Part 2 (1/1)

PART VI

It would be cuive a detailed, consecutive account of our wanderings inside that cavernous, aeon-dead honeycomb of primal masonry - that monstrous lair of elder secrets which now echoed for the first time, after uncounted epochs, to the tread of human feet This is especially true because so much of the horrible drama and revelation cas Our flashlight photographs of those carvings will do , and it is laer film supply with us As it e made crude notebook sketches of certain salient features after all our fil which we had entered was one of great size and elaborateness, and gave us an iic past The inner partitions were less massive than the outer walls, but on the lower levels were excellently preserved Labyrinthine coular difference in floor levels, characterized the entire arrangement; and we should certainly have been lost at the very outset but for the trail of torn paper left behind us We decided to explore the more decrepit upper parts first of all, hence climbed aloft in the maze for a distance of some one hundred feet, to where the topmost tier of chambers yawned snowily and ruinously open to the polar sky Ascent was effected over the steep, transversely ribbed stone ramps or inclined planes which everywhere served in lieu of stairs The rooinable shapes and proportions, ranging froles and perfect cubes

It e was about 30 x 30 feet in floor area, and 20 feet in height, thoughthe upper regions and the glacial level, we descended, story by story, into the subed part, where indeed we soon saere in a continuousover unli The Cyclopeanabout us becauely but deeply unhuman in all the contours, dimensions, proportions, decorations, and constructional nuances of the blasphemously archaic stonework We soon realized, fros revealed, that this monstrous city was ineering principles used in the ano and adjusth the function of the arch was clearly much relied on The rooms we visited holly bare of all portable contents, a circumstance which sustained our belief in the city's deliberate desertion The prime decorative feature was the almost universal system of mural sculpture, which tended to run in continuous horizontal bands three feet wide and arranged froiven over to geometrical arabesques There were exceptions to this rule of arrange Often, however, a series of sroups of dots would be sunk along one of the arabesque bands

The technique, we soon saas hest degree of civilized h utterly alien in every detail to any known art tradition of the human race In delicacy of execution no sculpture I have ever seen could approach it

The etation, or of ani vividness despite the bold scale of the carvings; whilst the conventional designs were marvels of skillful intricacy The arabesques displayed a profound use of mathematical principles, and were les based on the quantity of five The pictorial bands followed a highly formalized tradition, and involved a peculiar treatment of perspective, but had an artistic force that ulf of vast geologic periods Their ular juxtaposition of the cross section with the two-diy beyond that of any known race of antiquity It is useless to try to compare this art with any represented in our raphs will probably find its closest analogue in certain grotesque conceptions of thefuturists

The arabesque tracery consisted altogether of depressed lines, whose depth on unweathered walls varied froroups appeared - evidently as inscriptions in soe and alphabet - the depression of the smooth surface was perhaps an inch and a half, and of the dots perhaps a half inch more The pictorial bands were in countersunk low relief, their background being depressed about two inches froinal wall surface In some specih for the rated and banished any pigments which may have been applied The more one studied the etext92timem11The_Time_Machine vatsyayana2782727827-8The_Kaland_and_the_War carrolll1903319033-8Alice_in_Wonderland innesartetext048gtdr10England_Under_the_Tudors_ huriffithm2822428224-8Achter_den_Sluier_in_Perzie_en_Turksch_Arabie cookj2978729787-8England_Picturesque_and_Descriptive levercha3206232062-8The_Daltons_Voluallunr3205432054-8Sta10000cocoartf824cocoasubrtf480 {fonttblf0fromanfcharset77 Times-Bold;f1fromanfcharset77 Times-Roreen255blue255;red0green0blue238;} {info {title Four Short Plays} {doccomm A free download from manybooksnet} {author John Galsworthy} {company manybooksnet}}deftab720 pardpardeftab720sa400qlqnatural f0bfs75 cf0 Four Short Plays pardpardeftab720sa140qlqnatural f1b0fs37fsmilli18750 cf0 pardpardeftab720sa300qlqnatural cf0 Project Gutenberg Etext of Four Short Plays (Of Six), by John Galsworthy 33 in our series by John Galsworthy Copyright laws are changing all over the world Be sure to check the copyright laws for your country before distributing this or any other Project Gutenberg file We encourage you to keep this file, exactly as it is, on your own disk, thereby