[Rises from bed, starts forward and falls back speechless. Enter Henry, Gualo, Winchester, and attendants. Albemarle and Richford stand together. Pembroke dies pointing to them and gazing at the king.]
The Project Gutenberg EBook of Lords and Lovers, by Olive Tilford Dargan
This eBook is for the use of anyone anywhere in the United States and most
other parts of the world at no cost and with almost no restrictions
whatsoever. You may copy it, give it away or re-use it under the terms of
the Project Gutenberg License included with this eBook or online at
www.gutenberg.org. If you are not located in the United States, you'll have
to check the laws of the country where you are located before using this ebook.
Title: Lords and Lovers
and Other Dramas
Author: Olive Tilford Dargan
Release Date: February 22, 2016 [EBook #51282]
Language: English
Character set encoding: UTF-8
*** START OF THIS PROJECT GUTENBERG EBOOK LORDS AND LOVERS ***
Produced by David Garcia and the Online Distributed
Proofreading Team at http://www.pgdp.net (This file was
produced from images generously made available by The
Kentuckiana Digital Library)
BY
OLIVE TILFORD DARGAN
NEW YORK
CHARLES SCRIBNER'S SONS
1906
Copyright, 1906, by Charles Scribner's Sons
All rights reserved
Published, October, 1906
The Trow Press, New York
PART I
[Rises from bed, starts forward and falls back speechless. Enter Henry, Gualo, Winchester, and attendants. Albemarle and Richford stand together. Pembroke dies pointing to them and gazing at the king.]
Ste. [Draining his glass] As good liquor as ever wet an oath since Noah was a vintner.
Bal. Vintner? An you put him in the trade the bishop will have you up for it.
Ste. A groat for your bishop, and that off your grandam's eyes! I'm no little king Henry pulled to mincemeat by his bishops and barons. "I'll take off your mitre," roars he to his bishop. "An you take off my mitre, I'll clap on a helmet, by the lord," says my bishop. "I'll have your castle!" shouts he to his baron. "An you take my castle, I'll give you London tower," says master baron. Ay, and he would, with the keeper thrown in.
Bal. And you too, if you bite not a bit from your tongue.
Ste. By the mass, I'll drink the king's ale, and I'll take the king's money, but I'll fight for none but Hubert de Burgh!
God. And he for the king—so you.
Ste. I care not how you make it. De Burgh is my master. I'll fight for him and with him and after him, but I'll wear a red sword for no bishop or baron or little king Harry in Christendom!
Bal. That may be so with more of us than you, but stop your mouth with good ale and let words alone.
Hub. What cheer, my men? A fair morning for brave hearts. Can you keep this castle for me till I've had a bout at sea?
A soldier. That we can, sir!
Ste. I'll go with you, sir, by your leave. The castle will wait for us, I give you my word, sir.
Hub. You have seen the bottom of your glass too often to-night, Stephen.
Ste. God bless you, sir, there's where a soldier keeps his oath to serve God and his country, and he can't look it over too often. Take me wi' you, sir, and I'll prove you who lifts his glass the highest will wave his sword the longest. [Kneels] I was your father's soldier, sir, and hope to die yours.
Hub. Nay, I must leave trusty souls behind me. Let those who love me least fight under my eye, but I'll trust nay good Stephen around the world.
Ste. [Rising] Ay, sir! Rain arrows, hail bullets, we'll keep the castle against all weather!
Hub. [Presenting Roland] Then here's your brave captain. Follow him now, and farewell, good fellows—farewell, all!
[Soldiers start out slowly, following Roland]
An old soldier. [Turning] But you'll come again, sir?
Another. Ay, we'll see you back?
Another. An you come or come not, I kiss my sword to you, Hubert de Burgh, the bravest knight in all England!
Hub. Why, my hearts, would you start the liquor in my eyes? I go where there's brine enough. Twelve hours' sail with fortune will bring me back—but if I come not, remember your king!
[Exeunt soldiers]
Ger. The bags are all aboard, sir.
Hub. And portioned to every vessel?
Ger. Ay, sir.
Hub. Well despatched?
Ger. The men heaved as though the sacks held all the pope's treasury and they were to take their pay out of it.
Hub. Yet they found the contents not so heavy as gold, I hope.
Ger. Nor so light as feathers, sir.
Hub. But I pray they'll fly as well, and more to the purpose. Aboard with you now. I'll not be long behind you.
[Exit Gersa]
Eld. O, my lady, up all night, and now 'tis barely day you must be going!
Gla. My good Eldra, you would teach my shadow constancy, for you follow me without let or leave from the sun.
Eld. I follow not you but my orders, mistress. Sir Roland says that I must not leave you.
Gla. The gates are all locked. Does he think me a bird to fly over the walls?
Eld. That he does! The bonniest bird that ever sang in Greenot woods. Isn't Sir Roland a man, my lady?
Gla. By his cap and feather, I should not doubt it.
Eld. But a man you may look at, my lady!
Gla. Pray God I may, madam, for 'tis sad to be young and blind.
Eld. Ay, but when I look at Sir Roland I could sing again the song that got me a husband.
Gla. What song? I think you got him with your fair face and honest mind, and he took the song by way of grace with meat.
Eld. True, mistress, I was a fair, canny lass over the border.
Gla. And a fair, canny dame you are now, Eldra. But what was the song?
Eld. It was back summat ten jaunts o' the sun from Lammas to Lammas. I was standing on the rock hills over Logan frith wi' the green woods behind me an' lookin' out to sea. The waves were runnin' high, and the brine in my face gave me such a spirit that in a minute my bonnet was off and I was singing at the top of my voice—
It's a long ballad, but it's out o' my mind now, and who should come up behind me but my man that was to be, and 'twas set then and there we must go to the kirk come Sunday. Ay, it got me a husband, but never a son, for only six months away he was drowned at sea—the very sea that I'd sung so brave t-to——
Gla. Don't cry. He will come sailing back some day with a fortune in his pocket. I don't believe he was drowned.
Eld. I care not what's in his pocket, ma'am, if he bring me love in his heart.
Gla. That he will, I am sure. Where is Orson?
Eld. Bathing his knees in gooseoil, my lady. You kept him at prayers all night for Sir Hubert.
Gla. Why, did we not share his watch?
Eld. Yes, mistress, but when you fell asleep we had not the heart to wake you.
Gla. O, ho! I fell asleep, did I?
Eld. I should hope you did, my lady. For my part I winked but once, and when I woke up you were——
Gla. Asleep?
Eld. No, but you were praying so chipper that I knew you were just at it.
Gla. O, false woman! Do you think I could sleep when Hubert is on the sea? Call Orson to me.
Eld. Orson! Orson!
[Enter Orson, walking stiffly]
Gla. Why, Orson, you carry as much dignity as a watchman that has just let in a duke.
Ors. Mock not affliction got in your service, my lady.
Gla. My service? When did I tell you to sleep all night on your knees?
Ors. Sleep? Sleep, lady?
Gla. Ay, sleep. You are a knave. Bring me my lute.
Ors. Muttering] Sleep! There's thanks for you! [Exit]
Eld. Mistress, you must not play your lute here. The king's men are not like Sir Hubert's, and your voice will quick tell 'em there's a bird in the bower.
Gla. I am not afraid. What are men but creatures like ourselves?
Eld. Like ourselves? La, my lady!
Gla. There's no harm in them. You are a foolish dame.
[Re-enter Orson]
[Taking lute] Good Orson, I am sorry if your knees are stiff. You may have the unguent that Sir Roland brought me from Palestine. Go, Eldra, and get it for him.
Eld. [Aside] An I give him not gooseoil with a dash of cinnamon, I'm no good servant to my mistress. [Exeunt Eldra and Orson]
Gla. I do not like this castle with Hubert away. Sir Roland makes it a prison. If I could get out I should try to find my way to Greenot woods. The doves are nesting now, and the little brown fawns are specked with snow. [Plays lute and sings]
Eld. Dear man, you can't deny it! 'Twas you saved my mistress. But for my good man drowned at sea I'd love you, sweeting.
Ste. And if you love me it must be by way of kiss and part, for my good wife is still in the world, I've reason to think, and some day I shall run plumb into her bonny white arms. But a kiss, my lass, with a penny to the priest, can do a soldier no harm, and you'll always find me obliging in everything except matrimony.
Eld. Out! Away! You old father Longbeard! You Johnny Hump-back!
Ste. Hump! 'Tis the squint in your eye, my dearie! I'm as straight as a poplar in the king's court.
Eld. Squint, sir? May be so, for I'm thinkin' o' my braw handsome man, an' 'twould make a straight eye squint to see you standin' in his place, it would.
Ste. An' I'm thinkin' o' my bonny little girl, as plump and tender as a partridge at her first nest, and out upon you, my fine, fat waddler!
Eld. An my man were here you'd drop to your fours and go like a beast for shame, you would. The prettiest figure 'tween here and Jerusalem! He had an arm! He could sling a sword! And such a leg! Dick Lion-heart never shaped a trimmer stocking. Hair like a raven fannin' the wind! An eye like Sallydeen's! For all the world a black coal with a fire in the middle. No watery peepers like present company's. An his eyes were stars in heaven I could point 'em out!
Ste. O, my sweet wench that's a waitin' for me! When shall I see her comin' with her head up like a highland doe, an' cheeks as red as my grandam's nightcap? I think o' her now as she stood on the high rocks over Logan's frith singin' the song that made the sugar-water start in my heart. And straight I must gallop wi' her to the kirk— Hey, what's the matter, old lady?
Eld. Nothin'—nothin', sir,—just one o' my qualms.
Ste. Do you have 'em ordinary? A pity now. My lass, an she lived a thousand years, would not he qualmsy.
Eld. [Aside] 'Tis Stephen, my own man! And he doesn't know me! O, I am changed from his ain lassie! He despises me! Waddler! O!
Ste. Chirk up, old duck. When I find my lass——
[Re-enter Orson]
Ors. Mistress Eldra, what do you gabbling here and my lady calling you?
[Exit Eldra with Orson]
Ste. Eldra? By Pharo's ghost! Let me see—ten years. It might be—yes—her very complexion—the pert eye—the little foot—the canny twitch to her lips—and her man drowned at sea. Well, I'm pickled. She has built up such a Solomon's glory picture o' me that plain Stephen Godfrey will never get another chance. He had an arm! Ha! Did I? An eye like Sallydeen! A leg like Lion-heart! Ha! [Struts up and down] But now I'm father Longbeard. Well, I'll shave off this weeping willow tree anyhow.
[Re-enter Eldra]
Eld. Good sir, are you here yet?
Ste. [Aside] Good sir! Methinks I grow in favor. Ay, sweet madam.
Eld. [Aside] He's lookin' softer now. Well a day, this is a world. Here they brought me and the lady Glaia to make sure we would be safe, and now they're taking us back for the same reason. Ay me, and a lonely, dreary place it is we're goin' to, with never a civil gentleman like yourself to sit out the night wi' a stoop o' ale an' cakes o' my own raisin'.
Ste. My good madam, if you will give me the tip o' the road, I'll not be a slow traveller when the business of war will let an honest soldier course to his liking.
Eld. O, 'tis secret, sir. My lady is hid away for some reason of God or the devil, and I'll not be so false as to let a stranger on the track.
Ste. Am I a stranger, madam? Did not my good arm no more than an hour ago procure me warrant for better treatment? Come! As you say, there'll be lonely times, and a discreet companion who knows how to keep his tongue behind his teeth will not come amiss on a rainy day.
Eld. [Aside] How can it be harm to tell my own man when the good priest said we were one flesh? 'Twill only be tellin' my own ears. Well, sir, if you'll swear by St.[38] Peter's thumb and the crucifix you'll never let anybody know——
Ste. By St. Peter's thumb and the crucifix—and your black eyes, too—I swear!
Eld. Then take the straight road to—O, I'm afraid!
Ste. Courage, my pretty! There's not a cricket to hear you.
Eld. The straight road to Greenot woods, and two miles in the forest where the brook crosses, ride up the stream half a mile to a tall red ash standin' alone, and three miles by the path to the right brings you to the place you'll find me. Now I've done it! No, don't thank me for bein' a fool.
Ste. Nay, a woman, dearie.
Eld. I must run to my mistress.
[Exit Eldra, Stephen following]
A street in London. Citizens, friars, priests, pass in devout manner, some bearing crucifixes.
First Cit. A day, a day, O, such a day!
Second Cit. 'Twill make a new page in our chronicles, the like ne'er read before.
Third Cit. Nay, when Saxon Edward came back from conquered Wales——
Fourth Cit. Ay, 'twas such a day of holy joy!
Second Cit. But not so general.
First Cit. And guards with arms kept order in the streets.
Third Cit. But now there's no authority abroad save that comes from our hearts. Surely the air is charged with drug of peace, and all men breathe it.
First Cit. Where meets the council? In the Tower chamber?
Third Cit. Nay, at Westminster palace.
The great hall in Westminster. Barons and prelates assembled. Rich surcoats open, revealing arms. Enter Henry and the earl of Kent.
Time: 13th Century
Scene: England
Scene 1. Autumn in Greenot woods near Glaia's cottage. Table, seats, mugs and ale. Enter Eldra with a plate of cakes.
Eld. [Putting plate on table] It's the very day and hour he'll be coming, and he's not the man to count leaves by the roadside. He likes my cookin', as I've had proof, and he looks so cunnin' at me lately I could swear he was fallin' in love all over again. And I'm picking up my looks, I must say. Ay, there's nothin' like a soft tongue for keepin' a woman young. I feel 'most like a lassie, though he did say some words at first that made my heart sore, not knowing me after ten years away. And he's that handsome yet,—since he's shaved off the beard that got so between us I didn't know my own good man that married me in Dummerlie kirk on as sweet a Sunday morn as you ever see, and the priest in a new frock from Wappington, as the housekeeper told me herself—La, I forgot my lady!
[Runs out. Stephen steps from behind a shrub]
Ste. So, mistress, you've known me all the time, have you? And me playin' the fool courtin' my own wife that was ready to jump into my arms at the drop o' a hat! But I'll play you a game, my lady!
[Re-enter Eldra]
Eld. O, Mr. Stephen!
Ste. Ho, Madam Prune-face! A sweet mornin', now ain't it, but a bit briskish as suits the season.
Eld. Prune-face! By my lady's glass, I've not a wrinkle yet as big as the hair on a bat's wing! Plague take the eyes o' him that says it as shouldn't!
Ste. Well, well, I meant no harm, but mickle it takes to pinch a bruise. I brought a message to your lady from Sir Roland——
Eld. Sir Roland? He's a lord now——
Ste. Ay, 'tween the king and Hubert they've made him a lord.
Eld. Hubert! You mean his grace, the earl of Kent?
Ste. He's still my friend, Meggy. The earldom is nothing between Hubert and old friends. And I'm a-climbing too. I've had an advancement, which I don't mind telling you about, but I'll have a bit o' your brew first and a dozen or so o' them cakes, seein' you took the trouble. I could never disappoint a woman as had put herself out for me. [Sits at table]
Eld. [Pouring ale] It has been a long stretch since you were this way, sir.
Ste. Eh? Has it? Well, I don't wonder you think so in this sort o' a place. Not much goin' or comin' round here! But time don't hang wi' Stephen. There's ridin' and fightin' an' the lassies to comfort——
Eld. I thought you were honest. You've bragged enough!
Ste. As honest as a soldier, my dear,—and that ought to content any woman. [Eldra sits at table] Yes, sit if you like. I'm not overproud, though your place is behind a man o' my rank when he's at table. I know I've eaten wi' you and drunk wi' you, but I've had an advancement, Meggy, I've had an advancement. [Takes sip of ale and puts it down] Costmary! Well, let 'em as likes it drink it.
Eld. 'Tis nice and balsamy. I thought you'd like it, and saved it o' purpose.
Ste. Dose me wi' tansy and be done!
[Eldra turns her head to wipe away a tear and Stephen gulps the ale]
Ste. [Bites a cake and puts it down] Poh!
