentlemen will +excuse me now--the household ... You know [_to HOFFMANN_] that mama is +upstairs and so ... + +HOFFMANN + +Don't let us keep you. + + _HELEN bows and withdraws._ + +HOFFMANN + +[_Holding a match case in his hand and walking over to the cigar-box +which stands on the table._] There's no doubt ... you do get a man +excited ... it's almost uncanny. [_He takes a cigar from the box and sits +down on the sofa in the foreground, left. He cuts off the end of his +cigar, and, during what follows, he holds the cigar in his left, the +severed end between the fingers of his right hand._] In spite of all that +... it does amuse me. And then, you don't know how good it feels to pass +a few days in the country this way, away from all business matters. If +only to-day this confounded ... how late is it anyhow? Unfortunately I +have to go into town to a dinner to-day. It couldn't be helped: I had to +give this banquet. What are you going to do as a business man? Tit for +tat. The mine officials are used to that sort of thing.--Well, I've got +time enough to smoke another cigar--quite in peace, too. + + [_He carries the cigar end to a cuspidor, sits down on the sofa again + and lights his cigar._] + +LOTH + +[_Stands at the table and turns the leaves of a deluxe volume._] "The +Adventures of Count Sandor." + +HOFFMANN + +You'll find that trash among all the farmers in the neighbourhood. + +LOTH + +[_Still turning the leaves._] How old is your sister-in-law? + +HOFFMANN + +She was twenty-one last August. + +LOTH + +Is she in delicate health? + +HOFFMANN + +Don't know. I hardly think so, though. Does she make that impression on +you? + +LOTH + +She really looks rather worried than ill. + +HOFFMANN + +Well, if you consider all the miseries with her step-mother ... + +LOTH + +She seems to be rather excitable, too. + +HOFFMANN + +In such an environment ... I should like to see any one who wouldn't +become excitable. + +LOTH + +She seems to possess a good deal of energy. + +HOFFMANN + +Stubbornness. + +LOTH + +Deep feeling, too? + +HOFFMANN + +Too much at times ... + +LOTH + +But if the conditions here are so unfortunate for her, why doesn't your +sister-in-law live with _your_ family? + +HOFFMANN + +You'd better ask her that! I've often enough made her the offer. Women +have these fancies, that's all. [_Holding the cigar in his mouth, +HOFFMANN takes out a note-book and adds a fete items._] You'll forgive +me, won't you, if I have to leave you alone after a while? + +LOTH + +Assuredly. + +HOFFMANN + +How long do you think of stay-- + +LOTH + +I mean to look for a lodging very soon. Where does Schimmelpfennig live? +The best thing would be to go to see him. He would _probably_ be able to +secure one for me. I hope that I'll soon find a suitable place, otherwise +I'll spend the night at the inn next door. + +HOFFMANN + +Why should you? Of course you'll stay with us till morning, at least. To +be sure, I'm only a guest in this house myself, otherwise I'd naturally +ask you to ... you understand? + +LOTH + +Perfectly. + +HOFFMANN + +But do tell me, were you really quite serious when you said ... + +LOTH + +That I would spend the night at an inn...? + +HOFFMANN + +Nonsense ... Of course not!... I mean what you mentioned a while +ago--that business about your ridiculous descriptive essay? + +LOTH + +Why not? + +HOFFMANN + +I must confess that I thought you were jesting. [_He gets up and speaks +confidentially and half-humorously._] Now, you don't mean to say you're +really capable of undermining the ground here where a friend of yours has +been fortunate enough to get a firm foothold? + +LOTH + +You may take my word for it, Hoffmann; I had no idea that you were here. +If I had known that ... + +HOFFMANN + +[_Jumps up, delighted._] Very well, then; very well. If that's the way +things are. And I assure you I'm more than glad that I was not mistaken +in you. So now you do know that I am here. It goes without saying that +I'll make up to you all your travelling expenses and all extras. No, you +needn't be so excessively delicate. It's simply my duty as a friend ... +Now I recognise my excellent old friend again. But I tell you: for a time +I had very serious suspicions of you ... Now you ought to know this, +however. Frankly, I'm not as bad as I sometimes pretend to be, not by any +means. I have always honoured you, you and your sincere, single-minded +efforts. And I'm the last man to fail to attach weight to certain demands +of the exploited, oppressed masses, demands which are, most +unfortunately, only too well justified.--Oh, you may smile. I'll go +further and confess that there is just one party in parliament that has +any true ideals, and that's the party to which you belong! Only--as I +said before--we must go slowly, slowly!--not try to rush things through. +Everything is coming, surely coming about exactly as it ought to. Only +patience! Patience ... + +LOTH + +One must have patience. That is certain. But one isn't justified on that +account in folding one's hands in idleness. + +HOFFMANN + +Exactly my opinion.--As a matter of fact my thoughts have oftener been in +accord with you than my words. It's a bad habit of mine, I admit, I fell +into it in intercourse with people to whom I didn't always want to show +my hand.... Take the question, of woman, for instance ... You expressed a +good many things quite strikingly. [_He has, in the meantime, approached +the telephone, taken up the receiver and now speaks alternately into the +telephone and to LOTH._] My little sister-in-law, by the way, was all ear +... [_Into the telephone._] Frank! I want the carriage in ten minutes ... +[_To LOTH._] You made an impression on her ... [_Into the telephone._] +What--oh, nonsense!--well, that beats everything ... Then hitch up the +black horses at once ... [_To LOTH._] And why shouldn't you?... [_Into +the telephone._] Well, upon my...! To the milliner, you say? The madame? +The ma--! Well, very well, then. But at once! Oh, very well! Yes! What's +the--! [_He presses the button of the servants' bell. To LOTH._] You just +wait. Give me a chance to heap up the necessary mountain of shekels, and +maybe you'll see something happen ... [_EDWARD has entered._] Edward, my +leggings, my walking-coat! [_EDWARD withdraws_.] Maybe something will +happen then that you fellows wouldn't believe of me now ... If, at the +end of two or three days--you must stay with us so long by all means--I'd +consider it a real insult if you didn't--[_he slips out of his +dressing-gown_]--if, at the end of two or three days, you're ready to go. +I'll drive you over to the train. + + _EDWARD enters carrying gaiters and walking-coat._ + +HOFFMANN + +[_Permitting himself to be helped on with the coat._] So-o! [_Sitting +down on a chair._] Now the boots. [_After he has pulled on one of them._] +There's number one! + +LOTH + +Perhaps you didn't quite understand me after all. + +HOFFMANN + +Surely, that's quite possible. A fellow gets out of touch with things. +Nothing but musty business affairs. Edward, hasn't the mail come yet? +Wait a minute!--Do go up into my room. You'll find a document in a blue +cover on the left side of my desk. Get that and put it into the carriage. + + _EDWARD goes through the door at the right, reappears through the + middle-door and then withdraws._ + +LOTH + +I simply meant that you hadn't understood me in one particular respect. + +HOFFMANN + +[_Worrying his foot into the other shoe._] Ouch! There! [_He rises and +stamps his feet._] There we are. Nothing is more disagreeable than tight +shoes ... What were you saying just now? + +LOTH + +You were speaking of my departure ... + +HOFFMANN + +Well? + +LOTH + +But I thought I had explained that I must stay here for a specific +purpose. + +HOFFMANN + +[_In extreme consternation and thoroughly indignant at once._] Look +here!... That comes near being caddish!--Don't you know what you owe me +as your friend? + +LOTH + +Not, I hope, the betrayal of my cause! + +HOFFMANN + +[_Beside himself._] Well then--in that case--I haven't the slightest +motive for treating you as a friend. And so I tell you that I consider +your appearance and demeanour here--to put it mildly--incredibly +impudent. + +LOTH + +[_Quite calmly._] Perhaps you'll explain what gives you the right to use +such epithets ... + +HOFFMANN + +Yon want an explanation of that? That is going to an extreme! Not to feel +a thing like that it's necessary to have a rhinoceros-hide instead of +skin on one's back! You come here, enjoy my hospitality, thresh out a few +of your thread-bare phrases, turn my sister-in-law's head, go on about +old friendship and other pleasant things, and then you tell me quite +coolly: you're going to write a descriptive pamphlet about the local +conditions. Why, what do you take me to be, anyhow? D'you suppose I don't +know that these so-called essays are merely shameless libels?... You want +to write a denunciation like that, and about our coal district, of all +places! Are you so blind that you can't see whom such a rag would harm +most keenly? Only me, of course! I tell you, the trade that you +demagogues drive ought to be more firmly stamped out than has been done +up to now! What is it you do? You make the miners discontented, +presumptuous; you stir them up, embitter them, make them rebellious, +disobedient, wretched! Then you delude them with promises of mountains of +gold, and, in the meantime, grab out of their pockets the few pennies +that keep them from starving! + +LOTH + +Do you consider yourself unmasked now? + +HOFFMANN + +[_Brutally._] Oh, pshaw! You ridiculous, pompous wind-bag! What do you +suppose I care about being unmasked by you?--Go to work! Leave off this +silly drivelling!--Do something! Get ahead! I don't need to sponge on any +one for two-hundred marks! + + [_He rushes out through the middle door._ + + _For several moments LOTH looks calmly after him. Then, no less + calmly, he draws a card case out of his inner pocket, takes a slip of + paper therefrom--HOFFMANN'S cheque--and tears it through several + times. Then he drops the scraps slowly into the coal-bin. Hereupon he + takes his hat and cane and turns to go. At this moment HELEN appears + on the threshold of the conservatory._ + +HELEN + +[_Softly._] Mr. Loth! + +LOTH + +[_Quivers and turns._] Ah, it is you.--Well, then I can at least say +farewell to _you_. + +HELEN + +[_In spite of herself._] Did you feel the need of doing that? + +LOTH + +Yes! I did feel it, indeed. Probably, if you were in there, you heard +what has taken place here, and--in that case.... + +HELEN + +I heard everything. + +LOTH + +In that case it won't astonish you to see me this house with so little +ceremony. + +HELEN + +No-o! I do understand--! But I should like you to feel less harshly +toward my brother-in-law. He always repents very quickly. I have +often.... + +LOTH + +Quite possibly. But for that very reason what he has said just now +probably expresses his true opinion of me.--In fact, it is undoubtedly +his real opinion. + +HELEN + +Do you seriously believe that? + +LOTH + +Oh, yes, quite seriously. And so.... [_He walks toward her and takes her +hand._] I hope that life will be kind to you. [_He turns but at once +stops again._] I don't know...! or rather:--[_he looks calmly and +directly into HELEN'S face_]--I do know, I know--at this moment the +knowledge becomes clear--that it is not so easy for me to go away from +here ... and ... yes ... and ... well, yes...! + +HELEN + +But if I begged you--begged you truly--from my heart ... to stay a little +longer-- + +LOTH + +So you do not share Hoffmann's opinion? + +HELEN + +No!--and that--that is just what I wanted to be sure--quite sure to tell +you, before ... before--you--went. + +LOTH + +[_Grasps her hand once more._] It helps me _much_ to hear you say that. + +HELEN + +[_Struggling with herself. Her excitement mounts rapidly and to the point +of unconsciousness. She stammers out half-chokingly._] And more, oh, more +I wanted to ... to tell you ... that I esteem and ... and ... honour you +as ... I've done no ... man before ... that I trust ... you ... that I'm +ready to ... to prove that ... that I feel toward you ... + + [_She sinks, swooning into his arms._ + +LOTH + +Helen! + + +THE CURTAIN DROPS QUICKLY + + + + +THE FOURTH ACT + + + _The farmyard, as in the second act. Time: a quarter of an hour after + HELEN'S avowal._ + + _MARIE and GOLISCH the cowherd drag a wooden chest down the stairs + that lead to the loft. LOTH comes from the house. He is dressed for + travelling and goes slowly and thoughtfully diagonally across the + yard. Before he turns into the path that leads to the inn, he comes + upon HOFFMANN, who is hurrying toward him through the gateway._ + +HOFFMANN + +[_In top hat and kid gloves._] Don't be angry with me. [_He obstructs +LOTH'S way and grasps both of his hands._] I take it all back herewith +... Mention any reparation you demand ... I am ready to give you any!... +I'm most truly, most sincerely sorry. + +LOTH + +That helps neither of us very much. + +HOFFMANN + +Oh, if you would just ... Look here, now...! A man can't well do more +than that. I assure you that my conscience gave me no rest! I turned back +just before reaching Jauer.... That should convince you of the +seriousness of my feeling. Where were you going? + +LOTH + +To the inn--for the moment. + +HOFFMANN + +Oh, that's an affront you simply can't offer me ... no, you +mustn't--simply, I believe that I did hurt you badly, of course. And +probably it's not the kind of thing that can be wiped out with just a few +words. Only don't rob me of any chance ... of every possibility to prove +to you ... D'you hear? Now turn back and stay at least--at least until +to-morrow. Or till ... till I come back. I want to talk it all over with +you at leisure. You can't refuse me that favour. + +LOTH + +If you set so much store by it all.... + +HOFFMANN + +A great deal!... on my honour!... I care immensely. So come, come! Don't +run away! + + [_He leads LOTH, who offers no further resistance, back into the + house._ + + _The dismissed maid and the boy have, in the meantime, placed the + chest on a wheelbarrow and GOLISCH has put on the shoulder strap._ + +MARIE + +[_Slipping a coin into GOLISCH'S hand._] There's somethin' fer you. + +GOLISCH + +[_Refusing it._] Keep yer penny. + +MARIE + +Aw! Ye donkey! + +GOLISCH + +Well, I don't care. + + [_He takes the coin and puts it into his leathern purse._ + +MRS. SPILLER + +[_Appears at one of the windows of the house and calls out:_] Marie. + +MARIE + +What d'ye want now? + +MRS. SPILLER + +[_Appearing almost immediately at the door of the house._] The madame's +willing to keep you, if you promise.... + +MARIE + +A stinkin' lot I'll promise her. Go on, Golisch! + +MRS. SPILLER + +[_Approaching._] The madame is willing to increase your wages, if you.... +[_Whispering suddenly._] What d'ye care, girl! She just gits kinder +rough now an' then. + +MARIE + +[_Furiously._] She c'n keep her dirty money to herself!--[_Tearfully._] +I'd rather starve! [_She follows GOLISCH, who has preceded her with the +wheelbarrow._] Naw, just to think of it!--It's enough to make you.... + + [_She disappears, as does MRS. SPILLER._ + + _Through the great gate comes BAER called HOPPING BAER. He is a lank + fellow with a vulture's neck and goitre. His feet and head are bare. + His breeches, badly ravelled at the bottom, scarcely reach below the + knee. The top of his head is bald. Such hair as he has, brown, dusty, + and clotted, hangs down over his shoulders. His gait is ostrich-like. + By a cord he draws behind him a child's toy waggon full of sand. His + face is beardless. His whole appearance shows him to be a + god-forsaken peasant lad in the twenties._ + +BAER + +[_With a strangely bleating voice._] Sa--a--and! Sa--a--and! + + _He crosses the yard and disappears between the house and the + stables. HOFFMANN and HELEN come from the house. HELEN is pale and + carries an empty glass in her hand._ + +HOFFMANN + +[_To HELEN._] Entertain him a bit! You understand? Don't let him go. I +should hate to have him.--Injured vanity like that!... Good-bye!... Oh, +maybe I oughtn't to go at all? How is Martha doing?--I've got a queer +kind of feeling as if pretty soon.... Nonsense!--Good-bye! ... awful +hurry!... [_Calls out._] Franz! Give the horses their heads! + + [_Leaves rapidly through the main gate._ + + _HELEN goes to the pump, fills her glass and empties it at one + draught. She empties half of another glass. She then sets the glass + on the pump and then strolls slowly, looking backward from time to + time, through the gate-may. BAER emerges from between the house and + the stables and stops with his waggon before the house door, where + MIELE takes some sand from him. In the meantime KAHL has become + visible at the right, beyond the dividing fence. He is in + conversation with MRS. SPILLER, who is on the hither side of the + fence and therefore close to the entrance of the yard. As the + conversation proceeds, both walk slowly along the fence._ + +MRS. SPILLER + +[_Mildly agonised._] Ah yes--m--Mr. Kahl! I have--m--many a time thought +of--m--you when ... when our--m--dear Miss Helen ... She is so +to--m--speak betrothed to you and so--m--ah! I--m--must say ... in my +time...! + +KAHL + +[_Mounts a rustic bench under the oak-tree and fastens a bird trap to the +lowest branch._] When is th-that b-beast of a doctor goin' to git out o' +here? Ha? + +MRS. SPILLER + +Ah, Mr. Kahl! I don't--m--think so very soon.--Ah, Mr. Kahl, I--m--have, +so to speak, come--m--down in the world, but I--m--know--m--what +refinement is. In this respect, Mr. Kahl, I--must say--dear Miss +Helen isn't--m--acting quite right toward you. No--m--in that +respect, so to speak--m--I've never had anything with which +to--m--reproach myself--m--my conscience, dear Mr. Kahl, is as +pure in that--m--respect--so to speak, as new-fallen snow. + + _BAER has finished the sale of his sand and, at this moment, passes + by KAHL in order to leave the yard._ + +KAHL + +[_Discovers BAER and calls out._] Heres hopping Baer! Hop a bit! + + _BAER takes a, huge leap._ + +KAHL + +[_Bellowing with laughter._] Here, hopping Baer! Hop again! + +MRS. SPILLER + +Well--m--Mr. Kahl, what I want to say is--m--I have the +best--m--intentions toward you. You ought to observe very--m--carefully. +Something--m--is going on between our young lady and--m-- + +KAHL + +If I could j-jist git my d-dogs on that son of a--... Jist once! + +MRS. SPILLER + +[_Mysteriously._] And I'm afraid you--m--don't know what kind of an +individual that--m--is. Oh, I am so--m--truly sorry for our dear young +lady. The wife of the bailiff--she has it straight from the office, I +think. He is said to be a--m--really dangerous person. The woman said her +husband had--m--orders, just think! actually--m--to keep his eye on him. + + _LOTH comes from the house and looks about._ + +MRS. SPILLER + +You see, now he is going--m--after our young lady. Oh, it's _too_ +sad--m--for anything. + +KAHL + +Aw! You wait an' see! + + [_Exit._ + + _MRS. SPILLER goes to the door of the house. In passing LOTH she + makes a deep bow. Then she disappears into the house._ + + _LOTH disappears slowly through the gateway. The coachman's wife, an + emaciated, worried, starved woman, emerges from between the house and + the stables. She carries a large pot hidden under her apron and + slinks off toward the cow-shed, looking about fearfully at every + moment. She disappears into the door of the stable. The two MAIDS, + each before her a wheel-barrow laden with clover, enter by the gate. + BEIPST, his pipe in his mouth and his scythe across his shoulder, + follows them, LIESE has wheeled her barrow in front of the left, + AUGUSTE hers in front of the right door of the barn, and both begin + to carry great armfuls of clover into the building._ + +LIESE + +[_Coming back out of the stable._] Guste! D'ye know, Marie is gone. + +AUGUSTE + +Aw, don' tell me! + +LIESE + +Go in there'n ask the coachman's wife. She's gittin' her a drop o' milk. + +BEIPST + +[_Hangs up his scythe on the wall._] Ye'd better not let that Spiller +creature get wind o' it. + +AUGUSTE + +Oh, Lord, no! Who'd think o' it! + +LIESE + +A poor woman like that with eight-- + +AUGUSTE + +Eight little brats. They wants to be fed! + +LIESE + +An' they wouldn't give her a drop o' milk even. It's low, that's what I +calls it. + +AUGUSTE + +Where is she milkin'? + +LIESE + +Way back there. + +BEIPST + +[_Fills his pipe. Holding his tobacco-pouch with his teeth he mumbles._] +Ye say Marie's gone? + +LIESE + +Yes, it's true an' certain. The parson's hired man slept with her. + +BEIPST + +[_Replacing the tobacco-pouch in his pocket._] Everybody feels that way +sometimes--even a woman. [_He lights his pipe and disappears through the +gateway. In going:_] I'm goin' fer a bit o' breakfast. + +THE COACHMAN'S WIFE + +[_Hiding the pot full of milk carefully under her apron, sticks her head +out of the stable door._] Anybody in sight? + +LIESE + +Ye c'n come if ye'll hurry. There ain't nobody. Come! Hurry! + +THE COACHMAN'S WIFE + +[_Passing by the maids._] It's fer the nursin' baby. + +LIESE + +[_Calling out after her._] Hurry! Some one's comin'. + + _THE COACHMAN'S WIFE disappears between the house and the stable._ + +AUGUSTE + +It's only the young Miss. + + _The maids now finish unloading their wheelbarrows and then thrust + them under the doorway. They both go into the cow-shed._ + + _HELEN and LOTH enter by the gate._ + +LOTH + +A disgusting fellow--this Kahl--an insolent sneak. + +HELEN + +I think in the arbour in front--[_They pass through the small gate into +the little garden by the house and into the arbour._] It's my favourite +place, I'm less disturbed there than anywhere if, sometimes, I want to +read something. + +LOTH + +It's a pretty place.--Really. [_Both sit down in the arbour, consciously +keeping at some distance from one another. An interval of silence. Then +LOTH._] You have very beautiful and abundant hair. + +HELEN + +Yes, my brother-in-law says so too. He thought he had scarcely seen +anyone with so much--not even in the city ... The braid at the top is as +thick as my wrist ... When I let it down, it reaches to my knees. Feel +it. It's like silk, isn't it? + +LOTH + +It is like silk. + + [_A tremour passes through him. He bends down and kisses her hair._ + +HELEN + +[_Frightened._] Ah, don't. If ... + +LOTH + +Helen! Were you in earnest a while ago? + +HELEN + +Oh, I am so ashamed--so deeply ashamed. What have I done? Why, I've +thrown myself at you. That's what I've done. I wonder what you take me +for? + +LOTH + +[_Draws nearer to her and takes her hand in his._] Ah, you mustn't let +_that_ trouble you. + +HELEN + +[_Sighing._] Oh, if Sister Schmittgen knew of that--I dare not imagine +it. + +LOTH + +Who is Sister Schmittgen? + +HELEN + +One of my teachers at boarding-school. + +LOTH + +How can you worry about Sister Schmittgen! + +HELEN + +She was very good. + + [_Laughing heartily to herself suddenly._ + +LOTH + +Why do you laugh all at once? + +HELEN + +[_Half between respect and jest._] Oh, when she stood in the choir and +sang--she had only one long tooth left--then she was supposed to sing: +"Trouble yourselves not, my people!"--and it always sounded like: +"'Rouble, 'rouble yourselves not, my people!" It was too funny. And we +always had to laugh so ... when it sounded through the chapel: "'Rouble, +'rouble!" [_She laughs more and more heartily. LOTH becomes infected by +her mirth. She seems so sweet to him at this moment that he wants to take +the opportunity to put his arms about her. HELEN wards him off._] An, no! +no! Just think! I threw myself at you! + +LOTH + +Oh, don't say such things! + +HELEN + +But it isn't my fault; you have only yourself to blame for it. Why do you +demand ... + + _LOTH puts his arm about her once more and draws her closer to him. + At first she resists a little, then she yields and gazes, with frank + blessedness, into the joyous face of LOTH which bends above her. + Involuntarily, in the awkwardness of her very timidity, she kisses + his mouth. Both grow red; then LOTH returns her kiss. His caress is + long and heartfelt. A giving and taking of kisses--silent and + eloquent at once--is, for a time, all that passes between them. LOTH + is the first to speak._ + +LOTH + +Nellie, dearest! Nellie is your name, isn't it? + +HELEN + +[_Kisses him._] Call me something else ... call me what you like best ... + +LOTH + +Dearest!... + + _The exchange of kisses and of mutual contemplation is repeated._ + +HELEN + +[_Held tight in LOTH'S arms, resting her head on his shoulder, looking up +at him with dim, happy eyes, whispers ecstatically._] Oh, how beautiful! +How beautiful! + +LOTH + +To die with you--thus ... + +HELEN + +[_Passionately._] To live!... [_She disengages herself from his +embrace._] Why die now?... now ... + +LOTH + +Yon must not misunderstand me. Always, in happy moments, it has come over +me with a sense of intoxication--the consciousness of the fact that it is +in our power, in my power, to embrace--you understand? + +HELEN + +To embrace death, if you desired it? + +LOTH + +[_Quite devoid of sentimentality._] Yes! And the thought of death has +nothing horrible in it for me. On the contrary, it seems like the thought +of a friend. One calls and knows surely that death will come. And so one +can rise above so many, many things--above one's past, above one's future +fate ... [_Looking at HELEN'S hand._] What a lovely hand you have. + + [_He caresses it._ + +HELEN + +Ah, yes!--so!... + + [_She nestles anew in his arms._ + +LOTH + +No, do you know, I haven't really lived--until now! + +HELEN + +Do you think I have?... And I feel faint--faint with happiness. Dear God, +how suddenly it all came ... + +LOTH + +Yes, it came all at once ... + +HELEN + +Listen, I feel this way: all the days of my life are like one day; but +yesterday and to-day are like a year--a whole year! + +LOTH + +Didn't I come till yesterday? + +HELEN + +Of course not! Naturally! That's just it!... Oh, and you don't even know +it! + +LOTH + +And surely it seems to me ... + +HELEN + +Doesn't it? Like a whole, long year! Doesn't it? [_Half jumping up._] +Wait...! Don't you hear ... [_They move away from each other._] Oh, but +I don't care one bit! I am so full of courage now. + + [_She remains seated and invites LOTH with her eyes to move nearer, + which he does._ + +HELEN + +[_In LOTH'S arms._] Dear, what are we going to do first? + +LOTH + +Your step-mother, I suppose, would send me packing. + +HELEN + +Oh, my step-mother ... that won't matter ... it doesn't even concern her! +I do as I please! I have my mother's fortune, you must know. + +LOTH + +Did you think on that account ... + +HELEN + +I am of age; father will have to give me my share. + +LOTH + +You are not, then, on good terms with everyone here?--Where has your +father gone to? + +HELEN + +Gone? You have?... Oh, you haven't seen my father yet? + +LOTH + +No; Hoffmann told me.... + +HELEN + +Surely, you saw him once. + +LOTH + +Not that I know of. Where, dearest? + +HELEN + +I.... [_She bursts into tears._] No, I can't. I can't tell you ... it's +too, too fearful! + +LOTH + +So fearful? But, Helen, is anything wrong with your father? + +HELEN + +Oh, don't ask me! Not now, at least! Some time...! + +LOTH + +I will not urge you to tell me anything, dear, that you don't voluntarily +speak of. And, look, as far as the money is concerned ... if the worst +came ... though I don't exactly earn superfluous cash with my +articles--still, in the end, we could both manage to exist on it. + +HELEN + +And I wouldn't be idle either, would I? But the other way is better. My +inheritance Is more than enough.--And there's your life work ... no, +you're not to give that up under any circumstances ... now less than ever +...! Now you're to have your real chance to pursue it! + +LOTH + +[_Kissing her tenderly._] Dearest, best ... + +HELEN + +Oh, do you truly care...? Truly? Truly? + +LOTH + +Truly. + +HELEN + +You must say truly a hundred times. + +LOTH + +Truly and truly and truthfully. + +HELEN + +Oh, now, you're not playing fair! + +LOTH + +I am, though. That truthfully is equal to a hundred trulys. + +HELEN + +Oh? Is that the custom in Berlin? + +LOTH + +No, but it is here in Witzdorf. + +HELEN + +Oh! But now, look at my little finger and don't laugh. + +LOTH + +Gladly. + +HELEN + +Did you ever love any one before your first betrothed? Oh, now you _are_ +laughing! + +LOTH + +I will tell you in all seriousness, dearest; indeed, I think it is my +duty.... In the course of my life a considerable number of women.... + +HELEN + +[_With a quick and violent start, pressing her hand over his mouth._] For +the love of.... Tell me that some day, later, when we are old, when the +years have passed, when I shall say to you: "now!" Do you hear! Not +before! + +LOTH + +Just as you will. + +HELEN + +Rather tell me something sweet now!... Listen: repeat after me: + +LOTH + +What? + +HELEN + +I have loved-- + +LOTH + +I have loved-- + +HELEN + +Always you only-- + +LOTH + +Always you only-- + +HELEN + +All the days of my life-- + +LOTH + +All the days of my life-- + +HELEN + +And will love you only as long as I live-- + +LOTH + +And will love you only as long as I live--and that is true so surely as I +am an honest man. + +HELEN + +[_Joyfully._] I didn't add that! + +LOTH + +But I did. + + [_They kiss each other._ + +HELEN + +[_Hums very softly._] "Thou in my heart art lying ..." + +LOTH + +But now you must confess too. + +HELEN + +Anything you like. + +LOTH + +Confess now! Am I the first? + +HELEN + +No. + +LOTH + +Who? + +HELEN + +[_Laughing out in the fullness of her joy._] Willy Kahl! + +LOTH + +[_Laughing._] Who else? + +HELEN + +Oh, no, there's no one else really. You must believe me ... Truly there +wasn't. Why should I tell you a falsehood? + +LOTH + +So there _was_ someone else? + +HELEN + +[_Passionately._] Oh, please, please, please, don't ask me now. + + [_She hides her face in her hands and weeps apparently without any + reason._ + +LOTH + +But ... but Nellie! I'm not insistent; I don't want to ... + +HELEN + +Later ... I'll tell you later ... not now! + +LOTH + +As I said before, dearest. + +HELEN + +There was some one--I want you to know--whom I ... because ... because +among wicked people he seemed the least wicked. Oh, it is so different +now. [_Weeping against LOTH'S neck: stormily._] Ah, if I only didn't have +to leave you at all any more! Oh, if I could only go away with you right +here on the spot! + +LOTH + +I suppose you have a very unhappy time in the house here? + +HELEN + +Oh, dear!--It's just frightful--the things that happen here. It's a life +like--that ... like that of the beasts of the field--Oh, I would have +died without you. I shudder to think of it! + +LOTH + +I believe it would calm you, dearest, if you would tell me everything +quite openly. + +HELEN + +Yes, to be sure. But I don't think I can bear to. Not now, at least, not +yet. And I'm really afraid to. + +LOTH + +You were at boarding-school, weren't you? + +HELEN + +My mother decided that I be sent--on her death-bed. + +LOTH + +Was your sister there with you? + +HELEN + +No, she was always at home ... And so when, four years ago, I came back +from school, I found a father--who ... a step-mother--who ... a sister +... guess, can't you guess what I mean! + +LOTH + +I suppose your step-mother is quarrelsome? Perhaps jealous? unloving? + +HELEN + +My father...? + +LOTH + +Well, in all probability he dances to her music. Perhaps she tyrannises +over him? + +HELEN + +Oh, if it were nothing else?... No! It is too frightful!--You can't +possibly guess that _that_ ... my father ... that it was _my_ father whom +you ... + +LOTH + +Don't weep, Nellie!... Look, you almost make me feel as though I ought to +insist that you tell ... + +HELEN + +No, no, it isn't possible. I haven't the strength!--not yet! + +LOTH + +But you're wearing yourself out this way! + +HELEN + +But I'm so ashamed, so boundlessly ashamed! Why, you will drive me from +you in horror...! It's beyond anything...! It's loathsome! + +LOTH + +Nellie, dear, you don't know me if you can think such things of me! +Repulse you! Drive you from me! Do I seem such a brute to you? + +HELEN + +My brother-in-law said that you would quite calmly ... But no, no, you +wouldn't? Would you?--You wouldn't just ruthlessly walk over me? Oh! you +won't! You mustn't! I don't know what _would_ become of me! + +LOTH + +But, dear, it's senseless to talk so. There's no earthly reason! + +HELEN + +But if there were a reason, it might happen! + +LOTH + +No! Not at all! + +HELEN + +But if you could think of a reason? + +LOTH + +There are reasons, to be sure; but they're not in question. + +HELEN + +And what kind of reasons? + +LOTH + +I would have to be ruthless only toward some one who would make me betray +my own most ideal self. + +HELEN + +And surely, I wouldn't want to do that! And yet I can't rid myself of the +feeling-- + +LOTH + +What feeling, dearest? + +HELEN + +Perhaps it's just because I'm nothing but a silly girl. There's so little +to me--Why, I don't even know what it is--to have principles! Isn't that +frightful? But I just simply love you so! And you're so good, and so +great, and so very wise! I'm so afraid that you might, sometime, +discover--when I say something foolish, or do something--that it's all a +mistake, that I'm much too silly for you ... I'm really as worthless and +as silly as I can be! + +LOTH + +What shall I say to all that? You're everything to me, just everything in +the whole world. I can't say more! + +HELEN + +And I'm very strong and healthy, too ... + +LOTH + +Tell me, are your parents in good health? + +HELEN + +Indeed they are. That is, mother died in childbirth. But father is still +well; in fact he must have a very strong constitution. But ... + +LOTH + +Well, you see. Everything is ... + +HELEN + +But if my parents were not strong--; + +LOTH + +[_Kissing HELEN._] But then, they are, dear. + +HELEN + +But suppose they were not--? + + _MRS. KRAUSE pushes open a window in the house and calls out into the + yard._ + +MRS. KRAUSE + +Hey! Girls! Gi--rls! + +LIESE + +[_From within the cow-shed._] Yes, Missis? + +MRS. KRAUSE + +Run to Mueller's! It's startin'! + +LIESE + +What! To the midwife, ye mean? + +MRS. KRAUSE + +Are ye standin' on your ear? + + [_She slams the window._ + + _LIESE runs out of the cow-shed with a little shawl over her head and + then out of the yard._ + +MRS. SPILLER + +[_Calls._] Miss Helen! Oh, Miss Helen! + +HELEN + +What do you suppose is--? + +MRS. SPILLER + +[_Approaching the arbour._] Miss Helen! + +HELEN + +Oh, I know. It's my sister who--You must go, 'round that way! + + [_LOTH withdraws rapidly by the right foreground. HELEN steps out + from the arbour._ + +MRS. SPILLER + +Oh, Miss, there you are at last! + +HELEN + +What is it? + +MRS. SPILLER + +Ah--m--your sister. + + [_She whispers into HELEN'S ear._ + +HELEN + +My brother-in-law ordered that the doctor be sent for at any sign of-- + +MRS. SPILLER + +Oh--m--dear Miss Helen--m--she doesn't really want a doctor. These +doctors--m--oh, these doctors--m--with God's help ... + + _MIELE comes from the house._ + +HELEN + +Miele, go at once for Dr. Schimmelpfennig! + +MRS. KRAUSE + +[_From the window, arrogantly._] Miele! You come up here! + +HELEN + +[_In a tone of command._] Miele, you go for the doctor! [_MIELE withdraws +into the house._] Well, then I must go myself ... + + [_She goes into the house and comes back out at once carrying her + straw hat._ + +MRS. SPILLER + +It'll go wrong--m--If you call the doctor, dear Miss Helen,--m--it will +surely go wrong! + + _HELEN passes her by. MRS. SPILLER withdraws into the house, shaking + her head. As HELEN turns at the driveway KAHL is standing at the + boundary fence._ + +KAHL + +[_Calls out to HELEN._] What's the matter over at your place? + + _HELEN does not stop, nor does she deign to notice or answer KAHL._ + +KAHL + +[_Laughing._] I guess ye got a pig killin'? + + +CURTAIN + + + + +THE FIFTH ACT + + + _The same room, as in the first act. Time: toward two o'clock in the + morning. The room is in complete darkness. Through the open middle + door light penetrates into it from the illuminated hall. The light + also falls clearly upon the wooden stairway that leads to the upper + floor. The conversation in this act--with very few exceptions--is + carried on in a muffled tone._ + + _EDWARD enters through the middle door, carrying a light. He lights + the hanging lamp (it is a gas lamp) over the corner table. While he + is thus employed, LOTH _also enters by the middle door._ + +EDWARD + +O Lord! Such goin's on! It'd take a monster to be able to close a eye +here! + +LOTH + +I didn't even try to sleep. I have been writing. + +EDWARD + +You don't say! [_He succeeds in lighting the lamp._] There! Well, sure, I +guess it's hard enough, too ... Maybe you'd like to have paper and ink, +sir? + +LOTH + +Perhaps that would be ... If you would be so good, then, Mr. Edward? + +EDWARD + +[_Placing pen and ink on the table._] I'm always thinkin' that any honest +fellow has got to get all the work there's in every bone for every dirty +penny. You can't even get your rest o' nights. [_More and more +confidentially._] But this crew here! They don't do one thing--a lazy, +worthless crew, a--... I suppose, sir, that you've got to be at it early +and late too, like all honest folks, for your bit o' bread. + +LOTH + +I wish I didn't have to. + +EDWARD + +Me too, you betcher. + +LOTH + +I suppose Miss Helen is with her sister? + +EDWARD + +Yes, sir, an', honestly, she's a good girl, she is; hasn't budged since +it started. + +LOTH + +[_Looking at his watch._] The pains began at eleven o'clock in the +morning. So they've already lasted fifteen hours--fifteen long hours--! + +EDWARD + +Lord, yes!--And that's what they calls the weaker sex. But she's just +barely gaspin'. + +LOTH + +And is Mr. Hoffmann upstairs, too? + +EDWARD + +Yes, an' I can tell you, he's goin' on like a woman. + +LOTH + +Well, I suppose it isn't very easy to have to watch that. + +EDWARD + +You're right there, indeed. Dr. Schimmelpfennig came just now. There's a +man for you: rough as rough can be--but sugar ain't nothing to his real +feelings. But just tell me what's become of little, old Berlin in all +this ... + + [_He interrupts himself with a_ Gee-rusa-lem! _as HOFFMANN and the + DOCTOR are seen coming down the stairs._ + + _HOFFMANN and DR. SCHIMMELPFENNIG enter._ + +HOFFMANN + +Surely--you will stay with us from now on. + +DR. SCHIMMELPFENNIG + +Yes, I suppose I will stay now. + +HOFFMANN + +That's a very, very great consolation to me.--Will you have a glass of +wine? Surely you'll drink a glass of wine, Doctor? + +DR. SCHIMMELPFENNIG + +If you want to do something for me, have a cup of coffee prepared. + +HOFFMANN + +With pleasure. Edward! Coffee for the doctor! [_EDWARD withdraws._] Are +you...? Are you satisfied with the way things are going? + +DR. SCHIMMELPFENNIG + +So long as your wife's strength keeps up there is, at all events, no +direct danger. But why didn't you call in the young midwife? I remember +having recommended her to you. + +HOFFMANN + +My mother-in-law...! What is one to do? And, to be frank with you, my +wife has no confidence in the young woman either. + +DR. SCHIMMELPFENNIG + +But your ladies place confidence in this old fossil? Well, I hope they'll +... And I suppose you would like to go back upstairs? + +HOFFMANN + +Yes, honestly, I can't get much rest down here. + +DR. SCHIMMELPFENNIG + +It would be better undoubtedly if you were to go somewhere--out of the +house. + +HOFFMANN + +With the best will in the world, I--. [_LOTH arises from the sofa in the +dim foreground and approaches the two._] Hallo, Loth, there you are too! + +DR. SCHIMMELPFENNIG + +[_Surprised in the extreme._] Well, I'll be--! + +LOTH + +I heard that you were here. I would have looked you up to-morrow without +fail. + + [_They shake hands cordially. HOFFMANN takes the opportunity to mash + down a glass of brandy at the side-board and then to creep back + upstairs on tiptoe._ + +DR. SCHIMMELPFENNIG + +So you've evidently forgotten--ha, ha, ha--that ridiculous old affair? + + [_He lays aside his hat and cane._ + +LOTH + +Long ago, Schimmel! + +DR. SCHIMMELPFENNIG + +Well, so have I, as you can well imagine. [_They shake hands once more._] +I've had so few pleasant surprises in this hole, that this one seems +positively queer to me. And it is strange that we should meet just here. +It _is_. + +LOTH + +And you faded clear out of sight. Otherwise I'd have routed you out long +ago. + +DR. SCHIMMELPFENNIG + +Oh, I just dived below the surface like a seal. Made deep-sea +investigations. In about a year and a half I hope to emerge once more. A +man must be financially independent--do you know that?--In order to +achieve anything useful. + +LOTH + +So you, too, are making money here? + +DR. SCHIMMELPFENNIG + +Naturally and as much as possible. What else is there to do here? + +LOTH + +You might have let some one hear from you! + +DR. SCHIMMELPFENNIG + +I beg your pardon. But if I had been heard from, I would have heard from +you fellows--and I absolutely didn't want to hear. Nothingnothing. That +would simply have kept me from exploiting my diggings here. + + _The two men walk slowly up and down the room._ + +LOTH + +I see. But then you mustn't be surprised to hear that ... well, they all, +without an exception, really gave you up as hopeless. + +DR. SCHIMMELPFENNIG + +That's like them--the scamps! They'll be made to take notice. + +LOTH + +Schimmel--otherwise the "rough husk"! + +DR. SCHIMMELPFENNIG + +I wish you had had to live here among the farmers for six years. +Hellhounds--every one of them. + +LOTH + +I can imagine that.--But how in the world did you get to Witzdorf? + +DR. SCHIMMELPFENNIG + +The way such things do happen! You remember I had to skin out from Jena +that time. + +LOTH + +Was that before my crash? + +DR. SCHIMMELPFENNIG + +Yes, a short time after we'd given up living together. So I took up +medicine at Zuerich, first simply so as to have something against a time +of need. But then the thing began to interest me, and now I'm a doctor, +heart and soul. + +LOTH + +And about this place. How did you get here? + +DR. SCHIMMELPFENNIG + +Very simply. When I got through I said to myself: first of all you've got +to have a sufficient pile. I thought of America, South and North America, +of Africa, Australia and the isles of the sea ... In the end it occurred +to me, however, that my escapade had become outlawed; and so I made up my +mind to creep back into the old trap. + +LOTH + +And how about your Swiss examinations? + +DR. SCHIMMELPFENNIG + +Why, I simply had to go through the whole rigmarole once more. + +LOTH + +Man! You passed the state medical examination twice over? + +DR. SCHIMMELPFENNIG + +Yes, luckily I then discovered this fat pasture here. + +LOTH + +Your toughness is certainly enviable. + +DR. SCHIMMELPFENNIG + +All very well, unless one collapses suddenly.--Well, it wouldn't matter +so greatly after all. + +LOTH + +Have you a very large practice? + +DR. SCHIMMELPFENNIG + +Oh, yes. Occasionally I don't get to bed till five o'clock in the +morning. And at seven my consultation hour begins again. + + _EDWARD comes in, bringing coffee._ + +DR. SCHIMMELPFENNIG + +[_Sitting down at the table, to EDWARD._] Thank you, Edward.--[_To +LOTH._]--The way I swill coffee is--uncanny. + +LOTH + +You'd better give that up. + +DR. SCHIMMELPFENNIG + +What is one to do? [_He takes small swallows._] As I told you awhile +ago--another year; then--all this stops. At least, I hope so. + +LOTH + +Don't you intend to practice after that at all? + +DR. SCHIMMELPFENNIG + +Don't think so. No--no more. [_He pushes back the tray with the dishes +and wipes his mouth._] By the way, let's see your hand. [_LOTH holds up +both his hands for inspection._] I see. You've taken no wife to your +bosom yet. Haven't found one, I suppose. I remember you always wanted +primaeval vigour in the woman of your choice on account of the soundness +of the strain. And you're quite right, too. If one takes a risk, it ought +to be a good one. Or maybe you've become less stringent in that respect. + +LOTH + +Not a bit! You may take your oath. + +DR. SCHIMMELPFENNIG + +I wish the farmers around here had such notions. But they're in a +wretched condition--degeneration along the whole line ... [_He has half +taken his cigar case from his inner pocket but lets it slip back and +arises as a sound penetrates through the door which is only ajar._] Wait +a moment! [_He goes on tiptoe to the door leading to the hall and +listens. A door is heard to open and close, and for several moments the +moans of the woman in labour are audible. The DOCTOR, turning to LOTH, +says softly._] Excuse me! + + [_And goes out._ + + _For several seconds, while the slamming of doors is heard and the + sound of people running up and down the stairs, LOTH paces the room. + Then he sits down in the arm-chair in the foreground, right. HELEN + slips in and throws her arms about LOTH, who has not observed her + coming from, behind._ + +LOTH + +[_Looking around and embracing her in turn._] Nellie! [_He drams her down +upon his knee in spite of her gentle resistance. HELEN weeps under his +kisses._] Don't cry, Nellie! Why are you crying so? + +HELEN + +Why? Oh, if I knew!... I keep thinking that I won't find you here. Just +now I had such a fright ... + +LOTH + +But why? + +HELEN + +Because I heard you go out of your room--Oh, and my sister--we poor, poor +women!--oh, she's suffering too much! + +LOTH + +The pain is soon forgotten and there is no danger of death. + +HELEN + +Oh, but she is praying so to die. She wails and wails: Do let me die!... +The doctor! + + [_She jumps up and slips into the conservatory._ + +DR. SCHIMMELPFENNIG + +[_On entering._] I do really wish now that that little woman upstairs +would hurry a bit! [_He sits down beside the table, takes out his cigar +case again, extracts a cigar from it and lays the latter down on the +table._] You'll come over to my house afterward, won't you? I have a +necessary evil with two horses standing out there in which we can drive +straight over. [_He taps his cigar against the edge of the table._] Oh, +the holy state of matrimony! O Lord! [_Striking a match._] So you're +still pure, free, pious and merry? + +LOTH + +You might better have waited a few more days with that question. + +DR. SCHIMMELPFENNIG + +[_His cigar is lit now._] Oho! I see!--[_laughing_]--so you've caught on +to my tricks at last! + +LOTH + +Are you still so frightfully pessimistic in regard to women? + +DR. SCHIMMELPFENNIG + +_Fright_fully! [_Watching the drifting smoke of his cigar._] In other +years I was a pessimist, so to speak, by presentiment.... + +LOTH + +Have you had very special experiences in the meantime? + +DR. SCHIMMELPFENNIG + +That's just it. My shingle reads: Specialist for Diseases of Women.--The +practice of medicine, I assure you, makes a man terribly wise ... +terribly ... sane ...; it's a specific against all kinds of delusions. + +LOTH + +[_Laughing._] Well, then we can fall back into our old tone at once. I +want you to know ... I haven't caught on to your tricks at all. Less than +ever now ... But I am to understand, I suppose, that you've exchanged +your old hobby? + +DR. SCHIMMELPFENNIG + +Hobby? + +LOTH + +The question of woman was in those days in a certain way your pet +subject. + +DR. SCHIMMELPFENNIG + +I see! And why should I have exchanged it? + +LOTH + +If you think even worse of women than ... + +DR. SCHIMMELPFENNIG + +[_Somewhat aroused. He gets up and walks to and fro while he is +speaking._] I don't think evil of women.--Not a bit!--I think evil only +of marrying ... of marriage ... of marriage and--at most, of men ... The +woman question, you think, has ceased to interest me? What do you suppose +I've worked here for, during six years, like a cart horse? Surely in +order to devote at last all the power that is in me to the solution of +that question. Didn't you know that from the beginning? + +LOTH + +How do you suppose I could have known it? + +DR. SCHIMMELPFENNIG + +Well, as I said ... and I've already gathered a lot of very significant +material that will be of some service to me! Sh! I've got the bad habit +of raising my voice. [_He falls silent, listens, goes to the door and +comes back._] But what took you among these gold farmers? + +LOTH + +I would like to study the local conditions. + +DR. SCHIMMELPFENNIG + +[_In a repressed tone._] What a notion! [_Still more softly._] I can give +you plenty of material there too. + +LOTH + +To be sure. You must be thoroughly informed as to the conditions here. +How do things look among the families around here? + +DR. SCHIMMELPFENNIG + +Miserable! There's nothing but drunkenness, gluttony, inbreeding and, in +consequence,--degeneration along the whole line. + +LOTH + +With exceptions, surely? + +DR. SCHIMMELPFENNIG + +Hardly. + +LOTH + +[_Disquieted._] Didn't the temptation ever come to you to ... to marry a +daughter of one of these Witzdorf gold farmers? + +DR. SCHIMMELPFENNIG + +The devil! Man, what do you take me for? You might as well ask whether I +... + +LOTH + +[_Very pale._] But why ... why? + +DR. SCHIMMELPFENNIG + +Because ... Anything wrong with you? + + [_He regards LOTH steadily for several moments._ + +LOTH + +Certainly not. What should be wrong? + +DR. SCHIMMELPFENNIG + +[_Has suddenly become very thoughtful. He stops in his walking suddenly +and whistles softly, glances at LOTH and then mutters to himself._] +That's bad! + +LOTH + +You act very strangely all of a sudden. + +DR. SCHIMMELPFENNIG + +Sh! + + [_He listens carefully and then leaves, the room quickly by the + middle door._ + +HELEN + +[_Comes at the end of several seconds from the middle door. She cries +out._] Alfred!--Alfred!... You're here. Oh, thank God! + +LOTH + +Well, dear, did you suppose I had run away? + + [_They embrace each other._ + +HELEN + +[_Bends back. With unmistakable terror in her face._] Alfred! + +LOTH + +What is it, dearest? + +HELEN + +Nothing, nothing ... + +LOTH + +But there must be something. + +HELEN + +You seemed so cold ... Oh, I have such foolish fancies.... + +LOTH + +How are things going upstairs? + +HELEN + +The doctor is quarreling with the midwife. + +LOTH + +Isn't it going to end soon? + +HELEN + +How do I know? But when it ends, when it ends--then.... + +LOTH + +What then?... Tell me, please, what were you going to say? + +HELEN + +Then we ought soon to go away from here. At once! Oh, right away! + +LOTH + +If you think that would really be best, Nellie-- + +HELEN + +It is! it is! We mustn't wait! It's the best thing--for you and for me. +If you don't take me soon, you'll just leave me quite, and then, and then +... It would just be all over with me. + +LOTH + +How distrustful you are, Nellie. + +HELEN + +Don't say that, dearest. Anybody would trust you, would just have to +trust you!... When I am your own, oh, then ... then, you surely wouldn't +leave me. [_As if beside herself._] I beseech you! Don't go away! Only +don't leave me! Don't--go, Alfred! If you go away without me, I would +just have to die, just have to die! + +LOTH + +But you are strange!... And you say you're not distrustful! Or perhaps +they're worrying you, torturing you terribly here--more than ever ... At +all events we'll leave this very night. I am ready. And so, as soon as +you are--we can go. + +HELEN + +[_Falling around his neck with a cry of joyous gratitude._] +Dear--dearest! + + [_She kisses him madly and hurries out._ + + _DR. SCHIMMELPFENNIG comes in through the middle door and catches a + glimpse of HELEN disappearing into the conservatory._ + +DR. SCHIMMELPFENNIG + +Who was that?--Ah, yes! [_To himself._] Poor thing! + + [_He sits down beside the table with a sigh, finds his old cigar, + throws it aside, takes a new cigar from the case and starts to knock + it gently against the edge of the table. Thoughtfully he looks away + across it._ + +LOTH + +[_Watching him._] That's just the way you used to loosen every cigar +before smoking it eight years ago. + +DR. SCHIMMELPFENNIG + +It's possible--[_When he has lit and begun to smoke the cigar._] Listen +to me! + +LOTH + +Yes; what is it? + +DR. SCHIMMELPFENNIG + +I take it that, so soon as the affair is over, you'll come along with me. + +LOTH + +Can't be done. I'm sorry. + +DR. SCHIMMELPFENNIG + +Once in a while, you know, one does feel like talking oneself out +thoroughly. + +LOTH + +I feel that need quite as much, as you do. But you can see from just that +how utterly out of my power it is to go ... + +DR. SCHIMMELPFENNIG + +But suppose I give you my emphatic and, in a way, solemn assurance that +there is a specific, an extremely important matter that I'd like--no, +that I must discuss with you to-night, Loth! + +LOTH + +Queer! You don't expect me to take that in deadly earnest. Surely +not!--You've waited to discuss that matter so many years and now it can't +wait one more day? You know me--I'm not pretending. + +DR. SCHIMMELPFENNIG + +So I am right! Well, well ... + + [_He gets up and walks about._ + +LOTH + +What are you right about? + +DR. SCHIMMELPFENNIG + +[_Standing still before LOTH _and looking straight into his eyes._] So +there is really something between you and Helen Krause? + +LOTH + +Who said--? + +DR. SCHIMMELPFENNIG + +How in the world did you fall in with this family? + +LOTH + +How do you know that, Schimmel? + +DR. SCHIMMELPFENNIG + +It wasn't _so_ hard to guess. + +LOTH + +Well then, for heaven's sake, don't say a word, because ... + +DR. SCHIMMELPFENNIG + +So you're quite regularly betrothed? + +LOTH + +Call it that. At all events, we're agreed. + +DR. SCHIMMELPFENNIG + +But what I want to know is: how did you fall in with this particular +family? + +LOTH + +Hoffmann's an old college friend of mine. Then, too, he was a +member--though only a corresponding one--of my colonisation society. + +DR. SCHIMMELPFENNIG + +I heard about that business at Zuerich.--So he was associated with you. +That explains the wretched half-and-half creature that he is. + +LOTH + +That describes him, no doubt. + +DR. SCHIMMELPFENNIG + +He isn't even _that_, really.--But, look here, Loth! Is that your honest +intention? I mean this thing with the Krause girl. + +LOTH + +Of course it is! Can you doubt it? You don't think me such a scoundrel--? + +DR. SCHIMMELPFENNIG + +Very well! Don't exert yourself! You've probably changed in all this long +time. And why not? It needn't be entirely a disadvantage. A little bit of +humour couldn't harm you. I don't see why one must look at all things in +that damnably serious way. + +LOTH + +I take things more seriously than ever. [_He gets up and walks up and +down with SCHIMMELPFENNIG, always keeping slightly behind the latter._] +You can't possibly know, and I can't possibly explain to you, what this +thing means to me. + +DR. SCHIMMELPFENNIG + +Hm! + +LOTH + +Man, you have no notion of the condition I'm in. One doesn't know it by +simply longing for it. If one did, one would simply go mad with yearning. + +DR. SCHIMMELPFENNIG + +Let the devil try to understand how you fellows come by this senseless +yearning. + +LOTH + +You're not safe against an attack yourself yet. + +DR. SCHIMMELPFENNIG + +I'd like to see that! + +LOTH + +You talk as a blind man would of colour. + +DR. SCHIMMELPFENNIG + +I wouldn't give a farthing for that bit of intoxication. Ridiculous! And +to build a life-long union on such a foundation. I'd rather trust a heap +of shifting sand. + +LOTH + +Intoxication! Pshaw! To call it that is simply to show your utter +blindness to it. Intoxication is fleeting. I've had such spells, I admit. +This happens to be something different. + +DR. SCHIMMELPFENNIG + +Hm! + +LOTH + +I'm perfectly sober all through it. Do you imagine that I surround my +darling with a kind of a--well, how shall I put it--a kind of an aureole? +Not In the least. She lias her faults; she isn't remarkably beautiful, at +least--well, she's certainly not exactly homely either. Judging her quite +objectively--of course it's entirely a matter of taste--I haven't seen +such a sweet girl before in my life. So when you talk of mere +intoxication--nonsense! I am as sober as possible. But, my friend, this +is the remarkable thing: I simply can't imagine myself without her any +longer. It seems to me like an amalgam, as when two metals are so +intimately welded together that you can't say any longer, here's the one, +there's the other. And it all seems so utterly inevitable. In +short--maybe I'm talking rot--or what I say may seem rot to you, but so +much is certain: a man who doesn't know _that_ is a kind of cool-blooded +fishy creature. That's the kind of creature I was up till now, and that's +the kind of wretched thing you are still. + +DR. SCHIMMELPFENNIG + +That's a very complete set of symptoms. Queer how you fellows always +slide up to the very ears into the particular things that you've long ago +rejected theoretically--like yourself into marriage. As long as I've +known you, you've struggled with this unhappy mania for marriage. + +LOTH + +It's instinct with me, sheer instinct. God knows, I can wriggle all I +please--there it is. + +DR. SCHIMMELPFENNIG + +When all's said and done one can fight down even an instinct. + +LOTH + +Certainly, if there's a good reason, why not? + +DR. SCHIMMELPFENNIG + +Is there any good reason for marrying? + +LOTH + +I should say there is. It has a purpose; it has for me! You don't know +how I've succeeded in struggling along hitherto. I don't want to grow +sentimental. Perhaps I didn't feel it quite so keenly either; perhaps I +wasn't so clearly conscious of it as I am now, that in all my endeavour I +had taken on something desolate, something machine-like. No spirit, no +fire, no life! Heaven knows whether I had any faith left! And all that +has come back to me to-day--with such strange fullness, such primal +energy, such joy ... Pshaw, what's the use ... You don't understand. + +DR. SCHIMMELPFENNIG + +The various things you fellows need to keep you going--faith, love, hope. +I consider all that trash. The thing is simply this: humanity lies in its +death throes and we're merely trying to make the agony as bearable as we +can by administering narcotics. + +LOTH + +Is that your latest point of view? + +DR. SCHIMMELPFENNIG + +It's five or six years old by this time and I see no reason to change it. + +LOTH + +I congratulate you on it. + +DR. SCHIMMELPFENNIG + +Thank you. + + _A long pause ensues._ + +DR. SCHIMMELPFENNIG + +[_After several disquieted and unsuccessful beginnings._] The trouble is +just this. I feel that I'm responsible ... I absolutely owe you an +elucidation. I don't believe that you will be able to marry Helen Krause. + +LOTH + +[_Frigidly._] Oh, is that what you think? + +DR. SCHIMMELPFENNIG + +Yes, that's my opinion. There are obstacles present which just you would +... + +LOTH + +Look here! Don't for heaven's sake have any scruples on that account. The +conditions, as a matter of fact, aren't so complicated as all that. At +bottom they're really terribly simple. + +DR. SCHIMMELPFENNIG + +Simply terrible, you'd better say. + +LOTH + +I was referring simply to the obstacles. + +DR. SCHIMMELPFENNIG + +So was I, very largely. But take it all in all, I can't imagine that you +really know the conditions as they are. + +LOTH + +Please, Schimmel, express yourself more clearly. + +DR. SCHIMMELPFENNIG + +You must absolutely have dropped the chief demand which you used to make +in regard to marriage, although you did give me to understand that you +laid as much weight as ever on the propagation of a race sound in mind +and body. + +LOTH + +Dropped my demand...? Dropped it? But why should I? + +DR. SCHIMMELPFENNIG + +I see. Then there's nothing else left me but to ... Then you don't know +the conditions here. You do not know, for instance, that Hoffmann had a +son who perished through alcoholism at the age of three. + +LOTH + +Wha ... what d'you say? + +DR. SCHIMMELPFENNIG + +I'm sorry, Loth, but I've got to tell you. You can do afterward as you +please. But the thing was no joke. They were visiting here just as they +are now. They sent for me--half an hour too late. The little fellow had +bled to death long before I arrived. + + _LOTH drinks in the DOCTOR'S _words with every evidence of profound + and terrible emotion._ + +DR. SCHIMMELPFENNIG + +The silly little chap grabbed for the vinegar bottle, thinking his +beloved rum was in it. The bottle fell and the child tumbled on the +broken glass. Down here, you see, the _vena saphena_, was completely +severed. + +LOTH + +Whose, _whose_ child was that? + +DR. SCHIMMELPFENNIG + +The child of Hoffmann and of the same woman who again, up there ... And +she drinks too, drinks to the point of unconsciousness, drinks whatever +she can get hold of! + +LOTH + +So it's not, it's not inherited from Hoffmann? + +DR. SCHIMMELPFENNIG + +Not at all. That's the tragic aspect of the man! He suffers under it as +much as he is capable of suffering. To be sure, he knew that he was +marrying into a family of dipsomaniacs. The old farmer simply spends his +life in the tavern. + +LOTH + +Then, to be sure--I understand many things--No, everything, rather ... +everything! [_After a heavy silence._] Then her life here, Helen's life, +is a ... how shall I express it? I have no words for it; it's ... + +DR. SCHIMMELPFENNIG + +Utterly horrible. I can judge of that. And I understood from the +beginning how you should cling to her. But, as I said ... + +LOTH + +It's enough. I understand ... But doesn't...? Couldn't one perhaps +persuade Hoffmann to do something? She ought to be removed from all this +foulness. + +DR. SCHIMMELPFENNIG + +Hoffmann? + +LOTH + +Yes, Hoffmann. + +DR. SCHIMMELPFENNIG + +You don't know him. I don't believe that he has ruined her already, but +he has ruined her reputation even now. + +LOTH + +[_Flaring up._] If that's true, I'll murder...! D'you really believe +that? Do you think Hoffmann capable...? + +DR. SCHIMMELPFENNIG + +Of anything! I think him capable of anything that might contribute to his +own pleasure. + +LOTH + +Then she is--the purest creature that ever breathed ... + + _LOTH slowly takes up his hat and cane and hangs his mallet over his + shoulder._ + +DR. SCHIMMELPFENNIG + +What do you think of doing, Loth? + +LOTH + +... I mustn't meet her ... + +DR. SCHIMMELPFENNIG + +So you're determined? + +LOTH + +Determined to what? + +DR. SCHIMMELPFENNIG + +To break the connection. + +LOTH + +How is it possible for me to be other than determined? + +DR. SCHIMMELPFENNIG + +I may add, as a physician, that cases are known in which such inherited +evils have been suppressed. And of course you would give your children a +rational up-bringing. + +LOTH + +Such cases may be known. + +DR. SCHIMMELPFENNIG + +And the chances are not so small but that ... + +LOTH + +That kind of thing can't help me, Schimmel. There are just three +possibilities in this affair: Either I marry her and then ... no, that +way out simply doesn't exist. Or--the traditional bullet. Of course, that +would mean rest, at least. But we haven't reached that point yet awhile; +can't indulge in that luxury just yet. And so: live! fight!