keeping an electronic path open for future readers Please do not re seen when anyone starts to view the etext Do not change or edit it without written permission The words are carefully chosen to provide users with the information they need to understand what they may and may not do with the etext pardpardeftab720sa300qlqnatural f0b cf0 Welcome To The World of Free Plain Vanilla Electronic Texts f1b0 f0b Etexts Readable By Both Humans and By Computers, Since 1971 f1b0 f0b These Etexts Are Prepared By Thousands of Volunteers! f1b0 Inforet etexts, and further information, is included below We need your donations The Project Gutenberg Literary Archive Foundation is a 501(c)(3) organization with EIN [Employee Identification Number] 64-6221541 pardpardeftab720sa140qlqnatural cf0 pardpardeftab720qlqnatural cf0 title: Four Short Plays (From The Six Short Plays) Author: John Galsworthy Release Date: November, 2001 [Etext 2920] [Yes, we are more than one year ahead of schedule] [Most recently updated: Decelish Character set encoding: ASCII Project Gutenberg Etext of Four Short Plays, by John Galsworthy This file should be named shply11txt or shplyt11zip Corrected EDITIONS of our etexts get a new NUMBER, shply12txt VERSIONS based on separate sources get new LETTER, shply11atxt This etext was produced by David Widger Project Gutenberg Etexts are often created from several printed editions, all of which are confirht notice is included Thus, we usually do not keep etexts in co to release all our etexts one year in advance of the official release dates, leaving tied to tell us about any error or corrections, even years after the official publication date Please note neither this listing nor its contents are final til ht of the last day of the month of any such announce Etexts is at Midnight, Central Time, of the last day of the stated estion, co by those ish to do so Most people start at our sites at: {field{fldinst{HYPERLINK ”gutenbergnet/”}}{fldrslt cf2 ul ulc2 gutenbergnet}} or {field{fldinst{HYPERLINK ”pro}} These Web sites include ainning infor how to donate, how to help produce our new etexts, and how to subscribe to our email newsletter (free!) 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FOR PUBLIC DOMAIN ETEXTSVer10/04/01END pardpardeftab720sa140qlqnatural cf0 pardpardeftab720qlqnatural cf0 This etext was produced by David Widger FROM THE SERIES OF SIX SHORT PLAYS By John Galsworthy pardpardeftab720sa140qlqnatural cf0 pardpardeftab720qlqnatural cf0 Four of the SIX SHORT PLAYS BY JOHN GALSWORTHY CONTENTS: HALL-MARKED DEFEAT THE SUN PUNCH AND GO pardpardeftab720sa140qlqnatural cf0 pardpardeftab720qlqnatural cf0 HALL-MARKED A SATIRIC TRIFLE pardpardeftab720sa140qlqnatural cf0 pardpardeftab720qlqnatural cf0 CHARACTERS HERSELF LADY ELLA THE SQUIRE THE MAID MAUD THE RECTOR THE DOCTOR THE CABMAN HANNIBAL and EDWARD pardpardeftab720sa140qlqnatural cf0 pardpardeftab720qlqnatural cf0 HALL-MARKED The scene is the sitting-rooalow The roo the back, where the verandah runs, it seems all , both French and caseht; the ti the verandah, through the French ith a wet Scotch terrier in her arh the door left A little pause, and LADY ELLA coitated She halts where the tracks of water cease at the door left A little pause, and MAUD co a bull-dog, wet, breathless, and stout, by the crutch end of her 'en-tout-cas'] LADY ELLA Don't bring Hannibal in till I knohere she's put Edward! MAUD [Brutally, to HANNIBAL] Bad dog! Bad dog! [HANNIBAL snuffles] LADY ELLA Maud, do take him out! Tie hi stronger! Poor darling Edward! [To HANNIBAL] You are a bad dog! [HANNIBAL snuffles] MAUD Edward began it, Ella [To HANNIBAL] Bad dog! Bad dog! [HANNIBAL snuffles] LADY ELLA Tie him up outside Here, take my scarf Where is my poor treasure? [She removes her scarf] Catch! His ear's torn; I saw it MAUD [Taking the scarf, to HANNIBAL] Now! [HANNIBAL snuffles] [She ties the scarf to his collar] He sht! LADY ELLA Tie him up, Maud I must try in here [Their husbands, THE SQUIRE and THE RECTOR, co the verandah] MAUD [To THE RECTOR] Sht have that pond drained, Squire! [She takes HANNIBAL out, and ties him to the verandah THE SQUIRE and RECTOR Co on the door left] HER VOICE All right! I've bound him up! LADY ELLA May I co on [LADY ELLA recoils THE SQUIRE and RECTOR make an involuntary movement of approach] LADY ELLA Oh! There you are! THE RECTOR [Doubtfully] I was just going to wade in---- LADY ELLA Hannibal would have killed hiood, little beast! LADY ELLA Why didn't you go in, Tommy? THE SQUIRE Well, I would--only she---- LADY ELLA I can't think how she got Edward out of Hannibal's awfulon the verandah and straining at the scarf] Bad dog! LADY ELLA We et the way she ran in, with her skirts up to her waist! THE SQUIRE By Jove! No It was topping LADY ELLA Her clothes h! [She wrinkles her nose] Tommy, do have it drained THE RECTOR [Dreamily] I don't remember her face