Eld. Don't you like it?
Ste. If I don't mind a lie for manners' sake, I do, but if I've more respect for truth than manners, I don't. Ain't your hand a little out?
Eld. I thought they were extra nice, sir. I'm sure they rose like feathers.
Ste. And may blow away for me! But come, don't hang your head, Meggy. You're too old for that.
Eld. My name is Eldra, sir.
Ste. I know, I know, but I told you that was the name o' my dear lass that's dead and gone——
Eld. Dead and gone?
Ste. That's what I said. If she ain't dead, she's where I can't get her, which is all the same to a soldier, so I've about made up my mind to give over lookin' for her. Lord, don't cry, little chicken! You are a soft one. Cryin' to think I've lost such a jewel o' a lass, but I'll tell you something to make you think better of it. There is somebody up in old Scotland that I think I'll fetch down for the comfort o' Stephen—as bonny a woman as a man need want, wi' enough siller laid up from her old daddy to make a soldier a gentleman. Lizzie o' Logan——
Eld. Oh-h!
Ste. The qualms again? Now devil take a woman as gets queasy just when a man wants to be friendly and talk things over.
Eld. [Aside] Liz o' Logan! My cousin as was always jealous and wanted my Stephen!
Ste. Hey, Meggy! [She runs out, left] Ha, ha, ha! Poor little woman! I'm a villain. I'm twenty villains. [Eldra steals back unseen and hears him] To treat my bonny sweet wife so! The cunningest darling that ever said yes to a soldier! I'll make it all right when she comes back, and won't there be a smackin' o' lips! [Eldra makes signs of joy and revenge and disappears] Where has she gone? Run off to cry her sweet eyes out, I'll warrant! I'll go find her.
[Exit, left. Eldra and Orson come on, rear]
Ors. O, is it true? My faithful heart is blest at last? My rival indeed vanquished? And I—I am your adored one?
Eld. Yes, but don't be a bigger fool than you can help.
Ors. Fool, ma'am?
Eld. There, there, I mean don't forget that you are a man of dignity——
Ors. Ah! Don't trouble yourself.
Eld. And cosset me before folks, like a bumpkin with his first lass.
Ors. I'll be patient—before company. Though I should just like to show that man of blood what my rights are now. But you mean it, Eldra? This is not another jade's trick?
Eld. 'Tis true—always barring that my man don't come back to claim me.
Ors. The fishes keep him! [Re-enter Stephen] Ah!
Eld. [Whispers sweetly to Orson, then discovers Stephen] O, here he is! Now, Orson, I know you'll be friends wi' Mr. Stephen. Just to please me now. You see, sir, Orson's been courtin' me many a year, and I had just about give in like a weak woman, when you came and got me all upset somehow, lookin' so much like my man who was drowned at sea, an' his own name too. I did lose[77] my head so at times I could 'a' sworn you were my very man, but what you said about Liz o' Logan brought me to my right mind again, and Orson is willing to make up, and I'm sure we can all be friends, only me and Orson won't be presumin', an' shame take me to think I ever looked so high as a king's man wi' an advancement—though Orson is a man of dignity now—and—sit down, Orson! [Sits at table and pours ale for herself and Orson] We take a snip together about this time every mornin'. Orson's got no quarrel with the ale cost, and he does love my raisin' o' bread and cake.
Ors. And who doesn't let him starve in a ditch! We don't ask you to sit, Mister Stephen. We know our place, and hope you know yours.
Eld. Ay, a king's man must keep his head high.
Ors. High, my love?
Eld. I mean with an advancement.
Ors. 'Tis well. You know me, Eldra.
Eld. I hope I do, Orson.
Ors. And you must own, my dear, that you came to your right mind in very good time.
Eld. I'm reasonably thankful, Orson. I know what it is to be a soldier's wife.
Ors. They lie not between linen, I warrant you.
Eld. Linen? An they get muslin without begging it, they may thank fortune!
Ors. With never a silk smock for the fair.
Eld. Silk smock? An a new one comes before the old one drops off they may say their prayers for it!
Ors. But we'll be snug enough, my dear.
Eld. That we will!
Ors. And winter coming on. Ah!
Eld. True enough.
Ors. A good fire.
Eld. Yes, my love.
Ors. A little mulled sack, if the night be wet.
Eld. Indeed, my dear! And a hot posset for your cold, curdled with sweet wine.
Ors. Humph! A little tart, I beg you, to give it spice.
Eld. Well, our tastes won't quarrel. I know a wife's place.
Ors. By my life, you do! O, 'tis a merry day! Would I were not a man of dignity now! [Pats her]
Eld. Orson!
Ors. I mean—O, come! 'Tis a merry day! Give us a song, mister soldier!
Ste. I'll give you the devil!
Ors. How, sir? You seem disturbed. Perhaps your reflections are not so happy as mine. It may be your mistress has not such an adoring and adorable eye—can not feast you with her cheeks—[kisses Eldra]—regale you with her lips—[kisses her]
Ste. Scoundrel! Kiss my wife? [Takes him by collar and throws him aside]
Eld. My Stephen!
Ste. My Eldra!
Eld. [Running to his arms] I knew it was you!
Ste. I knew it was you!
Eld. Why didn't you tell me?
Ste. Why didn't you tell me?
Ors. As a man of dignity now, I should like to ask why you didn't tell me!
Ste. [Dancing up and down stage with Eldra] Ay, Orson, 'tis a merry day! Come, come! Here's a good ale for all. To you, Orson! [Drinks] And let the song go 'round!
[All sing]
Eld. Hist! My lady is coming with her knight.
Ste. What knight? Nobody should be coming here but the earl of Kent and my lord of Wynne. Come, lass, what knight?
Eld. O, now it's out, you must be as mum as a dumb man's grave. My lady has a lover, and a sweet young knight he is, too, who rides out every week just for a peep at her. List! You can hear them now, just over the hedge.
Ste. And the master doesn't know! By Heaven, the man's a villain, and I'm a traitor to my lord of Kent if I don't wring his neck!
Eld. Stephen! Stephen!
Ors. Hold, sir!
Ste. Off with you! I'd drag him out an 'twere the king himself! [Leaps through the hedge and pulls the king through] God's mercy! I am dead! It is the king!
[All kneel to the king. Glaia comes through the hedge]
Gla. The king?
Ste. Now there'll be a broil at court to please all the witches on the island.
Eld. And 'twas you dropped the devil's meat into the pot. O, woe, woe, woe! That I should live to see my lady wed the king!
Ste. Well, worse could 'a' happened. The king might have had me hung, and it's bad luck to be a widow twice[81] to the same man. I'm for the court to keep both eyes open for what sport befalls.
Eld. Sport? O, the poor lord of Wynne! What will he do now? May be 'tis sent on him for worshippin' my lady like the Holy Virgin. Sport? O, that you should be my husband and a villain! Up with you, Orson! There's work for such poor servants as we be.
Ors. Servant, ma'am? Dost not think that this high connection of my lady's will make me lord chamberlain to——
Eld. Ay, thou'lt get thy right place, I hope, though it be lord footman to a donkey! Come along with you both!
[Exeunt. Re-enter the king and Glaia]
Gla. I can't believe it yet, your majesty.
Scene 1. The council chamber in the Tower of London. Barons and prelates assembled. Archbishop of Canterbury presiding. Princess Adelais present, attended by several French nobles and her women. She advances before the archbishop.
Scene: A peasant home in Russia
Time: June, nineteen hundred and five
Note.—The song episode in Act II is adapted from "The Green Book," by Maurus Jokai.
Scene 1. A room in Peter Vetrova's cottage. Door opens centre rear into a little yard beyond which is the village street. Centre right, door into Lavrov's room. Right second entrance leads to kitchen and garden. Between the two doors right a large brick stove whitewashed and at present unused. Shelf above stove. A loom stands in right hand corner rear. A window in rear wall between loom and door. Before window a small table on which are student's books and papers. On left side of door a small, rude cabinet is built in the wall about six feet from floor. A wide bench stands under cabinet. A small high window in left wall. Near front, very high up on wall left, hangs a half length portrait of the Saviour.
A table left of centre. Bench before loom. Two or three stools, one or two plain chairs; and a larger chair, of peasant make, near table centre.
Glimpses of grass and a fruit-tree in bloom seen through open door and window rear.
Vetrova discovered, making bark shoes. Catherine sits near him in the large chair, sewing. Vera at loom. Vasil in door rear with violin. He ceases playing as curtain rises.
Vetrova. That brings back young days, mother.
Catherine. The summer is getting into your head, Petrovich.
Vet. My heels too. If the boy plays any more I shall forget my broken bones and be off to the forest.
Vasil. I'll keep on forever if I can play your crutch away, grandfather.
Cath. [Hastily, as Vasil raises the bow] No! Enough for to-day.
Vera. [To herself, as she weaves] Rags—rags—rags! O, if I could make some of those beautiful things I saw at the bazaar! [Softly] Or just a sweet white coverlet for me and Sasha. [Turns from the loom to the others]
Vasil. [Who has crossed to Catherine] If I can please but one it shall be you, little grandmother.
Vera. [Running to Vetrova, and sitting on his knee] And if I could please but one it should be you, little grandfather!
Cath. [Removing Vasil's arm from her shoulder] There, go to your book, lad. The Shepherd will be coming back.
Vasil. [Smiling] I am ready for him. [Crosses to small table rear, sits by it, and begins studying. Vera follows him, and they look over the book together, Vasil explaining, Vera teasing]
Vet. [Taking up his work] I wish you loved the music, Catherine. It makes things different somehow ... while it lasts.
Cath. 'Tis your spirit, Petrovich. You were never like the rest of us. The others called you queer, but I knew it was just spirit.
Vet. Eh—yes. Don't you remember the gypsy ring in the forest forty-five years——
Cath. How you talk, Petrusha! 'Tis evil times [looks guardedly at the young people] and we are old.
Vet. Yes ... old. We may gather acorns in the woods, mother, but we shall never find any more flowers. Well enough. The trees would grow wrinkled with[139] laughter to see an old man dancing beneath them. Eh—yes, let him stoop, and pick up brush.
Cath. [Comfortingly] We have the children, Petrusha.
Vet. [Sullenly] We had their father and mother, too.
Cath. We've fared better than others. We've always had our home.
Vet. Because you served in the barin's house and the mistress liked you. Just chance! And then the barin died and Travinski got hold of everything.
Cath. But the Shepherd came.
Vet. Another chance! Life oughtn't to owe itself to that. It isn't living. Those two awful years before the Shepherd came—when Andrei died—they were real. A part of what is. We were like our neighbors then. Yes.
[Stops talking as Vera crosses to her grandmother]
Vera. [Leaning affectionately against Catherine] How you must love Vasil, grandmamma, to make him an embroidered blouse out of a piece of your best blanket!
Cath. He is leaving us, my child.
Vera. You said I should have this if I married Alexander.
Cath. Perhaps these bad times will be over then, and we may be able to get something new.
Vera. O, these bad times! They will never be over. I've been waiting for that ever since I was born.
Cath. And we waited before you, child.
Vera. [Repentant] I didn't mean it, grandmamma! Can't I help you make the blouse? But it may not be the fashion in Berlin. I will ask Sasha what the students wear. [Takes up a piece of the stuff] And how can you sew on winter things in summer time? Winter is so far away,—a thousand years away. Vasil will never live till winter time.
Cath. [Shocked] Vera!
Vera. Well, you know he can't live a thousand years.
Cath. Why does winter seem so far off, dear?
Vera. O, I don't know. [A slight pause] Alexander says we can not be married before winter.
Cath. [Smiling and laying down her work] Do you love him so much? [Vera buries her face in her grandmother's lap] And he is right, dear. You should wait a long time. What can a young man do now? Everything is uncertain. Nothing is sure but hunger and children.
Vera. [Looking up] Isn't it the strangest thing in the world?
Cath. What, dear?
Vera. That he should love me.
Cath. And that you should love him?
Vera. O, no! I couldn't help loving him!
Cath. [Shaking her head and taking up her work] My thread, child. I left it in the kitchen.
[Exit Vera, second entrance, right]
Vet. [Looking after her] She is like her mother, Catherine.
Cath. Yes ... dear Polya. I thought she was going to have a wilful heart, but she is just a woman.
Vet. [Moodily] I wish they were both with their parents in the only safe place in Russia, the grave.
Cath. [Looking at Vasil] Hush! He will be safe enough soon. The Shepherd is good to send him away, and he so poor himself. Buy him from the army, and all.
Vet. Send an innocent lad out of his own country to be safe.
Cath. He is to be a musician as well as a scholar. Berlin is the place. The Shepherd knows. He could not keep out of trouble at our universities. You know what you were in your youth, Petrovich.
Vet. I wanted to be a scholar too. But they beat me back.
Cath. You have been a good peasant. You might have[141] been a poor scholar. And we have had the teachers. Don't you remember the first night-class in our cottage, and the noble's daughter who wore peasant clothes and taught grown men to read? That was thirty years ago.
Vet. And she went to Kara for it ... to the mines ... for teaching men to read.
Cath. But others came.
Vet. And went ... as she did.
Cath. God bless them! We can all read our Bibles now. And the lad is going to a university.
Vet. 'Tis far, Berlin. I am old. The Shepherd is needed everywhere. He may go any time. Vasil ought to stay with his sister.
Cath. She has Alexander.
Vet. How long will he keep out of prison with that big heart and hot head?
Cath. God will protect her.
Vet. As he did her mother! Yes.
Cath. You are hardening your heart, Petrovich. [Turns toward icon, crossing herself]
Vera. [Re-entering] Grandmamma! [Stands in door]
Cath. The thread, child.
Vera. O, I forgot. Uliana is in the kitchen.
Cath. [Rising quickly] Uliana!
Vera. It's bad news, I'm afraid. She keeps wiping her eyes pretending she isn't.
Cath. Did she tell you anything?
Vera. No, grandmamma. I couldn't make her.
[Catherine hurries across to kitchen entrance. Vetrova takes up his crutch and hobbles after her]
Cath. [Sternly] Stay with the children, Petrovich. [Exit, closing door behind her]
Vera. [Opening door for Vetrova] Go on, grandfather. [Laughs and kisses him] Are you afraid? I promise you Vasil and I will stay here. She wants you, I know.
Vet. [Lifting her chin] A good child, but too pretty, too pretty. [Exit]
Vera. [Turns and looks at Vasil, who is absorbed in his book. Crosses to him] Vasil?
Vasil. [Looking up reluctantly] Ten pages beyond Adrian's mark. He will be pleased.
Vera. Is there anything you like better than to please Adrian?
Vasil. [Listening] Who is in the kitchen?
Vera. Uliana.
Vasil. And you don't want to hear the gossip?
Vera. No. I want to stay with you. [Guilefully] You are going away, you know.
Vasil. [Rising] There may be news from——
Vera. Don't go! I promised.
Vasil. Then it is from Petoff.
Vera. Adrian doesn't want you to hear about such things.
Vasil. [Sitting down] Haven't I ears and eyes? They think I don't know ... but see here. [Takes up a tablet] You may read it, Vera. [She glances over tablet] I wrote it this morning.
Vera. It is gay and sad too. But it is not like a June song. There are no birds and flowers in it.
Vasil. Don't you know who the "Summer Maid" is, Vera?
Vera. Summer herself, isn't she?
Vasil. No, stupid. She is Freedom—Liberty.
Vera. O, Vasil! And the old, dead Winter is——
Vasil. Yes, the Czar.
Vera. O, I'm afraid! Let me burn it, Vasil.
Vasil. [Taking it from her] No.
Vera. Suppose somebody should find it—a spy?
Vasil. He wouldn't understand it. You didn't yourself.
Vera. But I'm a stupid.
Vasil. [Catching her in his arms] Are you, little sister?
Vera. Let me have it, Vasil.
Vasil. [Tears sheet from tablet, folds it and puts it into his pocket] No. It's as safe as any piece of paper.
Vera. Adrian won't like it. He says your mind must be free from—all that. Free for what, Vasil? We want to be free only to do things.
