GRANNY MAUMEE
                           THE RIDER OF DREAMS
                           SIMON THE CYRENIAN

                              [Illustration]

                          THE MACMILLAN COMPANY
                   NEW YORK · BOSTON · CHICAGO · DALLAS
                         ATLANTA · SAN FRANCISCO

                         MACMILLAN & CO., LIMITED
                        LONDON · BOMBAY · CALCUTTA
                                MELBOURNE

                    THE MACMILLAN CO. OF CANADA, LTD.
                                 TORONTO




                              Granny Maumee
                           The Rider of Dreams
                            Simon The Cyrenian

                       _Plays for a Negro Theater_

                                    BY
                             RIDGELY TORRENCE

                                 New York
                          THE MACMILLAN COMPANY
                                   1917

                          _All rights reserved_

                             COPYRIGHT, 1917,
                           BY RIDGELY TORRENCE

                             COPYRIGHT, 1917,
                         BY THE MACMILLAN COMPANY
              Set up and printed. Published September, 1917.

      For permission to perform these plays application must be made
                 to the author in care of the publishers.




To O. H. D. T.




GRANNY MAUMEE




GRANNY MAUMEE


    SCENE: _Living room in an old cabin with walls blackened by
    age. Red cotton curtains and red covers on the chairs and
    table. In left corner back, an open fire smoulders in a great
    rough fireplace. There is a door at back leading out of doors.
    There are also doors left and right. A bed at left covered
    with a white counterpane. The room is neat and there are many
    growing flowers about potted in rude wooden boxes. Toward the
    right is an iron flower stand consisting of a basin mounted
    on a tripod. This stand is filled with a mass of bright red
    geraniums. A large chest against the wall at right is covered
    with red. A table near centre bears candles. Beside the table
    in a high-backed chair sits GRANNY MAUMEE. She is seen to
    be blind. She is black and thin, with white hair and a face
    so seared by burns that it masks her great age. Her great
    granddaughter PEARL, a girl of nineteen, is moving briskly
    about the room straightening chairs and rearranging flowers._

PEARL

Seem kinder funny fer me to be fixin’ up for Sapphie. Seem like I’m
wukin’ for her by the day. Mebbe she will tek’n hiah me now she’s
married. Seem kinder odd to be hiahed by a blood sisteh.

GRANNY

Spread my fine-spun sheets on de baid.

PEARL

I got the nex’ bes’.

GRANNY

Fol’ um up an’ git out de fines’.

PEARL

Hit weahs um out so to wash um, an’ Sapphie an’ that man of her’n aint
used to such goodness. An’ to muss um up des for one night!

GRANNY

Hit’s de night er all nights. Hit’s de boy babe wif ’em dat I wants de
fineness fer.

PEARL

That’s right, the baby. I keeps fohgittin’ hit. I’ll change’m. I’ll git
the linum sheets on an’ then I’ll lay the big covehled.

    [_She draws coverlid off, hauls box from under the bed, and
    opening it takes out bed clothes and remakes the bed._]

You’n me’ll have to lay in the broke baid this night. You won’t git no
rest.

GRANNY

No matteh, heah’s a good baid fer de babe an’ I’ll soon git all my res’.

PEARL

I hope’s Sapphie’s husband aint too hefty, for the th’ee might break this
heah’n same as the otheh’n is broke.

GRANNY

De husban’ shain’t sleep da nohow. You c’n lay him a bunk in de wash
house.

PEARL

What! You aint goin’ to leave him lay heah?

GRANNY

Dis baid my Sam bought fo’ me. Onliest man kin eveh lay in hit shill be
Sam’s own blood. De babe an’ his motheh’ll lay heah dis night erlone.

PEARL

Well, the babe’ll have plenty room and softness.

GRANNY

W’en my Sam wuz er babe we laid on cotton sack. We didn’ have no baid,
an’ w’en he little shaveh he say, “Mammy, I goin’ git you nice baid w’en
I git er man.” An’ sho’ nuff, w’en he grow up he took ’n do hit, an’ he
mek pu’chus in de attehnoon an’ de baid come nex’ day. But at midnight
betwix’ dee tuk ’n bu’nt ’im.

PEARL

Now, Granny—

GRANNY

In de black dahk dee come on ’im, de bloody-handed mens, an’ wheah dee
cotch ’im dah dee bu’nt ’im, de right man settin’ de wrong man afieh at
de i’un hitchin’ pos’.

PEARL

[_Going to her._] Granny Maumee, don’t leave yo’self go that away. Don’t
leave youah mine run on.

GRANNY

[_Rocking back and forth._] My Sam, my man babe-um.

PEARL

Hit git you all wuk up an’ wore out. You won’t look good to company.

GRANNY

Look! Has I looked fo’ fifty yeah sence I rush in de fieh fo’ my Sam,
which hit de las’ sight deze eyes seen? Oh, whuffo’ dee drag me out an’
hilt me back? I bo’ one man an’ him dee tuk’n bu’nt. An’ ’e slep’ right’n
dis room w’en de man wuz shot w’ich dee ’cuze ’im er! Whuffo’ dee drag me
back f’um de fieh?

PEARL

I sees the wisdom of Gawd in hit, Granny Maumee. Fifty yeahs ergo me and
Sapphie’s granpap been burnt and yet you was to live to git a new Sam.

GRANNY

W’ich ’e neveh come. Dee wuz all gals fum dat on, you an’ yo’ sisteh
Sapphie an’ yo’ mammy an’ yo’ mammy’s mammy, all down from my breas’: all
gals.

PEARL

You fuhgits what Sapphie’s fetchin’ you.

GRANNY

Dat I don’t, but not twell I sees ’im will Sam be cool off in my heaht.

PEARL

Granny, you can nurse the child but course you cain’t espect to see him.

GRANNY

Deze eyes shill yit behole—

PEARL

No, Granny Maumee, your eyes they’re scorched and swiveled with the fire.
But your arms ain’t burnt, is they? An’ they shall hold the baby! Tain’t
often old person live to heft a great-great-gran’baby.

GRANNY

Befo’ my las’ houah deze eyes shill look an’ see ergin. [_She rises._]

PEARL

Wheah you goin’?

GRANNY

Has you lay out my raid gown?

PEARL

Yes, it’s all on the sofy.

GRANNY

Den I goes to primp up an’ mek ready to receive.

PEARL

Yes, it’s only perlite to put on ouah best to meet the husband.

GRANNY

I dresses fer none but de chile. [_She goes slowly out at left._]

PEARL

[_Calling._] Betteh lay down fust, they won’t be here for two hour yet.
I’ll be there pres’n’ly.

    [_She continues to bestir herself about the room and then
    starts to follow GRANNY. There is a faint tap at the door at
    right. PEARL stops and listens. The tapping is repeated. She
    goes and opens the door. A young woman, looking much like PEARL
    and of about the same age, but gaudily dressed and carrying a
    baby, stands in the doorway._]

PEARL

[_With a half-smothered exclamation._] Sapphie!

    [_SAPPHIE motions her to be silent and softly, fearfully enters
    the room._]

SAPPHIE

[_In a low voice._] Wheah Granny Maumee?

PEARL

She in the baid-room fixin’ up. Wheah’s youah husband?

SAPPHIE

[_After a pause._] He—didn’—come—

PEARL

Oh, that’s too bad, but it’s good to see you, and let’s see the baby.

SAPPHIE

[_Drawing back with the swathed and veiled child._] Not yet.

PEARL

Oh, he’s asleep, of course.

SAPPHIE

[_Pointing to doorway through which GRANNY passed._] Shut the door.

PEARL

[_Obeying wonderingly._] Well, hit do look good to see you ergin,
Sapphie. Hit don’t seem like er yeah now sence you lef’ home. Does youah
husband tek you to pictuh shows?

SAPPHIE

Puhl, what’s Granny Maumee like now, is she failed any? Is she fie’ce as
eveh ’bout the burnin’ and the w’ite mens?

PEARL

Why, of course she is. She don’t neveh change f’um year ter year. Come
on, let’s see baby. What youah husband’s name? You nevah sent us wu’d
what youah new name was.

SAPPHIE

That’s what I want to see you for before Granny Maumee comes out. Come
here. [_She lifts a veil from the child’s face._]

PEARL

[_Peering eagerly forward and then starting back._] W’ite!

SAPPHIE

[_Breathlessly._] How’ll she take hit? What’ll she do? I’m scared of her.

PEARL

A light-head merlatter! So youah husband didn’t come ’cause they ain’t no
husband. Who’s the man?

SAPPHIE

You know wheah I work.

PEARL

Lightfoot!

SAPPHIE

He des would have his way.

PEARL

So, he took you off to town with him, did he, and that’s how come you
have the luck to go. I praise King Jesus he kept me f’um such luck.

SAPPHIE

How’ll she take hit?

PEARL

Take hit! Does you spose we can take’n tell her? Thank my Makeh she’s
blind. It’s the mussy of Gawd her eyes was swiveled in w’ite man’s fire
before she see the w’ite man mix with her blood. You—

SAPPHIE

Oh, I don’t care what you calls me if you’ll only help me and keep Granny
Maumee off’n me and baby.

PEARL

It’s only helpin’ to keep us all from ’struction that I’ll keep it from
her.

SAPPHIE

What you think she’d do if she found out?

PEARL

I don’t know. Sometimes when her mine runs on ’bout the burnin’ she
begins to go back’ards.

SAPPHIE

[_Fearfully._] What you mean?

PEARL

You knows what I means. Away from the love of Gawd, back to that Affykin
devil stuff.

SAPPHIE

[_Starting with a cry toward the door at back._] Oh, she might witch me
and the baby too.

PEARL

Don’t be scared. She won’t tech you ’cause she won’t know the sinneh you
been.

SAPPHIE

He des would have his way. [_A tap is heard outside GRANNY’S door._]

PEARL

She’s comin’.

    [_SAPPHIE shrinks back toward opposite side of room as door
    opens and GRANNY enters wearing a red dress with red apron and
    red silk cap on her head. She pauses just inside and listens
    intently._]

GRANNY

Who bin talkin’?

PEARL

Me. [_She guides GRANNY to her chair._]

GRANNY

Well, talk on. How I look? [_She straightens proudly in her chair._]

PEARL

Good. The red ain’t faded none.