in church THE SQUIRE Ah! Yes Who is she? Pretty woet the Vet to Edward [To THE SQUIRE] Toht! [Exerting hih the door] The bleeding's stopped Shall I send hi! [They listen] [LADY ELLA, prepares to receive EDWARD THE SQUIRE and RECTOR stand transfixed The door opens, and a bare ared with a smooth towel There is a snuffle--HANNIBAL has broken the scarf, outside] LADY ELLA [Aghast] Look! Hannibal's loose! Maud--Tommy [To THE RECTOR] You! [The THREE rush to prevent HANNIBAL fro] LADY ELLA [To EDWARD] Yes, I know--you'd like to! You SHALL bite hi, you DO----[She sniffs] [MAUD and THE SQUIRE re-enter] Have you tied him properly this time? MAUD With Bertie's braces LADY ELLA Oh! but---- MAUD It's all right; they're alht look of insecurity] LADY ELLA Rector, are you sure it's safe? THE RECTOR [Hitching at his trousers] No, indeed, LADY Ella--I---- LADY ELLA Toht! He doesn'tEDWARD to THE SQUIRE] Hold hi EDWARD by the collar, and holding his own nose] Jove! Clever if he can sht to have the Victoria Cross for goin' in that pond [The door opens, and HERSELF appears; a fine, frank, handsoe-coloured motor-coat, hastily thrown on over the substrata of costue, of course! LADY ELLA We're so awfully grateful to you It was splendid MAUD Quite THE RECTOR [Rather holding hiether] Heroic! I was justEDWARD] Little beast will fight--ise--you were too quick forthe wounded dog, her head benevolently on one side] SHE Poor dears! They thought they were so safe in that nice pond! LADY ELLA Is he very badly torn? SHE Rather nasty There ought to be a stitch or two put in his ear LADY ELLA I thought so Too? LADY ELLA No MAUD The fly's outside Bertie, run and tell Jarvis to drive in for the Vet THE RECTOR [Gentle and embarrassed] Run? Well, Maud--I---- SHE The doctor would sew it up My o round [HANNIBAL appears at the open case from his collar] LADY ELLA Look! Catch him! Rector! MAUD Bertie! Catch him! [THE RECTOR seizes HANNIBAL, but is seen to be in difficulties with his garone out left, returns, with a leather strop in one hand and a pair of braces in the other] SHE Take this strop--he can't break that And would these be any good to you? [SHE hands the braces to MAUD and goes out on to the verandah and hastily away MAUD, transferring the braces to the RECTOR, goes out, draws HANNIBAL from the casement , and secures him with the strap THE RECTOR sits suddenly with the braces in his hands There is a moment's peace] LADY ELLA Splendid, isn't she? I do adly] Most kind [He looks ruefully at the braces and at LADY ELLA A silence MAUD reappears at the door and stands gazing at the braces] THE SQUIRE [Suddenly] Eh? MAUD Yes THE SQUIRE [Looking at his wife] Ah! LADY ELLA [Absorbed in EDWARD] Poor darling! THE SQUIRE [Bluntly] Ella, the Rector wants to get up! THE RECTOR [Gently] Perhaps--just for a moment---- LADY ELLA Oh! [She turns to the wall] [THE RECTOR, screened by his WIFE, retires on to the verandah to adjust his gar] So she's married! LADY ELLA [Absorbed in EDWARD] Why? THE SQUIRE Braces LADY ELLA Oh! Yes We ought to ask them to dinner, Tommy THE SQUIRE Ah! Yes Wonder who they are? [THE RECTOR and MAUD reappear] THE RECTOR Really very good of her to lend her husband's--I was-- er--quite---- MAUD That'll do, Bertie [THEY see HER returning along the verandah, followed by a sandy, red-faced gentles, with a needle and cotton in his hand] HERSELF Caught the doctor just starting, So lucky! LADY ELLA Oh! Thank goodness! DOCTOR How do, Lady Ella? How do, Squire?--how do, Rector? [To MAUD] How de do? This the beastie? I see Quite! Who'll hold him for me? LADY ELLA Oh! I! HERSELF D'you know, I think I'd better It's so dreadful when it's your own, isn't it? Shall we go in here, doctor? Co, pretty boy! [She takes EDWARD, and they pass into the room, left] LADY ELLA I dreaded it She is splendid! THE SQUIRE Dogs take to her That's a sure sign THE RECTOR Little things--one can always tell THE SQUIRE So very attractive about her--what! Fine build of woet hold of her for parish work THE RECTOR Ah! Excellent--excellent! Do! THE SQUIRE Wonder if her husband shoots? She see the door] Quite! Altogether char; one of the nicest faces I ever saw [THE DOCTOR coht as rain! She held hiel--he just licked her, and never ns toward the door] DOCTOR Better leave 'em a minute She's moppin' 'im off [He wrinkles his nose] Wonderful clever hands! THE SQUIRE I say--who is she? DOCTOR [Looking from face to face with a dubious and rather quizzical expression] Who? Well--there you have me! All I know is she's a first-rate nurse--been helpin' ood sort! Quite an acquisition here H'lance] Excuse me hurryin' off--very late Good-bye, Rector Good-bye, Lady Ella Good-bye! [He goes A silence] THE SQUIRE H'ht to be a bit careful [JARVIS, flyman of the old school, has appeared on the verandah] JARVIS [To THE RECTOR] Beg pardon, sir Is the little dog all right? MAUD Yes JARVIS [Touching