Vasil. [Laying his hand on his book] For this,—and this [softly touching his violin],—and this. [Lifting his pen]
Vera. O, what a slave! You will have three masters. I want to be free too, but not for such things. I want to make Sasha happy.
Vasil. A woman's freedom. Free to wear fetters. Have you seen him to-day?
Vera. No, but——
Vasil. What? And the sun so high?
Vera. I am waiting for him now. I shall tease him about the great man who fell in love with me at the bazaar.
Vasil. Who was it wanted to make Sasha happy?
Vera., He ought to be glad that such a splendid officer even looked at me!
Vasil. And were you glad, Vera?
Vera. No. I ran away.
Vasil. What did Madam Korego say to that?
Vera. [As Korelenko enters unseen by her] She said she would never take me again, and I told her I didn't care, I was going to many Sasha, who was finer than any officer in the world.
Vasil. Good-morning, Alexander Korelenko.
Vera. [Whirls about and sees Alexander] Now I can't tease him! [Vasil returns to his book]
Korelenko. About what, little bird?
Vera. O, I found a new lover at the bazaar.
Kore. [Smiling] I told Madam Korego it would never do to take you.
Vera. A fine gentleman, all covered with gold lace.
Kore. And he gave you a piece to weep over when you are only poor little madam Korelenko?
Vera. A very great man—General Petrizoff!
Kore. [Starting furiously] Has that—has he looked at you? [Walks from her]
Vera. [Imploring] Sasha!
Kore. [Turning back to her] My little one! I'm a jealous fool! He will not hunt out you, poor little you. [Holds her to him, and shakes a clenched fist behind her back. Adrian enters by street door and goes up to Korelenko]
Adrian. You would hold love in your heart and hate in your hand, Alexander?
Vera. [Freeing herself] O, Adrian! [Takes his hat and stick] You are tired. I will bring you some tea.
Adr. No, little sister. Lay the table in the garden. It makes one hungry to walk from Petoff.
Vera. So far! Sit down, you bad little brother! [Leads him, to the large chair, and goes toward kitchen] In three minutes! [Listens at door and says softly] Uliana is gone. [Exit]
Kore. What of Petoff?
Adr. [Looks about and sees Vasil at his book] Vasil, lad, a cup of water from the garden well. The roads are unusually dusty for the first of June.
[Exit Vasil, kitchen way]
Kore. You are wrong, Adrian. It is time for him to know man's work. This is not a day for dreamers.
Adr. For dreamers, no,—but a dreamer, yes. Can we not spare one to step out of the days to a place in the ages? We shall die, indeed, if there is none to sing us.
Kore. He must know his theme then.
Adr. He shall know it,—when he knows art so well that[145] life can not tempt him to die. I will save his youth, his enthusiasm, and then ... he may please himself.
Kore. No use. Our prisons are full of buried enthusiasms. He must take his fate with the rest of us. This is the world, not a fairy's cockle-shell. You can't save him.
Adr. I must. In him Heaven has given me back my own youth. I shall not surrender it a second time.
Kore. He belongs to himself, and he will soon find out that he is a man and a Russian. But Petoff? What did you find there?
Adr. Despair, desolation, death. That is all they have gained by revolt.
Kore. No! They have gained the name of men. To have submitted to be stripped and turned bleeding under the skies would have proved them lower than beasts.
[Enter Vetrova, right, with cup of water]
Vet. I begged the cup of Vasil. Let me die when I can not serve Adrian Lavrov.
Adr. [Advancing to him and taking the cup] Thank you, Petrovich. I would rather serve you. [Drinks]
Vet. Are we safe, Adrian Lavrov? Is Lonz at peace?
Adr. Yes, Petrovich. I have Prince Travinski's word that we shall not be molested so long as we are patient under the law.
Kore. The law? Under robbery and the rod! Patience under the foot of your master!
Adr. The slave can always rise above the master by forgiving him. Go among our neighbors, Petrovich, and let them know they need fear nothing while they themselves keep the peace.
Vet. Heaven, and the Shepherd of Lonz, be praised!
[Places cup on table and goes out street door]
Kore. You saw Travinski? How did you manage it? He has steadily refused to see any one from the people.
Adr. And he refused to see me at first, but as I was coming away I met a lady who interceded for me.
Kore. His daughter? The princess Sophie?
Adr. No. Sophie Remon. One of the Red Cross workers.
Kore. Remon? I don't know her.
Adr. Her district is farther north, but she comes here occasionally.
Kore. She must have great influence.
Adr. Yes. I was surprised to meet her in the palace.
Kore. Naturally. In the enemy's camp. A spy on one side or the other.
Adr. [Sternly] I, too, was in the palace, Korelenko.
Kore. [Looking at him closely, after a surprised start] All right. I suppose she explained her presence there.
Adr. I asked nothing. She is probably a friend of the princess.
Kore. I hope not. She can't be her friend and yours too.
Adr. Why not?
Kore. I learned to-day that the princess Sophie is one of Petrizoff's spies. She has a wager with him, a luck-piece against a tiara, that she will secure evidence to convict you.
Adr. Petrizoff need not be at so much trouble. He can imprison me without evidence when he pleases.
Kore. Not you. That may do for other poor devils, but you have friends all over Russia. It would make too much of a stir even for Petrizoff. He would have to show the papers——
[Re-enter Vera, right]
Vera. Have you forgotten you were hungry?
Adr. Come, Sasha.
[They go out, right, with Vera, as Vetrova and princess Sophie Travinski appear at street door. She wears a[147] long gray ulster marked with a red cross, and a plain, drooping hat with veil]
Sophie. Thank you, sir. I might have missed the house.
Vet. [As they enter] Bless you, no! There's not a child in the village out of its cradle that couldn't tell you where the Shepherd lives.
Soph. [Looking about the room] And he lives here?
Vet. As I've told you, lady,—with me, old Vetrova. Ten years since he came in at that door to be a son to me and Catherine.
Soph. He has lived here ten years?
Vet. Not all of that, for he is often called away. But he always comes back. 'Tis never too far to come back. [Draws up the large chair] Will you sit here, madam?
Soph. You have a granddaughter? [Sitting]
Vet. Little Vera,—and a grandson, too. Twins, though not a bit alike, as you may see for yourself before you go. 'Twas Vasil, my grandson, who brought the Shepherd to us. He was just seven years old then, and a fine lad. We can say that about our grandchildren, ma'am. The Shepherd loved him at first sight, and a father he's been to him ever since. His own father, my Andrei, died under the rod one bad year when taxes couldn't be paid, and his wife—the little mother—died too when they brought him in. She dropped like that. But we don't tell the children. They'll not have to dig up graves for trouble. [Going right] I'll let the Shepherd know you are here.
Soph. [In sudden confusion] Wait—I mean—yes—tell him I am here.
Vet. 'Tis luck you have found him at home, for these bitter days keep him at work. Shall I tell him your name, lady?
Soph. Sophie Remon.
[Exit Vetrova]
Soph. His home! What a place! But I could kneel here. [Rises and walks nervously, but becomes suddenly composed at sound of a step. Enter Adrian, right. He stands reservedly at some distance from her]
Adr. May I help you this time? But I hope it is not trouble of your own that brings you.
Soph. No.
Adr. Then I am glad to see you again. We had so little time this morning, and my surprise was so great when I recognized you——
Soph. You knew me?
Adr. I should know you anywhere.
Soph. But you will keep my secret? It is important. No one must suspect that I am Sophie Travinski.
Adr. [Starts] Ah!... I did not know——
Soph. You said you recognized me!
Adr. As Sophie Remon. We had not met for some time.
Soph. O——
Adr. But have no fear, your highness——
Soph. [Approaching and offering her hand] Not to you. To you I am still the same.
Adr. [Not seeing her hand] Let me thank you again for being my kind divinity this morning.
Soph. I did nothing.
Adr. Everything. The people are crazed out of their dulness. They fear new, unknown horrors. I did not know what might happen; but the assurance of Prince Travinski will renew their endurance. That was what I needed—his word.
Soph. [Uneasily] You can not need it. You who have such power over the people. 'Tis not because Travinski said it but because you repeat it that they believe. You are a great man, Adrian Lavrov.
Adr. [Smiling] Not great enough to be flattered as great.
Soph. O, I have seen—[checks herself, changing her words] men with men, and I know a king from a subject.
Adr. Then you are wiser than I. But what is your wish, your highness? You say you have not come for yourself.
Soph. No. For Vera Vetrova. She is in danger.
Adr. Vera? How can such a child be in danger?
Soph. You ask that in Russia?
Adr. She lives at home—she goes nowhere.
Soph. Where was she yesterday?
Adr. I was away all day.
Soph. And Vera was in Yaltowa, at the bazaar to raise funds for the wounded.
Adr. I remember now. Madam Korego asked permission to take her.
Soph. She is not a wise woman.
Adr. What has happened?
Soph. Petrizoff saw her. You know the man he is.
Adr. Yes—O——
Soph. She escaped him, but madam was pleased to give all information.
Adr. What can I do? Where will she be safe?
Soph. Not in the Czar's dominions. Petrizoff——
Adr. I know! Something must be done at once. I must think!
Soph. I have already thought. Will you trust me?
Adr. [Gazing at her] Absolutely.
Soph. O, thank you!
Adr. You have a plan?
Soph. A friend of mine leaves for Odessa to-morrow to embark for America. Vera can travel with her, taking her maid's passport. She will be safe until to-morrow. The officers' ball, and some other matters, will keep Petrizoff[150] occupied. I will arrange everything and send for her in the morning.
Adr. Poor little girl! It will be hard for her, and her grandparents are very feeble. Dear old Petrovich! It will kill him to lose his darling.
Soph. [With concealed anxiety] You—you are very fond of her?
Adr. Yes.
Soph. [Bravely] Perhaps you love her.
Adr. I do.
Soph. O! Then——
Adr. But it will be hardest for Korelenko. She is betrothed to him.
Soph. Betrothed! Ah, to——
Adr. Alexander Korelenko. He is headstrong, and does not always understand. I'm afraid he will want to brave things out here.
Soph. O, he can't! He must understand that he can't. That would mean the destruction of both. Could he not go with her?
Adr. Perhaps.
Soph. I can arrange that too, if he wishes. My friend was to be accompanied by a brother. He can go later. Tell Korelenko, and let me know before to-morrow.
[Re-enter Vetrova, right]
Vet. [Respectfully] Will the lady take a cup of tea in the garden with Catherine and my little granddaughter?
Soph. Gladly. [To Adrian] She must know me.
[Vetrova holds the door open for her]
[Vera's voice without] O, you have come! This way to the garden.
[Vetrova closes the door and crosses to Adrian, who stands motionless, apparently not seeing Vetrova]
Vet. A sweet lady.
Adr. [To himself] The princess!
Vet. Eh, yes, she steps like one. But not so pretty as our Vera.
Adr. [Catching the last word] Vera! Ah,—Petrovich, I've been thinking that the children ought not to be parted.
Vet. You are right, Adrian Lavrov.
Adr. And you would be willing to let Vera go with Vasil to Berlin?
Vet. [Astounded] Go with him? My Vera? My little girl? Go away? Leave her old grandfather? I don't understand you, Adrian Lavrov. Let the boy stay with his sister.
Adr. [Putting his hand on Vetrova's shoulder] That must not be, Petrovich. He ought to go. He must go. He will be a great musician. God means it. There is no mistake about him. [Leaves Vetrova and crosses to table where Vasil has been studying. Turns over the papers meditatively, forgetting Vetrova] He will never write. He feels too much to articulate. But music—through that his divinity can flow. [Takes up the book] Bless the lad! He learns by leaps. [Drops book] And I must send him from me—my youth—my dreams.
Vet. But not Vera! Not her!
Adr. If she stays she will marry, Petrovich. And she must leave you then.
Vet. No, no! Alexander has promised me that she may live with me till I die. [Pleadingly] Only till I die, Adrian Lavrov.
Adr. [Hiding his emotion] Well, Petrovich, sufficient unto the day. Let us be happy till to-morrow.
[Re-enter Korelenko, right]
Kore. Vera is calling you, Petrovich. [Vetrova hobbles off, right] Who is this woman, Adrian?
Adr. You heard the name.
Kore. I heard what she calls herself, but who is she?
Adr. I shall not tell you.
Kore. You needn't. I know enough.
Adr. What do you know?
Kore. What my eyes tell me. She is helping Vera with the dishes—and such hands! Remember I have warned you against the princess Sophie.
Adr. Forget that slander, Korelenko.
Kore. Slander! I believe that this woman is the friend and accomplice of the princess.
Adr. [Smiling] You do?
Kore. [Looking at his watch] I must hurry to Yaltowa. Do me this favor, Adrian. Don't leave Vera alone with this—Sophie Remon. At the best she is not what she pretends to be, and for some reason she is trying to win Vera's friendship.
Adr. Alexander, I must speak to you about Vera.
Kore. [Going] Not a second to spare. I am already late, and Gregorief——
Adr. Gregorief! He will ruin you, Sasha. You are half a terrorist now. He will complete the work.
Kore. He is getting at the bottom of a big reactionary plot. I can't stay to explain, and we don't know enough yet——
Adr. Keep away from him!
Kore. Can't now. We must root this out. It is a terrible thing. I shall be back by midnight. [Exit]
Adr. And Vera must go to-morrow.
[Re-enter Vetrova, right]
Adr. What is wrong, Petrovich?
Vet. The lady is a good lady. Yes. But why does she want to take Vera from the old man? She has stolen the child's heart. And to-morrow she is going to send a carriage——
[Distant cries are heard from without]
Adr. What is that? It sounds like—Petoff yesterday. [Uliana hurries in, street door] What is it, Uliana?
Uliana [Crossing herself toward icon as she enters] O, sir, the soldiers have come!
Adr. The soldiers? Well, they are only passing through the village.
Uli. They have stopped, sir! And they are Cossacks.
Adr. Do not be alarmed. They— [Enter two peasants] Simeon? Gregori?
Simeon. What do they want—the soldiers?
Adr. Nothing.
Gregori. We are ordered to line up in the street. They are dragging some of the men out. Does that mean nothing, Shepherd of Lonz?
Adr. I will find out what it means. Stay here. You have done no wrong. You will not be harmed. [Enter another peasant] Ugo?
Ugo. Is it flogging, sir?
Adr. No! It can't be! [Goes toward door. Cries of "The Shepherd, The Shepherd," heard without]
Adr. [In door] I am here.
A voice without. We have followed your counsel, Shepherd of Lonz. We have kept the peace. We have borne the taxes. We have given our sons to the war. Why are the soldiers here?
Adr. I do not know. But I have the word of Prince Travinski, your little father, that no outrage will be committed. Come in, friends.
[A dozen or more peasants enter. Catherine, Sophie, Vera and Vasil come on, right]
A peasant. [Doggedly] I gave the Czar my two sons. He gives me the rod.
Another. My children have no bread. But the taxes are paid.
Adr. You have done your best, and I can not believe that you will be harmed.
A peasant. It makes no difference how we do. There were good men at Petoff. [A man staggers in]
Adr. Kalushkin!
Uli. [Rushing to him] My Petrov! Out of your bed! Why did you come?
Kalushkin. We are to be lined up in the street and every tenth man flogged.
[Silence. Then a woman hurries in]
Adr. Anna!
Anna. [Kneeling before Adrian] My lad—they have taken him! His father died last night. You know how he died. He was starved. He left the bread for me and the lad. And now they have taken him—my boy—[sobbing]
[Adrian lifts her up in silence]
A peasant. [Starting up from bench where he has sat as if stunned] Flogging! [Relapses into silence]
Kalush. We are weak, we are starved, we can not bear the blows.
Adr. Whatever happens we will not forget that the blow we receive falls on our bodies only; the blow we give falls back upon our souls. We will be patient even unto death; we will not league with our enemy against our immortal selves.
[Groans, and mutters of remonstrance]
What have our neighbors at Petoff gained by striking back? Put out your hands and feel the ashes of their homes. And they have lost not only their homes, their children, and themselves, but an eternal triumph, a triumph for the spirit of peace in the world.