GRANNY

Dat’s good, fer I needs hit bright dis day an’ night. De babe’ll wan’
tuh see hit. Red’s de fus’ coloh er baby notice an’ red allers goes wif
black. Red neveh go wif w’ite. Looks ghas’ly. I use allers tuh wrop my
Sam in red— [_She pauses and her voice grows shriller._] an’ red’s de
las’ way I seen ’im.

PEARL

Now, Granny—

GRANNY

Dat’s right, I mus’ tek my mine off er dat sight now. But I’ll tek’n’
wrop dis noo black babe in my red ap’un dat hilt my Sam. In red he shill
be wrop an’ black he shill shine. Royal black we is an’ royal black we
shill stay. Praise my Makeh, dey ain’ no drop er any yutheh coloh in ’im.
All us wimens wuz hones’, all de way down, an’ we kep’ clean er de w’ite
streak. We kep’ us clean, praise my King, an’ we will ter de een’. W’ite
blood were ’stroyin’ angel tuh my fambly f’um de beginnin’s, but hit
neveh yit mix wif us. We wuz save f’um dat las’ pizen.

    [_SAPPHIE turns as though to go out through the door at right
    with her child. PEARL motions her through side doorway at left.
    She goes out softly._]

PEARL

Hattie Lee she uz hones’ an’ her baby’s w’ite. That w’ite man tuk’n marry
her with preacheh.

GRANNY

Married wif preacheh! Do dat change de trashy blood? I wudn’ have dat
kinder mud pumpin’ in er babe er my blood, not ef de sevumty eldehs had
j’ined a w’ite man tuh you er Sapphie.

PEARL

W’ite blood no wus’n black blood.

GRANNY

’Tis fer us! ’Tis fer dis house er sorrer. Hit’s bin fieh, hit’s bin
death, hit’s bin de crawlin’ stream er hell fer me an’ my fambly as fur
as I knows, an’ dat’s a hunderd yeah. But I lets all de yutheh go, ’ca’se
I hates um ernuff fer dis one thing—

    [_She goes to red-covered chest at right, lifts the lid and
    takes out two half-charred sticks of wood._]

PEARL

Now, Granny, put um back—

GRANNY

[_Waving the sticks._] Deze, w’ut I snatch f’um de fieh undeh Sam. Deze
is ernuff to mek us hate all er dat blood an’ keep hit fur f’um us.

PEARL

[_Going to her and taking the sticks._] Is this heah makin’ ready for
comp’ny? Now ca’m yo’se’f.

    [_She lays the sticks on top of the chest._]

GRANNY

[_Seating herself and growing suddenly very still as though listening._]
Yo’re right. Time’s up, de houah is heah an’ de chile is neah. I feels
hit. Run an’ open de do’. Sapphie mus’ be comin’ up de paf. Mek ready. I
feel my noo man chile neah me.

    [_PEARL goes out doorway at left. After a moment she and
    SAPPHIE enter without the baby. GRANNY stands up._]

SAPPHIE

[_Going forward hesitatingly to GRANNY._] Granny Maumee.

GRANNY

Give ’im heah in deze ahms.

SAPPHIE

I lay him in yutheh room. I want to see you.

GRANNY

Fetch ’im.

SAPPHIE

Aint you glad to have me back?

GRANNY

Fetch de babe, be swif! [_PEARL motions to Sapphie; she goes out to get
the baby._]

PEARL

Her man, he couldn’t come with her.

GRANNY

No diffunce. I bless de man an’ wish ’im well, he’s su’ved his puhpose,
but he ain’ none er ouah blood. De boy babe’s de chief un. [_SAPPHIE
enters with the baby._] Give ’im heah, be swif’.

    [_SAPPHIE hesitatingly lays the child in GRANNY’S outstretched
    arms. As she does so a strange reaction, like an electrical
    shock, seems to overtake the old woman. She holds out the child
    as though she would give it back. After a moment, however, she
    presses it to her breast, rocking back and forth and crooning
    to it._]

Babe, man babe-um, er noo man, er puore-blood man raise’ up atter all dem
gals. Sam kin res’ now. ’Caze w’y— [_She begins to chant._] ’caze er noo
man bin raise up an’ he shill lay hol’ er de stahs an’ th’ow um down fer
vingince. He shill be er ’stroyin’ fieh er heavum tuh roll ergin de hell
fieh w’ut dey lit fer Sam an’ quinch hit out fuheveh. De wrath er Gawd
shill be wif ’im an’ de w’ite blood shill puhvail no more ergin ’im. De
sun an’ moon shill rise no mo’ on my house an’ fin’ on’y gals, ’caze we
got er puore-blood man fer to gyard an’ carry us on.

    [_From time to time during her words she has paused and bent
    intently over the baby, striving to see it._]

An’ my King’ll not keep de cuss on me now an’ leave me go down to de
grave wifouten sight er you, my babe-um. Dese eyes shill yit behole.
[_She rises with the child in her arms._] Go on out er heah, Puhl
an’ Sapphie, lemme be alone now wif my babe. [_She waves them out
imperiously._]

PEARL

Whuffo’?

GRANNY

I wan’s ter see dis chile befo’ I dies.

PEARL

Why, Granny Maumee, your eyes is swiveled up with the fire. You couldn’t
see.

GRANNY

Go. I won’ be long.

PEARL

[_To SAPPHIE._] Come on, don’t cross her.

SAPPHIE

[_Whispering._] I’m ’fraid—

PEARL

You know she couldn’t—— [_They go out doorway at left._]

    [_GRANNY stands staring down at the child in her arms for some
    time. She then goes over to the bed and lays the child upon it,
    bending over it and striving to see. At last she turns, goes
    swiftly over to the red-covered chest and taking from its top
    the two charred sticks, turns, lights them at the fireplace,
    comes forward to the middle of the room and holding the flaming
    faggots before her face peers steadily at them._]

GRANNY

[_Suddenly in a loud voice with upraised face._] Sam—ask Gawd tuh give
back my sight dis night er all nights an’ leave me look at de noo man
w’ut bin handed down ter us. Fer we kep’ de blood puore. Ask an’ we shill
receive— [_In a still louder tone, stretching upward her hands._] Lawd, I
believe.

    [_She suddenly sways, turns, drops the sticks on the hearth,
    puts her hands before her eyes and staggers forward. After a
    moment she takes her hands from her face and looks tremblingly
    about._]

Yes—he give hit back—I sees—Oh, my black babe!

    [_She moves swiftly to the bed and bends over the child. There
    is a moment’s pause._]

W’ut dis? Cain’ I see yit? De wrong coloh.

    [_She turns swiftly, seizes a white cloth from a chair and
    a black one from another, holds them up and looks at them
    alternately._]

W’ite—black.

    [_Then turning to the bed she stares again at the child. After
    a moment she straightens and reaching her hands upward she
    gives a cry._]

W’ite! Debbils!

    [_SAPPHIE and PEARL appear in doorway. GRANNY bends over the
    child with clawlike fingers raised as though she were about to
    strangle it. SAPPHIE darts forward and snatches the child.
    GRANNY turns and looks at SAPPHIE and PEARL in turn._]

PEARL

She sees!

SAPPHIE

Granny Maumee, the babe’ll be ouah’n an’ we can raise him right. He’s a
good baby and don’t cry none. I don’t want live’n town. I want to live
here with you and Puhl. Baby’ll love you. And we won’t be no trouble to
keep ’caze I got money. Look—take this.

    [_She draws from her bosom a crumpled handful of bills which
    she stuffs into GRANNY’S hands._]

GRANNY

Wheah you git dis? [_She stands immovably staring before her._]

SAPPHIE

_He_ give it to me.

GRANNY

[_Shaking off the money onto the table._] W’ite man money.

SAPPHIE

He des would have his way, but he’s good to me and he takes care of me.
He’s comin’ heah tonight to see me.

GRANNY

W’ut de name?

SAPPHIE

Young Lightfoot.

GRANNY

De gran’pap er dat man tetch off de fieh w’ut bu’n up my Sam.

SAPPHIE

But this’n ain’t that away, Granny Maumee. He’s always kind.

GRANNY

W’en’s de man comin’?

SAPPHIE

He’ll be here soon and if you’ll only listen he’ll sure talk you round.

GRANNY

[_Pointing to the baby._] Hit wants out. Take it out an’ come yer.

    [_SAPPHIE obeys, going through doorway at left. GRANNY suddenly
    turns to the flower-basin mounted on a tripod. Seizing it she
    empties both flowers and earth in the fireplace, where she
    refills the basin with live coals. Then bringing it forward she
    replaces it upon its tripod._]

PEARL

Granny Maumee, you’re slippin’ backwuds, please don’t fuss with that
conju’n foolishness, they ain’t nuthin’ into hit an’ hit des keeps you
’cited.

GRANNY

Debbils calls out debbils.

    [_She goes to several places where upon the walls are hung
    bunches of dried herbs. From several of these she seizes
    handfuls._]

Come, my seedin’ Jimson, come, ole Rattlesnake-Marsteh, come, my
Black-Ball, w’ut Pap Jack han’ me up.

    [_SAPPHIE reënters the room and stands watching GRANNY in
    terror, GRANNY closes all the doors to the room, then going to
    the red-covered chest on the right and opening it she drags
    forth several coils of blackened iron chain which she casts
    upon the table. She sprinkles a few of her handful of herbs on
    the fire in the brazier. A dense smoke arises._]

SAPPHIE

[_With a scream._] Don’t! Oh, don’t conjuh me.

PEARL

[_Scornfully._] Don’t fuss, Sapphie, she won’t do no harm. What the
chains for, Granny?

GRANNY

Dem’s de chains w’ut bine Sam w’en dey tuk’n bu’n ’im.

PEARL

What you worry yourself by gittin’ um out for?

GRANNY

I ain’ worried no mo’. [_She throws more herbs on the fire in the
brazier._] Dem chains fer de w’ite man.

PEARL

What you mean?

GRANNY

[_Pointing to the door at left back._] W’en de w’ite man knock de do’
shill be open an’ dat shill be de beginnin’ er his trials.

PEARL

What you mean?

GRANNY

De smoke in dis room will strankle de man’s will in his breas’ an’ I’ll
use ’im den as I choose.