his hat] Seein' you've ain? MAUD No JARVIS Cert'nly, esture, and is about to withdraw] LADY ELLA Oh, Jarvis--what's the naer's the naer? Sounds like a hound What's he like? JARVIS [Scratching his head] Wears a soft 'at, sir THE SQUIRE H'entleman, very nice lady 'Elped hsteria last week--couldn't 'a' been kinder if they'd 'a' been angels from 'eaven Wonderful fond o' duossip, ] Did I make use of the word, m'm? You'll excuse me, I'm sure There's always talk where there's newcomers I takes people as I finds 'eht! JARVIS Yes, sir I've--I've got a 'abit that way athave they been here, Jarvis? JARVIS Well---er--a ht involuntary stir] [Apologetic] Of course, in my profession I can't afford to take notice of whether there's the trifle of a ring between 'em, as the sayin' is 'Tisn't 'ardly my business like [A silence] LADY ELLA [Suddenly] Er--thank you, Jarvis; you needn't wait JARVIS No, oes A silence] THE SQUIRE [Drawing a little closer] Three weeks? I say--er-- wasn't there a book? THE RECTOR [Abstracted] Three weeks----I certainly haven't seen the! LADY ELLA [Iht And if she isn't, I don't care She's been e Didn't quite like the doctor's way of puttin' us off LADY ELLA The poor darling owes his life to her THE SQUIRE H'et the way she ran into that stinkin' pond MAUD Had she a wedding-ring on? [They look at each other, but no one knows] LADY ELLA Well, I'rateful THE SQUIRE It'd be dashed aard--ot his braces! [He puts his hand to his waist] MAUD [Warningly] Bertie! THE SQUIRE That's all right, Rector--we're goin' to be perfectly polite, and--and--thank her, and all that LADY ELLA We can see she's a good sort What does it ot to know THE RECTOR We do want light THE SQUIRE I'll ring the bell [He rings] [They look at each other aghast] LADY ELLA What did you ring for, Toasted] God knows! MAUD Soot to---- MAUD Yes, Bertie THE RECTOR Dear me! But--er--what--er----How? THE SQUIRE [Deeply-to hiht is opened and a MAID appears She is a deter female They face her in silence] THE RECTOR Er--er----your one up to London THE RECTOR Er----Mr Challenger, I think? THE MAID Yes THE RECTOR Yes! Er----quite so THE MAID [Eyeing theer? THE RECTOR Ah! Not precisely---- THE SQUIRE [To him in a low, determined voice] Go on THE RECTOR [Desperately] I asked because there was a--a--Mr Challenger I used to know in the 'nineties, and I thought--you wouldn't happen to kno long they've been married? My friend marr---- THE MAID Three weeks THE RECTOR Quite so--quite so! I shall hope it will turn out to be----Er--thank you--Ha! LADY ELLA Our dog has been fighting with the Rector's, and Mrs Challenger rescued hi to thank her You needn't---- THE MAID [Eyeing theon! I say, Rector, did you really know a Challenger in the 'nineties? THE RECTOR [Wiping his brow] No THE SQUIRE Ha! Jolly good! LADY ELLA Well, you see!--it's all right THE RECTOR Yes, indeed A great relief! LADY ELLA [Moving to the door] I oin' to ask 'e? LADY ELLA Yes MAUD I shouldn't LADY ELLA Why not? We all like the look of her THE RECTOR I think we should punish ourselves for entertaining that uncharitable thought LADY ELLA Yes It's horrible not having the courage to take people as they are THE SQUIRE As they are? H'm! How can you till you know? LADY ELLA Trust our instincts, of course THE SQUIRE And supposing she'd turned out not married--eh! LADY ELLA! She'd still be herself, wouldn't she? MAUD Ella! THE SQUIRE H'm! Don't know about that LADY ELLA Of course she would, To to his waist] Well! It's a great weight offI o in [She knocks on the door It is opened, and EDWARD comes out briskly, with a neat little white pointed ear-cap on one ear] LADY ELLA Precious! [SHE HERSELF Comes out, now properly dressed in flax-blue linen] LADY ELLA How perfectly sweet of you to ? MAUD Quite safe, thanks to your strop [HANNIBAL appears at the ith the broken strop dangling Following her gaze, they turn and see him] MAUD Oh! There, he's broken it Bertie! SHE Let me! [She seizes HANNIBAL] THE SQUIRE We're really ed to you Afraid we've been an awful nuisance SHE Not a bit I love dogs THE SQUIRE Hope to make the acquaintance of Mr----of your husband LADY ELLA [To EDWARD, who is straining] [Gently, darling! To HANNIBAL] Is he behaving? [She stops short, and her face suddenly shoots forward at HER hands that are holding HANNIBAL'S neck] SHE Oh! yes--he's a love MAUD [Regaining her upright position, and pursing her lips; in a peculiar voice] Bertie, take Hannibal THE RECTOR takes hirateful for all you've done forThis is where we live Do come-- and see---- [MAUD, whose eyes have never left those hands, tweaks LADY ELLA's dress] LADY ELLA That is--I'm--I---- [HERSELF looks at LADY ELLA in surprise] THE SQUIRE I don't know if your husband shoots, but if---- [MAUD, catching his eye, taps the third finger of her left hand] --er--he--does--er--er---- [HERSELF looks at THE SQUIRE surprised] MAUD [Turning to her