A voice at door. Here they come!
[Enter Orloff, with soldiers. Others are seen crowding into the yard]
Orloff. We want the men of this house.
Adr. I am one.
Orl. [Looking him over] Not you. We know you. We want the peasants. There are two here. [Glancing at paper in his hand] Peter Vetrova, Vasil Vetrova.
Adr. For what are they wanted? This is a peaceful village.
Orl. And we intend to see that it remains so.
Adr. I can assure you of that. My word is worth something.
Orl. Not in the army, friend.
Adr. The men of Lonz are men of peace.
Orl. A warning not to get bad habits from their neighbors won't hurt them. Revolt is catching, and Petoff has given us a deal of trouble.
Adr. Does this mean flogging?
Orl. Only every tenth man. The same as for taxes. They get off light, but we've heard no thanks yet.
Adr. Prince Travinski gave me his word this morning——
Orl. Travinski! It was this morning that he sent to Petrizoff asking him to warm up Lonz a little and be quick about it.
Adr. This morning?
Orf. You see, my friend, your word won't pass in the army. And you can't blame Travinski for wanting to take things in time here after all his bother about Petoff. [Loudly] Peter Vetrova!
Adr. [Pushing Vetrova forward] One blow would kill this old man. Have you a warrant for murder?
Orl. Let him go. Death will take care of him. [Laughs]
[Adrian draws Vetrova back]
Orl. Vasil Vetrova!
[Vasil steps out, his face white, his eyes blazing]
A voice. Adrian Lavrov, do you still say submit?
Adr. [Blanching] Submit.
Orl. [To Vasil] Come!
Adr. [Stepping between them] I will take his lot. Put me in his place.
Orl. You are not a peasant.
Adr. I live as one, work as one. We are not born to a class; we choose it. It is the lad who is no peasant.
Orl. What is he then?
Adr. A student.
Orl. Ha! In the University of Lonz! No. He must come with us.
Adr. If I can not stand for him I will stand for myself. I am one of these people.
A voice. No!
Adr. You live by my counsel. I too must live by it. If I shun the fate it brings I can not ask you to believe me again.
[Sophie moves appealingly forward, then back unnoticed]
Orl. I can't oblige you with a flogging,—I am sorry to say,—even to keep you in favor with your converts. Forward! To the line!
Soph. [Stepping out] Release the boy!
Orl. Who are you?
Soph. [Taking off her hat] You know, Count Orloff.
Orl. I salute your highness.
Soph. Release him.
Orl. Again I salute your highness, but my orders are from Petrizoff.
Soph. Mine also. Read this. [Holds an open locket before him]
Orl. [Reads] "The bearer is in my service. Petrizoff." [Softly] Ah,—the tiara?
Adr. O God!
Orl. We release Vasil Vetrova. [To princess, in low tone] When may I see you?
Soph. To-night, at the ball.
Orl. [Bending over her hand] Till then—silence. [To the men] Forward!
A voice. Must we go, Shepherd of Lonz? We have hands as well as they! Must we go?
Adr. Go. The millennium is no lie, and the man who suffers wrong for the eternal right's sake is the man who brings it nearer. Go! And God give you strength to be true to yourselves—to the future—to Him!
[Orloff, soldiers and peasants pass out. Adrian is following when Sophie comes toward him hesitatingly]
Adr. I must go with the people.
Soph. I have not deceived you in the way you think.
Adr. [Passing her] I must go.
Soph. You will return here?
Adr. This is my home.
Soph. I shall wait for you.
Adr. Farewell! [Exit]
[Sophie stands looking after him. Vasil approaches and kneels before her. She gives him her hand, which he kisses reverently. Curtain]
Soph. Almost sunset. [Turns from window] And he knows I am waiting.[Hears a step in the yard and turns again to window. Adrian enters, pauses in door, and sees Sophie gazing out. He advances]
Adr. Your highness?
Soph. [Turning her head] You have made no haste.
Adr. I have been with the people.
Soph. [Looking at him] You are tired. I, too, went out, but it was so terrible.... You are very tired. Sit down, please. I want to stand. [Takes a few nervous steps and goes back to window]
Adr. [Breaking the silence] Is there anything to say?
Soph. [Not turning] The horrible thing you think of me is not true.
Adr. We will not talk about that.
Soph. [Turns, eagerly] You have forgiven me?
Adr. Yes.
Soph. As the saints forgive, or for love of me?
Adr. For love of God, not you!
Soph. [Smiling] It's the same thing, isn't it?
Adr. [In embarrassment] I—what did you mean?
Soph. Come, sit down. [She takes a seat. He does not move] Do rest. You will drop. [He is silent] So you do not love me?
Adr. I have not time to amuse your highness——
Soph. [Rising] Nor I to be amused. I know the truth. You do love me. I saw it in your face when you thought I had been false. I knew then that I was more than a mere traitor. I was beloved. And in spite of the suffering—the sadness—the shame—I was glad.
Adr. [Trembling] Glad?
Soph. First, let me tell you that I am Petrizoff's spy. [He drops to a seat] He wanted to convict you. You are so important, it seems, that proof from a high source was necessary. I offered to supply it. [Smiles] Don't you see? I was afraid some one else might be successful.
Adr. [Rising] I see. You are only false to Petrizoff.
Soph. [Hotly] I am only his good angel. I have kept him from doing terrible things by not finding the means——
Adr. Forgive me. I don't understand yet. Why did you do this—for me?
Soph. You were doing a noble work.
Adr. [Turns away] Yes, it was my work you wanted to save.
Soph. Adrian! [He faces her. She stands in the light from the window] You came to the Travinski palace two[159] years ago. It was June, like this—[motioning out]—and sunset—like this. Do you remember?
Adr. I remember.
Soph. You talked to my father. I was in the room. You did not see me, a mere princess,—but I saw you—heard you. I could not leave—I could not turn away. Your words were like new dreams to me.... And after that Petrizoff appealed to my father to furnish evidence against you. He consented because he feared your power over the peasants. I begged him to trust the matter to me, and it was then that I made the foolish wager with Petrizoff. My light manner deceived him, but all the time my heart was dying within me for fear I should fail.
Adr. [Falteringly] Your highness——
Soph. O, not that! I have called you Adrian for two years. [He is silent, and she continues] The Red Cross work gave me opportunities to see you. At first perhaps I was only trying to save you—and win you. But now I know that I am true. I am ready to die for the things that you would die for, not for your sake but the things' sake. Though I do not love you less. My love has grown with my spirit. When we met this morning I dared to put into my eyes all that I felt. You looked as though you had suddenly met a being out of Heaven, but it was not Heaven's light upon my face; it was my love for you.
Adr. Sophie ... let it be the light from Heaven, not poor human love.
Soph. [Drawing back] Have I—am I—mistaken?
Adr. No. I love you as I have prayed never to love in my life.
Soph. And I love you as I have prayed all my life I might love.
Adr. There are greater things—than this.
Soph. I know. It is because of those greater things[160] that I love you. [Touching him gently] And how can love be anything but a help—a blessing?
Adr. By taking no second place; by making itself master, as it always does; as it is doing now.
[Moves from her in agitation, which he suppresses, and speaks steadily] Years ago I gave myself to mankind. A poor gift, but the surrender was hard, for I loved myself and believed in giants, if not gods, who shoulder above the race. But the surrender was complete. And now shall I take another self in you? One that I could never give up?
[She is silent. A woman approaches without, moaning. Adrian goes to the door] Anna?
Anna. [Appearing at door] My lad is dead, sir. He wanted to see you again, but there was none to send. Each is busy with his own.
Adr. Dear Nikola! God's rest is his.
Anna. Yes. Heaven is a good place for our children. 'Tis better with me than Uliana. Her Petrov may live, but he will never walk. Can you come to-night and sit a bit by the lad? I'm almost thinkin' he would know it, sir.
Adr. I will come, Anna.
Anna. Just a bit. I wouldn't keep you from the living. God bless you, sir! [Goes. Adrian remains in door until her footsteps die away, then returns to Sophie]
Adr. You know what my work means. The daily offering up of the body to prison and death. That does not matter now, but if you were in danger, as my wife would always be, do you doubt that I would try to save you at the risk of all for which I have lived? And I have lived for it because it was the one righteous way for me.
Soph. I should never come between you and your work.
Adr. I gave up ambition—I would rather move with the multitude one step nearer the light than with my two hands catch at the sun. I gave up art—what right had I to retreat[161] into the beautiful while my brothers lay blind without? Burnish my spirit to reflect gleams beyond the stars, while children were without bread? But love? O, I thought God would spare me this!
Soph. Adrian—you don't understand—I should not be in your way—your work would be mine——
Adr. O, you don't understand—you can't, for you are a woman, whose natural breath is the incense of sacrifice. But in me there is no angel. If you were mine, I would risk everything to hold you—one bit of rosy flesh that I might kiss!
Soph. [Softly] I know you better than that.
Adr. Even now I am trembling for you, thinking more of your safety than of the poor people who are waiting for me as their only hope. You must leave here at once—cease trying to protect me—what you have done for Vasil may arouse the suspicions of Petrizoff——
Soph. He will not hear of it. I spoke to Orloff. [Answering his look] I can take care of myself, Adrian. [Taking his hand] It is you who need——
Adr. [Withdrawing his hand] Don't! Who lets in love, lets in his master, and I must be free—free! You will despise me, but that perhaps is the better way. O, I long to deceive myself, to say that it would make no difference, that I could see the chains fastened about you, see you dragged away, and go on unfalteringly with no dimming of the vision. But it would be a lie.
Soph. The truth. You could do it.
Adr. No. And you would not want me to do it Forgive me. You do not believe it now, but you would want me to love you first.
Soph. Yes. But I should not let you. You say yourself that sacrifice is woman's breath. I could give up even my desire to be first. But why make a question of the impossible? No woman could be first with you, Adrian.
Adr. O you don't know!
[A man comes to door, rear, makes sign of the cross toward icon, and stands waiting]
Adr. What now, Nico?
Nico. Petrov Kalushkin is worse, sir. Can you come before night?
Adr. In ten minutes.
Nico. The Holy Mother bless you, sir! [Exit]
Soph. [As Adrian turns silently to her] I have only this to say, Adrian. I understand, and I am ready.
Adr. And I am not. I know the man in me too well. I can not trust him. While you are safe, and I am free, go.
Soph. [Paling and gathering up her pride] I am sorry that I waited for the command. [Moving to right] I will speak to the Vetrovas, and obey you.
Adr. [As she opens door] Sophie!
Soph. [Turning] Princess Travinski! [Exit]
Adr. Ah, pride will not help her. I don't know what has happened—what I have done——
[Enter Vasil, centre right, carrying his violin]
Vasil. O, has she gone?
Adr. No, but she is going.
Vasil. She will come back?
Adr. Why should she? Isn't it enough that she has given herself to us for one day?
Vasil. She has given herself to me forever—by saving my life. She may forget you and the others, but she can't forget me, Adrian. O, I have been so happy to-day!
Adr. To-day?
Vasil. I have finished "The Joy of the Stars."
Adr. [Exultantly] Your sonata finished? To-day!
Vasil. You have been right, Adrian. This life shall not touch me. I could never understand it. When I think of it I grow blind—blind—blind! I shall sing—just sing[163] till my head goes off, nor ask why. The people are good, honest, work from light to dark, yet they starve, bleed, die. And I, who pray to harm nothing, I—this morning—[stops, shudders, crosses to table, rear, lays his violin upon it, and sits despairingly. Adrian follows and puts his arm over the boy's shoulders]
Adr. That is over, lad. You will soon be in Berlin with your music, and you will forget. Think of it as a dream that will not come again.
Vasil. But it will be coming to others. Always somewhere there are people suffering, in prison, mad, tortured——
Adr. You can not help them now, Vasil. And to let sympathy destroy your power for work will rob them of the joy you may bring them hereafter. Forget them for awhile that you may come again with help, not tears, that ease your heart rather than theirs.
Vasil. No, I shall not forget—not for a minute—but I shall work and be blithe of soul, for what has the soul to do with the tearing of the heart, unless it be to show its free wings above it? If I were imprisoned, racked, dying, I should want the music to go on, I should try even then to help it, to turn my cries into a song. That is why I can sing while they suffer—because happiness is the right thing—because I am ready to suffer while they sing,—not because I forget. O, you can trust me, Adrian! And [with sudden appeal] I want to be at the meeting to-night.
Adr. [Hastily] No.
Vasil. Yes, Adrian.
Adr. You are too young.
Vasil. As old as the morning star. Do not be afraid. Whatever touches me, nothing shall touch my song.
Adr. Your song can be saved only with your life, Vasil, and this meeting is dangerous. In a few days you are[164] going away. We will not uselessly waste your heart to-night.
Vasil. I do not want to go just now, Adrian. Let me stay here a little longer. There is so much you can teach me yet.
Adr. [Smiling] You make better music than I can dream. No, it is time to go.
Vasil. But I want to stay!
Adr. [Quickly] You must have no wishes. [More gently] Aside from your art.
Vasil. Art can breathe only through life. I must live! Art is for men and women. If I do not understand them, how can they understand my music? I shall not play to sheep, nor rocks, nor stars, nor God, nor angels!
Adr. You know what I mean, Vasil. In heart the true artist is all man, all woman; but in genius, as impersonal as the universe.
Vasil. I know it! Have I not proved it to-day? Petrov Kalushkin is lying over yonder bleeding from a hundred lashes, but I—[taking up his violin]—listen to "The Joy of the Stars!"
Adr. [Laying his hand on the bow] Stop—no—I mean—[silence. Vasil puts down the violin and looks at Adrian] I am not a genius, Vasil. You will be what I can not.
Vasil. And you will trust me? I may be at the meeting?
Adr. [Taking his hat] Yes. This once. And then Berlin.
Vasil. You are worn out, Adrian. Must you go again?
Adr. Again and again. You may say good-by to the princess for me.
Vasil. Wait! She is coming! [Exit Adrian, street door, as Sophie and Vera enter left. Sophie has on hat and ulster]
Vera. You kissed me this morning, and you were a princess.
Soph. And I will kiss you again, dear Vera. You will be ready in the morning for the visit you have promised me?
Vera. O, yes!
[They cross toward Vasil]
Vera. I shall love you always for saving my Vasil. It would have killed him. Adrian has guarded him always. [Lifting Vasil's hand] See——
Vasil. [Offended, drawing away his hand] I am not a child, Vera.
Vera. [Hurt] O, Vasil!
Vasil. [Embracing her] There! The princess will think we are two babies.
Vera. [With dignity] I am betrothed.
Soph. Happy Alexander!
Vasil. [Jealously, as she caresses Vera] Princess, may I play to you before you go?
Soph. O, will you?
Vera. Sit here, princess.
[Sophie takes the large chair, Vera sits on stool beside her. Vasil gets his violin from table, comes over and stands ready to play. Drops the bow in desperation]
Soph. What is the matter?
Vasil. How can I play to that ugly coat and hat?
Soph. [Laughing and removing hat and ulster] Is that all?
Vasil. Now you are my princess!
Soph. Yours?
Vasil. Yes. You have sold yourself to me.
Soph. I have?
Vasil. By doing me a favor—the most binding of bargains. As long as you live your thoughts will come back to me. Could you forget me, princess?
Soph. No, Vasil. But you must not care so much.
Vasil. Don't you like me to care?
Soph. Yes, but——
Vasil. Then I will. O, it is glorious to dream and know why! To sing and know to whom the song belongs!
Soph. My boy, make your country your goddess, not a woman.
Vasil. My country! What is it? The thing that raised a knout above my shoulders?
Soph. My dear Vasil——
Vasil. Adrian is right. I must find that which is not country, nor home, nor people,—the eternal in the hour.
Soph. But Adrian cares for country, home, people.