SAPPHIE

What you goin’ do to ’im?

GRANNY

I goin’ lead ’im out tuh de i’un hitchin’ pos’ w’ut dey fas’en Sam ter
an’ I goin’ tuh chain ’im da wif dese chains an’ I goin’ tuh bring ’im
tuh ’imself an’ den I goin’ tuh bu’n ’im lak he gran’pappy bu’n Sam.

SAPPHIE

[_With a scream._] You shan’t.

PEARL

You spose we leave you do hit?

    [_The girls start forward toward the doorway at left back.
    As they near GRANNY she swiftly seizes a handful of burning
    herbs from the brazier and waves them smoking across the faces
    of the girls under their nostrils, so that they breathe the
    fumes. They take a few steps farther, staggering, and then
    stand motionless and silent. She takes them by the hands and
    leads them back. The fumes of stramonium, solanum and other
    herbs have produced catalepsia. GRANNY goes to the fireplace
    at back and from the mantel takes a wooden bowl, a short stick
    and a large dry gourd. She returns, gives the bowl and stick to
    SAPPHIE, causing her to beat rhythmically on the inverted bowl
    with the stick, a motion which SAPPHIE continues in imitative
    hypnosis. GRANNY gives the gourd to PEARL, causing her to shake
    it. The gourd gives forth a dry rattle from seeds or pebbles
    within it. GRANNY then places the two girls on either side
    of the tripod and they continue their drumming and rattling
    rhythmically. She then takes her place back of the tripod and
    casts more herbs upon the fire._]

GRANNY

Sistehs, kin yo’ heah me speak? Answeh, Sapphie.

SAPPHIE

[_In a dull tone._] Yes.

GRANNY

Answeh, Puhl. Does yo’ heah me?

PEARL

[_Also dully._] Yes.

GRANNY

Does yo’ see?

BOTH GIRLS

Yes.

GRANNY

Den watch me mek my w’ite man Lightfoot outer Lightfoot money.

    [_She seizes the bunch of bills from the table and plucking
    strands of hair from her head she begins tying the money
    together; taking the candle from the table she holds it over
    the tripod until it is soft and then kneads it with the
    money until the whole grows into the rude semblance of a
    human figure. Stooping then to the hearth she takes up the
    two charred sticks of her son’s pyre and with one of these
    she stabs the wax mannikin through the breast. Holding up the
    impaled figure she stands over her tripod and again speaks_:]

Say dis atter me:—

    By de fieh at night, by de black boy down,

THE SISTERS

    “By the fire at night, by the black boy down,”

GRANNY

    By de skunt-off face an’ de red on de groun’,

    [_The sisters repeat each line after her in unison, keeping up
    their rhythm with drum and rattle._]

    By de w’ip an’ de rope an’ de chain dat swung,
    By de bloody mouf an’ de bit-off tongue,
    By de eat-up heaht an’ de spit-out gall,
    We scream, we beg, we whoop, we squall
    Tuh git poweh, tuh git stren’th tuh put de trickon um all.

    [_After this the remainder of GRANNY’S curse is spoken by her
    alone. The sisters continue their sounds with the drum and
    rattle._]

Let um git no res’ in bed, er good at vittals, er hope at wu’k, er he’p
at home, er peace wif fren’s er kin, er tryin’ tuh tek pleasuah, er in
any place dey kin go er hide.

    Th’ee fingeh Jack my Obi pap,
    He’p me, ole Marsteh.
    Keep de promise wif um all.

    [_She lifts the mannikin on the stick and looks at it._]

    Now, my Lightfoot, yore tu’n’s come.
    Dis is Lightfoot, Ole Marsteh.

Let me slit ’im an’ bu’n ’im an’ was’e ’im an’ cut ’im an’ choke an’ weah
’im an’ teah ’im as Sam ’uz slit an’ choked an’ bu’nt an’ was’e an’ cut
an’ woah an’ toah.

    [_She waves the mannikin to the four points of the compass._]

    Fo’ times fo’ times fo’ times fo’,
    Fly an’ call an’ open de do’.

De chains is ready, de man is neah, an’ almos’ heah an’ de chahm shill
hol’.

    Spile ’im as I spile ’im.

    [_She casts the mannikin and the sticks with ferocity into the
    fire on the tripod and then bends down staring intently into
    the fire. There is a moment’s silence and then she gives a
    cry, as she looks into the fire._]

Sam! Is dat you in da? You instid er he? W’ut dis? Is we bin trick?
’Tain’t you—’tis you—Sam! Ah-h!

    [_With a cry she snatches the blazing mannikin from the brazier
    and folds it in her caught-up apron, staggering and beating
    the air as though battling with unseen forces. Suddenly a gust
    of wind blows open the door at the right and a breeze fills
    the room, blowing the smoke and fluttering the garments of
    the women. The drum and rattle cease and fall to the floor.
    Immediately GRANNY raises her face in awe, seeing a vision. She
    stretches out her arms toward it, speaking brokenly._]

Sam! Yes, I sees yo’. I heahs yo’. Yes, my Babe-um.—Talk on.—Tell
me.—W’at!

    [_She pauses, listening intently, with eyes fixed on the
    unseen._]

Leave ’im go!—Oh, how kin I?—Gi’ me stren’th.

    [_She pauses again and bows her head. After a moment she again
    raises her face to the vision._]

I knows.—I fuhgot. I’ll do hit.—I des wen’ backerds but I’m wif yo’
now.—Yas—Ez we fuhgives uthehs—yas—I knows—we’ll do hit.—We will be
tuhgetheh.—Ez we fuhgives uthehs.

    [_A knocking is heard on the door back, at left of the
    fireplace. GRANNY turns her head and listens. After a pause
    the knocking begins again more imperatively. She turns, seizes
    the tripod brazier, casts it into the fireplace, and staggers
    toward the door, taking her stand beside it. The knocking
    pauses._]

Go back, w’ite man. Roll back, w’ite wave er de fiery lek. Once you lit
de fieh an’ bu’n me. Once you po’ de blood an’ pizen me, but dis time Sam
an’ me we’s de stronges’ an’ we leaves you go, we leaves you live tuh mek
yore peace wif Gawd. We’re puore bloods heah, royal black—all but one an’
we’ll do de bes’ we kin erbout ’im. He shill be name Sam. Go back, w’ite
man, an’ sin no mo’.

    [_She pauses and listens. There is no further sound from
    without. GRANNY staggers over to the sisters and shakes them,
    saying in a faint voice_:]

Wake up, Sapphie; come tuh, Puhl. [_As she does so she looks upward again
and cries out_:] Sam, we done hit, an’ we stays tuhgetheh!

    [_She sinks down slowly to the floor. The sisters have stirred
    and looked about stupidly. PEARL now sees GRANNY and bends
    over her._]

PEARL

[_With a cry._] Ah—Granny Maumee’s dead.

    [_She runs terror-stricken to the door at back, crouching
    beside it. SAPPHIE then, after gazing intently at GRANNY,
    suddenly runs toward the door and dragging it open rushes out,
    followed by her sister._]

BOTH GIRLS

[_Outside._] Granny Maumee’s dead! Granny Maumee’s dead!

    [_Their voices gradually die away in the distance, the door
    blows shut. The body of GRANNY MAUMEE is left alone in the
    room._]


CURTAIN.




THE RIDER OF DREAMS




THE RIDER OF DREAMS


    SCENE: _Night in a room used for kitchen, dining-room and
    laundry by a colored family. A lamp is set upon a central table
    laid with a spotless table cloth. Baskets of clothes stand on
    several chairs. At the back is a cook-stove and to the left of
    this a door. There are also doorways at the right and left of
    the room. LUCY SPARROW, a worn, sweet-faced woman of forty, is
    sprinkling clothes at an ironing-board at left with her back
    turned to the table beside which, on a high stool, is perched a
    small boy, BOOKER SPARROW. Both the boy and the woman as well
    as the room show a painstaking neatness despite the disorder
    necessary in the process of a professional “wash.”_

LUCY

Who make you?

BOOKER

God. Ain’t the mush done now?

LUCY

It’s done but I ain’t done wif you. You got to learn good befo’ you can
eat good. Who redeem you?

BOOKER

Christ. I’ll stop being hungry for it if I don’t get it now.

LUCY

Bettah lose youah wishes an’ youah ahms an’ laigs an’ everything youah
body’s fix wif an’ keep youah immortal soul. Who sanctify you?

BOOKER

The Holy Ghost. I don’t want nothing but mush.

LUCY

Well, you ain’ goin’ to git hit twell you luhns de questions. What de
chief en’ of man?

BOOKER

Chief end of man is to glorify God and enjoy himself for ever.

LUCY

[_Coming swiftly forward and confronting him with a threatening look_:]
Enjoy _hisself_! I ain’ neveh teach you dat. You know betteh’n dat. Man
got no right to enjoy hisself. He got to enjoy Gawd. You knows dat as
well as you knows eatin’. An’ you got to say it an’ what’s mo’ you got
to live it. Now what de chief en’ of man?

BOOKER

Enjoy God forever.

LUCY

Dat’s mo’ like it. [_She turns her back and going to the ironing-board
resumes her labours, still talking._] I’m raisin’ you fo’ de Kingdom an’
you’ah goin’ in de Kingdom ef pushin’ ’ll lan’ you dere. Because dis time
anutheh yeah you may be in some lonesome graveyard. [_Singing_:]

    In some lonesome graveyard,
    Oh, Lawd, no time to pray.

    [_As she sings BOOKER stealthily slips off his stool and going
    around to the opposite side of the table takes a spoon with
    which he approaches a dish set upon a warming-shelf fixed to
    the stove. He furtively dips his spoon in the dish and begins
    to eat. LUCY continuing her singing._]

    Play on youah harp, little David,
    Little Davy, how ole are you?
    “I’m only twelve yeahs ole.”

[_She turns and discovers BOOKER._] What! You stealin’! I’ll show you!
[_She gives him a cuff and a shake, depositing him again upon his
stool._] You shorely is on de way to de fieh but I’m goin’ pluck you out
ef it skins you alive. Steal, will you? What de sevenf commandment?

BOOKER

[_Sniveling._] Thou shalt not steal.