husband, repeats the gesture with the low and simple word] Look! THE RECTOR [With round eyes, severely] Hannibal! [He lifts him bodily and carries hih the French ] THE SQUIRE [Abruptly--of the unoffending EDWARD] That dog'll be forgettin' himself in a minute [He picks up EDWARD and takes hi] LADY ELLA [At last] You mustn't think, I----You mustn't think, we ----Oh! I et at Hannibal [She ski after LADY ELLA, in surprise] SHE What is theand holding out a wedding-ring--severely] You left this, er] Oh! [Taking it] I hadn't oes] [A hand, slipping in at the casement , softly lays a pair of braces on the sill SHE looks at the braces, then at the ring HER lip curls] Sue [Mur deeply] Ah! CURTAIN pardpardeftab720sa140qlqnatural cf0 pardpardeftab720qlqnatural cf0 DEFEAT A TINY DRAMA pardpardeftab720sa140qlqnatural cf0 pardpardeftab720qlqnatural cf0 CHARACTERS THE OFFICER THE GIRL DEFEAT During the Great War Evening pardpardeftab720sa140qlqnatural cf0 pardpardeftab720qlqnatural cf0 An eas turned low The furniture and walls give a colour-ireens and beetroot There is a prevalence of plush A fireplace on the Left, a sofa, a small table; the curtainedis at the back On the table, in a comreen Enter froht, a GIRL and a YOUNG OFFICER in khaki The GIRL wears a discreet dark dress, hat, and veil, and stained yellow gloves The YOUNG OFFICER is tall, with a fresh open face, and kindly eager blue eyes; he is a little laas jet to turn it up, then changes herto the curtains, draws theht co in Outside are seen the trees of a little Square She stands gazing out, suddenly turns inith a shi+ver YOUNG OFF I say; what's thewhen I spoke to you GIRL [With a -that's all YOUNG OFF [Looking at her] Cheer up! GIRL [Taking of hat and veil; her hair is yellowish and crinkly] Cheer up! You are not lonelee, liketo the --doubtfully] I say, how did you how did you get into this? Isn't it an awfully hopeless sort of life? GIRL Yees, it ees You haf been wounded? YOUNG OFF Just out of hospital to-day GIRL The horrible war--all the misery is because of the war When will it end? YOUNG OFF [Leaning against the -sill, looking at her attentively] I say, what nationality are you? GIRL [With a quick look and away] Rooshi+an YOUNG OFF Really! I never ives him another quick look] I say, is it as bad as they h his arm] Not when I haf anyone as ni-ice as you; I never haf had, though [She s] You stopped because I was sad, others stop because I aay I am not fond of men at all When you know--you are not fond of them YOUNG OFF Well, you hardly know them at their best, do you? You should see thee! They're simply splendid--officers andlike it--just one long bit of jolly fine self-sacrifice; it's perfectly arey eyes on him] I expect you are not the last at that You see in them what you haf in yourself, I think YOUNG OFF Oh, not a bit; you're quite out! I assure you e le iment asn't an absolute hero The way they went in--never thinking of the GIRL [In a queer voice] It is the same too, perhaps, with--the enemy YOUNG OFF Oh, yes! I know that GIRL Ah! You are not a mean man How I hate mean men! YOUNG OFF Oh! they're not mean really--they siood babee aren't you? [The YOUNG OFFICER doesn't like this, and frowns The GIRL looks a little scared] GIRL [Clingingly] But I li-ke you for it It is so good to find a ni-icelonely? Haven't you any Russian friends? GIRL [Blankly] Rooshi+an? No [Quickly] The town is so beeg Were you at the concert before you spoke to me? YOUNG OFF Yes GIRL I too I lofe music YOUNG OFF I suppose all Russians do GIRL [With another quick look tat hio there alhen I haf the money YOUNG OFF What! Are you as badly on the rocks as that? GIRL Well, I haf just one shi+lling now! [She laughs bitterly The laugh upsets him; he sits on the -sill, and leans forward towards her] YOUNG OFF I say, what's your na yours YOUNG OFF [With a laugh] You're a distrustful little soul; aren't you? GIRL I haf reason to be, don't you think? YOUNG OFF Yes I suppose you're bound to think us all brutes GIRL [Sitting on a chair close to the here the ht falls on one powdered cheek] Well, I haf a lot of reasons to be afraid allanybody I suppose you haf been killing lots of Germans? YOUNG OFF We never know, unless it happens to be hand to hand; I haven't colad if you had killed solad? I don't think so We're all in the salad to kill each other--not htful I expect I haf et any news ever? GIRL News? No indeed, no news of anybody in ht not haf a country; all that I ever knew is gone; fader, moder, sisters, broders, all; never any more I shall see them, I suppose, now The war it breaks and breaks, it breaks hearts [She gives a little snarl] Do you knohat I was thinking when you ca of ht If I could see it again I would be glad Were you ever homeseeck? YOUNG OFF Yes, I have been--in the trenches But one's ashamed with all the others GIRL Ah! Yees! Yees! You are all comrades there What is it like for me