Vasil. No. He cares only for the soul. These other things are shadow boundaries in the mind that vanish when the soul looks on them. Here, I'll show you how little he cares. [Unfastens a chain from his neck and draws a medal from his bosom] He gave me this, because I wanted it to play with. I was only a boy then. And he forgot all about it. Have you noticed how Adrian forgets? I would not give it back because he was going to bury it. [Holding out medal] See? [Drawing it back] You love him, don't you?
Soph. Why—yes—you strange boy.
Vasil. Then you may see it.
Soph. [Turning away] No.
Vasil. But I want you to look. The name is on it—his grandfather's—great-grandfather's—O, I don't know how far back. But I am sure he was a great prince.
Soph. [Looking at medal] Donskoi!
Vasil. Wasn't he a great prince?
Soph. Yes. But a greater man.
Vasil. And Adrian could be a prince too. [Re-fastening chain] But he doesn't care at all. When I asked him if this was a piece of the sun, he said "No, the last of a great shadow." I know what he meant now. Why are you sad, princess?
Soph. Because I have been unkind to Adrian.
Vasil. Don't mind. He will forgive you. He forgives everybody everything.
Soph. But it isn't pleasant to be forgiven that way, as if we were anybody else. I want to be forgiven because I am myself.
Vasil. You can't with Adrian. His star is the soul, and in its light we are all alike.
Soph. And what is your star, Vasil?
Vasil. Mine? It is the same, only I call it love instead of soul. The great love—that makes one heart beat in another's body—that makes me faint in Russia when a beggar starves in India—that fades your cheek with the girl's at an English loom—that turns the comfortable American out of doors with the driven Jew—that gives one color to every flag, and makes the might of the strongest nation the right of the Kaffir babe. This is my star, as Adrian's, only I see it warm and golden instead of cold and white.
Soph. [Softly] It may not be always cold and white to him.
Vasil. [Thoughtfully] Perhaps not, or he would not know so well——
Soph. How others see?
Vasil. [Nods, and takes up his violin] Shall I play now, princess?
Soph. Yes, but do not think of me,—think of——
Vasil. I know. The great love.
[He plays, standing by window. Vera sits leaning against Sophie's lap. The princess gazes toward the door, and her look meets Adrian's as he enters. He crosses and stands by her chair. She reaches up and gives him her hand, which he clasps. Curtain]
Scene 1. Same room at night. A score or more of peasant men and women, and half as many revolutionists assembled. They are singing as the curtain rises.
[At close of song Adrian rises. Silence]
An old man. Speak, Adrian Lavrov.
Adr. Brothers, we have met to talk matters over.
Manlief. We have talked for seventy-five years!
A student. The lash spoke the last word to-day.
Old man. Speak, Adrian Lavrov.
Adr. Friends, the truth that was clear to you before the enemy's blow fell to-day is no less true now that the blow has fallen.
Manl. Not on your back, Lavrov.
A peasant. The lash of the Czar goes deeper than the words of the preacher.
Another. We have obeyed you until now, shepherd of Lonz.
Adr. [Gently] And you will obey me again.
Manl. You will obey the voice of your own manhood!
Adr. You will remember that you bear the leaven of the race, that you carry in your blood the universal peace.
Manl. Every beat of your hearts is telling you now to be men!
Adr. Submission is the only death-answer to violence. The world for very shame must cease to crucify Christ!
Gregorief. [Leaping up] Move your Sunday-school to the dungeons of Schlusselburg! Yes, I have been there. I was twenty years under the storm-waves of Lake Ladoga, and if your words could have reached me through the damp walls they would have received their true answer—a madman's answer. For torture does not give men the serenity of gods or preachers, Lavrov. Twenty years of the silence that welcomes the silence of death—twenty years of the loneliness that makes men pray for the joy of weeping together—twenty years with starving eyes on naked walls, while above me the great, wide seasons were going by—twenty years of void and gloom with the windy waters whipping my prison island, and all the more maddening because I could not hear them, because they too were a silent guard. I was like this boy [touching Vasil, who is leaning toward him listening intently] when they put me in, and I came out—as you see. [Laughs ironically] But I am fortunate. I left others behind me to whom those dark doors will never open, while I have the privilege of—dying above ground.
Adr. It makes no difference which side of a prison door the conquering spirit is on, Gregorief.
Greg. Ha! I wasn't a spirit then. They put me in while I was still in this life, where the flesh throbs and the blood sings. I was like this boy, I say, and I came out two months ago a broken consumptive wretch. You see[171] me, Lavrov. Am I fit to leaven the race? I am what oppression makes, not the meek angels you dream about. Into my children will go the bitterness of the wronged to come out in hate, the feebleness of the broken man to come out in cunning, the stinging for revenge to come out in murder——
Adr. But if you had triumphed—the immortal you—what a soul you could bequeath to your country! O, one such could almost save her!
Greg. One! She has them by the thousand, everywhere thwarting us—their holy tears putting out our living fire as fast as we kindle it! [Laying his hands on Vasil] Ah, here is a spirit worth all your saints, Lavrov. Son, take up my torch as I drop it—my torch and sword, lad——
Vasil. [Eager and trembling] I am a singer, not a fighter.
Greg. Songs are good weapons. Write them for us, boy. Give us one to-night before the fire dies there. [Knocking Vasil's breast] A war-song——
Vasil. [Springing up] I will! A song from Schlusselburg!
[Rushes out, street door]
Adr. Are you the devil, Gregorief?
Greg. [Laughing] If I am I must have my legions. Did you intend my recruit for a saint, Lavrov? [Fervidly] I have sworn to level my prison before I die——
Adr. You have laid another stone upon it. There is but one power before which the prisons will forever fall—the power of the soul. Strike them down, and the blows that lay them low will raise them again for your children.
Greg. Fanaticism! You can not fit the laws of Heaven to the energies of earth, Lavrov! I tell you——
Galovkine. Leave this. We've no time. The burning of Yaltowa is fixed for to-morrow night.
Adr. [Dazed] The burning of Yaltowa!
Greg. Yes, Lavrov. Petrizoff intends to burn the town in our name. We are moving too fast toward the favor of the world, and must be repainted as red ogres.
Adr. Burn the town!
Manl. [Bitterly] That is not so bad a matter. What are a few thousand homes more or less in a country where no house is safe? The terrible part is the blow to the cause. Our great parties were never more united, never so ready for a telling stroke, and this horrible crime laid at the door of the revolutionists——
Adr. It must be prevented! We must act at once——
Manl. And get clapped into prison a little sooner. There is not time now for general action.
Adr. Burnt? The horror of it!
Greg. [Looking at Adrian] It can be prevented.
Adr. How?
Greg. Petrizoff is the whole plot, and he is not immortal.
Adr. [After a cold silence] You are a fool to say this to me, Gregorief.
Greg. Reserve your judgment till you know yourself better. Your heart is with us, Lavrov, in spite of your preaching.
Adr. Do you suppose I would quietly permit this murder?
Greg. Will you quietly permit Petrizoff's ten-thousand murders?
Adr. There is a difference.
Greg. Yes. We put one assassin to righteous death, he murders thousands of honest men.
Adr. [In same tone as before] There is a difference.
Greg. Your difference!
Adr. God's difference. The wicked may do their worst and the world still hope, but if the children of light borrow their weapons——
Greg. There is but one way to fight the devil!
Adr. If you use his own fire you must live in hell to do it.
Greg. And we don't live in hell now, I suppose!
Adr. Not an everlasting one. You have the selfishness of the living generation, Gregorief, that consumes as its candle the sun of the unborn.
Greg. Bah! Each generation must fight for its own breath.
Adr. Who conquers with a club will rule with a club. It is only through the enduring righteousness now taking deepest root in the night of oppression that true liberation will come, pushing upward to flower in the conscience of every man. When we are free from within, government will of itself fall away——
Greg. Anarchy!
Adr. Yes. Anarchy of the soul, not of the blood. The anarchy that Christ saw when he said the meek shall inherit the earth. This is the vision before me, the vision that I held before the bleeding bodies in Lonz to-day——
Greg. To the devil with your visions! Man will always be a worm while he crawls! It is those who have remembered their stature that have done most for the race. And I—from under their feet—with Death's hand upon me—I will remember mine!
[Galovkine, who is watching at the door, steps forward, lifting his hand in signal. Instantly the scene becomes one of merrymaking. A man who sits on shelf above stove begins fiddling, and a peasant dances a clog in the middle of the floor. Orloff enters, followed by two or three guards. Vetrova rises to meet them]
Vet. You are welcome.
Orl. A jolly ending to the day, good people.
Vet. We've reason to be merry, sir, as you know, who spared my lad this morning.
Cath. And you too, Petrovich.
Vet. Eh, but I don't count, mother.
Orl. 'Tis sporting time with us too. We are on our way to the officers' ball at Yaltowa. A little gayety after the hard work at Petoff. Glad to find you are not making more trouble for us.
Vet. We've had our lesson, sir.
Orl. [Suspiciously] And this happy meeting is to encourage yourselves in good intentions?
Vet. Sir, we are true men.
[Vasil suddenly appears in door, rear, waving a paper]
Vasil. I have it: The song is ready!
Adr. [Looking meaningly at Vasil] Don't be so sure of your first effort, my boy. Better let it get cold.
Orl. No, we'll hear it. That paper looks interesting.
Vasil. Pardon me. [Folds paper and puts it into his pocket]
Orl. I insist upon hearing it.
Vasil. [Taking paper out reluctantly] 'Tis merely a song, sir, and will hardly bear reading. I will sing it for you. [Unfolds paper slowly] A Welcome to Summer, friends. 'Tis an old chorus, and you can help me with it. [Sings]
[As the chorus is sung the last time, Vasil dances out among the peasants, who join hands with him and all move in a ring, singing]
Orl. I congratulate you. And now will you favor me with the copy?
Vasil. [Seeming to hesitate] 'Tis hardly worthy——
Orl. [Taking it] Leave that to me. [Glances disappointedly at song, repeating the first line] Humph! Yes ... [Puts it into his pocket] So you are all true men enjoying yourselves? I've no objection. On the contrary. I'm in the humor to join you if my lady Bright-eyes [looking at Vera] will honor me.
[Vera rises, curtsies, and couples spring up, forming a dance, Orloff and Vera leading]
Orl. [At close of the dance] Thank you, Bright-eyes. I shall find no fairer partner at the ball, whither I must be going. And here, young man. I will leave you your song. It may be your only copy. [Brings out several papers from his pocket and looks them over] Here is the song, but ... [Assumes sudden sternness] A serious matter. I have lost an important paper since I came into this room. [Looks searchingly at their faces] An important paper on official business. [All are silent, betraying no emotion. He turns his gaze to Vera, who is sitting by her grandfather] Ah, my little lady, perhaps your fingers were busy in the dance. Come forward, please.
[Vera steps out, bewildered]
Vera. I did not touch it.
Orl. Of course not. Now will you shake your scarf, please? Yes, I will do it for you. [Shakes her scarf and a paper drops to the floor. Orloff picks it up] Ah, found![177] Good, but rather a sad affair for you, little one. Even fingers so dainty as yours must not meddle with the Czar's papers.
Vera. I did not touch them!
Orl. Of course not. But you must come with me. [Mutterings from the men] I hear you, friends. If any of you want to come along just make it known. Our prisons are well stuffed, but we can manage to pack away all present.
Adr. [After a second of silence] The child is innocent.
Orl. O, you want to go, do you? But you happen to be the one we don't want—yet. Anybody else?
Vera. [Sobbing] I did not touch it.
Orl. You may tell that to Petrizoff. He is always kind to beauty.
Vera. [In terror] Am I going to him?
Orl. He will not be far away, I imagine.
Adr. You can not take this child. The paper was not stolen.
Orl. You saw it drop from her scarf.
Adr. Where you put it.
Orl. [In a rage] Your mouth will soon be shut! If I could have had my way this morning your hide wouldn't hold shucks to-night!
[Noise of a carriage at door. Sophie enters in ball dress. She draws back in astonishment at sight of Orloff]
Soph. [Faintly] You here?
Orl. And you?
Soph. [Composed] May I speak to you, Count Orloff?
Orl. At your service, your highness.
[They draw aside, left, front. The peasants talk in low tones. Guards stand by Vera]
Soph. Of course I know why you are here, but I had to simulate surprise.
Orl. You were very successful.
Soph. Since the exposure of this morning the people are ready to suspect me, and I must retain their confidence or my usefulness is at an end.
Orl. Quite.
Soph. They heard to-day of the girl's danger, and were planning her escape, so I, not knowing whether you would arrive in time, stopped—to——
Orl. Yes?
Soph. Quiet their fears and assure them of her safety. Are there any prisoners besides the girl?
Orl. No, but I would give something to take this insolent Shepherd. I've only a few hours to wait though.
Soph. A few hours?
Orl. Yes—ah, you don't know everything then!
Soph. Dear man, I know everything but one,—that is, how much you know. If you will go to the ball in my carriage we may find out how far we can trust each other.
Orl. Angel!
Soph. Don't! The people—you must pretend to oppose me. They think I am interceding for the girl.
Orl. [As if suddenly recalling something] Why did you save the boy this morning?
Soph. I will explain that too—in the carriage. We must go now. I first, so they will not know we leave together.
Orl. [Crestfallen] I promised Petrizoff not to leave the girl till I had her safe in prison. There have been so many escapes——
Soph. [With a glance at Vera] She is pretty. Good-evening then.
Orl. Wait—I will go with you!
Soph. [Melting] Will you? Then you sha'n't. You shall take no risks for me.
Orl. Risk! I would risk anything. Ah, you can't deprive me now.
Soph. Can you trust the guards?
Orl. I will trust them!
Soph. Very well. I will wait for you. [Going, stops before Adrian] I have not been able to obtain her release, but I am sure there is hope. At least I have touched Colonel Orloff's heart. Have I not, Count?
Orl. You have indeed!
Soph. [Looking steadily at Adrian] And you will hear news of great importance before morning. [To Orloff] Will he not?
Orl. Without doubt, your highness.
Soph. [Going, again turns to Adrian] The Count will give you his word that I am to be trusted.
Orl. To be sure, your highness.
Soph. Good-night. [Exit]
Orl. [After following Sophie's departure with a fatuous look] Come, lady-bird, we must be moving. [Starts out, the guards following with Vera. Vetrova, who has seemed quite stunned, suddenly rushes after them and beats guards with his crutch]
Orl. [Seizing him by the collar and throwing him to the floor] You old fool! We don't want to bother with you!
[Exeunt Orloff, guards and Vera. Vetrova, lying on floor, lifts his fist and curses]
Adr. [Bending over him] Petrusha!
Vet. Let me be, Adrian Lavrov! I have held my peace all my life to die cursing at last! I was dumb when they broke my bones under the rod. I was dumb when my son died under the lash. But Vera, my little girl—dragged to that—O God, send thy fires upon him! Curse him—curse him—curse——[Dies. The peasants cross themselves. Some kneel before the icon, praying. Catherine gazes at Vetrova in hopeless terror. Galovkine kneels and examines the body]
Galovkine. Dead.
Cath. Dead—and a curse on his lips. My Petrusha—dead—and a curse on his lips.
[Two men pick up the body and bear it off right centre, Adrian opening the door. Catherine follows with several women. The other peasants go off silently, street door, leaving only Adrian, Vasil and the revolutionists]
Greg. As I was saying when—the Czar interrupted us—Petrizoff must die. And you will help us, Lavrov. Yes—you must! You say yourself that our best hope lies in sympathy and sentiment——
Adr. Which the bomb utterly destroys.
Greg. Not when the Shepherd throws it. Wait! I do not mean that literally, for this [raising his hand] is the consecrated hand. But your name as our leader would sanctify the deed.
Adr. Your leader?
Greg. Yes. Not only for this, but for our army. Your name is a divine word in every peasant home in Russia. It is cheered by every body of workmen gathered together to-night, and in the army who would not surrender the colors of Romanov to the hero line of Donskoi?