--Farther, +farther! [_His glance falls on the table and he observes the +writing-materials that have been placed there by EDWARD. He sits down, +hesitates and says:_] And yet...? + +DR. SCHIMMELPFENNIG + +I promise you that I'll represent the situation to her as clearly as +possible. + +LOTH + +Yes, yes! You see--I can't do differently. [_He writes, places his paper +in an envelope and addresses it. Then he arises and shakes hands with +SCHIMMELPFENNIG._] For the rest--I depend on you. + +DR. SCHIMMELPFENNIG + +You're coming over to my house, aren't, you? Let my coachman drive you +right over. + +LOTH + +Look here! Oughtn't one to try, at least, to get her out of the power of +this ... this person? ... As things are she is sure to become his victim. + +DR. SCHIMMELPFENNIG + +My dear, good fellow! I'm sorry for you. But shall I give you a bit of +advice? Don't rob her of the--little that you still leave her. + +LOTH + +[_With a deep sigh._] Maybe you're right--perhaps certainly. + + _Hasty steps are heard descending the stairs. In the next moment + HOFFMANN rushes in._ + +HOFFMANN + +Doctor, I beg you, for heaven's sake ... she is fainting ... the pains +have stopped ... won't you at last ... + +DR. SCHIMMELPFENNIG + +I'm coming up. [_To LOTH significantly._] We'll see each other later. Mr. +Hoffmann, I must request you ... any interference or disturbance might +prove fatal ... I would much prefer to have you stay here. + +HOFFMANN + +You ask a great deal, but ... well! + +DR. SCHIMMELPFENNIG + +No more than is right. + + [_He goes._ + + _HOFFMANN remains behind._ + +HOFFMANN + +[_Observing LOTH._] I'm just trembling in every limb from the excitement. +Tell me, are you leaving? + +LOTH + +Yes. + +HOFFMANN + +Now in the middle of the night? + +LOTH + +I'm only going as far as Schimmelpfennig's. + +HOFFMANN + +Ah, yes. Well ... as things have shaped themselves, it's of course no +pleasure staying with us any longer ... So, good luck! + +LOTH + +I thank you for your hospitality. + +HOFFMANN + +And how about that plan of yours? + +LOTH + +What plan? + +HOFFMANN + +I mean that essay of yours, that economic description of our district. I +ought to say ... in fact, as a friend, I would beg of you as insistently +as possible ... + +LOTH + +Don't worry about that any more. I'll be far away from here by to-morrow. + +HOFFMANN + +That is really-- + + [_He interrupts himself._ + +LOTH + +Kind of you, you were going to say. + +HOFFMANN + +Oh, I don't know. Well, in a certain respect, yes! And anyhow you must +forgive me; I'm so frightfully upset. Just count on me. Old friends are +always the best! Good-bye, good-bye. + + [_He leaves through the middle door._ + +LOTH + +[_Before going to the door, turns around once more with a long glance as +if to imprint the whole room on his memory. Then to himself:_] I suppose +I can go now ... + + [_After a last glance he leaves._ + + _The room remains empty for some seconds. The sound of muffled voices + and the noise of footfalls is heard. Then HOFFMANN appears. As soon + as he has closed the door behind him, he takes out his note-book and + runs over some account with exaggerated calm. He interrupts himself, + listens, becomes restless again, advances to the door and listens + there. Suddenly some one runs down the stair and HELEN bursts in._ + +HELEN + +[_Still without._] Brother! [_At the door._] Brother! + +HOFFMANN + +What's the _matter_? + +HELEN + +Be brave: still-born! + +HOFFMANN + +O my God! + + [_He rushes out._ + +HELEN _alone._ + + _She looks about her and calls softly:_ Alfred! Alfred! _As she + receives no answer, she calls out again more quickly:_ Alfred! + Alfred! _She has hurried to the door of the conservatory through + which she gazes anxiously. She goes into the conservatory, but + reappears shortly._ Alfred! _Her disquiet increases. She peers out of + the window._ Alfred! _She opens the window and mounts a chair that + stands before it. At this moment there resounds clearly from the yard + the shouting of the drunken farmer, her father, who is coming home + from the inn,_ Hay-hee! Ain' I a han'some feller? Ain' I got a + fine-lookin' wife? Ain' I got a couple o' han'some gals? Hay-hee! + _HELEN utters a short cry and runs, like a hunted creature, toward + the middle door. From there she discovers the letter which LOTH has + left lying on thee table. She runs to it, tears it open, feverishly + takes in the contents, of which she audibly utters separate words._ + "Insuperable!" ... "Never again." ... _She lets the letter fall and + sways._ It's over! _She steadies herself, holds her head with both + hands and cries out in brief and piercing despair._ It's over! _She + rushes out through the--middle door. The farmer's voice without, + drawing nearer._ Hay-hee! Ain' the farm mine? Ain' I got a han'some + wife? Ain' I a han'some feller? _HELEN, still seeking LOTH + half-madly, comes from the conservatory and meets EDWARD, who has + come to fetch something from HOFFMANN'S room. She addresses him:_ + Edward! _He answers:_ Yes, Miss Krause. _She continues:_ I'd like to + ... like to ... Dr. Loth ... _EDWARD answers:_ Dr. Loth drove away in + Dr. Schimmelpfennig's carriage. _He disappears into HOFFMANN'S room._ + True! _HELEN cries out and holds herself erect with difficulty. In + the next moment a desperate energy takes hold of her. She runs to the + foreground and seizes the hunting knife with its belt which is + fastened to the stag's antlers above the sofa. She hides the weapon + and stays quietly in the dark foreground until EDWARD, coming from + HOFFMANN'S room, has disappeared through the middle door. The + farmer's voice resounds more clearly from moment to moment._ Hay-hee! + Ain' I a han'some feller? _At this sound, as at a signal, HELEN + starts and runs, in her turn, into HOFFMANN'S room. The main room is + empty but one continues to hear the farmer's voice:_ Ain' I got the + finest teeth? Ain' I got a fine farm? _MIELE comes through the middle + door and looks searchingly about. She calls:_ Miss Helen! Miss Helen! + _Meanwhile the farmer's voice:_ The money 'sh mi-ine! _Without + further hesitation MIELE has disappeared into HOFFMANN'S room, the + door of which she leaves open. In the next moment she rushes out with + every sign of insane terror. Screaming she spins around + twice--thrice--screaming she flies through the middle door. Her + uninterrupted screaming, softening as it recedes, is audible for + several seconds. Last there is heard the opening and resonant + slamming of the heavy house door, the tread of the farmer stumbling + about in the hall, and his coarse, nasal, thick-tongued drunkard's + voice echoes through the room:_ Hay-hee! Ain' I got a couple o' + han'some gals? + +CURTAIN + + + + +THE WEAVERS + + + + + _I DEDICATE THIS DRAMA TO MY FATHER + + ROBERT HAUPTMANN. + + You, dear father, know what feelings lead me to dedicate this work to + you, and I am not called upon to analyse them here. + + Your stories of my grandfather, who in his young days sat at the + loom, a poor weaver like those here depicted, contained the germ of + my drama. Whether it possesses the vigour of life or is rotten at the + core, it is the best, "so poor a man as Hamlet is" can offer. + + Your + + GERHART_ + + + + +COMPLETE LIST OF CHARACTERS + + +DREISSIGER, _fustian manufacturer._ + +MRS. DREISSIGER. + +PFEIFER, _manager in DREISSIGER'S employment._ + +NEUMANN, _cashier in DREISSIGER'S employment._ + +AN APPRENTICE _in DREISSIGER'S employment._ + +JOHN, _coachman in DREISSIGER'S employment._ + +A MAID _in DREISSIGER'S employment._ + +WEINHOLD, _tutor to DREISSIGER'S sons._ + +PASTOR KITTELHAUS. + +MRS. KITTELHAUS. + +HEIDE, _Police Superintendent._ + +KUTSCHE, _policeman._ + +WELZEL, _publican._ + +MRS. WELZEL. + +ANNA WELZEL. + +WIEGAND, _joiner._ + +A COMMERCIAL TRAVELLER. + +A PEASANT. + +A FORESTER. + +SCHMIDT, _surgeon._ + +HORNIG, _rag dealer._ + +WITTIG, _smith._ + + +WEAVERS. + + +BECKER. + +MORITZ JAEGER. + +OLD BAUMERT. + +MOTHER BAUMERT. + +BERTHA BAUMERT + +EMMA BAUMERT + +FRITZ, EMMA'S _son (four years old)._ + +AUGUST BAUMERT. + +OLD ANSORGE. + +MRS. HEINRICH. + +OLD HILSE. + +MOTHER HILSE. + +GOTTLIEB HILSE. + +LUISE, GOTTLIEB'S _wife._ + +MIELCHEN, _their daughter (six years old)._ + +REIMANN, _weaver._ + +HELEN, _weaver._ + +A WEAVER'S WIFE. + +_A number of weavers, young and old, of both sexes._ + + +The action passes in the Forties, at Kaschbach, Peterswaldau and +Langenbielau, in the Eulengebirge. + + + + +THE FIRST ACT + + + _A large whitewashed room on the ground floor of DREISSIGER'S house + at Peterswaldau, where the weavers deliver their finished webs and + the fustian is stored. To the left are uncurtained windows, in the + back mall there is a glass door, and to the right another glass door, + through which weavers, male and female, and children, are passing in + and out. All three walls are lined with shelves for the storing of + the fustian. Against the right wall stands a long bench, on which a + number of weavers have already spread out their cloth. In the order + of arrival each presents his piece to be examined by PFEIFER, + DREISSIGER'S manager, who stands, with compass and magnifying-glass, + behind a large table, on which the web to be inspected is laid. When + PFEIFER has satisfied himself, the weaver lays the fustian on the + scale, and an office apprentice tests its weight. The same boy stores + the accepted pieces on the shelves. PFEIFER calls out the payment due + in each case to NEUMANN, the cashier, who is seated at a small + table._ + + _It is a sultry day towards the end of May. The clock is on the + stroke of twelve. Most of the waiting work-people have the air of + standing before the bar of justice, in torturing expectation of a + decision that means life or death to them. They are marked too by the + anxious timidity characteristic of the receiver of charity, who has + suffered many humiliations, and, conscious that he is barely + tolerated, has acquired the habit of self-effacement. Add to this a + rigid expression on every face that tells of constant, fruitless + brooding. There is a general resemblance among the men. They have + something about them of the dwarf, something of the schoolmaster. The + majority are flat-breasted, short-minded, sallow, and poor + looking--creatures of the loom, their knees bent with much silting. + At a, first glance the women show fewer typical traits. They look + over-driven, worried, reckless, whereas the men still make some show + of a pitiful self-respect; and their clothes are ragged, while the + men's are patched and mended. Some of the young girls are not without + a certain charm, consisting in a wax-like pallor, a slender figure, + and large, projecting, melancholy eyes._ + +NEUMANN + +[_Counting out money._] Comes to one and seven-pence halfpenny. + +WEAVER'S WIFE + +[_About thirty, emaciated, takes up the money with trembling fingers._] +Thank you, sir. + +NEUMANN + +[_Seeing that she does not move on._] Well, something wrong this time, +too? + +WEAVER'S WIFE + +[_Agitated, imploringly._] Do you think I might have a few pence in +advance, sir? I need it that bad. + +NEUMANN + +And I need a few pounds. If it was only a question of needing it--! +[_Already occupied in counting out another weaver's money, gruffly._] +It's Mr. Dreissiger who settles about pay in advance. + +WEAVER'S WIFE + +Couldn't I speak to Mr. Dreissiger himself, then, sir? + +PFEIFER + +[_Now manager, formerly weaver. The type is unmistakable, only he is well +fed, well dressed, clean shaven; also takes snuff copiously. He calls out +roughly._] Mr. Dreissiger would have enough to do if he had to attend to +every trifle himself. That's what we are here for. [_He measures, and +then examines through the magnifying-glass._] Mercy on us! what a +draught! [_Puts a thick muffler round his neck._] Shut the door, whoever +comes in. + +APPRENTICE + +[_Loudly to PFEIFER._] You might as well talk to stocks and stones. + +PFEIFER + +That's done!--Weigh! [_The weaver places his web on the scales._] If you +only understood your business a little better! Full of lumps again.... I +hardly need to look at the cloth to see them. Call yourself a weaver, and +"draw as long a bow" as you've done there! + + _BECKER has entered. A young, exceptionally powerfully-built weaver; + offhand, almost bold in manner. PFEIFER, NEUMANN, and the APPRENTICE + exchange looks of mutual understanding as he comes in._ + +BECKER + +Devil take it! This is a sweatin' job, and no mistake. + +FIRST WEAVER + +[_In a low voice._] This blazin' heat means rain. + + [_OLD BAUMERT forces his way in at the glass door on the right, + through which the crowd of weavers can be seen, standing shoulder to + shoulder, waiting their turn. The old man stumbles forward and lays + his bundle on the bench, beside BECKER'S. He sits down by it, and + wipes the sweat from his face._ + +OLD BAUMERT + +A man has a right to a rest after that. + +BECKER + +Rest's better than money. + +OLD BAUMERT + +Yes, but we _needs_ the money too. Good mornin' to you, Becker! + +BECKER + +Mornin', father Baumert! Goodness knows how long we'll have to stand here +again. + +FIRST WEAVER + +That don't matter. What's to hinder a weaver waitin' for an hour, or for +a day? What else is he there for? + +PFEIFER + +Silence there! We can't hear our own voices. + +BECKER + +[_In a low voice._] This is one of his bad days. + +PFEIFER + +[_To the weaver standing before him._] How often have I told you that you +must bring cleaner cloth? What sort of mess is this? Knots, and straw, +and all kinds of dirt. + +REIMANN + +It's for want of a new picker, sir. + +APPRENTICE + +[_Has weighed the piece._] Short weight, too. + +PFEIFER + +I never saw such weavers. I hate to give out the yarn to them. It was +another story in my day! I'd have caught it finely from my master for +work like that. The business was carried on in different style then. A +man had to know his trade--that's the last thing that's thought of +nowadays. Reimann, one shilling. + +REIMANN + +But there's always a pound allowed for waste. + +PFEIFER + +I've no time. Next man!--What have you to show? + +HEIBER + +[_Lays his web on the table. While PFEIFER is examining it, he goes close +up to him; eagerly in a low tone._] Beg pardon, Mr. Pfeifer, but I wanted +to ask you, sir, if you would perhaps be so very kind an' do me the +favour an' not take my advance money off this week's pay. + +PFEIFER + +[_Measuring and examining the texture; jeeringly._] Well! What next, I +wonder? This looks very much as if half the weft had stuck to the bobbins +again. + +HEIBER + +[_Continues._] I'll be sure to make it all right next week, sir. But this +last week I've had to put in two days' work on the estate. And my missus +is ill in bed.... + +PFEIFER + +[_Giving the web to be weighed._] Another piece of real slop-work. +[_Already examining a new web._] What a selvage! Here it's broad, there +it's narrow; here it's drawn in by the wefts goodness knows how tight, +and there it's torn out again by the temples. And hardly seventy threads +weft to the inch. What's come of the rest? Do you call this honest work? +I never saw anything like it. + + [_HEIBER, repressing tears, stands humiliated and helpless._ + +BECKER + +[_In a low voice to BAUMERT._] To please that brute you'd have to pay for +extra yarn out o' your own pocket. + +WEAVER'S WIFE + +[_Who has remained standing near the cashier's table, from time to time +looking round appealingly, takes courage and once more turns imploringly +to the cashier._] I don't know what's to come o' me, sir, if you won't +give me a little advance this time ... O Lord, O Lord! + +PFEIFER + +[_Calls across._] It's no good whining, or dragging the Lord's name into +the matter. You're not so anxious about Him at other times. You look +after your husband and see that he's not to be found so often lounging in +the public-house. We can give no pay in advance. We have to account for +every penny. It's not our money. People that are industrious, and +understand their work, and do it in the fear of God, never need their pay +in advance. So now you know. + +NEUMANN + +If a Bielau weaver got four times as much pay, he would squander it four +times over and be in debt into the bargain. + +WEAVER'S WIFE + +[_In a loud voice, as if appealing to the general sense of justice._] No +one can't call me idle, but I'm not fit now for what I once was. I've +twice had a miscarriage. And as to John, he's but a poor creature. He's +been to the shepherd at Zerlau, but he couldn't do him no good, and ... +you can't do more than you've strength for.... We works as hard as ever +we can. This many a week I've been at it till far on into the night. An' +we'll keep our heads above water right enough if I can just get a bit o' +strength into me. But you must have pity on us, Mr. Pfeifer, sir. +[_Eagerly, coaxingly._] You'll please be so very kind as to let me have a +few pence on the next job, sir? + +PFEIFER + +[_Paying no attention._] Fiedler, one and twopence. + +WEAVER'S WIFE + +Only a few pence, to buy bread with. We can't get no more credit. We've a +lot o' little ones. + +NEUMANN + +[_Half aside to the APPRENTICE, in a serio-comic-tone._] "Every year +brings a child to the linen-weaver's wife, heigh-ho, heigh-ho, heigh." + +APPRENTICE + +[_Takes up the rhyme, half singing._] "And the little brat it's blind the +first weeks of its life, heigh-ho, heigh-ho, heigh." + +REIMANN + +[_Not touching the money which the cashier has counted out to him._] +We've always got one and fourpence for the web. + +PFEIFER + +[_Calls across._] If our terms don't suit you, Reimann, you have only to +say so. There's no scarcity of weavers--especially of your sort. For full +weight we give full pay. + +REIMANN + +How anything can be wrong with the weight o' this...! + +PFEIFER + +You bring a piece of fustian with no faults in it, and there will be no +fault in the pay. + +REIMANN + +It's clean impossible that there's too many knots in this web. + +PFEIFER + +[_Examining._] If you want to live well, then be sure you weave well. + +HEIBER + +[_Has remained standing near PFEIFER, so as to seize on any favourable +opportunity. He laughs at PFEIFER'S little witticism, then steps forward +and again addresses him._] I wanted to ask you, sir, if you would perhaps +have the great kindness not to take my advance of sixpence off to-day's +pay? My missus has been bedridden since February, She can't do a hand's +turn for me, an' I've to pay a bobbin girl. An' so ... + +PFEIFER + +[_Takes a pinch of snuff._] Heiber do you think I have no one to attend +to but you? The others must have their turn. + +REIMANN + +As the warp was given me I took it home and fastened it to the beam. I +can't bring back no better yarn than I gets. + +PFEIFER + +If you're not satisfied, you need come for no more. There are plenty +ready to tramp the soles off their shoes to get it. + +NEUMANN + +[_To REIMANN._] Don't you want your money? + +REIMANN + +I can't bring myself to take such pay. + +NEUMANN + +[_Paying no further attention to REIMANN._] Heiber, one shilling. Deduct +sixpence for pay it advance. Leaves sixpence. + +HEIBER + +[_Goes up to the table, looks at the money, stands shaking his head as if +unable to believe his eyes, then slowly takes it up._] Well, I never!-- +[_Sighing._] Oh dear, oh dear! + +OLD BAUMERT + +[_Looking into HEIBER'S face._] Yes, Franz, that's so! There's matter +enough for sighing. + +HEIBER + +[_Speaking with difficulty._] I've a girl lyin' sick at home too, an' she +needs a bottle of medicine. + +OLD BAUMERT + +What's wrong with her? + +HEIBER + +Well, you see, she's always been a sickly bit of a thing. I don't know +... I needn't mind tellin' you--she brought her trouble with her. It's in +her blood, and it breaks out here, there, and everywhere. + +OLD BAUMERT + +It's always the way. Let folks be poor, and one trouble comes to them on +the top of another. There's no help for it and there's no end to it. + +HEIBER + +What are you carryin' in that cloth, fatter. Baumert? + +OLD BAUMERT + +We haven't so much as a bite in the house, and so I've had the little dog +killed. There's not much on him, for the poor beast was half starved. A +nice little dog he was! I couldn't kill him myself. I hadn't the heart to +do it. + +PFEIFER + +[_Has inspected BECKER'S web and calls._] Becker, one and threepence. + +BECKER + +That's what you might give to a beggar; it's not pay. + +PFEIFER + +Every one who has been attended to must clear out. We haven't room to +turn round in. + +BECKER + +[_To those standing near, without lowering his voice._] It's a beggarly +pittance, nothing else. A man works his treadle from early morning till +late at night, an' when he's bent over his loom for days an' days, tired +to death every evening, sick with the dust and the heat, he finds he's +made a beggarly one and threepence! + +PFEIFER + +No impudence allowed here. + +BECKER + +If you think I'll hold my tongue for your tellin', you're much mistaken. + +PFEIFER + +[_Exclaims._] We'll see about that! [_Rushes to the glass door and calls +into the office._] Mr. Dreissiger, Mr. Dreissiger, will you be good +enough to come here? + + _Enter DREISSIGER. About forty, full-bodied, asthmatic. Looks + severe._ + +DREISSIGER + +What is it, Pfeifer? + +PFEIFER + +[_Spitefully._] Becker says he won't be told to hold his tongue. + +DREISSIGER + +[_Draws himself up, throws back his head, stares at BECKER; his nostrils +tremble._] Oh, indeed!--Becker. [_To PFEIFER.] Is he the man?... + + [_The clerks nod._ + +BECKER + +[_Insolently._] Yes, Mr. Dreissiger, yes! [_Pointing to himself._] This +is the man. [_Pointing to DREISSIGER._] And that's a man too! + +DREISSIGER + +[_Angrily._] Fellow, how dare you? + +PFEIFER + +He's too well off. He'll go dancing on the ice once too often, though. + +BECKER + +[_Recklessly._] You shut up, you Jack-in-the-box. Your mother must have +gone dancing once too often with Satan to have got such a devil for a +son. + +DREISSIGER + +[_Now in a violent passion, roars._] Hold your tongue this moment, sir, +or ... + + [_He trembles and takes a fere steps forward._ + +BECKER + +[_Holding his ground steadily._] I'm not deaf. My hearing's quite good +yet. + +DREISSIGER + +[_Controls himself, asks in an apparently cool business tone._] Was this +fellow not one of the pack...? + +PFEIFER + +He's a Bielau weaver. When there's any mischief going, they're sure to be +in it. + +DREISSIGER + +[_Trembling._] Well, I give you all warning: if the same thing happens +again as last night--a troop of half-drunken cubs marching past my +windows singing that low song ... + +BECKER + +Is it "Bloody Justice" you mean? + +DREISSIGER + +You know well enough what I mean. I tell you that if I hear it again I'll +get hold of one of you, and--mind, I'm not joking--before the justice he +shall go. And if I can find out who it was that made up that vile +doggerel ... + +BECKER + +It's a grand song, that's what it is! + +DREISSIGER + +Another word and I send for the police on the spot, without more ado. +I'll make short work with you young fellows. I've got the better of very +different men before now. + +BECKER + +I believe you there. A real thoroughbred manufacturer will get the better +of two or three hundred weavers in the time it takes you to turn +round--swallow 'em up, and not leave as much as a bone. He's got four +stomachs like a cow, and teeth like a wolf. That's nothing to him at all! + +DREISSIGER + +[_To his clerks._] That man gets no more work from us. + +BECKER + +It's all the same to me whether I starve at my loom or by the roadside. + +DREISSIGER + +Out you go, then, this moment! + +BECKER + +[_Determinedly._] Not without my pay. + +DREISSIGER + +How much is owing to the fellow, Neumann? + +NEUMANN + +One and threepence. + +DREISSIGER + +[_Takes the money hurriedly ont of the cashier's hand, and flings it on +the table, so that some of the coins roll off on to the floor._] There +you are, then; and now, out of my sight with you! + +BECKER + +Not without my pay. + +DREISSIGER + +Don't you see it lying there? If you don't take it and go ... It's +exactly twelve now ... The dyers are coming out for their dinner ... + +BECKER + +I gets my pay into my hand--here--that's where! + + [_Points with the fingers of his right hand at the palm of his left._ + +DREISSIGER + +[_To the APPRENTICE._] Pick up the money, Tilgner. + + [_The APPRENTICE lifts the money and puts it into BECKER'S hand._ + +BECKER + +Everything in proper order. + + [_Deliberately takes an old purse out of his pocket and puts the + money into it._ + +DREISSIGER + +[_As BECKER still does not move away._] Well? Do you want me to come and +help you? + + [_Signs of agitation are observable among the crowd of weavers. A + long, loud sigh is heard, and then a fall. General interest is at + once diverted to this new event._ + +DREISSIGER + +What's the matter there? + +CHORUS OF WEAVERS AND WOMEN + +"Some one's fainted."--"It's a little sickly boy."--"Is it a fit, or what?" + +DREISSIGER + +What do you say? Fainted? + + [_He goes nearer._ + +OLD WEAVER + +There he lies, any way. + + [_They make room. A boy of about eight is seen lying on the floor as + if dead._ + +DREISSIGER + +Does any one know the boy? + +OLD WEAVER + +He's not from our village. + +OLD BAUMERT + +He's like one of weaver Heinrich's boys. [_Looks at him more closely._] +Yes, that's Heinrich's little Philip. + +DREISSIGER + +Where do they live? + +OLD BAUMERT + +Up near us in Kaschbach, sir. He goes round playin' music in the +evenings, and all day he's at the loom. They've nine children an' a tenth +a coming. + +CHORUS OF WEAVERS AND WOMEN + +"They're terrible put to it."--"The rain comes through their roof."--"The +woman hasn't two shirts among the nine." + +OLD BAUMERT + +[_Taking the boy by the arm._] Now then, lad, what's wrong with you? Wake +up, lad. + +DREISSIGER + +Some of you help me, and we'll get him up. It's disgraceful to send a +sickly child this distance. Bring some water, Pfeifer. + +WOMAN + +[_Helping to lift the boy._] Sure you're not goin' to be foolish and die, +lad! + +DREISSIGER + +Brandy, Pfeifer, brandy will be better. + +BECKER + +[_Forgotten by all, has stood looking on. With his hand on the +door-latch, he now calls loudly and tauntingly._] Give him something to +eat, an' he'll soon be all right. + + [_Goes out._ + +DREISSIGER + +That fellow will come to a bad end.--Take him under the arm, Neumann. +Easy now, easy; we'll get him into my room. What? + +NEUMANN + +He said something, Mr. Dreissiger. His lips are moving. + +DREISSIGER + +What--what is it, boy? + +BOY + +[_Whispers._] I'm h-hungry. + +WOMAN + +I think he says-- + +DREISSIGER + +We'll find out. Don't stop. Let us get him into my room. He can lie on +the sofa there, We'll hear what the doctor says. + + _DREISSIGER, NEUMANN, and the woman lead the boy into the office. The + weavers begin to behave like school-children when their master has + left the classroom. They stretch themselves, whisper, move from one + foot to the other, and in the course of a few moments are conversing + loudly._ + +OLD BAUMERT + +I believe as how Becker was right. + +CHORUS OF WEAVERS AND WOMEN + +"He did say something like that."--"It's nothin' new here to fall down +from hunger."--"God knows what's to come of 'em in winter if this cuttin' +down o' wages goes on."--"An' this year the potatoes aren't no good at +all."--"Things'll get worse and worse till we're all done for together." + +OLD BAUMERT + +The best thing a man could do would be to put a rope round his neck and +hang hisself on his own loom, like weaver Nentwich. [_To another old +weaver._] Here, take a pinch. I was at Neurode yesterday. My +brother-in-law, he works in the snuff factory there, and he give me a +grain or two. Have you anything good in your kerchief? + +OLD WEAVER + +Only a little pearl barley. I was coming along behind Ulbrich the +miller's cart, and there was a slit in one of the sacks. I can tell you +we'll be glad of it. + +OLD BAUMERT + +There's twenty-two mills in Peterswaldau, but of all they grind, there's +never nothin' comes our way. + +OLD WEAVER + +We must keep up heart. There's always somethin' comes to help us on +again. + +HEIBER + +Yes, when we're hungry, we can pray to all the saints to help us, and if +that don't fill our bellies we can put a pebble in our mouths and suck +it. Eh, Baumert? + + _Re-enter DREISSIGER, PFEIFER, AND NEUMANN._ + +DREISSIGER + +It was nothing serious. The boy is all right again. [_Walks about +excitedly, panting._] But all the same it's a disgrace. The child's so +weak that a puff of wind would blow him over. How people, how any parents +can be so thoughtless is what passes my comprehension. Loading him with +two heavy pieces of fustian to carry six good miles! No one would believe +it that hadn't seen it. It simply means that I shall have to make a rule +that no goods brought by children will be taken over. [_He walks up and +down silently for a few moments._] I sincerely trust such a thing will +not occur again.--Who gets all the blame for it? Why, of course the +manufacturer. It's entirely our fault. If some poor little fellow sticks +in the snow in winter and goes to sleep, a special correspondent arrives +post-haste, and in two days we have a blood-curdling story served up in +all the papers. Is any blame laid on the father, the parents, that send +such a child?--Not a bit of it. How should they be to blame? It's all the +manufacturer's fault--he's made the scapegoat. They flatter the weaver, +and give the manufacturer nothing but abuse--he's a cruel man, with a +heart like a stone, a dangerous fellow, at whose calves every cur of a +journalist may take a bite. He lives on the fat of the land, and pays the +poor weavers starvation wages. In the flow of his eloquence the writer +forgets to mention that such a man has his cares too and his sleepless +nights; that he runs risks of which the workman never dreams; that he is +often driven distracted by all the calculations he has to make, and all +the different things he has to take into account; that he has to struggle +for his very life against competition; and that no day passes without +some annoyance or some loss. And think of the manufacturer's +responsibilities, think of the numbers that depend on him, that look to +him for their daily bread. No, No! none of you need wish yourselves in my +shoes--you would soon have enough of it. [_After a moment's reflection._] +You all saw how that fellow, that scoundrel Becker, behaved. Now he'll go +and spread about all sorts of tales of my hard-heartedness, of how my +weavers are turned off for a mere trifle, without a moment's notice. Is +that true? Am I so very unmerciful? + +CHORUS OF VOICES + +No, sir. + +DREISSIGER + +It doesn't seem to me that I am. And yet these ne'er-do-wells come round +singing low songs about us manufacturers--prating about hunger, with +enough in their pockets to pay for quarts of bad brandy. If they would +like to know what want is, let them go and ask the linen-weavers: they +can tell something about it. But you here, you fustian-weavers, have +every reason to thank God that things are no worse than they are. And I +put it to all the old, industrious weavers present: Is a good workman +able to gain a living in my employment, or is he not? + +MANY VOICES + +Yes, sir; he is, sir. + +DREISSIGER + +There now! You see! Of course such a fellow as that Becker can't. I +advise you to keep these young lads in check. If there's much more of +this sort of thing, I'll shut up shop--give up the business altogether, +and then you can shift for yourselves, get work where you like--perhaps +Mr. Becker will provide it. + +FIRST WEAVER'S WIFE + +[_Has come close to DREISSIGER, and removes a little dust from his coat +with creeping servility._] You've been an' rubbed agin something, sir. + +DREISSIGER + +Business is as bad as it can be just now, you know that yourselves. +Instead of making money, I am losing it every day. If, in spite of this, +I take care that my weavers are kept in work, I look for some little +gratitude from them. I have thousands of pieces of cloth in stock, and +don't know if I'll ever be able to sell them. Well, now, I've heard how +many weavers hereabouts are out of work, and--I'll leave Pfeifer to give +the particulars--but this much I'll tell you, just to show you my good +will.... I can't deal out charity all round; I'm not rich enough for +that; but I can give the people who are out of work the chance of earning +at any rate a little. It's a great business risk I run by doing it, but +that's my affair. I say to myself: Better that a man should work for a +bite of bread than that, he should starve altogether, Am I not right? + +CHORUS OF VOICES + +Yes, yes, sir. + +DREISSIGER + +And therefore I am ready to give employment to two hundred more weavers. +Pfeifer will tell you on what conditions. + + [_He turns to go._ + +FIRST WEAVER'S WIFE + +[_Comes between him and the door, speaks hurriedly, eagerly, +imploringly._] Oh, if you please, sir, will you let me ask you if you'll +be so good ... I've been twice laid up for ... + +DREISSIGER + +[_Hastily._] Speak to Pfeifer, good woman. I'm too late as it is. + + [_Passes on, leaving her standing._ + +REIMANN + +[_Stops him again. In an injured, complaining tone._] I have a complaint +to make, if you please, sir. Mr. Pfeifer refuses to ... I've always got +one and two-pence for a web ... + +DREISSIGER + +[_Interrupts him._] Mr. Pfeifer's my manager. There he is. Apply to him. + +HEIBER + +[_Detaining DREISSIGER; hurriedly and confusedly._] O sir, I wanted to +ask if you would p'r'aps, if I might p'r'aps ... if Mr. Pfeifer might ... +might ... + +DREISSIGER + +What is it you want? + +HEIBER + +That advance pay I had last time, sir; I thought p'r'aps you would kindly +... + +DREISSIGER + +I have no idea what you are talking about. + +HEIBER + +I'm awful hard up, sir, because ... + +DREISSIGER + +These are things Pfeifer must look into--I really have not the time. +Arrange the matter with Pfeifer. + + [_He escapes into the office._ + + [_The supplicants look helplessly at one another, sigh, and take + their places again among the others._ + +PFEIFER + +[_Resuming his task of inspection._] Well, Annie, let as see what yours +is like. + +OLD BAUMERT + +How much is we to get for the web, then, Mr. Pfeifer? + +PFEIFER + +One shilling a web. + +OLD BAUMERT + +Has it come to that! + + [_Excited whispering and murmuring among the weavers._ + + +END OF THE FIRST ACT + + + + +THE SECOND ACT + + + _A small room in the house of WILHELM ANSORGE, weaver and cottager in + the village of Kaschbach, in the Eulengebirge._ + + _In this room, which does not measure six feet from the dilapidated + wooden floor to the smoke-blackened rafters, sit four people. Two + young girls, EMMA and BERTHA BAUMERT, are working at their looms; + MOTHER BAUMERT, a decrepit old woman, sits on a stool beside the bed, + with a winding-wheel in front of her; her idiot son AUGUST sits on a + foot-stool, also winding. He is twenty, has a small body and head, + and long, spider-like legs and arms._ + + _Faint, rosy evening light makes its way through two small windows in + the right wall, which have their broken panes pasted over with paper + or stuffed with straw. It lights up the flaxen hair of the girls, + which falls loose on their slender white necks and thin bare + shoulders, and their coarse chemises. These, with a short petticoat + of the roughest linen, form their whole attire. The warm glow falls + on the old woman's face, neck, and breast--a face worn away to a + skeleton, with shrivelled skin and sunken eyes, red and watery with + smoke, dust, and working by lamplight--a long goitre neck, wrinkled + and sinewy--a hollow breast covered with faded, ragged shawls._ + + _Part of the right wall is also lighted up, with stove, stove-bench, + bedstead, and one or two gaudily coloured sacred prints. On the stove + rail rags are hanging to dry, and behind the stove is a collection of + worthless lumber. On the bench stand some old pots and cooking + utensils, and potato parings are laid out on it, on paper, to dry. + Hanks of yarn and reels hang from the rafters; baskets of bobbins + stand beside the looms. In the back wall there is a low door without + fastening. Beside it a bundle of willow wands is set up against the + wall, and beyond them lie some damaged quarter-bushel baskets._ + + _The room is full of sound--the rhythmic thud of the looms, shaking + floor and walls, the click and rattle of the shuttles passing back + and forward, and the steady whirr of the winding-wheels, like the hum + of gigantic bees._ + +MOTHER BAUMERT + +[_In a querulous, feeble voice, as the girls stop weaving and bend over +their webs._] Got to make knots again already, have you? + +EMMA + +[_The elder of the two girls, about twenty-two, tying a broken thread_] +It's the plagueyest web, this! + +BERTHA + +[_Fifteen._] Yes, it's real bad yarn they've given us this time. + +EMMA + +What can have happened to father? He's been away since nine. + +MOTHER BAUMERT + +That he has! yes. Where in the wide world c'n he be? + +BERTHA + +Don't you worry yourself, mother. + +MOTHER BAUMERT + +I can't help it, Bertha lass. + + [_EMMA begins to weave again._ + +BERTHA + +Stop a minute, Emma! + +EMMA + +What is it! + +BERTHA + +I thought I heard some one. + +EMMA + +It'll be Ansorge comin' home. + + _Enter FRITZ, a little, barefooted, ragged boy of four._ + +FRITZ + +[_Whimpering._] I'm hungry, mother. + +EMMA + +Wait, Fritzel, wait a bit! Gran'father'll be here very soon, an' he's +bringin' bread along with him, an' coffee too. + +FRITZ + +But I'm awful hungry, mother. + +EMMA + +Be a good boy now, Fritz. Listen to what I'm tellin' you. He'll be here +this minute. He's bringin' nice bread an' nice corn-coffee; an' when we +stops workin' mother'll take the tater peelin's and carry them to the +farmer, and the farmer'll give her a drop o' good buttermilk for her +little boy. + +FRITZ + +Where's grandfather gone? + +EMMA + +To the manufacturer, Fritz, with a web. + +FRITZ + +To the manufacturer? + +EMMA + +Yes, yes, Fritz, down to Dreissiger's at Peterswaldau. + +FRITZ + +Is it there he gets the bread? + +EMMA + +Yes; Dreissiger gives him money, and then he buys the bread. + +FRITZ + +Does he give him a heap of money? + +EMMA + +[_Impatiently._] Oh, stop that chatter, boy. + + [_She and BERTHA go on weaving for a time, and then both stop again._ + +BERTHA + +August, go and ask Ansorge if he'll give us a light. + + [_AUGUST goes out accompanied by FRITZ._ + +MOTHER BAUMERT + +[_Overcome by her childish apprehension, whimpers._] Emma! Bertha! where +c'n the man be stay-in'? + +BERTHA + +Maybe he looked in to see Hauffe. + +MOTHER BAUMERT + +[_Crying._] What if he's sittin' drinkin' in the public-house? + +EMMA + +Don't cry, mother! You know well enough father's not the man to do that. + +MOTHER BAUMERT + +[_Half distracted by a multitude of gloomy forebodings._] What ... what +... what's to become of us if he don't come home? if he drinks the money, +an' don't bring us nothin' at all? There's not so much as a handful o' +salt in the house--not a bite o' bread, nor a bit o' wood for the fire. + +BERTHA + +Wait a bit, mother! It's moonlight just now. We'll take August with us +and go into the wood and get some sticks. + +MOTHER BAUMERT + +Yes, an' be caught by the forester. + + _ANSORGE, an old weaver of gigantic stature, who has to bend down to + get into the room, puts his head and shoulders in at the door. Long, + unkempt hair and beard._ + +ANSORGE + +What's wanted? + +BERTHA + +Light, if you please. + +ANSORGE + +[_In a muffled voice, as if speaking' in a sick-room._] There's good +daylight yet. + +MOTHER BAUMERT + +Is we to sit in the dark next? + +ANSORGE + +I've to do the same mayself. + + [_Goes out._ + +BERTHA + +It's easy to see that he's a miser. + +EMMA + +Well, there's nothin' for it but to sit an' wait his pleasure. + + _Enter MRS. HEINRICH, a woman of thirty, heavy with child; an + expression of torturing anxiety and apprehension on her worn face._ + +MRS. HEINRICH + +Good evenin' t'you all. + +MOTHER BAUMERT + +Well, Jenny, and what's your news? + +MRS. HEINRICH + +[_Who limps._] I've got a piece o' glass into my foot. + +BERTHA + +Come an' sit down, then, an' I'll see if I c'n get it out. + + [_MRS. HEINRICH seats herself, BERTHA kneels down, in front of her, + and examines her foot._ + +MOTHER BAUMERT + +How are ye all at home, Jenny? + +MRS. HEINRICH + +[_Breaks out despairingly._] Things is in a terrible way with us! + + [_She struggles in vain, against a rush of tears; then weeps + silently._ + +MOTHER BAUMERT + +The best thing as could happen to the likes o' us, Jenny, would be if God +had pity on us an' took us away out o' this weary world. + +MRS. HEINRICH + +[_No longer able to control herself, screams, still crying._] My +children's starvin'. [_Sobs and moans._] I don't know what to do no more! +I c'n work till I drops--I'm more dead'n alive--things don't get +different! There's nine hungry mouths to fill! We got a bit o' bread last +night, but it wasn't enough even for the two smallest ones. Who was I to +give it to, eh? They all cried; Me, me, mother! give it to me!... An' if +it's like this while I'm still on my feet, what'll it be when I've to +take to bed? Our few taters was washed away. We haven't a thing to put in +our mouths. + +BERTHA + +[_Has removed the bit of glass and washed the wound._] We'll put a rag +round it. Emma, see if you can find one. + +MOTHER BAUMERT + +We're no better off'n you, Jenny. + +MRS. HEINRICH + +You has your girls, any way. You've a husband as c'n work. Mine was taken +with one o' his fits last week again--so bad that I didn't know what to +do with him, and was half out o' my mind with fright. And when he's had a +turn like that, he can't stir out o' bed under a week. + +MOTHER BAUMERT + +Mine's no better. He's goin' to pieces, too. He's breathin's bad now as +well as his back. An' there's not a farthin' nor a farthin's worth in the +house. If he don't bring a few pence with him today, I don't know what +we're to do. + +EMMA + +It's the truth she's tellin' you, Jenny. We had to let father take the +little dog with him to-day, to have him killed, that we might get a bite +into our stomachs again! + +MRS. HEINRICH + +Haven't you got as much as a handful o' flour to spare? + +MOTHER BAUMERT + +An' that we haven't, Jenny. There's not as much as a grain o' salt in the +house. + +MRS. HEINRICH + +Well, then, I don't know ... [_Rises, stands still, brooding._] I don't +know what'll be the end o' this! It's more'n I c'n bear. [_Screams in +rage and despair._] I'd be contented if it was nothin' but pigs' +food!--But I can't go home again empty-handed--that I can't. God forgive +me, I see no other way out of it. + + [_She limps quickly out._ + +MOTHER BAUMERT + +[_Calls after her in a warning voice._] Jenny, Jenny! don't you be doin' +anything foolish, now! + +BERTHA + +She'll do herself no harm, mother. You needn't be afraid. + +EMMA + +That's the way she always goes on. + + [_Seats herself at the loom and weaves for a few seconds._ + + _AUGUST enters, carrying a tallow candle, and lighting his father, + OLD BAUMERT, who follows close behind him, staggering under a heavy + bundle of yarn._ + +MOTHER BAUMERT + +Oh, father, where have you been all this long time? Where have you been? + +OLD BAUMERT + +Come now, mother, don't fall on a man like that. Give me time to get my +breath first. An' look who I've brought with me. + + _MORITZ JAEGER comes stooping in at the low door. Reserve soldier, + newly discharged. Middle height, rosy-cheeked, military carriage. His + cap on the side of his head, hussar fashion, whole clothes and shoes, + a clean shirt without collar. Draws himself up and salutes._ + +JAEGER + +[_In a hearty voice._] Good-evenin', auntie Baumert! + +MOTHER BAUMERT + +Well, well now! and to think you've got back! An' you've not forgotten +us? Take a chair, then, lad. + +EMMA + +[_Wiping a wooden chair with her apron, and pushing it towards MORITZ._] +An' so you've come to see what poor folks is like again, Moritz? + +JAEGER + +I say, Emma, is it true that you've got a boy nearly old enough to be a +soldier? Where did you get hold o' him, eh? + + [_BERTHA, having taken the small supply of provisions which her + father has brought, puts meat into a saucepan, and shoves it into the + oven, while AUGUST lights the fire._ + +BERTHA + +You knew weaver Finger, didn't you? + +MOTHER BAUMERT + +We had him here in the house with us. He was ready enough to marry her; +but he was too far gone in consumption; he was as good as a dead man. It +didn't happen for want o' warnin' from me. But do you think she would +listen? Not she. Now he's dead an' forgotten long ago, an' she's left +with the boy to provide for as best she can. But now tell us how you've +been gettin' on, Moritz. + +OLD BAUMERT + +You've only to look at him, mother, to know that. He's had luck. It'll be +about as much as he can do to speak to the likes o' us. He's got clothes +like a prince, an' a silver watch, an' thirty shillings in his pocket +into the bargain. + +JAEGER + +[_Stretching himself consequentially, a knowing smile on his face._] I +can't complain, I didn't get on so badly in the regiment. + +OLD BAUMERT + +He was the major's own servant. Just listen to him--he speaks like a +gentleman. + +JAEGER + +I've got so accustomed to it that I can't help it. + +MOTHER BAUMERT + +Well, now, to think that such a good-for-nothin' as you was should have +come to be a rich man. For there wasn't nothin' to be made of you. You +would never sit still to wind more than a hank of yarn at a time, that +you wouldn't. Off you went to your tomtit boxes an' your robin redbreast +snares--they was all you cared about. Isn't it the truth I'm telling? + +JAEGER + +Yes, yes, auntie, it's true enough. It wasn't only redbreasts. I went +after swallows too. + +EMMA + +Though we were always tellin' you that swallows was poison. + +JAEGER + +What did I care?--But how have you all been gettin' on, auntie Baumert? + +MOTHER BAUMERT + +Oh, badly, lad, badly these last four years. I've had the +rheumatics--just look at them hands. An' it's more than likely as I've +had a stroke o' some kind too, I'm that helpless. I can hardly move a +limb, an' nobody knows the pains I suffers. + +OLD BAUMERT + +She's in a bad way, she is. She'll not hold out long. + +BERTHA + +We've to dress her in the mornin' an' undress her at night, an' to feed +her like a baby. + +MOTHER BAUMERT + +[_Speaking in a complaining, tearful voice._] Not a thing c'n I do for +myself. It's far worse than bein' ill. For it's not only a burden to +myself I am, but to every one else. Often and often do I pray to God to +take me. For oh! mine's a weary life. I don't know ... p'r'aps they think +... but I'm one that's been a hard worker all my days. An' I've always +been able to do my turn too; but now, all at once, [_she vainly attempts +to rise_] I can't do nothin'.--I've a good husband an' good children, but +to have to sit here and see them...! Look at the girls! There's hardly +any blood left in them--faces the colour of a sheet. But on they must +work at these weary looms whether they earn enough to keep theirselves or +not. What sort o' life is it they lead? Their feet never off the treadle +from year's end to year's end. An' with it all they can't scrape together +as much as'll buy them clothes that they can let theirselves be seen in; +never a step can they go to church, to hear a word o' comfort. They're +liker scarecrows than young girls of fifteen and twenty. + +BERTHA + +[_At the stove._] It's beginnin' to smoke again! + +OLD BAUMERT + +There now; look at that smoke. And we can't do nothin' for it. The whole +stove's goin' to pieces. We must let it fall, and swallow the soot. We're +coughin' already, one worse than the other. We may cough till we choke, +or till we cough our lungs up--nobody cares. + +JAEGER + +But this here is Ansorge's business; he must see to the stove. + +BERTHA + +He'll see us out o' the house first; he has plenty against us without +that. + +MOTHER BAUMERT + +We've only been in his way this long time past. + +OLD BAUMERT + +One word of a complaint an' out we go. He's had no rent from us this last +half-year. + +MOTHER BAUMERT + +A well-off man like him needn't be so hard. + +OLD BAUMERT + +He's no better off than we is, mother. He's hard put to it too, for all +he holds his tongue about it. + +MOTHER BAUMERT + +He's got his house. + +OLD BAUMERT + +What are you talkin' about, mother? Not one stone in the wall is the +man's own. + +JAEGER + +[_Has seated himself, and taken a short pipe with gay tassels out of one +coat-pocket, and a quart bottle of brandy out of another._] Things can't +go on like this. I'm dumfoundered when I see the life the people live +here. The very dogs in the towns live better. + +OLD BAUMERT + +[_Eagerly._] That's what I says! Eh? eh? You know it too! But if you say +that here, they'll tell you that it's only bad times. + + _Enter ANSORGE, an earthenware pan with soup in one hand, in the + other a half-finished quarter-bushel basket._ + +ANSORGE + +Glad to see you again, Moritz! + +JAEGER + +Thank you, father Ansorge--same to you! + +ANSORGE + +[_Shoving his pan into the oven._] Why, lad you look like a duke! + +OLD BAUMERT + +Show him your watch, Moritz. An' he's got a new suit of clothes, an' +thirty shillings cash. + +ANSORGE + +[_Shaking his head._] Is that so? Well, well! + +EMMA + +[_Puts the potato-parings into a bag._] I must be off; I'll maybe get a +drop o' buttermilk for these. + + [_Goes out._ + +JAEGER + +[_The others hanging intently and devoutly on his words._] You know how +you all used to be down on me. It was always: Wait, Moritz, till your +soldierin' time comes--you'll catch it then. But you see how well I've +got on. At the end o' the first half-year I had my good conduct stripes. +You've got to be willin'--that's where the secret lies. I brushed the +sergeant's boots; I groomed his horse; I fetched his beer. I was as sharp +as a needle. Always ready, accoutrements clean and shinin'--first at +stables, first at roll-call, first in the saddle. An' when the bugle +sounded to the assault--why, then, blood and thunder, and ride to the +devil with you!! I was as keen as a pointer. Says I to myself: There's no +help for it now, my boy, it's got to be done; and I set my mind to it and +did it. Till at last the major said before the whole squadron: There's a +hussar now that shows you what a hussar should be! + + [_Silence. He lights his pipe._ + +ANSORGE + +[_Shaking his head._] Well, well, well! You had luck with you, Moritz! + + [_Sits down on the floor, with his willow twigs beside him, and + continues mending the basket, which he holds between his legs._ + +OLD BAUMERT + +Let's hope you've brought some of it to us.--Are we to have a drop to +drink your health in? + +JAEGER + +Of course you are, father Baumert. And when this bottle's done, we'll +send for more. + + [_He flings a coin on the table._ + +ANSORGE + +[_Open mouthed with amusement._] Oh my! Oh my! What goings on to be sure! +Roast meat frizzlin' in the oven! A bottle o' brandy on the table! [_He +drinks out of the bottle._] Here's to you, Moritz!--Well, well, well! + + [_The bottle circulates freely after this._ + +OLD BAUMERT + +If we could any way have a bit o' meat on Sundays and holidays, instead +o' never seein' the sight of it from year's end to year's end! Now we'll +have to wait till another poor little dog finds its way into the house +like this one did four weeks gone by--an' that's not likely to happen +soon again. + +ANSORGE + +Have you killed the little dog? + +OLD BAUMERT + +We had to do that or starve. + +ANSORGE + +Well, well! That's so! + +MOTHER BAUMERT + +A nice, kind little beast he was, too! + +JAEGER + +Are you as keen as ever on roast dog hereabouts? + +OLD BAUMERT + +Lord, if we could only get enough of it! + +MOTHER BAUMERT + +A nice little bit o' meat like that does you a lot o' good. + +OLD BAUMERT + +Have you lost the taste for it, Moritz? Stay with us a bit, and it'll +soon come back to you. + +ANSORGE + +[_Sniffing._] Yes, yes! That will be a tasty bite--what a good smell it +has! + +OLD BAUMERT + +[_Sniffing._] Fine as spice, you might say. + +ANSORGE + +Come, then, Moritz, tell us your opinion, you that's been out and seen +the world. Is things at all like to improve for us weavers, eh? + +JAEGER + +They would need to. + +ANSORGE + +We're in an awful state here. It's not livin' an' it's not dyin'. A man +fights to the bitter end, but he's bound to be beat at last--to be left +without a roof over his head, you may say without ground under his feet. +As long as he can work at the loom he can earn some sort o poor, +miserable livin'. But it's many a day since I've been able to get that +sort o' job. Now I tries to put a bite into my mouth with this here +basket-mak-in'. I sits at it late into the night, and by the time I +tumbles into bed I've earned three-halfpence. I puts it to you as knows +things, if a man can live on that, when everything's so dear? Nine +shillin' goes in one lump for house tax, three shillin' for land tax, +nine shillin' for mortgage interest--that makes one pound one. I may +reckon my year's earnin' at just double that money, and that leaves me +twenty-one shillin' for a whole year's food, an' fire, an' clothes, an' +shoes; and I've got to keep up some sort of a place to live in. An' +there's odds an' ends. Is it a wonder if I'm behindhand with my interest +payments? + +OLD BAUMERT + +Some one would need to go to Berlin an' tell the King how hard put to it +we are. + +JAEGER + +Little good that would do, father Baumert. There's been plenty written +about it in the news-papers. But the rich people, they can turn and twist +things round ... as cunning as the devil himself. + +OLD BAUMERT + +[_Shaking his head._] To think they've no more sense than that in Berlin. + +ANSORGE + +And is it really true, Moritz? Is there no law to help us? If a man +hasn't been able to scrape together enough to pay his mortgage interest, +though he's worked the very skin off his hands, must his house be taken +from him? The peasant that's lent the money on it, he wants his +rights--what else can you look for from him? But what's to be the end of +it all, I don't know.--If I'm put out o' the house ... [_In a voice +choked by tears._] I was born here, and here my father sat at his loom +for more than forty year. Many was the time he said to mother: Mother, +when I'm gone, keep hold o' the house. I've worked hard for it. Every +nail means a night's weavin', every plank a year's dry bread. A man would +think that ... + +JAEGER + +They're just as like to take the last bite out of your mouth--that's what +they are. + +ANSORGE + +Well, well, well! I would rather be carried out than have to walk out now +in my old days. Who minds dyin'? My father, he was glad to die. At the +very end he got frightened, but I crept into bed beside him, an' he +quieted down again. Think of it; I was a lad of thirteen then. I was +tired and fell asleep beside him--I knew no better--and when I woke he +was quite cold. + +MOTHER BAUMERT + +[_After a pause._] Give Ansorge his soup out o' the oven, Bertha. + +BERTHA + +Here, father Ansorge, it'll do you good. + +ANSORGE + +[_Eating and shedding tears._] Well, well, well! + + [_OLD BAUMERT has begun to eat the meat out of the saucepan._ + +MOTHER BAUMERT + +Father, father, can't you have patience an' let Bertha serve it up +properly? + +OLD BAUMERT + +[_Chewing._] It's two years now since I took the sacrament. I went +straight after that an' sold my Sunday coat, an' we bought a good bit o' +pork, an' since then never a mouthful of meat has passed my lips till +to-night. + +JAEGER + +_We_ don't need no meat! The manufacturers eats it for us. It's the fat +o' the land _they_ lives on. Whoever don't believe that has only to go +down to Bielau and Peterswaldau. He'll see fine things there--palace upon +palace, with towers and iron railings and plate-glass windows. Who do +they all belong to? Why, of course, the manufacturers! No signs of bad +times there! Baked and boiled and fried--horses and carriages and +governesses--they've money to pay for all that and goodness knows how +much more. They're swelled out to burstin' with pride and good livin'. + +ANSORGE + +Things was different in my young days. Then the manufacturers let the +weaver have his share. Now they keeps everything to theirselves. An' +would you like to know what's at the bottom of it all? It's that the fine +folks nowadays believes neither in God nor devil. What do they care about +commandments or punishments? And so they steals our last scrap o' bread, +an' leaves us no chance of earnin' the barest living. For it's their +fault. If our manufacturers was good men, there would be no bad times for +us. + +JAEGER + +Listen, then, and I'll read you something that will please you. [_He +takes one or two loose papers from his pocket._] I say, August, run and +fetch another quart from the public-house. Eh, boy, do you laugh all day +long? + +MOTHER BAUMERT + +No one knows why, but our August's always happy--grins an' laughs, come +what may. Off with you then, quick! [_Exit AUGUST with the empty +brandy-bottle._] You've got something good now, eh, father? + +OLD BAUMERT + +[_Still chewing; his spirits are rising from the effect of food and +drink._] Moritz, you're the very man we want. You can read an' write. You +understand the weavin' trade, and you've a heart to feel for the poor +weavers' sufferin's. You should stand up for us here. + +JAEGER + +I'd do that quick enough! There's nothing I'd like better than to give +the manufacturers round here a bit of a fright--dogs that they are! I'm +an easy-goin' fellow, but let me once get worked up into a real rage, and +I'll take Dreissiger in the one hand and Dittrich in the other, and knock +their heads together till the sparks fly out o' their eyes.