here, do you think, where everybody hates and despises me, and would catch me and put me in prison, perhaps [Her breast heaves] YOUNG OFF [Leaning forward and patting her knee] Sorry--sorry GIRL [In a smothered voice] You are the first who has been kind to ! I will tell you the truth--I a] My dear girl, who cares We aren't fighting against wo at him] Another man said that to me But he was thinkin' of his fun You are a veree ni-ice boy; I aood in people, don't you? That is the first thing in the world--because--there is really not ] You are a dreadful little cynic! But of course you are! GIRL Cyneec? How long do you think I would live if I was not a cyneec? I should drown ood people, but, you see, I don't know the towards him] Well now--see, ni-ice boy--you haf never been in a hole, haf you? YOUNG OFF I suppose not a real hole GIRL No, I should think not, with your face Well, suppose I airl, as I was once, you know; and you took me to your mother and your sisters and you said: ”Here is a little Gerirl that has no work, and no money, and no friends” They will say: ”Oh! how sad! A Gero and wash their hands [The OFFICER, is silent, staring at her] GIRL You see YOUNG OFF [Muttering] I'm sure there are people GIRL No They would not take a Gerood any ; I have learned to be bad Aren't you going to kees me, ni-ice boy? She puts her face close to his Her eyes trouble him; he draws back YOUNG OFF Don't I'd rather not, if you don'tstare] It's stupid I don't know--but you see, out there, and in hospital, life's different It's--it's--it isn't mean, you know Don't come too close GIRL Oh! You are fun----[She stops] Eesn't it light No Zeps to-night When they burn--what a 'orrble death! And all the people cheer It is natural Do you hate us vereesharply] Hate? I don't know GIRL I don't hate even the English--I despise thean this war Oh! I know that I despise all the peoples Why haf they made the world so miserable --why haf they killed all our lives--hundreds and thousands and ? They haffor the worst everywhere They hafWhat is there to believe in? Is there a God? No! Once I was teaching little English children their prayers--isn't that funnee? I was reading to thes Now I believe noting at all--no one who is not a fool or a liar can believe I would like to work in a 'ospital; I would like to go and 'elp poor boys like you Because I am a Gerood It is the same in Germany, in France, in Russia, everywhere But do you think I will believe in Love and Christ and God and all that--Not I! I think we are animals --that's all! Oh, yes! you fancy it is because my life has spoiledin life The men I take are not ni-ice, like you, but it's their nature; and--they helpfor ood andus all--killing all the boys like you, and keeping poor People in prison, and telling us to go on hating; and all these dreadful cold-blood creatures rite in the papers --the same in my country--just the same; it is because of all of theets up, acutely miserable] [She follows him with her eyes] GIRL Don't mind me talkin', ni-ice boy I don't know anyone to talk to If you don't like it, I can be quiet as a ed to believe you, and I don't [She, too, is on her feet now, leaning against the wall; her dark dress and white face just touched by the slanting ain, slow and soft and bitter] GIRL Well, look here, ni-ice boy, what sort of world is it, wheretortured, for no fault of theirs, at all? A beautiful world, isn't it? 'U! Silly rot, as you boys call it You say it is all ”Comrades” and braveness out there at the front, and people don't think of themselves Well, I don't think of myself veree much What does it matter? I am lost now, anyway But I think of rieve I think of all the poor people there, and here, how lose those they love, and all the poor prisoners Am I not to think of them? And if I do, how am I to believe it a beautiful world, ni-ice boy? [He stands very still, staring at her] GIRL Look here! We haf one life each, and soon it is over Well, I think that is lucky YOUNG OFF No! There's ht for the future; you are giving your lives for a better world, aren't you? YOUNG OFF We ht till in GIRL Till you win My people think that too All the peoples think that if they win the world will be better But it will not, you know; it will be much worse, anyway [He turns away from her, and catches up his cap Her voice follows him] GIRL I don't care which win I don't care if my country is beaten I despise theo, ni-ice boy; I will be quiet now [He has taken some notes frooes up to her] YOUNG OFF Good-night GIRL [Plaintively] Are you really going? Don't you like h? YOUNG OFF Yes, I like you GIRL It is because I am German, then? YOUNG OFF No GIRL Then on't you stay? YOUNG OFF [With a shrug] If you must know--because you upset me GIRL Won't you kees me once? [He bends, puts his lips to her forehead But as he takes them away she throws her head back, presses herdown suddenly] Don't! I don't