Adr. [Starting] Gregorief——
Greg. Wait! They are all ready now. The peasantry, inspired by the teaching of our martyrs for the last thirty years,—the nobility with awakened conscience,—the workmen, one great body with suspended arms,—the army of the Czar ready to become the army of the people,—all await their leader—you! [A pause] Russia is looking but one way—to freedom. To-day you may lead us to victory almost without blood. Let Petrizoff commit this crime in the name of liberty, and to-morrow we shall be like the scattered limbs of a dissevered body. You will not let this be, Lavrov. You will——
Adr. No! Let civilization wait another century rather than deliver her flag to the hands of murderers!
Greg. And where is it now if not in the hands of murderers?
Adr. It is not in their hands, Gregorief, but in ours, that are yet clean. Do this thing, and it is you, not Petrizoff, who give the greatest blow to freedom. The world is just beginning to understand us——
Greg. Yes! Where is that understanding growing strongest? In America. And how does the autocracy propose to meet this new influence? By a secret commercial treaty with the United States. Give any government a pocket interest in the security of another and to the winds with sympathy! Petrizoff has his agents there now, and the burning of Yaltowa is only a part of his scheme to chill the hearts that are warming to us. But he shall not live to do it. You will not let him live, Lavrov. My God, don't you see that your opportunity has come?
Adr. Yes. My opportunity to point once more to where the sun shall rise.
Greg. The sun never rises on the blind. You would throw us back into night for another thousand years!
Adr. What are a thousand years to the soul of man on the right path to the right thing?
Galovkine. [Plucking at Gregorief] Come away. We lose time here.
Greg. Not until I tell this fool where he stands! You imagine, Lavrov, that you are a friend to freedom, but a greater enemy does not tread Russian soil. Why does the government leave you at work? Because of your power to subdue the spirit in men. It is you—such as you—who forget our shackles and fill the prisons. But thank the Powers that keep the race alive, there are still some of us who believe in manhood—in the virtues of the heart as well as the soul—in courage, honor, justice! [To the others] Come up to Breshloff's. We will finish there.
[Enter Korelenko hurriedly]
Greg. [Grasping his hand] Korelenko! The word? What is it?
Kore. What you wished. We needed only the consent of the Social Democrats to Petrizoff's death——
Greg. Yes, yes!
Kore. And I have brought their sanction——
Greg. [Almost sobbing] Thank God!
Kore. If it is done under the leadership of the Shepherd of Lonz.
[Adrian staggers back against loom]
Greg. [Clutching Korelenko] Take back that infernal proviso!
Kore. I thought you wished it.
Greg. I did, when I believed the man there was human.
Kore. He is. The most human of us all. You don't know him. Adrian, you see that all depends upon you——
Adr. [Waving him away] Begone—all of you!
Manl. Come! God gave us good right arms. We need not wait for Lavrov's.
Kore. But can we do without the Social Democrats?
Greg. Yes! We have the others. Come to Breshloff's!
[All go except Korelenko, who lingers in the door. Adrian sits exhausted on bench before loom]
Adr. Sasha?
Kore. [Turning back quickly] Well?
Adr. You have chosen?
Kore. Between my friends and my enemies? Yes.
Adr. Between the body and the soul.
Kore. Soul! There is none in Russia. When we get possession of our bodies we may be permitted to cultivate souls!
Adr. If you would wait a little, Sasha. Reforms are coming. The Czar will grant a constitution——
Kore. He will grant what we take, no more. And what do we gain if he gives us a constitution and keeps his army?[183] If he gives us schools and exiles the teachers? If he gives us freedom and denies it to the men who have won it—our brothers in the dungeons? No, we want our constitution, not the Czar's—a constitution with law and justice behind it, not an army.
Adr. Is it time? There is so much ignorance yet——
Kore. Ignorance! Where is it greater than among our masters? We suffer as much from their stupidity as their oppression. I hate the ass's head more than the tyrant's!
Adr. But the poor, illiterate peasants. Are they ready——
Kore. Viatka and Perm answer that! There, where they have been let alone, they have established the best governed provinces in Russia. But here, where ignorance is protected—do you know what will happen if Yaltowa is burnt? The peasants of Karitz will be led into the town to pillage and slaughter in the name of Christ.
Adr. [In horror] Karitz! My poor people! I must go there at once.
Kore. There? It is only because you are here that Lonz will not be led into it. [Ironically] Since you can't be everywhere, hadn't we better devise some other means for the protection of the people?
Adr. O, it is horrible!
Kore. More horrible than you dream. A good man can not know how bad the world is, for he can never get away from himself.
[Re-enter Manlief]
Manl. Come, Korelenko. We shall be too late.
Adr. He is not going.
Manl. No? I'll stiffen his heart. You don't know, do you, that your little Vera has been taken to Petrizoff?
Kore. [Stares in amazement, and clutches Adrian] Is this a lie?
Adr. She has been arrested.
Kore. You let her be taken?
Adr. I had no choice.
Kore. There is always a choice. You could have killed her. [Breaks down]
Manl. [Touching him] Come.
Kore. Yes! Go on! I'll come!
Manl. At Breshloff's. [Exit]
Kore. [Savagely, starting up] You would save his life knowing that!
Adr. What has Vera's misfortune—yours—mine—to do with an eternal principle?
Kore. Damn your principle! It will put us all into hell!
Adr. The princess may be able to do something for her. She——
Kore. You still believe in that spy? [Adrian is silent. Korelenko looks at him] Forgive me. You love her. No! If you knew what love is you would help me!
Adr. [Going to him as he reaches the door] Wait. I do know. I love her even as you love Vera, and I swear to you that if she stood in Vera's place my answer would be the same.
Kore. [Abstractedly] You love her. [Starts suddenly away]
Adr. You will stay now, Sasha?
Kore. Now? No. There is something to do now. [Exit]
Adr. Light, light, O my God! [Door opens, right centre, and a woman appears]
Woman. Can you come to Catherine Vetrova now, sir?
[Adrian bows his head and follows her out. Vasil, who has been sitting behind the little table rear, at times listening eagerly, at times overcome, rises and moves slowly forward, carrying his violin]
Vasil. [Repeats softly] "As impersonal as the universe."
[Strikes two or three notes on the violin and stops, terrified. Dashes the instrument down and throws himself to the floor, sobbing] O, Vera! Vera! Vera!
[Curtain]
Adr. You must go to bed, my son. There is nothing for you to do.
Vasil. [Rising] Nothing for me to do? Why am I in the world then?
Adr. To be our light—our song—to find our angels for us.
Vasil. [Looking down at his violin] It is broken.
Adr. [Picking it up] You will mend it.
Vasil. And the heart too? [Goes to table, left front, and sits by it, despondent and thoughtful] We were wrong to-day, Adrian. I was wrong. No one has a right to happiness while others are suffering because of things that are in the power of man to help. The good people who forget what is out of sight, as if misery—or duty—were a question of eyes and ears, they are the most to blame. [Rises] If they would all help—just all of the good. [Goes to door, rear, and stands a moment looking out] The princess dances at the ball to-night.
Adr. My boy!
Vasil. [Coming back to Adrian] But they will not all help—not yet. Perhaps the world of peace must come before the world of love, not out of it ... as war has come before peace. The law of Moses was once the best law. His race saved itself by it. Has the day of its necessity passed, Adrian? Are we sure?
Adr. It has passed for the man.
Vasil. But humanity is so far behind the man.
Adr. [Gently] That is what made Christ.
Vasil. And that is what killed him!
[Enter a priest, street door]
Priest. Blessed be this house.
Adr. Welcome, father.
Priest. Is death here?
Adr. Yes, father. [Crosses to right and opens door for priest to enter] You have many visits to make to-night.
Priest. Many, my son. [Stops before Adrian] I have a message for the Shepherd of Lonz.
Adr. [Taking letter] Thank you, father.
Priest. Thank her that sent it, and God who made her heart. [Passes into room, right]
Adr. [After looking over letter] The princess has danced to some purpose, my boy. Vera is free. She will be on her way to Odessa by morning.
Vasil. Free? The princess saved her? My princess! Did she write it? [Taking letter] I will read it with kisses!
Adr. It must be burnt.
Vasil. No, let me keep it—a little while.
Adr. We must be careful. Hush—some one is coming.
[Vasil retreats to table, rear. Enter Korelenko in great agitation]
Kore. Yaltowa is on fire! We are one night too late! They must have heard——
Adr. On fire? Now?
Kore. I waited with Gregorief at Breshloff's, the others went on to Yaltowa, where——
Adr. You waited for Petrizoff?
Kore. This ball was only to cover their scheme——
Adr. You waited with Gregorief for Petrizoff?
Kore. He will pass through the village about four o'clock.
Adr. But now—O, you are saved from that thing!
Kore. Yes. If we kill him now the fire will seem only a part of the deed. It will help them fix the lie upon us.
Adr. Too late, thank God!
Kore. You think of nothing but Petrizoff! What of the people now dying in Yaltowa? Dying because he lives? Go see the horrors there! The reactionists are everywhere in the streets, disguised as revolutionists, looting and murdering! Your Karitz peasants are being turned into beasts——
[Adrian gives a deep groan and sits overcome, by table front, left]
Kore. It is not too late! Our friends—Russia—freedom—yet may live if you will help us! Your name will justify Petrizoff's death to the world. With the loss of their chief the reactionists will be in confusion, before they can recover you can organize the great leagues into a militia——
Adr. You are mad to think such power is in me.
Kore. You don't know your power! You can do it—you only—and it must be done now—before the war in the East is over—before the Czar can make new promises—give us the mockery of a constitution, and fool half of us back to allegiance—before——
Adr. [Rising, shaken] It can not rest with me. One man can not make destiny.
Kore. Yes, when that man is you—when the time is now! Absolutism is at its ebb. Will you wait till the tide gathers and flows over us again in waves of blood?
Adr. [To himself, walking] Are there then two codes? One for the man, one for the race? And when they conflict, the man must yield?
Kore. Codes! The question of a man's right to his breath is settled outside of ethics! O, Adrian, brother,[188] be a man to-night and not a preacher! Never in the history of the world has there been a revolution so ripe, so terrible, without a leader to march at its head.
Adr. Humanity has dropped the club. It will drop the gun. Even the soldiers are throwing it down. And shall I pick it up——
Kore. Only for a day! Petrizoff alone stands between us and the army. Vitelkin, the next in power, is ready to join us. But he is suspected already, and must soon resign—or be poisoned. If we remove Petrizoff now thirty regiments will come to us with Vitelkin, and others will follow until the Czar is without an army. In a month—a fortnight—the revolutionists will be masters of the nation——
Adr. Masters of the nation! [Walks away, and returns, much calmer, to Korelenko] If it is true that only the life of Petrizoff stands between the revolutionists and triumph, he can not long be the sole barrier. He must see his folly and change his——
Kore. [Furious] Were he to turn angel now, he should die for his past sins!
Adr. [Sadly] I see. We should unfetter the avenging lion, not loosen the dove of peace, with Petrizoff's death.
Kore. I did not mean that. You know it was the anger of a moment. [Kneeling] For the last time I beg you—in the name of all that redeems man from the beast——
Adr. [Very pale] Rise, Korelenko. Heal ye first yourselves. Out of your differences, your divisions, you make your master. If for one day enmity should sleep, if for one day every lover of freedom should love his neighbor, in that day the oppressor would fall. Rise! I will not do it.
Kore. [Springing up] You will!
Adr. Will?
Kore. Yes. The princess Sophie Travinski is betrayed to Petrizoff. I hoped to prevail without telling you, and spare your heart what mine suffers.
Adr. Betrayed?
Kore. She has aided to-night in the escape of a prisoner taken by Petrizoff's order. He will know all by morning if he lives.
Adr. This lie will not tempt me, Sasha. I can hardly believe you have uttered it. [Fearfully] I might have believed you.
Kore. I am prepared for your doubt. Gregorief waits outside. He will support my word [going to door].
Adr. No! I will not see him again. It is true. [Crosses uncertainly and sits on bench before loom] O, is there no end to this night?
Kore. A princess Ghedimin went to Yakutsk for a lesser offence.
Adr. Don't—don't speak.
Kore. [After watching him a moment] If Petrizoff dies he will never know.
Adr. There is no time to warn her.
Kore. Then the evidence will go to Petrizoff at once.
Adr. You would do that?
Kore. No, but Gregorief would. He is waiting for your answer.
Adr. My answer?
Kore. You know how to save her.
Adr. [Rising] How?
Kore. Join us.
Adr. [Sinking down again] You might be merciful now, Korelenko.
Kore. [Unbelievingly] You will not save her?
Adr. Not that way.
Kore. There is no other.
Adr. Then she——
Kore. Adrian, I can not believe you. You will save her!
Adr. How can I now? The struggle is over. For a heavenly motive I refused to join you; I can not consent[190] now for an earthly one. O, if you had not told me! If you had pleaded a little longer—[Realizes what he is saying, and looks at Korelenko with a bitter smile] You see it is impossible.
Kore. [Raging] I will kill you!
Adr. Do, Sasha.
Kore. [Turning from him] Vera! My little girl!
Adr. [Rising suddenly] O, I have not told you——
Kore. What? Quick!
Adr. Vera is free. Read this—where—Vasil, the letter!
[Vasil, who sits by the small table, silently lays the letter upon it. Korelenko crosses and snatches it up]
Adr. [As Korelenko reads] You see they will wait for you on the Petoff road until two o'clock. You must go at once. The princess has arranged for you to journey with Vera if you wish, and you must now, for to remain here means imprisonment on the Yaltowa charge. [Korelenko is dumb, looking at the letter] Don't lose hope, Sasha. You can still help us in America—perhaps do more for the cause there than here—and you will have Vera——
Kore. [Strangely] You must save her now, Adrian.
Adr. She is saved. Haven't you read? Don't you see?
Kore. Not Vera, the princess. It was I who betrayed her. And it was Vera she saved. I was so sure of you. You said——
Adr. I am sorry for you, Korelenko. You have sold the angel in your service.
Kore. No! You did it! You deceived me! You swore you loved her!
Adr. I swore the truth.
Kore. Bah! Such love! Prove it! Prove it! [Hurries to the little cabinet in wall, rear, unlocks it, takes out a bomb from his pocket, places it in the cabinet, locks the door and returns to Adrian with key] Prove it! I am going to Vera. Gregorief will wait at Breshloff's. Send him this[191] key within an hour and he will know what to do. [Offers key to Adrian, who looks at him silently. Korelenko throws key to the floor] There it is! Send it, or her fate will be on your soul, not mine! [Exit]
Adr. O, Infinite Love, why didst make us as men to try us as gods?... And I might have saved her. Might? ... [Goes slowly to the key, stoops and picks it up. As he raises his head his glance falls on the portrait of the Saviour on wall in front of him] Unto seventy times seven. [He drops the key and takes a step or two toward the picture] Thou too wert man!... [As he gazes at the portrait Vasil comes softly forward, takes up the key, returns to table, and sits looking at the key as if fascinated. Curtain]
Scene 1. Same room. Vasil asleep on bench, rear, left. Adrian watching by him.
Adr. If I had saved him this day ... this night! But now ... what peace can heal him? [Rises and walks] Lord, Lord, from out these burning days, let one, just one, go free! As thou lovest thy world, let him be spared, let him be spared!
[Enter Sophie, street door. Adrian looks at her uncomprehendingly. She crosses to him]
Adr. Why have you come?
Soph. To warn you!
Adr. The boy—do not wake him.
[Sophie crosses to left, rear, Adrian following. She looks down, at Vasil, stoops and tenderly kisses him, then moves away with Adrian. Vasil opens his eyes and looks after them]
Adr. The last two hours have been terrible, but he rests now.
Soph. You must take him with you.
Adr. With me?
Soph. I have come from the ball.
Adr. I see.
Soph. Orloff is a very weak man. I found out that you are to be arrested to-night.
Adr. It has come then.
Soph. Is Korelenko going with Vera?
Adr. I hope so. He has gone to meet her.
Soph. Then you can't take his place. We must think of some other way—and quickly.
Adr. Not for me. It is you who must go. You are betrayed to Petrizoff.