LUCY

See dat. You knows it but you des won’t live hit. Well, I’m goin’ live it
into you. I’m goin’ slap sin out of you. [_She gives him another shake._]
An’ de grace into you. Now you say dat commandment sevumty times sevun.
Begin. Say hit.

BOOKER

Thou shalt not steal. Thou shalt not steal—

    [_The door at back opens and MADISON SPARROW stands in the
    doorway looking on the scene within the room. He is a tall,
    loose-jointed, lazy-looking man. In one hand he carries a long
    green bag._]

MADISON

[_After a survey of the situation._] What de boy do?

LUCY

He steal, dat what he do.

MADISON

Um. What he steal?

LUCY

Mush. I tole him not to tech it.

MADISON

Well, he was hongry, weren’t he?

LUCY

Dat ain’ de p’int. Tweren’t his till I give it to him.

MADISON

[_Places the bag carefully by the doorway, throws his hat upon it, then
seats himself at the table._] Bring on dat mush. I’m tia’hd of dese fool
doin’s. Dey ain’t no git ahead wif um. Ef de boy wants mush let him git
mush.

LUCY

[_Placing food before him on the table._] Yes, but not rob it.

MADISON

Who talkin’ ’bout robbin’?

LUCY

Madison, dat’s de wrong kin’ of trash fo’ dis baby to heah. Go lay down,
honey. Tek de bowl wif you.

    [_BOOKER whines but takes a dish and goes to doorway at Left._]

MADISON

No, hit’s de right kin’ of preachin’. I’m tia’hd of all dat ol’ fashion
way of doin’. Ef I wuz to wuk my ahms off dat ol’ fashion way I couldn’t
git no furder.

LUCY

What you bin wukin’ at dis yeah, Madison?

MADISON

Dat’s it. You know dat I’m bin lookin’ fo’ it and couldn’t find hit.

LUCY

What you wuk at last yeah?

MADISON

You knows I wuk in de strippin’ factory.

LUCY

Jes’ two weeks.

MADISON

You knows I wuk till I strain my back. But neveh min’ about all dat. I
done tuhn oveh a new leaf. I goin’ to be a business man. I goin’ to let
de otheh man wuk.

LUCY

’Sposin’ everybody was to do dat away.

MADISON

Let ’em do hit. I don’ ask nothin’ of nobody. I goin’ to have every toof
in my haid covehed wif gol’. I’ll get youah’n an’ Book’s fix dat way too.
I goin’ to have plenty society grub in me all de time. I ain’ goin’ to
let my fam’ly suffeh. I got too sweet a disposishun fo’ dat. I’ll git ’em
whateveh I want.

BOOKER

[_Lingering in doorway._] When you get rich will you get you the guitar,
Daddy?

    [_LUCY waves BOOKER through doorway. He vanishes._]

MADISON

I’ll git it an’ I got it. Watch me now. [_He goes over to the bag by the
door and reaching in it produces a handsome guitar._] Dat’s de beginnin’
er good times, boy.

LUCY

[_With sickening apprehension._] Madison, where you git dat insterment?

MADISON

Dat’s de Lawd’s insterment, Lucy. He done pervide it.

LUCY

Oh, Madison, dat ain’ youah’n.

MADISON

’Tis now, honey.

LUCY

No, youah las’ dime you spent Sunday an’ I ain’ give you no money since.
You got it wifout payin’ for it. You charged it.

MADISON

Yassah, I got it wifout payin’ for it an’ I goin’ to keep on a-gittin’ it
wifout payin’ for hit as long as de gittin’s good.

LUCY

How you like to be treat dat way?

MADISON

What way?

LUCY

If you was keepin’ a store, to have folks charge things when dey didn’
know how dey could pay.

MADISON

I’m willin’ fo’ to be treat dat way ef dey can do hit. Let ’em come an’
git my things if dey finds any.

LUCY

[_Breaking down._] Oh, I cain’ stan’ hit. Youah sinkin’ fas’ down to de
fiery lake an’ you’s pullin’ my Baby down too.

MADISON

No, I’s raisin’ him up an’ I goin’ to lan’ us all in a sof’ place on dat
Easy Street I heah ’em singin’ ’bout so long wifout seein’.

LUCY

[_Suddenly examining the guitar._] Wheah you git dis guitar?

MADISON

What guitar?

LUCY

Dis. Oh, Madison, dis is ’Zek’l Williams’ own guitar dat he wouldn’ sell.
Dis is de guitar dat nobody couldn’ buy. How you come by it?

MADISON

Look heah, woman. You act like I _stole_ de guitar. You don’t think I’m a
thief, do you?

LUCY

How you come by hit?

MADISON

I got it off Wilson Byrd.

LUCY

Dat sneakin’ w’ite man. How’d he git it?

MADISON

I didn’ ask him.

LUCY

What you give him fo’ hit?

MADISON

Oh, dat’s anotheh story. Him an’ me’s goin’ in business togetheh.

LUCY

Oh, Madison, dat w’ite man stole dis guitar. Oh, take it back dis minute
an’ snatch youah soul from de bu’nin’.

MADISON

Who, me? What you tak me fo’, gal? Take back a guitar to de rich man, de
man what own de very house we live in!

LUCY

Well, we soon will buy hit.

MADISON

Dat’s right. We will. But dat ain’ de question. I didn’ git dis guitar
fo’ to return it, I git it fo’ to play it. I boun’ to play it cause I’m
goin’ to be er rich man soon an’ I got to have a plenty music in me.

LUCY

You goin’ to git rich playin’ guitar?

MADISON

[_Laughing comfortably._] Eh, yah, yah. Whoopee! No indeedy. I flies
higher dan music flies. I’m one er dese heah kine er ’lectioneerin’ mens
which make dere money work fo’ um. Dey sen’s one dollah out in de heat
an’ sweats her twell she rolls home wif anutheh.

LUCY

How you goin’ to put money out, Madison, lessen you wuks an’ gits de
money?

MADISON

[_Cunningly._] Oh, don’ yo’ botheh youah haid long er dat. I bin down
low and folks trample me des same as a wu’m, but now I’m goin’ spread
my wings an’ sting ’em like a king bee. Whaffo’ I lay dere an’ let’m
trample me? ’Twere because I lack conferdence. I puts my ’pen’ance on dis
promis’, I puts my ’pen’ance on dat, an’ dey all fails me.

LUCY

You ain’t neveh put youah trus’ in Gawd.

MADISON

Yassuh, I did, an’ Gawd He up an’ gimme de go-by too. What He bin doin’
fo’ me? Nuthin’. Now I goin’ spit on my han’s an’ whu’l in an’ trus’
myse’f. An’ I feels lots betteh. I can feel conferdence wukin’ all oveh
me. I casts ’em all off. I’m lookin’ out fo’ myse’f. M-m-m—It took me
long time to git heah but now I’m heah let ’em look out for me. [_His
voice rises to a chant._]

M—m—m—Midnight on de sea. All de lights out. I’m carryin’ hod on Jacob’
laddeh to build me a new house an’ I’m buildin’ it high, man. Don’ tech
me. I’m a flame of fieh an’ I’ll singe you sho’. If dey asks fo’ me tell
’em say, “I saw somethin’ sailin’ up but he was headin’ fo’ a high hill
on de sun an’ my eyes failed me.” Tell ’em say, “He had de fo’ win’s
runnin’ like stallions to fetch up wif him but dey carried ’em out, an’
buried ’em in de valley. He bus’ dere hea’ts!” Tell ’em say, “He was
herdin’ lightnin’s like sheep an’ dey wuz too slow an’ he picked ’em up
an’ sheared ’em an’ sent ’em home.”

Dat’s me, I’m de one you’ll be talkin’ bout. Fer why? ’Cause I cas’ off
ever’thing an’ I puts my trus’ in myself an’ nuthin’ can’t hole me. De
mo’ I says it de mo’ I feels conferdence. I feels it a wukin’.

LUCY

You goin’ to wuk, Madison?

MADISON

Yes, indeedy. I got to wuk an’ wuk ha’d. I can’t shirk none.

LUCY

What wuk you goin’ to do?

MADISON

I’m a stock brokin’ man. I goin’ into de stock brokin’ business tomorrer.

LUCY

How?

MADISON

Buyin’ an’ sellin’, dat’s how an’ which too.

LUCY

De Devil’s wrastlin’ wif you, Madison, an’ you’s perishin’ fas’. Ef you
keeps on in dis paf you’ll lan’ mongs’ de rocks er mournin’. You’s let
somebody tu’n you roun’.

MADISON

Not me. Nobody can’t tu’n me roun’. I dreamed it an’ I dreamed it right,
face fo’mos’ an’ on de run.

LUCY

How dream?

MADISON

Las’ night an’ day befo’ yistiddy night an’ night befo’ dat. I wuz layin’
groanin’, “O Lawd, how long,” an’ I heah a voice say, “Git up an’ come
a-runnin’.” Looks up an’ sees a fine w’ite saddle hoss. Hoss say,

    “Ride me right an’ I’ll guide you right.”

On I gits an’ off he goes, slick as a rancid transom car. Comes to high
hill lookin’ down on de sun an’ moon. Hoss stop an’ say,

    “Brung you heah to give you noos
    De worl’ is youahn to pick an’ choose.”

I ax him “How dat?” Hoss say:

    “How is how an’ why is why,
    Buy low an’ sell high.”

I say to him, “I got no money to buy. Wheah I goin’ git de fun’s to buy
low?” Hoss respon’:

    “Trus’ yo’se’f an’ take youah own,
    Git de meat an’ leave de bone,
    Bus’ de nut an’ fling em de shell,
    Ride an’ let em walk a spell,
    Findeh’s keepeh’s, loseh’s weepeh’s,
    I hope dese few lines find you well.”

I ax him who tole him all dis an’ hoss say:

    “Ole hoss _Grab_ will nevah balk,
    All dis heah is w’ite man talk.”

Dat what de hoss say to me in my true dream ev’y night dis week an’ I’m
a-goin’ to bide by hit twell de las’ er pea time. ’Cause I’m er true
dreameh an’ my mammy she wuz befo’ me.

LUCY

What come of de hoss in de dream, Madison?

MADISON

Dat’s all. Hoss went up in smoke an’ I come down in bed.