--If we could +only arrange all to join together, we'd soon give the manufacturers a +proper lesson ... we wouldn't need no King an' no Government ... all we'd +have to do would be to say: We wants this and that, and we don't want the +other thing. There would be a change of days then. As soon as they see +that there's some pluck in us, they'll cave in. I know the rascals; +they're a pack o' cowardly hounds. + +MOTHER BAUMERT + +There's some truth in what you say. I'm not a bad woman. I've always been +the one to say as how there must be rich folks as well as poor. But when +things come to such a pass as this ... + +JAEGER + +The devil may take them all, for what I care. It would be no more than +they deserves. + + [_OLD BAUMERT has quietly gone out._ + +BERTHA + +Where's father? + +MOTHER BAUMERT + +I don't know where he can have gone. + +BERTHA + +Do you think he's not been able to stomach the meat, with not gettin' +none for so long? + +MOTHER BAUMERT + +[_In distress, crying._] There now, there! He's not even able to keep it +down when he's got it. Up it comes again, the only bite o' good food as +he's tasted this many a day. + + _Re-enter OLD BAUMERT, crying with rage._ + +OLD BAUMERT + +It's no good! I'm too far gone! Now that I've at last got hold of +somethin' with a taste in it, my stomach won't keep it. + + [_He sits down on the bench by the stove crying._ + +JAEGER + +[_With a sudden violent ebullition of rage._] An' yet there's people not +far from here, justices they call themselves too, over-fed brutes, that +have nothing to do all the year round but invent new ways of wastin' +their time. An' these people say that the weavers would be quite well off +if only they wasn't so lazy. + +ANSORGE + +The men as says that are no men at all, they're monsters. + +JAEGER + +Never mind, father Ansorge; we're makin' the place hot for 'em. Becker +and I have been and given Dreissiger a piece of our mind, and before we +came away we sang him "Bloody Justice." + +ANSORGE + +Good Lord! Is that the song? + +JAEGER + +Yes; I have it here. + +ANSORGE + +They calls it Dreissiger's song, don't they? + +JAEGER + +I'll read it to you, + +MOTHER BAUMERT + +Who wrote it? + +JAEGER + +That's what nobody knows. Now listen. + + [_He reads, hesitating like a schoolboy, with incorrect accentuation, + but unmistakably strong feeling. Despair, suffering, rage, hatred, + thirst for revenge, all find utterance._ + + The justice to us weavers dealt + Is bloody, cruel, and hateful; + Our life's one torture, long drawn out: + For Lynch law we'd be grateful. + + Stretched on the rack day after day, + Hearts sick and bodies aching, + Our heavy sighs their witness bear + To spirit slowly breaking. + + [_The words of the song make a strong impression on OLD BAUMERT. + Deeply agitated, he struggles against the temptation to interrupt + JAEGER. At last he can keep quiet no longer._ + +OLD BAUMERT [_To his wife, half laughing, half crying, stammering._] +Stretched on the rack day after day. Whoever wrote that, mother, wrote +the truth. You can bear witness ... eh, how does it go? "Our heavy sighs +their witness bear" ... What's the rest? + +JAEGER + + "To spirit slowly breaking." + +OLD BAUMERT + +You know the way we sigh, mother, day and night, sleepin' and wakin'. + + [_ANSORGE had stopped working, and cowers on the floor, strongly + agitated. MOTHER BAUMERT and BERTHA wipe their eyes frequently during + the course of the reading._ + +JAEGER + +[_Continues to read._] + + The Dreissigers true hangmen are, + Servants no whit behind them; + Masters and men with one accord + Set on the poor to grind them. + + You villains all, you brood of hell ... + +OLD BAUMERT + +[_Trembling with rage, stamping on the floor._] Yes, brood of hell!!! + +JAEGER + +[_Reads._] + + You fiends in fashion human, + A curse will fall on all like you, + Who prey on man and woman. + +ANSORGE + +Yes, yes, a curse upon them! + +OLD BAUMERT + +[_Clenching his fist, threateningly._] You prey on man and woman. + +JAEGER + +[_Reads._] + + The suppliant knows he asks in vain, + Vain every word that's spoken. + "If not content, then go and starve-- + Our rules cannot be broken." + +OLD BAUMERT + +What is it? "The suppliant knows he asks in vain"? Every word of it's +true ... every word ... as true as the Bible. He knows he asks in vain. + +ANSORGE + +Yes, yes! It's all no good. + +JAEGER + +[_Reads._] + + Then think of all our woe and want, + O ye who hear this ditty! + Our struggle vain for daily bread + Hard hearts would move to pity. + + But pity's what _you've_ never known, + You'd take both skin and clothing, + You cannibals, whose cruel deeds + Fill all good men with loathing. + +OLD BAUMERT + +[_Jumps up, beside himself with excitement._] Both skin and clothing. +It's true, it's all true! Here I stands, Robert Baumert, master-weaver of +Kaschbach. Who can bring up anything against me?... I've been an honest, +hard-workin' man all my life long, an' look at me now! What have I to +show for it? Look at me! See what they've made of me! Stretched on the +rack day after day, [_He holds out his arms._] Feel that! Skin and bone! +"You villains all, you brood of hell!!" + + [_He sinks down on a chair, weeping with rage and despair._ + +ANSORGE + +[_Flings his basket from him into a corner, rises, his whole body +trembling with rage, gasps._] An' the time's come now for a change, I +say. We'll stand it no longer! We'll stand it no longer! Come what may! + + +END OF THE SECOND ACT + + + + +THE THIRD ACT + + + _The common-room of the principal public-house in Peterswaldau. A + large room with a raftered roof supported by a central wooden pillar, + round which a table runs. In the back mall, a little to the right of + the pillar, is the entrance-door, through the opening of which the + spacious lobby or outer room is seen, with barrels and brewing + utensils. To the right of this door, in the corner, is the bar--a + high wooden counter with receptacles for beer-mugs, glasses, etc.; a + cupboard with rows of brandy and liqueur bottles on the wall behind, + and between counter and cupboard a narrow space for the barkeeper. In + front of the bar stands a table with a gay-coloured cover, a pretty + lamp hanging above it, and several cane chairs placed around it. Not + far off, in the right wall, is a door with the inscription: Bar + Parlour. Nearer the front on the same side an old eight-day clock + stands ticking. At the back, to the left of the entrance-door, is a + table with bottles and glasses, and beyond this, in the corner, is + the great tile-oven. In the left wall there are three small windows. + Below them runs a long bench; and in front of each stands a large + oblong wooden table, with the end towards the wall. There are benches + with backs along the sides of these tables, and at the end of each + facing the window stands a wooden chair. The walls are washed blue + and decorated with advertisements, coloured prints and oleographs, + among the latter a portrait of Frederick William IV._ + + _WELZEL, the publican, a good-natured giant, upwards of fifty, stands + behind the counter, letting beer run from a barrel into a glass._ + + _MRS. WELZEL is ironing by the stove. She is a handsome, tidily + dressed woman in her thirty-fifth year._ + + _ANNA WELZEL, a good-looking girl of seventeen, with a quantity of + beautiful, fair, reddish hair, sits, neatly dressed, with her + embroidery, at the table with the coloured cover. She looks up from + her work for a moment and listens, as the sound of a funeral hymn + sung by school-children is heard in the distance._ + + _WIEGAND, the joiner, in his working clothes, is sitting at the same + table, with a glass of Bavarian beer before him. His face shows that + he understands what the world requires of a man if he is to attain + his ends--namely, craftiness, swiftness, and relentless pushing + forward._ + + _A COMMERCIAL TRAVELLER is seated at the pillar-table, vigorously + masticating a beef-steak. He is of middle height, stout and + thriving-looking, inclined to jocosity, lively, and impudent. He is + dressed in the fashion of the day, and his portmanteau, pattern-case, + umbrella, overcoat, and travelling rug lie on chairs beside him._ + +WELZEL + +[_Carrying a glass of beer to the TRAVELLER, but addressing WIEGAND._] +The devil's broke loose in Peterswaldau to-day. + +WIEGAND + +[_In a sharp, shrill voice._] That's because it's delivery day at +Dreissiger's. + +MRS. WELZEL + +But they don't generally make such an awful row. + +WIEGAND + +It's may be because of the two hundred new weavers that he's going to +take on. + +MRS. WELZEL + +[_At her ironing._] Yes, yes, that'll be it. If he wants two hundred, six +hundred's sure to have come. There's no lack of _them_. + +WIEGAND + +No, they'll last. There's no fear of their dying out, let them be ever so +badly off. They bring more children into the world than we know what to +do with. [_The strains of the funeral hymn are suddenly heard more +distinctly._] There's a funeral to-day too. Weaver Nentwich is dead, you +know. + +WELZEL + +He's been long enough about it. He's been goin' about like a livin' ghost +this many a long day. + +WIEGAND + +You never saw such a little coffin, Welzel; it was the tiniest, +miserablest little thing I ever glued together. And what a corpse! It +didn't weigh ninety pounds. + +TRAVELLER + +[_His mouth full._] What I don't understand's this.... Take up whatever +paper you like and you'll find the most heartrending accounts of the +destitution among the weavers. You get the impression that three-quarters +of the people in this neighbourhood are starving. Then you come and see a +funeral like what's going on just now. I met it as I came into the +village. Brass band, schoolmaster, school children, pastor, and such a +procession behind them that you would think it was the Emperor of China +that was getting buried. If the people have money to spend on this sort +of thing, well...! [_He takes a drink of beer; puts down the glass; +suddenly and jocosely._] What do you say to it, Miss? Don't you agree +with me? + + [ANNA _gives an embarrassed laugh, and goes on working busily._ + +TRAVELLER + +Now, I'll take a bet that these are slippers for papa. + +WELZEL + +You're wrong, then; I wouldn't put such things on my feet. + +TRAVELLER + +You don't say so! Now, I would give half of what I'm worth if these +slippers were for me. + +MRS. WELZEL + +Oh, he don't know nothing about such things. + +WIEGAND + +[_Has coughed once or twice, moved his chair, and prepared himself to +speak._] You were sayin', sir, that you wondered to see such a funeral as +this. I tell you, and Mrs. Welzel here will bear me out, that it's quite +a small funeral. + +TRAVELLER + +But, my good man ... what a monstrous lot of money it must cost! Where +does all that come from? + +WIEGAND + +If you'll excuse me for saying so, sir, there's a deal of foolishness +among the poorer working people hereabouts. They have a kind of +inordinate idea, if I may say so, of the respect an' duty an' honour +they're bound to show to such as is taken from their midst. And when it +comes to be a case of parents, then there's no bounds whatever to their +superstitiousness. The children and the nearest family scrapes together +every farthing they can call their own, an' what's still wanting, that +they borrow from some rich man. They run themselves into debt over head +and ears; they're owing money to the pastor, to the sexton, and to all +concerned. Then there's the victuals, an' the drink, an' such like. No, +sir, I'm far from speaking against dutifulness to parents; but it's too +much when it goes the length of the mourners having to bear the weight of +it for the rest of their lives. + +TRAVELLER + +But surely the pastor might reason them out of such foolishness. + +WIEGAND + +Begging your pardon, sir, but I must mention that every little place +hereabouts has its church an' its reverend pastor to support. These +honourable gentlemen has their advantages from big funerals. The larger +the attendance is, the larger the offertory is bound to be. Whoever knows +the circumstances connected with the working classes here, sir, will +assure you that the pastors are strong against quiet funerals. + + _Enter HORNIG, the rag dealer, a little bandy-legged old man, with a + strap round his chest._ + +HORNIG + +Good-mornin', ladies and gentlemen! A glass o' schnapps, if you please, +Mr. Welzel. Has the young mistress anything for me to-day? I've got +beautiful ribbons in my cart, Miss Anna, an' tapes, an' garters, an' the +very best of pins an' hairpins an' hooks an' eyes. An' all in exchange +for a few rags. [_In a changed voice._] An'out of them rags fine white +paper's to be made, for your sweetheart to write you a letter on. + +ANNA + +Thank you, but I've nothing to do with sweethearts. + +MRS. WELZEL + +[_Putting a bolt into her iron._] No, she's not that kind. She'll not +hear of marrying. + +TRAVELLER + +[_Jumps up, affecting delighted surprise, goes forward to ANNA'S table, +and holds out his hand to her across it._] That's sensible, Miss. You and +I think alike in this matter. Give me your hand on it. We'll both remain +single. + +ANNA + +[_Blushing scarlet, gives him her hand._] But you are married already! + +TRAVELLER + +Not a bit of it. I only pretend to be. You think so because I wear a +ring. I only have it on my finger to protect my charms against shameless +attacks. I'm not afraid of you, though. [_He puts the ring into his +pocket._] But tell me, truly, Miss, are you quite determined never, +never, never, to marry? + +ANNA + +[_Shakes her head._] Oh, get along with you! + +MRS. WELZEL + +You may trust her to remain single unless something very extra good turns +up. + +TRAVELLER + +And why shouldn't it? I know of a rich Silesian proprietor who married +his mother's lady's maid. And there's Dreissiger, the rich manufacturer, +his wife is an innkeeper's daughter too, and not half so pretty as you, +Miss, though she rides in her carriage now, with servants in livery. And +why not? [_He marches about, stretching himself, and stamping his feet._] +Let me have a cup of coffee, please. + + _Enter ANSORGE and OLD BAUMERT, each with a bundle. They seat + themselves meekly and silently beside HORNIG, at the front table to + the left._ + +WELZEL + +How are you, father Ansorge? Glad to see you once again. + +HORNIG + +Yes, it's not often as you crawl down from that smoky old nest. + +ANSORGE + +[_Visibly embarrassed, mumbles._] I've been fetchin' myself a web again. + +BAUMER + +He's goin' to work at a shilling the web. + +ANSORGE + +I wouldn't ha' done it, but there's no more to be made now by +basket-weaving'. + +WIEGAND + +It's always better than nothin'. He does it only to give you employment. +I know Dreissiger very well. When I was up there takin' out his double +windows last week we were talkin' about it, him and me. It's out of pity +that he does it. + +ANSORGE + +Well, well, well! That may be so. + +WELZEL + +[_Setting a glass of schnapps on the table before each of the weavers._] +Here you are, then. I say, Ansorge, how long is it since you had a shave? +The gentleman over there would like to know. + +TRAVELLER + +[_Calls across._] Now, Mr. Welzel, you know I didn't say that. I was only +struck by the venerable appearance of the master-weaver. It isn't often +one sees such a gigantic figure. + +ANSORGE + +[_Scratching his head, embarrassed._] Well, well! + +TRAVELLER + +Such specimens of primitive strength are rare nowadays. We're all rubbed +smooth by civilisation ... but I can still take pleasure in nature +untampered with.... These bushy eyebrows! That tangled length of beard! + +HORNIG + +Let me tell you, sir, that them people haven't the money to pay a barber, +and as to a razor for themselves, that's altogether beyond them. What +grows, grows. They haven't nothing to throw away on their outsides. + +TRAVELLER + +My good friend, you surely don't imagine that I would ... [_Aside to +WELZEL._] Do you think I might offer the hairy one a glass of beer? + +WELZEL + +No, no; you mustn't do that. He wouldn't take it. He's got some queer +ideas in that head o' his. + +TRAVELLER + +All right, then, I won't. With your permission, Miss. [_He seats himself +at ANNA'S table._] I declare, Miss, that I've not been able to take my +eyes off your hair since I came in--such glossy softness, such a splendid +quantity! [_Ecstatically kisses his finger-tips._] And what a colour!... +like ripe wheat. Come to Berlin with that hair and you'll create no end +of a sensation. On my honour, with hair like that you may go to Court.... +[_Leans back, looking at it._] Glorious, simply glorious! + +WIEGAND + +They've given her a fine name because of it. + +TRAVELLER + +And what may that be? + +ANNA + +[_Laughing quietly to herself._] Oh, don't listen to that! + +HORNIG + +The chestnut filly, isn't it? + +WELZEL + +Come now, we've had enough o' this. I'm not goin' to have the girl's head +turned altogether. She's had a-plenty of silly notions put into it +already. She'll hear of nothing under a count today, and to-morrow it'll +be a prince. + +MRS. WELZEL + +Don't abuse the girl, father. There's no harm in wantin' to rise in the +world. It's as well that people don't all think as you do, or nobody +would get on at all. If Dreissiger's grandfather had been of your way of +thinkin', they would be poor weavers still. And now they're rollin' in +wealth. An' look at old Tromtra. He was nothing but a weaver, too, and +now he owns twelve estates, an' he's been made a nobleman into the +bargain. + +WIEGAND + +Yes, Welzel, you must look at the thing fairly. Your wife's in the right +this time. I can answer for that. I'd never be where I am, with seven +workmen under me, if I had thought like you. + +HORNIG + +Yes, you understand the way to get on; that your worst enemy must allow. +Before the weaver has taken to bed, you're gettin' his coffin ready. + +WIEGAND + +A man must stick to his business if he's to get on. + +HORNIG + +No fear of you for that. You know before the doctor when death's on the +way to knock at a weaver's door. + +WIEGAND + +[_Attempting to laugh, suddenly furious._] And you know better'n the +police where the thieves are among the weavers, that keep back two or +three bobbins full every week. It's rags you ask for but you don't say +No, if there's a little yarn among them. + +HORNIG + +An' your corn grows in the churchyard. The more that are bedded on the +sawdust, the better for you. When you see the rows o' little children's +graves, you pats yourself on the belly and says you: This has been a good +year; the little brats have fallen like cockchafers off the trees. I can +allow myself a quart extra in the week again. + +WIEGAND + +And supposin' this is all true, it still don't make me a receiver of +stolen goods. + +HORNIG + +No; perhaps the worst you do is to send in an account twice to the rich +fustian manufacturers, or to help yourself to a plank or two at +Dreissiger's when there's building goin' on and the moon happens not to +be shinin'. + +WIEGAND + +[_Turning his back._] Talk to any one you like, but not to me. [_Then +suddenly._] Hornig the liar! + +HORNIG + +Wiegand the coffin-jobber! + +WIEGAND + +[_To the rest of the company._] He knows charms for bewitching cattle. + +HORNIG + +If you don't look out, I'll try one of 'em on you. + + [_WIEGAND turns pale._ + +MRS. WELZEL + +[_Had gone out; now returns with the TRAVELLER'S coffee; in the act of +putting it on the table._] Perhaps you would rather have it in the +parlour, sir? + +TRAVELLER + +Most certainly not! [_With a languishing look at ANNA._] I could sit here +till I die. + + _Enter a YOUNG FORESTER and a PEASANT, the latter carrying a whip. + They wish the others_ "Good Morning," _and remain standing at the + counter._ + +PEASANT + +Two brandies, if you please. + +WELZEL + +Good-morning to you, gentlemen. + + [_He pours out their beverage; the two touch glasses, take a + mouthful, and then set the glasses down on the counter._ + +TRAVELLER + +[_To FORESTER._] Come far this morning, sir? + +FORESTER + +From Steinseiffersdorf--that's a good step. + + _Two old WEAVERS enter, and seat themselves beside ANSORGE, BAUMERT, + and HORNIG._ + +TRAVELLER + +Excuse me asking, but are you in Count Hochheim's service? + +FORESTER + +No. I'm in Count Keil's. + +TRAVELLER + +Yes, yes, of course--that was what I meant. One gets confused here among +all the counts and barons and other gentlemen. It would take a giant's +memory to remember them all. Why do you carry an axe, if I may ask? + +FORESTER + +I've just taken this one from a man who was stealing wood. + +OLD BAUMERT + +Yes, their lordships are mighty strict with us about a few sticks for the +fire. + +TRAVELLER + +You must allow that if every one were to help himself to what he wanted +... + +OLD BAUMERT + +By your leave, sir, but there's a difference made here as elsewhere +between the big an' the little thieves. There's some here as deals in +stolen wood wholesale, and grows rich on it. But if a poor weaver ... + +FIRST OLD WEAVER + +[_Interrupts BAUMERT._] We're forbid to take a single branch; but their +lordships, they take the very skin off of us--we've assurance money to +pay, an' spinning-money, an' charges in kind--we must go here an' go +there, an' do so an' so much field work, all willy-nilly. + +ANSORGE + +That's just how it is--what the manufacturer leaves us, their lordships +takes from us. + +SECOND OLD WEAVER + +[_Has taken a seat at the next table._] I've said it to his lordship +hisself. By your leave, my lord, says I, it's not possible for me to work +on the estate so many days this year. I comes right out with it. For +why--my own bit of ground, my lord, it's been next to carried away by the +rains. I've to work night and day if I'm to live at all. For oh, what a +flood that was...! There I stood an' wrung my hands, an' watched the good +soil come pourin' down the hill, into the very house! And all that dear, +fine seed!... I could do nothin' but roar an' cry until I couldn't see +out o' my eyes for a week. And then I had to start an' wheel eighty heavy +barrow-loads of earth up that hill, till my back was all but broken. + +PEASANT + +[_Roughly._] You weavers here make such an awful outcry. As if we hadn't +all to put up with what Heaven sends us. An' if you _are_ badly off just +now, whose fault is it but your own? What did you do when trade was good? +Drank an' squandered all you made. If you had saved a bit then, you'd +have it to fall back on now when times is bad, and not need to be goin' +stealin' yarn and wood. + +FIRST YOUNG WEAVER + +[_Standing with several comrades in the lobby or outer room, calls in at +the door._] What's a peasant but a peasant, though he lies in bed till +nine? + +FIRST OLD WEAVER + +The peasant an' the count, it's the same story with 'em both. Says the +peasant when a weaver wants a house: I'll give you a little bit of a hole +to live in, an' you'll pay me so much rent in money, an' the rest of it +you'll make up by helpin' me to get in my hay an' my corn--and if that +don't please you, why, then you may go elsewhere. He tries another, and +to the second he says the same as to the first. + +BAUMERT + +[_Angrily._] The weaver's like a bone that every dog takes a gnaw at. + +PEASANT + +[_Furious._] You starvin' curs, you're no good for anything. Can you yoke +a plough? Can you draw a straight furrow or throw a bundle of sheaves on +to a cart. You're fit for nothing but to idle about an' go after the +women. A pack of scoundrelly ne'er-do-wells! + + [_He has paid and now goes out._ + + [_The FORESTER follows, laughing. WELZEL, the joiner, and MRS. WELZEL + laugh aloud; the TRAVELLER laughs to himself. Then there is a + moment's silence._ + +HORNIG + +A peasant like that's as stupid as his own ox. As if I didn't know all +about the distress in the villages round here. Sad sights I've seen! Four +and five lyin' naked on one sack of straw. + +TRAVELLER + +[_In a mildly remonstrative tone._] Allow me to remark, my good man, that +there's a great difference of opinion as to the amount of distress here +in the Eulengebirge. If you can read.... + +HORNIG + +I can read straight off, as well as you. An' I know what I've seen with +my own eyes. It would be queer if a man that's travelled the country with +a pack on his back these forty years an' more didn't know something about +it. There was the Fullers, now. You saw the children scrapin' about among +the dung-heaps with the peasants' geese. The people up there died naked, +on the bare stone floors. In their sore need they ate the stinking +weavers' glue. Hunger carried 'em off by the hundred. + +TRAVELLER + +You must be aware, since you are able to read, that strict investigation +has been made by the Government, and that.... + +HORNIG + +Yes, yes, we all know what that means. They send a gentleman that knows +all about it already better nor if he had seen it, an' he goes about a +bit in the village where the brook flows broad an' the best houses is. He +don't want to dirty his shinin' boots. Thinks he to hisself: All the +rest'll be the same as this. An' so he steps into his carriage, an' +drives away home again, an' then writes to Berlin that there's no +distress in the place at all. If he had but taken the trouble to go +higher up into a village like that, to where the stream comes in, or +across the stream on to the narrow side--or, better still, if he'd gone +up to the little out-o'-the-way hovels on the hill above, some of 'em +that black an' tumble-down as it would be the waste of a good match to +set fire to 'em--it's another kind o' report he'd have sent to Berlin. +They should ha' come to me, these government gentlemen that wouldn't +believe there was no distress here. I would ha' shown 'em something. I'd +have opened their eyes for 'em in some of these starvation holes. + + [_The strains of the Weavers' Song are heard, sung outside._ + +WELZEL + +There they are, roaring at that devil's song again. + +WIEGAND + +They're turning the whole place upside down. + +MRS. WELZEL + +You'd think there was something in the air. + + _JAEGER and BECKER arm in arm, at the head of a troop of young + weavers, march noisily through the outer room and enter the bar._ + +JAEGER + +Halt! To your places! + + [_The new arrivals sit down at the various tables, and begin to talk + to other weavers already seated there._ + +HORNIG + +[_Calls out to BECKER._] What's up now, Becker, that you've got together +a crowd like this? + +BECKER + +[_Significantly._] Who knows but something may be goin' to happen? Eh, +Moritz? + +HORNIG + +Come, come, lads. Don't you be a-gettin' of yourselves into mischief. + +BECKER + +Blood's flowed already. Would you like to see it? + + [_He pulls up his sleeve and shows bleeding tattoo-marks on the upper + part of his arm. Many of the other young weavers do the same._ + +BECKER + +We've been at barber Schmidt's gettin' ourselves vaccinated. + +HORNIG + +Now the thing's explained. Little wonder there's such an uproar in the +place, with a band of young rapscallions like you paradin' round. + +JAEGER + +[_Consequentially, in a loud voice._] You may bring two quarts at once, +Welzel! I pay. Perhaps you think I haven't got the needful. You're wrong, +then. If we wanted we could sit an' drink your best brandy an' swill +coffee till to-morrow morning with any bagman in the land. + + [_Laughter among the young weavers._ + +TRAVELLER + +[_Affecting comic surprise._] Is the young gentleman kind enough to take +notice of me? + + [_Host, hostess, and their daughter, WIEGAND, and the TRAVELLER all + laugh._ + +JAEGER + +If the cap fits, wear it. + +TRAVELLER + +Your affairs seem to be in a thriving condition, young man, if I may be +allowed to say so. + +JAEGER + +I can't complain. I'm a traveller in made-up goods. I go shares with the +manufacturers. The nearer starvation the weaver is, the better I fare. +His want butters my bread. + +BECKER + +Well done, Moritz! You gave it him that time. Here's to you! + + [_WELZEL has brought the corn-brandy. On his way back to the counter + he stops, turns round slowly, and stands, an embodiment of phlegmatic + strength, facing the weavers._ + +WELZEL + +[_Calmly but emphatically._] You let the gentleman alone. He's done you +no harm. + +YOUNG WEAVERS + +And we're doing him no harm. + + [_MRS. WELZEL has exchanged a few words with the TRAVELLER. She takes + the cup with the remains of his coffee and carries it into the + parlour. The TRAVELLER follows her amidst the laughter of the + weavers._ + +YOUNG WEAVERS + +[_Singing._] "The Dreissigers the hangmen are, Servants no whit behind +them." + +WELZEL + +Hush-sh! Sing that song anywhere else you like, but not in my house. + +FIRST OLD WEAVER + +He's quite right. Stop that singin', lads. + +BECKER + +[_Roars._] But we must march past Dreissiger's, boys, and let him hear it +ones more. + +WIEGAND + +You'd better take care--you may march once too often! + + [_Laughter and cries of_ Ho, ho! + + _WITTIG has entered; a grey-haired old smith, bareheaded, with + leather apron and wooden shoes, sooty from the smithy. He is standing + at the counter waiting for his schnapps._ + +WITTIG + +Let 'em go on with their doin's. The dogs as barks most, bites least. + +OLD WEAVERS + +Wittig, Wittig! + +WITTIG + +Here he is. What do you want with him? + +OLD WEAVERS + +"It's Wittig!"--"Wittig, Wittig!"--"Come here, Wittig."--"Sit beside us, +Wittig." + +WITTIG + +Do you think I would sit beside a set of rascals like you? + +JAEGER + +Come and take a glass with us. + +WITTIG + +Keep your brandy to yourselves. I pay for my own drink. [_Takes his glass +and sits down beside BAUMERT and ANSORGE. Clapping the latter on the +stomach._] What's the weavers' food so nice? Sauerkraut and roasted lice! + +OLD BAUMERT + +[_Drunk with excitement._] But what would you say now if they'd made up +their minds as how they would put up with it no longer. + +WITTIG + +[_With pretended astonishment, staring open-mouthed at the old weaver._] +Heinerle! you don't mean to tell me that that's you? [_Laughs +immoderately._] O Lord, O Lord! I could laugh myself to death. Old +Baumert risin' in rebellion! We'll have the tailors at it next, and then +there'll be a rebellion among the baa-lambs, and the rats and the mice. +Damn it all, but we'll see some sport. + + [_He nearly splits with laughter._ + +OLD BAUMERT + +You needn't go on like that, Wittig. I'm the same man I've always been. I +still say 'twould be better if things could be put right peaceably. + +WITTIG + +Rot! How could it be done peaceably? Did they do it peaceably in France? +Did Robespeer tickle the rich men's palms? No! It was: Away with them, +every one! To the gilyoteen with 'em! Allongs onfong! You've got your +work before you. The geese'll not fly ready roasted into your mouths. + +OLD BAUMERT + +If I could make even half a livin' ... + +FIRST OLD WEAVER + +The water's up to our chins now, Wittig. + +SECOND OLD WEAVER + +We're afraid to go home. It's all the same whether we works or whether we +lies abed; it's starvation both ways. + +FIRST OLD WEAVER + +A man's like to go mad at home. + +OLD ANSORGE + +I've come to that pass now that I don't care how things goes. + +OLD WEAVERS + +[_With increasing excitement._] "We've no peace anywhere."--"We've no +spirit left to work."--"Up with us in Steenkunzendorf you can see a +weaver sittin' by the stream washin' hisself the whole day long, naked as +God made him. It's driven him clean out of his mind." + +THIRD OLD WEAVER + +[_Moved by the spirit, stands up and begins to "speak with tongues," +stretching out his hand threateningly._] Judgement is at hand! Have no +dealings with the rich and the great! Judgement is at hand! The Lord God +of Sabaoth ... + + [_Some of the weavers laugh. He is pulled down on to his seat._ + +WELZEL + +That's a chap that can't stand a single glass--he gets wild at once. + +THIRD OLD WEAVER + +[_Jumps up again._] But they--they believe not in God, not in hell, not +in heaven. They mock at religion.... + +FIRST OLD WEAVER + +Come, come now, that's enough! + +BECKER + +You let him do his little bit o' preaching. There's many a one would be +the better for takin' it to heart. + +VOICES + +[_In excited confusion._] "Let him alone!" "Let him speak!" + +THIRD OLD WEAVER + +[_Raising his voice._] But hell is opened, saith the Lord; its jaws are +gaping wide, to swallow up all those that oppress the afflicted and +pervert judgement in the cause of the poor. [_Wild excitement._] + +THIRD OLD WEAVER + +[_Suddenly declaiming schoolboy fashion._] + + When one has thought upon it well, + It's still more difficult to tell + Why they the linen-weaver's work despise. + +BECKER + +But we're fustian-weavers, man. + + [_Laughter._ + +HORNIG + +The linen-weavers is ever so much worse off than you. They're wanderin' +about among the hills like ghosts. You people here have still got the +pluck left in you to kick up a row. + +WITTIG + +Do you suppose the worst's over here? It won't be long till the +manufacturers drain away that little bit of strength they still has left +in their bodies. + +BECKER + +You know what he said: It will come to the weavers workin' for a bite of +bread. + + [_Uproar._ + +SEVERAL OLD AND YOUNG WEAVERS + +Who said that? + +BECKER + +Dreissiger said it. + +A YOUNG WEAVER + +The damned rascal should be hung up by the heels. + +JAEGER + +Look here, Wittig. You've always jawed such a lot about the French +Revolution, and a good deal too about your own doings. A time may be +coming, and that before long, when every one will have a chance to show +whether he's a braggart or a true man. + +WITTIG + +[_Flaring up angrily._] Say another word if you dare! Has you heard the +whistle o' bullets? Has you done outpost duty in an enemy's country? + +JAEGER + +You needn't get angry about it. We're comrades. I meant no harm. + +WITTIG + +None of your comradeship for me, you impudent young fool. + + _Enter KUTSCHE, the policeman._ + +SEVERAL VOICES + +Hush--sh! Police! + + [_This calling goes on for some time, till at last there is complete + silence, amidst which KUTSCHE takes his place at the central pillar + table._ + +KUTSCHE + +A small brandy, please. + + [_Again complete silence._] + +WITTIG + +I suppose you've come to see if we're all behavin' ourselves, Kutsche? + +KUTSCHE + +[_Paying no attention to WITTIG._] Good-morning, Mr. Wiegand. + +WIEGAND + +[_Still in the corner in front of the counter._] Good morning t'you. + +KUTSCHE + +How's trade? + +WIEGAND + +Thank you, much as usual. + +BECKER + +The chief constable's sent him to see if we're spoilin' our stomach on +these big wages we're gettin'. + + [_Laughter._ + +JAEGER + +I say, Welzel, you will tell him how we've been feastin' on roast pork +an' sauce an' dumplings and sauerkraut, and now we're sittin' at our +champagne wine. + + [_Laughter._ + +WELZEL. + +The world's upside down with them to-day. + +KUTSCHE + +An' even if you had the champagne wine and the roast meat, you wouldn't +be satisfied. I've to get on without champagne wine as well as you. + +BECKER + +[_Referring to KUTSCHE'S nose._] He waters his beet-root with brandy and +gin. An' it thrives on it too. + + [_Laughter._ + +WITTIG + +A p'liceman like that has a hard life. Now it's a starving beggar boy he +has to lock up, then it's a pretty weaver girl he has to lead astray; +then he has to get roarin' drunk an' beat his wife till she goes +screamin' to the neighbours for help; and there's the ridin' about on +horseback and the lyin' in bed till nine--nay, faith, but it's no easy +job! + +KUTSCHE + +Jaw away; you'll jaw a rope round your neck in time. It's long been known +what sort of a fellow you are. The magistrates knows all about that +rebellious tongue o' yours, I know who'll drink wife and child into the +poorhouse an' himself into gaol before long, who it is that'll go on +agitatin' and agitatin' till he brings down judgment on himself and all +concerned. + +WITTIG + +[_Laughs bitterly._] It's true enough--no one knows what'll be the end of +it. You may be right yet. [_Bursts out in fury._] But if it does come to +that, I know who I've got to thank for it, who it is that's blabbed to +the manufacturers an' all the gentlemen round, an' blackened my character +to that extent that they never give me a hand's turn of work to do--an' +set the peasants an' the millers against me, so that I'm often a whole +week without a horse to shoe or a wheel to put a tyre on. I know who's +done it. I once pulled the damned brute off his horse, because he was +givin' a little stupid boy the most awful flogging for stealin' a few +unripe pears. But I tell you this, Kutsche, and you know me--if you get +me put into prison, you may make your own will. If I hears as much as a +whisper of it. I'll take the first thing as comes handy, whether it's a +horseshoe or a hammer, a wheel-spoke or a pail; I'll get hold of you if +I've to drag you out of bed from beside your wife, and I'll beat in your +brains, as sure as my name's Wittig. + + [_He has jumped up and is going to rush at KUTSCHE._] + +OLD AND YOUNG WEAVERS + +[_Holding him back._] Wittig, Wittig! Don't lose your head! + +KUTSCHE + +[_Has risen involuntarily, his face pale. He backs towards the door while +speaking. The nearer the door the higher his courage rises. He speaks the +last words on the threshold, and then instantly disappears._] What are +you goin' on at me about? I didn't meddle with you. I came to say +somethin' to the weavers. My business is with them an' not with you, and +I've done nothing to you. But I've this to say to you weavers: The +superintendent of police herewith forbids the singing of that +song--Dreissiger's song, or whatever it is you calls it. And if the +yelling of it on the streets isn't stopped at once, he'll provide you +with plenty of time and leisure for goin' on with it in gaol. You may +sing there, on bread an' water, to your hearts' content. + + [_Goes out._ + +WITTIG + +[_Roars after him._] He's no right to forbid, it--not if we was to roar +till the windows shook an' they could hear us at Reichenbach--not if we +sang till the manufacturers' houses tumbled about their ears an' all the +superintendents' helmets danced on the top of their heads. It's nobody's +business but our own. + + [_BECKER has in the meantime got up, made a signal for singing, and + now leads off, the others joining in._ + + The justice to us weavers dealt + Is bloody, cruel, and hateful; + Our life's one torture, long drawn out; + For Lynch law we'd be grateful. + + [_WELZEL attempts to quiet them, but they pay no attention to him. + WIEGAND puts his hands to his ears and rushes off. During the singing + of the next stanza the weavers rise and form, into procession behind + BECKER and WITTIG, who have given pantomimic signs for a general + break-up._ + + Stretched on the rack, day after day, + Hearts sick and bodies aching, + Our heavy sighs their witness bear + To spirit slowly breaking. + + [_Most of the weavers sing the following stanza, out on the street, + only a few young fellows, who are paying, being still in the bar. At + the conclusion of the stanza no one is left in the room except WELZEL + and his wife and daughter, HORNIG, and OLD BAUMERT._ + + You villains all, you brood of hell, + You fiends in fashion human, + A curse will fall on all like you + Who prey on man and woman. + +WELZEL + +[_Phlegmatically collecting the glasses._] Their backs are up to-day, an' +no mistake. + +HORNIG + +[_To OLD BAUMERT, who is preparing to go._] What in the name of Heaven +are they up to, Baumert? + +BAUMERT + +They're goin' to Dreissiger's to make him add something on to the pay. + +WELZEL + +And are you joining in these foolish goings on? + +OLD BAUMERT + +I've no choice, Welzel. The young men may an' the old men must. + + [_Goes out rather shamefacedly._ + +HORNIG + +It'll not surprise me if this ends badly. + +WELZEL + +To think that even old fellows like him are goin' right off their heads! + +HORNIG + +We all set our hearts on something! + + +END OF THE THIRD ACT + + + + +THE FOURTH ACT + + + _Peterswaldau.--Private room of DREISSIGER, _the fustian + manufacturer--luxuriously furnished in the chilly taste of the first + half of this century. Ceiling, doors, and stove are white, and the + wall paper, with its small, straight-lined floral pattern, is dull + and cold in tone. The furniture is mahogany, richly-carved, and + upholstered in red. On the right, between two windows with crimson + damask curtains, stands the writing-table, a high bureau with falling + flap. Directly opposite to this is the sofa, with the strong-box; + beside it; in front of the sofa a table, with chairs and easy-chairs + arranged about it. Against the back wall is a gun-rack. All three + walls are decorated with bad pictures in gilt frames. Above the sofa + is a mirror with a heavily gilt rococo frame. On the left an ordinary + door leads into the hall. An open folding door at the back shows the + drawing-room, over-furnished in the same style of comfortless + ostentation. Two ladies, MRS. DREISSIGER and MRS. KITTELHAUS, the + Pastor's wife, are seen in the drawing-room, looking at pictures. + PASTOR KITTELHAUS is there too, engaged in conversation with + WEINHOLD, the tutor, a theological graduate._ + +KITTELHAUS + +[_A kindly little elderly man, enters the front room, smoking and +chatting familiarly with the tutor, who is also smoking; he looks round +and shakes his head in surprise at finding the room empty._] You are +young, Mr. Weinhold, which explains everything. At your age we old +fellows held--well, I won't say the same opinions--but certainly opinions +of the same tendency. And there's something fine about youth--youth with +its grand ideals. But unfortunately, Mr. Weinhold, they don't last; they +are as fleeting as April sunshine. Wait till you are my age. When a man +has said his say from the pulpit for thirty years--fifty-two times every +year, not including saints' days--he has inevitably calmed down. Think of +me, Mr. Weinhold, when you come to that pass. + +WEINHOLD + +[_Nineteen, pale, thin, tall, with lanky fair hair; restless and nervous +in his movements._] With all due respect, Mr. Kittelhaus.... I can't +think ... people have such different natures. + +KITTELHAUS + +My dear Mr. Weinhold, however restless-minded and unsettled, a man may +be--[_in a tone of reproof_]--and you are a case in point--however +violently and wantonly he may attack the existing order of things, he +calms down in the end. I grant you, certainly, that among our +professional brethren individuals are to be found, who, at a fairly +advanced age, still play youthful pranks. One preaches against the drink +evil and founds temperance societies, another publishes appeals which +undoubtedly read most effectively. But what good do they do? The distress +among the weavers, where it does exist, is in no way lessened--but the +peace of society is undermined. No, no; one feels inclined in such cases +to say: Cobbler, stick to your last; don't take to caring for the belly, +you who have the care of souls. Preach the pure Word of God, and leave +all else to Him who provides shelter and food for the birds, and clothes +the lilies of the field.--But I should like to know where our good host, +Mr. Dreissiger, has suddenly disappeared to. + + [_MRS. DREISSIGER, followed by MRS. KITTELHAUS, now comes forward. + She is a pretty woman of thirty, of a healthy, florid type. A certain + discrepancy is noticeable between her deportment and way of + expressing herself and her rich, elegant toilette._] + +MRS. DREISSIGER + +That's what I want to know too, Mr. Kittelhaus. But it's what William +always does. No sooner does a thing come into his head than off he goes +and leaves me in the lurch. I've said enough about it, but it does no +good. + +KITTELHAUS + +It's always the way with business men, my dear Mrs. Dreissiger. + +WEINHOLD + +I'm almost certain that something has happened downstairs. + + _DREISSIGER enters, hot and excited._ + +DREISSIGER + +Well, Rosa, is coffee served? + +MRS. DREISSIGER + +[_Sulkily._] Fancy your needing to run away again! + +DREISSIGER + +[_Carelessly._] Ah! these are things you don't understand. + +KITTELHAUS + +Excuse me--has anything happened to annoy you, Mr. Dreissiger? + +DREISSIGER + +Never a day passes without that, my dear sir. I am accustomed to it. What +about that coffee, Rosa? + + [_MRS. DREISSIGER goes ill-humouredly and gives one or two violent + tugs at the broad embroidered bell-pull._ + +DREISSIGER + +I wish you had been downstairs just now, Mr. Weinhold. You'd have gained +a little experience. Besides.... But now let us have our game of whist. + +KITTELHAUS + +By all means, sir. Shake off the dust and burden of the day, Mr. +Dreissiger; forget it in our company. + +DREISSIGER + +[_Has gone to the window, pushed aside a curtain, and is looking out. +Involuntarily._] Vile rabble!! Come here. Rosa! [_She goes to the +window._] Look ... that tall red-haired fellow there!... + +KITTELHAUS + +That's the man they call Red Becker. + +DREISSIGER + +Is he the man that insulted you the day before yesterday? You remember +what you told me--when John was helping you into the carriage? + +MRS. DREISSIGER + +[_Pouting, drawls._] I'm sure I don't know. + +DREISSIGER + +Come now, drop that offended air! I must know. I am thoroughly tired of +their impudence. If he's the man, I mean to have him arrested. [_The +strains of the Weavers' Song are heard._] Listen to that! Just listen! + +KITTELHAUS + +[_Highly incensed._] Is there to be no end to this nuisance? I must +acknowledge now that it is time for the police to interfere. Permit me. +[_He goes forward to the window._] See, see, Mr. Weinhold! These are not +only young people. There are numbers of steady-going old weavers among +them, men whom I have known for years and looked upon as most deserving +and God-fearing. There they are, taking part in this unheard-of mischief, +trampling God's law under foot. Do you mean to tell me that you still +defend these people? + +WEINHOLD + +Certainly not, Mr. Kittelhaus. That is, sir ... _cum grano salis_. For +after all, they are hungry and they are ignorant. They are giving +expression to their dissatisfaction in the only way they understand. I +don't expect that such people.... + +MRS. KITTELHAUS + +[_Short, thin, faded, more like an old maid than a married woman._] Mr. +Weinhold, Mr. Weinhold, how can you? + +DREISSIGER + +Mr. Weinhold, I am sorry to be obliged to.... I didn't bring you into my +house to give me lectures on philanthropy, and I must request that you +will confine yourself to the education of my boys, and leave my other +affairs entirely to me--entirely! Do you understand? + +WEINHOLD + +[_Stands for a moment rigid and deathly pale, then bows, with a strained +smile. In a low voice._] Certainly, of course I understand. I have seen +this coming. It is my wish too. + + [_Goes out._ + +DREISSIGER + +[_Rudely._] As soon as possible then, please. We require the room. + +MRS. DREISSIGER + +William, William! + +DREISSIGER + +Have you lost your senses, Rosa, that you're taking the part of a man who +defends a low, blackguardly libel like that song? + +MRS. DREISSIGER + +But, William, he didn't defend it. + +DREISSIGER + +Mr. Kittelhaus, did he defend it or did he not? + +KITTELHAUS + +His youth must be his excuse, Mr. Dreissiger. + +MRS. KITTELHAUS + +I can't understand it. The young man comes of such a good, respectable +family. His father held a public appointment for forty years, without a +breath on his reputation. His mother was overjoyed at his getting this +good situation here. And now ... he himself shows so little appreciation +of it. + +PFEIFER + +[_Suddenly opens the door leading from the hall and shouts in._] Mr. +Dreissiger, Mr. Dreissiger! they've got him! Will you come, please? +They've caught one of 'em. + +DREISSIGER + +[_Hastily._] Has some one gone for the police? + +PFEIFER + +The superintendent's on his way upstairs. + +DREISSIGER + +[_At the door._] Glad to see you, sir. We want you here. + + [_KITTELHAUS makes signs to the ladies that it will be better for + them to retire. He, his wife, and MRS. DREISSIGER disappear into the + drawing-room._ + +DREISSIGER + +[_Exasperated, to the POLICE SUPERINTENDENT, who has now entered._] I +have at last had one of the ringleaders seized by my dyers. I could stand +it no longer--their insolence was beyond all bounds--quite unbearable. I +have visitors in my house, and these blackguards dare to.... They insult +my wife whenever she shows herself; my boys' lives are not safe. My +visitors run the risk of being jostled and cuffed. Is it possible that in +a well-ordered community incessant public insult offered to unoffending +people like myself and my family should pass unpunished? If so ... then +... then I must confess that I have other ideas of law and order. + +SUPERINTENDENT + +[_A man of fifty, middle height, corpulent, full-blooded. He wears +cavalry uniform with a long sword and spurs._] No, no, Mr. Dreissiger ... +certainly not! I am entirely at your disposal. Make your mind easy on the +subject. Dispose of me as you will. What you have done is quite right. I +am delighted that you have had one of the ringleaders arrested. I am very +glad indeed that a day of reckoning has come. There are a few disturbers +of the peace here whom I have long had my eye on. + +DREISSIGER + +Yes, one or two raw lads, lazy vagabonds, that shirk every kind of work, +and lead a life of low dissipation, hanging about the public-houses until +they've sent their last half-penny down their throats. But I'm determined +to put a stop to the trade of these professional blackguards once and for +all. It's in the public interest to do so, not only my private interest. + +SUPERINTENDENT + +Of course it is! Most undoubtedly, Mr. Dreissiger! No one can possibly +blame you. And everything that lies in my power.... + +DREISSIGER + +The cat-o'-nine tails is what should be taken to the beggarly pack. + +SUPERINTENDENT + +You're right, quite right. We must institute an example. + + _KUTSCHE, the policeman, enters and salutes. The door is open, and + the sound of heavy steps stumbling up the stair is heard._ + +KUTSCHE + +I have to inform you, sir, that we have arrested a man. + +DREISSIGER + +[_To SUPERINTENDENT._] Do you wish to see the fellow? + +SUPERINTENDENT + +Certainly, most certainly. We must begin by having a look at him at close +quarters. Oblige me, Mr. Dreissiger, by not speaking to him at present. +I'll see to it that you get complete satisfaction, or my name's not +Heide. + +DREISSIGER + +That's not enough for me, though. He goes before the magistrates. My +mind's made up. + + _JAEGER is led in by five dyers, who have come straight from their + work--faces, hands, and clothes stained with dye. The prisoner, his + cap set jauntily on the side of his head, presents an appearance of + impudent gaiety; he is excited by the brandy he has just drunk._ + +JAEGER + +Hounds that you are!--Call yourselves working men!--Pretend to be +comrades! Before I would do such a thing as lay hands on a mate, I'd see +my hand rot off my arm! + + [_At a sign from the SUPERINTENDENT KUTSCHE orders the dyers to let + go their victim. JAEGER straightens himself up, quite free and easy. + Both doors are guarded._ + +SUPERINTENDENT + +[_Shouts to JAEGER._] Off with your cap, lout! [_JAEGER takes it off, but +very slowly, still with an impudent grin on his face._] What's your name? + +JAEGER + +What's yours? I'm not your swineherd. + + [_Great excitement is produced among the audience by this reply._ + +DREISSIGER + +This is too much of a good thing. + +SUPERINTENDENT + +[_Changes colour, is on the point of breaking out furiously, but controls +his rage._] We'll see about this afterwards.--Once more, what's your +name? [_Receiving no answer, furiously._] If you don't answer at once, +fellow, I'll have you flogged on the spot. + +JAEGER + +[_Perfectly cheerful, not showing by so much as the twitch of an eyelid +that he has heard the SUPERINTENDENT'S angry words, calls over the heads +of those around him to a pretty servant girl, who has brought in the +coffee and is standing open-mouthed with astonishment at the unexpected +sight._] Hillo, Emmy, do you belong to this company now? The sooner you +find your way out of it, then, the better. A wind may begin to blow here, +an' blow everything away overnight. + + [_The girl stares at JAEGER, and as soon as she comprehends that it + is to her he is speaking, blushes with shame, covers her eyes with + her hands, and rushes out, leaving the coffee things in confusion on + the table. Renewed excitement among those present._ + +SUPERINTENDENT + +[_Half beside himself, to DREISSIGER._] Never in all my long service ... +a case of such shameless effrontery.... [_JAEGER spits on the floor._ + +DREISSIGER + +You're not in a stable, fellow! Do you understand? + +SUPERINTENDENT + +My patience is at an end now. For the last time: What's your name? + + _KITTELHAUS who has been peering out at the partly opened + drawing-room door, listening to what has been going on, can no longer + refrain from coming forward to interfere. He is trembling with + excitement._ + +KITTELHAUS + +His name is Jaeger, sir. Moritz ... is it not? Moritz Jaeger. [_To +JAEGER._] And, Jaeger, you know me. + +JAEGER + +[_Seriously._] You are Pastor Kittelhaus. + +KITTELHAUS + +Yes, I am your pastor, Jaeger! It was I who received you, a babe in +swaddling clothes, into the Church of Christ. From my hands you took for +the first time the body of the Lord. Do you remember that, and how I +toiled and strove to bring God's Word home to your heart? Is this your +gratitude? + +JAEGER + +[_Like a scolded schoolboy. In a surly voice._] I paid my half-crown like +the rest. + +KITTELHAUS + +Money, money.... Do you imagine that the miserable little bit of +money.... Such utter nonsense! I'd much rather you kept your money. Be a +good man, be a Christian! Think of what you promised. Keep God's law. +Money, money...! + +JAEGER + +I'm a Quaker now, sir. I don't believe in nothing. + +KITTELHAUS + +Quaker! What are you talking about? Try to behave yourself, and don't use +words you don't understand. Quaker, indeed! They are good Christian +people, and not heathens like you. + +SUPERINTENDENT + +Mr. Kittelhaus, I must ask you.... [_He comes between the Pastor and +JAEGER._] Kutsche! tie his hands! + + [_Wild yelling outside:_ "Jaeger. Jaeger! come out!" + +DREISSIGER + +[_Like the others, slightly startled, goes instinctively to the window._] +What's the meaning of this next? + +SUPERINTENDENT + +Oh, I understand well enough. It means that they want to have the +blackguard out among them again. But we're not going to oblige them. +Kutsche, you have your orders. He goes to the lock-up. + +KUTSCHE + +[_With the rope in his hand, hesitating._] By your leave, sir, but it'll +not be an easy job. There's a confounded big crowd out there--a pack of +raging devils. They've got Becker with them, and the smith.... + +KITTELHAUS + +Allow me one more word!--So as not to rouse still worse feeling, would it +not be better if we tried to arrange things peaceably? Perhaps Jaeger +will give his word to go with us quietly, or.... + +SUPERINTENDENT + +Quite impossible! Think of my responsibility. I couldn't allow such a +thing. Come, Kutsche! lose no more time. + +JAEGER + +[_Putting his hands together, and holding them, out._] Tight, tight, as +tight as ever you can! It's not for long. + + [_KUTSCHE, assisted by the workmen, ties his hands._ + +SUPERINTENDENT + +Now off with you, march! [_To DREISSIGER._] If you feel anxious, let six +of the weavers go with them. They can walk on each side of him, I'll ride +in front, and Kutsche will bring up the rear. Whoever blocks the way will +be cut down. + + [_Cries from below:_ "Cock-a-doodle-doo-oo-oo! Bow, wow, wow!" + +SUPERINTENDENT + +[_With a threatening gesture in the direction of the window._] You +rascals, I'll cock-a-doodle-doo and bow-wow you! Forward! March! + + [_He marches out first, with drawn sword; the others, with JAEGER, + follow._ + +JAEGER + +[_Shouts as he goes._] An' Mrs. Dreissiger there may play the lady as +proud as she likes, but for all that she's no better than us. Many a +hundred times she's served my father with a halfpenny-worth of schnapps. +Left wheel--march! + + [_Exit laughing._ + +DREISSIGER + +[_ After a pause, with apparent calmness._] Well, Mr. Kittelhaus, shall +we have our game now? I think there will be no further Interruption. [_He +lights a cigar, giving short laughs as he does so; when it is lighted, +bursts into a regular fit of laughing._] I'm beginning now to think the +whole thing very funny. That fellow! [_Still laughing nervously._] It +really is too comical: first came the dispute at dinner with +Weinhold--five minutes after that he takes leave--off to the other end of +the world; then this affair crops up--and now we'll proceed with our +whist. + +KITTELHAUS + +Yes, but ... [_Roaring is heard outside._] Yes, but ... that's a terrible +uproar they're making outside. + +DREISSIGER + +All we have to do is to go into the other room; it won't disturb us in +the least there. + +KITTELHAUS + +[_Shaking his head._] I wish I knew what has come over these people. In +so far I must agree with Mr. Weinhold, or at least till quite lately I +was of his opinion, that the weavers were a patient, humble, easily-led +class. Was it not your idea of them, too, Mr. Dreissiger? + +DREISSIGER + +Most certainly that is what they used to be--patient, easily managed, +well-behaved and orderly people. They were that as long as these +so-called humanitarians let them alone. But for ever so long now they've +had the awful misery of their condition held up to them. Think of all the +societies and associations for the alleviation of the distress among the +weavers. At last the weaver believes in it himself, and his head's +turned. Some of them had better come and turn it back again, for now he's +fairly set a-going there's no end to his complaining. This doesn't please +him, and that doesn't please him. He must have everything of the best. + + [_A loud roar of_ "Hurrah!" _is heard from, the crowd._ + +KITTELHAUS + +So that with all their humanitarianism they have only succeeded in almost +literally turning lambs over night into wolves. + +DREISSIGER + +I won't say that, sir. When you take time to think of the matter coolly, +it's possible that some good may come of it yet. Such occurrences as this +will not pass unnoticed by those in authority, and may lead them to see +that things can't be allowed to go on as they are doing--that means must +be taken to prevent the utter ruin of our home industries. + +KITTELHAUS + +Possibly. But what is the cause, then, of this terrible falling off of +trade? + +DREISSIGER + +Our best markets have been closed to us by the heavy import duties +foreign countries have laid on our goods. At home the competition is a +struggle of life and death, for we have no protection, none whatever. + +PFEIFER + +[_Staggers in, pale and breathless._] Mr. Dreissiger, Mr. Dreissiger! + +DREISSIGER + +[_In the act of walking into the drawing-room, turns round, annoyed._] +Well, Pfeifer, what now? + +PFEIFER + +Oh, sir! Oh, sir!... It's worse than ever! + +DREISSIGER + +What are they up to next? + +KITTELHAUS + +You're really alarming us--what is it? + +PFEIFER + +[_Still confused._] I never saw the like. Good Lord--The superintendent +himself ... they'll catch it for this yet. + +DREISSIGER + +What's the matter with you, in the devil's name? Is any one's neck +broken? + +PFEIFER + +[_Almost crying with fear, screams._] They've set Moritz Jaeger +free--they've thrashed the superintendent and driven him away--they've +thrashed the policeman and sent him off too--without his helmet ... his +sword broken ... Oh dear, oh dear! + +DREISSIGER + +I think you've gone crazy, Pfeifer. + +KITTELHAUS + +This is actual riot. + +PFEIFER + +[_Sitting on a chair, his whole body trembling._] It's turning serious, +Mr. Dreissiger! Mr. Dreissiger, it's serious now! + +DREISSIGER + +Well, if that's all the police ... + +PFEIFER + +Mr. Dreissiger, it's serious now! + +DREISSIGER + +Damn it all, Pfeifer, will you hold your tongue? + +MRS. DREISSIGER + +[_Coming out of the drawing-room with MRS. KITTELHAUS._] This is really +too bad, William. Our whole pleasant evening's being spoiled. Here's Mrs. +Kittelhaus saying that she'd better go home. + +KITTELHAUS + +You mustn't take it amiss, dear Mrs. Dreissiger, but perhaps, under the +circumstances, it _would_ be better ... + +MRS. DREISSIGER + +But, William, why in the world don't you go out and put a stop to it? + +DREISSIGER + +You go and see if you can do it. Try! Go and speak to them! [_Standing in +front of the pastor, abruptly._] Am I such a tyrant? Am I a cruel master? + + _Enter JOHN the coachman._ + +JOHN + +If you please, m'm, I've put to the horses. Mr. Weinhold's put Georgie +and Charlie into the carriage. If it comes to the worst, we're ready to +be off. + +MRS. DREISSIGER + +If what comes to the worst? + +JOHN + +I'm sure I don't know, m'm. But I'm thinkin' this way: The crowd's +gettin' bigger and bigger, an' they've sent the superintendent an' the +p'liceman to the right-about. + +PFEIFER + +It's gettin' serious now, Mr. Dreissiger! It's serious! + +MRS. DREISSIGER + +[_With increasing alarm._] What's going to happen?