Soph. I hoped you wouldn't hear that. I am in no danger.
Adr. [Between fear and relief] No danger?
Soph. [With a half smile] By and by you will believe that I can take care of myself.
[Enter Korelenko with Vera]
Soph. Not gone?
Adr. You are lost.
Soph. Why did you bring her back? You have no right to destroy her life!
Vera. I would not go. My place is with Alexander. [Softly] You ought to understand that, princess.
Soph. [To Korelenko] She is a child. She did not know. You should have gone with her.
Kore. Your highness, that was impossible.
Soph. It was not! All was prepared——
Kore. [To Adrian] Does she know?
Soph. That I am betrayed? Yes, but the man entrusted with the evidence happened to be a devoted servant of my own—[Alexander groans] He will fall! And you—Adrian—what is the matter?
Kore. [Steadying himself against the loom and clasping Vera] I have thrown our lives away—mine and Vera's—that is all.
Soph. Why couldn't you go with her?
Kore. Because it was I who betrayed you. And could I accept life and love at your hands?
Soph. [Shrinking] You? But why——
Kore. I can not answer. Come, Vera, to your grandmother.
[Exeunt Korelenko and Vera, right, centre]
Soph. O, why did he do it?
Adr. I can tell you.
Soph. Then why?
Adr. Because he believed—O, Sophie, beloved, before I speak, look at me with the love in your eyes as I saw it first. I did not know it was for me then. Let me see it now while I know you are mine—mine! Yes, yes, you love me!
Soph. Ah, Adrian, I am afraid I love nothing else.
[Vasil covers his eyes with his arm]
Adr. And you will kiss me once?
Soph. Once?
Adr. As if we were parting forever, Sophie. [She embraces and kisses him. He moves away from her] Now I will tell you why Alexander could not answer you, and why I can. He betrayed you believing that I could and would save you.
Soph. And you——
Adr. Could, but would not.
Soph. [Moving back] What are you saying, Adrian?
Adr. I could have saved you but I would not. Isn't it clear?
Soph. [Moving back till she stands in dim light] No—I don't——
Adr. I would not consent to Petrizoff's death.
Soph. [Lifting her head] O! [Regarding him steadily] You refused your consent when you knew that his death would save me?
Adr. [Lowering his eyes] I did.
Soph. He, a murderer, whose death has been justly due a thousand times, and I, innocent, the woman you say you love——
Adr. [Bowing his head, not meeting her look] I have told you the truth.
Soph. And that is why we part forever?
Adr. That is why.
Soph. Because I could not forgive you?
Adr. No. I should want more than forgiveness. I should want you to understand.
Soph. That you were right?
Adr. Yes.
Soph. And I couldn't understand?
Adr. [Still hopelessly, not looking at her] No.
Soph. [Coming nearer] And we part forever? [He makes no answer. She comes nearer] Forever? [He is still silent. She comes near enough to turn his face to hers] Forever, Adrian?
Adr. Sophie! [Takes her in his arms]
Soph. O, do you think I will ever leave you now?
Adr. You do understand!
Soph. [Smiling] That I can never be in your way? You will always sacrifice me first? Yes, I knew that all the time, but you didn't.
Adr. And it makes no difference?
Soph. How can it when I love you?
Adr. I wonder if God understands women.
Soph. O, some of them. The rest He made to puzzle over when eternity hangs on His hands.
Adr. [Kissing her] Heaven-heart!
Soph. [Releasing herself] That must wait. We haven't a minute——
[They hear steps outside, and stand waiting. Orloff and two guards enter]
Orl. It is my turn to be surprised, your highness. I suppose you are here to assure this prisoner of safety.
Soph. What prisoner?
Orl. Adrian Lavrov.
[Guards put fetters on Adrian's wrists]
Adr. For what crime am I arrested?
Orl. [To guards] Keep him here until I return.
Adr. For what crime?
Orl. For crime sufficient.
Adr. I insist upon knowing.
Orl. You will know soon enough—in the next world. They say everything is known there.
Soph. He is ashamed to tell you. You are arrested as chief instigator in the burning of Yaltowa.
Adr. Is it possible?
Soph. More than possible. It is so. That is the crime you will die for unless you are rescued by a rising of the people.
Adr. That must not be!
Orl. Don't worry. We are giving your friends enough to think about.
[Sophie has gradually neared the door. Orloff steps before her]
Orl. Pardon me, your highness. You invited me into your carriage a few hours ago. I beg to return the courtesy.
Soph. Let me pass!
Orl. You will leave here only under my escort.
Soph. I know where I shall die then.
Orl. You have cost me one prisoner.
Soph. What proof have you?
Orl. None—yet. But I know it.
Soph. O wonderful sagacity!
Orl. And I shall lay my reasons before Petrizoff.
Soph. I suppose you believe, too, that I would rescue the Shepherd of Lonz?
Orl. I shall at least not lose sight of him until he is in prison. [Sophie turns her back upon Orloff] You must come with me or stay here under guard. I don't promise you as pleasant a journey as you gave me, for I shall not be at so much trouble to please. I shall not even ask you to let me repeat the little kiss——
Soph. Sir!
Orl. On your hand, which you so kindly permitted. [Sophie again attempts to pass him] Will your highness take my arm to the carriage? We have only a short distance to drive before meeting Petrizoff. [Looking at his watch] He ought to be almost here.
Soph. I will stay here.
Orl. In shackles?
Soph. [Holding out her arms] Yes.
Orl. Stay then. But I will not bind you.
Soph. No, I might not forgive you that if it turns out that you have made a fool's mistake.
Orl. There is no mistake, as you will learn after I have seen Petrizoff. [To guards] No conversation between prisoners. [To Sophie] Let me assure you that these guards can be trusted. [Exit]
[Adrian sits in the large chair, a guard stationed on each side of him. Sophie sits on low stool before him, and lays her head upon his knees]
A guard. [Anxiously] It is not permitted to communicate——
Soph. Then don't, sir!
[Silence for a moment, then the noise of horses approaching]
Soph. Ah—Petrizoff!
[Vasil rises cautiously. The guards have their backs to him and the door. He stands on the bench, unlocks cabinet, takes out the bomb, puts it under his blouse, and goes softly out]
Adr. Sophie—Sophie—you do not regret——
Soph. No, no! Don't, Adrian! Forget all but love—love—love! This is the last—the last——
[Sound of trampling without, shrieks and noises. They start and listen. Korelenko runs through the room from right and out at street door. Vera comes on after him. Adrian and Sophie rise and look questioningly at each[198] other. The guards lift their weapons. Adrian looks toward bench and sees that Vasil is gone]
Adr. Vasil! [To Vera] Is he in there?
Vera. No, Adrian.
Adr. He has gone out. He will be hurt. [Looks suddenly at cabinet, which is open] Who has been here? Gregorief? [Stares at cabinet. Sophie's gaze follows his. He turns to her, speaking slowly] There was a bomb in that cabinet. Could it be possible—that——
Soph. [Gently] I am afraid it is true.
Adr. Never! Not him!
Soph. Adrian! Beloved!
Adr. [Not heeding her] Vasil! Vasil! [Staggers to seat by table, front, left. Guards keep by him. Enter Korelenko followed by Gregorief and others]
Vera. [Running to Korelenko] Vasil—where is he? [Korelenko is silent]
Soph. Is he hurt?
Kore. The boy—or——
Soph. The boy.
Kore. Not hurt, but taken.
[Adrian throws his fettered arms upon the table and lays his face upon them]
Soph. Is Petrizoff dead?
Kore. Only a wound. This night belongs to hell. O, if it could have been as we planned!
Soph. No one is killed?
Kore. No one but Orloff.
Soph. Orloff dead! [Under her breath] Then I am safe.
Kore. Gods, if only it had been Petrizoff! His escape is unbelievable. [Turning to Adrian] What says the preacher now?
Soph. Don't! See his fetters?
Kore. Ah! When——
Greg. [Crossing to Adrian] Fortunate man! Now he may develop his soul!
Soph. How can you?
Greg. How could he, madam? How could he? Do you know what he has done? He has killed every man that died in Yaltowa to-night—he has slaughtered every child—he has outraged every woman! What else? Freedom offered him her hand and he struck her to earth! He has scattered her forces—he has strengthened her oppressor—and the rivers of blood that must now drench Russia shall flow from his door! But—ha! ha! he has saved his soul!
[Enter Irtenieff, attended]
Irtenieff. I want the prisoner, Adrian Lavrov. [No one answers. He sees Adrian and crosses to him] What is your crime? [Adrian does not raise his head]
Soph. None.
Irten. You are arrested for the burning of Yaltowa? All prisoners taken on that charge are free by the order of Petrizoff.
Soph. Take off his chains!
[At a sign from Irtenieff guards unfetter Adrian, who does not seem to know what they are doing]
Kore. Such an order from Petrizoff? What does it mean?
Irten. It means that he is frightened into saying his prayers for a day or two.
Soph. Adrian, my dear one, look up!
Irten. [To Korelenko] And if you've a particular regard, as I've heard, for the little beauty there, you'd better get her out of Russia before his scare rubs off.
Kore. Thank you, sir.
[Exeunt Irtenieff, men, and guards left by Orloff. Dawn has been gradually breaking, showing through door and window, rear. Sophie continues to talk softly to Adrian and finally he raises his head]
Adr. They will bury the sunshine of the world—shut up his golden years in darkness——
Soph. We will free him, Adrian. We will live to set him free.
[Zarkoff, and Vasil guarded, appear at door]
Zarkoff. [Stepping in] Now show your accomplices. [Vasil stands on the threshold, silent, looking eagerly at the faces in the room] You swore you would tell who helped you if we brought you here.
Vasil. I will.
Zar. [Pointing to Gregorief] Is he one?
Vasil. Let me take my time. You wouldn't hurry on your way to Schlusselburg, would you? I must speak to my friends first. Adrian—father, brother, master—the songs have all come back. When I only looked on, doing nothing to help, the music stopped, but now——
Zar. Too many words, sir!
Vasil. Now I am doing my part, I have a right to my song. They will take me to——
Zar. Stop that!
Vasil. And under the stormy waters my heart will be singing——
Zar. Say your good-bys, and be done!
Vasil. Put your ear to my violin, and you will hear——
Zar. Come!
Vasil. You must yield something too, Adrian. Step back to the law of Moses for vantage if you can leap to Christ with the world in your arms.
Zar. You have broken your oath!
Vasil. I have not. I will tell you.
Zar. Speak then. Who are your confederates?
Vasil. There is but one.
Zar. Who? Where is he?
Vasil. He is here—in this room—he is in every prison in Russia—he is in every heart that knows the meaning of love—but if you want to arrest him [stepping back into the sunlight and pointing upward] you must go up there, for he is God.
Zar. That for your blasphemy! [Strikes Vasil on the mouth with his sword] Off with him!
[Guards take Vasil off. Zarkoff follows. Silence broken by a groan from Adrian]
Soph. Beloved, beloved, he shall be free! The whole world shall help us!
Greg. May we knock down the prisons now, Lavrov?
Adr. O God, in all thy ages can this be justified?
Kore. You can justify it in a moment. Adrian Lavrov, this is your call to war. If you respond, his life is well lost.
Adr. War? [Staggers up] Yes. And I will use the strongest of earthly weapons, the arms of peace. The powers that upbuild are as invincible as the universe. By them it stands. Only by their toleration do the forces of destruction live. Toleration? Only by the support of the powers of peace do the powers that destroy exist. Is not the army of the Czar fed by us, clothed by us, paid by us? And if we refuse to give, must it not beg of us? If he who works not shall not eat, what is the doom of the destroyer? The sower shall not sow for him, the reaper shall not reap for him, the builder shall not build for him, the physician shall not heal him, the scholar shall not teach him, the lawyer shall not plead for him, no trade shall supply him, no craft shall assist him, no art shall amuse him. The mills shall be silent, the wheels shall not turn, the wires shall be dumb, until he cries out[202] "Peace, thou art master: let me be so much as thy servant!"
A revolutionist. Right! This, too, is war!
Adr. Yes. The new war of a new day. Not in madness hurling bombs, but giving our pity as we take our right.
Man. And who will pay your soldiers of peace? Must not their women and children eat?
Adr. The money we now pay to our brothers to strike us shall put bread in our mouths.
A revolutionist. Keep the taxes!
Man. You join us at last!
Adr. No. We join each other ... under the only unconquerable power. Gather an army and go forth with guns, and you may be laid in the dust. But the gathered forces of peace are as the fingers on God's hand, one with His strength, one with His will. Friends, friends, we have been searching earth for the weapon already in our grasp. The woman at the loom, the mujik in the field, the workman on the housetop, the man at the wire, the throttle, the wheel, hold it in their hands. To know its might—to use it together—that is all. Together! O, they must see it—as I do now! I will gather my disciples, we will knock at every door and preach the gospel of united peace until all our unions are one union, all our bodies one body, with one breath, one heart, one head. In barin and peasant, mechanic and noble, Christian and Jew, Finn, Pole, Czech, Serb, Georgian, Tatar, must be born as in one man the conscious strength of peace. And to its deliverance I give my life, my soul! [Sits down. Sophie leans over him] ... Yes ... he shall be free.
Greg. [Who has been searching Vasil's violin, comes forward with a paper in his hand] They shall all be free![203] We will make no terms, we will accept no constitution, till every dungeon door be open, till we hold in our arms the brothers who have made freedom no longer a dream of the night but a song of the morning! To them we owe the liberty that is dawning, and shall we tread the earth they give us while they perish beneath it? Hear our latest martyr—the youngest of us all. Hear the "Voice of Schlusselburg!"
Scene: Syracuse, Sicily
Time: 356 B.C.
Bren. True, but— Peace! Yonder comes the mistress. I must be off. "Entertainment," quoth my lord. Which means a gentle sally of honest nymphs, and a sort of mild, virtuous music at hide-and-seek in the vineyard. You must to court if you would know how wenches can trip in Sicily. Come, brother stranger. I'll take care o' your enjoyments. You shall see us with both eyes, I promise you.
[Exeunt Brentio and Tichus. Enter, left, Aratea, Theano, Nauresta, Ocrastes and Phillistus]
Phil. [Who has stood apart, approaches Aristocles] Welcome to Sicily, although your breath is somewhat frosty for our warmer pleasures.
Ara. [As Dion frowns] The frost that draws the poison, saves the flower, you mean, my good Phillistus.
Aris. A fair interpreter!
Phil. Ay, when we know not our meaning, let a woman find it.
Oc. Which she will do the more readily if we mean nothing.
The. True, her wit is generous. She'll always bait a hook that angles painfully.
Oc. Though she, good soul, must hang herself upon it.
[Theano and Ocrastes move aside, bantering. Aratea turns to Phillistus and Nauresta]
Nau. Now, Aratea, the song of praise! Which of the gods is he most like?
Ara. Like none of them. Jove is long-bearded, Neptune has forgot to walk, Mercury is boyish, Apollo like a woman, and Mars so heavy-footed he would stumble mocking the grace of Aristocles!
Nau. 'Tis plain a curious eye will never take you to Olympus, since you've seen the Athenian.
Ara. I own I have a sudden comfort from this gentle sage.
Nau. What is it?
Ara. You know my Dion has one only fault.
Nau. O, all but perfect man!
Ara. He is so true that he is stern as truth.
Nau. That's truth indeed!
Ara. So just that he is harsh as Justice' self.
Nau. Another truth!
Ara. So good that——
Nau. What! More of this singular fault?
Nau. Good-day, my lords! You are early from the play. Did it not please you?
First courtier. Tame, tame. I'd not have left my couch at the bath for such. And Dracon's tongue was middle of a pretty tale.
Nau. But the banquet—why stayed you not for that?
Second courtier. Have you not heard? The seven evil winds have struck the feast, and left but fruit and wine. My wife's as good a cook. Can serve a plate of figs!
Nau. What's this?
First courtier. As we say. Our delectable gardens are smit with sudden prudent frost. The mullein and the plantain shortly will grow where we have plucked luxuriance' rose.