LUCY

Hoss went up in smoke! No, hit went down in smoke an’ fiah.

MADISON

Now look-a heah, woman. I’m goin’ to make you a good livin’ f’um now on.
I’m goin’ into business termorrer. I’m goin’ in de specalatin’ wu’k. I’m
goin’ to buy low an’ sell high.

LUCY

What kin you buy wif? You got no money.

MADISON

[_Hesitating but collecting his forces gradually._] Oh, ain’t I tell you
’bout dat? I got it in de dream.

LUCY

In de dream?

MADISON

Um Hmmm. You know dat hoss I tole you ’bout. Well’m, jes’ fo’ we pa’ted
he prance up th’ough a starry fiel’ an’ come to a gyarden fence. Oveh dat
fence he lep an’, man, she was a fine gyarden. “Whose patch dish yer?” I
say to him. Hoss say:

    “If you asks me grab what you see.”

Den he reaches down an’ pulls up a tu’nip wif his teef an’ gives it to me
an’ say,

    “Dis gyarden truck will fetch you luck.”

[_He watches LUCY furtively._] An’ I takes an’ sta’ts to peel dis tu’nip
an’ what does I find? I finds she’s a fine fat roll er bills, dem tu’nip
tops is greenbacks.

LUCY

So youah money is dream money?

MADISON

Well, no, not ezackly. De hoss whispeh sumpin in my eah an’ told me how
to make dat dream money real money. An’ I took de hint an’ done it today.
An’ on dat money I’ll buy low an’ gouge ’em all good.

LUCY

How much you got?

MADISON

Well’m— [_He hesitates._] I got a little an’ den some. I got erbout—fifty
er so.

LUCY

Wheah you git it? [_She catches hold of him._]

MADISON

Tu’n me loose, woman. I goin’ to baid. I got to make early sta’t. [_He
pulls off his coat._]

LUCY

[_Wildly._] I ain’ goin’ to let you stay in sin. [_She snatches the coat
from him._] I goin’ take dis money an’ make you say wheah you got it.

    [_She begins hastily searching through the pockets of the
    coat._]

MADISON

[_Calmly regarding her with great good humour and breaking into a laugh
as she fails in her search._] Eh, yah, yah, sea’ch an’ look, sea’ch an’
look.

LUCY

Oh, Madison, ain’ yo’ got no honin’ ter be hones’ at all?

MADISON

Hones’! What kin’ er fool talk is dat? I done got my ear-string bus’ now
an’ dem preachah wu’ds can’t fool me no mo’. You’ll neveh fin’ it, honey.
’Cause why? ’Cause I’m got it in my pants an’ I goin’ to keep it f’um a
foolish woman.

LUCY

[_Running to him desperately._] You got to give it to me.

MADISON

Gal, ef you don’ tu’n me loose I’ll git ugly. Now, look heah. I wants to
heah de las’ er dis. I got new ideahs. I got big plots en plans. I done
give you de plankses in my flatfo’m an’ I’m a-goin’ to stan’ on hit. When
I makes a lot mo’ money in de broker business I’m a-goin’ to give you all
de gold youah ap’un’ll hold, ev’y day er youah life, an’ you won’ have
to wait long. But till dat day an’ to dat time I’m de treasu’eh er dis
lodge an’ I’m de stake holdeh er dis race an’ dat money stays in de pu’se
in de hip er my ol’ jeanses.

    [_He says this last slowly and with growing emphasis and as he
    ends, gives himself a resounding thwack on the hip over his
    pocket. There is a moment’s pause. He puts his hand hurriedly
    in the pocket and then dazedly into one on the other hip._]

What dis? Wheah dat roll?

LUCY

[_Fearfully._] I ain’ tech it. You know I ain’ bin neah you.

MADISON

[_Rushing to her._] Gimme de coat.

    [_He snatches the coat and begins going through the pockets,
    from time to time searching and slapping the garments he is
    wearing._]

Didn’t you git it? You mus’ er tuk it.

LUCY

No, Madison, I ain’ see nor tech it. You watched me.

MADISON

Oh, Lawd, he’p me look.

    [_He begins to run around the room, looking on the table,
    picking up articles and letting them fall, dropping on his
    knees and hunting under the table and chairs. As he searches he
    grows more frantic._]

Oh, my Lawd, Oh, wheah is it? I got to have it. Oh, I couldn’ lose it,
hit ain’ mine ter lose. Stay by me, Lucy, an’ he’p me fin’ it, git down
on youah knees, Lucy. Oh, wheah did I drop it? I’m gittin’ old an’ needs
it. Ef I lose dis I lose all my push. I was jes’ goin’ into business an’
we all wuz goin’ to fly high. I got to fin’ it. I ain’ give up. Lemme
think. Oh, I hopes some hones’ puhson foun’ it. Lemme come on down—Know I
put it on dat side ’cause dat de side Mistah Long he wuz on—Oh, I’ll go
crazy— [_He strikes his forehead groaning._]

LUCY

[_Starting._] Mistah Long! He’s cashiah in de Dime Savin’s! How he give
you money?

MADISON

Oh, lemme see—he gimme de money an’ I put it right in yere. [_He fumbles
again distractedly in his pocket._]

LUCY

[_Pursuing him desperately._] Onliest money at de Dime Savin’s is _de_
money. You couldn’t draw _hit_ out. You didn’ do dat,—you couldn’—Tell
me if you did fo’ I’ll fin’ it out tomorrer—Oh, tell me true—you couldn’
when it’s in my name—tell me now fo’ I’ll find it out.

MADISON

Oh, I can’t stand it.

LUCY

Ef you wan’ me to he’p you den be free wif me. How you draw money from de
Bank? I give you no papeh. You _couldn’_ draw _de_ money.

MADISON

Wilson Byrd, he gimme de papeh.

LUCY

I give him no papeh.

MADISON

He write it fo’ you.

LUCY

Oh, Gawd, dat w’ite man write my name. You drawed de money—I see it now.
You had dealin’s wif a fo’geh, Wilson Byrd.

MADISON

Spar’ me an’ he’p me. He tol’ me ef I draw de money he’d take me into
business wif him an’ gimme de guitar besides.

LUCY

Did you spar’ me? Fifty dollahs! You said fifty, didn’ you? How could
you do hit? More’n six months’ ha’d slavin’. Six months mo’ befo’ I can
resto’ it back. I could a bought de house tomorrer mo’nin’ an’ now hit’s
six months off to pay in dat fifty. It _was_ fifty, didn’ you say? Maybe
’twuzn’ dat much. Tell me right. I’ll fin’ it out tomorrer.

MADISON

Dis yere’ll kill me ef I can’t think.

LUCY

How much you draw? Tell me right. Look at me. Were hit fifty? [_She holds
his eye._] Less? Mo’? How much? [_She continues to hold his lustreless
eyes, reading them._] A hunde’d? Two hunde’d? Eight hunde’d? [_A pause
ensues as she reads the truth in his face._] All of hit! [_She sinks in
a chair._] Twelve yeahs’ labour sence I married you an’ termorrer I wuz
goin’ to mek de payment an’ we’d a bin undeh owah own roof. I’m done. I
could a paid off pa’t, mebbe fifty, but I won’ las’ twelve yeahs mo’ at
de same thing. But I thank Thee, Lawd, dat it wuz stole f’um us all ef
hit had to be stole.

MADISON

Ef I could on’y think. Had hit in de bank—felt hit an’ had it on Thu’d
Street—slapped hit an’ had it at Joe’s house—slapped hit an’ had it
comin’ up de alley—jes’ fo’ I clum de hill—lemme see—clum de hill—went in
th’oo Wilson Byrd’s hedge fence—he gimme de guitar—scrape my back comin’
out— [_His face shows gradual recollection, and suddenly brightens._] I
knows now! Dat’s hit! In dat white man’s yard wheah he gimme de guitar!
I wuz jes’ goin’ to give him de money when somebody grabbed him f’um
behin’. He give a squawk an’ skeered me. I run out th’oo his hedge fence
an’ scrape my back. I scrape de pocketbook out. She’s dere! In dat Wilson
Byrd’s yard. I’ll git it yit. Watch me. [_He grabs his hat and runs
excitedly toward the door._]

LUCY

[_Rushing toward him._] No, sumpin’ might happen. You might git mix up
wif him ergin. Lemme go, but I mus’ resto’ dis guitar at Uncle Williams,
as I go by his house. I’ll slip it on his porch. Maybe he’ll neveh know
it wuz gone. Oh, if somebody had seen it heah! How could I have stood it?

    [_She puts on a shawl and takes up the bag but as she lays her
    hand on the door-knob a loud knock is heard on the door. Both
    start back and wait. The knocking is repeated. She throws off
    the shawl, places the bag in a corner and returning to the
    door, opens it. She greets the visitor in a strained voice,
    almost with a shriek._]

Uncle Williams! Step in, please.

    [_A man enters. The newcomer is old, with white hair and beard.
    He is probably of Moorish descent. He is so small and weazened
    as to be almost a dwarf, but his whole demeanor indicates great
    latent power. A strong personality, dominating the two others
    from the first instant._]

WILLIAMS

Good evenin’, Lucy.

    [_He seems to be unaware of the presence of MADISON. He comes
    forward with little mincing steps and an old man’s gesture,
    then takes off his hat and sees about him. The others stand
    watching him, transfixed._]

Ain’ you goin’ shut de do’, Lucy? I feels draf’s. I’m gittin’ old an’
catches cold easy. Ain’ you goin’ take my hat? [_She reaches for it
mechanically, watching him apprehensively._] No, de hat—not de stick—ol’
pu’son like me always need good stout stick er club case er havin’
faintin’ spell—sumpin’ to lean on. Now, wheah a cheer, bettah fetch me er
cheer fo’ feah I might set on sumpin’ you wouldn’ choose fo’ me. [_She
obeys dumbly and brings a chair to him._] Set it neareh. Dat’s right. Now
gimme youah shouldeh an’ ease me down. Ah— [_He leans heavily on her and
sinks totteringly into the chair with a great show of feebleness._] Now
take a cheer yo’se’f. I ’spize to see a lady standin’ an’ me takin’ my
res’, old ez I is. [_She obeys, watching him with doubt and dread._] Set
it dah, wheah I can see you good. [_MADISON is standing up by the wall,
right, gazing at him as though paralyzed with fear._] Dah now. We kin be
ca’m and have a nice talk. Does you know what business I come yere fo’
tonight? [_He pauses._] You does, doesn’t you?