want to feel a brute GIRL [Laughing] You are a funny boy; but you are veree good Talk to me a little, then No one talks to me Tell ] A good many GIRL Any from the Rhine? YOUNG OFF Yes, I think so GIRL Were they veree sad? YOUNG OFF Solad to be taken GIRL Did you ever see the Rhine? It will be wonderful to-night The ht will be the same there, and in Rooshi+a too, and France, everywhere; and the trees will look the same as here, and people will meet under them and make love just as here Oh! isn't it stupid, the war? As if it were not good to be alive! YOUNG OFF You can't tell how good it is to be alive till you're facing death You don't live till then And when a whole lot of you feel like that--and are ready to give their lives for each other, it's worth all the rest of life put together [He stops, ashairl, who believes in nothing] GIRL [Softly] Hoere you wounded, ni-ice boy? YOUNG OFF Attacking across open ground: four o off GIRL Weren't you veree frightened when they ordered you to attack? [He shakes his head and laughs] YOUNG OFF It was great We did laugh that h--a swindle GIRL [Staring at hihed? YOUNG OFF Yes And what do you think was the first thing I was conscious of nextme a squeeze of les There is so, you know, behind all this evil After all, you can only die once, and, if it's for your country--all the better! [Her face, in the ht, with, intent eyes touched up with black, has a e, other-world look] GIRL No; I believe in nothing, not even in my country My heart is dead YOUNG OFF Yes; you think so, but it isn't, you know, or you wouldn't have 'been crying when I met you GIRL If it were not dead, do you think I could liveto like strange , for fear I will be known for a Ger; then I shall be ”Kaput” veree quick You see, I aht I am a little emotional; the moon is funny, you know But I live foror anybody YOUNG OFF All the sa your folk at home, and prisoners and that GIRL Yees; because they suffer Those who suffer are like lish wo; I do not let er moral YOUNG OFF Nor your heart either, for all you say GIRL Ni-ice boy, you are veree obstinate But all that about love is 'u ets up, feeling stifled, and stands at theA newspaper boy soers slip between his own, and stay un He looks round into her face In spite ofbeauty YOUNG OFF [With an outburst] No; we don't only love ourselves; there is reat; there's kindness--and--and----- [The shouting of newspaper boys grows louder and their cries, passionately veheoes up to listen; her hand tightens within his ar The cries come nearer, hoarser, ht outside seeures, footsteps, voices, and a fierce distant cheering ”Great victory--great victory! Official! British!+ 'Eavy defeat of the 'Uns! Many thousand prisoners! 'Eavy defeat!” It speeds by, intoxicating, filling hi his cap and cheering like a ht seems to flutter and vibrate and answer He turns to rush down into the street, strikes against so soft, and recoils The GIRL stands with hands clenched, and face convulsed, panting All confused with the desire to do so, he stoops to kiss her hand She snatches away her fingers, sweeps up the notes he has put down, and holds thelish money--take them Suddenly she tears them across, twice, thrice, lets the bits flutter to the floor, and turns her back on hiainst the plush-covered table, her head down, a dark figure in a dark roo her outline Hardly a one, she still stands there, her chin on her breast, with the sound in her ears of cheering, of hurrying feet, and voices crying: ”'Eavy Defeat!” stands, in the centre of a patternout unto thenot this hated room and the hated Square outside, but a Ger apples, a big dog beside her; and a hundred other pictures, such as the drowning see Then she sinks down on the floor, lays her forehead on the dusty carpet, and presses her body to it Mechanically, she sweeps together the scattered frag them with the dust into a little pile, as of fallen leaves, and dabbling in it with her fingers, while the tears run down her cheeks GIRL Defeat! Der Vaterland! Defeat!One shi+llin'! [Then suddenly, in the ht ”Die Wacht a: ”Rule, Britannia!”] CURTAIN pardpardeftab720sa140qlqnatural cf0 pardpardeftab720qlqnatural cf0 THE SUN A SCENE pardpardeftab720sa140qlqnatural cf0 pardpardeftab720qlqnatural cf0 CHARACTERS THE GIRL THE MAN THE SOLDIER THE SUN A Girl, sits crouched over her knees on a stile close to a river A MAN with a silver badge stands beside her, clutching the worn top plank THE GIRL'S level brows are drawn together; her eyes see her memories THE MAN's eyes see THE GIRL; he has a dark, twisted face The bright sun shi+nes; the quiet river flows; the Cuckoo is calling; the e that ends in the stile on the towing-path THE GIRL God knohat 'e'll say, Jim THE MAN Let 'im 'E's come too late, that's all THE GIRL He couldn't cohtened 'E was fond o' ht to 'a waited, Jihtin' THE MAN [Passionately] And what about et? THE GIRL [Touching him] Ah! THE MAN Did you--? [He cannot speak the words] THE GIRL Not like you, Jim--not like you THE MAN Have a spirit, then THE GIRL I promised hiht to 'a waited I never thought he'd cohtin' THE MAN [Gri the tow-path] What'll he be like, I wonder? THE MAN [Gripping her shoulder] Daisy, don't you never go back on me, or I should kill you, and 'im too [THE GIRL looks at him, shi+vers, and puts her lips to his] THE GIRL I never could THE MAN Will you run for it? 