[Enter Aratea and Aristocles]
Nau. What do you mean, my lord?
First courtier. [Looking at Aristocles] The wind is all too near that wrought this havoc.
Aris. Nay, have no fear for Dion. You wrong this hour of promise. Your brother yields us much.
Ara. Indeed too much! These sudden born desires are to be feared in him. Ah, here's Ocrastes.
Nau. He's much disturbed. I know that brow.
[Re-enter Ocrastes, right]
The. Ocrastes?
Ara. Read—read—Ocrastes—I—I can not see.
Oc. [Reads] Aristocles will be thy comfort. Bid him not forget Syracuse to think of me. Now that the thorny counsellor is plucked from court, he can do much with Dionysius. Ocrastes will be to thee a brother of more love than ever was the tyrant. Sweet, farewell. 'Tis from thine eyes I'm banished, not thy heart.
Ara. O Dion, Dion! My unhappy lord!
Tich. [Aside, noting Aristocles' groan] Ho, for ill that's past and ill that is to come, philosophy has ever a saw, but in a present pinch speaks not for groaning!... My lord, the lady Aratea asks for word with you.
Aris. [Hesitating] Tell her ... I come.
[Curtain]
Scene 1. An outer court, Dioniysius' palace. Two entrances to palace on the right. Columns rear. Sea and sky seen between them. Behind columns a street. At left a garden. Speusippus and lords pass from street toward garden.
Bren. These are merry days since Dionysius brought us to the palace. I would weep for my poor banished master, for they say a far country makes a weary foot, but there's so much laughing matter here—the singing and the rhyming, and the pretty wenches tripping your eyes up at every corner, that my tears are no more out than I've good reason to whip them in again.
Meth. O Venus! There's no laughing here save of your dreaming. Dost see how the courtiers scowl? They say the scholars and philosophers leave them no dancing room in the palace; the halls are full of sand for the pleasure of the students that come to draw those foolish figures—plates, they call em——
Tich. Geometry.
Bren. That's your master's doing. Thank the wise man for that!
Meth. It suits our mistresses well enough. They blink at a smile as an owlet at the sun. Troth, I've seen them weep so much that I feel wrapped in a fog with the vapor of their tears.
Tich. But let us be merry. No more sad airs, my sweet Methone.
Bren. [Aside] I like not this sugary possessive.... Play, my own sweetest Methone, and I'll sing you a song out of head.
Meth. Pray you, sing it not out of feet too, for a limping line is past carrying.
Bren. 'Tis a song of you and will go fast enough, I warrant.
Meth. [Scornfully] Of me?
Bren. Nay, of your jewels!
Meth. An you mock me, I'll——
Bren. [Touching his lips] Your rubies [pointing to his eyes], your diamonds [grinning to show teeth], your pearls.
Tich. You may sing that song when diamonds wink tears, rubies pucker for kisses, and pearls bite figs i' the morning.
Bren. Well, I've a better one. [Sings]
Meth. Nay, I'm no farm-house sweet for loutish Corydon! How would you sing me, master Tichus, were I in Athens where every maid is fair?
Tich. With more truth and less boast.
Meth. Your song, sir.
[Tichus sings]
Bren. Ho, if heaven had no stars save those left by lovers after fitting up their mistress' eyes, Erebus would stumble for want of candles!
Meth. [Jumping up] Go! I hear my mistress!
[Tichus walks leisurely into garden, Brentio following]
Meth. Brentio, take the harp!
[Brentio returns and picks up harp]
Bren. So! I'm an excellent dromedary, if I can't flute it like Apollo.
Meth. Run, snail!
Bren. Not I, by Vulcan's limp!
[Theano appears at smaller entrance of palace]
The. Methone?
[Brentio runs into garden]
Scene: The grove of Ceres on the right, a temple partly visible. The island of Ortygia in rear, separated from mainland by a very narrow channel with wall on the Ortygian side running off stage left, to channel bridge where the ensuing conflict is supposed to centre. The island extends down to the Lesser Harbor, centre rear, which widens to a sea-glimpse at right. On the island shore in the farthest distance is outlined the temple of Artemis. Part of the Ortygian castle is shown on an island, left, the lower part concealed by channel wall.
At extreme left, front, the entrance to Phillistus' dwelling is seen. Between dwelling and channel a road leads toward the bridge. At front of stage a road runs left toward the Greater Harbor, and right toward Epipolai, the outermost portion of the city.
On the right, toward rear, terraces lead up to the heights of Achridina. Various statues are seen, the largest being a Victory at entrance to grove. Off the stage, left front, over Greater Harbor, the sun is setting, throwing gradually softening tints and increasing shadows.
Troops of soldiers, laughing and talking with citizens in holiday costume, come up the road from the Greater Harbor and pass off toward Epipolai. Speusippus, Ascander, and Timoleon, enter from grove and stand near the Victory. At right front enter young men arrayed for banqueting, bearing wreaths, torches, etc. They turn to rear and pass up terraces toward Achridina, singing.
Scene: A room in the castle. Brentio alone.
Bren. By Hector, we've had a night of it. I must stop now and count my fingers and toes, for I'm sure there's some of me missing. First, my gold! [Counts gold] All here. But poor mistress Theano that I promised to carry through fire and flood for this same sweet gold was burnt up last night. Well, my lord Ocrastes is dead too, so I'll not be called to account. Had it been flood now I might have kept my promise, but fire—I never could abide a singed beard.
[Enter Tichus]
Ho, Tichus! These are wars, sir! These are wars! Have you killed your man this night?
Tich. A score, I hope.
Bren. Well, I've naught to say. Let deeds talk. A bragging tongue is Fame's best grave-digger, though it wag i' the mouth of Hercules. But I spared some, I'll say that. They cried so for mercy, poor fellows! Not a man of 'em was ready to die, by his own count.
Tich. If you wait for that you'll die swearing blood is green for all you'll even draw of it. When the gods promised that no man should die till he was ready old Charon sold his boat.
Bren. There's a stick-penny for you. What was his bargain?
Tich. A feather bed, that he might sleep off idleness.
Bren. Ah, but you should have seen me when a villain[294] pitted at me with three pikes. A murderous three-handed deformity, by the truth o' my eyes he was!
Tich. Then you shook your sword, I warrant!
Bren. No, bless me, I shook my feet.
Tich. Man, you didn't run?
Bren. No, I flew. I wore Mercury's feathers, I tell you.
Tich. Shame, Brentio! A coward's leg will never overtake Fame.
Bren. Ay, but when a man must leap the grave to catch her, let take her who will! I'm done. Have you been through the castle?
Tich. No.
Bren. Come then. There are sights to be seen. Mostly in the cellars, where every soldier gets a bottle for his song.
[Sings]
Here are our masters! I'm gone. A hero may drink, but work—never! [Exit]
Tich. There's more trouble ahead than the claw o' my wit can scratch. Ocrastes' death makes one less in the pother, but I've eyes in my head, and there's no doubt my master is in love with the lady Aratea, and one lover can make more trouble than a score of extra husbands. Well, well, when thy cares bewilder thee take time and wine for thy counsellors. So let it work out. [Exit. Aristocles and Dion appear in hall partly visible through wide open doors, rear. Aristocles enters and comes front. Dion remains without, gazing down, moody and meditative]
Bren. My lord, the people in the banquet hall are drinking all the cellars dry. You'd weep to see it, sir. [Sees Theano and Ocrastes. Looks in bewilderment from one to the other, claps hand to his purse and runs out]
Dion. The slave's beset.
Oc. He's drunk, my lord.
Dion. I had forgot Heraclides. [Going] Ocrastes, come. We'll not so soon be parted. You to my wife, Theano. [Exeunt Dion and Ocrastes, rear; Theano through curtains, left]
[Stabs at Dion, whose sword arm is still in bandage. Aristocles, watching, springs out and knocks the weapon aside. Heraclides engages with him. Callorus rushes at Dion, who has loosened his right arm, and his foe, meeting unexpected defence, is slain. As Callorus falls, �gisthus strikes at Dion and disarms him, sending his weapon against the curtains, left. Dion, unarmed and suffering, falls back. Aristocles presses before Dion, fighting desperately with Heraclides and �gisthus, Aratea appears at curtains]
Ara. [Taking up Dion's weapon] O heart of Mars, beat here!
[She advances suddenly and draws upon �gisthus, who falls back in momentary astonishment, and Aristocles, relieved, slays Heraclides. Ocrastes and Calippus rush in rear, followed by guards and slaves. Theano and women, enter left. �gisthus kneels and surrenders his sword to Aratea]
Transcriber notes:
Fixed up various punctuation.
P. 40. '...fit to reach y weak'; changed 'y' to 'my'.
End of Project Gutenberg's Lords and Lovers, by Olive Tilford Dargan
*** END OF THIS PROJECT GUTENBERG EBOOK LORDS AND LOVERS ***
***** This file should be named 51282-h.htm or 51282-h.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.org/5/1/2/8/51282/
Produced by David Garcia and the Online Distributed
Proofreading Team at http://www.pgdp.net (This file was
produced from images generously made available by The
Kentuckiana Digital Library)
Updated editions will replace the previous one--the old editions will
be renamed.
Creating the works from print editions not protected by U.S. copyright
law means that no one owns a United States copyright in these works,
so the Foundation (and you!) can copy and distribute it in the United
States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part
of this license, apply to copying and distributing Project
Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm
concept and trademark. Project Gutenberg is a registered trademark,
and may not be used if you charge for the eBooks, unless you receive
specific permission. If you do not charge anything for copies of this
eBook, complying with the rules is very easy. You may use this eBook
for nearly any purpose such as creation of derivative works, reports,
performances and research. They may be modified and printed and given
away--you may do practically ANYTHING in the United States with eBooks
not protected by U.S. copyright law. Redistribution is subject to the
trademark license, especially commercial redistribution.
START: FULL LICENSE
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full
Project Gutenberg-tm License available with this file or online at
www.gutenberg.org/license.
Section 1. General Terms of Use and Redistributing Project
Gutenberg-tm electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg-tm electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg-tm electronic work and you do not agree to be bound
by the terms of this agreement, you may obtain a refund from the
person or entity to whom you paid the fee as set forth in paragraph
1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this
agreement and help preserve free future access to Project Gutenberg-tm
electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the
Foundation" or PGLAF), owns a compilation copyright in the collection
of Project Gutenberg-tm electronic works. Nearly all the individual
works in the collection are in the public domain in the United
States. If an individual work is unprotected by copyright law in the
United States and you are located in the United States, we do not
claim a right to prevent you from copying, distributing, performing,
displaying or creating derivative works based on the work as long as
all references to Project Gutenberg are removed. Of course, we hope
that you will support the Project Gutenberg-tm mission of promoting
free access to electronic works by freely sharing Project Gutenberg-tm
works in compliance with the terms of this agreement for keeping the
Project Gutenberg-tm name associated with the work. You can easily
comply with the terms of this agreement by keeping this work in the
same format with its attached full Project Gutenberg-tm License when
you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are
in a constant state of change. If you are outside the United States,
check the laws of your country in addition to the terms of this
agreement before downloading, copying, displaying, performing,
distributing or creating derivative works based on this work or any
other Project Gutenberg-tm work. The Foundation makes no
representations concerning the copyright status of any work in any
country outside the United States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other
immediate access to, the full Project Gutenberg-tm License must appear
prominently whenever any copy of a Project Gutenberg-tm work (any work
on which the phrase "Project Gutenberg" appears, or with which the
phrase "Project Gutenberg" is associated) is accessed, displayed,
performed, viewed, copied or distributed:
This eBook is for the use of anyone anywhere in the United States and
most other parts of the world at no cost and with almost no
restrictions whatsoever. You may copy it, give it away or re-use it
under the terms of the Project Gutenberg License included with this
eBook or online at www.gutenberg.org. If you are not located in the
United States, you'll have to check the laws of the country where you
are located before using this ebook.
1.E.2. If an individual Project Gutenberg-tm electronic work is
derived from texts not protected by U.S. copyright law (does not
contain a notice indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed to anyone in
the United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase "Project
Gutenberg" associated with or appearing on the work, you must comply
either with the requirements of paragraphs 1.E.1 through 1.E.7 or
obtain permission for the use of the work and the Project Gutenberg-tm
trademark as set forth in paragraphs 1.E.8 or 1.E.9.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg-tm License for all works
posted with the permission of the copyright holder found at the
beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including
any word processing or hypertext form. However, if you provide access
to or distribute copies of a Project Gutenberg-tm work in a format
other than "Plain Vanilla ASCII" or other format used in the official
version posted on the official Project Gutenberg-tm web site
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original "Plain
Vanilla ASCII" or other form. Any alternate format must include the
full Project Gutenberg-tm License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works
provided that
* You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is owed
to the owner of the Project Gutenberg-tm trademark, but he has
agreed to donate royalties under this paragraph to the Project
Gutenberg Literary Archive Foundation. Royalty payments must be paid
within 60 days following each date on which you prepare (or are
legally required to prepare) your periodic tax returns. Royalty
payments should be clearly marked as such and sent to the Project
Gutenberg Literary Archive Foundation at the address specified in
Section 4, "Information about donations to the Project Gutenberg
Literary Archive Foundation."
* You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or destroy all
copies of the works possessed in a physical medium and discontinue
all use of and all access to other copies of Project Gutenberg-tm
works.
* You provide, in accordance with paragraph 1.F.3, a full refund of
any money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days of
receipt of the work.
* You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute a Project
Gutenberg-tm electronic work or group of works on different terms than
are set forth in this agreement, you must obtain permission in writing
from both the Project Gutenberg Literary Archive Foundation and The
Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm
trademark. Contact the Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
works not protected by U.S. copyright law in creating the Project
Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm
electronic works, and the medium on which they may be stored, may
contain "Defects," such as, but not limited to, incomplete, inaccurate
or corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged disk or
other medium, a computer virus, or computer codes that damage or
cannot be read by your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium
with your written explanation. The person or entity that provided you
with the defective work may elect to provide a replacement copy in
lieu of a refund. If you received the work electronically, the person
or entity providing it to you may choose to give you a second
opportunity to receive the work electronically in lieu of a refund. If
the second copy is also defective, you may demand a refund in writing
without further opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of
damages. If any disclaimer or limitation set forth in this agreement
violates the law of the state applicable to this agreement, the
agreement shall be interpreted to make the maximum disclaimer or
limitation permitted by the applicable state law. The invalidity or
unenforceability of any provision of this agreement shall not void the
remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in
accordance with this agreement, and any volunteers associated with the
production, promotion and distribution of Project Gutenberg-tm
electronic works, harmless from all liability, costs and expenses,
including legal fees, that arise directly or indirectly from any of
the following which you do or cause to occur: (a) distribution of this
or any Project Gutenberg-tm work, (b) alteration, modification, or
additions or deletions to any Project Gutenberg-tm work, and (c) any
Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers. It
exists because of the efforts of hundreds of volunteers and donations
from people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help, see
Sections 3 and 4 and the Foundation information page at
www.gutenberg.org
Section 3. Information about the Project Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg Literary
Archive Foundation are tax deductible to the full extent permitted by
U.S. federal laws and your state's laws.
The Foundation's principal office is in Fairbanks, Alaska, with the
mailing address: PO Box 750175, Fairbanks, AK 99775, but its
volunteers and employees are scattered throughout numerous
locations. Its business office is located at 809 North 1500 West, Salt
Lake City, UT 84116, (801) 596-1887. Email contact links and up to
date contact information can be found at the Foundation's web site and
official page at www.gutenberg.org/contact
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
gbnewby@pglaf.org
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To SEND
DONATIONS or determine the status of compliance for any particular
state visit www.gutenberg.org/donate
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations. To
donate, please visit: www.gutenberg.org/donate
Section 5. General Information About Project Gutenberg-tm electronic works.
Professor Michael S. Hart was the originator of the Project
Gutenberg-tm concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg-tm eBooks with only a loose network of
volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.
Most people start at our Web site which has the main PG search
facility: www.gutenberg.org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.