LUCY

[_Almost beside herself with nervous tension._] You—come to see—ef—
[_Recovering herself with a mighty effort._] Oh, yes, you come to look
oveh de stove an’ see ef you like to buy hit.

WILLIAMS

[_Musingly._] M-m. Well, I reckon—dat’s hit. Yes, dey tells me y’all has
a wahmin’ stove to sell an’ now katydid cease, fros’ ain’ fur off, an’ I
needs hit. Is dish yere de one?

LUCY

[_Rising and rushing toward door at side._] No, not dat. Hit’s outside—ef
you please to step out.

WILLIAMS

Well’m, I’ll take’n look her oveh. [_She hastily lights a candle as he
rises and totters in the wrong direction._]

LUCY

Th’oo heah, th’oo heah. De stove’s out in de woodshed. [_She grasps and
guides him._]

WILLIAMS

Ah—well’m. Um hm. I always gives things er good lookin’ oveh befo’ takin’
stock in ’m. You needn’ come erlong. I lived so long in dis house befo’
you wuz bawn dat I knows my way. Is de stove an easy wood eateh?

LUCY

Yes, yes.

    [_She gives him the candle and almost pushes him through
    doorway at side as she follows him out. MADISON, who has
    watched fearfully from a dark corner, darts forward and looks
    after them, listening. He then runs toward the door at back but
    hesitates before it and turns as LUCY comes swiftly in from
    outer room, closing the door softly._]

MADISON

What he say? Do he know?

LUCY

[_Desperately seizing the bag and pressing it into his hands as she turns
him again toward doorway at back._] Oh, I cain’ tell. On’y resto’ dis in
case he don’ know er case he do. Now’s de one chance to be hones’.

MADISON

Huh. What erbout dat eight hunderd dollah?

LUCY

I don’ know. Trus’ Gawd an’ be hones’.

MADISON

Huh uh. One of us has got to go look fo’ dat money.

LUCY

One of us has got to take back de guitar.

MADISON

I’m goin’ fo’ de money.

LUCY

Den I’ll take dis. [_She takes up the guitar and she and MADISON go
toward door at back. Then she halts._] Oh, Madison, you can do bofe. One
of us has got to stay wif Uncle Williams. But take back de guitar first.

MADISON

All right. I’ll go. An’ I ain’t played on dis heah but twice. [_He takes
the guitar from her._]

LUCY

Go now. Can you fin’ youah way to his porch in de dahk?

MADISON

Will we find de money? Dat’s de p’oblem I wants de answeh fo’.

    [_LUCY opens door at back to go out. MADISON is at her side.
    Both start back. WILLIAMS stands before them in the open
    doorway._]

LUCY

[_Haltingly, after a pause._] How—you like—de stove?

WILLIAMS

[_Entering more vigorously than before._] Well’m, befo’ we goes any
furder we betteh come neareh de real p’int an’ question. I didn’ come fo’
no stove dis night. [_MADISON shrinks back into the shadows._]

LUCY

[_Slowly._] Yo’—don’—wan’—

WILLIAMS

No’m. To be sho’, I might tek de stove one er dese days, but dat ain’
my erran’ now. Hit’s dis; does you know when we mek de bargum about you
buyin’ dis heah house?

LUCY

Twelve yeah ago.

WILLIAMS

Gal, you dreamin’! ’Tweren’t but las’ year. ’Twere de fus’ er Octobah
las’ year an’ I say I gives you de refusals fer one yeah. ’Membeh dat?

LUCY

Yassuh.

WILLIAMS

So fur so good. Now does you know what day de month dis is?

LUCY

Fus’ er Octobah.

WILLIAMS

Dat’s true as preachin’. Well’m, time’s up.

LUCY

What you mean?

WILLIAMS

I’m er man er my wuhd. Pay me de money an’ tek de house.

LUCY

Termorrer—

WILLIAMS

No. Termorrer won’ do.

LUCY

Why you push me so? Oh, please spar’ me an’ wait—wait anutheh day.

WILLIAMS

No, I’m er business man. I kin sell de house fer mo’ money termorrer but
I hold’s to my wuhd ter sell it to you. I holds to it an’ loses money,
but it falls due dis day an’ night an’ I won’ stretch it one jump er my
hea’t.

LUCY

You know—de bank—ain’t open—

WILLIAMS

Sign de check fer hit. You kin do dat, cain’t you?

LUCY

I—s’pose—I—kin.

WILLIAMS

Den up an’ do hit. Heah’s er check, all wrote out but de signin’. [_She
takes the check he produces._] An’ heah’s one er dese fountum pins.
[_She takes the pen._] Octobeh fus’—pay to Zek’l Williams—eight hunderd
dollahs. Des write “Lucy Sparrow.” [_She mechanically turns to do so._]
Looks easy, sho’. But de law allows hit; dis writin’ out money. [_He
pauses, then adds impressively._] Dat is, _ef_ you got de money in de
bank. Co’se ef de money ain’ dah an’ you writes de check fer hit de law
puts you in State prism. [_She stops and stares at him._] [_The pen falls
from her hand and the check flutters to the floor._] What de matteh? You
wants de house, don’ you? [_LUCY’S head sinks._] An’ you got de money,
ain’ you?

MADISON

Dat’s de question. [_He comes forward out of the shadow._]

WILLIAMS

[_Seemingly observing MADISON for the first time during the evening._]
Why, heighyo, Madison. I bin lookin’ fer you dis very evenin’. Whah you
bin?

MADISON

Bin home.

WILLIAMS

Sho’ly not, Madison, sho’ly not all evenin’? Has you?

MADISON

Yes.

WILLIAMS

Well, ain’ dat de whu’lygig? I wuz lookin’ fer you at Pratt’s sto’ at
eight o’clock an’ dey say you jes’ lef’ dah. You wuz dah, weren’t you?

MADISON

No, suh.

WILLIAMS

Well, dere I am fool agin. An’ who you think done fool me?

MADISON

Dunno.

WILLIAMS

Well, suh, ’tweren’t no one but— [_He pauses a moment._] Wilson Byrd.

LUCY

Byrd! [_Springing to her feet with the shock._]

WILLIAMS

[_After watching the two a moment._] So you ain’ got de money no mo’, is
you? [_They are speechless before him._] I knows you ain’ ’ca’se I knows
who _has_ got hit.

MADISON

[_Involuntarily._] Who?

WILLIAMS

I has. [_He observes them and then chuckles softly._] I has de money an’
de bargum’s closed, fer de goods is bin delivered an’ dey’re right in
dis room in dat corner. One guitar at eight hunderd dollahs. Insterments
comes higher’n what dey did once but you would have it an’ now you got it
an’ everybody’s fixed.

MADISON

[_Groaning and bending over the table._] Oh!

WILLIAMS

Yassuh, de man what buys guitars at dat price su’tinly plays on de
golden strings. Eight hunderd fer one guitar makes ’m mighty near twenty
thousand dollehs er dozen. De cos’ er livin’ is shore gone up but ef you
mus’ you mus’.

MADISON

Oh!

WILLIAMS

Well, I cain’ stay heah, I got er be amblin’ on. I much erblige ter you
to mek youah plans to move out er heah fo’ I got ter sell de house befo’
sundown. Well, so long, an’ I hopes you gits all de good er youah high
price music. [_He turns again with his feeble old man’s step toward the
doorway, putting on his hat._] I wish y’all good evenin’.

MADISON

[_Moving toward him with the threatening determination of despair._] Say,
I’ve got to have dat money. I sees red. I’m gone bad an’ I’ll kill befo’
I’ll lose hit.

    [_WILLIAMS suddenly turns with a swiftness and agility
    astounding in so old a man. Starting forward he confronts
    MADISON with such dominance and fire that he seems suddenly to
    tower._]

WILLIAMS

_You_ kill _me_! _You_ tek money away from _me_! Why, you po’ grain er
chaff, you don’ know me. I’m a king in my own right. I got ways an’
means er pertecktin’ myse’f dat you don’ even dream on an’ I don’ need to
lay a fingeh on you to do hit. Furdermo’ I could brain you wif dis stick
but ef you cross me I won’ be dat easy on you. Ef you don’ wan’ wuss’n
dat don’ cross me no furder er youah troubles’ll begin fer fa’r.

LUCY

Oh, please don’ lay nothin’ on him.

WILLIAMS

You po’ sufferin’ gal, I won’ lay nothin’ onto ’im but I’m a-goin’ to tek
sumpin’ off’n you. I’m goin’ tek de burding er dish yere pack er laziness
off’n you. An’ fus’ I wants ter show you dish yere piece er papeh. [_He
produces a folded document and opens it._] Does yo’ know who wrote it?
Answeh me. [_He shoves the paper under MADISON’S eye._]

MADISON

It looks like dat Wilson Byrd’s writin’.

WILLIAMS

Yassuh, an’ what’s mo’ it is dat man’s writin’. It’s his confession dat
he fo’ge Lucy Sparrow’s name. I saw dat man steal my guitar an’ follered
him home. Dah I grabbed him, dah I foun’ de purse wif Lucy’s name inside
an’ dah I made dat thief write out his confession. Knowed so much of
his meanness already dat he had to do hit. An’ now I owns you. Does you
undehstan’ dat? Answeh me.

MADISON

Yas suh, no suh.

WILLIAMS

Well, I’ll take’n cl’ar up de myst’ry fer you. I got dis confession outer
Byrd an’ I got other things ter prove hit an’ I kin bring him an’ you
too, bofe befo’ de gran’ jury.

LUCY

Oh, my sweet Jesus, save him. [_The old man stands watching the two
before him for some time in silence. LUCY falls on her knees before
him._] Oh, don’t sen’ Madison to de lawyers.

WILLIAMS

No, Lucy, I ain’ wishful ter.

LUCY

You won’t?