--What do the people +want?--They're never going to attack us, John? + +JOHN + +There's some rascally hounds among 'em, ma'am. + +PFEIFER + +It's serious now! serious! + +DREISSIGER + +Hold your tongue, fool!--Are the doors barred? + +KITTELHAUS + +I ask you as a favour, Mr. Dreissiger ... as a favour ... I am determined +to ... I ask you as a favour ... [_To JOHN._] What demands are the people +making? + +JOHN + +[_Awkwardly._] It's higher wages they're after, the blackguards. + +KITTELHAUS + +Good, good!--I shall go out and do my duty. I shall speak seriously to +these people. + +JOHN + +Oh sir, please sir, don't do any such thing. Words is quite useless. + +KITTELHAUS + +One little favour, Mr. Dreissiger. May I ask you to post men behind the +door, and to have it closed at once after me? + +MRS. KITTELHAUS + +O Joseph, Joseph! you're not really going out? + +KITTELHAUS + +I am. Indeed I am. I know what I'm doing. Don't be afraid. God will +protect me. + + [_MRS. KITTELHAUS presses his hand, draws back, and wipes tears from + her eyes._ + +KITTELHAUS + +[_While the dull murmur of a great, excited crowd is heard +uninterruptedly outside._] I'll go ... I'll go out as if I were simply on +my way home. I shall see if my sacred office ... if the people have not +sufficient respect for me left to ... I shall try ... [_He takes his hat +and stick._] Forward, then, in God's name! + + [_Goes out accompanied by DREISSIGER, PFEIFER and JOHN._ + +MRS. KITTELHAUS + +Oh, dear Mrs. Dreissiger! [_She bursts into tears and embraces her._] I +do trust nothing will happen to him. + +MRS. DREISSIGER + +[_Absently._] I don't know how it is, Mrs. Kittelhaus, but I ... I can't +tell you how I feel. I didn't think such a thing was possible. It's ... +it's as if it was a sin to be rich. If I had been told about all this +beforehand, Mrs. Kittelhaus, I don't know but what I would rather have +been left in my own humble position. + +MRS. KITTELHAUS + +There are troubles and disappointments in every condition of life, Mrs. +Dreissiger. + +MRS. DREISSIGER + +True, true, I can well believe that. And suppose we have more than other +people ... goodness me! we didn't steal it. It's been honestly got, every +penny of it. It's not possible that the people can be goin' to attack us! +If trade's bad, that's not William's fault, is it? + + [_A tumult of roaring is heard outside. While the two women stand + gazing at each other, pale and startled, DREISSIGER rushes in._ + +DREISSIGER + +Quick, Rosa--put on something, and get into the carriage. I'll be after +you this moment. + + [_He rushes to the strong-box, and takes out papers and various + articles of value._ + + _Enter JOHN._ + +JOHN + +We're ready to start. But come quickly, before they gets round to the +back door. + +MRS. DREISSIGER + +[_In a transport of fear, throwing her arms around JOHN'S neck._] John, +John, dear, good John! Save us, John. Save my boys! Oh, what is to become +of us? + +DREISSIGER + +Rosa, try to keep your head. Let John go. + +JOHN + +Yes, yes, ma'am! Don't you be frightened. Our good horses'll soon leave +them all behind; an' whoever doesn't get out of the way'll be driven +over. + +MRS. KITTELHAUS + +[_In helpless anxiety._] But my husband ... my husband? But, Mr. +Dreissiger, my husband? + +DREISSIGER + +He's in safety now, Mrs. Kittelhaus. Don't alarm yourself; he's all +right. + +MRS. KITTELHAUS + +Something dreadful has happened to him. I know it. You needn't try to +keep it from me. + +DREISSIGER + +You mustn't take it to heart--they'll be sorry for it yet. I know exactly +whose fault it was. Such an unspeakable, shameful outrage will not go +unpunished. A community laying hands on its own pastor and maltreating +him--abominable! Mad dogs they are--raging brutes--and they'll be treated +as such. [_To his wife who still stands petrified._] Go, Rosa, go +quickly! [_Heavy blows at the lower door are heard._] Don't you hear? +They've gone stark mad! [_The clatter of window-panes being smashed on +the ground-floor is heard._] They've gone crazy. There's nothing for it +but to get away as fast as we can. + + [_Cries of_ "Pfeifer, come out!"--"We want Pfeifer!"--"Pfeifer, come + out!" _are heard._ + +MRS. DREISSIGER + +Pfeifer, Pfeifer, they want Pfeifer! + +PFEIFER + +[_Dashes in._] Mr. Dreissiger, there are people at the back gate already, +and the house door won't hold much longer. The smith's battering at it +like a maniac with a stable pail. + + [_The cry sounds louder and clearer_: "Pfeifer! Pfeifer! Pfeifer! + come out!" _MRS. DREISSIGER rushes off as if pursued. MRS. KITTELHAUS + follows. PFEIFER listens, and changes colour as he hears what the cry + is. A perfect panic of fear seizes him; he weeps, entreats, whimpers, + writhes, all at the same moment. He overwhelms DREISSIGER with + childish caresses, strokes his cheeks and arms, kisses his hands, and + at last, like a drowning man, throws his arms round him and prevents + him moving._ + +PFEIFER + +Dear, good, kind Mr. Dreissiger, don't leave me behind. I've always +served you faithfully. I've always treated the people well. I couldn't +give 'em more wages than the fixed rate. Don't leave me here--they'll do +for me! If they finds me, they'll kill me. O God! O God! My wife, my +children! + +DREISSIGER + +[_Making his way out, vainly endeavouring to free himself from PFEIFER'S +clutch._] Can't you let me go, fellow? It'll be all right; it'll be all +right. + + _For a few seconds the room is empty. Windows are shattered in the + drawing-room. A loud crash resounds through the house, followed by a + roaring_ "Hurrah!" _For an instant there is silence. Then gentle, + cautious steps are heard on the stair, then timid, hushed + ejaculations_: "To the left!"--"Up with you!"--"Hush!"--"Slow, + slow!"--"Don't shove like that!"--"It's a wedding we're goin' + to!"--"Stop that crowdin'!"--"You go first!"--"No, you go!" + + _Young weavers and weaver girls appear at the door leading from the + hall, not daring to enter, but each trying to shove the other in. In + the course of a few moments their timidity is overcome, and the poor, + thin, ragged or patched figures, many of them sickly-looking, + disperse themselves through DREISSIGER'S room and the drawing-room, + first gazing timidly and curiously at everything, then beginning to + touch things. Girls sit down on the sofas, whole groups admire + themselves in the mirrors, men stand up on chairs, examine the + pictures and take them down. There is a steady influx of + miserable-looking creatures from the hall._ + +FIRST OLD WEAVER + +[_Entering._] No, no, this is carryin' it too far. They've started +smashin' things downstairs. There's no sense nor reason in that. There'll +be a bad end to it. No man in his wits would do that. I'll keep clear of +such goings on. + + _JAEGER, BECKER, WITTIG carrying a wooden pail, BAUMERT, and a number + of other old and young weavers, rush in as if in pursuit of + something, shouting hoarsely._ + +JAEGER + +Where has he gone? + +BECKER + +Where's the cruel brute? + +BAUMERT + +If we can eat grass he may eat sawdust. + +WITTIG + +We'll hang him when we catch him. + +FIRST YOUNG WEAVER + +We'll take him by the legs and fling him out at the window, on to the +stones. He'll never get up again. + +SECOND YOUNG WEAVER + +[_Enters._] He's off! + +ALL + +Who? + +SECOND YOUNG WEAVER + +Dreissiger. + +BECKER + +Pfeifer too? + +VOICES + +Let's get hold o' Pfeifer! Look for Pfeifer! + +BAUMERT + +Yes, yes! Pfeifer! Tell him there's a weaver here for him to starve. + + [_Laughter._ + +JAEGER + +If we can't lay hands on that brute Dreissiger himself ... we'll make him +poor! + +BAUMERT + +As poor as a church mouse ... we'll see to that! + + [_All, bent on the work of destruction, rush towards the drawing-room + door._ + +BECKER + +[_Who is leading, turns round and stops the others._] Halt! Listen to me! +This is nothing but a beginnin'. When we're done here, we'll go straight +to Bielau, to Dittrich's, where the steam power-looms is. The whole +mischief's done by them factories. + +OLD ANSORGE + +[_Enters from hall. Takes a few steps, then stops and looks round, +scarcely believing his eyes; shakes his head, taps his forehead._] Who am +I? Weaver Anton Ansorge. Has he gone mad, Old Ansorge? My head's goin' +round like a humming-top, sure enough. What's he doin' here. He'll do +whatever he's a mind to. Where is Ansorge? [_He taps his forehead +repeatedly._] Something's wrong! I'm not answerable! I'm off my head! Off +with you, off with you, rioters that you are! Heads off, legs off, hands +off! If you takes my house, I takes your house. Forward, forward! + + [_Goes yelling into the drawing-room, followed by a yelling, laughing + mob._ + + +END OF THE FOURTH ACT + + + + +FIFTH ACT + + + _Langen-Bielau,--OLD WEAVER HILSE'S workroom. On the left a small + window, in front of which stands the loom. On the right a bed, with a + table pushed close to it. Stove, with stove-bench, in the right-hand + corner. Family worship is going on. HILSE, his old, blind, and almost + deaf wife, his son GOTTLIEB, and LUISE, GOTTLIEB'S wife, are sitting + at the table, on the bed and wooden stools. A winding-wheel and + bobbins on the floor between table and loom. Old spinning, weaving, + and winding implements are disposed of on the smoky rafters; hanks of + yarn are hanging down. There is much useless lumber in the low narrow + room. The door, which is in the back wall, and leads into the big + outer passage, or entry-room of the house, stands open. Through + another open door on the opposite side of the passage, a second, in + most respects similar weaver's room is seen. The large passage, or + entry-room of the house, is paved with stone, has damaged plaster, + and a tumble-down wooden stair-case leading to the attics; a + washing-tub on a stool is partly visible; linen of the most miserable + description and poor household utensils lie about untidily. The light + falls from the left into all three apartments._ + + _OLD HILSE is a bearded man of strong build, but bent and wasted with + age, toil, sickness, and hardship. He is an old soldier, and has lost + an arm. His nose is sharp, his complexion ashen-grey, and he shakes; + he is nothing but skin and bone, and has the deep-set, sore weaver's + eyes._ + +OLD HILSE + +[_Stands up, as do his son and daughter-in-law; prays._] O Lord, we know +not how to be thankful enough to Thee, for that Thou hast spared us this +night again in Thy goodness ... an' hast had pity on us ... an' hast +suffered us to take no harm. Thou art the All-merciful, an' we are poor, +sinful children of men--that bad that we are not worthy to be trampled +under Thy feet. Yet Thou art our loving Father, an' Thou will look upon +us an' accept us for the sake of Thy dear Son, our Lord and Saviour Jesus +Christ. "Jesus' blood and righteousness, Our covering is and glorious +dress." An' if we're sometimes too sore cast down under Thy +chastening--when the fire of Thy purification burns too ragin' hot--oh, +lay it not to our charge; forgive us our sin. Give us patience, heavenly +Father, that after all these sufferin's we may be made partakers of Thy +eternal blessedness. Amen. + +MOTHER HILSE + +[_Who has been bending forward, trying hard to hear._] What a beautiful +prayer you do say, father! + + [_LUISE goes off to the washtub, GOTTLIEB to the room on the other + side of the passage._ + +OLD HILSE + +Where's the little lass? + +LUISE + +She's gone to Peterswaldau, to Dreissiger's. She finished all she had to +wind last night. + +OLD HILSE + +[_Speaking very loud._] You'd like the wheel now, mother, eh? + +MOTHER HILSE + +Yes, father, I'm quite ready. + +OLD HILSE + +[_Setting it down before her._] I wish I could do the work for you. + +MOTHER HILSE + +An' what would be the good o' that, father? There would I be, sittin' not +knowin' what to do. + +OLD HILSE + +I'll give your fingers a wipe, then, so that they'll not grease the yarn. + + [_He wipes her hands with a rag._ + +LUISE + +[_At her tub._] If there's grease on her hands, it's not from what she's +eaten. + +OLD HILSE + +If we've no butter, we can eat dry bread--when we've no bread, we can eat +potatoes--when there's no potatoes left, we can eat bran. + +LUISE + +[_Saucily._] An' when that's all eaten, we'll do as the Wenglers +did--we'll find out where the skinner's buried some stinking old horse, +an' we'll dig it up an' live for a week or two on rotten carrion--how +nice that'll be! + +GOTTLIEB + +[_From the other room._] There you are, lettin' that tongue of yours run +away with you again. + +OLD HILSE + +You should think twice, lass, before you talk that godless way. [_He goes +to his loom, calls._] Can you give me a hand, Gottlieb?--there's a few +threads to pull through. + +LUISE + +[_From her tub._] Gottlieb, you're wanted to help father. + + [_GOTTLIEB comes in, and he and his father set themselves to the + troublesome task of "drawing and slaying," that is, pulling the + strands of the warp through the "heddles" and "reed" of the loom. + They have hardly begun to do this when HORNIG appears in the outer + room._ + +HORNIG + +[_At the door._] Good luck to your work! + +HILSE AND HIS SON + +Thank you, Hornig. + +OLD HILSE + +I say, Hornig, when do you take your sleep? You're on your rounds all +day, an' on watch all night. + +HORNIG + +Sleep's gone from me nowadays. + +LUISE + +Glad to see you, Hornig! + +OLD HILSE + +An' what's the news? + +HORNIG + +It's queer news this mornin'. The weavers at Peterswaldau has taken the +law into their own hands, an' chased Dreissiger an' his whole family out +of the place. + +LUISE + +[_Perceptibly agitated._] Hornig's at his lies again. + +HORNIG + +No, missus, not this time, not to-day.--I've some beautiful pinafores in +my cart,--No, it's God's truth I'm tellin' you. They've sent him to the +right-about. He came down to Reichenbach last night, but, Lord love you! +they daren't take him in there, for fear of the weavers--off he had to go +again, all the way to Schweidnitz. + +OLD HILSE + +[_Has been carefully lifting threads of the web and approaching them to +the holes, through which, from the other side, GOTTLIEB pushes a wire +hook, with which he catches them and draws them through._] It's about +time you were stoppin' now, Hornig! + +HORNIG + +It's as sure as I'm a livin' man. Every child in the place'll soon tell +you the same story. + +OLD HILSE + +Either your wits are a-wool-gatherin' or mine are. + +HORNIG + +Not mine. What I'm tellin' you's as true as the Bible. I wouldn't believe +it myself if I hadn't stood there an' seen it with my own eyes--as I see +you now, Gottlieb. They've wrecked his house from the cellar to the roof. +The good china came flyin' out at the garret windows, rattlin' down the +roof. God only knows how many pieces of fustian are lying soakin' in the +river! The water can't get away for them--it's running over the banks, +the colour of washin'-blue with all the indigo they've poured out at the +windows. Clouds of sky-blue dust was flyin' along. Oh, it's a terrible +destruction they've worked! And it's not only the house ... it's the +dye-works too ... an' the stores! They've broken the stair rails, they've +torn up the fine flooring--smashed the lookin'-glasses--cut an' hacked +an' torn an' smashed the sofas an' the chairs.--It's awful--it's worse +than war. + +OLD HILSE + +An' you would have me believe that my fellow weavers did all that? + + [_He shakes his head incredulously._ + + [_Other tenants of the house have collected at the door and are + listening eagerly._ + +HORNIG + +Who else, I'd like to know? I could put names to every one of 'em. It was +me took the sheriff through the house, an' I spoke to a whole lot of 'em, +an' they answered me back--quite friendly like. They did their business +with little noise, but my word! they did it well. The sheriff spoke to +'em, and they answered him mannerly, as they always do. But there wasn't +no stoppin' of them. They hacked on at the beautiful furniture as if they +was workin' for wages. + +OLD HILSE + +_You_ took the sheriff through the house? + +HORNIG + +An' what would I be frightened of? Every one knows me. I'm always turnin' +up, like a bad penny. But no one has anything agin' me. They're all glad +to see me. Yes, I went the rounds with him, as sure as my name's Hornig. +An' you may believe me or not as you like, but my heart's sore yet from +the sight--an' I could see by the sheriff's face that he felt queer +enough too. For why? Not a livin' word did we hear--they was doin' their +work and holdin' their tongues. It was a solemn an' a woeful sight to see +the poor starvin' creatures for once in a way takin' their revenge. + +LUISE + +[_With irrepressible excitement, trembling, wiping her eyes with her +apron._] An' right they are! It's only what should be! + +VOICES AMONG THE CROWD AT THE DOOR + +"There's some of the same sort here."--"There's one no farther away than +across the river."--"He's got four horses in his stable an' six +carriages, an' he starves his weavers to keep 'em." + +OLD HILSE + +[_Still incredulous._] What was it set them off? + +HORNIG + +Who knows? who knows? One says this, another says that. + +OLD HILSE + +What do they say? + +HORNIG + +The story as most of 'em tells is that it began with Dreissiger sayin' +that if the weavers was hungry they might eat grass. But I don't rightly +know. + + [_Excitement at the door, as one person repeats this to the other, + with signs of indignation._ + +OLD HILSE + +Well now, Hornig--if you was to say to me: Father Hilse, says you, you'll +die to-morrow, I would answer back: That may be--an' why not? You might +even go to the length of saying: You'll have a visit to-morrow from the +King of Prussia. But to tell me that weavers, men like me an' my son, +have done such things as that--never! I'll never in this world believe +it. + +MIELCHEN + +[_A pretty girl of seven, with long, loose flaxen hair, carrying a basket +on her arm, comes running in, holding out a silver spoon to her mother._] +Mammy, mammy! look what I've got! An' you're to buy me a new frock with +it. + +LUISE + +What d'you come tearing in like that for, girl? [_With increased +excitement and curiosity._] An' what's that you've got hold of now? +You've been runnin' yourself out o' breath, an' there--if the bobbins +aren't in her basket yet? What's all this about? + +OLD HILSE + +Mielchen, where did that spoon come from? + +LUISE + +She found it, maybe. + +HORNIG + +It's worth its seven or eight shillin's at least. + +OLD HILSE + +[_In distressed excitement._] Off with you, lass--out of the house this +moment--unless you want a lickin'! Take that spoon back where you got it +from. Out you go! Do you want to make thieves of us all, eh? I'll soon +drive that out o' you. + + [_He looks round for something to beat her with._ + +MIELCHEN + +[_Clinging to her mother's skirts, crying._] No, grandfather, no! don't +lick me! We--we _did_ find it. All the other bob--bobbin ... girls has +... has some too. + +LUISE + +[_Half frightened, half excited._] I was right, you see. She found it. +Where did you find it, Mielchen? + +MIELCHEN + +[_Sobbing._] At--at Peterswal--dau. We--we found them in front of--in +front of Drei--Dreissiger's house. + +OLD HILSE + +This is worse an' worse! Get off with you this moment, unless you want me +to help you. + +MOTHER HILSE + +What's all the to-do about? + +HORNIG + +I'll tell you what, father Hilse. The best way'll be for Gottlieb to put +on his coat an' take the spoon to the police-office. + +OLD HILSE + +Gottlieb, put on year coat. + +GOTTLIEB + +[_Pulling it on, eagerly._] Yes, an' I'll go right in to the office an' +say they're not to blame us for it, for how c'n a child like that +understand about it? an' I brought the spoon back at once. Stop your +crying now, Mielchen! + + [_The crying child is taken into the opposite room by her mother, who + shuts her in and comes back._ + +HORNIG + +I believe it's worth as much as nine shillin's. + +GOTTLIEB + +Give us a cloth to wrap it in, Luise, so that it'll take no harm. To +think of the thing bein' worth all that money! + + [_Tears come into his eyes while he is wrapping up the spoon._ + +LUISE + +If it was only ours, we could live on it for many a day. + +OLD HILSE + +Hurry up, now! Look sharp! As quick as ever you can. A fine state o' +matters, this! Get that devil's spoon out o' the house. + + [_GOTTLIEB goes off with the spoon._ + +HORNIG + +I must be off now too. + + [_He goes, is seen talking to the people in the entry-room before he + leaves the house._ + +SURGEON SCHMIDT + +[_A jerky little ball of a man, with a red, knowing face, comes into the +entry-room._] Good-morning, all! These are fine goings on! Take care! +take care! [_Threatening with his finger._] You're a sly lot--that's what +you are. [_At HILSE'S door without coming in._] Morning, father Hilse. +[_To a woman in the outer room._] And how are the pains, mother? Better, +eh? Well, well. And how's all with you, father Hilse? [_Enters._] Why the +deuce! what's the matter with mother? + +LUISE + +It's the eye veins, sir--they've dried up, so as she can't see at all +now. + +SURGEON SCHMIDT + +That's from the dust and weaving by candlelight. Will you tell me what it +means that all Peterswaldau's on the way here? I set off on my rounds +this morning as usual, thinking no harm; but it wasn't long till I had my +eyes opened. Strange doings these! What in the devil's name has taken +possession of them, Hilse? They're like a pack of raging wolves. +Riot--why, it's revolution! they're getting refractory--plundering and +laying waste right and left ... Mielchen! where's Mielchen? [_MIELCHEN, +her face red with crying, is pushed in by her mother._] Here, Mielchen, +put your hand into my coat pocket. [_MIELCHEN does so._] The ginger-bread +nuts are for you. Not all at once, though, you baggage! And a song first! +The fox jumped up on a ... come, now ... The fox jumped up ... on a +moonlight ... Mind, I've heard what you did. You called the sparrows on +the churchyard hedge a nasty name, and they're gone and told the pastor. +Did any one ever hear the like? Fifteen hundred of them agog--men, women, +and children. [_Distant bells are heard._] That's at Reichenbach-- +alarm-bells! Fifteen hundred people! Uncomfortably like the world coming +to an end! + +OLD HILSE + +An' is it true that they're on their way to Bielau? + +SURGEON SCHMIDT + +That's just what I'm telling you, I've driven through the middle of the +whole crowd. What I'd have liked to do would have been to get down and +give each of them a pill there and then. They were following on each +other's heels like misery itself, and their singing was more than enough +to turn a man's stomach. I was nearly sick, and Frederick was shaking on +the box like an old woman. We had to take a stiff glass at the first +opportunity. I wouldn't be a manufacturer, not though I could drive my +carriage and pair. [_Distant singing._] Listen to that! It's for all the +world as if they were beating at some broken old boiler. We'll have them +here in five minutes, friends. Good-bye! Don't you be foolish. The troops +will be upon them in no time. Keep your wits about you. The Peterswaldau +people have lost theirs. [_Bells ring close at hand._] Good gracious! +There are our bells ringing too! Every one's going mad. + + [_He goes upstairs._ + +GOTTLIEB + +[_Comes back. In the entry-room, out of breath._] I've seen 'em, I've +seen 'em! [_To a woman._] They're here, auntie, they're here! [_At the +door._] They're here, father, they're here! They've got bean-poles, an' +ox-goads, an' axes. They're standin' outside the upper Dittrich's kickin' +up an awful row. I think he's payin' 'em money. O Lord! whatever's goin' +to happen? What a crowd! Oh, you never saw such a crowd! Dash it all--if +once they makes a rush, our manufacturers'll be hard put to it. + +OLD HILSE + +What have you been runnin' like that for? You'll go racin' till you bring +on your old trouble, and then we'll have you on your back again, +strugglin' for breath. + +GOTTLIEB + +[_Almost joyously excited._] I had to run, or they would ha' caught me +an' kept me. They was all roarin' to me to join 'em. Father Baumert was +there too, and says he to me: You come an' get your sixpence with the +rest--you're a poor starvin' weaver too. An' I was to tell you, father, +from him, that you was to come an' help to pay out the manufacturers for +their grindin' of us down. [_Passionately._] Other times is comin', he +says. There's goin' to be a change of days for us weavers. An' we're all +to come an' help to bring it about. We're to have our half-pound o' meat +on Sundays, and now and again on a holiday sausage with our cabbage. Yes, +things is to be quite different, by what he tells me. + +OLD HILSE + +[_With repressed indignation._] An' that man calls hisself your +godfather! and he bids you take part in such works o' wickedness? Have +nothing to do with them, Gottlieb. They've let themselves be tempted by +Satan, an' it's his works they're doin'. + +LUISE + +[_No longer able to restrain her passionate excitement, vehemently._] +Yes, Gottlieb, get into the chimney corner, an' take a spoon in your +hand, an' a dish o' skim milk on your knee, an' pat on a petticoat an' +say your prayers, and then father'll be pleased with you. And _he_ sets +up to be a man! + + [_Laughter from the people in the entry-room._ + +OLD HILSE + +[_Quivering with suppressed rage._] An' you set up to be a good wife, +'eh? You calls yourself a mother, an' let your evil tongue run away with +you like that? You think yourself fit to teach your girl, you that would +egg on your husband to crime an' wickedness? + +LUISE + +[_Has lost all control of herself._] You an' your piety an' religion--did +they serve to keep the life in my poor children? In rags an' dirt they +lay, all the four--it didn't as much as keep 'em dry. Yes! I sets up to +be a mother, that's what I do--an' if you'd like to know it, that's why +I'd send all the manufacturers to hell--because I'm a mother!--Not one of +the four could I keep in life! It was cryin' more than breathin' with me +from the time each poor little thing came into the world till death took +pity on it. The devil a bit you cared! You sat there prayin' and singin', +and let me run about till my feet bled, tryin' to get one little drop o' +skim milk. How many hundred nights has I lain an' racked my head to think +what I could do to cheat the churchyard of my little one? What harm has a +baby like that done that it must come to such a miserable end--eh? An' +over there at Dittrich's they're bathed in wine an' washed in milk. No! +you may talk as you like, but if they begins here, ten horses won't hold +me back. An' what's more--if there's a rush on Dittrich's, you'll see me +in the forefront of it--an' pity the man as tries to prevent me--I've +stood it long enough, so now you know it. + +OLD HILSE + +You're a lost soul--there's no help for you. + +LUISE + +[_Frenzied._] It's you that there's no help for! Tatter-breeched +scarecrows--that's what you are--an' not men at all. Whey-faced +gutter-scrapers that take to your heels at the sound of a child's rattle. +Fellows that says "thank you" to the man as gives you a hidin'. They've +not left that much blood in you as that you can turn red in the face. You +should have the whip taken to you, an' a little pluck flogged into your +rotten bones. + + [_She goes out quickly._ + + [_Embarrassed pause._] + +MOTHER HILSE + +What's the matter with Liesl, father? + +OLD HILSE + +Nothin', mother! What should be the matter with her? + +MOTHER HILSE + +Father, is it only me that's thinkin' it, or is the bells ringin'? + +OLD HILSE + +It'll be a funeral, mother. + +MOTHER HILSE + +An' I've got to sit waitin' here yet. Why must I be so long a-dyin', +father? [_Pause._] + +OLD HILSE + +[_Leaves his work, holds himself up straight; solemnly._] Gottlieb!--you +heard all your wife said to us. Look here, Gottlieb! [_He bares his +breast._] Here they cut out a bullet as big as a thimble. The King knows +where I lost my arm. It wasn't the mice as ate it. [_He walks up and +down._] Before that wife of yours was ever thought of, I had spilled my +blood by the quart for King an' country. So let her call what names she +likes--an' welcome! It does me no harm--Frightened? Me frightened? What +would I be frightened of, will you tell me that? Of the few soldiers, +maybe, that'll be comin' after the rioters? Good gracious me! That would +be a lot to be frightened at! No, no, lad; I may be a bit stiff in the +back, but there's some strength left in the old bones; I've got the stuff +in me yet to make a stand against a few rubbishin' bay'nets.--An' if it +came to the worst! Willin', willin' would I be to say good-bye to this +weary world. Death'd be welcome--welcomer to me to-day than to-morrow. +For what is it we leave behind? That old bundle of aches an' pains we +call our body, the care an' the oppression we call by the name o' life. +We may be glad to get away from it,--But there's something to come after, +Gottlieb!--an' if we've done ourselves out o' that too--why, then it's +all over with us! + +GOTTLIEB + +Who knows what's to come after? Nobody's seen it. + +OLD HILSE + +Gottlieb! don't you be throwin' doubts on the one comfort us poor people +have. Why has I sat here an' worked my treadle like a slave this forty +year an' more?--sat still an' looked on at him over yonder livin' in +pride an' wastefulness--why? Because I have a better hope, something as +supports me in all my troubles. [_Points out at the window._] You have +your good things in this world--I'll have mine in the next. That's been +my thought. An' I'm that certain of it--I'd let myself be torn to pieces. +Have we not His promise? There's a Day of Judgment comin'; but it's not +us as are the judges--no: Vengeance is mine, saith the Lord. + + [_A cry of_ "Weavers, come out!" _is heard outside the window._ + +OLD HILSE + +Do what you will for me. [_He seats himself at his loom._] I stay here. + +GOTTLIEB + +[_After a short struggle._] I'm going to work too--come what may. + + [_Goes out._ + + [_The Weavers' Song is heard, sung by hundreds of voices quite close + at hand; it sounds like a dull, monotonous wail._ + +INMATES OF THE HOUSE + +[_In the entry-room._] "Oh, mercy on us! there they come swarmin' like +ants!"--"Where can all these weavers be from?"--"Don't shove like that, I +want to see too."--"Look at that great maypole of a woman leadin' on in +front!"--"Gracious! they're comin' thicker an' thicker." + +HORNIG + +[_Comes into the entry-room from outside._] There's a theayter play for +you now! That's what you don't see every day. But you should go up to the +other Dittrich's an' look what they've done there. It's been no half +work. He's got no house now, nor no factory, nor no wine-cellar, nor +nothin'. They're drinkin' out o' the bottles--not so much as takin' the +time to get out the corks. One, two, three, an' off with the neck, an' no +matter whether they cuts their mouths or not. There's some of 'em runnin' +about bleedin' like stuck pigs.--Now they're goin' to do for Dittrich +here. + + [_The singing has stopped._ + +INMATES OF THE HOUSE + +There's nothin' so very wicked like about them. + +HORNIG + +You wait a bit! you'll soon see! All they're doin' just now is makin' up +their minds where they'll begin. Look, they're inspectin' the palace from +every side. Do you see that little stout man there, him with the stable +pail? That's the smith from Peterswaldau--an' a dangerous little chap he +is. He batters in the thickest doors as if they were made o' pie-crust. +If a manufacturer was to fall into his hands it would be all over with +him! + +HOUSE INMATES + +"That was a crack!"--"There went a stone through the window!"--"There's +old Dittrich, shakin' with fright."--"He's hangin' out a +board."--"Hangin' out a board?"--"What's written on it?"--"Can't you +read?"--"It'd be a bad job for me if I couldn't read!"--"Well, read it, +then!"--"'You--shall have--full--satis-fac-tion! You--you shall have full +satisfaction.'" + +HORNIG + +He might ha' spared hisself the trouble--_that_ won't help him. It's +something else they've set their minds on here. It's the factories. +They're goin' to smash up the power-looms. For it's them that is ruinin' +the hand-loom weaver. Even a blind man might see that. No! the good folks +knows what they're after, an' no sheriff an' no p'lice superintendent'll +bring them to reason--much less a bit of a board. Him as has seen 'em at +work already knows what's comin'. + +HOUSE INMATES + +"Did any one ever see such a crowd!"--"What can _these_ be +wantin'?"--[_Hastily._] "They're crossin' the bridge!"--[_Anxiously._] +"They're never comin' over on this side, are they?"--[_In excitement and +terror._] "It's to us they're comin'! They're comin' to us! They're +comin' to fetch the weavers out o' their houses!" + + [_General flight. The entry-room is empty. A crowd of dirty, dusty + rioters rush in, their faces scarlet with brandy, and excitement; + tattered, untidy-looking, as if they had been up all night. With the + shout:_ "Weavers, come out!" _they disperse themselves through the + house. BECKER and several other young weavers, armed with cudgels and + poles, come into OLD HILSE'S room. When they see the old man at his + loom they start, and cool down a little._ + +BECKER + +Come, father Hilse, stop that. Leave your work to them as wants to work. +There's no need now for you to be doin' yourself harm. You'll be well +taken care of. + +FIRST YOUNG WEAVER + +You'll never need to go hungry to bed again. + +SECOND YOUNG WEAVER + +The weaver's goin' to have a roof over his head an' a shirt on his back +once more. + +OLD HILSE + +An' what's the devil sendin' you to do now, with your poles an' axes? + +BECKER + +These are what we're goin' to break on Dittrich's back. + +SECOND YOUNG WEAVER + +We'll heat 'em red hot an' stick 'em down the manufacturers' throats, so +as they'll feel for once what burnin' hunger tastes like. + +THIRD YOUNG WEAVER + +Come along, father Hilse! We'll give no quarter. + +SECOND YOUNG WEAVER + +No one had mercy on us--neither God nor man. Now we're standin' up for +our rights ourselves. + + _OLD BAUMERT enters, somewhat shaky on the legs, a newly killed cock + under his arm._ + +OLD BAUMERT + +[_Stretching out his arms._] My brothers--we're all brothers! Come to my +arms, brothers! + + [_Laughter._ + +OLD HILSE + +And that's the state you're in, Willem? + +OLD BAUMERT + +Gustav, is it you? My poor starvin' friend. Come to my arms, Gustav! + +OLD HILSE + +[_Mutters._] Let me alone. + +OLD BAUMERT + +I'll tell you what, Gustav. It's nothin' but luck that's wanted. You look +at me. What do I look like? Luck's what's wanted. Don't I look like a +lord? [_Pats his stomach._] Guess what's in there! There's food fit for a +prince in that belly. When luck's with him a man gets roast hare to eat +an' champagne wine to drink.--I'll tell you all something: We've made a +big mistake--we must help ourselves. + +ALL + +[_Speaking at once._] We must help ourselves, hurrah! + +OLD BAUMERT + +As soon as we gets the first good bite inside us we're different men. +Damn it all! but you feels the power comin' into you till you're like an +ox, an' that wild with strength that you hit out right an' left without +as much as takin' time to look. Dash it, but it's grand! + +JAEGER + +[_At the door, armed with an old cavalry sword._] We've made one or two +first-rate attacks. + +BECKER + +We knows how to set about it now. One, two, three, an' we're inside the +house. Then, at it like lightnin'--bang, crack, shiver! till the sparks +are flyin' as if it was a smithy. + +FIRST YOUNG WEAVER + +It wouldn't be half bad to light a bit o' fire. + +SECOND YOUNG WEAVER + +Let's march to Reichenbach an' burn the rich folks' houses over their +heads! + +JAEGER + +That would be nothin' but butterin' their bread, Think of all the +insurance money they'd get. + + [_Laughter._ + +BECKER + +No, from here we'll go to Freiburg, to Tromtra's. + +JAEGER + +What would you say to givin' all them as holds Government appointments a +lesson? I've read somewhere as how all our troubles come from them +birocrats, as they calls them. + +SECOND YOUNG WEAVER + +Before long we'll go to Breslau, for more an' more'll be joinin' us. + +OLD BAUMERT + +[_To HILSE._] Won't you take a drop, Gustav? + +OLD HILSE + +I never touches it. + +OLD BAUMERT + +That was in the old world; we're in a new world to-day, Gustav. + +FIRST YOUNG WEAVER + +Christmas comes but once a year. + + [_Laughter._ + +OLD HILSE + +[_Impatiently._] What is it you want in my house, you limbs of Satan? + +OLD BAUMERT + +[_A little intimidated, coaxingly._] I was bringin' you a chicken, +Gustav. I thought it would make a drop o' soup for mother. + +OLD HILSE + +[_Embarrassed, almost friendly._] Well, you can tell mother yourself. + +MOTHER HILSE + +[_Who has been making efforts to hear, her hand at her ear, motions them +off._] Let me alone. I don't want no chicken soup. + +OLD HILSE + +That's right, mother. An' I want none, an' least of all that sort. An' +let me say this much to you, Baumert: The devil stands on his head for +joy when he hears the old ones jabberin' and talkin' as if they was +infants. An' to you all I say--to every one of you: Me and you, we've got +nothing to do with each other. It's not with my will that you're here. In +law an' justice you've no right to be in my house. + +A VOICE + +Him that's not with us is against us. + +JAEGER + +[_Roughly and threateningly._] You're on the wrong track, old chap, I'd +have you remember that we're not thieves. + +A VOICE + +We're hungry men, that's all. + +FIRST YOUNG WEAVER + +We wants to _live_--that's all. An' so we've cut the rope we was hung up +with. + +JAEGER + +And we was in our right! [_Holding his fist in front of the old man's +face_.] Say another word, and I'll give you one between the eyes. + +BECKER + +Come, now, Jaeger, be quiet. Let the old man alone.--What we say to +ourselves, father Hilse, is this: Better dead than begin the old life +again. + +OLD HILSE + +Have I not lived that life for sixty years an' more? + +BECKER + +That doesn't help us--there's _got_ to be a change. + +OLD HILSE + +On the Judgment Day. + +BECKER + +What they'll not give us willingly we're goin' to take by force. + +OLD HILSE + +By force. [_Laughs._] You may as well go an' dig your graves at once. +They'll not be long showin' you where the force lies. Wait a bit, lad! + +JAEGER + +Is it the soldiers you're meanin'? We've been soldiers too. We'll soon do +for a company or two of 'em. + +OLD HILSE + +With your tongues, maybe. But supposin' you did--for two that you'd beat +off, ten'll come back. + +VOICES + +[_Call through the window._] The soldiers are comin! Look out! + + [_General, sudden silence. For a moment a faint sound of fifes and + drums is heard; in the ensuing silence a short, involuntary + exclamation:_ "The devil! I'm off!" _followed by general laughter._ + +BECKER + +Who was that? Who speaks of runnin' away? + +JAEGER + +Which of you is it that's afraid of a few paltry helmets? You have me to +command you, and I've been in the trade. I knows their tricks. + +OLD HILSE + +An' what are you goin' to shoot with? Your sticks, eh? + +FIRST YOUNG WEAVER + +Never mind that old chap; he's wrong in the upper storey. + +SECOND YOUNG WEAVER + +Yes, he's a bit off his head. + +GOTTLIEB + +[_Has made his way unnoticed among the rioters; catches hold of the +speaker._] Would you give your impudence to an old man like him? + +SECOND YOUNG WEAVER + +Let me alone. 'Twasn't anything bad I said. + +OLD HILSE + +[_Interfering._] Let him jaw, Gottlieb. What. would you be meddlin' with +him for? He'll soon see who it is that's been off his head to-day, him or +me. + +BECKER + +Are you comin', Gottlieb? + +OLD HILSE + +No, he's goin' to do no such thing. + +LUISE + +[_Comes into the entry-room, calls._] What are you puttin' off your time +with prayin' hypocrites like them for? Come quick to where you're wanted! +Quick! Father Baumert, run all you can! The major's speakin' to the crowd +from horseback. They're to go home. If you don't hurry up, it'll be all +over. + +JAEGER + +[_As he goes out._] That's a brave husband o' yours. + +LUISE + +Where is he? I've got no husband! + + [_Some of the people in the entry-room sing_: + + Once on a time a man so small, + Heigh-ho, heigh! + Set his heart on a wife so tall, + Heigh diddle-di-dum-di! + +WITTIG, THE SMITH + +[_Comes downstairs, still carrying the stable pail; stops on his way +through the entry-room._] Come On! all of you that is not cowardly +scoundrels!--hurrah! + + [_He dashes out, followed by LUISE, JAEGER, and others, all shouting_ + "Hurrah!" + +BECKER + +Good-bye, then, father Hilse; well see each other again. + + [_Is going._ + +OLD HILSE + +I doubt that. I've not five years to live, and that'll be the soonest +you'll get out. + +BECKER + +[_Stops, not understanding._] Out o' what, father Hilse? + +OLD HILSE + +Out o' prison--where else? + +BECKER + +[_Laughs wildly._] Do you think I'd mind that? There's bread to be had +there anyhow! + + [_Goes out._ + +OLD BAUMERT + +[_Has been cowering on a low stool, painfully beating his brains; he now +gets up._] It's true, Gustav, as I've had a drop too much. But for all +that I knows what I'm about. You think one way in this here matter; I +think another. I say Becker's right: even if it ends in chains an' +ropes--we'll be better off in prison than at home. You're cared for +there, an' you don't need to starve. I wouldn't have joined 'em, Gustav, +if I could ha' let it be; but once in a lifetime a man's got to show what +he feels. [_Goes slowly towards the door._] Good-bye, Gustav. If anything +happens, mind you put in a word for me in your prayers. + + [_Goes out._ + + [_The rioters are now all gone. The entry-room, gradually fills again + with curious onlookers from the different rooms of the house. OLD + HILSE knots at his web. GOTTLIEB has taken an axe from behind the + stove and is unconsciously feeling its edge. He and the old man are + silently agitated. The hum and roar of a great crowd penetrate into + the room._ + +MOTHER HILSE + +The very boards is shakin', father--what's goin' on? What's goin' to +happen to us? + + [_Pause._] + +OLD HILSE + +Gottlieb! + +GOTTLIEB + +What is it? + +OLD HILSE + +Let that axe alone. + +GOTTLIEB + +Who's to split the wood, then? + + [_He leans the axe against the stove._ + + [_Pause._] + +MOTHER HILSE + +Gottlieb, you listen, to what father says to you. + + [_Some one sings outside the window:_ + + Our little man does all that he can, + Heigh-ho, heigh! + At home he cleans the pots an' the pan, + Heigh-diddle-di-dum-di! + + [_Passes on._ + +GOTTLIEB + +[_Jumps up, shakes his clenched fist at the window._] Beast! Don't drive +me crazy! + + [_A volley of musketry is heard._ + +MOTHER HILSE + +[_Starts and trembles._] Good Lord! Is that thunder again? + +OLD HILSE + +[_Instinctively folding his hands._] Oh, our Father in heaven! defend the +poor weavers, protect my poor brothers. + + [_A short pause ensues._ + +OLD HILSE + +[_To himself, painfully agitated._] There's blood flowin' now. + +GOTTLIEB + +[_Had started up and grasped the axe when the shooting was heard; deathly +pale, almost beside himself with excitement._] An' am I to lie to heel +like a dog still? + +A GIRL + +[_Calls from the entry-room._] Father Hilse, father Hilse! get away from +the window. A bullet's just flown in at ours upstairs. + + [_Disappears._ + +MIELCHEN + +[_Puts her head in at the window, laughing._] Gran'father, gran'father, +they've shot with their guns. Two or three's been knocked down, an' one +of 'em's turnin' round and round like a top, an' one's twistin' hisself +like a sparrow when its head's bein' pulled of. An' oh, if you saw all +the blood that came pourin'--! + + [_Disappears._ + +A WEAVER'S WIFE + +Yes, there's two or three'll never get up again. + +AN OLD WEAVER + +[_In the entry-room._] Look out! They're goin' to make a rush on the +soldiers. + +A SECOND WEAVER + +[_Wildly._] Look, look, look at the women! skirts up, an' spittin' in the +soldiers' faces already! + +A WEAVER'S WIFE + +[_Calls in._] Gottlieb, look at your wife. She's more pluck in her than +you. She's jumpin' about in front o' the bay'nets as if she was dancin' +to music. + + [_Four men carry a wounded rioter through the entry-room. Silence, + which is broken by some one saying in a distinct voice,_ "It's weaver + Ulbrich." _Once more silence for a few seconds, when the same voice + is heard again:_ "It's all over with him; he's got a bullet in his + ear." _The men are heard climbing the wooden stair. Sudden shouting + outside:_ "Hurrah, hurrah!" + +VOICES IN THE ENTRY-ROOM + +"Where did they get the stones from?"--"Yes, it's time you were +off!"--"From the new road."--"Ta-ta, soldiers!"--"It's rainin' +paving-stones." + + [_Shrieks of terror and loud roaring outside, taken up by those in + the entry-room. There is a cry of fear, and the house door is shut + with a bang._ + +VOICES IN THE ENTRY-ROOM + +"They're loadin' again."--"They'll fire another volley this +minute."--"Father Hilse, get away from that window." + +GOTTLIEB + +[_Clutches the axe._] What! is we mad dogs? Is we to eat powder an' shot +now instead o' bread? [_Hesitating an instant to the old man._] Would you +have me sit here an' see my wife shot? Never! [_As he rushes out._] Look +out! I'm coming! + +OLD HILSE + +Gottlieb, Gottlieb! + +MOTHER HILSE + +Where's Gottlieb gone? + +OLD HILSE + +He's gone to the devil. + +VOICES FROM THE ENTRY-ROOM + +Go away from the window, father Hilse. + +OLD HILSE + +Not I! Not if you all goes crazy together! [_To MOTHER HILSE, with rapt +excitement._] My heavenly Father has placed me here. Isn't that so, +mother? Here we'll sit, an' do our bounden duty--ay, though the snow was +to go on fire. + + [_He begins to weave._ + + [_Rattle of another volley. OLD HILSE, mortally wounded, starts to + his feet and then falls forward over the loom. At the same moment + loud shouting of_ "Hurrah!" _is heard. The people who till now have + been standing in the entry-room dash out, joining in the cry. The old + woman repeatedly asks:_ "Father, father, what's wrong with you?" _The + continued shouting dies away gradually in the distance. MIELCHEN + comes rushing in._ + +MIELCHEN + +Gran'father, gran'father, they're drivin' the soldiers out o' the +village; they've got into Dittrich's house, an' they're doin' what they +did at Dreissiger's. Gran'father! [_The child grows frightened, notices +that something has happened, puts her finger in her mouth, and goes up +cautiously to the dead man._] Gran'father! + +MOTHER HILSE + +Come now, father, can't you say something? You're frightenin' me. + + +THE END + + + + +THE BEAVER COAT + +A THIEVES' COMEDY + + + + +LIST OF CHARACTERS + + +VON WEHRHAHN, _Justice._ + +KRUEGER, _Capitalist in a small way._ + +DR. FLEISCHER. + +PHILIP, _his son._ + +MOTES. + +MRS. MOTES. + +MRS. WOLFF, _Washerwoman._ + +JULIUS WOLFF, _her husband._ + +LEONTINE, ADELAIDE, _her daughters._ + +WULKOW, _Lighterman._ + +GLASENAPP, _Clerk in the Justice's court._ + +MITTELDORF, _Constable._ + +Scene of the action: anywhere in the neighbourhood of Berlin. + + + + +THE FIRST ACT + + + _A small, blue-tinted kitchen with low ceiling; a window at the left; + at the right a door of rough boards leading out into the open; in the + rear mall an empty casing from which the door has been lifted.--In + the left corner a flat oven, above which hang kitchen utensils in a + wooden frame; in the right corner oars and other boating implements. + Rough, stubby pieces of hewn wood lie in a heap under the window. An + old kitchen bench, several stools, etc.--Through the empty casing in + the rear a second room is visible. In it stands a high, neatly, made + bed; above it hang cheap photographs in still cheaper frames, small + chromolithographs, etc. A chair of soft mood stands with its back + against the bed.--It is winter and moonlight. On the oven a + tallow-candle is burning in a candle-stick of tin. LEONTINE WOLFF has + fallen asleep on a stool by the oven and rests her head and arms on + it. She is a pretty, fair girl of seventeen in the working garb of a + domestic servant. A woolen shawl is tied over her cotton jacket.--For + several seconds there is silence. Then someone is heard trying to + unlock the door from without. But the key is in the lock and a + knocking follows._ + +MRS. WOLFF + +[_Unseen, from without._] Adelaide! Adelaide! [_There is no answer and a +loud knocking is heard at the window._] Are you goin' to open or not? + +LEONTINE + +[_Drowsily._] No, no, I'm not goin' to be abused that way! + +MRS. WOLFF + +Open, girl, or I'll come in through the window! + + [_She raps violently at the panes._ + +LEONTINE + +[_Waking up._] Oh, it's you, mama! I'm coming now! + + [_She unlocks the door from within._ + +MRS. WOLFF + +[_Without laying down a sack which she carries over her shoulder._] What +are _you_ doin' here? + +LEONTINE + +[_Sleepily._] Evenin', mama. + +MRS. WOLFF + +How did you get in here, eh? + +LEONTINE + +Well, wasn't the key lyin' on the goat shed? + +MRS. WOLFF + +But what do you want here at home? + +LEONTINE + +[_Awkwardly affected and aggrieved._] So you don't want me to come no +more at all? + +MRS. WOLFF + +Aw, you just go ahead and put on that way! I'm so fond o' that! [_She +lets the sack drop from her shoulder._] You don't know nothin', I +s'ppose, about how late it's gettin'? You hurry and go back to your +mistress. + +LEONTINE + +It matters a whole lot, don't it, if I get back there a little too late? + +MRS. WOLFF + +You want to be lookin' out, y'understand? You see to it that you go, or +you'll catch it! + +LEONTINE + +[_Tearfully and defiantly._] I ain't goin' back to them people no more, +mama! + +MRS. WOLFF + +[_Astonished._] Not goin'?... [_Ironically._] Oh, no! That's somethin' +quite new! + +LEONTINE + +Well, I don't _have_ to let myself be abused that way! + +MRS. WOLFF + +[_Busy extracting a piece of venison from the sack._] So the Kruegers +abuse you, do they? Aw, the poor child that you are!--Don't you come +round me with such fool talk! A wench like a dragoon...! Here, lend a +hand with this sack, at the bottom. You can't act more like a fool, eh? +You won't get no good out o' me that way! You can't learn lazyin' around, +here, at all. [_They hang up the venison on the door._] Now I tell you +for the last time.... + +LEONTINE + +I ain't goin' back to them people, I tell you. I'd jump in the river +first! + +MRS. WOLFF + +See that you don't catch a cold doin' it. + +LEONTINE + +I'll jump in the river! + +MRS. WOLFF + +Go ahead. Let me know about it and I'll give you a shove so you don't +miss it. + +LEONTINE + +[_Screaming._] Do I have to stand for that, that I gotta drag in two +loads o' wood at night! + +MRS. WOLFF + +[_In mock astonishment._] Well, now, that's pretty awful, ain't it? You +gotta drag in wood? Such people, I tell you! + +LEONTINE + +... An' I gets twenty crowns for the whole year. I'm to get my hands +frost-bitten for that, am I? An' not enough potatoes and herring to go +round! + +MRS. WOLFF + +You needn't go fussin' about that, you silly girl. Here's the key; go, +cut yourself some bread. An' when you've had enough, go your way, +y'understand? The plum butter's in the top cupboard. + +LEONTINE + +[_Takes a large loaf of bread from a drawer and cuts some slices._] An' +Juste gets forty crowns a year from the Schulze's an'.... + +MRS. WOLFF + +Don't you try to be goin' too fast.--You ain't goin' to stay with them +people always; you ain't hired out to 'em forever.--Leave 'em on the +first of April, for all I care.--But up to then, you sticks to your +place.--Now that you got your Christmas present in your pocket, you want +to run away, do you? That's no way. I have dealin's with them people, an' +I ain't goin' to have that kind o' thing held against me. + +LEONTINE + +These bits o' rag that I got on here? + +MRS. WOLFF + +You're forgettin' the cash you got? + +LEONTINE + +Yes! Six shillin's. That was a whole lot! + +MRS. WOLFF + +Cash is cash! You needn't kick. + +LEONTINE + +But if I can go an' make more? + +MRS. WOLFF + +Yes, talkin'! + +LEONTINE + +No, sewin'! I can go in to Berlin and sew cloaks. Emily Stechow's been +doin' that ever since New Year. + +MRS. WOLFF + +Don't come tellin' me about that slattern! I'd like to get my hands on +her, that's all. I'd give that crittur a piece o' my mind! You'd like to +be promoted into her class, would you? To go sportin' all night with the +fellows? Just to be thinkin' o' that makes me feel that I'd like to beat +you so you can't hardly stand up.--Now papa's comin' an' you'd better +look out! + +LEONTINE + +If papa thrashes me, I'll run away. I'll see how I can get along! + +MRS. WOLFF + +Shut up now! Go an' feed the goats. They ain't been milked yet to-night +neither. An' give the rabbits a handful o' hay. + + _LEONTINE tries to make her escape. In the door, however, she runs + into her father, but slips quickly by him with a perfunctory_ + Evenin'. + + _JULIUS WOLFF, the father, is a shipwright. A tall man, with dull + eyes and slothful gestures, about forty-three years old.--He places + two long oars, which he has brought in across his shoulder in a + corner and silently throws down his shipwright's tools._ + +MRS. WOLFF + +Did you meet Emil? + +JULIUS _growls._ + +MRS. WOLFF + +Can't you talk? Yes or no? Is he goin' to come around, eh? + +JULIUS + +[_Irritated._] Go right ahead! Scream all you want to! + +MRS. WOLFF + +You're a fine, brave fellow, ain't you? An' all the while you forget to +shut the door. + +JULIUS + +[_Closes the door._] What's up again with Leontine? + +MRS. WOLFF + +Aw, nothin'.--What kind of a load did Emil have? + +JULIUS + +Bricks again. What d'you suppose he took in?--But what's up with that +girl again? + +MRS. WOLFF + +Did he have half a load or a whole load? + +JULIUS + +[_Flying into a rage._] What's up with the wench, I asks you? + +MRS. WOLFF + +[_Outdoing him in violence._] An' I want to know how big a load Emil +had--a half or a whole boat full? + +JULIUS + +That's right! Go on! The whole thing full. + +MRS. WOLFF + +Sst! Julius! + + [_Suddenly frightened she shoots the window latch._ + +JULIUS + +[_Scared and staring at her, is silent. After a few moments, softly._] +It's a young forester from Rixdorf. + +MRS. WOLFF + +Go an' creep under the bed, Julius. [_After a pause._] If only you wasn't +such an awful fool. You don't open your mouth but what you act like a +regular tramp. You don't understand nothin' o' such things, if you want +to know it. You let me look out for the girls. That ain't no part o' your +concern. That's a part of my concern. With boys that'd be a different +thing. I wouldn't so much as give you advice. But everybody's got their +own concerns. + +JULIUS + +Then don't let her come runnin' straight across my way. + +MRS. WOLFF + +I guess you want to beat her till she can't walk. Don't you take nothin' +like that into your head. Don't you think I'm goin' to allow anythin' +like that! I let her be beaten black an' blue? We c'n make our fortune +with that girl. I wish you had sense about some things! + +JULIUS + +Well, then let her go an' see how she gets along! + +MRS. WOLFF + +Nobody needn't be scared about that, Julius. I ain't sayin' but what +you'll live to see things. That girl will be livin' up on the first floor +some day and we'll be glad to have her condescend to know us. What is it +the doctor said to me? Your daughter, he says, is a handsome girl; she'd +make a stir on the stage. + +JULIUS + +Then let her see about gettin' there. + +MRS. WOLFF + +You got no education, Julius. Yon ain't got a trace of it. Lord, if it +hadn't been for me! What would ha' become o' those girls! I brought 'em +up to be educated, y'understand? Education is the main thing these days. +But things don't come off all of a sudden. One thing after another--step +by step. Now she's in service an' that'll learn her somethin'. Then +maybe, for my part, she can go into Berlin. She's much too young for the +stage yet. + + [_During MRS. WOLFF'S speech repeated knocking has been heard. Now + ADELAIDE'S voice comes in._ Mama! Mama! Please, do open! _MRS. WOLFF + opens the door, ADELAIDE comes in. She is a somewhat overgrown + schoolgirl of fourteen with a pretty, child-like face. The expression + of her eyes, however, betrays premature corruption._ + +Why didn't you open the door, mama? I nearly got my hands and feet +frozen! + +MRS. WOLFF + +Don't stand there jabberin' nonsense. Light a fire in the oven and you'll +soon be warm. Where've you been all this long time, anyhow? + +ADELAIDE + +Why, didn't I have to go and fetch the boots for father? + +MRS. WOLFF + +An' you staid out two hours doin' it! + +ADELAIDE + +Well, I didn't start to go till seven. + +MRS. WOLFF + +Oh, you went at seven, did you? It's half past ten now. You don't know +that, eh? So you've been gone three hours an' a half. That ain't much. +Oh, no. Well now you just listen good to what I've got to tell you. If +you go an' stay that long again, and specially with that lousy cobbler of +a Fielitz--then watch out an' see! That's all I says. + +ADELAIDE + +Oh, I guess I ain't to do nothin' except just mope around at home. + +MRS. WOLFF + +Now you keep still an' don't let me hear no more. + +ADELAIDE + +An' even if I do go over to Fielitz's sometime.... + +MRS. WOLFF + +Are you goin' to keep still, I'd like to know? You teach me to know +Fielitz! He needn't be putting on's far as I know. He's got another trade +exceptin' just repairin' shoes. When a man's been twice in the +penitentiary.... + +ADELAIDE + +That ain't true at all.... That's all just a set o' lies. He told me all +about it himself, mama! + +MRS. WOLFF + +As if the whole village didn't know, you fool girl! That man! I know what +he is. He's a pi-- + +ADELAIDE + +Oh, but he's friends even with the justice! + +MRS WOLFF + +I don't doubt it. He's a spy. And what's more, he's a _dee_nouncer! + +ADELAIDE + +What's that--a _dee_nouncer? + +JULIUS + +[_From the next room, into which he has gone._] I'm just waitin' to hear +two words more. + + [_ADELAIDE turns pale and at once and silently she sets about + building a fire in the oven._ + + _LEONTINE comes in._ + +MRS. WOLFF + +[_Has opened the stag. She takes out the heart, liver, etc, and hands +them to LEONTINE._] There, hurry, wash that off. An' keep still, or +somethin'll happen yet. + + [_LEONTINE, obviously intimidated, goes at her task. The girls + whisper together._ + +MRS. WOLFF + +Say, Julius. What are you doin' in there? I guess you'll go an' forget +again. Didn't I tell you this mornin' about the board that's come loose? + +JULIUS + +What kind o' board? + +MRS. WOLFF + +You don't know, eh? Behind there, by the goat-shed. The wind loosened it +las' night. You better get out there an' drive a few nails in, +y'understand? + +JULIUS + +Aw, to-morrow mornin'll be another day, too. + +MRS. WOLFF + +Oh, no. Don't take to thinkin' that way. We ain't goin' to make that kind +of a start--not we. [_JULIUS comes into the room growling._] There, take, +the hammer! Here's your nails! Now hurry an' get it done. + +JULIUS + +You're a bit off' your head. + +MRS. WOLFF + +[_Calling out after him._] When Wulkow comes what d'you want me to ask? + +JULIUS + +About twelve shillin's sure. + + [_Exit._ + +MRS. WOLFF + +[_Contemptuously._] Aw, twelve shillin's. [_A pause._] Now you just hurry +so that papa gets his supper. + + [_A brief pause._ + +ADELAIDE + +[_Looking at the stag._] What's that anyhow, mama? + +MRS. WOLFF + +A stork. + + [_Both girls laugh._ + +ADELAIDE + +A stork, eh? A stork ain't got horns. I know what that is--that's a stag! + +MRS. WOLFF + +Well, if you know why d'you go an' ask? + +LEONTINE + +Did papa shoot it, mama? + +MRS. WOLFF + +That's right! Go and scream it through the village: Papa's shot a stag! + +ADELAIDE + +I'll take mighty good care not to. That'd mean the cop! + +LEONTINE + +Aw, I ain't scared o' policeman Schulz. He chucked me under the chin +onct. + +MRS. WOLFF + +He c'n come anyhow. We ain't doin' nothin' wrong. If a stag's full o' +lead and lays there dyin' an' nobody finds it, what happens? The ravens +eat it. Well now, if the ravens eat it or we eat it, it's goin' to be +eaten anyhow. [_A brief pause._] Well now, tell me: You was axed to carry +wood in? + +LEONTINE + +Yes, in this frost! Two loads o' regular clumps! An' that when a person +is tired as a dog, at half past nine in the evenin'! + +MRS. WOLFF + +An' now I suppose that wood is lyin' there in the street? + +LEONTINE + +It's lyin' in front o' the garden gate. That's all I know. + +MRS. WOLFF + +Well now, but supposin' somebody goes and steals that wood? What's goin' +to happen in the mornin' then? + +LEONTINE + +I ain't goin' there no more! + +MRS. WOLFF + +Are those clumps green or dry? + +LEONTINE + +They're fine, dry ones! [_She yawns again and again._] Oh, mama, I'm that +tired! I've just had to work myself to pieces. + + [_She sits down with every sign of utter exhaustion._ + +MRS. WOLFF + +[_After a brief silence._] You c'n stay at home tonight for all I care. +I've thought it all out a bit different. An' to-morrow mornin' we c'n +see. + +LEONTINE + +I've just got as thin as can be, mama! My clothes is just hangin' on to +me. + +MRS. WOLFF + +You hurry now and go in to bed or papa'll raise a row yet. He ain't got +no understandin' for things like that. + +ADELAIDE + +Papa always speaks so uneducated! + +MRS. WOLFF + +Well, he didn't learn to have no education. An' that'd be just the same +thing with you if I hadn't brought you up to be educated. [_Holding a +saucepan over the oven: to LEONTINE:_] Come now, put it in! [_LEONTINE +places the pieces of washed venison into the sauce-pan._] So, now go to +bed. + +LEONTINE + +[_Goes into the next room. While she is still visible, she says:_] Oh, +mama, Motes has moved away from Krueger. + +MRS. WOLFF + +I guess he didn't pay no rent. + +LEONTINE + +It was just like pullin' a tooth every time, Mr. Krueger says, but he +paid. Anyhow, he says, he had to kick him out. He's such a lyin' +loudmouthed fellow, and always so high and mighty toward Mr. Krueger. + +MRS. WOLFF + +If I had been in Mr. Krueger's place I wouldn't ha' kept him that long. + +LEONTINE + +Because Mr. Krueger used to be a carpenter onct, that's why Motes always +acts so contemptuous. And then, too, he quarrelled with Dr. Fleischer. + +MRS. WOLFF + +Well, anybody that'll quarrel with _him_...! I ain't sayin' anythin', but +them people wouldn't harm a fly! + +LEONTINE + +They won't let him come to the Fleischers no more. + +MRS. WOLFF + +If you could get a chanct to work for them people some day! + +LEONTINE + +They treat the girls like they was their own children. + +MRS. WOLFF + +And his brother in Berlin, he's cashier in a theatre. + +WULKOW + +[_Has knocked at the door repeatedly and now calls out in a hoarse +voice._] Ain't you goin' to have the kindness to let me in. + +MRS. WOLFF + +Well, I should say! Why not! Walk right in! + +WULKOW + +[_Comes in. He is a lighterman on the Spree river, near sixty years old, +bent, with a greyish-yellow beard that frames his head from ear to ear +but leaves his weather-beaten face free._] I wish you a very good +evenin'. + +MRS. WOLFF + +Look at him comin' along again to take in a woman a little bit. + +WULKOW + +I've give up tryin' that this long while! + +MRS. WOLFF + +Maybe, but that's the way it's goin' to be anyhow. + +WULKOW + +T'other way roun', you mean. + +MRS. WOLFF + +What'll it be next?