'E'd never find us! [THE GIRL shakes her head] THE MAN [Dully] What's the good o' stayin'? The world's wide THE GIRL I'd rather have it offhis hands] It's temptin' Providence THE GIRL What's the ti at the sun] 'Alf past four THE GIRL [Looking along the towing-path] He said four o'clock Jiot the wind up I've seen as much of hell as he has, any day What like is he? THE GIRL [Dully] I dunno, just I've not seen him these three years I dunno noor little chap? THE GIRL 'Bout your size Oh! Jihter like that to old Fritz's shells? We didn't shi+ft when they was coain she shakes her head] THE GIRL Jim, do you love me true? [For answer THE MAN takes her avidly in his arms] I ain't ashamed--I ain't ashamed If 'e could see me 'eart THE MAN Daisy! If I'd known you out there, I never could 'a stuck it They'd 'a got me for a deserter That's how I love you! THE GIRL Jim, don't lift your hand to 'i THE GIRL Promise! THE MAN If 'e keeps quiet, I won't But I'ht--not since I've been through that THE GIRL [With a shi+ver] Nor p'raps he isn't THE MAN Like as not It takes the lynch pins out, I tell you THE GIRL God 'elp us! THE MAN [Grimly] Ah! We said that a bit too often What e take, now; there's no one else to give it us, and there's no fear'll stop us; we seen the bottos THE GIRL P'raps he'll say that too THE MAN Then it'll be 'ihtened: THE MAN [Tenderly] No, Daisy, no! The river's handy One more or less 'E shan't 'arm you; norhis hand] Oh, no! Give it to ] No fear! [He puts it away] Shan't 'ave no need for it like as not All right, little Daisy; you can't be expected to see things like e do What's life, anyway? I've seen a thousand lives taken in five minutes I've seen dead ood as dead meself a hundred times I've killed a dozen et my blood up If he does, nobody's safe; not 'im, nor anybody else; not even you I'htin' in the sun, with the birds all callin'? THE MAN That depends on 'im I'm not lookin' for it Daisy, I love you I love your hair I love your eyes I love you THE GIRL And I love you, Jim I don't want nothin' more than you in all the world THE MAN Aing breaks in on their embrace THE GIRL starts fro-path THE MAN draws back against, the hedge, fingering his side, where the knife is hidden The song coht, Where the fields are snohite; Banjos ringing, darkies singing, All the world seeet the wind up, Daisy I' stops A man's voice says ”Christ! It's Daisy; it's little Daisy 'erself!” THE GIRL stands rigid The figure of a soldier appears on the other side of the stile His cap is tucked into his belt, his hair is bright in the sunshi+ne; he is lean, wasted, brown, and laughing] SOLDIER Daisy! Daisy! Hallo, old pretty girl! [THE GIRL does notthe way, as it were] THE GIRL Hallo, Jack! [Softly] I got things to tell you! SOLDIER What sort o' things, this lovely day? Why, I got things that'd take me years to tell Have youSOLDIER So I 'ave My Gawd! It's a way they 'ave in the Arh Like as the sun itself I used to think of you, Daisy, when the trumps was coht in the wood? ”Coot htin', no et married now, Daisy We can live soft an' 'appy Give us a kiss,back] No SOLDIER [Blankly] Why not? [THE MAN, with a swift e to THE GIRL'S side] THE MAN That's why, soldier SOLDIER [Leaping over the stile] 'Oo are you, Pompey? The sun don't shi+ne in your inside, do it? 'Oo is he, Daisy? THE GIRL My man SOLDIER Your-man! Lummy! ”Taffy was a Welshh it, too I'hin' this mornin' as luck will 'ave it Ah! I can see your knife THE MAN [Who has half drawn his knife] Don't laugh at me, I tell you SOLDIER Not at you, not at you [He looks froeneral Where did you get it,SOLDIER Think o' that! An' I never was touched Four years an' never was touched An' so you've coain he looks from one to the other-then away] Well! The world's beforeprotector THE MAN [Fiercely] You won't I've took her SOLDIER That's all right, then You keep 'er I've got a laugh in me you can't put out, black as you look! Good-bye, little Daisy! [THE GIRL makes a movement towards hi, and suddenly bursts into tears] SOLDIER Look 'ere, irl cry, this day of all, with the sun shi+nin' I seen too much of sorrer You and me've been at the back of it We've 'ad our whack Shake! THE MAN Who are you kiddin'? You never loved 'er! SOLDIER [After a long ht you for her [He drops his knife ] SOLDIER [Slowly] Mate, you done your bit, an' I done ] Jim! ` THE MAN [With clenched fists] I don't want 'is charity I only hat I can take SOLDIER Daisy, which of us will you 'ave? THE GIRL [Covering h