WILLIAMS

Mebbe not. But fus’, les’ put all dis talk aside dat I bin talkin’ up
to now. I bin puttin’ on an’ pretendin’ in ordeh ter try you bofe an’
sif’ de chaff from de grain in you. I des bin playin’ wif you ter see
how good you is an’ how ornry dish yere man er youahn is. Yit I’ll take
an’ give him er chance even so, an’ I’ll pluck him f’um de bu’nin’ ef
he follers de paf I p’ints out ter him. But we all got ter have cl’ar
unde’stan’in’ ’bout dat. Fus’ an’ fo’mos’ youah money is all safe wif me.
De house is youah’n.

LUCY

You means you sell it fer de money.

WILLIAMS

In co’se. You didn’t speck I’d steal too, like a w’ite man, did you? I’ll
fetch you de deeds fo’ hit fus’ thing in de mo’nin’.

LUCY

Oh, fu’give me, I was all mix up. But you won’ sen’ Madison to de gran’
jury neitheh?

WILLIAMS

I say I ain’ honin’ ter.

LUCY

Oh, my Makeh, I thank Thee fo’ Thy mercy.

WILLIAMS

But I shorely goin’ to put dis man er youah’n th’oo er tes’ ter see
whetheh he’s fitten ter keep out er jail. Madison, will you tek er tes’?

MADISON

[_Humbly._] Yassuh. What is it?

WILLIAMS

A guitar.

MADISON

A guitar!

WILLIAMS

Yassuh, dat’s hit, no mo’ ner no less. I’m goin’ give you dat
guitar—but—dere’s suhtinly goin’ to be a string tied to it. You kin take
dat guitar but you got to make somethin’ outer yourself wif her or back
she’ll come to me. You kin give lessons an’ learn folks music or you kin
write down de music you make, but you got to do somethin’ wif it fer
Lucy. You got to wake up or I’ll take de guitar. Which’ll it be? Make
youah choice.

MADISON

[_Crushed._] I’ll—keep de guitar.

WILLIAMS

An’ dat ain’ all. You got ter quit runnin’ wif Byrd an’ Byrd wif you, you
got ter be a better husban’ an’ you got to min’ everything Lucy tells
you. Will you do hit?

MADISON

Yassuh.

WILLIAMS

An’ yo’ ain’ much of er temp’unce man neitheh, is you, Madison?

MADISON

I’s a temp’unce man but I ain’ no frantic.

WILLIAMS

Well, suh, you got ter jine de frantics now. No dram drinking at all.
Will you quit hit er go ter jail?

MADISON

I’ll quit.

WILLIAMS

Well, dat’s on’y a promise but I’ll shore hol’ you to hit er put you
behin’ de bahs. Why, look heah, man, does you know how you stan’ ’pon top
er dis yu’th? Does you know how you liken to er tree? ’Sposin’ sumpin’
wif er cool eye like er tree could see you an’ talk. I cain’ jedge you
ca’m but er tree could. Tree would look at you an’ say, “Does dat ’ere
man wu’k?” Win’ ’ud whispeh, “No.” “Do he eat?” “Yas ’n git fat,” respon’
de win’. “Who shines on him?” “His wife,” win’ say. “Do he put fo’th
flower an’ bless de wife?” say de tree. “No.” “Do he give shade an’
shelteh ter de wife?” say de tree. “No.” “Well, chop’m down an’ bu’n him
befo’ he rots,” say de tree. “Dat’s all.” But mebbe I kin mek mo’ of him
dan dat an’ so I’ll try prunin’ him an’ graftin’ some good labeh onto
him. An’ I kin’ er think hit’ll save him yit. Well’m, I must be er goin’
now. Hit’s late an’ I mus’ git my res’ fer I got to do a lot er bossin’
termorrer an dat’s allers ha’d fer me. Lucy, I’ll fetch you de deeds ter
de house befo’ nine termorrer an’, Madison, you kin repo’t to me at eight
o’clock sha’p an’ give my little boy a lesson on de guitar. You’ll be
dah, won’t you?

MADISON

[_Meekly._] Yassuh.

WILLIAMS

Ready to whu’l in an’ scratch.

MADISON

Yassuh.

WILLIAMS

Well den, les’ all shek han’s on de noo nes’ an’ de noo aig. [_They shake
hands. He puts on his hat and turns to the door._] An’ dat remin’s me,
Lucy, you better tell Madison to play on dat guitar a plenty tonight
because he’ll need music fer to stan’ up undeh all de lessons I’m goin’
to lay onto him. Well, I wish you good night. I’m er gittin’ kin’er ole
an’ I cain’ stay up late no mo’ without bein’ crosser in de mornin’. Good
night den an’ far’ you well bofe. Eight o’clock, Madison. Good night.

    [_He goes, closing the door after him. The pair stand silent
    for a moment, MADISON with hanging head and in deep dejection._]

LUCY

[_Throwing her arms around him._] Oh, my husban’, I’ll pray fer you. Don’
sorrer now. Git youah res’ tonight. We kin be hones’ now. We’ve got de
house at las’ an heah’s de guitar.

MADISON

Yassuh, heah’s de guitar. [_He plays it and fondles it. Then his face
assumes again its melancholy look._]

LUCY

What’s de trouble?

MADISON

I don’ undehstan’ dis worl’. If I wants to make music why cain’t folks
lemme alone to make music? If I dream a fine dream why is it I always
wake up? Looks to me like somebody’s always tryin’ to crowd me out an’
git me in a tight place.

LUCY

You wuz doin’ all right till you got mix up wif dat white man an’ his
tricks. De trouble wuz dat dis dream of youahs wuzn’t a good dream.

MADISON

Yes, but not all of my dreams is bad ones. All, I wants is room to dream
my good dreams an’ make my own music.


CURTAIN




SIMON THE CYRENIAN




NOTE.—Although Cyrene was in northern Africa, the wall-paintings in the
vast Cyrenian tombs depict black people instead of brown.

That Jesus’ cross-bearer was a black man, as the early painters
represented him, is a fact that holds a certain suggestion bearing upon a
phase of modern society.

It has been the author’s design that all the characters in this play
should be represented by persons entirely or partly of Negro blood; and
this intention has been carried out in the original stage production.
Simon is a full-blooded Negro, Battus is a little less dark, Acte is a
mulatto as were most Egyptians of the later dynasties. Her attendants
comprise both mulattoes and Negroes. The Roman characters are played by
persons of slighter negroid strain.




SIMON THE CYRENIAN


And as they led him away they laid hold upon one Simon, a Cyrenian, ...
and on him they laid the cross that he might bear it after Jesus.

                                                              Luke 23, 26.


PERSONS OF THE PLAY

    PROCULA, the wife of Pilate
    DRUSUS, a young Roman
    ACTE, Princess of Egypt
    BATTUS, a Libyan prince, a boy
    SIMON
    PILATE, governor of Judea
    BARABBAS, an insurrectionist
    THE MOCKER WITH THE SCOURGE
    THE MOCKER WITH THE SCARLET ROBE
    THE MOCKER WITH THE CROWN OF THORNS
    A CENTURION
    LONGINUS, a soldier
    PROCULA’S ATTENDANTS
    ACTE’S ATTENDANTS
    SOLDIERS

    TIME—The day of the Crucifixion of Jesus of Nazareth


    SCENE: _A garden of Pilate’s house at Jerusalem. The whole
    scene is strictly Roman, softened by its eastern location and
    by the beginnings of Rome’s decadence, but there is no trace
    of Judean influence. At the back there is a gallery or raised
    portico reaching entirely across the garden. It is roofed but
    open and beyond it the morning sky is seen. This passageway,
    which will be called the portico, leads from the Praetorium
    on the left to other buildings on the right. The garden has
    entrances toward the back at both left and right. At the left,
    near the front, a narrow portion of the façade of Pilate’s
    house is seen, with a doorway reached by three steps. At the
    right of the garden, near the front, there is a wall fountain.
    There is a marble seat at back centre. All the architecture is
    of mellow marble as dark as alabaster._

    [_As the curtain rises PROCULA is discovered upon the steps
    of her house. She is in an extreme state of agitation. Her
    attendants are in the garden. The sound of a mob, with cries of
    “Crucify him,” “To the Place of the Skull,” “On to Golgotha,”
    etc. is heard at the rise of the curtain and at intervals
    throughout the play._]

PROCULA

Go! Go, send more messengers. Ah, Hera, help me.

    [_A MESSENGER runs into the garden from the right and kneels
    before her, breathless._]

PROCULA

Has Simon the Cyrenian been found?

MESSENGER

The swiftest horseman reached him. He is nearing the city.

PROCULA

Hasten him. Bring him. Your freedom for it. [_The MESSENGER hurries out._]

PROCULA

[_To ATTENDANTS._] Is there no news yet?

ATTENDANT

One messenger has not returned. He who was sent to the royal woman of
Egypt.

PROCULA

Send others after him, take wings. [_DRUSUS enters the garden from the
left._] Drusus! Help me draw him swiftly.

DRUSUS

The wife of Pilate speaks. Whom shall I send to her?

PROCULA

Too late, too late. I speak foolishly. I have already sent.

DRUSUS

You are tormented.

PROCULA

Are mine the only eyes that see the doom unrolling?

DRUSUS

You speak strangely.

PROCULA

The Furies whip me.

DRUSUS

Tell me your secret.

PROCULA

This Jesus the Nazarene—

DRUSUS

You need not fear him. He is in Pilate’s hands.

PROCULA

Out of that is my agony. Ah, my dream.

DRUSUS

Dreams?—

PROCULA

Did you feel the earth heave last night?

DRUSUS

I was drinking at Herod’s palace.

PROCULA

Trees groaned, the statues shuddered, the fountains dried, the walls
sweated, a red dew fell in the gardens.

DRUSUS

I felt nothing. I saw nothing.

PROCULA

I saw—I cannot tell it. Horror was heaped on horror.

DRUSUS

You dreamed of this Nazarene?

PROCULA

Of him. He must not die. I begged his life of Pilate but he fears the
Jews. Help me.

DRUSUS

Help you? How?

PROCULA

Bring Simon the Cyrenian.

DRUSUS

That tiger?

PROCULA

I heard many voices in my dream and one voice cried, “Simon the African
shall bear the burden.”

DRUSUS

You have not felt his claws.

PROCULA

Then you too believe him dangerous?

DRUSUS

The most dangerous man in the empire.