--Here it's hangin'! A grand feller, eh? + +WULKOW + +I tell you, Julius ought to be lookin' out sharp. They's gettin' to be +pretty keen again. + +MRS. WOLFF + +What are you goin' to give us for it, that's the main thing. What's the +use o' jabberin'? + +WULKOW + +Well, I'm tellin' you. I'm straight from Gruenau. An' there I heard it +for certain. They shot Fritz Weber. They just about filled his breeches +with lead. + +MRS. WOLFF + +What are you goin' to give? That's the main thing. + +WULKOW + +[_Feeling the stag._] The trouble is I got four o' them bucks lyin' at +home now. + +MRS. WOLFF + +That ain't goin' to make your boat sink. + +WULKOW + +An' I don't want her to do that. That wouldn't be no joke. But what's the +good if I get stuck with the things here. I've gotta get 'em in to +Berlin. It's been hard enough work on the river all day, an' if it goes +on freezin' this way, there'll be no gettin' along to-morrow. Then I c'n +sit in the ice with my boat, an' then I've got these things for fun. + +MRS. WOLFF + +[_Apparently changing her mind._] Girl, you run down to Schulze. Say +how-dee-do an' he's to come up a while, cause mother has somethin' to +sell. + +WULKOW + +Did I say as I wasn't goin' to buy it? + +MRS. WOLFF + +It's all the same to me who buys it. + +WULKOW + +Well, I'm willin' to. + +MRS. WOLFF + +Any one that don't want it can let it be. + +WULKOW + +I'll buy this feller! What's he worth? + +MRS. WOLFF + +[_Touching the venison._] This here piece weighs a good thirty pounds. +Every bit of it, I c'n tell you. Well, Adelaide! You was here. We could +hardly lift it up. + +ADELAIDE + +[_Who had not been present at all._] I pretty near sprained myself +liftin' it. + +WULKOW + +Thirteen shillin's will pay for it, then. An' I won't be makin' ten pence +on that bargain! + +MRS. WOLFF + +[_Acts amazed. She busies herself at the oven as though she had forgotten +WULKOW'S presence. Then, as though suddenly becoming aware of it again, +she says:_] I wish you a very pleasant trip. + +WULKOW + +Well. I can't give more than thirteen! + +MRS. WOLFF + +That's right. Let it alone. + +WULKOW + +I'm just buyin' it for the sake o' your custom. God strike me dead, but +it's as true as I'm standin' here. I don't make _that_ much with the +whole business. An' even if I was wantin' to say: fourteen, I'd be +puttin' up money, I'd be out one shillin'. But I ain't goin' to let that +stand between us. Just so you see my good intentions, I'll say +fourteen.... + +I can't give no more. I'm tellin' you facts. + +MRS. WOLFF + +That's all right! That's all right! We c'n get rid o' this stag. We won't +have to keep it till morning. + +WULKOW + +Yes, if only nobody don't see it hangin' here. Money wouldn't do no good +then. + +MRS. WOLFF + +This stag here, we found it dead. + +WULKOW + +Yes, in a trap. I believe you. + +MRS. WOLFF + +You needn't try to get around us that way. That ain't goin' to do _no_ +good! You want to gobble up everythin' for nothin'! We works till we got +no breath. Hours an' hours soakin' in the snow, not to speak o' the risk, +there in the pitch dark. That's no joke, I tell you. + +WULKOW + +The only trouble is that I got four of 'em already. Or I'd say fifteen +shillin's quick enough. + +MRS. WOLFF + +No, Wulkow, we can't do business together today. You c'n be easy an' go a +door further. We just dragged ourselves across the lake ... a hairbreadth +an' we would've been stuck in the ice. We couldn't get forward an' we +couldn't get backward. You can't give away somethin' you got so hard. + +WULKOW + +Well, what do I get out of it all, I want to know! This here lighter +business ain't a natural thing. An' poachin', that's a bad job. If you +all get nabbed, I'd be the first one to fly in. I been worryin' along +these forty years. What've I got to-day? The rheumatiz--that's what! When +I get up o' mornin's early, I gotta whine like a puppy dog. Years an' +years I been wantin' to buy myself a fur-coat. That's what all doctors +has advised me to do, because I'm that sensitive. But I ain't been able +to buy me none. Not to this day. An' that's as true as I'm standin' here. + +ADELAIDE + +[_To her mother._] Did you hear what Leontine said? + +WULKOW + +But anyhow. Let it go. I'll say sixteen. + +MRS. WOLFF + +No, it's no good. Eighteen! [_To ADELAIDE._] What's that you was talkin' +about? + +ADELAIDE + +Mrs. Krueger has bought a fur-coat that cost pretty near a hundred +crowns. It's a beaver coat. + +WULKOW + +A beaver coat? + +MRS. WOLFF + +_Who_ bought it? + +ADELAIDE + +Why, Mrs. Krueger, I tell you, as a Christmas present for Mr. Krueger. + +WULKOW + +Is that girl in service with the Kruegers? + +ADELAIDE + +Not me, but my sister, I ain't goin' in service like that at all. + +WULKOW + +Well now, if I could have somethin' like that! That's the kind o' thing I +been tryin' to get hold of all this time. I'd gladly be givin' sixty +crowns for it. All this money that goes to doctors and druggists, I'd +much rather spend it for furs. I'd get some pleasure out of that at +least. + +MRS. WOLFF + +All you gotta do is to go there, Wulkow. Maybe Kruger'll make you a +present of the coat. + +WULKOW + +I don't suppose he'd do it kindly. But's I said: I'm interested in that +sort o' thing. + +MRS. WOLFF + +I believes you. I wouldn't mind havin' a thing like that myself. + +WULKOW + +How do we stand now? Sixteen? + +MRS. WOLFF + +Nothin' less'n eighteen'll do. Not under eighteen--that's what Julius +said. I wouldn't dare show up with sixteen. No, sir. When that man takes +somethin' like that into his head! [_JULIUS comes in._] Well, Julius, you +said eighteen shillin's, didn't you? + +JULIUS + +What's that I said? + +MRS. WOLFF + +Are you hard o' hearin' again for a change? You said yourself: not under +eighteen. You told me not to sell the stag for less. + +JULIUS + +I said?... Oh, yes, that there piece o' venison! That's right. H-m. An' +that ain't a bit too much; either. + +WULKOW + +[_Taking' out money and counting it._] We'll make an end o' this. +Seventeen shillin's. Is it a bargain? + +MRS. WOLFF + +You're a great feller, you are! That's what I said exactly: he don't +hardly have to come in the door but a person is taken in! + +WULKOW + +[_Has unrolled a sack which had been hidden about his person._] Now help +me shoot it right in here. [_MRS. WOLFF helps him place the venison in +the sack._] An' if by some chanst you should come to hear o' somethin' +like that--what I means is, just f'r instance--a--fur coat like that, f'r +instance. Say, sixty or seventy crowns. I could raise that, an' I +wouldn't mind investin' it. + +MRS. WOLFF + +I guess you ain't right in your head...! How should _we_ come by a coat +like that? + +A MAN'S VOICE + +[_Calls from without._] Mrs. Wolff! Oh, Mrs. Wolff! Are you still up? + +MRS. WOLFF + +[_Sharing the consternation of the others, rapidly, tensely._] Slip it +in! Slip it in! And get in the other room! + + [_She crowds them all into the rear room and locks the door._ + +A MAN'S VOICE + +Mrs. Wolff! Oh, Mrs. Wolff! Have you gone to bed? + + _MRS. WOLFF extinguishes the light._ + +A MAN'S VOICE + +Mrs. Wolff! Mrs. Wolff! Are you still up? [_The voice recedes singing:_] + + "Morningre-ed, morningre-ed, + Thou wilt shine when I am dea-ead!" + +LEONTINE + +Aw, that's only old "Morningred," mama! + +MRS. WOLFF + +[_Listens for a while, opens the door softly and listens again. When she +is satisfied she closes the door and lights the candle. Thereupon she +admits the others again._] 'Twas only the constable Mitteldorf. + +WULKOW + +The devil, you say. That's nice acquaintances for you to have. + +MRS. WOLFF + +Go on about your way now! Hurry! + +ADELAIDE + +Mama, Mino has been barkin'. + +MRS. WOLFF + +Hurry, hurry, Wulkow! Get out now! An' the back way through the vegetable +garden! Julius will open for you. Go on, Julius, an' open the gate. + +WULKOW + +An's I said, if somethin' like such a beaver coat _was_ to turn up, why-- + +MRS. WOLFF + +Sure. Just make haste now. + +WULKOW + +If the Spree don't freeze over, I'll be gettin' back in, say, three or +four days from Berlin. An' I'll be lyin' with my boat down there. + +MRS. WOLFF + +By the big bridge? + +WULKOW + +Where I always lies. Well, Julius, toddle ahead! + + [_Exit._ + +ADELAIDE + +Mama, Mino has been barkin' again. + +MRS. WOLFF + +[_At the oven._] Oh, let him bark! + + [_A long-drawn call is heard in the distance._ "Ferry over!"] + +ADELAIDE + +Somebody wants to get across the river, mama! + +MRS. WOLFF + +Well, go'n tell papa. He's down there by the river.--["Ferry over!"] An' +take him his oars. But he ought to let Wulkow get a bit of a start first. + + _ADELAIDE goes out with the oars. For a little while MRS. WOLFF is + alone. She marks energetically. Then ADELAIDE returns._ + +ADELAIDE + +Papa's got his oars down in the boat. + +MRS. WOLFF + +Who wants to get across the river this time o' night? + +ADELAIDE + +I believe, mama, it's that stoopid Motes! + +MRS. WOLFF + +What? Who is't you say? + +ADELAIDE + +I think the voice was Motes's voice. + +MRS. WOLFF + +[_Vehemently._] Go down! Ran! Tell papa to come up! That fool Motes can +stay on the other side. He don't need to come sniffin' around in the +house here. + + _ADELAIDE exits. MRS. WOLFF hides and clears away everything that + could in any degree suggest the episode of the stag. She covers the + sauce-pan with an apron. ADELAIDE comes back._ + +ADELAIDE + +Mama, I got down there too late. I hear 'em talkin' a'ready. + +MRS. WOLFF + +Well, who is it then? + +ADELAIDE + +I've been tellin' you: Motes. + + _MR. and MRS. MOTES appear in turn in the doorway. Both are of medium + height. She is an alert young woman of about thirty, modestly and + neatly dressed. He wears a green forester's overcoat; his face is + healthy but insignificant; his left eye is concealed by a black + bandage._ + +MRS. MOTES + +[_Calls in._] We nearly got our noses frozen, Mrs. Wolff. + +MRS. WOLFF + +Why do you go walkin' at night. You got time enough when it's bright day. + +MOTES + +It's nice and warm here.--Who's that who has time by day? + +MRS. WOLFF + +Why, you! + +MOTES + +I suppose you think I live on my fortune. + +MRS. WOLFF + +I don't know; I ain't sayin' what you live on. + +MRS. MOTES + +Heavens, you needn't be so cross. We simply wanted to ask about our bill. + +MRS. WOLFF + +You've asked about that a good deal more'n once. + +MRS. MOTES + +Very well. So we're asking again. Anything wrong with that? We have to +pay sometime, you know? + +MRS. WOLFF + +[_Astonished._] You wants to pay? + +MRS. MOTES + +Of course, we do. Naturally. + +MOTES + +You act as if you were quite overwhelmed. Did you think we'd run off +without paying? + +MRS. WOLFF + +I ain't given to thinkin' such things. If you want to be so good then. +Here, we can arrange right now. The amount is eleven shillin's, six +pence. + +MRS. MOTES + +Oh, yes. Mrs. Wolff. We're going to get money. The people around here +will open their eyes wide. + +MOTES + +There's a smell of roasted hare here. + +MRS. WOLFF + +Burned hair! That'd be more likely. + +MOTES + +Let's take a look and see. + + [_He is about to take the cover from the sauce-pan._ + +MRS. WOLFF + +[_Prevents him._] No sniffin' 'round in my pots. + +MRS. MOTES + +[_Who has observed everything distrustfully._] Mrs. Wolff, we've found +something, too. + +MRS. WOLFF + +I ain't lost nothin'. + +MRS. MOTES + +There, look at these. + + [_She shows her several wire snares._ + +MRS. WOLFF + +[_Without losing her equanimity in the slightest._] I suppose them are +snares? + +MRS. MOTES + +We found them quite in the neighbourhood here! Scarcely twenty paces from +your garden. + +MRS. WOLFF + +Lord love you! The amount of poachin' that's done here! + +MRS. MOTES + +If you were to keep a sharp lookout, you might actually catch the poacher +some day. + +MRS. WOLFF + +Aw, such things is no concern o' mine. + +MOTES + +If I could just get hold of a rascal like that. First, I'd give him +something to remember me by, and then I'd mercilessly turn him over to +the police. + +MRS. MOTES + +Mrs. Wolff have you got a few fresh eggs? + +MRS. WOLFF + +Now, in the middle of winter? They're pretty scarce! + +MOTES + +[_To JULIUS, who has just come in._] Forester Seidel has nabbed a poacher +again. He'll be taken to the detention prison to-morrow. There's an +officer with style about him. If I hadn't had my misfortune, I could have +been a head forester to-day. I'd go after those dogs even more +energetically. + +MRS. WOLFF + +There's many a one has had to pay for doin' that! + +MOTES + +Yes, if he's afraid. I'm not! I've denounced quite a few already. +[_Fixing his gaze keenly on MRS. WOLFF and her husband in turn._] And +there are a few others whose time is coming. They'll run straight into my +grip some day. These setters of snares needn't think that I don't know +them. I know them very well. + +MRS. MOTES + +Have you been baking, perhaps, Mrs. Wolff? We're so tired of baker's +bread. + +MRS. WOLFF + +I thought you was goin' to square your account. + +MRS. MOTES + +On Saturday, as I've told you, Mrs. Wolff. My husband has been appointed +editor of the magazine "Chase and Forest." + +MRS. WOLFF + +Aha, yes. I know what that means. + +MRS. MOTES + +But if I assure you, Mrs. Wolff! We've moved away from the Kruegers +already. + +MRS. WOLFF + +Yes, you moved because you had to. + +MRS. MOTES + +We had to? Hubby, listen to this!--[_She gives a forced laugh._]--Mrs. +Wolff says that we had to move from Kruegers. + +MOTES + +[_Crimson with rage._] The reason why I moved away from that place? +You'll find it out some day. The man is a usurer and a cutthroat! + +MRS. WOLFF + +I don't know nothin' about that; I can't say nothin' about that. + +MOTES + +I'm just waiting to get hold of positive proof. That, man had better be +careful where I'm concerned--he and his bosom friend, Dr. Fleischer. The +latter more especially. If I just wanted to say it--one word and that man +would be under lock and key. + + [_From the beginning of his speech on he has gradually withdrawn and + speaks the last words from without._ + +MRS. WOLFF + +I suppose the men got to quarrelin' again? + +MRS. MOTES + +[_Apparently confidential._] There's no jesting with my husband. If he +determines on anything, he doesn't let go till it's done. And he stands +very well with the justice.--But how about the eggs and the bread? + +MRS. WOLFF + +[_Reluctantly._] Well, I happen to have five eggs lyin' here. An' a piece +o' bread. [_MRS. MOTES puts the eggs and the half of a loaf into her +basket._] Are you satisfied now? + +MRS. MOTES + +Certainly; of course. I suppose the eggs are fresh? + +MRS. WOLFF + +As fresh as my chickens can lay 'em. + +MRS. MOTES + +[_Hastening in order to catch up with her husband._] Well, good-night. +You'll get your money next Saturday. + + [_Exit._ + +MRS. WOLFF + +All right; that'll be all right enough! [_She closes the door and speaks +softly to herself._] Get outta here, you! Got nothin' but debts with +everybody around. [_Over her sauce-pan._] What business o' theirs is it +what we eat? Let 'em spy into their own affairs. Go to bed, child! + +ADELAIDE + +Good night, mama. + + [_She kisses her._ + +MRS. WOLFF + +Well, ain't you goin' to kiss papa good-night? + +ADELAIDE + +Good night, papa. + + [_She kisses him, at which he growls. ADELAIDE, exit._ + +MRS. WOLFF + +You always gotta say that to her special! + + [_A pause._ + +JULIUS + +Why do'you go an' give the eggs to them people? + +MRS. WOLFF + +I suppose you want me to make an enemy o' that feller? You just go ahead +an' get him down on you! I tell you, that's a dangerous feller. He ain't +got nothin' to do except spy on people. Come. Sit down. Eat. Here's a +fork for you. You don't understand much about such things. You take care +o' the things that belongs to you! Did you have to go an' lay the snares +right behind the garden? They was yours, wasn't they? + +JULIUS [_Annoyed._] Go right ahead! + +MRS. WOLFF + +An', o' course, that fool of a Motes had to find 'em first thing. Here +near the house you ain't goin' to lay no more snares at all! +Y'understan'? Next thing'll be that people say we laid 'em. + +JULIUS + +Aw, you stop your jawin'. + + [_Both eat._ + +MRS. WOLFF + +Look here, Julius, we're out of wood, too. + +JULIUS + +An' you want me to go this minute, I suppose? + +MRS. WOLFF + +It'd be best if we got busy right off. + +JULIUS + +I don't feel my own bones no more. Anybody that wants to go c'n go. I +ain't. + +MRS. WOLFF + +You men folks always does a whole lot o' talkin', an' when it comes to +the point, you can't do nothin'. I'd work enough to put the crowd of you +in a hole and drag you out again too. If you ain't willin' to go to-night +by no means, why, you've got to go to-morrow anyhow. So what good is it? +How are the climbin' irons? Sharp? + +JULIUS + +I loaned 'em to Karl Machnow. + +MRS. WOLFF + +[_After a pause._] If only you wasn't such a coward!--We might get a few +loads o' wood in a hurry, an' we wouldn't have to work ourselves blue in +the face neither.--No, nor we wouldn't have to go very far for 'em. + +JULIUS + +Aw, let me eat a bite, will you? + +MRS. WOLFF + +[_Punches his head amicably._] Don't always be so rough, I'm goin' to be +good to you now for onct. You watch. [_Fetching a bottle of whiskey and +showing it to him._] Here! See? I brought that for you. Now you c'n make +a friendly face, all right. + + [_She fills a glass for her husband._ + +JULIUS + +[_Drinks._] That's fine--in this cold weather--fine. + +MRS. WOLFF + +Well, you see? Don't I take care o' you? + +JULIUS + +That was pretty good, pretty good all right. + + [_He fills the glass anew and drinks._ + +MRS. WOLFF + +[_After a pause. She is splitting kindling wood and eating a bite now and +then._] Wulkow--that feller--he's a regular rascal--. He always--acts--as +if he was hard up. + +JULIUS + +Aw, he'd better shut up--he with his trade! + +MRS. WOLFF + +You heard that about the beaver coat, didn't you? + +JULIUS + +Naw, I didn't hear nothin'. + +MRS. WOLFF + +[_With assumed carelessness._] Didn't you hear the girl tell how Mrs. +Krueger has given Krueger a fur coat? + +JULIUS + +Well, them people has the money. + +MRS. WOLFF + +That's true. An' then Wulkow was sayin' ... you musta heard ... that if +he could get hold of a coat like that some day, he'd give as much as a +seventy crowns for it. + +JULIUS + +You just let him go and get into trouble his own self. + +MRS. WOLFF + +[_After a pause, refilling her husband's glass._] Come now, you c'n stand +another. + +JULIUS + +Well, go ahead, go ahead! What in...! + + _MRS. WOLFF gets out a little note book and turns over the leaves._ + +JULIUS + +How much is it we put aside since July? + +MRS. WOLFF + +About thirty crowns has been paid off. + +JULIUS + +An' that'll leave ... leave ... + +MRS. WOLFF + +That'll still leave seventy. You don't get along very fast this way. +Fifty, sixty crowns--all in a lump; if you could add that onct! Then the +lot would be paid for all right. Then maybe we could borrow a couple o' +hundred and build up a few pretty rooms. We can't take no summer boarders +like this an' it's the summer boarders what brings the money. + +JULIUS + +Well, go ahead! What are you ... + +MRS. WOLFF + +[_Resolutely._] My, but you're a slow crittur, Julius! Would _you've_ +gone an' bought that lot? An' if we wanted to go an' sell it now, we +could be gettin' twice over what we paid for it! I got a different kind +of a nature! Lord, if you had one like it! + +JULIUS + +I'm workin' all right. What's the good o' all that? + +MRS. WOLFF + +You ain't goin' to get very far with all your work. + +JULIUS + +Well, I can't steal. I can't go an' get into trouble! + +MRS. WOLFF + +You're just stoopid, an' that's the way you'll always be. Nobody here +ain't been talkin' o' stealin'. But if you don't risk nothin', you don't +get nothin'. An' when onct you're rich, Julius, an' c'n go and sit in +your own carridge, there ain't nobody what's goin' to ask where you got +it! Sure, if we was to take it from poor people! But now suppose +really--suppose we went over to the Kruegers and put the two loads o' +wood on a sleigh an' took 'em into our shed--them people ain't no poorer +on that account! + +JULIUS + +Wood? What you startin' after again now with wood? + +MRS. WOLFF + +Now that shows how you don't take notice o' nothin'! They c'n work your +daughter till she drops; they c'n try an' make her drag in wood at ten +o'clock in the evenin'. That's why she run away. An' you take that kind +o' thing an' say thank you. Maybe you'd give the child a hidin' and send +her back to the people. + +JULIUS + +Sure!--That's what!--What d'you think ... + +MRS. WOLFF + +Things like that hadn't ought to go unpunished. If anybody hits me, I'll +hit him back. That's what I says. + +JULIUS + +Well, did they go an' hit the girl? + +MRS. WOLFF + +Why should she be runnin' away, Julius? But no, there ain't no use tryin' +to do anything with you. Now the wood is lyin' out there in the alley. +An' if I was to say: all right, you abuse my children, I'll take your +wood--a nice face you'd make. + +JULIUS + +I wouldn't do no such thing ... I don't give a--! I c'n do more'n eat, +too. I'd like to see! I wouldn't stand for nothin' like that. Beatin'! + +MRS. WOLFF + +Well, then, don't talk so much. Go an' get your cord. Show them people +that you got some cuteness! The whole thing will be over in an hour. Then +we c'n go to bed an' it's all right. An' you don't have to go out in the +woods to-morrow. We'll have more fuel than we need. + +JULIUS + +Well, if it leaks out, it'll be all the same to me. + +MRS. WOLFF + +There ain't no reason why it should. But don't wake the girls. + +MITTELDORF + +[_From without._] Mrs. Wolff! Mrs. Wolff! Are you still up? + +MRS. WOLFF + +Sure, Mitteldorf! Come right in! + + [_She opens the door._ + +MITTELDORF + +[_Enters. He has an overcoat over his shabby uniform. His face has a +Mephistophelian cast. His nose betrays an alcoholic colouring. His +demeanour is gentle, almost timid. His speech is slow and dragging and +unaccompanied by any change in expression._] Good evenin', Mrs. Wolff. + +MRS. WOLFF + +I guess you mean to say: Good night! + +MITTELDORF + +I was around here once before a while ago. First I thought I saw a light, +an' then, all of a sudden, it was dark again. Nobody didn't answer me +neither. But this time there was a light an' no mistake; an' so I came +back once more. + +MRS. WOLFF + +Well, what have you got for me now, Mitteldorf? + +MITTELDORF + +[_Has taken a seat, thinks a while and then says:_] That's what I came +here for. I got a message for you from the justice's wife. + +MRS. WOLFF + +She ain't wantin' me to do washin'? + +MITTELDORF + +[_Raises his eye-brows thoughtfully._] That she does. + +MRS. WOLFF + +An' when? + +MITTELDORF + +To-morrow.--To-morrow mornin'. + +MRS. WOLFF + +An' you come in tellin' me that twelve o'clock at night? + +MITTELDORF + +But to-morrow is the missis' wash day. + +MRS. WOLFF + +But a person ought to know that a few days ahead o' time. + +MITTELDORF + +That' a fac'. But don't go makin' a noise. I just plumb forgot all about +it again. I got so many things to think of with my poor head, that +sometimes I just naturally forgets things. + +MRS. WOLFF + +Well, Mitteldorf, I'll try an' arrange it. We always was good friends. +You got enough on your shoulders, I suppose, with them twelve children o' +yours at home, eh? You ain't got no call to make yourself out worse'n you +are. + +MITTELDORF + +If you don't come in the mornin', I'll have a pretty tough time of it! + +MRS. WOLFF + +I'll come. You needn't go worryin'. There, take a drink. I guess you need +it this weather. [_She gives him a glass of toddy._] I just happened to +have a bit o' hot water. You know, we gotta take a trip yet to-night--for +fat geese over to Treptow. You don't get no time in the day. That can't +be helped in this kind of a life. Poor people is got to work themselves +sick day an' night, an' rich people lies in bed snorin'. + +MITTELDORF + +I been given notice. Did you know that? The justice has given me notice. +I ain't keen enough after the people. + +MRS. WOLFF + +They wants you to be like an old watch dog, I suppose. + +MITTELDORF + +I'd rather not go home at all. When I gets there, it'll be nothin' but +quarrelin'. She just drives me crazy with her reproaches. + +MRS. WOLFF + +Put your fingers in your ears! + +MITTELDORF + +An' then a man goes to the tavern a bit, so that the worries don't down +him altogether; an' now he ain't to do that no more neither! He ain't to +do nothin'. An' now I just come from a bit of a time there. A feller +treated to a little keg. + +MRS. WOLFF + +You ain't goin' to be scared of a woman? If she scolds, scold harder; an' +if she beats you, beat her back. Come here now--you're taller'n me--get +me down them things off the shelf. An' Julius, you get the sleigh ready! +[_JULIUS exit._] How often have I got to tell you? [_MITTELDORF has taken +cords and pulley lines front the high shelf on the wall._] Get ready the +big sleigh! You c'n hand them cords right down to him. + +JULIUS + +[_From without._] I can't see! + +MRS. WOLFF + +What can't you do? + +JULIUS + +[_Appears in the doorway._] I can't get that sleigh out alone! Everythin' +is all mixed up in a heap here. An' there ain't nothin' to be done +without a light. + +MRS. WOLFF + +Now you're helpless again--like always. [_Rapidly she puts shawls about +her head and chest._] You must wait, I'll come an' lend a hand. There's +the lantern, Mitteldorf. [_MITTELDORF slowly takes a lantern and hands it +to MRS. WOLFF.] There! thank you. [_She puts the burning candle into the +lantern._] We'll put that in here an' then we c'n go. Now I'll help you +drag out the sleigh. [_She goes ahead with the lantern. MITTELDORF +follows her. In the door she turns around and hands the lantern to +MITTELDORF._] You c'n come an' hold the light for us a bit! + +MITTELDORF + +[_Holding the light and humming to himself:_] + + "Morningre-ed, morningre-ed ..." + + +THE CURTAIN FALLS + + + + +THE SECOND ACT + + + _Court room of Justice VON WEHRHAHN. A great, bare, white-washed room + with three windows in the rear wall. The main door is in the left + wall. Along the wall to the right stands the long official table + covered with books, legal documents, etc.; behind it the chair of the + justice. Near the centre window are the clerk's chair and table. To + the right is a bookcase of white wood, so arranged that it is within + reach of the justice when he sits in his chair. The left wall is + hidden by cases containing documents. In the foreground, beginning at + the wall to the left, six chairs stand in a row. Their occupants + would be seen by the spectator from behind.--It is a bright forenoon + in Winter. The clerk GLASENAPP sits scribbling at his table. He is a + poverty-stricken, spectacled person. Justice VON WEHRHAHN, carrying a + roll of documents under his arm, enters rapidly. WEHRHAHN is about + forty years old and wears a monocle. He makes the impression of a son + of the landed nobility of Prussia. His official garb consists of a + buttoned, black walking coat, and very tall boots put on over his + trousers. He speaks in what is almost a falsetto voice and carefully + cultivates a military brevity of expression._ + +WEHRHAHN + +[_By the way, like one crushed by the weight of affairs._] Mornin'. + +GLASENAPP + +Servant, sir. + +WEHRHAHN + +Anything happened, Glasenapp? + +GLASENAPP + +[_Standing and looking through some papers._] I've got to report, your +honour--there was first, oh, yes,--the innkeeper Fiebig. He begs for +permission, your honour, to have music and dancing at his inn next +Sunday. + +WEHRHAHN + +Isn't that ... perhaps you can tell me. Fiebig? There was some one who +recently rented his hall...? + +GLASENAPP + +To the liberals. Quite right, your honour. + +WEHRHAHN + +This same Fiebig? + +GLASENAPP + +Yes, my lord. + +WEHRHAHN + +We'll have to put a check-rein on him for a while. + + _The constable MITTELDORF enters._ + +MITTELDORF + +Servant, my lord. + +WEHRHAHN + +Listen here: once and for all--officially I am simply the justice. + +MITTELDORF + +Yes, sir. As you wish, my--your honour, I meant to say. + +WEHRHAHN + +I wish you would try to understand this fact: my being a baron is purely +by the way. Is not, at all events, to be considered here. [_To +GLASENAPP._] Now I'd like to hear further, please. Wasn't the author +Motes here? + +GLASENAPP + +Yes, your honour. + +WEHRHAHN + +Aha! So he _was_ here! I confess that I am very curious. I hope that it +was his intention to come back? + +GLASENAPP + +He intended to be back here about half past eleven. + +WEHRHAHN + +Did he by any chance tell you anything? + +GLASENAPP + +He came in the matter of Dr. Fleischer. + +WEHRHAHN + +Well, now, you may as well tell me--are you acquainted with this Dr. +Fleischer? + +GLASENAPP + +All I know is that he lives in the Villa Krueger. + +WEHRHAHN + +And how long has he been living in this place? + +GLASENAPP + +Well, I've been here since Michaelmas. + +WEHRHAHN + +To be sure, you came here at the same time with me; about four months +ago. + +GLASENAPP + +[_Looking toward MITTELDORF for information._] From what I hear the man +has been living here about two years. + +WEHRHAHN + +[_To MITTELDORF._] I don't suppose you can give us any information? + +MITTELDORF + +Beggin' your pardon, he came Michaelmas a year ago. + +WEHRHAHN + +At that time he moved here? + +MITTELDORF + +Exactly, your honour--from Berlin. + +WEHRHAHN + +Have you any more intimate information about this individual? + +MITTELDORF + +All I know is his brother is cashier of a theatre. + +WEHRHAHN + +I didn't ask for information concerning his brother! What is his +occupation?--What does he himself do? What is he? + +MITTELDORF + +I don't know as I can say anythin' particular. People do say that he's +sick. I suppose he suffers from diabetes. + +WEHRHAHN + +I'm quite indifferent as to the character of his malady. He can sweat +syrup if it amuses him. _What_ is he? + +GLASENAPP + +[_Shrugging his shoulders._] He calls himself a free spear in +scholarship. + +WEHRHAHN + +Lance! Lance! Not spear! A free lance. + +GLASENAPP + +The bookbinder Hugk always does work for him; he has some books bound +every week. + +WEHRHAHN + +I wouldn't mind seeing what an individual of that kind reads. + +GLASENAPP + +The postman thinks he must take in about twenty newspapers. Democratic +ones, too. + +WEHRHAHN + +You may summon Hugk to this court some time. + +GLASENAPP + +Right away? + +WEHRHAHN + +No, at a more convenient time. To-morrow or the next day. Let him bring a +few of the books in question with him. [_To MITTELDORF._] You seem to +take naps all day. Or perhaps the man has good cigars and knows how to +invest them! + +MITTELDORF + +Your honour...! + +WEHRHAHN + +Never mind! Never mind! I will inspect the necessary persons myself. My +honourable predecessor has permitted a state of affairs to obtain +that...! We will change all that by degrees--It is simply disgraceful for +a police official to permit himself to be deceived by any one. That is, +of course, entirely beyond your comprehension. [_To GLASENAPP._] Didn't +Motes say anything definite? + +GLASENAPP + +I can't say that he did--nothing definite. He was of the opinion that +your honour was informed.... + +WEHRHAHN + +In a very general way, I am. I have had my eye on the man in question for +some time--on this Dr. Fleischer I mean. Mr. Motes simply confirmed me in +my own entirely correct judgment of his peculiar character.--What kind of +a reputation has Motes himself? [_GLASENAPP and_ MITTELDORF exchange +glances and GLASENAPP shrugs his shoulders._] Lives largely on credit, +eh? + +GLASENAPP + +He says he has a pension. + +WEHRHAHN + +Pension? + +GLASENAPP + +Well, you know he got shot in the eye. + +WEHRHAHN + +So his pension is really paid as damages. + +GLASENAPP + +Beggin' your honour's pardon, but if it's a question of damages the man +inflicts more than he's ever received. Nobody's ever seen him have a +penny for anything. + +WEHRHAHN + +[_Amused._] Is there anything else of importance? + +GLASENAPP + +Nothing but minor matters, your honour--somebody giving notice-- + +WEHRHAHN + +That'll do; that'll do. Do you happen ever to have heard any reports to +the effect that this Dr. Fleischer does not guard his tongue with +particular care? + +GLASENAPP + +Not that I know of at this moment. + +WEHRHAHN + +Because that is the information that has come to me. He is said to have +made illegal remarks concerning a number of exalted personages. However, +all that will appear in good time. We can set to work now. Mitteldorf, +have you anything to report? + +MITTELDORF + +They tell me that a theft has been committed during the night. + +WEHRHAHN + +A theft? Where? + +MITTELDORF + +In the Villa Krueger. + +WEHRHAHN + +What has been stolen? + +MITTELDORF + +Some firewood. + +WEHRHAHN + +Last night, or when? + +MITTELDORF + +Just last night. + +WEHRHAHN + +From whom does your information come? + +MITTELDORF + +My information? It come from ... from.... + +WEHRHAHN + +Well, from whom? Out with it! + +MITTELDORF + +I heard it from--I got it from Dr. Fleischer. + +WEHRHAHN + +Aha! You're in the habit then of conversing with him? + +MITTELDORF + +Mr. Krueger told me about it himself too. + +WEHRHAHN + +The man is a nuisance with his perpetual complaints. He writes me about +three letters a week. Either he has been cheated, or some one has broken +his fence, or else some one has trespassed on his property. Nothing but +one annoyance after another. + +MOTES + +[_Enters. He laughs almost continually in a nervous way._] Beg to bid you +a good morning, your honour. + +WEHRHAHN + +Ah, there you are. Very glad you came in. You can help me out with some +information at once. A theft is said to have been committed at the Villa +Krueger. + +MOTES + +I don't live there any longer. + +WEHRHAHN + +And nothing has come to your ears either? + +MOTES + +Oh, I heard something about it, but nothing definite. As I was just +passing by the Villa I saw them both looking for traces in the snow. + +WEHRHAHN + +Is that so? Dr. Fleischer is assisting him. I take it for granted then +that they're pretty thick together? + +MOTES + +Inseparable in every sense, your honour. + +WEHRHAHN + +Aha! As far as Fleischer is concerned--he interests me most of all. Take +a seat, please. I confess that I didn't sleep more than half the night. +This matter simply wouldn't let me sleep. The letter that you wrote me +excited me to an extraordinary degree.--That is a matter of temperament, +to be sure. The slumbers of my predecessor would scarcely have been +disturbed.--As far as I am concerned I have made up my mind, so to speak, +to go the whole way.--It is my function here to make careful tests and to +exterminate undesirable elements.--Under the protection of my honourable +predecessor the sphere of our activity has become a receptacle for refuse +of various kinds: lives that cannot bear the light--outlawed individuals, +enemies of royalty and of the realm. These people must be made to +suffer.--As for yourself, Mr. Motes, you are an author? + +MOTES + +I write on subjects connected with forestry and game. + +WEHRHAHN + +In the appropriate technical journals, I take it. _A propos_: do you +manage to make a living that way? + +MOTES + +If one is well known, it can be done. I may gratefully say that I earn an +excellent competency. + +WEHRHAHN + +So you are a forester by profession? + +MOTES + +I studied at the academy, your honour, and pursued my studies in +Eberswalde. Shortly before the final examinations I met with this +misfortune.... + +WEHRHAHN + +Ah, yes; I see you wear a bandage. + +MOTES + +I lost an eye while hunting. Some bird shot flew into my right eye. The +responsibility for the accident could not, unfortunately, be placed. And +so I had to give up my career. + +WEHRHAHN + +Then you do not receive a pension? + +MOTES + +No. But I have fought my way through pretty well now. My name is getting +to be known in a good many quarters. + +WEHRHAHN + +H-m.--Are you by any chance acquainted with my brother-in-law? + +MOTES + +Yes, indeed--Chief Forester von Wachsmann. I correspond a good deal with +him and furthermore we are fellow members of the society for the breeding +of pointers. + +WEHRHAHN + +[_Somewhat relieved._] Ah, so you are really acquainted with him? I'm +very glad indeed to hear that. That makes the whole matter easier of +adjustment and lays a foundation for mutual confidence. It serves to +remove any possible obstacle.--You wrote me in your letter, you recall, +that you had had the opportunity of observing this Dr. Fleischer. Now +tell me, please, what you know. + +MOTES + +[_Coughs._] When I--about a year ago--took up my residence in the Villa +Krueger, I had naturally no suspicion of the character of the people with +whom I was to dwell under one roof. + +WEHRHAHN + +Yon were acquainted with neither Krueger nor Fleischer? + +MOTES + +No; but you know how things go. Living in one house with them I couldn't +keep to myself entirely. + +WEHRHAHN + +And what kind of people visited the house? + +MOTES + +[_With a significant gesture._] Ah! + +WEHRHAHN + +I understand. + +MOTES + +Tom, Dick and Harry--democrats, of course. + +WEHRHAHN + +Were regular meetings held? + +MOTES + +Every Thursday, so far as I could learn. + +WEHRHAHN + +That will certainly bear watching.--And you no longer associate with +those people? + +MOTES + +A point was reached where intercourse with them became impossible, your +honour. + +WEHRHAHN + +You were repelled, eh? + +MOTES + +The whole business became utterly repulsive to me. + +WEHRHAHN + +The unlawful atmosphere that obtained there, the impudent jeering at +exalted personages--all that, I take it, you could no longer endure? + +MOTES + +I stayed simply because I thought it might serve some good purpose. + +WEHRHAHN + +But finally you gave notice after all? + +MOTES + +I moved out, yes, your honour. + +WEHRHAHN + +And finally you made up your mind to-- + +MOTES + +I considered it my duty-- + +WEHRHAHN + +To lodge notice with the authorities.--I consider that very worthy in +you.--So he used a certain kind of expression--we will make a record of +all that later, of course--a certain kind of expression in reference to a +personage whose exalted station demands our reverence. + +MOTES + +He certainly did that, your honour. + +WEHRHAHN + +You would be willing, if necessary, to confirm that by oath. + +MOTES + +I would be willing to confirm it. + +WEHRHAHN + +In fact, you will be obliged to make such confirmation. + +MOTES + +Yes, your honour. + +WEHRHAHN + +Of course it would be best if we could procure an additional witness. + +MOTES + +I would have to look about. The trouble is, though, that the man is very +prodigal of his money. + +WEHRHAHN + +Ah, just wait a minute. Krueger is coming in now. I will first attend to +his business. At all events I am very grateful to you for your active +assistance. One is absolutely dependent on such assistance if one desires +to accomplish anything nowadays. + +KRUEGER + +[_Enters hastily and excitedly._] O Lord, O Lord! Good day, your honour. + +WEHRHAHN + +[_To MOTES._] Pardon me just a moment. [_In an arrogant and inquisitorial +tone to KRUEGER._] What is it you want? + + _KRUEGER is a small man, somewhat hard of hearing and nearly seventy + years old. He is slightly bowed with age; his left shoulder hangs + somewhat. Otherwise he is still very vigorous and emphasises his + remarks by violent gesticulations. He wears a fur cap which he is now + holding in his hand, a brown winter overcoat and a thick woolen shawl + around his neck._ + +KRUEGER + +[_Literally charged with rage, explodes:_] I've been robbed, your honour. + + [_Getting his breath, he wipes the perspiration from his forehead + with a handkerchief and, after the manner of people with impaired + hearing, stares straight at the mouth of the justice._ + +WEHRHAHN + +Robbed, eh? + +KRUEGER + +[_Already exasperated._] Robbed is what I said. I have been robbed. Two +whole loads of wood have been stolen from me. + +WEHRHAHN + +[_Looking around at those present, half-smiling, says lightly:_] Not the +least thing of that kind has happened here recently. + +KRUEGER + +[_Putting his hand to his ear._] What? Not the slightest thing? Then +perhaps I came into this office for fun? + +WEHRHAHN + +You need not become violent. What is your name, by the way? + +KRUEGER + +[_Taken aback._] My name? + +WEHRHAHN + +Yes, your name! + +KRUEGER + +So my name isn't known to you? I thought we had had the pleasure before. + +WEHRHAHN + +Sorry. Can't say that I have a clear recollection. And that wouldn't +matter officially anyhow. + +KRUEGER + +[_Resignedly._] My name is Krueger. + +WEHRHAHN + +Capitalist by any chance? + +KRUEGER + +[_With extreme and ironic vehemence._] Exactly--capitalist and houseowner +here. + +WEHRHAHN + +Identify yourself, please. + +KRUEGER + +I--Identify myself! My name is Krueger. I don't think we need go to any +further trouble. I've been living here for thirty years. Every child in +the place knows me. + +WEHRHAHN + +The length of your residence here doesn't concern me. It is my business +merely to ascertain your identity. Is this gentleman known to you--Mr. +Motes? + + _MOTES half rises with an angry expression._ + +WEHRHAHN + +Ah, yes, I understand. Kindly sit down. Well, Glasenapp? + +GLASENAPP + +Yes, at your service. It is Mr. Krueger all right. + +WEHRHAHN + +Very well.--So you have been robbed of wood? + +KRUEGER + +Of wood, exactly. Two loads of pine wood. + +WEHRHAHN + +Did you have the wood stored in your shed? + +KRUEGER + +[_Growing violent again._] That's quite a separate matter. That's the +substance of another complaint I have to make. + +WEHRHAHN + +[_With an ironic laugh and looking at the others._] Still another one? + +KRUEGER + +What do you mean? + +WEHRHAHN + +Nothing. You may go ahead with your statement. The wood, it appears, was +not in your shed? + +KRUEGER + +The wood was in the garden, that is, in front of the garden. + +WEHRHAHN + +In other words: it lay in the street. + +KRUEGER + +It lay in front of the garden on my property. + +WEHRHAHN + +So that any one could pick it up without further ado? + +KRUEGER + +And that is just the fault of the servant-girl. She was to take the wood +in last night. + +WEHRHAHN + +And it dropped out of her mind. + +KRUEGER + +She refused to do it. And when I insisted on her doing it, she ended by +running away. I intend to bring suit against her parents. I intend to +claim full damages. + +WEHRHAHN + +You may do about that as you please. It isn't likely to help you very +greatly.--Now is there any one whom you suspect of the theft? + +KRUEGER + +No. They're all a set of thieves around here. + +WEHRHAHN + +You will please to avoid such general imputations. You must surely be +able to offer me a clue of some kind. + +KRUEGER + +Well, you can't expect me to accuse any one at random. + +WEHRHAHN + +Who lives in your house beside yourself? + +KRUEGER + +Dr. Fleischer. + +WEHRHAHN + +[_As if trying to recall something._] Dr. Fleischer? Dr. Fleischer? Why, +he is a--What is he, anyhow? + +KRUEGER + +He is a thoroughly learned man, that's what he is--thoroughly learned. + +WEHRHAHN + +And I suppose that you and he are very intimate with each other. + +KRUEGER + +That is my business, with whom I happen to be intimate. That has no +bearing on the matter in hand, it seems to me. + +WEHRHAHN + +How is one to discover anything under such circumstances? You must give +me a hint, at least! + +KRUEGER + +Must I? Goodness, gracious me! Must I? Two loads of wood have been stolen +from me! I simply come to give information concerning the theft.... + +WEHRHAHN + +But you must have a theory of some kind. The wood must necessarily have +been stolen by somebody. + +KRUEGER + +Wha.... Yes ... well, I didn't do it! I of all people didn't do it! + +WEHRHAHN + +But my dear man.... + +KRUEGER + +Wha...? My name is Krueger. + +WEHRHAHN + +[_Interrupting and apparently bored._] M-yes.--Well, Glasenapp, just make +a record of the facts.--And now, Mr. Krueger, what's this business about +your maid? The girl, you say, ran away? + +KRUEGER + +Yes, that's exactly what she did--ran off to her parents. + +WEHRHAHN + +Do her parents live in this place? + +KRUEGER + +[_Not having heard correctly._] I'm not concerned with her face. + +WEHRHAHN + +I asked whether the parents of the girl live here? + +GLASENAPP + +She's the daughter of the washerwoman Wolff. + +WEHRHAHN + +Wolff--the same one who's washing for us today, Glasenapp? + +GLASENAPP + +The same, your honour. + +WEHRHAHN + +[_Shaking his head._] Very strange indeed!--She's a very honest and a +very industrious woman.--[_To KRUEGER._] Is that a fact? Is she the +daughter of the woman in question? + +KRUEGER + +She is the daughter of the washerwoman Wolff. + +WEHRHAHN + +And has the girl come back? + +KRUEGER + +Up to the present time the girl has not come back. + +WEHRHAHN + +Then suppose we call in Mrs. Wolff herself. Mitteldorf! You act as though +you were very tired. Well, go across the yard. Mrs. Wolff is to come to +me at once. I beg you to be seated, Mr. Krueger. + +KRUEGER + +[_Sitting down and sighing._] O Lord! O Lord! What a life! + +WEHRHAHN + +[_Softly to GLASENAPP and MOTES._] I'm rather curious to see what will +develop. There's something more than meets the eye in all this. I think a +great deal of Mrs. Wolff. The woman works enough for four men. My wife +assures me that if Wolff doesn't come she has to hire two women in her +place.--Her opinions aren't half bad either. + +MOTES + +She wants her daughters to go on the operatic stage.... + +WEHRHAHN + +Oh, of course, she may have a screw loose in that respect. But that's no +fault of character. What have you hanging there, Mr. Motes? + +MOTES + +They're some wire snares. I'm taking them to the forester Seidel. + +WEHRHAHN + +Do let me see one of those things. [_He takes one and looks at it +closely._] And in these things the poor beasts are slowly throttled to +death. + + _MRS. WOLFF enters, followed by MITTELDORF. She is drying her hands, + which are still moist from the wash tub._ + +MRS. WOLFF + +[_Unembarrassed, cheerfully, with a swift glance at the snares._] Here I +am. What's up now? What'm I bein' wanted for? + +WEHRHAHN + +Mrs. Wolff, is this gentleman known to you? + +MRS. WOLFF + +Which one of 'em? [_Pointing with her finger at KRUEGER._] This here, +this is Mr. Krueger. I guess I know him all right. Good mornin', Mr. +Krueger. + +WEHRHAHN + +Your daughter is in Mr. Krueger's service? + +MRS. WOLFF + +Who? My daughter? That's so--Leontine. [_To KRUEGER._] But then, she run +away from you, didn't she? + +KRUEGER + +[_Enraged._] She did indeed. + +WEHRHAHN + +[_Interrupting._] Now wait a moment. + +MRS. WOLFF + +What kind o' trouble did you have together? + +WEHRHAHN + +Mrs. Wolff, you listen to me. Your daughter must return to Mr. Krueger at +once. + +MRS. WOLFF + +Oh, no, we'd rather keep her at home now. + +WEHRHAHN + +That can't be done quite so easily as you think. Mr. Krueger has the +right, if he wishes to exert it, of calling in the help, of the police. +In that case we would have to take your daughter back by force. + +MRS. WOLFF + +But my husband just happened to take it into his head. He's just made up +his mind not to let the girl go no more. An' when my husband takes a +notion like that into his head.... The trouble is: all you men has such +awful tempers! + +WEHRHAHN + +Suppose you let that go, for the moment, Mrs. Wolff. How long has your +daughter been, at home? + +MRS. WOLFF + +She came back last night. + +WEHRHAHN + +Last night? Very well. She had been told to carry wood into the shed and +she refused. + +MRS. WOLFF + +Eh, is that so? Refused? That girl o' mine don't refuse to do work. An' I +wouldn't advise her to do that kind o' thing neither. + +WEHRHAHN + +You hear what Mrs. Wolff says. + +MRS. WOLFF + +That girl has always been a willin' girl. If she'd ever refused to lend a +hand.... + +KRUEGER + +She simply refused to carry in the wood! + +MRS. WOLFF + +Yes, drag in wood! At half past ten at night! People who asks such a +thing of a child like that-- + +WEHRHAHN + +The essential thing, however, Mrs. Wolff, is this: the wood was left out +over night and has been stolen. And so.... + +KRUEGER + +[_Losing self-control._] You will replace that wood, Mrs. Wolff. + +WEHRHAHN + +All that remains to be seen, if you will wait. + +KRUEGER + +You will indemnify me for that wood to the last farthing! + +MRS. WOLFF + +An' is that so? That'd be a new way o' doin' things! Did I, maybe, go an' +steal your wood? + +WEHRHAHN + +You had better let the man calm down, Mrs. Wolff. + +MRS. WOLFF + +No, when Mr. Krueger comes round me with things like that, payin' for +wood and such like, he ain't goin' to have no luck. I always been +friendly with them people--that's sure. Nobody can't complain o' nothin' +'sfar 's I'm concerned. But if things gets to this point, then I'd rather +up and says my say just exactly how I feel, you know. I do my dooty and +that's enough. There ain't nobody in the whole village what c'n say +anythin' against me. But I ain't goin' to let _nobody_ walk all over me! + +WEHRHAHN + +You need not wear yourself out, Mrs. Wolff. You have absolutely no cause +for it. Just remain calm, quite calm. You're not entirely unknown to me, +after all. There isn't a human being who would undertake to deny your +industry and honesty. So let us hear what you have to say in answer to +the plaintiff. + +KRUEGER + +The woman can't possibly have anything to say! + +MRS. WOLFF + +Hol' on, now, everybody! How's that, I'd like to know? Ain't the girl my +daughter? An' I'm not to have anythin' to say! You gotta go an' look for +some kind of a fool! You don't know much about me. I don't has to hide +what I thinks from no one--no, not from his honour hisself, an' a good +deal less from you, you may take your oath on that! + +WEHRHAHN + +I quite understand your excitement, Mrs. Wolff. But if you desire to +serve the cause at issue, I would advise you to remain calm. + +MRS. WOLFF + +That's what a person gets. I been washin' clothes for them people these +ten years. All that time we ain't had a fallin' out. An' now, all of a +sudden, they treat you this way. I ain't comin' to your house no more, +you c'n believe me. + +KRUEGER + +You don't need to. There are other washerwomen. + +MRS. WOLFF + +An' the vegetables an' the fruit out o' your garden--you c'n just go an' +get somebody else to sell 'em for you. + +KRUEGER + +I can get rid of all that. There's no fear. All you needed to have done +was to have taken a stick to that girl of yours and sent her back. + +MRS. WOLFF + +I won't have no daughter of mine abused. + +KRUEGER + +Who has been abusing your daughter, I'd like to know! + +MRS. WOLFF + +[_To WEHRHAHN._] The girl came back to me no better'n a skeleton. + +KRUEGER + +Then let her not spend all her nights dancing. + +MRS. WOLFF + +She sleeps like the dead all day. + +WEHRHAHN + +[_Past MRS. WOLFF to KRUEGER._] By the way, where did you buy the wood in +question? + +MRS. WOLFF + +Is this thing goin' to last much longer? + +WEHRHAHN + +Why, Mrs. Wolff? + +MRS. WOLFF + +Why, on account o' the washin'. If I wastes my time standin' round here, +I can't get done. + +WEHRHAHN + +We can't take that into consideration here, Mrs. Wolff. + +MRS. WOLFF + +An' your wife? What's she goin' to say? You c'n go an' settle it with +her, your honour. + +WEHRHAHN + +It will only last another minute, anyhow.--You tell us frankly, Mrs. +Wolff--you know the whole village. Whom do you consider capable of the +crime in question? Who could possibly have stolen the wood? + +MRS. WOLFF + +I can't tell you nothin' about that, your honour. + +WEHRHAHN + +And nothing suspicious came to your attention? + +MRS. WOLFF + +I wasn't even at home last night. I had to go over to Treptow to buy +geese. + +WEHRHAHN + +At what time was that? + +MRS. WOLFF + +A little after ten. Mitteldorf, he was there when we started. + +WEHRHAHN + +And no team carrying wood met you? + +MRS. WOLFF + +No, nothin' like that. + +WEHRHAHN + +How about you, Mitteldorf, did you notice nothing? + +MITTELDORF + +[_After some thought._] No, I didn't notice nothin' suspicious. + +WEHRHAHN + +Of course not, I might have known that. [_To KRUEGER._] Well, where did +you buy the wood? + +KRUEGER + +Why do you have to know that? + +WEHRHAHN + +You will kindly leave that to me. + +KRUEGER + +I naturally bought the wood from the department of forestry. + +WEHRHAHN + +Why naturally? I don't see that at all. There are, for instance, private +wood yards. Personally I buy my wood from Sandberg. Why shouldn't you buy +yours from a dealer? One really almost gets a better bargain. + +KRUEGER + +[_Impatiently._] I haven't any more time, your honour. + +WEHRHAHN + +What do you mean by that? Time? You have no time? Have you come to me, or +do I come to you? Am I taking up your time or are you taking up mine? + +KRUEGER + +That's your business. That's what you're here for. + +WEHRHAHN + +Perhaps I'm your bootblack, eh? + +KRUEGER + +Perhaps I've stolen silver spoons! I forbid you to use that tone to me. +You're not a corporal and I'm not a recruit. + +WEHRHAHN + +Well, that passes.... Don't shout so! + +KRUEGER + +It is you who do all the shouting. + +WEHRHAHN + +You are half deaf. It is necessary for me to shout. + +KRUEGER + +You shout all the time. You shout at every one who comes in here. + +WEHRHAHN + +I don't shout at any one. Be silent. + +KRUEGER + +You carry on as if you were heaven knows what! You annoy the whole place +with your chicanery! + +WEHRHAHN + +I'm only making a beginning. I'll make you a good deal more uncomfortable +before I get through. + +KRUEGER + +That doesn't make the slightest impression on me. You're a pretentious +nobody--nothing else. You simply want to cut a big figure. As though you +were the king himself, you.... + +WEHRHAHN + +I _am_ king in this place. + +KRUEGER + +[_Laughs heartily._] You'd better let that be. In my estimation you're +nothing at all. You're nothing but an ordinary justice of the peace. In +fact, you've got to learn to be one first. + +WEHRHAHN + +Sir, if you don't hold your tongue this minute.... + +KRUEGER + +Then, I suppose, you'll have me arrested. I wouldn't advise you to go to +such lengths after all. You might put yourself into a dangerous position. + +WEHRHAHN + +Dangerous? [_To MOTES._] Did you hear that? [_To KRUEGER._] And however +much you intrigue, you and your admirable followers, and however you try +to undermine my position--you won't force me to abandon my station. + +KRUEGER + +Good heavens! _I_ try to undermine your position? Your whole personality +is far too unimportant. But you may take my word for this, that if you +don't change your tactics completely, you will cause so much trouble that +you will make yourself quite impossible. + +WEHRHAHN + +[_To MOTES._] I suppose, Mr. Motes, that one must consider his age. + +KRUEGER + +I beg to have my complaint recorded. + +WEHRHAHN + +[_Turning over the papers on his table._] You will please to send in your +complaint in writing. I have no time at this moment. + + _KRUEGER looks at him in consternation, turns around vigorously, and + leaves the office without a word._ + +WEHRHAHN + +[_After a pause of embarrassment._] That's the way people annoy me with +trifles.--Ugh!--[_To MRS. WOLFF._] You'd better get back to your +washing.--I tell you, my dear Motes, a position like mine is made hard +enough. If one were not conscious of what one represents here--one might +sometimes be tempted to throw up the whole business. But as it is, one's +motto must be to stand one's ground bravely. For, after all, what is it +that we are defending? The most sacred goods of the nation!-- + + +THE CURTAIN FALLS + + + + +THE THIRD ACT + + + _It is about eight o'clock in the morning. The scene is the dwelling + of MRS. WOLFF. Water for coffee is boiling on the oven. MRS. WOLFF is + sitting on a footstool and counting out money on the seat of a chair. + JULIUS enters, carrying a slaughtered rabbit._ + +JULIUS + +You better go an' hide that there money! + +MRS. WOLFF + +[_Absorbed in her calculations, gruffly:_] Don't bother me! + + [_Silence._ + + _JULIUS throws the rabbit on a stool. He wanders about irresolutely, + picking up one object after another. Finally he sets about blacking a + boot. From afar the blowing of a huntsman's horn is heard._ + +JULIUS + +[_Listens. Anxious and excited._] I axed you to go an' hide that there +money! + +MRS. WOLFF + +An' I'm tellin' you not to bother me, Julius. Just let that fool Motes +tootle all he wants. He's out in the woods an' ain't thinkin' o' nothin'. + +JULIUS + +You go right ahead and land us in gaol! + +MRS. WOLFF + +Don't talk that fool talk. The girl's comin'. + +ADELAIDE + +[_Comes in, just out of bed._] Good mornin', mama. + +MRS. WOLFF + +Did you sleep well? + +ADELAIDE + +You was out in the night, wasn't you? + +MRS. WOLFF + +I guess you musta been dreamin'. Hurry now! Bring in some wood, an' be +quick about it! + + _ADELAIDE, playing ball with an orange, goes toward the door._ + +MRS. WOLFF + +Where did you get that? + +ADELAIDE + +Schoebel gave it to me out o' his shop. + + [_Exit._ + +MRS. WOLFF + +I don't want you to take no presents from that feller.--Come here, +Julius! Listen to me! Here I got ninety-nine crowns! That's always the +same old way with Wulkow. He just cheated us out o' one, because he +promised to give a hundred.--I'm puttin' the money in this bag, +y'understand? Now go an' get a hoe and dig a hole in the goatshed--but +right under the manger where it's dry. An' then you c'n put the bag into +the hole. D'you hear me? An' take a flat stone an' put it across. But +don't be so long doin' it. + +JULIUS + +I thought you was goin' to pay an instalment to Fischer! + +MRS. WOLFF + +Can't you never do what I tell you to? Don't poke round so long, +y'understand? + +JULIUS + +Don't you go an' rile me or I'll give you somethin' to make you stop. I +don't hold with that money stayin' in this here house. + +MRS. WOLFF + +Well, what's goin' to be done with it? + +JULIUS + +You take it an' you carry it over to Fischer. You said we was goin' to +use it to make a payment to him. + +MRS. WOLFF + +You're stoopid enough to make a person sick. If it wasn't for me you'd +just go to the dogs. + +JULIUS + +Go on with your screamin'! That's right. + +MRS. WOLFF + +A person can't help screamin', you're such a fool. If you had some sense, +I wouldn't have to scream. If we go an' takes that money to Fischer now, +you look out an' see what happens! + +JULIUS + +That's what I say. Look at the whole dam' business. What's the good of it +to me if I gotta go to gaol! + +MRS. WOLFF + +Now it's about time you was keepin' still. + +JULIUS + +You can't scream no louder, can you? + +MRS. WOLFF + +I ain't goin' to get me a new tongue on your account. You raise a row ... +just as hard as you can, all on account o' this bit o' business. You just +look out for yourself an' not for me. Did you throw the key in the river? + +JULIUS + +Has I had a chanst to get down there yet? + +MRS. WOLFF + +Then it's about time you was gettin' there! D'you want 'em to find the +key on you? [_JULIUS is about to go._] Oh, wait a minute, Julius. Let me +have the key! + +JULIUS + +What you goin' to do with it? + +MRS. WOLFF + +[_Hiding the key about her person._] That ain't no business o' yours; +that's mine. [_She pours coffee beans into the hand-mill and begins to +grind._] Now you go out to the shed; then you c'n come back an' drink +your coffee. + +JULIUS + +If I'd ha' known all that before. Aw! + + [_JULIUS exit. ADELAIDE enters, carrying a large apron full of + firewood._ + +MRS. WOLFF + +Where d'you go an' get that wood? + +ADELAIDE + +Why, from the new blocks o' pine. + +MRS. WOLFF + +You wasn't to use that new wood yet. + +ADELAIDE + +[_Dropping the wood on the floor in front of the oven._] That don't do no +harm, mama, if it's burned up! + +MRS. WOLFF + +You think you know a lot! What are you foolin' about? You grow up a bit +an' then talk! + +ADELAIDE + +I know where it comes from! + +MRS. WOLFF + +What do you mean, girl? + +ADELAIDE + +I mean the wood. + +MRS. WOLFF + +Don't go jabberin' now; we bought that at a auction. + +ADELAIDE + +[_Playing ball with her orange._] Oh, Lord, if that was true! But you +just went and took it! + +MRS. WOLFF + +What's that you say? + +ADELAIDE + +It's just taken. That's the wood from Krueger's, mama. Leontine told me. + +MRS. WOLFF + +[_Cuffs her head._] There you got an answer. We ain't no thieves. Now go +an' get your lessons. An' do 'em nice! I'll come an' look 'em over later! + +ADELAIDE + +[_Exit. From the adjoining room._] I thought I could go skatin'. + +MRS. WOLFF + +An' your lessons for your confirmation? I guess you forgot them! + +ADELAIDE + +That don't come till Tuesday. + +MRS. WOLFF + +It's to-morrow! You go an' study your verses. I'll come in an' hear you +say 'em later. + +ADELAIDE'S + +[_Loud yawning is heard from the adjoining room. Then she says:_] + + "Jesus to his disciples said, + Use your fingers to eat your bread." + + _JULIUS comes back._ + +MRS. WOLFF + +Well, Julius, did you go an' do what I told you? + +JULIUS + +If you don't like my way o' doin', go an' do things yourself. + +MRS. WOLFF + +God knows that _is_ the best way--always. [_She pours out two cupfuls of +coffee, one for him and one for herself, and places the two cups with +bread and butter on a wooden chair._] Here, drink your coffee. + +JULIUS + +[_Sitting down and cutting himself some bread._] I hope Wulkow's been +able to get away! + +MRS. WOLFF + +In this thaw! + +JULIUS + +Even if it is thawin', you can't tell. + +MRS. WOLFF + +An' you needn't care if it do freeze a bit; he ain't goin' to be stuck. I +guess he's a good way up the canal by this time. + +JULIUS + +Well, I hope he ain't lyin' under the bridge this minute. + +MRS. WOLFF + +For my part he can be lyin' where he wants to. + +JULIUS + +You c'n take it from me, y'understan'? That there man Wulkow is goin' to +get into a hell of a hole some day. + +MRS. WOLFF + +That's his business; that ain't none o' ours. + +JULIUS + +Trouble is we'd all be in the same hole. You just let 'em go an' find +that coat on him! + +MRS. WOLFF + +What coat are you talkin' about? + +JULIUS + +Krueger's, o' course! + +MRS. WOLFF + +Don't you go talkin' rot like that, y'understan'? An' don't go an' give +yourself a black eye on account o' other people's affairs! + +JULIUS + +I guess them things concerns me! + +MRS. WOLFF + +Concerns you--rot! That don't concern you at all. That's my business an' +not yours. You ain't no man at all; you're nothin' but an old +woman!--Here you got some change. Now hurry an' get out o' here. Go over +to Fiebig and take a drink. I don't care if you have a good time all day +Sunday. [_A knocking is heard._] Come right in! Come right in, any one +that wants to! + + _DR. FLEISCHER enters, leading his little son of five by the hand. + FLEISCHER is twenty-seven years old. He wears one of the Jaeger + reform suits. His hair, beard and moustache are all coal-black. His + eyes are deep-set; his voice, as a rule, gentle. He displays, at + every moment, a touching anxiety for the child._ + +MRS. WOLFF + +[_Jubilantly._] Lord! Is little Philip comin' to see us once more! Now, +ain't that fine? Now I really feel proud o' that! [_She gets hold of the +child and takes off his overcoat._] Come now an' take off your coat. It's +warm back here an' you ain't goin' to be cold. + +FLEISCHER + +Mrs. Wolff, there's a draught. I believe there's a draught. + +MRS. WOLFF + +Oh, he ain't so weak as all that. A bit o' draught, ain't goin' to hurt +this little feller! + +FLEISCHER + +Oh, but it will, I assure you. You have no idea. He catches cold so +easily! Exercise, Philip! Keep moving a little. + + _PHILIP jerks his shoulders back with a pettish exclamation._ + +FLEISCHER + +Come now, Philip. You'll end by being ill. All you have to do is to walk +slowly up and down. + +PHILIP + +[_Naughtily._] But, I don't want to. + +MRS. WOLFF + +Let him do like he wants to. + +FLEISCHER + +Well, good morning, Mrs. Wolff. + +MRS. WOLFF + +Good morning, Doctor. I'm glad to see you comin' in onct more. + +FLEISCHER + +Good morning, Mr. Wolff. + +JULIUS + +Good mornin', Mr. Fleischer. + +MRS. WOLFF + +You're very welcome. Please sit down. + +FLEISCHER + +We have just a few minutes to stay. + +MRS. WOLFF + +Well, if we has such a fine visit paid us so early in the mornin', we're +sure to have a lucky day this day. [_Kneeling down by the child._] Ain't +it so, my boy? You'll bring us good luck, won't you? + +PHILIP + +[_Excitedly._] I went to ze zological darden; I saw ze storks zere, an' +zey bit each ozzer wis zeir dolden bills. + +MRS. WOLFF + +Well now, you don't mean to say so! You're tellin' me a little fib, ain't +you? [_Hugging and kissing the child._] Lord, child, I could just eat you +up, eat you right up. Mr. Fleischer, I'm goin' to keep this boy. This is +my boy. You're my boy, ain't you? An' how's your mother, eh? + +PHILIP + +She's well an' she sends her redards an' you'll please tome in ze morning +to wash. + +MRS. WOLFF + +Well now, just listen to that. A little feller like that an' he can give +all that message already! [_To FLEISCHER._] Won't you sit down, just a +bit? + +FLEISCHER + +The boy bothers me about boating. Is it possible to go? + +MRS. WOLFF + +Oh, sure. The Spree is open. My girl there c'n row you out a way. + +FLEISCHER + +The boy won't stop about it! He's just taken that into his head. + +ADELAIDE + +[_Showing herself in the door that leads to the next room, beckons to +PHILIP._] Come, Philip, I'll show you somethin' real fine! + + _PHILIP gives a stubborn screech._ + +FLEISCHER + +Now, Philip, you musn't be naughty! + +ADELAIDE + +Just look at that fine orange! + + _PHILIP'S face is wreathed in smiles. He takes a few steps in + ADELAIDE's direction._ + +FLEISCHER + +Go ahead, but don't beg! + +ADELAIDE + +Come on! Come on! We'll eat this orange together now. + + [_She walks in the child's direction, takes him by the hand, holds up + the orange temptingly, and both go, now quite at one, into the next + room._ + +MRS. WOLFF + +[_Following the child with her eyes._] No, that boy, I could just sit an' +look at him. I don't know, when I see a boy like that ... [_She takes up +a corner of her apron and wipes her eyes._] ... I feel as if I had to +howl right out. + +FLEISCHER + +Did you have a boy like that once? + +MRS. WOLFF + +That I had. But what's the use o' all that. You can't make people come +back to life. You see--things like that--that's life.... + + _A pause._ + +FLEISCHER + +One can't be careful enough with children, + +MRS. WOLFF + +You can go an' be as careful as you want to be. What is to be, will be. +[_A pause.--Shaking her head._] What trouble did you have with Mr. Motes? + +FLEISCHER + +I? None at all! What trouble should I have had with him? + +MRS. WOLFF + +Oh, I was just thinkin'. + +FLEISCHER + +How old is your daughter anyhow? + +MRS. WOLFF + +She'll be out o' school this Easter. Why? Would you like to have her? I +wouldn't mind her goin' into service if it's with you. + +FLEISCHER + +I don't see why not. That wouldn't be half bad. + +MRS. WOLFF + +She's grown up to be a strong kind o' body. Even if she is a bit young, +she c'n work most as well as any one, I tell you. An' I tell you another +thing. She's a scamp now an' then; she don't always do right. But she +ain't no fool. That girl's got genius. + +FLEISCHER + +That's quite possible, no doubt. + +MRS. WOLFF + +You just let her go an' recite a single piece for you--just once--a pome, +or somethin'. An' I tell you, Doctor, you ain't goin' to be able to get +through shiverin'. You c'n possibly call her in some day when you got +visitors from Berlin. All kinds o' writers comes to your house, I +believe. An' she ain't backward; she'll sail right in. Oh, she does say +pieces _that_ beautiful.--[_With a sudden change of manner._] Now I want +to give you a bit o' advice; only you musn't be offended. + +FLEISCHER + +I'm never offended by good advice. + +MRS. WOLFF + +First thing, then: Don't give away so much. Nobody ain't goin' to thank +you for it. You don't get nothin' but ingratitude. + +FLEISCHER + +Why, I don't give away very much, Mrs. Wolff. + +MRS. WOLFF + +That's all right, I know. An' the more you talk, the more scared people +gets. First thing they says: that's a demercrat. Yon can't be too careful +talkin'. + +FLEISCHER + +In what way am I to take all that, Mrs. Wolff? + +MRS. WOLFF + +Yon c'n go an' you c'n think what you please. But you gotta be careful +when it comes to talkin', or you sit in gaol before you know it. + +FLEISCHER + +[_Turns pale._] Well, now, look here, but that's nonsense, Mrs. Wolff. + +MRS. WOLFF + +No, no. I tell you that's serious. An' be careful o' that feller, +whatever you do! + +FLEISCHER + +Whom do you mean by that? + +MRS. WOLFF + +The same man we was talkin' about a while ago. + +FLEISCHER + +Motes, you mean? + +MRS. WOLFF + +I ain't namin' no names. You must ha' had some kind o' trouble with that +feller. + +FLEISCHER + +I don't even associate with him any longer. + +MRS. WOLFF + +Well, you see, that's just what I've been think-in'. + +FLEISCHER + +Nobody could possibly blame me for that, Mrs. Wolff. + +MRS. WOLFF + +An' I ain't blamin' you for it. + +FLEISCHER + +It would be a fine thing, wouldn't it--to associate with a swindler, a +notorious swindler. + +MRS. WOLFF + +That man is a swindler; you're right there. + +FLEISCHER + +Now he moved over to Dreier's. That poor woman will have a hard time +getting her rent. And whatever she has, she'll get rid of it. Why, a +fellow like that--he's a regular gaol-bird. + +MRS. WOLFF + +Sometimes, you know, he'll say things ... + +FLEISCHER + +Is that so? About me? Well, I _am_ curious. + +MRS. WOLFF + +I believe you was heard to say somethin' bad about some high person, or +somethin' like that. + +FLEISCHER + +H-m. You don't know anything definite, I dare say? + +MRS. WOLFF + +He's mighty thick with Wehrhahn, that's certain. But I tell you what. You +go over to old mother Dreier. That old witch is beginnin' to smell a rat. +First they was as nice as can be to her; now they're eatin' her outta +house and home! + +FLEISCHER + +Oh, pshaw! The whole thing is nonsense. + +MRS. WOLFF + +You c'n go to the Dreier woman. That don't do no harm. She c'n tell you a +story ... He wanted to get her into givin' false witness.... That shows +the kind o' man you gotta deal with. + +FLEISCHER + +Of course, I might go there. It can do no harm. But, in the end, the +whole matter is indifferent to me. It would be the deuce of a world, if a +fellow like that.... You just let him come!--Here, Philip, Philip! Where +are you? We've got to go. + +ADELAIDE'S VOICE + +Oh, we're lookin' at such pretty pictures. + +FLEISCHER + +What do you think of that other business, anyhow? + +MRS. WOLFF + +What business? + +FLEISCHER + +Haven't you heard anything yet? + +MRS. WOLFF [_Restlessly._] Well, what was I sayin'?... [_Impatiently._] +Hurry, Julius, an' go, so's you c'n get back in time for dinner. [_To +FLEISCHER._] We killed' a rabbit for dinner to-day. Ain't you ready yet, +Julius? + +JULIUS + +Well, give me a chanst to find my cap. + +MRS. WOLFF + +I can't stand seein' anybody just foolin' round that way, as if it didn't +make no difference about to-day or to-morrow, I like to see things move +along. + +FLEISCHER + +Why, last night, at Krueger's, they ... + +MRS. WOLFF + +Do me a favour, Doctor, an' don't talk to me about that there man. I'm +that angry at him! That man hurt my feelin's too bad. The way we was--him +an' me, for so long--an' then he goes and tries to blacken my character +with all them people. [_To JULIUS._] Are you goin' or not? + +JULIUS + +I'm goin' all right; don't get so huffy. Good mornin' to you, Mr. +Fleischer. + +FLEISCHER + +Good morning, Mr. Wolff. + + [_JULIUS exit._ + +MRS. WOLFF + +Well, as I was sayin' ... + +FLEISCHER + +That time when his wood was stolen, I suppose he quarreled with you. But +he's repented of that long since. + +MRS. WOLFF + +That man and repent! + +FLEISCHER + +You may believe me all the same, Mrs. Wolff. And especially after this +last affair. He has a very high opinion of you indeed. The best thing +would be if you were to be reconciled. + +MRS. WOLFF + +We might ha' talked together like sensible people, but for him to go an' +run straight to the police--no, no! + +FLEISCHER + +Well, the poor little old couple is having bad luck: only a week ago +their wood, and now the fur coat.... + +MRS. WOLFF + +Are you comin' to your great news now? Out with it! + +FLEISCHER + +Well, it's a clear case of burglary. + +MRS. WOLFF + +Some more stealin'? Don't make fun o' me! + +FLEISCHER + +Yes, and this time it's a perfectly new fur coat. + +MRS. WOLFF + +Well now, you know, pretty soon I'll move away from here. That's a crowd +round here! Why, a person ain't sare o' their lives. Tst! Tst! Such +folks! It ain't hardly to be believed! + +FLEISCHER + +You can form an idea of the noise they're making. + +MRS. WOLFF + +Well, you can't hardly blame the people. + +FLEISCHER + +And really, it was, a very expensive garment--of mink, I believe. + +MRS. WOLFF + +Ain't that somethin' like beaver, Mr. Fleischer? + +FLEISCHER + +Perhaps it was beaver, for all I know. Anyhow, they were real proud of +it.--I admit, I laughed to myself over the business. When something like +that is discovered it always has a comic effect. + +MRS. WOLFF + +You're a cruel man, really, Doctor. I can't go an' laugh about things +like that. + +FLEISCHER + +You mustn't think that I'm not sorry for the man, for all that. + +MRS. WOLFF + +Them must be pretty strange people. I don't know. There ain't no way o' +understandin' that. Just to go an' rob other people o' what's theirs--no, +then it's better to work till you drop. + +FLEISCHER + +You might perhaps make a point of keeping your ears open. I believe the +coat is supposed to be in the village. + +MRS. WOLFF + +Has they got any suspicion o' anybody? + +FLEISCHER + +Oh, there was a washerwoman working at the Krueger's.... + +MRS. WOLFF + +By the name o' Miller? + +FLEISCHER + +And she has a very large family...? + +MRS. WOLFF + +The woman's got a large family, that's so, but to steal that way ... no! +She might take some little thing, yes. + +FLEISCHER + +Of course Krueger put her out. + +MRS. WOLFF + +Aw, that's bound to come out. My goodness, the devil hisself'd have to be +back o' that if it don't. I wish I was justice here. But the man is that +stoopid!--well! I c'n see better'n the dark than he can by day with his +glass eye. + +FLEISCHER + +I almost believe you could. + +MRS. WOLFF + +I c'n tell you, if I had to, I could steal the chair from under that +man's behind. + +FLEISCHER + +[_Has arisen and calls, laughingly, into the adjoining room._] Come, +Philip, come! We've got to go! Good-bye, Mrs. Wolff. + +MRS. WOLFF + +You get dressed, Adelaide. You c'n go an' row Mr. Fleischer a ways. + +ADELAIDE + +[_Enters, buttoning the last buttons at her throat and leading PHILIP by +the hand._] I'm all ready. [_To PHILIP._] You come right here; I'll take +you on my arm. + +FLEISCHER + +[_Anxiously helping the boy on with his coat._] He's got to be wrapped up +well; he's so delicate, and no doubt it's windy out on the river. + +ADELAIDE + +I better go ahead an' get the boat ready. + +MRS. WOLFF + +Is your health better these days? + +FLEISCHER + +Much better since I'm living out here. + +ADELAIDE + +[_Calls back in from the door._] Mama, Mr. Krueger. + +MRS. WOLFF + +Who's comin'? + +ADELAIDE + +Mr. Krueger. + +MRS. WOLFF + +It ain't possible! + +FLEISCHER + +He meant to come to you during the forenoon. + + [_Exit._ + +MRS. WOLFF + +[_Throws a swift glance at the heap of fire wood and vigorously sets +about clearing it away._] Come on, now, help me get this wood out o' +sight. + +ADELAIDE + +Why, mama? Oh, on account o' Mr. Krueger. + +MRS. WOLFF + +Well, what for d'you suppose? Is this a proper way for a place to look, +the way this one is look-in'? Is that decent an' on Sunday mornin', too? +What is Mr. Krueger goin' to think of us? [_KRUEGER appears, exhausted by +his walk. MRS. WOLFF calls out to him._] Mr. Krueger, please don't look +'round. This place is in a terrible state! + +KRUEGER + +[_Impetuously._] Good morning! Good morning! Don't worry about that at +all! You go to work every week and your house can't be expected to be +perfect on Sunday. You are an excellent woman, Mrs. Wolff, and a very +honest one. And I think we might do very well to forget whatever has +happened between us. + +MRS. WOLFF + +[_Is moved, and dries her eyes from time to time with a corner of her +apron._] I never had nothin' against you in the world. I always liked to +work for you. But you went an' got so rough like, you know, that a +person's temper couldn't hardly help gettin' away with 'em. Lord, a +person is sorry for that kind o' thing soon enough. + +KRUEGER + +You just come back and wash for us. Where is your daughter Leontine? + +MRS. WOLFF + +She went to take some cabbage to the postmaster. + +KRUEGER + +You just let us have that girl again. She can have thirty crowns wages +instead of twenty. We were always quite satisfied with her in other +respects. Let's forgive and forget the whole affair. + + [_He holds out his hand to MRS. WOLFF, who takes it heartily._ + +MRS. WOLFF + +All that hadn't no need to happen. The girl, you see, is still foolish +like a child. We old people always did get along together. + +KRUEGER + +Well, then, the matter is settled. [_Gradually regaining his +breath._]--Well, then, my mind is at rest about that, anyhow.--But now, +do tell me! This thing that's happened to me! What do you say to that? + +MRS. WOLFF + +Oh, well, you know--what _can_ a person say about such things? + +KRUEGER + +And there we got that Mr. von Wehrhahn! He's very well when it comes to +annoying honest citizens and thinking out all sorts of chicanery and +persecution, but--That man, what doesn't he stick his inquisitive nose +into! + +MRS. WOLFF + +Into everything exceptin' what he ought to. + +KRUEGER + +I'm going to him now to give formal notice. I won't rest! This thing has +got to be discovered. + +MRS. WOLFF + +You oughtn't by no means to let a thing o' that kind go. + +KRUEGER + +And if I've got to turn everything upside down--I'll get back my coat, +Mrs. Wolff. + +MRS. WOLFF + +What this place needs is a good cleanin' out. We won't get no rest in the +village till then. They'll end up by stealin' the roof from over a +person's head. + +KRUEGER + +I ask you to consider, for heaven's sake--two robberies in the course of +two weeks! Two loads of wood, just like the wood you have there. [_He +takes up a piece that is lying on the floor._] Such good and expensive +wood, Mrs. Wolff. + +MRS. WOLFF + +It's enough to make a person get blue in the face with rage. The kind o' +crowd we gotta live with here! Aw, things like that! No, you know! Just +leave me alone with it! + +KRUEGER + +[_Irately gesticulating with the piece of wood._] And if it costs me a +thousand crowns, I'll see to it that those thieves are hunted down. They +won't escape the penitentiary this time. + +MRS. WOLFF + +An' that'd be a blessin' too, as sure's we're alive! + + +THE CURTAIN FALLS + + + + +THE FOURTH ACT + + + _The court room. GLASENAPP is sitting at his table. MRS. WOLFF and + ADELAIDE are waiting for the justice. ADELAIDE holds on her lap a + small package wrapped in linen._ + +MRS. WOLFF + +He's takin' his time again to-day. + +GLASENAPP + +[_Writing._] Patience! Patience! + +MRS. WOLFF + +Well, if he's goin' to be so late again to-day, he won't have no more +time for us. + +GLASENAPP + +Goodness! You an' your trifles! We got different kinds o' things to deal +with here. + +MRS. WOLFF + +Aw, I guess they're fine things you got to do. + +GLASENAPP + +That's no way to talk. That ain't proper here! + +MRS. WOLFF + +Aw, act a little more grand, will you? Krueger hisself sent my girl here! + +GLASENAPP + +The same old story about the coat, I suppose. + +MRS. WOLFF + +An' why not! + +GLASENAPP + +Now the old fellow's got somethin' for sure. Now he can go stirrin' +things up--the knock-kneed old nuisance. + +MRS. WOLFF + +You c'n use your tongue. You better see about findin' out somethin'. + +MITTELDORF + +[_Appears in the doorway._] You're to come right over, Glasenapp. His +honour wants to ax you somethin'. + +GLASENAPP + +Has I got to interrupt myself again? + + [_He throws down his pen and goes out._ + +MRS. WOLFF + +Good mornin', Mitteldorf. + +MITTELDORF + +Good mornin'. + +MRS. WOLFF + +What's keepin' the justice all this while? + +MITTELDORF + +He's writin' pages an' pages! An' them must be important things, I c'n +tell you that. [_Confidentially._] An' lemme tell you: there's somethin' +in the air.--I ain't sayin' I know exactly what. But there's somethin'--I +know that as sure 's ... You just look out, that's all, and you'll live +to see it. It's goin' to come down--somethin'--and when it do--look out. +That's all I say. No, I don't pretend to understand them things. It's all +new doin's to me. That's what they calls modern. An' I don't know nothin' +about that. But somethin's got to happen. Things can't go on this way. +The whole place is got to be cleaned out. I can't say 's I gets the hang +of it. I'm too old. But talk about the justice what died. Why, he wan't +nothin' but a dam' fool to this one. I could go an' tell you all kinds o' +things, but I ain't got no time. The baron'll be missin' me. [_He goes +but, having arrived at the door, he turns back._] The lightenin' is goin' +to strike, Mrs. Wolff. Take my word for that! + +MRS. WOLFF + +I guess a screw's come loose somewhere with him. + + [_Pause._ + +ADELAIDE + +What's that I gotta say? I forgot. + +MRS. WOLFF + +What did you say to Mr. Krueger? + +ADELAIDE + +Why, I said that I found this here package. + +MRS. WOLFF + +Well, you don't need to say nothin' but that here neither. Only say it +right out strong an' sure. You ain't such a mouse other times. + +WULKOW + +[_Comes in._] I wish you a good morning. + +MRS. WOLFF + +[_Stares at WULKOW. She is speechless for a moment. Then:_] No, Wulkow, I +guess you lost _your_ mind! What are you doin' here? + +WULKOW + +Well, my wife, she has a baby ... + +MRS. WOLFF + +What's that she's got? + +WULKOW + +A little girl. So I gotta go to the public registry an' make the +announcement. + +MRS. WOLFF + +I thought you'd be out on the canal by this time. + +WULKOW + +An' I wouldn't mind it one little bit if I was! An' so I _would_ be, if +it depended on me. Didn't I go an' starts out the very minute? But when I +come to the locks there wasn't no gettin' farther. I waited an' waited +for the Spree to open up. Two days an' nights I lay there till this thing +with my wife came along. There wasn't no use howlin' then. I had to come +back. + +MRS. WOLFF + +So your boat is down by the bridge again? + +WULKOW + +That's where it is. I ain't got no other place, has I? + +MRS. WOLFF + +Well, don't come to me, if ... + +WULKOW + +I hope they ain't caught on to nothin', at least. + +MRS. WOLFF + +Go to the shop an' get three cents' worth o' thread. + +ADELAIDE + +I'll go for that when we get home. + +MRS. WOLFF + +Do's I tell you an' don't answer back. + +ADELAIDE + +Aw, I ain't no baby no more. + + [_Exit._ + +MRS. WOLFF + +[_Eagerly._] An' so you lay there by the locks? + +WULKOW + +Two whole days, as I been tellin' you. + +MRS. WOLFF + +Well, you ain't much good for this kind o' thing. You're a fine feller to +go an' put on that coat in bright daylight! + +WULKOW + +Put it on? Me? + +MRS. WOLFF + +Yes, you put it on, an' in bright daylight, so's the whole place c'n know +straight off what a fine fur coat you got. + +WULKOW + +Aw, that was 'way out in the middle o' the-- + +MRS. WOLFF + +It was a quarter of a hour from our house. My girl saw you sittin' there. +She had to go an' row Dr. Fleischer out an' he went an' had his suspicion +that minute. + +WULKOW + +I don't know nothin' about that. That ain't none o' my business. + + [_Some one is heard approaching._ + +MRS. WOLFF + +Sh! You want to be on the lookout now, that's all. + +GLASENAPP + +[_Enters hurriedly with an attempt to imitate the manner of the justice. +He asks WULKOW condescendingly:_] What business have you? + +WEHRHAHN + +[_Still without._] What do you want, girl? You're looking for me? Come +in, then. [_WEHRHAHN permits ADELAIDE to precede him and then enters._] I +have very little time to-day. Ah, yes, aren't you Mrs. Wolff's little +girl? Well, then, sit down. What have you there? + +ADELAIDE + +I got a package ... + +WEHRHAHN + +Wait a moment first ... [_To WULKOW._] What do you want? + +WULKOW + +I'd like to report the birth of ... + +WEHRHAHN + +Matter of the public registry. The books, Glasenapp. That is to say, I'll +attend to the other affair first. [_To MRS. WOLFF._] What's the trouble +about your daughter? Did Mr. Krueger box her ears again? + +MRS. WOLFF + +Well, he didn't go that far no time. + +WEHRHAHN + +What's the trouble, then? + +MRS. WOLFF + +It's about this here package ... + +WEHRHAHN + +[_To GLASENAPP._] Hasn't Motes been here yet? + +GLASENAPP + +Not up to this time. + +WEHRHAHN + +That's incomprehensible. Well, girl, what do you want? + +GLASENAPP + +It's in the matter of the stolen fur coat, your honour. + +WEHRHAHN + +Is that so? Can't possibly attend to that today. No one can do everything +at once. [_To MRS. WOLFF._] She may come in to-morrow. + +MRS. WOLFF + +She's tried to talk to you a couple o' times already. + +WEHRHAHN + +Then let her try for a third time to-morrow. + +MRS. WOLFF + +But Mr. Krueger don't give her no peace no more. + +WEHRHAHN + +What has Mr. Krueger to do with it? + +MRS. WOLFF + +The girl went to him with the package. + +WEHRHAHN + +What kind of a rag is that? Let me see it. + +MRS. WOLFF + +It's all connected with the business of the fur coat. Leastways that's +what Mr. Krueger thinks. + +WEHRHAHN + +What's wrapped up in those rags, eh? + +MRS. WOLFF + +There's a green waist-coat what belongs to Mr. Krueger. + +WEHRHAHN + +And you found that? + +ADELAIDE + +I found it, your honour. + +WEHRHAHN + +Where did you find it? + +ADELAIDE + +That was when I was goin' to the train with mama. I was walkin' along +this way and there ... + +WEHRHAHN + +Never mind about that now. [_To MRS. WOLFF._] Make your deposition some +time soon. We can come back to this matter to-morrow. + +MRS. WOLFF + +Oh, _I'm_ willin' enough ... + +WEHRHAHN + +Well, who isn't then? + +MRS. WOLFF + +Mr. Krueger is so very anxious about it. + +WEHRHAHN + +Mr. Krueger, Mr. Krueger--I care very little about him. The man just +simply annoys me. Things like this cannot be adjusted in a day. He has +offered a reward and the matter has been published in the official paper. + +MRS. WOLFF + +You can't never do enough for him, though. + +WEHRHAHN + +What does that mean: we can't do enough for him? We have recorded the +facts in the case. His suspicions fell upon his washerwoman and we have +searched her house. What more does he want? The man ought to keep quiet. +But, as I said, to-morrow I'm at the service of this affair again. + +MRS. WOLFF + +It's all the same to us. We c'n come back. + +WEHRHAHN + +Very well, then. To-morrow morning. + +MRS. WOLFF + +Good mornin'. + +ADELAIDE + +[_Dropping a courtsey._] Good mornin'. + + _MRS. WOLFF and ADELAIDE exeunt._ + +WEHRHAHN + +[_Turning over some documents. To GLASENAPP._] I'm curious to see what +the result of all this will be. Mr. Motes has finally agreed to offer +witnesses. He says the Dreier woman, that old witch of a pastry cook, +once stood within earshot when Fleischer expressed himself +disrespectfully. How old is the woman, anyhow? + +GLASENAPP + +Somewhere around seventy, your honour. + +WEHRHAHN + +A bit confused in her upper story, eh? + +GLASENAPP + +Depends on how you look at it. She's fairly sensible yet. + +WEHRHAHN + +I can assure you, Glasenapp, that it would be no end of a satisfaction to +me to flutter these dove-cotes here pretty thoroughly. These people ought +to be made to feel that they're dealing with somebody, after all. Who +absented himself from the festivities on the emperor's birthday? +Fleischer, of course. The man is simply capable of anything. He can put +on all the innocent expressions he pleases. We know these wolves in +sheep's clothing. They're too sweet-tempered to harm a fly, but if they +think the occasion has come, the hounds can blow up a whole place. Well, +here, at least, it will be made too hot for them! + +MOTES + +[_Comes in._] Your servant. + +WEHRHAHN + +Well, how are things going? + +MOTES + +Mrs. Dreier said that she would be here around eleven. + +WEHRHAHN + +This matter will attract quite a little notice. It will, is fact, make a +good deal of noise. I know what will be said: "That man Wehrhahn pokes +his nose into everything." Well, thank heaven, I'm prepared for that. I'm +not standing in this place for my private amusement. I haven't been put +here for jest. People think--a justice, why he's nothing but a superior +kind of gaoler. In that case they can put some one else here. The +gentlemen, to be sure, who appointed me know very well with whom they are +dealing. They know to the full the seriousness with which I conceive of +my duties. I consider my office in the light of a sacred calling. +[_Pause._] I have reduced my report to the public prosecutor to writing. +If I send it off at noon to-day, the command of arrest can reach us by +day after to-morrow. + +MOTES + +Now everybody will be coming down on me. + +WEHRHAHN + +You know I have an uncle who is a chamberlain. I'll talk to him about +you. Confound it all! There comes Fleischer! What does that fellow want? +Does he smell a rat by any chance? [_A knocking is heard and WEHRHAHN +shouts:_] Come in! + +FLEISCHER + +[_Enters, pale and excited._] Good morning! [_He receives no answer._] I +should like to lodge information which has reference to the robbery +recently committed here. + +WEHRHAHN + +[_With his most penetrating official glance._] You are Dr. Joseph +Fleischer? + +FLEISCHER + +Quite right. My name is Joseph Fleischer. + +WEHRHAHN + +And you come to give me some information. + +FLEISCHER + +If you will permit me, that is what I should like to do. I have made an +observation which may, quite possibly, help the authorities to track down +the thief in question. + +WEHRHAHN + +[_Drums on the table with his fingers. He looks around at the others with +an expression of affected surprise which tempts them to laughter._] What +is this important observation which you have made? + +FLEISCHER + +Of course, if you have previously made up your mind to attach no +importance to my evidence, I should prefer ... + +WEHRHAHN + +[_Quickly and arrogantly._] What would you prefer? + +FLEISCHER + +To hold my peace. + +WEHRHAHN + +[_Turns to MOTES with a look expressive of inability to understand +FLEISCHER'S motives. Then, in a changed tone, with very superficial +interest._] My time is rather fully occupied. I would request you to be +as brief as possible. + +FLEISCHER + +My time is no less preempted. Nevertheless I considered it my duty ... + +WEHRHAHN + +[_Interrupting._] You considered it your duty. Very well. Now tell us +what you know. + +FLEISCHER + +[_Conquering himself._] I went boating yesterday. I had taken Mrs. +Wolff's boat and her daughter was rowing. + +WEHRHAHN + +Are these details necessarily pertinent to the business in hand? + +FLEISCHER + +They certainly are--in my opinion. + +WEHRHAHN + +[_Drumming impatiently on the table._] Very well! Very well! Let's get +on! + +FLEISCHER + +We rowed to the neighbourhood of the locks. A lighter lay at anchor +there. The ice, we were able to observe, was piled up there. The lighter +had probably not been able to proceed. + +WEHRHAHN + +H-m. Is that so? That interests us rather less. What is the kernel of +this whole story? + +FLEISCHER + +[_Keeping his temper by main force._] I must confess that this method of +... I have come here quite voluntarily to offer a voluntary service to +the authorities. + +GLASENAPP + +[_Impudently._] His honour is pressed for time. You are to talk less and +state what you have to say briefly and compactly. + +WEHRHAHN + +[_Vehemently._] Let's get to business at once. What is it you want? + +FLEISCHER + +[_Still mastering himself._] I am concerned that the matter be cleared +up. And in the interest of old Mr. Krueger, I will ... + +WEHRHAHN + +[_Yawning and bored._] The light dazzles me; do pull down the shades. + +FLEISCHER + +On the lighter was an old boatman--probably the owner of the vessel. + +WEHRHAHN + +[_Yawning as before._] Yes, most probably. + +FLEISCHER + +This man sat on his deck in a fur coat which, at a distance, I considered +a beaver coat. + +WEHRHAHN + +[_Bored._] I might have taken it to be marten. + +FLEISCHER + +I pulled as close up to him as possible and thus gained a very good view. +The man was a poverty-stricken, slovenly boatman and the fur coat seemed +by no means appropriate. It was, in addition, a perfectly new coat ... + +WEHRHAHN + +[_Apparently recollecting himself._] I am listening, I am listening! +Well? What else? + +FLEISCHER + +What else? Nothing. + +WEHRHAHN + +[_Waking up thoroughly._] I thought you wanted to lodge some information. +You mentioned something important. + +FLEISCHER + +I have said all that I had to say. + +WEHRHAHN + +You have told us an anecdote about a boatman who wears a fur coat. Well, +boatmen do, no doubt, now and then wear such coats. There is nothing new +or interesting about that. + +FLEISCHER + +You may think about that as you please. In such circumstances I have no +more to say. + + [_Exit._ + +WEHRHAHN + +Well now, did you ever see anything like that? Moreover, the fellow is a +thorough fool. A boatman had on a fur coat! Why, has the man gone mad? I +possess a beaver coat myself. Surely that doesn't make me a +thief.--Confound it all! What's that again? I suppose I am to get no rest +to-day at all! [_To MITTELDORF, who is standing by the door._] Don't let +anyone else in now! Mr. Motes, do me the favour of going over to my +apartment. We can have our discussion there without interruptions. +There's Krueger for the hundred and first time. He acts as though he'd +been stung by a tarantula. If that old ass continues to plague me, I'll +kick him straight out of this room some day. + + _In the open door KRUEGER becomes visible, together with FLEISCHER + and MRS. WOLFF._ + +MITTELDORF + +[_To KRUEGER._] His honour can't be seen, Mr. Krueger. + +KRUEGER + +Nonsense! Not to be seen! I don't care for such talk at all. [_To the +others._] Go right on, right on! I'd like to see! + + _All enter, KRUEGER leading the way._ + +WEHRHAHN + +I must request that there be somewhat more quiet. As you see, I am having +a conference at present. + +KRUEGER + +Go right ahead with it. We can wait. Later you can then have a conference +with us. + +WEHRHAHN + +[_To MOTES._] Over in my apartment, then, if you please. And if you see +Mrs. Dreier, tell her I had rather question her there too. You see for +yourself: it isn't possible here. + +KRUEGER + +[_Pointing to FLEISCHER._] This gentleman knows something about Mrs. +Dreier too. He has some documentary evidence. + +MOTES + +Your honour's servant. I take my leave. + + [_Exit._ + +KRUEGER + +That's a good thing for _that_ man to take. + +WEHRHAHN + +You will kindly omit remarks of that nature. + +KRUEGER + +I'll say that again. The man is a swindler. + +WEHRHAHN + +[_As though he had not heard, to WULKOW._] Well, what is it? I'll get rid +of you first. The records, Glasenapp!--Wait, though! I'll relieve myself +of this business first. [_To KRUEGER._] I will first attend to your +affair. + +KRUEGER + +Yes, I must ask you very insistently to do so. + +WEHRHAHN + +Suppose we leave that "insistently" quite out of consideration. What +request have you to make? + +KRUEGER + +None at all. I have no request to make. I am here in order to demand what +is my right. + +WEHRHAHN + +Your right? Ah, what is that, exactly? + +KRUEGER + +My good right. I have been robbed and it is my right that the local +authorities aid me in recovering my stolen possessions. + +WEHRHAHN + +Have you been refused such assistance? + +KRUEGER + +Certainly not. And that is not possible. Nevertheless, it is quite clear +that nothing is being done. The whole affair is making no progress. + +WEHRHAHN + +You imagine that things like that can be done in a day or two. + +KRUEGER + +I don't imagine anything, your honour. I have very definite proofs. You +are taking no interest in my affairs. + +WEHRHAHN + +I could interrupt you at this very point. It lies entirely beyond the +duties of my office to listen to imputations of that nature. For the +present, however, you may continue. + +KRUEGER + +You could not interrupt me at all. As a citizen of the Prussian state I +have my rights. And even if you interrupt me here, there are other places +where I could make my complaint. I repeat that you are not showing any +interest in my affair. + +WEHRHAHN + +[_Apparently calm._] Suppose you prove that. + +KRUEGER + +[_Pointing to MRS. WOLFF and her daughter._] This woman here came to you. +Her daughter made a find. She didn't shirk the way, your honour, although +she is a poor woman. You turned her off once before and she came back +to-day ... + +MRS. WOLFF + +But his honour didn't have no time, you know. + +WEHRHAHN + +Go on, please! + +KRUEGER + +I will. I'm not through yet by any means. What did you say to the woman? +You said to her quite simply that you had no time for the matter in +question. You did not even question her daughter. You don't know the +slightest circumstance: you don't know anything about the entire +occurrence. + +WEHRHAHN + +I will have to ask you to moderate yourself a little. + +KRUEGER + +My expressions are moderate; they are extremely moderate. I am far too +moderate, your honour. My entire character is far too full of moderation. +If it were not, what do you think I would say? What kind of an +investigation is this? This gentleman here, Dr. Fleischer, came to you to +report an observation which he has made. A boatman wears a beaver coat +... + +WEHRHAHN + +[_Raising his hand._] Just wait a moment. [_To WULKOW._] You are a +boatman, aren't you? + +WULKOW + +I been out on the river for thirty years. + +WEHRHAHN + +Are you nervous? You seem to twitch. + +WULKOW + +I reely did have a little scare. That's a fac'. + +WEHRHAHN + +Do the boatmen on the Spree frequently wear fur coats? + +WULKOW + +A good many of 'em has fur coats. That's right enough. + +WEHRHAHN + +This gentleman saw a boatman who stood on his deck wearing a fur coat. + +WULKOW + +There ain't nothin' suspicious about that, your honour. There's many as +has fine coats. I got one myself, in fac'. + +WEHRHAHN + +You observe: the man himself owns a fur coat. + +FLEISCHER + +But then he hasn't exactly a beaver coat. + +WEHRHAHN + +You were not in a position to discover that. + +KRUEGER + +What? Has this man a beaver coat? + +WULKOW + +There's many of 'em, I c'n tell you, as has the finest beaver coats. An' +why not? We makes enough. + +WEHRHAHN + +[_Filled with a sense of triumph but pretending indifference._] Exactly. +[_Lightly._] Now, please go on, Mr. Krueger. That was only a little +side-play. I simply wanted to make clear to you the value of that +so-called "observation."--You see now that this man himself owns a fur +coat. [_More violently._] Would it therefore occur to us in our wildest +moments to assert that he has stolen the coat? That would simply be an +absurdity. + +KRUEGER + +Wha--? I don't understand a word. + +WEHRHAHN + +Then I must talk somewhat louder still. And since I am talking to you +now, there's something else I might as well say to you--not in my +capacity as justice, but simply man to man, Mr. Krueger. A man who is +after all an honourable citizen should be more chary of his +confidence--he should not adduce the evidence of people ... + +KRUEGER + +Are you talking about my associates? _My_ associates? + +WEHRHAHN + +Exactly that. + +KRUEGER + +In that case you had better take care of yourself. People like Motes, +with whom you associate, were kicked out of my house. + +FLEISCHER + +I was obliged to show the door to this person whom you receive in your +private apartment! + +KRUEGER + +He cheated me out of my rent. + +MRS. WOLFF + +There ain't many in this village that that man ain't cheated all +ways--cheated out o' pennies an' shillin's, an' crowns an' gold pieces. + +KRUEGER + +He has a regular system of exacting tribute. + +FLEISCHER + +[_Pulling a document out of his pocket._] More than that, the fellow is +ripe for the public prosecutor. [_He places the document on the table._] +I would request you to read this through. + +KRUEGER + +Mrs. Dreier has signed that paper herself. Motes tried to inveigle her +into committing perjury. + +FLEISCHER + +She was to give evidence against me. + +KRUEGER + +[_Putting his hand on FLEISCHER'S arm._] This gentleman is of unblemished +conduct and that scoundrel wanted to get him into trouble. And you lend +your assistance to such things! + +**All speak at once.** + +WEHRHAHN + +My patience is exhausted now. Whatever dealings you may have with Motes +don't concern me and are entirely indifferent to me. [_To FLEISCHER._] +You'll be good enough to remove that rag! + +KRUEGER + +[_Alternately to MRS. WOLFF and to GLASENAPP._] That man is his honour's +friend: that is his source of information. A fine situation. We might +better call him a source of defamation! + +FLEISCHER + +[_To MITTELDORF._] I'm not accountable to any one. It's my own business +what I do; it's my own business with whom I associate; it's my own +business what I choose to think and write! + +GLASENAPP + +Why you can't hear your own words in this place no more! Your honour, +shall I go an' fetch a policeman? I can run right over and get one. +Mitteldorf!... + +**End all** + +WEHRHAHN + +Quiet, please! [_Quiet is restored. To FLEISCHER._] You will please +remove that rag. + +FLEISCHER + +[_Obeys._] That rag, as you call it, will be forwarded to the public +prosecutor. + +WEHRHAHN + +You may do about that exactly as you please. [_He arises and takes from a +case in the wall the package brought by MRS. WOLFF._] Let us finally +dispose of this matter, then. [_To MRS. WOLFF._] Where did you find this +thing? + +MRS. WOLFF + +It ain't me that found it at all. + +WEHRHAHN + +Well, who did find it? + +MRS. WOLFF + +My youngest daughter. + +WEHRHAHN + +Well, why didn't you bring her with you then? + +MRS. WOLFF + +She was here, all right, your honour. An' then, I c'n go over an' fetch +her in a minute. + +WEHRHAHN + +That would only serve to delay the whole business again. Didn't the girl +tell you anything about it? + +KRUEGER + +You said it was found on the way to the railway station. + +WEHRHAHN + +In that case the thief is probably in Berlin, That won't make our search +any easier. + +KRUEGER + +I don't believe that at all, your honour, Mr. Fleischer seems to me to +have an entirely correct opinion. The whole business with the package is +a trick meant to mislead us. + +MRS. WOLFF + +Well, well. That's mighty possible. + +WEHRHAHN + +Now, Mrs. Wolff, you're not so stupid as a rule. Things that are stolen +here go in to Berlin. That fur coat was sold in Berlin before we even +knew that it was stolen. + +MRS. WOLFF + +No, your honour, I can't help it, but I ain't quite, not quite of the +same opinion. If the thief is in Berlin, why, I ax, does he have to go +an' lose a package like that? + +WEHRHAHN + +Such things are not always lost intentionally. + +MRS. WOLFF + +Just look at that there package. It's all packed up so nice--the vest, +the key, an' the bit o' paper ... + +KRUEGER + +I believe the thief to be in this very place. + +MRS. WOLFF + +[_Confirming him._] Well, you see, Mr. Krueger. + +KRUEGER + +I firmly believe it. + +WEHRHAHN + +Sorry, but I do not incline to that opinion. My experience is far too +long ... + +KRUEGER + +What? A long experience? H-m! + +WEHRHAHN + +Certainly. And on the basis of that experience I know that the chance of +the coat being here need scarcely be taken into account. + +MRS. WOLFF + +Well, well, we shouldn't go an' deny things that way, your honour. + +KRUEGER + +[_Referring to FLEISCHER._] And then he saw the boatman ... + +WEHRHAHN + +Don't bother me with that story. I'd have to go searching people's houses +every day with twenty constables and policemen, I'd have to search every +house in the village. + +MRS. WOLFF + +Then you better go an' start with my house, your honour. + +WEHRHAHN + +Well, isn't that ridiculous? No, no, gentlemen: that's not the way. That +method will lead us nowhither, now or later. You must give me entire +freedom of action. I have my own suspicions and will continue to make my +observations. There are a number of shady characters here on whom I have +my eye. Early in the morning they ride in to Berlin with heavy baskets on +their backs, and in the evening they bring home the same baskets empty. + +KRUEGER + +I suppose you mean the vegetable hucksters. That's what they do. + +WEHRHAHN + +Not only the vegetable hucksters, Mr. Krueger. And I have no doubt but +that your coat travelled in the same way. + +MRS. WOLFF + +That's possible, all right. There ain't nothin' impossible in _this_ +world, I tell you. + +WEHRHAHN + +Well, then! Now, what did you want to announce? + +WULKOW + +A little girl, your honour. + +WEHRHAHN + +I will do all that is possible. + +KRUEGER + +I won't let the matter rest until I get back my coat. + +WEHRHAHN + +Well, whatever can be done will be done. Mrs. Wolff can use her ears a +little. + +MRS. WOLFF + +The trouble is I don't know how to act like a spy. But if things like +that don't come out--there ain't no sayin' what's safe no more. + +KRUEGER + +You are quite right, Mrs. Wolff, quite right. [_To WEHRHAHN._] I must ask +you to examine that package carefully. The handwriting on the slip that +was found in it may lead to a discovery. And day after to-morrow morning, +your honour, I will take the liberty of troubling you again. Good +morning! + + [_Exit._ + +FLEISCHER + +Good morning. + + [_Exit._ + +WEHRHAHN + +[_To WULKOW._] How old are you?--There's something wrong with those two +fellows up here. [_He touches his forehead. To WULKOW._] What is your +name? + +WULKOW + +August Philip Wulkow. + +WEHRHAHN + +[_To MITTELDORF._] Go over to my apartment. That Motes is still sitting +there and waiting. Tell him I am sorry but I have other things to do this +morning. + +MITTELDORF + +An' you don't want him to wait? + +WEHRHAHN + +[_Harshly._] No, he needn't wait! + + [_MITTELDORF, exit._ + +WEHRHAHN + +[_To MRS. WOLFF._] Do you know this author Motes? + +MRS. WOLFF + +When it comes to people like that, your honour, I'd rather go an' hold my +tongue. There ain't much good that I could tell you. + +WEHRHAHN + +[_Ironically._] But you could tell me a great deal that's good about +Fleischer. + +MRS. WOLFF + +He ain't no bad sort, an' that's a fac'. + +WEHRHAHN + +I suppose you're trying to be a bit careful in what you say. + +MRS. WOLFF + +No, I ain't much good at that. I'm right out with things, your honour. If +I hadn't always gone an' been right out with what I got to say, I might +ha' been a good bit further along in the world. + +WEHRHAHN + +That policy has never done you any harm with me. + +MRS. WOLFF + +No, not with you, your honour. You c'n stand bein' spoken to honest. +Nobody don't need to be sneaky 'round you. + +WEHRHAHN + +In short: Fleischer is a man of honour. + +MRS. WOLFF + +That he is! That he is! + +WEHRHAHN + +Well, you remember my words of to-day. + +MRS. WOLFF + +An' you remember mine. + +WEHRHAHN + +Very well. The future will show. [_He stretches himself, gets up, and +stamps his feet gently on the floor. To WULKOW._] This is our excellent +washerwoman. She thinks that all people are like herself. [_To MRS. +WOLFF._] But unfortunately the world is differently made. You see human +beings from the outside; a man like myself has learned to look a little +deeper. [_He takes a few paces, then stops before her and lays his hand +on her shoulder._] And as surely as it is true when I say: Mrs. Wolff is +an honest woman; so surely I tell you: this Dr. Fleischer of yours, of +whom we were speaking, is a thoroughly dangerous person! + +MRS. WOLFF + +[_Shaking her head resignedly._] Well, then I don't know no more what to +think ... + + +THE CURTAIN FALLS + + + + +THE CONFLAGRATION + + + + +PERSONS: + + +FIELITZ, _Shoemaker and Spy. Near sixty years old._ + +MRS. FIELITZ, _formerly MRS. WOLFF, his wife. Of the same age._ + +LEONTINE, _her oldest daughter by her first marriage; unmarried; near +thirty._ + +SCHMAROWSKI, _Architect._ + +LANGHEINRICH, _Smith. Thirty years old._ + +RAUCHHAUPT, _retired Prussian Constable._ + +GUSTAV, _his oldest son, a congenital imbecile._ + +MIEZE, LOTTE, TRUDE, LENCHEN, LIESCHEN, MARIECHEN, TIENCHEN, HANNCHEN, +_his daughters._ + +DR. BOXER, _a vigorous man of thirty-six. Physician. Of Jewish birth._ + +VON WEHRHAHN, _Justice._ + +EDE, _Journeyman at LANGHEINRICH'S._ + +GLASENAPP, _Clerk in the Justice's Court._ + +SCHULZE, _Constable._ + +MRS. SCHULZE, _his aunt._ + +TSCHACHE, _Constable._ + +A FIREMAN. + +A BOY. + +JANITOR OF THE COURT. + +VILLAGE PEOPLE. + +Scene: Anywhere in the neighbourhood of Berlin. + + + + +THE FIRST ACT + + + _The work shop of the shoemaker FIELITZ. A low room with blue tinted + walls. A window to the right. In each of the other walls a door. + Under the window at the right a small platform. Upon it a cobbler's + bench and a small table. On the latter a stand upholding three + spheres of glass filled with water. Near them stands an unlit + coal-oil lamp. In the corner, left, a brown tile oven surrounded by a + bench and kitchen utensils of various kinds._ + + _SHOEMAKER FIELITZ is still crouching over his work. On the platform + and around it old shoes and boots of every size are heaped up. + FIELITZ is hammering a piece of leather into flexibility._ + + _MRS. FIELITZ (formerly MRS. WOLFF) is thoughtfully turning over in + her hands a little wooden box and a stearin candle. It is toward + evening, at the end of September._ + +FIELITZ + +You get outta this here shop. Go on now! + +MRS. FIELITZ + +[_Briefly and contemptuously._] Who d'you think'll come in here now? It's +past six. + +FIELITZ + +You get outta the shop with that trash o' yours. + +MRS. FIELITZ + +I wish you wouldn't act so like a fool. What's wrong about this here +little box, eh? A little box like this ain't no harm. + +FIELITZ + +[_Working with enraged violence._] It's somethin' good, ain't it now? + +MRS. FIELITZ + +[_Still thoughtfully and half in jest._] The sawdust comes up to here ... +An' then they go an' put a candle plumb in the middle here ... + +FIELITZ + +Look here, ma, you're too smart for me! If that there smartness o' yours +keeps on, I see myself in gaol one o' these days. + +MRS. FIELITZ + +[_Harshly._] I s'ppose you can't listen a bit when a person talks to you. +You might pay some attention when I talks to you. Things like that +interest a body. + +FIELITZ + +I takes an interest in my boots, an' I don't take no interest in nothin' +else. + +MRS. FIELITZ + +That's it! O Lordy! That'd be a nice state for us. We'd all go an' starve +together. Your cobblin'--there's a lot o' good in that!--They puts the +candle in here. Y'understand? This here little box ain't big enough +neither. That one over there would be more like. Let's throw them +children's shoes out. + + [_She turns a box full of children's shoes upside down._ + +FIELITZ + +[_Frightened._] Don't you go in for no nonsense, y'understand? + +MRS. FIELITZ + +An' then when they've lit the candle--... then they stands it up in the +middle o' the box, so's it can't burn the top, o' course. Then you puts +it, reel still, up in some attic--Grabow didn't do that different +neither--right straight in a heap o' old trash--an' then you goes quiet +to Berlin, an' when you comes back ... + +FIELITZ + +Ssh! Somebody's comin'! Ssh! + +MRS. FIELITZ + +An' the devil hisself can't go an' prove nothin' against you. + + [_A protracted silence._ + +FIELITZ + +If it was as simple as all that! But that ain't noways as easy as you +thinks. First of all there's got to be air-holes in here. O' course this +here awl--: that'll do for a drill. That thing's got to have a draught, +if you want it to catch! If there ain't no draught, it just smothers! +Fire's gotta have a draught or it won't burn. Somebody's got to lend a +hand here as knows somethin'. + +MRS. FIELITZ + +Well, that'd be an easy thing for you! + +FIELITZ + +[_Forgetting his point of view in his growing zeal._] There's gotta be a +draught here an' another here! An' it's all gotta be done just right! An' +then sawdust an' rags here. An' then you go an' pour some kerosene right +in.--There ain't nothin' new in all that. I was out in the world for six +years. + +MRS. FIELITZ + +Well, exactly. That's what I been sayin'. + +FIELITZ + +You c'n do that with a sponge an' you c'n do that with a string. All you +gotta do is to steep 'em good an' hard in saltpetre. An' you c'n light +that with burning glasses. It c'n be done twenty steps away!--All that's +been done before now. There ain't nothin' new in all that to me. I know +all about it. + +MRS. FIELITZ + +An' Grabow's built up again. If he hadn't gone an' taken his courage in +both hands, he'd ha' been in the street long ago. + +FIELITZ + +That's all right, if a man's in trouble like water up to his neck an' is +goin' to be drowned. Maybe then ... + +MRS. FIELITZ + +An' there's many as lets the time slip till he is drowned. + + [_The doorbell rings._ + +FIELITZ + +Go an' put the box away an' then open the door. + + _JUSTICE VON WEHRHAHN enters, wearing a thick overcoat, tall boots + and a fur cap._ + +WEHRHAHN + +Evening, Fielitz! How about those boots? + +FIELITZ + +They's all right, your honour. + +MRS. FIELITZ + +You better go an' get a little light so's Mr. von Wehrhahn can see +somethin'. + +WEHRHAHN + +Well, how is everything and what are you doing, Mrs. Wolff? + +MRS. FIELITZ + +I ain't no Mrs. Wolff no more. + +WEHRHAHN + +She's grown very proud, eh, Fielitz? She carries her head very high? She +feels quite set up? + +MRS. FIELITZ + +Hear that! Marryin's gone to my head? I could ha' lived much better as a +widder. + +FIELITZ + +[_Who has drawn the lasts out of WEHRHAHN'S boots._] Then you might ha' +gone an' stayed a widder. + +MRS. FIELITZ + +If I'd ha' known what kind of a feller you are, I wouldn't ha' been in no +hurry. I could ha' gotten an old bandy-legged crittur like you any day o' +the week. + +WEHRHAHN + +Gently, gently! + +FIELITZ + +Never you mind her. [_With almost creeping servility._] If you'll be so +very kind, your honour, an' have the goodness to pull off your right +boot. If you'll let me; I c'n do that. So. An' if you'll be so good now +an' put your foot on this here box. + +MRS. FIELITZ + +[_Holding the burning lamp._] An' how is the Missis, Baron? + +WEHRHAHN + +Thank you, she's quite well. But she's still lamenting her Mrs. Wolff ... + +MRS. FIELITZ + +Well, you see, I couldn't do that no more reely. I washed thirty years +an' over for you. You c'n get enough o' anything in that time, I tell +you. I c'n show you my legs some day. The veins is standin' out on 'em, +thick as your fist. That comes from the everlastin' standin' up at the +tub! An' I got frost boils all over me and the rheumatiz in every limb. +They ain't no end to the doctorin' I gotta do! I just gotta wrap myself +up in cotton, an' anyhow I'm cold all day. + +WEHRHAHN + +Certainly, Mrs. Wolff, I can well believe that. + +MRS. FIELITZ + +There was a time an' I'd work against anybody. I had a constitootion! You +couldn't ha' found one in ten like it. But nowadays ... O Lord! Things is +lookin' different. + +FIELITZ + +You c'n holler a little louder if you want to. + +WEHRHAHN + +I can't blame you, of course, Mrs. Fielitz. Any one who has worked as you +have may well consider herself entitled to some rest. + +MRS. FIELITZ + +An' then, you see, things keep goin'. We got our livin' right along. +[_She give FIELITZ a friendly nudge on the head._] An' he does his part +all right now. We ain't neither of us lazy, so to speak. If only a body +could keep reel well! But Saturday I gotta go to the doctor again. He +goes and electrilises me with his electrilising machine, you know. I +ain't sayin' but what it helps me. But first of all there's the expenses +of the trip in to Berlin an' then every time he electrilises me that +costs five shillin's. Sometimes, you know, a person, don't know where to +get the money. + +FIELITZ + +You go ahead an' ram your money down doctors' throats! + +WEHRHAHN + +[_Treads firmly with his new shoe._] None of us are getting any younger, +Mrs. Fielitz. I'm beginning to feel that quite distinctly myself. +Perfectly natural. Nothing to be done about it. We've simply got to make +up our minds to that.--And, anyhow, you oughtn't to complain. I heard it +said a while ago that your son-in-law had passed his examinations very +well. In that case everything is going according to your wishes. + +MRS. FIELITZ + +That's true, of course, an' it did make me reel happy too. In the first +place he'll be able to get along much better now that he's somethin' like +an architect ... an' then, he deserved it all ways.--The kind o' time he +had when he was a child! Well, I ain't had no easy time neither, but a +father like that ... + +WEHRHAHN + +Schmarowski is a fellow of solid worth. I never had any fears for him. +Your Adelaide was very lucky there.--You remember my telling you so at +the time. You came running over to me that time, you recall, when the +engagement was almost broken, and I sent you to Pastor Friederici:--that +shows you the value of spiritual advice. A young man is a young man and +however Christian and upright his life, he's apt to forget himself once +in a while. That's where the natural function of the spiritual adviser +comes in. + +MRS. FIELITZ + +Yes, yes, I s'ppose you're right enough there. An' I'll never forget what +the pastor did for us that time! If Schmarowski had gone an' left the +girl, she'd never have lived through it, that's certain. + +WEHRHAHN + +There we've got an instance of what happens when a church and a pastor +are in a place. The house of God that we've built together has brought +many a blessing. So, good evening and good luck to you.--Oh, what I was +going to say, Fielitz: the celebration takes place on Monday morning. You +will be there surely? + +MRS. FIELITZ + +Naturally he'll come. + +FIELITZ + +Sure an' certain. + +WEHRHAHN + +I would hardly know what to do without you, Fielitz. In the meantime, +come in for a moment on Sunday, I'm proposing certain points ... certain +very marked points, and we must pull together vigorously. So, good +evening! Don't forget--we've got to have a strong parade. + +FIELITZ + +That's right. You can't do them things without one. + + [_Exit WEHRHAHN._ + +FIELITZ + +You go an' take that candle out! Will you, please? + +MRS. FIELITZ + +You're as easy scared as a rabbit, Anton! That's what you are--a reg'lar +rabbit. + + _She takes the candle out of the little box. Almost at the same + moment RAUCHHAUPT opens the door and looks in._ + +RAUCHHAUPT + +Good evenin'. Am I intrudin'? + +FIELITZ + +-- -- -- -- + +MRS. FIELITZ + +Aw, come right into our parlour! + +RAUCHHAUPT + +Ain't Langheinrich the smith come in yet? + +MRS. FIELITZ + +Was he goin' to come? No, he ain't been here. + +RAUCHHAUPT + +We made a special engagement.--I brought along the cross too. Here, +Gustav! Bring that there cross in! [_GUSTAV brings in a cross of cast +iron with an inscription on it._] Go an' put it down on that there box. + +FIELITZ + +[_Quickly._] No, never mind, Edward, that'll break. + +RAUCHHAUPT + +Then you c'n just lean it against the wall. + +MRS. FIELITZ + +So you got through with it at last. [_Calls out through the door._] +Leontine! You come down a minute! + +RAUCHHAUPT + +Trouble is I had so much to do. I'm buildin' a new hot house, you know. + +MRS. FIELITZ + +Another one, eh? Ain't that a man for you! You're a reg'lar mole, +Rauchhaupt. The way that man keeps diggin' around in the ground. + +RAUCHHAUPT + +A man feels best when he's doin' that. That's what we're all made +of--earth: an that's what we're all goin' to turn to again. Why shouldn't +we be diggin' around in the earth? [_He helps himself from the snuff-box +which FIELITZ holds out to him._] That's got a earthy smell, too, +Fielitz. That smells like good, fresh earth. + + _LEONTINE enters. A pair of scissors hangs by her side; she has a + thimble on her finger._ + +LEONTINE + +Here I am, mama. What's up? + +MRS. FIELITZ + +He just brought in papa his hephitaph. + + _LEONTINE and MRS. FIELITZ regard the cross thoughtfully._ + +MRS. FIELITZ + +Light the candle for me, girl. [_She hands her the tallow-candle with +which she has been experimenting._] We wants to study the writin' a bit. + +RAUCHHAUPT + +I fooled around with that thing a whole lot. But I got it to please me in +the end. You c'n go an' look through the whole cemetery three times over +and you'll come away knowin' this is the finest inscription you c'n get. +I went an' convinced myself of that. + + [_He sits down on the low platform and fills his nose anew with + snuff._ + + _MRS. FIELITZ holds the lighted lamp and puzzles out the + inscription._ + +MRS. FIELITZ + +Here rests in ... + +LEONTINE + +[_Reading on._] In God. + +RAUCHHAUPT + +That's what I said: in God. I was goin' to write first: in the Lord. But +that's gettin' to be so common. + +MRS. FIELITZ + +[_Reads on with trembling voice._] Here rests in God the unforgotten +carpenter ... [_Weeping aloud._] Oh, no, I tell you, it's too awful! That +man--he was the best man in the world, he was. A man like that, you c'n +take my word for it, you ain't likely to find no more these days. + +LEONTINE + +[_Reading on._] ... the unforgotten carpenter Mr. Julian Wolff ... + + [_She snivels._ + +FIELITZ + +--Don't you be takin' on now, y'understand? No corpse ain't goin' to come +to life for all your howlin'. [_He hands the whiskey bottle to +RAUCHHAUPT._] Here, Edward, that'll do you good. Them goin's on don't. + + [_He gets up and brushes off his blue apron with the air of a man who + has completed his day's work._ + +RAUCHHAUPT + +[_Pointing with the bottle._] Them lines there I made up myself. I'll say +'em over for you; listen now: + + "The hearts of all to sin confess" ... + +'Tain't everybody c'n do that neither!-- + + "The hearts of all to sin confess, + The beggar's and the king's no less. + But this man's heart from year to year + Was spotless and like water clear." + +[_The women weep more copiously. He continues._] I gotta go over that +with white paint. An' this part here about God is goin' to be Prussian +blue. + + [_He drinks._ + + _The smith LANGHEINRICH enters._ + +LANGHEINRICH + +[_Regarding LEONTINE desirously._] Well now, look here, Rauchhaupt, old +man, I been lookin' for you half an hour! I thought I was to come an' +fetch you, you chucklehead.--Well, are you pleased with the job? + +MRS. FIELITZ + +Oh, go an' don't bother me, any of you! If a person loses a man like that +one, how's she goin' to get along with you jackasses afterwards! + +FIELITZ + +Come on, man, an' pull up a stool. You just let her get back to her right +mind. + +LANGHEINRICH + +[_With sly merriment._] That's right, I always said so myself: this here +dyin' is a invention of the devil. + +MRS. FIELITZ + +We was married for twenty years an' more. An' there wasn't so much as one +angry word between us. An' the way that man was honest. Not a penny, +no,--he never cheated any man of a penny in all his days. An' sober! He +didn't so much as know what whiskey was like. You could go an' put the +bottle before him an' he wouldn't look at it. An' the way he brought up +his children! What _d'you_ think about, but playin' cards and swillin' +liquor ... + +LEONTINE + +Gustav is poking out his tongue at me. + +RAUCHHAUPT + +[_Takes hold of a cobbler's last and throws himself enragedly upon +GUSTAV, who has been making faces at LEONTINE and has poked out his +tongue at her.] You varmint! Ill break your bones!--That rotten crittur +is goin' to be the death o' me yet. I just gets so mad sometimes I think +it's goin' to be the death o' me. + +LANGHEINRICH + +The poor crittur ain't got his right senses. + +RAUCHHAUPT + +I wish to God the dam' brat was dead. I'll get so dam' wild some day, if +he ain't, that I'll go an' kill my own flesh an' blood. + +FIELITZ + +I'd go an' have him locked up in the asylum. Then you don't have the +worry of him no more. D'you want me to write out a petition for you? + +RAUCHHAUPT + +Don't I know all about petitions? What does they say then: he ain't +dangerous bein' at large.--The whole world ain't nothin' but a asylum. It +ain't dangerous, o' course, that he fires bricks at me, an' unscrews +locks and steals house keys--oh, no, that ain't considered dangerous. No, +an' it's all right for him to eat my tulip bulbs. I c'n just go ahead an' +do the best I can. + +MRS. FIELITZ + +How did that happen at Grabow's the other day--I mean when his inn the +"Prussian Eagle" burned down? + +LANGHEINRICH + +Aw, Grabow, he needed just that. It wasn't no Gustav that set that there +fire. He wasn't needed there. + +MRS. FIELITZ + +They say he's always playin' with matches. + +RAUCHHAUPT + +Gustav an' matches? Aw, that's all right. If he c'n just go an' hunt up +matches some place, trouble ain't very far off. You know I needs +coverin's for my hot house plants; so I built a kind of a shed. I stored +the straw in there. Well, I tell you, Mrs. Fielitz, that there idjit went +an' burned the shed down. It was bright day an' o' course nobody wasn't +thinkin', an' I got loose boards all over my lot. The shed crackled right +off. It wasn't more'n a puff! But Grabow--he took care o' his fire +hisself. + +MRS. FIELITZ + +I'd give notice about a thing like that, Rauchhaupt--I mean burnin' down +the shed. + +RAUCHHAUPT + +I don't get along so very well with Constable Schulze. That's often the +way with people in your own profession. I was honourably retired. He +don't like that. He ain't sooted with that. All right; all that may be +so. An' that I own my own lot, an' that my old woman died. Sure, it ain't +no use denyin' it! I made a few crowns outta all that. An' that my +gardenin' brings in somethin'--well, he don't like to see it. So then +it's easy to say: Rauchhaupt? He don't need no help. He c'n take care o' +hisself. An' that's the end of it. + +MRS. FIELITZ + +Fred Grabow, he's all right now! + +LANGHEINRICH + +[_Eagerly._] An' he's got me to thank for it. Only thing is, I pretty +near got into a dam' mess myself that time. You see, I'm captain of the +hook an' ladder. Well, I says to my boys, says I:--I don't know but I +must ha' had more'n I could carry. The whole crowd was pretty well +full!--Well, I says to my boys: Sail right in an' see that there ain't a +stone left standin', 'cause if there is, Grabow'll get one reduction of +insurance after another an' then the whole thing ain't no good to him. I +guess I hollered that out a bit too loud. So when I takes a step or two +backward I thinks all hell's broke loose, 'cause there stands Constable +Schulze an' stares at me. Your health, says I, your health, +captain!--Grabow, you know, was treatin' to beer!--An' then Schulze was +real sociable and took a drink with me. + +MRS. FIELITZ + +It's queer that nothin' don't come out there. That fellow ain't a bit +cute. How did he manage to do it? + +LANGHEINRICH + +Everybody likes Fritz Grabow. + +MRS. FIELITZ + +He ain't got sense enough to count up to three. An' anyhow he had to go +an' take oath. + +RAUCHHAUPT + +Takin' oath? Aw, that ain't so much! I'll just tell you how 'tis, 'cause +you never can't tell. Who knows about it? Anybody might have to do that +some day. All you do is to twist off one o' your breeches buttons while +you goes ahead and swears reel quiet. You just try it. That's easy as +slidin'. + + [_General laughter._ + +MRS. FIELITZ + +He's got one o' his jokin' spells again. I won't have to go an' twist off +a button, I c'n tell you. Things can't get that way with me.--But tell me +this: whose turn is it goin' to be now? It's about time for somebody, you +know. Somethin's got to burn pretty soon now. + +LANGHEINRICH + +It could be most anybody. Things is lookin' pretty poor over at +Strombergers. The rain's comin' right down into his sittin' room,--Well, +good evenin'. A man's got to have his joke. + +MRS. FIELITZ + +But who's goin' to drink my hot toddy now? + +FIELITZ + +You stay right where you are! + +LANGHEINRICH + +Can't be done. I gotta be goin'. [_He puts an arm around LEONTINE, who +frees herself carelessly and with a contemptuous expression._]--If mother +don't hear my hammerin' downstairs she'll be swimmin' away in tears an' +the bed with her when I gets home. + +LEONTINE + +That's nothin' but jealousy, mama. + +MRS. FIELITZ + +Maybe it is, an' maybe she's got reason. You go on up to your work.--How +is the Missis? + +LANGHEINRICH + +Pretty low. What c'n you expect? + +LEONTINE + +You'll be drivin' me to work till I gets consumption. + +MRS. FIELITZ + +If you get consumption, it won't be your dress-makin' that's the cause of +it. You act as much like a ninny as if you was a man. + +LANGHEINRICH + +[_Putting his arms around MRS. FIELITZ._] Come now, young woman, don't be +so cross! Young people wants to have their fling--that's all. An' they'll +have it, if it's only with Constable Schulze. + + [_Exit._ + +MRS. FIELITZ + +Now what's the meanin' o' that? + +RAUCHHAUPT + +Wait there a minute an' I'll join you. + + [_He gets up and motions to GUSTAV, who lifts the iron cross again._ + +MRS. FIELITZ + +Why d'you go an' run off all of a sudden? + +RAUCHHAUPT + +I gotta go an' get rid o' some work. + + [_Exit with GUSTAV. + +MRS. FIELITZ + +What's the trouble with you an' Langheinrich again? You act like a +fool--that's what you do! + +LEONTINE + +There ain't no trouble. I want him to leave me alone. + +MRS. FIELITZ + +He'll be willin' to do that all right! If you're goin' to turn up your +nose an' wriggle around that way, you won't have to take much trouble to +get rid o' him. He don't need nothin' like that! + +LEONTINE + +But he's a married man. + +MRS. FIELITZ + +So he is. Let him be. You got no sense 'cause you was born a fool. You +got a baby and no husband; Adelaide's got a husband an' no baby. + + [_LEONTINE goes slowly out._ + +MRS. FIELITZ + +If she'd only go an' take advantage o' her chances. There ain't no +tellin' how soon Langheinrich'll be a widower. + +FIELITZ + +I don't know's I like to see the way Constable Schulze runs after that +girl. + +MRS. FIELITZ + +[_Sententiously._] You can't run your head through no stone walls. [_She +sits down, takes out a little notebook and turns its leaves._] You got a +office. All right. Why shouldn't you have? Things is _as_ they is. But +havin' a office you got to look out all around. You just let Constable +Schulze alone! Did you read the letter from Schmarowski? + +FIELITZ + +Aw, yes, sure. I got enough o' him all right. I wish somebody'd given me +the money--half the money--that feller's had the use of. But no: nobody +never paid no attention to me. Nobody sent me to no school o' +architecture. + +MRS. FIELITZ + +I'd like to know what you got against Schmarowski! You're pickin' at him +all the time. + +FIELITZ + +Hold on! Not me! He ain't no concern o' mine. But every time you open +your mouth I gets ready to bet ten pairs o' boots that you're goin' to +talk about Schmarowski. + +MRS. FIELITZ + +Did he do you any harm, eh? Well? + +FIELITZ + +No, I can't say as he has. Not that I know. An' I wouldn't advise him to +try neither. Only when I sees him I gets kind o' sick at my stomick. You +oughta have married him yourself. + +MRS. FIELITZ + +If I had been thirty years younger--sure enough. + +FIELITZ + +Well, why don't you go an' move over to your daughter then! Go right on! +Hurry all you can an' go to Adelaide's. Then they got hold of you good +and tight an' you c'n get rid o' your savin's. + +MRS. FIELITZ + +That's an ambitious man. He don't have to wait, for me; that's +sure!--there ain't no gettin' ahead with your kind. Instead o' you +fellows helpin' each other, you're always hittin' out at each other. Now +Schmarowski--he's a wide-awake kind o' man. No money ain't been wasted on +him. You needn't be scared: he'll make his way all right.--But if you +knew just a speck o' somethin' about life, you'd know what you'd be doin' +too. + +FIELITZ + +Me? How's that? Why me exactly? + +MRS. FIELITZ + +What was it that there bricklayer boss told me? I saw him one day when he +was full; they was just raisin' that church. He says: Schmarowski, says +he, that's a sly dog. An' he knew why he was sayin' that. Them plans o' +his takes 'em all in. + +FIELITZ + +I ain't got no objection to his takin' 'em in. + +MRS. FIELITZ + +He ain't the kind o' man to sit an' draw till he's blind an' let the +bricklayers get all the profit. + +FIELITZ + +Well, I ain't made the world. + +MRS. FIELITZ + +No, nor you ain't goin' to stop it neither. + +FIELITZ + +An' I don't want to. + +MRS. FIELITZ + +You ain't goin' to stop it, Fielitz--not the world an' not me. That's +settled.-- + + [_She has said this in a slightly ironical way, yet with a half + embarrassed laugh. She now puts away her little book excitedly._ + +FIELITZ + +I can't get to understand reel straight. I'm always thinkin' there's +somethin' wrong with you. + +MRS. FIELITZ + +Maybe there was somethin' wrong with Grabow too, eh? I s'ppose that's the +reason he's livin' in his new house this day.--I wish there'd be +somethin' like that wrong with you onct in a while. But if somebody don't +pull an' poke at you, you'd grow fast to the stool you're sittin' on. + +FIELITZ + +[_With decision._] Mother, put that there thing outta your mind. I tell +you that in kindness now. I ain't goin' to lend my help to no such thing. +Because why? I knows what that means. Is I goin' to jump into that kind +of a mess again? No, I ain't young enough for that no more. + +MRS. FIELITZ + +Just because you're an old feller you oughta be thinkin' about it all the +more. How long are you goin' to be able to work along here. You don't get +around to much no more now. You cobbled around on Wehrhahn's shoes! It +took more'n two weeks. + +FIELITZ + +Well, mother, you needn't lie that way. + +MRS. FIELITZ + +That cobblin' o' yours--that ain't worth a damn. I ain't much good no +more an' you ain't. That's a fact. I don't excep' myself at all. An' if +people like us don't go an' get somethin' they c'n fall back on, they got +to go beggin' in the end anyhow. You c'n kick against that all you want +to. + +FIELITZ + +It's a queer thing about you, mother. It's just like as if the devil +hisself got a hold o' you. First it just sort o' peeps up, an' God knows +where it comes from. Sometimes it's there an' sometimes it's gone. An' +then it'll come back again sudden like an' then it gets hold o' you an' +don't let you go no more. I've known some tough customers in my time, +mother, but when you gets took that way--then I tell you, you makes the +cold shivers run down my back. + +MRS. FIELITZ + +[_Has taken out her notebook again and become absorbed in it._] What did +you think about all this? We're insured here for seven thousand. + +FIELITZ + +What I thought? I didn't think nothin'. + +MRS. FIELITZ + +Well, there ain't any value to this place excep' what's in the lot +itself. + +FIELITZ + +[_Gets up and puts on his coat._] You just leave me alone, y'understand? + +MRS. FIELITZ + +Well, ain't it true? You just stop your foolin'. I seen that long ago, +before we was ever married. Schmarowski told me that ten times over, that +this here is the proper place for a big house. An' anybody as has any +sense c'n see that it's so. Now just look for yourself: over there, +that's the drug shop! An' a bit across the way to the left is the post +office. An' then a little ways on is the baker an' he's built hisself a +nice new shop. Four noo villas has gone up and if, some day, we gets the +tramway out here--we'll be right in the midst o' things. + +FIELITZ + +[_About to go._] Good evenin'. + +MRS. FIELITZ + +Are you goin' out this time o' day? + +FIELITZ + +Yes, 'cause I can't stand that no more.--If I'd known the kind of a +crittur you are ... only I didn't know nothin' about it ... I'd ha' +thought this here marryin' over a good bit--yes, a good bit. + +MRS. FIELITZ + +You? Is that what you'd ha' thought over, eh? + +FIELITZ + +Is I goin' to let myself be put up to things like that?... + +MRS. FIELITZ + +A whole lot o' thinkin' over you'd ha' done! You ain't done any thinkin' +all the days o' your life. A great donkey like you ... an' thinkin'. +Well! A fine mess would come of it if you took to thinkin'. + +FIELITZ + +Mother, I axes you to consider that ... + +MRS. FIELITZ + +Put you up? To what? What is I puttin' you up to?--This here old shed is +goin' to burn down sometime. It's goin' to burn down one time or 'nother, +if it don't first come topplin' down over our heads. It's squeezed in +here between the other houses in a way to make a person feel ashamed, if +he looks at it. + +FIELITZ + +Mother, I axes you to consider ... + +MRS. FIELITZ + +Aw, I wish you'd clear out o' the front door this minute! I'm goin' to +pack up my things pretty soon too. An' you c'n go over to the justice for +all I care. I been puttin' you up to things, you know! + +FIELITZ + +Mother, I axes you to consider that ... Look out that you don't go an' +get a black eye! 'Cause I, if I ... + +MRS. FIELITZ + +[_With a gesture as though about to push him out._] Get out! Just get +out! It'll be good riddance! The sooner the better! What are you dawdlin' +for? + +FIELITZ + +[_Beside himself._] Mother, I'll hit you one across the ... You're goin' +to put me out, eh? What? Outta my shop? Is this here your shop? I'll +learn you! Just wait! + +MRS. FIELITZ + +Well, I'm waitin'. Why don't you start? You're that kind of a man, are +you? Come right on! Come on now! You got the courage! I'll hold my breath +or maybe I'd blow you right into Berlin. + +FIELITZ + +[_Hurls a boot against the wall in his impotent rage._] I'll break every +stick in this here shop! To hell with the whole business: that's what I +says! I must ha' been just ravin' mad! There I goes an' burdens myself +with a devil of a woman like that, an' I might ha' lived as comfortable +as can be! She killed off one husband an' now I'm dam' idjit enough, to +take his place! But you're goin' to find out! It ain't goin' to be so +easy this time! I'll first kick you out before I'll let you get the best +o' me! Not me! No, sir! You c'n believe that! + +MRS. FIELITZ + +You needn't exert yourself that much, Fielitz ... + +FIELITZ + +Not me! Not me! You c'n depend on that! You ain't agoin' to down me! You +c'n take my word for it. + + [_He sits down, exhausted._ + +MRS. FIELITZ + +Maybe you might like throwin' some more boots. There's plenty of 'em +around here--I s'ppose you married me for love, eh? + +FIELITZ + +God knows why I did! + +MRS. FIELITZ + +If you'll go an' study it out, maybe you'll know why. Maybe it was out o' +pity? Eh? Maybe not.--Or maybe it was the money I had loaned out?--Well, +you see! I s'ppose that was it.--You c'n live a hundred years for my +part! But it's always the same thing. 'Twasn't much different with Julius +neither. If things had gone his way, I wouldn't have nothin' saved this +day neither. The trouble is a person is too good to you fellers. + +FIELITZ + +An' outta goodness you want me to go an' take a match an' set fire to the +roof over my head? + +MRS. FIELITZ + +You knew that you'd have to go an' build. I said that to myself right +off, an' buildin' costs money. There ain't no gettin' away from that +fact. An' the few pennies we has ain't more'n a beginnin'. If we had what +you might call a real house here ... Schmarowski, he'd build us one +that'd make all the others look like nothin' ... you could have a fine +shop here. We might put a few hundred dollars into it an' sell factory +shoes. If you'd want to take in repairing you could get a journeyman an' +put him here. An' if you wanted to go an' make some new shoes yourself, +you could take the time for all I care. + +FIELITZ + +I don't know! I s'ppose I ain't got sense enough for them things. I +thought I'd get hold o' a bit o' money ... I thought I'd be able to lay +out a bit o' money! Buildin' a little annex of a shop--that's good fun. I +thought it all out to myself like--with nice shelves and things like that +... an' I planned to hang up a big clock an' such. An' now you sit on +your money bag like an old watch dog. + +MRS. FIELITZ + +That money--it ain't to be thrown away so easy. 'Twas earned too bitter +hard for that. + +FIELITZ + +... You forgets that I've been in trouble before. Is I to go an' get +locked up again? + +MRS. FIELITZ + +Never mind, Fielitz, to-morrow is another day. A person mustn't go an' +take things that serious! I was more'n half jokin' anyhow.--Go over to +Grabow's an' drink a glass o' beer!... We must all be satisfied's best we +can. An' even if you can't go an' open a shoe shop, an' even if you gotta +worry along cobblin' an' can't buy no clock--well, a good conscience is +worth somethin' too. + +THE CURTAIN FALLS + + + + +THE SECOND ACT + + + _The smithy of LANGHEINRICH. The little house protrudes at an angle + into the village street. The shed that projects over the smithy is + supported by wooden posts. The empty space below the shed is used for + the storage of tools and materials. Wheels are leaned against the + wood, a plough, wheel-tyres, pieces of pig iron, etc. An anvil stands + in the open, too, and several working stools. From behind the house, + jutting out diagonally, a wooden wagon is visible. The left front + wheel has been taken off and a windlass supports the axle._ + + _Through the door that leads to the shop one sees smithy fires and + bellows._ + + _Opposite the smithy, on the left side of the village street which, + taking a turn, is lost to view in the background, there is a board + fence. A small locked gate opens upon the street._ + + _A cloudy, windy day._ + + _DR. BOXER, in a slouch hat and light overcoat, stands holding a + heavy smith's hammer at arm's length. EDE has a horseshoe in his + right hand, a smaller hammer in his left, and is looking on._ + +EDE + +[_Counts._] ... twenty-two, twenty-three, twenty-four an' one makes +twenty-five an' another makes twenty-six.--Great guns, you're ahead o' me +now. An' twenty-seven, an' twenty-eight, an' twenty-nine an' thirty. My +respects, Doctor. That's all right. Is that the effect o' the sea air? + +DR. BOXER + +It may be. You see I haven't quite forgotten the trick. + +EDE + +No, you haven't. That's pretty good. Now let's try it with weights, +though. I c'n hold up a hundred an' fifty pounds, Doctor. How about +yourself? + +DR. BOXER + +I don't know. It remains to be seen. + +EDE + +What? You think you c'n lift a hundred weight an' a half? You're a little +bit of a giant, ain't you? You didn't learn that on board ship. I thought +you travelled as a sawbones an' not as a strong man!--Look at that little +man over there goin' into Mrs. Fielitz' house. That's her son-in-law. + +DR. BOXER + +He looks very much like a bishop. + +EDE + +Right enough! That's what he is--Bishop Schmarowski.--You c'n knock! The +old woman's out and she took her cobbler with her. There won't be nothin' +to get there to-day.--You see, Doctor, when that fellow goes there he +wants money. If he weren't hard up he wouldn't come. + +DR. BOXER + +The Fielitzes went in to Berlin to-day; I met them this morning at the +railway station. Tell me: _he_ isn't quite right in his mind, is he? + +EDE + +How so? That wasn't never noticed. He's a pretty keen fellow ... No, I +couldn't say that _he's_ crazy. + +DR. BOXER + +He talked a mixture of idiotic nonsense and looked away from me while he +was talking. The fellow looked like an evil conscience personified. But I +don't suppose he has a conscience. + +EDE + +By the way: that time they came down on you an' made a search in your +house--that fellow Fielitz had his hand in it. He helped get you into +that pickle. + + [_MRS. SCHULZE puts her head out at the attic window._ + +MRS. SCHULZE + +Ede! + +EDE + +What? + +MRS. SCHULZE + +Ain't Mr. Langheinrich back yet? + +EDE + +Well, o' course he is, naturally. [_MRS. SCHULZE disappears and EDE +withdraws under the shed._] Quick! Take this hammer, will you, Doctor, +an' hammer away a bit. If you kept up your strength the way you have, you +ain't forgot about that neither. + +DR. BOXER + +I went at locksmith's work like the deuce when there was nothing to do on +board ship. That gave me a very good chance. + +EDE + +You're a doctor an' you're a smith an' ... I guess you're a sausage maker +too! + +DR. BOXER + +I even made sausages once. + +EDE + +Nobody didn't want to eat them, I guess. + +DR. BOXER + +I wouldn't have advised any one to do so either. The sausages were mainly +filled with arsenic. The rats scarcely left us space to turn around in. + +EDE + +[_About to set to work._] Ugh! That wouldn't be no kind o' sausage for +me. Come now, Doctor, go at it! We wants the missis to think that two +people is workin' here or she'll never stop axin' questions. + +DR. BOXER + +Where did Langheinrich go so early? + +EDE + +That's a secret all right--the kind o' secret that all the sparrows on +the gutters is chirpin'.--Doctor, roll that wheel over here, will you? +You got a chance now to deserve well, as they says, o' the Prussian +state, 'cause this here waggon belongs to the government forester.--That +sort o' thing can't do you no harm. + +DR. BOXER + +No. And anyhow I ought to stand in with people. + + [_He rolls the wheel slowly along; it escapes him and glides + backwards._ + +EDE + +That ain't so easy. Them people has long memories. [_He catches the +wheel._] Hold on there! No goin' backward! I'm for progress, I am, +Doctor! I'm willin' to fight for that! + +DR. BOXER + +But you must be careful of your fingers. [_He puts on a leathern apron._] +Is Langheinrich going to be gone long? + +EDE + +[_Whistles._] That depends on how hard it is! + +DR. BOXER + +Why do you whistle so significantly? + +EDE + +That's a gift o' my family. All my eleven brothers an' sisters is +musicians. I'm the only one that's a smith. [_For a space both work at +the wheel in silence. Then EDE continues._] 'Twouldn't be a bad stage +play, I tell you. You wouldn't have to be scared o' riskin' somethin' on +that. You'd make money! That's somethin' fine--specially for young +people! You been away here a good long while, that's the reason you don't +know what's what. I could tell you a few little things that happen around +here in bright daylight.--D'you know that Leontine? + +DR. BOXER + +Very sorry indeed, but I don't. + +EDE + +No? An' then you pretend that this is your home an' don't know that girl. +Somethin' wrong with you! + +DR. BOXER + +Oh, yes, yes, Leontine! Mrs. Wolff's daughter! I once got the deuce of a +flogging on her account. + +EDE + +Well, I wish you'd ha' been here two hours ago. Well, first of all that +same girl slouched by here ... No! First of all her mother an' father +went away ...'twasn't more'n dawn yet! Then Leontine at about eight. She +looked all around an' waited an' made lovin' eyes in this direction an' +then walked by. You should ha' seen Langheinrich. "Sweetheart, where are +you goin'?"--Then, after a while comes Constable Schulze and goes after +her.--That was too much for Langheinrich. Off with his apron an' there he +goes, quick 's a stag. That's the way it was. You could ha' observed +that: the rest ain't to be observed.--There's Langheinrich hurryin' back +now. [_He at once sets zealously to work and pretends to discover +LANGHEINRICH, who is approaching hastily and vigorously at this moment._] +Well, at last! Good thing you're here! No end o' askin' after you. Did +you catch her? + +LANGHEINRICH + +[_Brusquely._] Catch what? + +EDE + +I meant the 'bus. + +LANGHEINRICH + +Hold your...! I had business to attend to.--Well now, I'll give a dollar +if this here ain't Dr. Boxer! Why, how are you? How are things goin'? An' +what are you doin' nowadays? Did your ship come in? You been away +now--lemme see--that must be three years, eh? Sure. That's ... well, time +passes. + +DR. BOXER + +I want to settle down here, Langheinrich. That is to say, I have that +intention if it's possible. I should like to try my luck at home for a +change. + +LANGHEINRICH + +Things is best at home, that's right. O' course, there's one here now, a +doctor I mean, but he ain't good for much. They say somethin' queer +happened to him onct--got his ears boxed too hard or somethin'. An' they +say that made him kind o' melancholious. That ain't much good for his +patients! No sick man can't get well through that. I'll send for you, +Doctor, if I need help. + +DR. BOXER + +I'll extract my first dozen wisdom teeth free of charge. So you'll be +glad if you don't need me soon. + +LANGHEINRICH + +Well, I ... fact is ... my wife is sick. + + _MRS. SCHULZE comes hurriedly from the house._ + +MRS. SCHULZE + +It's a mighty good thing that you're here. D'you hear? That whimperin' +goes right on. + +LANGHEINRICH + +Doctor, I'm goin' to ax you somethin' now: d'you know any cure for +jealousy? You see, it's this way: We had a baby, an' I'd be lyin' if I +said I wasn't mighty well pleased. An' why shouldn't I be? But now my +wife is sick. She can't get up an' she don't want me to budge from the +side o' her bed. She screams an' she scolds an' she reproaches me. +Sometimes I reely don't know what to do no more. + +MRS. SCHULZE + +You better go upstairs a bit first. + +EDE + +Do give him a chance to get his breath! + +LANGHEINRICH + +Oh, pshaw! Never you mind! I c'n attend to that right off. + + [_After he has taken off his hat and coat and slipped on wooden shoes + he hurries into the house._ + +EDE + +Well, what d'you think o' that? + +DR. BOXER + +He's a cheerful soul--more so, if possible, than he used to be. It does +one good to find a man that way. + +EDE + +Only that I axed after Leontine, that riled him more'n a little bit all +right. + +MRS. SCHULZE + +[_To EDE, watchfully:_] Where was the boss so early this mornin'? + +EDE + +In Lichtenberg, attendin' a dance. + +MRS. SCHULZE + +The treatment that woman's gettin' is all wrong, Doctor. I don't mix in +what don't concern me. But the way she's treated, that ain't no kind o' +treatment, I c'n tell you. I told that Majunke man too that the missis +was goin' to the dogs this way. + +DR. BOXER + +But Dr. Majunke is very capable. I know him to be an excellent physician. + +MRS. SCHULZE + +[_Interrupting._] Sure, sure, an' that's true. 'Course he's capable. +That's right, an' so he is. But, you see, he just won't prescribe nothin' +... + +DR. BOXER + +What should he prescribe? Let the people save their money. + +MRS. SCHULZE + +But that's just what people don't want to do. It's like this: medicine's +got to be. If there ain't none they says: how c'n the doctor help us? + +DR. BOXER + +Mrs. Langheinrich never was strong. Even years ago when she used to sew +for us ... + +MRS. SCHULZE + +That's the way it is. She's a little bit humpbacked; that's right. That's +the way women is, though, Doctor! A seamstress--that's what she was...! +She sewed an' she sewed and saved up a little money...! An' what kind of +a bargain is it she's got now. A handsome feller an' sickness an' worry +an' no rest no more by day or night. + + _LANGHEINRICH returns from the house._ + +LANGHEINRICH + +[_Tapping MRS. SCHULZE'S shoulder somewhat roughly._] Hurry now! Go on +up! It's all arranged an' settled. To-morrow I'm goin' to take her to the +clinic. + +MRS. SCHULZE + +That ain't goin' to be no easy work! + +LANGHEINRICH + +[_Lifts a great can of water to his mouth._] I can't help that. Things is +as they is. [_He takes an enormously long draught from the tin can. +Putting it down:_] Ede, drive them ducks away! + +EDE + +[_Acting as though he were driving away ducks, flaps his leathern apron +and rattles his wooden shoes._] Shoo! Shoo! Shoo! Chuck! Chuck! Chuck! + + _MRS. SCHULZE retires into the house, shaking her head._ + +LANGHEINRICH + +Them ducks is your regular fire eaters. There don't need nothin' but for +some sparks to fly off an', right straight off, they gobbles 'em down. +Then we gets what you might call roast duck that never meant to be +roasted. An' my old woman she ain't no friend o' that. + + _RAUCHHAUPT looks over the fence to the left._ + +LANGHEINRICH + +There's been a big fire again over there behind Landsberg. All the houses +on a great estate is ashes. + +RAUCHHAUPT + +Did you maybe see Gustav anywhere? + +LANGHEINRICH + +Mornin', old boy! No, not me! Has he gone an' run off again? + +RAUCHHAUPT + +I ordered him to go over to the Fielitzes. + +LANGHEINRICH + +The Fielitzes have all gone in to town. + +RAUCHHAUPT + +I don't know, but there's a kind o' burned smell in the air ... Ouch! +[_He distorts his face in pain and grasps his leg._] Ain't Leontine here? + +LANGHEINRICH + +Naw, she had to go to court to-day. Always the same trouble with the +alimony. That confounded feller, he don't pay. + +RAUCHHAUPT + +[_Calls out._] Gustav! [_He listens and then turns leisurely back to the +little gate. The wind worries and drives him._] Gustav! + +LANGHEINRICH + +Stiff wind coming up, all right! [_RAUCHHAUPT disappears._] Ede! + +EDE + +All right. + +LANGHEINRICH + +Let's get to work now! [_He spits into his hands and sets to work +vigorously._] Well, Doctor, where've you been runnin' about? Did you get +as far as the Chinese? You gotta tell us all about that some day when we +got plenty o' time for it. + +DR. BOXER + +Surely, I've been all over. + +LANGHEINRICH + +Did you see the sea-serpent too? + +Da. BOXER + +Surely, Langheinrich, far down in the South Seas. + +LANGHEINRICH + +An' it's true that it feeds on dill pickles? + +DR. BOXER + +Several hundred dozen a day. + +LANGHEINRICH + +[_Laughing._] That's all right then. An' when, you see that serpent +again, just give her my best regards. + +DR. BOXER + +I doubt whether I'll ever get so far again in life. + +LANGHEINRICH + +I guess you got all you wanted o' that? Now you see. Doctor, you just got +to the point where I am exactly an' I didn't have to move from this +spot.--Well, I guess your old mother, she'll be glad. She's gettin' along +all right. Doin' reel well. I always looked in a bit now an' then, +helpin' to see that things was all right. + +DR. BOXER + +And that was very good in you, Langheinrich. + +LANGHEINRICH + +Naw! Pshaw! I ain't sayin' it on that account. By the way, though, before +I forget. I got a little account standin' with your good mother--for +taffeta an' silk an' needles an' thread. Some cloth, too. My wife used +'em sewing. I'll straighten that up very soon. + +DR. BOXER + +[_Deprecatingly._] Never mind. That matter will be arranged. + +LANGHEINRICH + +Ede! + +EDE + +All right? + +LANGHEINRICH + +Hurry along now! [_He takes up a heavy hammer._] If I don't go right on +workin' I'll end by bustin' out o' my skin. + + _EDE approaches with a white hot piece of iron in the tongs and holds + it on the anvil._ + +LANGHEINRICH + +Now we're goin' to start, Doctor! Down on it! Hit it now! [_He and DR. +BOXER beat the iron, keeping time with each other._] Well, you see! It's +got to go evenly. Doctor! Then I tell you the work's smooth as butter. + + [_They stop hammering; EDE takes up the iron again, takes it into the + smithy and holds it into the flame._ + +LANGHEINRICH + +[_Takes up the water can again and sets it to his lips._] There ain't +much to this! + + [_Drinks._ + +EDE + +Things like that makes you thirsty. + + _LANGHEINRICH puts the can down._ + +LANGHEINRICH + +You c'n believe me, Doctor: it was fine anyhow. + +DR. BOXER + +What was it that was go very fine? + +LANGHEINRICH + +Lord! I don't know! I don't know nothin' much. But when I met Constable +Schulze I had a devil of a good time--that's what! + +EDE + +An' now a glass o' beer from Grabow over there. That's what I could stand +fine just now. + +LANGHEINRICH + +Hurry! Get three steins! Dr. Boxer will pay for 'em. + + _EDE wipes his hands on his apron and goes._ + +LANGHEINRICH + +An' so you want to settle down here now! That ain't no bad idea neither. +Only this: you got to be up to all kinds o' tricks here. An' if you want +my advice, Doctor, don't go to people for nothin'. + +DR. BOXER + +Do you think that I'll be unmolested in other respects? + +LANGHEINRICH + +Aw, them old stories! Them's all outlawed by now. An' then, nowadays they +can't worry people so much no more as they used to do under the old laws. + +DR. BOXER + +Well, at all events I'll make the attempt ... My political ardour has +cooled off. If these people annoy me in spite of that, I'll simply trudge +off again. I'll go back to sea, or I'll let myself be engaged ... + +LANGHEINRICH + +Pretty easy drownin' on water! + +DR. BOXER + +[_Continuing._] ... Then I'll let myself be engaged to go to Brazil with +the Russian Jews. + +LANGHEINRICH + +What would you get out o' that? + +DR. BOXER + +Yellow fever, perhaps. + +LANGHEINRICH + +Anything else. Doctor? That wouldn't be nothin' for me! + +DR. BOXER + +I believe that. + +LANGHEINRICH + +Me go an' wear myself out for other people? Not me! No, sir! I don't do +nothin' like that. An' why should I? Nobody don't give me nothin'. I tell +you people in this world is a pretty sly set. I've had time to find that +out. + +DR. BOXER + +You're a regular heathen: you're not a Christian at all! + +LANGHEINRICH + +That kind o' talk don't do much good with me. I'm a Christian just like +all the rest is! The people that sit in the new church here ... 'cause +they built a new church here now!... if them is Christians, the Lord +forgive 'em. + +DR. BOXER + +That's easily said, Langheinrich. But one ought not to be a Pharisee. +Where is your Christian long-suffering? + +LANGHEINRICH + +No, I ain't goin' in for long-sufferin'. I'm a sinner myself; that's true +all right. But now you take this Dalchow here for instance! It'd take the +devil to be long-sufferin' where _he's_ concerned! What did he do with +that son o' his. He kicked him out, that's what, by night, in winter. +Then he tied him up and beat him till he couldn't gasp. An' then he +apprenticed the little feller to a butcher so that he had to drive out +the sheep! An' all the time jabbin' at him an' overworkin' him till in +the end the poor little crittur went an' drowned hisself in the lake. +Just shook his head an' kept still an' then dived down an' that was the +end. + +DR. BOXER + +[_Ironically._] I don't see what you've got against Dalchow, +Langheinrich? He's a man who seems to understand his business +magnificently. + +LANGHEINRICH + +Yes, ruinin' girls an' that sort o' thing, that's what. An' then beatin' +his hat around their heads an' sayin': Out with the low strumpet! That's +what they is all of a sudden when it's he that made 'em--_what_ they +is!--Oh, an' then he's a great friend o' Wehrhahn's an' grunts out like a +swine in public meetin's: There ain't no more morality these days ... an' +there ought to be laws against such doin's ... an' so on, an' so on ... +an' if you'd like to go to church, there the old rotten sinner sits an' +turns up his eyes. [_A distant ringing of church bells if heard._] Listen +to that! The sparrow is singin'.--I always calls that the sparrow, +Doctor. I always says: the sparrow sings. I mean when them bells is +ringin'. An' ain't I right that it's the sparrow that sings? 'Cause since +Wehrhahn got that bird in his buttonhole them bells has begun to ring. +An' if the bells didn't go an' ring, why he wouldn't have no decoration +neither. + + _EDE comes in grinning and carrying three steins of beer._ + +EDE + +Oho, listen there, the sparrow is singin'. + +LANGHEINRICH + +Well, you see, he don't call it nothin' else no more. [_Each of the three +holds a stein. They knock them together._] Your health! An' welcome back +to the old country! [_They drink._] That's a fine evenin' this mornin'. +I'd like to see this night by day. + +DR. BOXER + +Now I'm goin' to blaspheme a bit. I'm not opposed to the building of +churches at all. + +LANGHEINRICH + +An' I ain't neither. People gets work! I didn't get any this time, +though. An' even if there's a little trouble now an' then, Pastor +Friderici an' a bit o' nonsense with coloured windows an' altar +cloths--that don't do no harm. People has to have a little. + +DR. BOXER + +Yes, those people are entitled to cultivate their own pleasures. And +then, Langheinrich, a higher principle has to be represented somehow. + +LANGHEINRICH + +Sure, an' it brings people out here too, you c'n believe me. Buildin' +lots has gone up considerable. + +EDE + +That's so. An' there was a man onct that didn't have no roof over his +head ... No, that ain't the way to begin what I want to say.--I was onct +out on the heath--far out. All of a sudden: what d'you think I heard, +Doctor! I heard a dickens of a screechin'.--I goes up to it. Crows! Yes, +sir. There was a feller hangin' high up in a pine tree--tailor's +journeyman from over in Berkenbruck: he hanged hisself on account o' +starvation--hanged hisself high up.--Yes, there's always got to be +somethin' higher! + + [_While they finish drinking their beer the long-drawn cries of pain + of a man's voice are heard from some distance. The wind has risen + considerably._ + +DR. BOXER + +What is that? + +EDE + +Rauchhaupt. Nothin' to worry about. + +LANGHEINRICH + +Sounds kind o' gruesome, don't it? 'Tain't nothin' very lovely neither. +When that feller's pains in his leg gets hold o' him an' he roars out +that way o' nights--that goes right through an' through any one. No, +before I'd stand pain like that I'd go an' put a bullet through my head. + +EDE + +Gee-rusalem! That's a wind again. Look out, Doctor, that your hat don't +fly away. + + _A hat is whirled by the wind along the street. SCHMAROWSKI, hatless, + a roll of paper in his hand, runs chasing it._ + +EDE + +Run along, sonny! Right on there! Show us what you c'n do! + +DR. BOXER + +That hat is tired of his position: wants a holiday. + +SCHMAROWSKI + +[_Who has recovered his hat, turns angrily to DR. BOXER._] What was that +very appropriate remark you made just now? + +DR. BOXER + +That you are an excellent runner. + +SCHMAROWSKI + +Schmarowski! + +DR. BOXER + +Boxer! + +SCHMAROWSKI + +Much pleased.--Now I'd like to ask you a question. Do you know what a +fathead is? + +DR. BOXER + +No. + +SCHMAROWSKI + +You don't? Neither do I. But now tell me: you know what a _schlemihl_ is, +I suppose. + +LANGHEINRICH + +Nothin' broke loose here? What's all this about? Easy now, easy! Howdy +do, Mr. Schmarowski? How are you? Have you come to visit your +mother-in-law? + +SCHMAROWSKI + +I have business here!--And before I forget it, I should like to say: Have +the goodness to be more careful. + +DR. BOXER + +Who is this amusing gentleman, Langheinrich? + +EDE + +That's Mrs. Wolff's son-in-law. + +SCHMAROWSKI + +I'll have no dealings with you at all. + +EDE + +Naw, you better not. + +SCHMAROWSKI + +Not with you--[_Turning to DR. BOXER._] But if you don't know who I am, +you can get information from Baron von Wehrhahn, the Right Reverend +Bishop, the Baroness Bielschewski and the Countess Strach. + +DR. BOXER + +You want me to go around and get information from all those people? + +SCHMAROWSKI + +That's what you're to do--just that an' nothing else. Then maybe you can +be more careful in future an' look people over before you talk. + +LANGHEINRICH + +What's gotten into you to-day? You're so dam' touchy! + +SCHMAROWSKI + +[_To DR. BOXER, who has glanced at EDE and LANGHEINRICH alternately with +serene laughter._] You just be so good an' be more careful: we ain't so +soft. We don't take jokes so easy, especially not from the race to which +you ... + +LANGHEINRICH + +Hold on, Mr. Schmarowski! That's enough! Nothin' like that here. That's +enough an' too much, Mr. Schmarowski. You just see about gettin' along on +your way now. + +SCHMAROWSKI + +Do you know where I am going straight from here? + +LANGHEINRICH + +You c'n go straight ahead to the Lord hisself! You c'n go where you want +to, Schmarowski; only, don't be keepin' me from my work. We ain't got no +time to lose here!--Ede, put that axle in! + + _SCHMAROWSKI exit, enraged._ + +EDE + +Good-bye! + +DR. BOXER + +So that was Mr. Schmarowski, the envied pillar of the church? Why, he's a +poisonous little devil! + +LANGHEINRICH + +Yes, you're right there! Pois'nous is what he is. So you didn't, know +him, Dr. Boxer? Well, then you've seen him now--nothin' but a little, +sly, venomous pup! But you ought to go an' watch him when he gets in with +that pious crowd. Then he lets his ears hang, so 'umble his own mother +wouldn't hardly know him, like as if he was sayin': I ain't goin' to live +more'n two weeks at--most an' then I'm goin' to heaven to be with Jesus. +Yes! Likely! There's another place where he's goin'. But that won't be +soon. He ain't thinkin' of it much yet. An' in the meantime he rolls his +eyes upward 'cause somethin' might be hangin' round that he c'n make a +profit on. + +EDE + +Well, you c'n look out now! Yon ain't goin' to get no work on the new +institution. + +LANGHEINRICH + +I know that. Can't be helped. Things is as they is. Can't hold' my tongue +at things like that. I won't learn that in a lifetime. + +DR. BOXER + +Have you many of that kind hereabouts now? + +LANGHEINRICH + +So, so. Enough to last for the winter. + + _RAUCHHAUPT has come out of the little gate. He faces the wind, + shades his eyes with his hand and peers around._ + +RAUCHHAUPT + +Lord A'mighty! Well, well! Things is goin' the queerest way to-day! When +is they comin' back--them Fielitzes? + +LANGHEINRICH + +That ain't goin' to be so very soon to-day. They've gone to buy a +seven-day clock, a regulator. What are you upset about to-day? + +RAUCHHAUPT + +Wha'? Fielitz goin' to buy that kind of a clock? I don't believe's he c'n +survive that. [_Calls._] Gustav! + +LANGHEINRICH + +Ain't he come back yet? I guess he's listenin' to the bells. You know how +he sits an' listens when they ring. + +RAUCHHAUPT + +I don't know. Things is goin' queer to-day. Mrs. Fielitz sent for him to +come over. Horseradish seed is what she said she wanted. An' then she +goes an' leaves for the city. + + [_Exit, shaking his head._ + +EDE + +They been stalkin' about since four o'clock in the mornin'. Up an' down +they went with their bull's-eye lantern. I don't believe they went to bed +at all. + +LANGHEINRICH + +Well, if Fielitz has gone to buy a clock you can't expect him to eat or +drink or sleep. + +RAUCHHAUPT + +[_Behind the fence._] Gustav! + +DR. BOXER + +The boy is coming now, running along. + +LANGHEINRICH + +That's right. Rauchhaupt! Here's Gustav! + + _GUSTAV comes prancing up, highly excited, gesticulating violently. + He points in the direction from which he has come._ + +EDE + +Is that there a war dance you're tryin' to perform? Looks like the +cannibals' goin's on. I believe that brat feeds on human flesh. + +LANGHEINRICH + +Hurry now an' run to your father. + +EDE + +Go on now! + +LANGHEINRICH + +Get along with your horse-radish. + + _GUSTAV gesticulating, puts his hollow hand to his mouth and toots in + imitation of a trumpet. Laughter._ + +EDE + +Where's the fire, you little firebrand? + +LANGHEINRICH + +Ede, catch hold o' him! + +EDE + +All right. [_He tries to creep up to GUSTAV. The latter observes this, +gives a loud toot and, still tooting, hurries away, dropping a box of +matches as he does so._] Hallo! + +LANGHEINRICH + +What's that? + +EDE + +Just what I need. + +LANGHEINRICH + +What? + +EDE + +Safetys! A whole box full. + + _MRS. SCHULZE comes rushing down the stairs._ + +MRS. SCHULZE + +Mr. Langheinrich! + +LANGHEINRICH + +Well, what? + +MRS. SCHULZE + +Mr. Langheinrich! + +LANGHEINRICH + +Here I is! + +MRS. SCHULZE + +It's ... it's ... it's ... over at ... + +LANGHEINRICH + +Anything about the missis? + +MRS. SCHULZE + +No, at Fielitzes'. + +LANGHEINRICH + +Is that so? Nothin' about my wife? Well, then,--[_he shakes her_]--just +stop to get your breath. Things is as they is. I'm prepared for +anythin'--life an' death. I gotta stand it. + +MRS. SCHULZE + +The engine! + +LANGHEINRICH + +What kind o' talk is that? Anythin' wrong with you? + +MRS. SCHULZE + +No; it's burnin'! + +LANGHEINRICH + +Go an' blow it out then!--Where is it burnin'! + +MRS. SCHULZE + +At the Fielitzes'! + +LANGHEINRICH + +Good Lord! That ain't possible! + + [_He drops the iron file and some nails which he has been holding._ + +EDE + +Where's the fire? + +MRS. SCHULZE + +At Fielitzes'; the flame is comin' out o' the skylight. + +DR. BOXER + +[_Has stepped forward._] Confound it all, but it's smoky! Come here! You +can see it well from here. + +EDE + +[_Also stares in the direction of the fire. His expression shows that a +complete understanding of the situation has come to him, which he +expresses by a conscious whistling._] There ain't no words for this; I +just gotta whistle. + +LANGHEINRICH + +Ede! Run over to Scheibler's! Run! Get the horses for the engine! That +smoke's comin' up thick over the gable. + + [_He rushes into the smithy, throws his apron aside, puts on a + fireman's helmet, belt, etc._ + +MRS. SCHULZE + +An' nobody at home there, goodness gracious! + +DR. BOXER + +That's the lucky part of it, after all. + + _The roaring of the fire alarm trumpet is heard._ + +MRS. SCHULZE + +You hear, Doctor? They're tootin' already! + +LANGHEINRICH + +[_Reappears in his fireman's uniform._] You get out o' the way here, old +lady. Go an' attend to things upstairs. Nothin' to be done here with a +syringe. You go up to my wife. Hold on! We gotta have the key to the +engine house. The devil! + + _MRS. SCHULZE withdraws into the house. RAUCHHAUPT'S head reappears + on the other side of the fence._ + +RAUCHHAUPT + +My, but there's a smell o' burnin' in the air. + +LANGHEINRICH + +Sure it smells that way. There's a fire at the Fielitzes'. + +RAUCHHAUPT + +The devil! I didn't know nothin' about that! + +LANGHEINRICH + +That's all right, old man. Wasn't you a constable onct? + + [_He rushes away._ + + _A fourteen-year-old boy comes madly hurrying up._ + +THE BOY + +[_To DR. BOXER._] Master! The key to the engine house! They can't get in +to the engine. + +DR. BOXER + +I'm not the fireman! Just keep cool! + +THE BOY + +They wants you to come to the engine right off. + +DR. BOXER + +You didn't hear what I told you. + +THE BOY + +There's a fire! + +DR. BOXER + +I know that. The engine master has left. He's reached the engine long +ago. + +THE BOY + +There's a fire. They wants you to come down to the engine! + + [_He runs away._ + + _RAUCHHAUPT appears at the gate. Two LITTLE GIRLS cling to his rags._ + +RAUCHHAUPT + +I'm used to that! It don't excite me a bit! Mieze! Lottie! You c'n come +an' see somethin'.--I seen hundreds an' hundreds o' fires, + +DR. BOXER + +[_Takes off the leathern apron._] It's a very sad thing for those people, +though! + +RAUCHHAUPT + +Everythin' is sad in this here world. It's all a question o' how you +looks at it! The same thing that's sad c'n be mighty cheerin'. Now +there's me: I raises pineapples, an' my hothouse wall ... it's right up +against Fielitzes' back wall. Now I won't have to keep no fire goin' for +three days. + + _A somewhat OLDER GIRL also comes out through the gate and nestles + close up to the others. MRS. SCHULZE leans out from the window in the + gable._ + +MRS. SCHULZE + +[_Addressing someone in the room behind her._] Missis, you c'n be reel +quiet! The wind's blowin' from the other side. + + [_She disappears._ + +RAUCHHAUPT + +Did you see that there old witch? She always knows where the wind comes +from.--I retired from all that, yessir! I didn't want to be a old +bloodhound right along. I don't mix in them things no more. But that +woman--she could be a keen one. [_A fireman, blowing his horn very +excitedly, walks by._] Go it easy, August! Patience! Look out, or your +breeches will bust! + +THE FIREMAN + +[_Enraged._] Aw, shut up! Go an' hide yourself in the holes you're always +diggin. + + [_Exit._ + + _A FOURTH and a FIFTH GIRL, aged nine and ten years respectively, + join the old man._ + +DR. BOXER + +[_Laughing._] That's quite a fierce fellow. + +RAUCHHAUPT + +Gussie, Nelly, gimme your hand.--That's all nothin' but hurry. That +feller don't know what's goin' on in this world. He's blowin' the trumpet +of Jericho, I'm thinkin', or maybe even the trump o' Judgment Day!-- + +DR. BOXER + +I don't think I quite take your meaning, Mr. Rauchhaupt. + +RAUCHHAUPT + +Maybe Mrs. Wolff was only tryin' to scorch roaches. All right. Maybe, for +all I care, 'twas somethin' else. But if Mrs. Wolff ever puts _her_ hand +to somethin'--there ain't very much left. + +DR. BOXER + +What do you mean by that? + +RAUCHHAUPT + +Oh, I was just thinkin'. + + [_He withdraws, together with the children._ + + +THE CURTAIN FALLS + + + + +THE THIRD ACT + + + _The court-room of JUSTICE VON WEHRHAHN. A large, white-washed room + level with the ground. The main door is in the left wall. Along the + wall to the right is the large official table covered with books, + documents, etc. Behind it stands the chair of the justice. By the + middle window, small table and chair for the clerk of the court. In + the foreground, right, a book case of soft wood, and on the left + wall, shelves for documents and records. A small door in the + background. Several chairs._ + + _GLASENAPP sits at his small table. The JUSTICE'S chair is + unoccupied._ + + _In front of the official table DR. BOXER, LANGHEINRICH in his + uniform of a captain of the fire brigade, EDE and THREE FIREMEN are + waiting. They are engaged in a rather excited conversation. All are + red with heat, stained with mud, wet and sooty._ + + _MRS. SCHULZE, somewhat pale, is resting in a chair and waiting + likewise. She is in a very thoughtful mood. Repeatedly she takes off + her headkerchief and puts it on again and arranges her grey hair._ + + _The action takes place on the same day as that of the first act, + five hours later._ + + _The conversation suddenly ceases._ + + _JUSTICE VON WEHRHAHN enters betraying a high degree of official + zeal. He covers his left eye with his left hand as though in pain, + sits down behind the table, takes his hand from his eye, which + twitches painfully, and begins._ + +WEHRHAHN + +Well, what's the result of this wretched mess? + +LANGHEINRICH + +[_Noticeably stimulated by exertion, whiskey and beer._] I've come to +announce, Baron, that the whole business is burned down. + +WEHRHAHN + +[_Throwing down on the table an object which he has brought with him. It +is seen to be a photograph in a frame of deer feet._] That's because +you're all only half awake! You're all made that way. Yon drowse around +and do nothing. We're not three miles distant from Berlin; our entire +activity should have a different air! + +EDE + +[_Softly to DR. BOXER._] The fire did have air enough, eh? + +LANGHEINRICH + +Your honour.... + +WEHRHAHN + +Never mind. I know all about it. + + [_He pulls out his handkerchief, wipes the perspiration from his + forehead and taps his eye._ + +LANGHEINRICH + +Your honour, I'd like to lay claim, humbly, to some credit ... We did our +part honestly. We was on the spot with the engine. + +WEHRHAHN + +Then get a better engine! + +LANGHEINRICH + +But if you can't get no water! + +WEHRHAHN + +You managed to get plenty of beer. + +LANGHEINRICH + +-----------? + +EDE + +Puttin' out a fire makes you thirsty! + +WEHRHAHN + +That seems undoubtedly to have been the case.--Glasenapp, will you come +and look? Something flew into my eye. [_GLASENAPP jumps up and +investigates._] I had just examined Mrs. Schulze when the north gable +caved in. It must have been a spark or something like that.--By the way, +hasn't Mrs. Schulze been here? + +MRS. SCHULZE + +Here I is. + +GLASENAPP + +Yes, Baron. + + _WEHRHAHN motions him away. GLASENAPP steps back and goes over to his + table._ + +WEHRHAHN + +To proceed, then. It has come to my ears ... Mrs. Schulze has informed +me, that a certain incident took place in front of your smithy.--It seems +that you saw that worthless boy immediately before the flame rose and +that he had a box of matches. How is it now with this story of the +matches? Tell us what you know! + +LANGHEINRICH + +He had a box o' matches. That's so. + +WEHRHAHN + +And he let it fall. + +EDE + +An' I picked it up. Yessir. + +WEHRHAHN + +You? + +EDE + +Me. Same person you see. Here's the box. All the matches ain't there no +more 'cause I smoked several times ... + + [_He places the box of matches on the official table._] + +WEHRHAHN + +[_Unpleasantly impressed by EDE'S manner, takes up the box and fixes his +eyes upon him._] You helped along vigorously, I suppose? + +EDE + +You bet! 'Tain't no fun otherwise. + +WEHRHAHN + +I meant especially in the consumption of beer. + +EDE + +That's what I thought you meant. Yessir! + +WEHRHAHN + +You seem to be in a very playful mood. + +EDE + +Merry an' larky--that's my motto, your honour! + +WEHRHAHN + +Delighted to hear that, I must say.--Look here, are you Dr. Boxer? + +DR. BOXER + +Quite right. Dr. Boxer. + +WEHRHAHN + +So you are he! Aha! I would hardly have recognised you. Your mother still +has the little notion shop here.... Your father was a--er--tradesman--? + +DR. BOXER + +[_Voluntarily misunderstanding him._] Yes, my father was in the reserve +forces and was decorated with the Iron Cross in 1870. + +WEHRHAHN + +Ah, yes. Of course. I recall.--Your mother came running to my office +recently and brought along several stones. Her kitchen windows had been +broken, I believe. Mischievous boys, no doubt. I investigated, of course. +I'm told you want to settle down here?--There's a very good physician +here now--formerly of the army staff--very capable. + +DR. BOXER + +I don't doubt that for a moment. + +WEHRHAHN + +To be quite frank--as things are now--I wonder whether this is an +appropriate territory for you? + +DR. BOXER + +I can take some time to discover that. + +WEHRHAHN + +Naturally. So can we. So continue, please.--What was it that you +observed, Dr. Boxer? + +DR. BOXER + +The incident of the matches certainly. + +WEHRHAHN + +The incident of the horn blowing and of the matches. + +DR. BOXER + +Certainly. + +WEHRHAHN + +Where were you when all this took place? + +DR. BOXER + +I stood in front of Langheinrich's smithy. + +WEHRHAHN + +Did you have any particular business there?--You needn't get impatient at +all. I understand that it doesn't concern me at present. Your sympathetic +affinity for the working classes is known to us from of old.--The boy +will be arrested now. I imagine that Constable Tschache has captured him. +At all events--is on his trail. He was seen, in Rahnsdorf too. Please +call in Sadowa! + + [_GLASENAPP withdraws by the rear door._ + +DR. BOXER + +Am I dismissed now, your honour? + +WEHRHAHN + +Extremely sorry; no. Kindly wait.--Mrs. Schulze, where is your nephew +keeping himself today? I haven't seen him all day long. Does any one know +where Constable Schulze is? + +EDE + +[_Softly._] He might send out a warrant after him. + +WEHRHAHN + +Doesn't any one know where Constable Schulze is?--Has any one interviewed +Mrs. Fielitz? Or hasn't she returned from Berlin yet?--I want somebody to +go to Councillor Reinberg.--[_To GLASENAPP, who is just returning._] Mr. +Schmarowski, Mrs. Fielitz's son-in-law, is there submitting his +building-plans. The news should be broken to him gently. + +EDE + +[_Softly to BOXER and LANGHEINRICH._] Yes, gently, so he don't stumble +over the church steeple. + + [_DR. BOXER and LANGHEINRICH restrain their laughter with + difficulty._] + +WEHRHAHN + +[_Observing this._] Does that strike you as very amusing?--I don't know +what other reason you should have to laugh, Langheinrich. When people are +hardworking and ambitious and a fright like this comes to them--a +visitation from God--we might properly say: God protect us from such +things! I see nothing to laugh at.--Did you have the impression ... did +the boy seem to you ... I mean, in reference to this affair--as if things +were not quite right with him? + +EDE + +[_Softly to BOXER and LANGHEINRICH._] We knows where he ain't quite +right! + +WEHRHAHN + +Did he arouse your suspicion? Yes or no? Or did the thought actually +occur to you that he might have started the fire? + +DR. BOXER + +No. I have become too much of a stranger here. The conditions seem to +overwhelm me. + +WEHRHAHN + +In what respect? + +DR. BOXER + +[_With assumed seriousness._] I have returned from a very narrow life. +Out on the ocean one becomes accustomed to a certain narrowness of +outlook. And so, as I said, I hardly feel capable of any comment for the +present and must ask for the necessary consideration. + +WEHRHAHN + +We're not discussing conditions. The thing that lies before us is a +concrete case. For instance: whether the boy tootled or not--what has +that to do with narrowness or breadth of outlook? + +DR. BOXER + +Quite right. I haven't been able to get a general view yet. I can't so +suddenly find my way again. I feel, naturally, the importance, the +seriousness of the conditions here at home and that makes me feel +hesitant. + +WEHRHAHN + +He did tootle this way, through his hand, didn't he? You heard that too, +didn't you, Langheinrich? + +LANGHEINRICH + +Sure, he did it right out loud. + +EDE + +When a feller tootles so tootin'ly that you c'n rightly say he's +tootlin', then you c'n hear that there tootlin' tootin'ly. + +WEHRHAHN + +[_To LANGHEINRICH._] Did you observe anything else that aroused your +suspicions? I mean, while you were extinguishing the fire? Were there any +indications that pointed in another direction, or that might, at least, +point in another direction? [_LANGHEINRICH thinks for a moment, then +shakes his head._] You didn't get inside of the house, did you? + +LANGHEINRICH + +I just barely glanced into the room. Then the ceiling came crashin' down. +A hair's breadth sooner an' I'd ha' been smothered. + +WEHRHAHN + +The fire was started from without. Constable Tschache is quite right in +that supposition. Probably from behind where the goatshed is. That would +also be in agreement with your evidence, Mrs. Schulze! You saw him creep +around the house. Right above the goatshed there is a window from which, +as a rule, straw was sticking out. I myself made that observation. And +this window gives on Rauchhaupt's garden. This window tempted the boy. It +tempted him because he had it daily before his eyes. So he simply climbed +on the roof of the shed and from there reached the sky-light. Very +pleasant neighbour to have--I must say!--Who's that crossing the street +and howling so? + +GLASENAPP + +[_Looks through the window._] Shoemaker Fielitz and his wife. + +WEHRHAHN + +What? Is that Mrs. Fielitz who comes howling so? It's enough to melt the +heart of a stone. + + _MRS. FIELITZ, whose loud, convulsive weeping has been audible before + she appeared, enters, leaning upon the SEXTON and followed by HER + HUSBAND, who carries a large, new clock carefully in his arms. + FIELITZ and HIS WIFE are both in their Sunday clothes._ + +WEHRHAHN + +Well, heavens and earth, Mrs. Fielitz! Trust in the Lord! Our trust in +the Lord--that's the main thing! This isn't a killing matter.--Get a +drink of brandy, Nickel! Go over and ask my wife for it. Mrs. Fielitz has +got to be brought to her senses first.--Do me a favour, Mrs. Fielitz, and +stop your outburst of tears. I can feel for you, when it comes to that. +Quite a severe blow of fate. Have any valuables been destroyed? [_MRS. +FIELITZ weeps more violently._] Mrs. Fielitz! Mrs. Fielitz! Listen to me! +Please listen to what I say to you! Kindly don't lose your reason! D'you +understand? Don't lose your head! You're generally a sensible +woman.--Well, if you won't, you won't.--[_NICKEL, who has been gone for a +moment, returns with a brandy bottle and a small glass._]--Give her the +brandy; quick,--I'll address myself to you, Fielitz. I see that you're +quite collected, at least. That's the way a man ought to be, you +understand. In any situation--be that what it may. So, Fielitz, you give +me some information! I'll put the same question to you first: Have any +valuables been destroyed? + +FIELITZ + +[_He is only partially successful in restraining the convulsive sobs that +attack him while he speaks._] Yes. Six bills ... banknotes! + +WEHRHAHN + +Well, I'll be blessed! Is that true? And, of course, you don't even know +the numbers! My gracious, but you're careless people! One ought to think +of such things! But that does no good now. Fielitz, do you hear me! One +ought to take some thought.--Now he's beginning to howl too! Do you +understand me? The place for ready money is a bank! And anyhow--the whole +business! One doesn't leave one's property alone like that! One shouldn't +leave it quite unprotected, especially with such a crowd in the +neighbourhood as we have here! + +FIELITZ + +I ... aw ... who'd ha' thought o' such a thing, your honour? + +WEHRHAHN + +Why don't you lay that clock down? + +FIELITZ + +I'm a peaceable man, your honour. I--I--I--I--Oh, Lordy, Lordy! I can't +tell you nothin', how that there thing happened.--I'm on good terms with +people; I don't quarrel with nobody ... I has made mistakes in my life. +That happens when a man ain't got no good companions. But that people +should go an' treat me this way! No, I ain't never deserved that. + +MRS. FIELITZ + +[_Weeping._] Fielitz, what has I always been tellin' you? Who's right +now, eh? Tell me that: who's right now? You didn't make no enemies on +_our_ account. Them's very different stories--them is. An' I guess Mr. +von Wehrhahn knows somethin' about that! + +FIELITZ + +Aw, mother, keep still. That there, that was my dooty. + + [_EDE, half seriously, half in jest, makes a threatening gesture + behind FIELITZ. WEHRHAHN observes this._ + +WEHRHAHN + +Look here, you there! What's that you did? You stood behind Fielitz and +shook your fist over his head. + +EDE + +Maybe I'm weak in the chest, but I don't rightly know. + +WEHRHAHN + +Listen: I'll tell you something. The place for insane people is the +asylum. But if you behave with any more impudence, you'll first be taken +to gaol!--I didn't understand you quite rightly, Mrs. Fielitz. You +insinuated something just now. Have you any suspicions in that direction? +I don't care to express myself more clearly. But do you suspect a--how +shall I express it--an act of, so to speak, political reprisal? In that +case you must be absolutely open. We shall then certainly get to the +bottom of it. + +MRS. FIELITZ + +No, no, no! I ain't got no suspicion. I'd rather go an' beg on the public +roads. I don't want to accuse no human being. I don't know. I can't make +nothin' of it at all. That's what I says again an' again. I don't know +nothin'.--Everythin' was locked up. We went away. The kitchen fire was +out; the top o' the oven was cold. Well, how did it happen? I can't +understand it, nohow. I don't know. But you see, that a feller like that +there feller c'n sit here an' make insinerations--that does hurt a body +right to the soul! + +WEHRHAHN + +Don't permit that to make any impression on you! Where would any of us +be, if we let such things affect us? Any one who goes to church nowadays +has the whole world hooting him. You just stick to me. [_He rummages +among the papers on his table._] By the way, I succeeded in saving +something here--a picture of your late husband. At least, I believe that +that's what it is. It was framed in deer's feet. [_He finds the picture +and hands it to MRS. FIELITZ._] Here! + + _MRS. FIELITZ takes the picture, grasps WEHRHAHN'S hand with a swift + motion and kisses it, weeping._ + +EDE + +[_Audibly._] Has anybody maybe got a bit o' sponge in his pocket, 'cause, +you see, stockin's don't absorb so much water. + +WEHRHAHN + +Make a note of that fellow, Glasenapp! Out with him! At once! You are to +withdraw! + + _EDE withdraws with absurd gestures of his arms and legs. Suppressed + laughter._ + +WEHRHAHN + +I'm really very much surprised at you, Langheinrich. That fellow has a +regular felon's face. One of those knife ruffians; a regular socialist. +He's been in gaol several times on account of street brawls. And that's +the kind of a man that you take into your shop and home. + +LANGHEINRICH + +All that don't concern me, your honour. I don't mix in politics. + +WEHRHAHN + +Oh, is that so? We can afford to wait and see. + +LANGHEINRICH + +If a feller goes an' does his work all right ... + +WEHRHAHN + +Nonsense! Mere twaddle! Let any one tell me with whom he associates and I +will tell him who he is. + + _The murmuring and chattering of a crowd is heard. Constable SCHULZE + enters in full uniform._ + +WEHRHAHN + +Where have you been all day? + +SCHULZE + +[_Utterly disconcerted for some moments. Then:_] We nabbed the boy, your +honour. + +WEHRHAHN + +Is that so? Who did it? + +SCHULZE + +Me and Tschache. + +WEHRHAHN + +Where? + +SCHULZE + +Right near here; by the church. + +GLASENAPP + +He always sits there and listens to the bells. + +WEHRHAHN + +Why didn't you tell us that before? Did he try to escape? Did he run from +you? + +SCHULZE + +He sat in the ditch an' didn't notice us. Tschache could ride close up to +him. An' then we got him by the scruff an' had him tight. + + [_He steps back and grasps GUSTAV, whom_ TSCHACHE is leading in. + Members of the crowd press forward._ + +WEHRHAHN + +H-m! At all events he is here. I'm rather sorry, I must say. He's the son +of a former Prussian constable ... Has any one informed old Rauchhaupt? +Somebody had better go for him. + +MRS. SCHULZE + +I'm takin' care of a sick person, your honour. Maybe I might be able to +get off now? + +WEHRHAHN + +Prepare the record, Glasenapp. No, Mrs. Schulze, you'll have to remain +here for the present. The matter will be finished soon enough.--So let us +prepare the record ... + + [_He leans back in his chair and stares at the ceiling as if + collecting his thoughts for the purpose of dictating._ + +LANGHEINRICH + +[_Softly to DR. BOXER._] Look at Mrs. Fielitz, will you, Doctor? Eh? +Ain't she grown yellow as a lemon peel?--If only that thing don't go +crooked, I tell you. [_He shows to DR. BOXER, who wards him off with a +gesture, something secretly in his hollow hand._] D'you want to see +somethin'? Eh? That's a fuse, that's what. + +DR. BOXER + +[_Softly._] Where did you get that from? + +LANGHEINRICH + +It ain't me that knows! That might come from anywhere in the world. It +might even come from Fielitz's cellar. Yessir. Maybe you don't believe +that? An' if I wanted to be nasty, Doctor ... + +WEHRHAHN + +Private conversation is not permitted here. + +MRS. FIELITZ + +[_Tugs at LANGHEINRICH'S sleeve and asks softly:_] Didn't you meet +Leontine to-day? Where was it? + +LANGHEINRICH + +[_With a triumphant glance at SCHULZE._] Over in Woltersdorf. + +WEHRHAHN + +Well, then, Glasenapp ... This is a horrible state of affairs--the +seventh conflagration this Autumn. And these people pretend to constitute +a civilised society! These firebrands pretend to be Christians. One need +merely step out on one's balcony to see the reflection of a fire +somewhere in the heavens. Now and then in clear nights I have counted the +reflections of as many as five. Contempt of judges and laws--that's what +it is! And that has taken such hold of these scoundrels that arson has +become a kind of diversion.--But they had better go slow. Just a little +patience, ladies and gentlemen! We know the tracks! We are on the right +scent! And the people in question will have a terrible awakening when, +quite suddenly, discovery and retribution come upon them. Any one who is +at all versed in the procedure of criminal justice knows that it goes +ahead slowly and surely and finally lays hold upon the guilty.--But as +Commissioner von Stoeckel quite rightly observed: The whole moral +downfall of our time, its actual return to savagery is a consequence of +the lack of religion! Educated people do not hesitate to undermine the +divine foundations upon which the structure of salvation rests.--But, +thank God, we're always to be found at our place! We are, so to speak, +always on our watch-tower!--And, I tell you, boy: There is a God! Do you +understand? There is a God in Heaven from whom no evil deed remains +hidden. Brotherly love! Christian spirit! What your kind needs is to have +your breeches drawn tight and your behind flogged! I'd make you sick of +playing with fires, you infamous little scamp!--Yes, Dr. Boxer, that is +exactly my conviction. You can shrug your shoulders all you please; that +doesn't disturb me in the slightest degree. You can even take up your pen +and raise the cry of cruelty and unfeelingness in the public prints! +Flogging! Christian discipline--that's what is needed, and no sentimental +slopping around! You understand! + +GUSTAV + +[_Has become more and more excited by the rising enthusiasm of the +speaker. At the end of WEHRHAHN'S oratorical effort he can restrain +himself no longer and breaks out in a loud, deceptively exact imitation +of an ass's bray._] I! a! a! a! I! a! a! a! + + [_General embarrassment._ + +WEHRHAHN + +[_Also embarrassed._] What does that mean? + +GLASENAPP + +I really don't know. + +LANGHEINRICH + +That's Gustav's art, your honour. He's famous for imitatin' animals' +voices. + +WEHRHAHN + +Is that so? And what animal was this supposed to be? + +LANGHEINRICH + +I guess a lion, all right.-- + + [_General laughter._ + + _WEHRHAHN shrugs his shoulders, laughs jeeringly and goes to his + seat. Silence. Then renewed laughter._ + +WEHRHAHN + +I must request silence. This is no place for laughter! We are not +indulging in horse-play for your benefit. We are not trying to amuse any +one. The things we are discussing here are of a deadly seriousness. This +isn't a circus. + + _RAUCHHAUPT enters and stares helplessly about him._ + +MRS. FIELITZ + +[_Tugs at the coat of SCHULZE, who stands near her but with his back +turned. He faces her and she asks with a sorrowful expression._] Did you +see my girl to-day? + + _SCHULZE nods and turns back again._ + +MRS. FIELITZ + +[_As before._] You did see Leontine this morning? + + _SCHULZE nods again and turns away._ + +MRS. FIELITZ + +[_Repeating the action._] An' where did you meet her, Constable? + +SCHULZE + +[_Almost without moving his lips._] It was over beyond Woltersdorf. + +RAUCHHAUPT + +[_To LANGHEINRICH._] What's the matter here? What's all this here about? + +WEHRHAHN + +[_Observes RAUCHHAUPT._] You are a retired Prussian constable? + +RAUCHHAUPT + +[_Having failed to hear the question._] Say, Schulze, what's all this +for? + +SCHULZE + +His honour axed you somethin'. I can't go an' give you no information. +That's against orders. If you'd only ha' kept a better watch on that +there boy! I preached to you about that often enough. + +RAUCHHAUPT + +I don't know what you been preachin'! You ol' mush head! Go on preachin'! + +SCHULZE + +I begs to have it recorded that Rauchhaupt insulted me officially. + +RAUCHHAUPT + +What? 'Cause you're such a old idjit? That's the reason why I insults you +officially.... + +WEHRHAHN + +Man alive! Do you know where you are? Or have you just dropped here out +of the clouds! Confound it all! Stand still! Obey orders! + +RAUCHHAUPT + +Here I is, your honour, an' I humbly announces ... + +WEHRHAHN + +That you are recalcitrant and disorderly! You are trying to get into +trouble! How long have you been retired? + +RAUCHHAUPT + +Eleven years. + +WEHRHAHN + +In addition your memory is probably injured. And anyhow--your whole +appearance! The devil! To think of a former constable looking like that +... I thought I knew all types! + +RAUCHHAUPT + +That's 'cause I am ... You'll kindly excuse ... + +WEHRHAHN + +Nothing is excused here! D'you understand? You actually smell! You +contaminate the air! + +RAUCHHAUPT + +'Tain't nothin' but the smell o' earth ... + +WEHRHAHN + +Horse dung! + +RAUCHHAUPT + +That must be from them pineapples.-- + + [_Laughter._ + +WEHRHAHN + +In short: make haste to get out as soon as possible; otherwise, as I said +... Out! Out! You have probably seen now what is taking place here, and +now you have nothing further to do.--Here are the papers. Constable! Take +them right over to the court. + + [_He hands the papers to SCHULZE. The officers clash their sabres, + grasp GUSTAV more firmly and prepare to lead him out. RAUCHHAUPT + glares about in helpless and growing terror._ + +DR. BOXER + +I have the impression, your honour, that this boy is really a patient. +You will forgive me for mingling ... + +LANGHEINRICH + +The boy's a imbecile--clean daft! + +MRS. SCHULZE + +No, no, Doctor! Oh, no, Mr. Langheinrich, that there boy knows what he's +doin'. I had a hen onct an' she went an' hatched out eleven little chicks +and he goes an' takes bricks an' kills seven of 'em. + +SCHULZE + +That's right, aunt. An' how about that other business, about the little +purse what he stole? + +MRS. SCHULZE + +The little purse, yes, an' what was in it. An' the way he went about that +there thing ... nobody as is well could ha' done it more clever. + +SCHULZE + +An' then, aunt, the shawl ... + +MRS. SCHULZE + +Naw, an' then that there pistol. That boy's got all the good sense he +needs. I'm a old an' experienced woman. + +RAUCHHAUPT + +What's that you is? What? A ole witch with a low, lousy tongue in her +head! You go an' sweep in front o' your own door before you go an' accuse +other people. If somebody was to go an' watch your trade--takin' care o' +babies an' such like an' seein' to it that there ain't no shortage o' +angels in heaven--all kinds o' things might come out an' you wouldn't +know how to see or hear no more.--What's this? What's the matter with +Gustav? I gotta know that--what all this here is! + +WEHRHAHN + +Hold your tongue! [_To the constable._] Right about--march! + +RAUCHHAUPT + +Hold on, I says! Hold on, now! That's no way! Things like that ain't +mentioned in Scripter! I'm the father o' this here child! What's he done? +What do people think he's done? Gustav! What is they accusin' you of? I +went through the Schleswig-Holstein campaign; I was under fire in +'sixty-six; I was wounded in 'seventy. Here's my leg an' here is my +scars. I served the King of Prussia ... + +WEHRHAHN + +Those are old stories that you're telling us. + +RAUCHHAUPT + +... With God for King and Fatherland! But this thing here, no, sir; I +can't allow that. I wants to know what this thing here with Gustav is +about! + +WEHRHAHN + +Look here, my man, you had better come to your senses! I have told you +that once before. In consideration of your service to the state I have +overlooked several things as it is. Well now, I'll do one thing more. +Listen to me! This fine little product--this son of yours, has committed +arson. At least, he is under the very strongest suspicion. Now step out +of the way and don't interfere with the officers in the performance of +their duty. Go on, Schulze! + +RAUCHHAUPT + +Committed arson? That there boy? Over there? At Fielitz's? Gustav? This +here boy? This here little feller? O Lordy! But that makes me laugh! An' +that they ain't all laughin'--that's the funny part. Here, Schulze, don't +you go in for no foolishness! I wore them brass buttons myself +onct!--Howdy-do, Mrs. Fielitz! Well, Fielitz, how are you? Where are you +goin' to hang up that clock o' yours? + +MRS. FIELITZ + +Now he's jeerin' at us atop o' our troubles. + +RAUCHHAUPT + +Not a bit. Why should I be jeerin' at you anyhow? It's a misfortune, you +think! Lord, Lord, so it is! Cats die around in sheds an' the birds they +falls down dead to the earth. No, I ain't jeerin' at you! Anyhow: I ain't +scared o' many things. I've gone for some tough customers in my +time--fellers that none o' the other constables wanted to tackle! This +here finger is bitten through. Yessir! But before I tackles any one like +you--I'll go an' hang myself. + +MRS. FIELITZ + +[_Almost grey in the face, with trembling lips, yet with considerable +vehemence and energy._] What's that man goin' for me like that for? What +did I ever do to him, I'd like to know! Can I help it that things has +turned out this way? I ain't seen nothin'! I wasn't there! I ain't cast +no suspicions on no one! An' if they went an' arrested that boy o' +yours--I didn't know no more about that than you! + +RAUCHHAUPT + +Woman! Woman! Look at me! + +MRS. FIELITZ + +Rot! Stop botherin' me. Leave me in peace an' don't go showin' off that +way! I got enough trouble to go through. The doctor tells a person not to +get excited, 'cause you might go just like that! An' a man like you ... +We don't know where to lie down! We don't know where we're goin' to sleep +to-night! We're lyin' in the street, you might say, half dead an' all +broken up ... + +RAUCHHAUPT + +Woman! Woman! Can you look at me? + +MRS. FIELITZ + +Leave me alone an' go where you belongs. I don't let nobody treat me like +that! I c'n look at you all right! Why not? I c'n look at you three days +an' three nights an' see nothin' but a donkey before me! If this here +thing is put off on your boy now, whose fault is it mostly? How did you +go an' talk about the boy? You says, says you: he steals, he sets fire to +your straw shed--an' now you're surprised that things turns out this way! +You beat this here poor boy ... he used to come runnin' over to me with +so many blue spots on his body that there wasn't a place on him that +wasn't sore. An' now you acts all of a sudden like a crazy man! + + _WEHRHAHN has motioned the officers who grasp GUSTAV more firmly and + lead him toward the door. RAUCHHAUPT observes this and jumps with + lightning-like rapidity in front of GUSTAV, placing his hands on the + latter's shoulders and holding him fast._ + +RAUCHHAUPT + +Can't be done! I can't allow that, your honour. My Gustav ain't no +criminal! I lived along reel quiet all to myself an' now I got into this +here conspiracy. There's got to be proofs first of all! [_To +LANGHEINRICH._] Could it ha' been he, d'you think? [_LANGHEINRICH shrugs +his shoulders._] Them's all a crowd o' thieves around here--that's what +... Gustav, don't you cry! They can't, in God's name--they can't do +nothin' to you ... + +WEHRHAHN + +Hands off! Or ... Hands off! + +RAUCHHAUPT + +Your honour, I'll take my oath o' office, that's what I'll take, that my +boy here is innercent! + +WEHRHAHN + +_Tempi passati_. You're getting yourself into trouble. For the last time: +Hands off! + +RAUCHHAUPT + +Then I'd rather kill him right here on the spot, your honour! + +WEHRHAHN + +[_Steps between and separates RAUCHHAUPT from his son._] Move' on! You're +not to touch the boy! If you dare the constable will draw his sabre! + +RAUCHHAUPT + +[_White as chalk, half maddened with excitement, has loosened his hold on +GUSTAV and plants himself in front of the main door._] Don't do that to +me, your honour, for God's sake, for Christ's sake--don't! That's a point +o' honour with me--a point o' honour! Anythin' exceptin' that! I'll go +instead. I c'n furnish bail. I'll run an' get bail. I c'n get back here +right away! Eh? C'n I? Or can't that be done now? + +WEHRHAHN + +Stuff and nonsense. Move out of the way! + +RAUCHHAUPT + +I knows who it was that did it! + + _WEHRHAHN thrusts RAUCHHAUPT aside and the two officers conduct + GUSTAV out. DR. BOXER and LANGHEINRICH support and restrain + RAUCHHAUPT at the same time. He falls into a state of dull collapse. + Silence ensues. Without saying a word WEHRHAHN returns to his table, + blows his nose, glances swiftly at RAUCHHAUPT and MRS. FIELITZ and + sits down._ + +WEHRHAHN + +Let us have some light, Glasenapp. + + _GLASENAPP lights a lamp on the table._ + +MRS. FIELITZ + +No, no, I tell you; it's bad, bad! A man like that! He goes an' accuses +everybody in the whole place. + +WEHRHAHN + +You! Mrs. Schulze! You can go your ways! + + _MRS. SCHULZE withdraws rapidly._ + +MRS. FIELITZ + +I'd like to ax your honour ... we don't even know where we're goin' to +sleep to-night. + +WEHRHAHN + +Are you asleep now, Fielitz? + +FIELITZ + +[_Frightened from the contemplation of his clock._] Not me, your honour! + +WEHRHAHN + +I thought you were because your head drooped so. + +FIELITZ + +[_With childish bashfulness._] I was just lookin' at the hands. + +WEHRHAHN + +[_To MRS. FIELITZ._] You want to go? + +MRS. FIELITZ + +If it's maybe possible ... I can't hardly stand on them two legs o' mine +no more. + +WEHRHAHN + +I believe that. When did you get up this morning? + +MRS. FIELITZ + +-- -- --? + +FIELITZ + +We both got up around eight o'clock. + +WEHRHAHN + +Do you always get up so late? + +MRS. FIELITZ + +Sure not! That there man is confused to-day in his mind. We got up at +five. We always get up at five! + +WEHRHAHN + +Well, Mrs. Fielitz, you go on home now.--I should be mighty sorry in some +respects ... However, justice goes its way. Murder will out. Criminals +come to a fearful end! The eternal Judge doesn't forget. And--you [_To +RAUCHHAUPT._] might as well go home. Go home and wait to see how things +turn out. I'll let things go this time. Your paternal feeling robbed you +of your senses. + +RAUCHHAUPT + +[_Steps forward._] I should like 'umbly to report, your honour ... + +WEHRHAHN + +Go on! Go on! What else do you want? Let us have no more nonsense, my +good man. + +RAUCHHAUPT + +[_Goes close up to MRS. FIELITZ._] God is my witness! I'll show you up! + + +THE CURTAIN FALLS + + + + +THE FOURTH ACT + + + _The attic room over LANGHEINRICH'S smithy. To the left, two small, + curtained windows. At one of the windows an arm-chair on which MRS. + FIELITZ is sitting. She has aged perceptibly and grown thinner.--At + the second window stands a sewing-machine with a chair beside it. A + skirt at which some one has been working is thrown across the chair. + A bodice lies on the machine itself. A door in the rear wall leads to + a little sleeping-chamber immediately under the roof. To the left of + this door a brown tile-oven; to its right, a yellow wardrobe. In the + right wall there is likewise a door which opens upon the hall. Behind + this door a neatly made bed and a yellow chest of drawers. Above this + chest hangs a seven-day clock. The SHOEMAKER FIELITZ stands in his + stocking feet upon the chest of drawers and winds the clock._ + + _In the middle of the room an extension table. A hanging lamp above + it. Four yellow chairs surround the table, a fifth--of the same set + stands near the bed. LANGHEINRICH and EDE, _dressed in their + working-clothes, are busy at the table. LANGHEINRICH holds an iron + weather-vane which EDE is painting red._ + + _EDE and LANGHEINRICH break out in loud laugh._ + +FIELITZ + +[_Who has been minding the clock while the others have been laughing._] +Somebody's been pokin' around here again. + +LANGHEINRICH + +You c'n bet on that. I s'ppose that's what's happened. You'd better watch +out more. + + [_Renewed laughter._ + +FIELITZ + +All I say is: let me catch some one at it! An' I won't care what happens +neither! + +LANGHEINRICH + +That's right! That's the way! Don't you care who it is, neither. I think +it was Leontine. + +MRS. FIELITZ + +The girl ain't been near that there clock! + +LANGHEINRICH + +Oh, oh! + +FIELITZ + +Somethin's goin' to happen some day. I don't take no jokes o' that kind. + +EDE + +You gotta save that to put it in the shop. + +LANGHEINRICH + +That's the truth! That's what I always been sayin'! That corner shop'll +soon be built now, an' then maybe he won't have no clock to hang up in +it. How could he go an' start a business then! + +FIELITZ + +Firebrands! Pack o' thieves! Laugh if you wants to! You can't never get +the better o' me! + +LANGHEINRICH + +Not a bit, can they! An' that wouldn't do. How many contracts has you +been makin'? I mean about furnishin' people with shoes. You got to have +somethin' to start with! + +MRS. FIELITZ + +Can't you leave the man in peace! + +FIELITZ + +You just go in my room; there you c'n see letters an' contracts lyin' +around--packages an' heaps o' them! + +EDE + +[_Looks into the adjoining room._] I don't see nothin'. + +LANGHEINRICH + +Tear up the floorin': you'll find the docyments hidden there. People has +got to have their business secrets! + +FIELITZ + +O' course they has! An' whippersnappers don't know much about that. Go +an' learn how to read an' write before you go an' mix in my business. + +MRS. FIELITZ + +Come, Fielitz, let them be! Don't lose your temper. You know as +Langheinrich has got to have his joke! That's the way the man is made. + +LANGHEINRICH + +I do feel pretty jolly to-day, an' that's a fac'! I got a piece o' work +done. An' if I don't go an' fall down from the steeple when I puts it +up--I'll go an' christen this here occasion. An' I won't use water. + +MRS. FIELITZ + +Are you goin' to put it up yourself? + +LANGHEINRICH + +You c'n take your oath on that! An' why not? Schmarowski, he designed it. +But I forged it an' I'll put it up. + + _LEONTINE enters._ + +LEONTINE + +You better let Schmarowski do that himself. + +EDE + +Schmarowski ain't afraid o' anything shaky. + +LANGHEINRICH + +No, that's as true as can be, I know. He ain't afraid o' God nor the +devil. That little man ... I tell you, Bismarck is just a coward +alongside o' him! + +FIELITZ + +I'd like to make a inquiry: who is it that built that there new house? + +LANGHEINRICH + +Well, who did? + +FIELITZ + +Me! An' not Schmarowski. + +EDE + +Well, that's certain! We all knows that, Mr. Fielitz. + +FIELITZ + +Right up from the foundation! Me an' nobody but me! That there is my +land, my bricks, my money! All the insurance money's been sunk into that. +Ax mother here if that ain't the fac'! + + [_Laughter._ + +MRS. FIELITZ + +Oh, Lord, Fielitz! Can't you let that be? Has you got to tell them old +stories all over again? + +FIELITZ + +That I has! I got to prove that, mother! I got to let them people know +who I is! Watch out, I tell you, when I makes my speech to-day! + +MRS. FIELITZ + +Schmarowski says there ain't goin' to be no speech makin'. + +FIELITZ + +You can't go an' tie up my tongue, an' Schmarowski can't do it neither! + + [_He withdraws into the adjoining little room._ + +LANGHEINRICH + +You better look out, ole lady, an' see that there ain't no bloody row +raised. There's talk now o' some people wantin' to get ugly. Better be a +bit careful! + +MRS. FIELITZ + +All you gotta do is to keep your eye on him a bit. Treat him to drinks +from the beginnin'. I can't keep that man in order to-day. He's bound to +go to the festival. + +LANGHEINRICH + +Schmarowski got a drubbin' yesterday. + +EDE + +Last night, yes, after the people's meetin'. + +MRS. FIELITZ + +Maybe he went an' gave it to 'em a bit too hot. + +LANGHEINRICH + +That's what he did. That little scamp talked, Mrs. Fielitz! The whole +meetin' just shouted! An' he didn't mind callin' a spade a spade neither. + +MRS. FIELITZ + +He oughtn't to be so hot, I think. + +LANGHEINRICH + +That he ought, just that! An' why not? Do what you can an' go ahead! +That's the way! That whole crowd don't deserve no better. Not Wehrhahn +an' not Friderici. An' anyhow, it was a good thing, Mrs. Fielitz. It was +done just in the nick o' time! Now he's gone an' broken with them +fellers, an' everybody knows it. There ain't no goin' back now. Now he +belongs to us, Mrs. Fielitz, an' I never would ha' thought it of him! + +MRS. FIELITZ + +You got reason to be satisfied with him, I'm thinkin'. Look at the noise +in your workshop with four journeymen ... + +LANGHEINRICH + +That's true, too, an' I'm not denyin' it. He put money in circulation. I +couldn't make friends with Pastor Friderici's collection plate. Couldn't +do it. Now everything's arranged.--Now I want you to keep your eyes open +at the window when I gets up to the top o' the steeple. I'll wave an' +sing out an'--jump down! + + _LANGHEINRICH and EDE exeunt with the weather vane. A brief silence._ + +MRS. FIELITZ + +I wonder if Rauchhaupt will be comin' in to-day? + +LEONTINE + +I don't see, mother, why you're so frightened all the time. Rauchhaupt +ain't nothin' but an old fool. Let him come all he pleases an' jabber +away! Let him, mother. Nobody don't pay no attention to his nonsense! + +MRS. FIELITZ + +They says as he's been talkin' around a lot. + +LEONTINE + +Well, let him! I got letters too. Here's one of 'em again, mother. [_She +throws down a letter in its envelope._] But I don't worry about that. An' +anyhow it's only that assistant at the railroad. + +MRS. FIELITZ + +It might ha' been Constable Schulze, too. + +LEONTINE + +Or that assistant teacher Lehnert--if you want to go on guessin'! + +MRS. FIELITZ + +Well, let 'em! Them fellers is jealous--an' envious o' Schmarowski an' +his new house! They'd like to go an' lay somethin' at our door. But no! +'Tain't so simple as that! + +LEONTINE + +[_Who has been sewing at her machine for a moment._] Look, mama, I found +this here! + +MRS. FIELITZ + +Hurry now, hurry! Don't go an' lose time now. That dress has got to be +ready by two. Adelaide has been sendin' over again!--The one thing you +ought to do is to go down to the cellar an' get that couple o' bottles o' +wine, so's we can drink their health when they come up! You c'n see, +they'll soon be through. + +LEONTINE + +That thing was the Missis' spine supporter. + +MRS. FIELITZ + +She was a poor, wretched crittur: strappin' herself an' tyin' herself an' +squeezin' herself, an' yet she couldn't get rid o' her hump. + +LEONTINE + +Well, why did she have to be so vain! + +MRS. FIELITZ + +Don't grudge her her rest. She's deserved it. + +LEONTINE + +They says that her ghost keeps rappin' up in the top attic where +Langheinrich sleeps. + +MRS. FIELITZ + +Let her be! Let her be! Don't talk no more. Maybe he was a bit rough with +her for all she brought money to him. She had to sew an' sew an' earn +money.... No wonder she can't find no rest. + +LEONTINE + +Why did she have to go an' marry Langheinrich? + +MRS. FIELITZ + +Let them old stories be! I don't like to hear about 'em. My head's full +enough o' trouble without 'em. I don't know what's wrong with me anyhow. +A body sees ghosts enough now an' then without thinkin' o' the past. + +LEONTINE + +I must say, though, that if he's unfaithful to me that way.... + +MRS. FIELITZ + +Langheinrich? Let him go an' be. When it comes to that, there ain't no +man that's any good. If there was to be a single one whom you could go +an' depend on when it comes to that--it'd be somethin' new to me.--Main +thing is to be at your post. The man ain't bad. He means reel well. Be +savin'. You know how careful he is! An' take care o' his bit o' clothes +an' be good to his little girl. He don't object to your boy. [_FIELITZ +re-enters clad in his long, black Sunday coat._] You can't go to that +dinner lookin' like that. Come here an' I'll sew on that there button. + +FIELITZ + +'Tain't possible you'll do that much! Don't go an' hurt yourself now. + +MRS. FIELITZ + +[_Holds his garment with her left hand and sews, still seated._] It ain't +nobody's fault if a body can't get around so quick no more. You gets well +enough taken care of. + +FIELITZ + +Aw, them times is past! You needn't lie atop of it all! I'm like a old +bootjack--kicked in a corner.--Has anybody been shovin' my clock? + +LEONTINE + +It's likely. He's got a screw loose. + + [_Exit._ + +FIELITZ + +You just wait! + +MRS. FIELITZ + +Langheinrich was just jokin'? + +FIELITZ + +I'll show the whole crowd o' you somethin' now that I got on top. I c'n +go an' stand up to any man yet! + +MRS. FIELITZ + +Well, o' course. There ain't nobody doubts that. + +FIELITZ + +I just want you to wait two years an' see who it'll be that has made the +most money: Schmarowski, Langheinrich or me! + +MRS. FIELITZ + +I don't see what grudge you got against Langheinrich? He went an' took us +into his house.... + +FIELITZ + +He did that 'cause he's got his reason an' 'cause he wants a high rent. + +MRS. FIELITZ + +You better be glad he is the way he is. + +FIELITZ + +On account o' that bit o' business with the fuse? You go right ahead an' +let him trample on you. + +MRS. FIELITZ + +What was that there about a fuse? + +FIELITZ + +That business? What d'you s'ppose? Dr. Boxer talked about it too. + +MRS. FIELITZ + +I don't know nothin' about them affairs o' yours. + +FIELITZ + +Mother, I got a good conscience. + +MRS. FIELITZ + +You c'n go an' put it in a glass case. + +FIELITZ + +Mother, I ain't sayin' nothin' else right now ... + +MRS. FIELITZ + +That's all foolishness! + +FIELITZ + +All right. + +MRS. FIELITZ + +Schmarowski was here. How's that now with, the mortgage? + +FIELITZ + +You mean that my mortgage is now the fourth? + +MRS. FIELITZ + +Anybody knows that a buildin' like that costs money. + +FIELITZ + +Schmarowski is sinkin' all his money in bricks an' mortar. + +MRS. FIELITZ + +Nonsense! + +FIELITZ + +It's a fac'! That thing has taken hold o' him like a sickness. + +MRS. FIELITZ + +Main thing is that you agrees. Don't you? + +FIELITZ + +Not a bit! I don't agree to nothin'. I been a agent in my time an' took +care o' the most complexcated affairs. Yes, an' Wehrhahn patted me on the +back an' was mighty jolly 'cause I'd been so sly ... No, mother, I ain't +so green.--I c'n keep accounts! I knows how to use my pen! I'm more'n +half a lawyer! That feller ain't goin' to get the better o' me. + + _SCHMAROWSKI enters very bustling. He has changed the style of his + garments considerably--light Spring overcoat, elegant little hat and + cane. He carries a roll of building plans._ + +SCHMAROWSKI + +Mornin', Mrs. Fielitz. How are you now? Did you get over that slight +cold? + +MRS. FIELITZ + +Thank you kindly; I gets along. Take a seat. + +SCHMAROWSKI + +Yes, I will. I've reely deserved it. I've been on my feet since four +o'clock this morning! Lord only knows how I succeed in staggerin' along. + +FIELITZ + +Mornin'. I'm here too, you know. + +SCHMAROWSKI + +Good mornin'. Didn't notice you at all. I have my head so full these days +... + +FIELITZ + +Me too. + +SCHMAROWSKI + +Certainly. Don't doubt it! Have you anything to say to me? If so, go +ahead, please! + +FIELITZ + +Not this here moment! I got other things to attend to just now. I gotta +go an' meet a gentleman at the station on account o' them Russian rubber +shoes. Later. Sure. But not just now. + + [_He stalks out excitedly._ + +SCHMAROWSKI + +That cobbler makes us all look ridiculous. He plays off in all the public +houses. The other day this thing happened out there in the waiting-room +where all the best people were sittin': he just made his way to 'em an' +talked all kinds of rot about the factories he was goin' to build and +such like. + +MRS. FIELITZ + +The man acts as if he didn't have his right mind no more. + +SCHMAROWSKI + +But you're gettin' along all right. + +MRS. FIELITZ + +Tolerable. Oh, yes. Only I can't hardly stand the hammerin' no more. I +wish we was out o' this here house! + +SCHMAROWSKI + +Patience! For Heaven's sake, have patience now! Things have gone pretty +smoothly so far. Don't let's begin to hurry now. Just a little patience. +I'm as anxious as any one for us to get settled. But I can't do no +wonders. I'm glad the roof is on. I know what that cost me--an' then all +these annoyances atop o' that. [_He shows her a number of opened +letters._] Anonymous, all of 'em, of course. The meanest accusations of +Fielitz, of you, an', of course, of myself. + +MRS. FIELITZ + +I don't know what them people wants. When you got trouble you needn't go +huntin' for insult. That's the way things is, an' different they won't +be. They questioned us up an' down. Three times I had to go an' run to +court. If there'd been anythin' to find out, they'd ha' found it out long +ago. + +SCHMAROWSKI + +I don't want to offer no opinion about that. That's your affair; that +don't concern me. 'S far as I'm concerned, I gave the people to +understand what I am. When people want to get rid o' me, they got to take +the consequences. That's what Pastor Friderici had better remember. I saw +through his game.--But to come to the point, as I'm in a hurry, as you +see. Everything's goin' very 'well--but cash is needed--cash! + +MRS. FIELITZ + +But Fielitz ain't willin'. + +SCHMAROWSKI + +Mr. Fielitz will have to be! + +MRS. FIELITZ + +He's still thinkin' about that corner shop o' his. Can't you keep a bit +o' space for it? + +SCHMAROWSKI + +Can't be done! How'd I end if I begin that way? You got sense enough to +see that yourself. No. There wasn't no such agreement. We can't be +thinkin' o' things like that.--A banker is comin' to this dinner, Mrs. +Fielitz, an' I ought to know what to expect exactly. Everything is bein' +straightened out now. If I'm left to stick in the mud now...! + +MRS. FIELITZ + +I'll see to it. Don't bother. + +SCHMAROWSKI + +Very well. An' now there's something else. Have you heard anything from +Rauchhaupt again? + +MRS. FIELITZ + +Yes, I hears that he don't want to hold his tongue an' that he goes about +holdin' us up to contempt. That's the same thing like with Wehrhahn. I +never did nothin' but kindnesses to Rauchhaupt. An' now he comes here day +in an' day out an' makes a body sick an' sore with his old stories that +never was nowhere but in his head. Maybe ... my goodness ... a man like +that ... he c'n go an' keep on an' on, till, in the end ... well, well +... + +SCHMAROWSKI + +Don't be afraid, Mrs. Fielitz. Things don't go no further now that the +noise is quieted down.--By the way, I see that the carpenters are +assemblin'. I got to go over there an' rattle off my bit o' speech. It's +just this: if Rauchhaupt should come in again, you just question him +carefully a little. There's a new affair bein' started. Got a political +side to it. Immense piece o' business. 'Course I got my finger in that +pie, as I has in all the others now. We'd like to get Rauchhaupt's land +... He bought it for a song in the old days. If we c'n get it--the whole +of it an' not parcelled--there'd be a cool million in it. + +MRS. FIELITZ + +An' here I got two savin's bank books. + +SCHMAROWSKI + +Thank you. Just what I need. There are times when a man can't be sparin' +o' money ... + +MRS. FIELITZ + +The girl is comin'. Hurry an' slip 'em into your pocket. + + _SCHMAROWSKI hastily puts the bankbooks into his pocket, nods to MRS. + FIELITZ and withdraws rapidly._ + +MRS. FIELITZ + +[_Half rising from her chair and looking anxiously out through the +window._] If only they don't go' an' make trouble this day. There's a +great crowd o' people standin' around. + + _LEONTINE returns with the three bottles of wine and the glasses._ + +LEONTINE + +Mama! Mama! He's downstairs again. That fool of a Rauchhaupt is down +there. + +MRS. FIELITZ + +[_Frightened._] Who? + +LEONTINE + +Rauchhaupt. He's comin' in right behind me. + + [_She places the bottles and glasses on the table._ + +MRS. FIELITZ + +[_With sudden determination._] Let him! He c'n come up for all I cares. +I'll tell him the reel truth for onct. + + [_RAUCHHAUPT puts his head in at the door._ + +RAUCHHAUPT + +Is I disturbing you, Mrs. Fielitz? + +MRS. FIELITZ + +No, you ain't disturbin' me. + +RAUCHHAUPT + +Is I disturbin' anybody else then? + +MRS. FIELITZ + +I don't know about that. It depends. + +RAUCHHAUPT + +[_Enters. His appearance is not quite so neglected as formerly._] My +congratulations. I'm comin' in to see if things is goin' right again. + +MRS. FIELITZ + +[_With forced joviality._] You got a fine instinct for them things, +Rauchhaupt. + +RAUCHHAUPT + +[_Staring at her, emphatically._] That I has, certainly! That I has!--I +just met Dr. Boxer, too. He's goin' to come up and see you in a minute, +too. An' I axed him about a certain matter, too. + +MRS. FIELITZ + +What kind o' thing was that? + +RAUCHHAUPT + +About that time, you know! They says that he said somethin' to +Langheinrich that time an' Langheinrich said somethin' to him, too. + +MRS. FIELITZ + +I ain't concerned with them affairs o' yours. Leontine! Go an' get a +piece o' sausage so that they c'n have a bite o' food when they comes +over afterwards. + +RAUCHHAUPT + +The world don't stop movin'. + +MRS. FIELITZ + +No, it don't. That's so. + +LEONTINE + +Wouldn't you like for me to stay here now? + +RAUCHHAUPT + +Yon better be goin' an' buy some silk stockin's. + +MRS. FIELITZ + +What's the meanin' o' that? + +RAUCHHAUPT + +That don't mean, nothin' much. You might think she was a +countess--standin' there at Mrs. Boxer's:--Adelaide, I mean, what's now +Mrs. Schmarowski. There she stood in the shop an' chaffered about a +yellow petticoat. She's a great lady nowadays an' one as wears red silk +stockin's. + +LEONTINE + +People like us don't hardly have enough to buy cotton, ones. + + [_Exit._ + +MRS. FIELITZ + +I wonder what people will say about Adelaide in the end? + +RAUCHHAUPT + +That ain't just talkin'. Them's facts. T'other day the beer waggon +unloaded some beer at Mrs. Kehrwieder's--Mrs. Kehrwieder that's a +washerwoman hereabouts. Well, my lady comes rustlin' up--that's what she +does--an' turns up her nose--she ain't no beastly snob, oh, no!--an' then +she asks Mrs. Kehrwieder: is it reely true that the poor drinks beer? + +MRS. FIELITZ + +You needn't come to me with your rot an' your gossip. + +RAUCHHAUPT + +Anyhow, what I was goin' to tell you is this: I'm on a new scent! + +MRS. FIELITZ + +What kind of a scent is that you're on? + +RAUCHHAUPT + +Mum's the word! I gotta be careful. I can't say nothin'; I don't pretend +to know nothin'. But I kept my eyes open pretty wide, I tell you. There's +detectives workin', too. I been to Wehrhahn, too, an' he told me to go +right on! + +MRS. FIELITZ + +[_Knitting._] O Lordy! Wehrhahn. He's goin' to do you a lot o' good, +ain't he? It'll cost some more o' your money--that's what! + +RAUCHHAUPT + +Mrs. Fielitz, the things we has found out, I'll show 'em up clear as day, +I tell you. You c'n get hold o' the smallest secret. The public +prosecutor hisself pricked up his ears. An' the way you does it is this: +first you draws big circles, Mrs. Fielitz, an' then you draws littler +ones an' littler ones an' then--then somebody is caught! Who? Why, them +criminals what set fire to the house. O' course I don't mean you, Mrs. +Fielitz. + +MRS. FIELITZ + +I'd give the matter a rest if I was you. Nothin' ain't goin' to come out. + +RAUCHHAUPT + +How much you bet, Missis? I'll take you up. + +MRS. FIELITZ + +If nothin' didn't come out at first ... + +RAUCHHAUPT + +How much you bet, Missis? Come now, an' bet. All a body's gotta be is +patient. You ordered Gustav to come over at eleven o'clock with the +seeds. An' just then Mrs. Schulze passed by your door. No, I don't take +my nose off the scent. + +MRS. FIELITZ + +Now I'll tell you something Rauchhaupt. I don't care nothin' about your +nose. But I tell you, if you don't stop but go on sniffin' around here +all the blessed time.... I tell you, some day my patience'll be at an +end! + +RAUCHHAUPT + +Why don't you go an' sue me, Mrs. Fielitz? + +MRS. FIELITZ + +For my part you c'n say right out what you has to say. Then a person'll +know what to answer you. But don't go plannin' your stinkin' plans with +that Schulze woman! I put that there woman outta here! She comes here an' +tries to talk me into lettin' Leontine come over to her. The constable, +he'd like that pretty well. My girl ain't that kind, though. An' now, o' +course, the old witch'd like to give us a dig. Before that she wanted to +do the same to you!--I don't know anyhow what you're makin' so much noise +about! I don't see as anythin' bad has happened to that boy o' yours! +He's taken care of. He's got a good home! He gets nursin' an' good food! + +RAUCHHAUPT + +No, no, that don't do me no good inside. I don't let that there rest on +me--not on me an' not on Gustav. Can't be done! That keeps bitin' into +me. I can't let that go. It cost me ten years o' my life. I knows that! I +knows what I went through that time when I tried to hang myself. I ain't +never goin' to get over that, 's long's I live! I'll find out who was at +the bottom of it all! I made up my mind to that! + +FIELITZ + +Good Lord, an' why not? Go ahead an' do it! Keep peggin' away at it. What +business is it o' mine? Has I got to have myself excited this way all the +time when, the doctor told me how bad it is for me.... + +RAUCHHAUPT + +Missis, there ain't a soul as knows what that was. I knows it. I just ran +home, blind.... couldn't see nothin'! I didn't know nothin' no more o' +God or the world. I just kept pantin' for air! An' then there I lay--like +a dead person on the bed. They rubbed me with towels an' they brushed me +with brushes, an' sprayed camphor all over me an' such stuff! Then I came +back to life. + +MRS. FIELITZ + +How many hundreds o' times has you been tellin' me that? I knows, +Rauchhaupt, that you went off o' your head. Well, what about that? Look +at me! My hair didn't get no blacker from that there business; I didn't +get no stronger from it neither. Who's worse off right now--you or me? +That's what I'd like to know. You got your health; you're lookin' +prosperous! An' me? What am I to-day? An' how does I look? Well, then, +what more d'you want?--I dreamed o' my own funeral, already!--What do you +want more'n that? I ain't goin' to bother nobody much longer. There ain't +much good to be got by houndin' me!... An' that's the truth.--An' anyhow, +you're a foolish kind o' a man, Rauchhaupt. You're so crazy, nobody +wouldn't hardly believe it. First you was always wantin' to get rid o' +the boy ... + +RAUCHHAUPT + +Oh, you don't know Gustav, that you don't! What that there boy could do +when I had him ... an' the way he was kind to children an' such like! An' +the way he c'n sing! An' the thoughts he's got in his head! That there +time when he ran away from the asylum, he went an' he sat down in front +o' the church where he was always listenin' to the bells, an' there he +sat reel still, waitin'. You ought to ha' seen the boy then, Mrs. +Fielitz, the way all that shows in his face. That's somethin'! Only thing +is, he can't get it out the way the likes o' us c'n do it. + +MRS. FIELITZ + +Rauchhaupt, I had worse things 'n that. Yes. I lost a boy--an' he was the +best thing I had in this world. Well, you see? You c'n go an' stare at me +now! My life--it ain't been no joke neither.--Go right on starin' at me! +Maybe you'll lose your taste for this kind o' thing the way you did onct +before. + +RAUCHHAUPT + +Mrs. Fielitz, I'm a peaceable man, but that there ... I'm peaceable, +Missis. I never liked bein' a constable, but ... + +MRS. FIELITZ + +Well, then! Everybody knows that! On that very account! An' now there +ain't nobody as bad as you! You're actin' like a reg'lar bloodhound! Why? +You've always been as good as gold, Rauchhaupt! Every child in the place +knows that! An' now, what's all this about?--You c'n go an' open one o' +them there bottles. Why shouldn't we go an' drink a bit o' a drop +together? [_RAUCHHAUPT wipes his eyes and then walks across to draw the +cork of one of the bottles._]--Fightin' c'n begin again afterwards. I +s'ppose life ain't no different from that.--An' we can't change it. There +ain't nothin' but foolishness around. An' when you want to go an' open +people's eyes--you can't do it! Foolishness--that's what rules this +world.--What are we: you an' me an' all of us? We has had to go worryin' +and workin' all our lives--every one of us has! Well, then! We ought to +know how things reely is! If you don't join the scramble--you're lazy: if +you do--you're bad.--An' everythin' we does get, we gets out o' the dirt. +People like us has to turn their hands to anythin'! An' they, they tells +you: be good, be good! How? What chanct has we got? But no, we don't even +live in peace with each other.--I wanted to get on--that's true. An' +ain't it natural? We all wants to get out o' this here mud in which we +all fights an' scratches around ... Out o' it ... away from it ... higher +up, if you wants to call it that ... Is it true as you're wantin' to move +away from here, Rauchhaupt? + +RAUCHHAUPT + +Yes, Mrs. Fielitz, I been havin' that in my mind. An' why? Dr. Boxer an' +me, we knows why. [_He groans sorrowfully._] It ain't only on account o' +my wantin' to be nearer to Gustav. No, no! I don't feel well in this here +neighbourhood no more. Everybody looks at me kind o' queer nowadays. + + [_The bottle has now been uncorked and RAUCHHAUPT fills two glasses._ + +MRS. FIELITZ + +That's another thing. Why does we care what people think? + +RAUCHHAUPT + +No, no! When a man has done what I has--that's different. When a man's +gone that length--an' a former officer at that--that he's gone an' taken +a rope an' tried.... I don't understand, Missis, I don't understand how I +could ha' done that.--But they cut me down ... that they did. + + [_He drinks._ + +MRS. FIELITZ + +Is it reely true what people says about it? + +RAUCHHAUPT + +You see, it got out, an' people knows! An' that--me bein' a former +officer--when I think o' that! No, no rain an' no wind can't wash that +blot off o' me. + + [_He drinks._ + +MRS. FIELITZ + +I say: let's drink to our health. I don't care about people nor what they +thinks.--But if, maybe, you do want to sell some day--who knows?... I c'n +talk to Schmarowski. You two might agree. + + _DR. BOXER, EDE and LEONTINE enter._ + +DR. BOXER + +You're having a very jolly time here, Mrs. Fielitz. + +MRS. FIELITZ + +Just to-day. It's an exception; that it is! + +EDE + +Young lady! Hey, there! You want to see somethin'? Langheinrich is +dancin' around on the church-steeple! + + _MRS. FIELITZ rises with difficulty and looks out._ + +LEONTINE + +I can't bear to look at things like that even. + +EDE + +Let him fall! He won't fall nowhere but on his feet; he's just like a +cat. + +DR. BOXER + +[_Softly and half-humorously threatening RAUCHHAUPT._] Stop exciting my +patient all the time. A deuce of a lot of good all my doctoring will do +then! + +MRS. FIELITZ + +You c'n leave the man be, Doctor. People has put him up to things. +Otherwise he's the best feller in the world. + +DR. BOXER + +Very well, then! And beyond that, Mrs. Fielitz, how do you feel? + +MRS. FIELITZ + +Well enough. 'Tis true,--[_she points to her breast_]--somethin's cracked +inside o' here. But then! Everybody's gotta get out o' the world +sometime. I've lived quite a while! + +DR. BOXER + +You musn't talk so much! You must keep still longer. [_To RAUCHHAUPT._] +I've got an invitation for you. Mr. Schmarowski saw you going in here, +and so he stopped me and asked me to say that he'd like to have you come +over to the dinner! + +MRS. FIELITZ + +Rauchhaupt--well, o' course. Why not? + +RAUCHHAUPT + +An' I won't go givin' nothin' away yet. + +MRS. FIELITZ + +And you, Doctor? + +DR. BOXER + +[_Quickly._] Heaven forbid! Not I? + +MRS. FIELITZ + +An' why not? Do you bear him a grudge about anythin'? + +DR. BOXER + +I? Bear a grudge? I never do that. But, do you see, I'm a lost man as far +as all this is concerned. I don't deny that it amuses me to watch all +these doings here, but I can't join in them. I'll never learn to do +that.--I will probably go away again, too. + +MRS. FIELITZ + +An' give up such a good practice? + +DR. BOXER + +Sea-faring--that gives a man true health. That is the best practice for +one, Mrs. Fielitz, who is in some respects so little practical. + +MRS. FIELITZ + +You ain't very practical, that's true. + +DR. BOXER + +No, I am not.--Listen, listen, how they're letting themselves go! [_Many +voices are heard in enthusiastic shouting._] Great enthusiasm again! In a +moment they will raise Schmarowski and carry him on their shoulders. They +were about to do it a moment ago. [_A great, confused noise of huzzaing +voices floats into the room._] Well, do you see? Isn't that truly +uplifting? + +LEONTINE + +Mother, look, look who the workin'men is raisin' up! The workin'men is +raisin' him up! + +MRS. FIELITZ + +Who? + + [_She rises convulsively and stares out._ + +LEONTINE + +Don't you see who it is? + +RAUCHHAUPT + +Schmarowski. + +EDE + +That's how it is. I couldn't bear to see that there feller. But now ... +well ... he's got some sense an' he's fightin' for sensible +ideas--against arbitrary an' police power--now, well, I'll drink to his +health, too. + +DR. BOXER + +Well, of course, Ede, naturally you will! + + _FIELITZ enters highly excited._ + +FIELITZ + +Me ... me ... me ... me ... it was me that did it! Go on an' shout, an' +shout! It's that there feller that they lifts up! Let 'em. But I don't +make no speeches like that! Character, conscience--them's the main +things. Yes, it was me as paid an' me as built. But even if Wehrhahn went +an' dropped me--I don't let go my sound opinions! There's gotta be order! +There's gotta be morality! I'm for the monarchy right down to my marrow! +I don't envy him that there triumph! + +DR. BOXER + +Look here, Fielitz! Come over here to the light, will you? I'd like to +examine your eyes.--Don't your pupils move at all? + +MRS. FIELITZ + +[_Pants swiftly and convulsively, throws her hands high up as if in joy, +and cries out half in rapture, half in terror:_] Julius! + +LEONTINE + +Mama! Mama! + +EDE + +She's gone to sleep. + +LEONTINE + +[_Appealing to the DOCTOR._] Mother is swingin' her arms around so! + +DR. BOXER + +Who? Where? Mrs. Fielitz? + +LEONTINE + +Look! Look! + +EDE + +[_Laughing._] Is she tryin' to catch sparrows in the air? + + _DR. BOXER has turned from FIELITZ to MRS. FIELITZ._ + +DR. BOXER + +Mrs. Fielitz! + + _FIELITZ unconcerned by the events in the room, walks excitedly up + and down in the background. RAUCHHAUPT is tensely watching from the + window what takes place without._ + +LEONTINE + +What is it? Mother won't answer at all! + +RAUCHHAUPT + +I believe they're goin' to end by comin' over here! + +DR. BOXER + +What is it, Mrs. Fielitz? What are you trying to do? Why do you move your +hands about in that way? + +MRS. FIELITZ + +[_Reaching out strangely with both hands._] You reaches ... you reaches +... always this way ... + +DR. BOXER + +After what? + +MRS. FIELITZ + +[_As before._] You always reaches out after ... somethin' ... + + [_Her arms drop and she falls silent._ + +LEONTINE + +[_To DR. BOXER._] Is she sleepin'? + +DR. BOXER + +[_Seriously._] Yes, she has fallen asleep. But keep all those people back +now. + +RAUCHHAUPT + +The whole crowd is comin' over here. + +DR. BOXER + +[_Emphatically._] Keep them back! Ede! Turn them back at once! + + _EDE runs out._ + +LEONTINE + +Doctor, what's happened to mother? + +DR. BOXER + +Your mother has ... + +LEONTINE + +What, what? + +DR. BOXER + +[_Significantly._] Has fallen asleep. + +LEONTINE'S + +[_Face assumes an expression of horror; she is about to shriek. DR. BOXER +takes hold of her vigorously and puts his hand over her mouth. She +regains a measure of self-control._] But, Doctor, she was talkin' just +now...? + +DR. BOXER + +[_Gently draws LEONTINE forward with his left hand and places his right +upon the forehead of the dead woman._] So she was. And from now on she +takes her fill of silence. + + _In the background FIELITZ, careless of what has happened, regards + his eyes sharply and intently in a hand mirror._ + + +THE CURTAIN FALLS + + + + + + + + + + + +End of the Project Gutenberg EBook of The Dramatic Works of Gerhart Hauptmann, by +Gerhart Hauptmann + +*** END OF THIS PROJECT GUTENBERG EBOOK WORKS OF GERHART HAUPTMANN, VOL 1 *** + +***** This file should be named 9971.txt or 9971.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/9/9/7/9971/ + +Produced by Charles Aldarondo, Keren Vergon, Thomas Berger +and the Online Distributed Proofreading Team. + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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