PROCULA

Dangerous to Romans, it may be, but—

DRUSUS

[_Scornfully._] The friend of slaves! Wherever he goes insurrection
follows him. He was the secret leader of last year’s armed uprising
in Rome when thirty thousand perished. He hollows out the empire with
sedition.

PROCULA

A stronger man than Rome.

DRUSUS

His influence spreads through the provinces. He plans world empire,
undermining Rome. Cæsar has been warned of him, but is afraid or listless.

PROCULA

[_Half to herself._] Surely such power should avail to save one life.

DRUSUS

There is a rumour that he was here two nights ago to renew the
insurrection of Barabbas. We had spies set upon him.

PROCULA

Does he fear spies? I have sent for this man. If the Nazarene is
condemned Simon must kindle riot and take him from the soldiers.

DRUSUS

Will the wife of Pilate breed rebellion to Rome?

PROCULA

It is for Rome’s sake and in my extremity. What singing is that? I heard
it in my dream.

    [_During the last few speeches a marching song by men’s and
    women’s voices is heard off left, at first faintly then,
    growing louder; the words are indistinguishable._]

DRUSUS

The air is African.

PROCULA

May it be Simon.

DRUSUS

[_Looking off left._] A litter with Ethiopian bearers.

PROCULA

Ethiopians! It is the Egyptian. [_DRUSUS starts to go off right._]

PROCULA

Though I sent for her I fear her. Stay with me.

DRUSUS

I cannot. I bear word from Pilate to Herod. [_He goes off right. A HERALD
in Egyptian dress enters from left._]

THE HERALD

Acte of Egypt to the wife of Pilate.

    [_The voices off left are heard approaching and singing
    the tune that today is known as the Negro spiritual “Walk
    Together, Children.” ACTE enters from left walking with her
    litter-bearers and women. With her is BATTUS, a boy of ten._]

ACTE

The wife of Pilate sent to me?

PROCULA

For Simon the Cyrenian. Men say you are his friend.

ACTE

I have come here to find him.

PROCULA

He is not here.

ACTE

If his mood holds he will not fail to come since you have sent for him.
Your men have told me that he nears the city.

PROCULA

Oh, help me rouse him when he comes.

ACTE

What is your need?

PROCULA

A hidden service.

ACTE

You ask my aid? Then trust me.

PROCULA

[_Coming down close to ACTE and speaking in a low voice._] Jesus the
Nazarene must not die.

ACTE

Has he been doomed?

PROCULA

Not yet. But if—

ACTE

Are you not Pilate’s wife?

PROCULA

He fears the Jews.

ACTE

And Simon?

PROCULA

If Jesus is condemned Simon must seize him.

ACTE

Never.

PROCULA

It must be done. I beg you help me.

ACTE

This Nazarene has no friend in me.

PROCULA

And you have never seen him.

ACTE

No, but I suffer much because of him.

PROCULA

And I. Jesus must live. Oh, move Simon to strike.

ACTE

More lives than this magician’s wait on Simon. [_An ATTENDANT of PROCULA
enters from left._]

ATTENDANT

[_Calling._] Pilate has gone up toward the Judgment Hall.

PROCULA

Beg him to stay for me, for one word more. I’ll follow. [_ATTENDANT goes
out left. To ACTE._] Command my household, wait here for Simon. [_Seizing
ACTE and pointing toward the Judgment Hall._] In there and at this hour
the fate of earth and heaven dangles in the hands of blind men. Tell
Simon this, see that his eyes are open.

    [_PROCULA hastens into her house. During Procula’s words one
    of Acte’s ATTENDANTS, who has strayed off right has reëntered,
    looking off._]

ATTENDANT

Lord Simon rushes toward this place.

ACTE

Make ready all.

    [_Her tire-women attend her and her men stand looking
    expectantly off right. SIMON enters from right. He is a Negro
    of majestic bearing, with a sad, severe countenance. He is
    dressed as a soldier._]

SIMON

Egypt!

BATTUS

[_Rushing joyfully toward SIMON._] Simon, Simon.

SIMON

Battus, Royal Battus. [_He embraces the boy._]

BATTUS

You have been long away.

SIMON

Not so long as to have forgotten Battus.

BATTUS

And have you forgotten Cyrene and Egypt and our kingdom of the free?
[_ACTE hushes the boy, looking apprehensively about._]

SIMON

No, Battus.

ACTE

[_To her ATTENDANTS._] Take the boy deeper in the garden. Wait there till
I call him. [_The ATTENDANTS lead BATTUS off left._]

ACTE

[_Moving swiftly to SIMON._] You are in danger here. What sorcery called
you back?

SIMON

Where is the wife of Pilate?

ACTE

She is asleep—or she listens to the harp.

SIMON

Why are you here?

ACTE

I came to meet you. Why did you return?

SIMON

Messengers from the wife of Pilate reached me.

ACTE

What spell is on you, you who were never trapped? This is the wolf’s own
mouth. You tempt it to close upon you.

SIMON

The tiger’s blood is never lapped by wolves.

ACTE

Many can pull down one. Go back.

SIMON

When is the Nazarene to be tried by Pilate?

ACTE

So, I have found the hunter that has snared you.

SIMON

When is he to be tried?

ACTE

Who knows? Tomorrow. Perhaps never.

SIMON

Today, the message said.

ACTE

Perhaps this afternoon. Oh, Simon, wake. Shake off this net of dreams.
How were you taken in it?

SIMON

I am not taken.

ACTE

You have seen this Nazarene?

SIMON

I saw him.

ACTE

When?

SIMON

Two nights ago.

ACTE

After you left me.

SIMON

    Afterward. I had summoned to a garden
    The bravest of the slaves to help them plan
    A new sedition that would free Barabbas.
    There as I roused the jungles against Rome
    I saw lights in another part of the garden,
    I saw men come with torches and seize a man.
    I hurried near and through the olive leaves
    His eyes looked into mine,
    His eyes burned into mine. I have seen them since,
    Waking or sleeping.

ACTE

    You followed him?

SIMON

    No, and none saw me. I turned back through
    the shadows and joined my men.

ACTE

    And did you plot again that night?

SIMON

    My thoughts went wide. My words were broken.
    I told the slaves to wait till my next coming.
    Then, before dawn, I set out for the sea.

ACTE

    Oh, my Cyrenian, where is that fierce blood
    That poured out from your heart fires to burn Rome?

SIMON

    My spirit is fiercer than it was before,
    The groans of the oppressed louder than ever.

ACTE

    Then why have you turned back?

SIMON

    I have seen the whole world’s sorrow in one man’s eyes.

ACTE

    What does it mean? You are changed.

SIMON

    There as I looked upon him in the garden
    A wound came in my side like a spear’s thrust,
    Bleeding for him.

ACTE

    Is this all you know of him?

SIMON

    As I went seaward
    I met men coming to the yearly feast.
    These told me of his works, they spoke of marvels,
    Of healings and of resurrections.
    He suffers the old wrong of the downtrodden.

ACTE

    Are there no wrongs then in our Africa?

SIMON

    The whole earth groans beneath the persecuted;
    The outcast, the despised cry out to me.

ACTE

    And you whom they trust to save them turn aside
    To this one man.

SIMON

    I have not turned aside, yet I may help him.

ACTE

    Go back. Your peril grows. You will be trapped.

SIMON

    Rome cannot take me.

ACTE

    It is not Rome I fear but this Judean.

SIMON

    [_Moving toward the doorway of Pilate’s house._]

    Why does the wife of Pilate stay,
    Having summoned me with horsemen?

ACTE

    [_Going with him._] Doubtless she forgets.
    Her whims are many.

SIMON

    I must hear from her
    What they have done with him.

ACTE

    [_Placing herself before him._] Simon!
    Mists are before your eyes,
    Mists of forgetting.

You have forgotten Battus and all your holy vows before the priests of
Libya and Egypt to bring him back to Africa Rome’s conqueror.

    [_She calls off left to BATTUS. The ATTENDANTS enter with him._]

Come, lad, sit here. [_She leads him to a seat at centre._] Let’s play at
worlds for Simon. Who are you?

BATTUS

    I am Battus.

ACTE

    And who is Battus?

BATTUS

    Son of Cyrenian kings and kings of Egypt,
    Son of all Africa.

ACTE

    Who shall be your army?

BATTUS

    The slaves of Rome.

ACTE

    Who shall lead them up to victory?

BATTUS

    Simon and I.

ACTE

    And then?

BATTUS

    They shall be free. All wrongs shall be righted.
    The great shall be brought low, the lowly raised.

ACTE

    How shall we reach our own?

BATTUS

    Through blood and fire.

ACTE

    Who shall be our own?

BATTUS

    All those who suffer wrongs, the poor, the captives.

ACTE

[_To SIMON._] What do you say, now you have heard the faith he lives by?

SIMON

Oh, I have not forgotten. We shall go forward.

ACTE

To triumph.

SIMON

Yes, to triumph.

ACTE

Through fire and blood.

SIMON

Through fire and blood.

ACTE

Ah, I have never doubted the fierce heart in you. Never be tamed.

    [_PROCULA appears in her doorway. ACTE sees her and moves
    apprehensively aside. PROCULA sees SIMON._]

PROCULA

You are the Libyan captain?

    [_ACTE waves BATTUS and her attendants off left._]

SIMON

The wife of Pilate sees him.

PROCULA

[_Going swiftly to him._] You have seen Jesus the Nazarene?

SIMON

I have seen him.

PROCULA

Save him.

SIMON

When is he to be tried?

PROCULA

He has been tried.

SIMON

[_To ACTE._] Who has deceived me? [_To PROCULA._] Has he been condemned?

PROCULA

Not yet, not yet.

SIMON

Your husband holds him.

PROCULA

I have no power in this.

SIMON

You sent for me.

PROCULA

Save this one man. I know your power.

ACTE

Remember Cyrene, Egypt and our world, Battus and Africa.

SIMON

Their roots are in my heart.

ACTE

Then come away with me.

SIMON

My breast can nourish both this Judean and our kingdom.

ACTE

No, for this man’s spirit threatens to overcome you; they have called him
king; there cannot be two kings, and you the lesser, in the world we plan.

SIMON

Not that he is a king but that he is a captive my heart flows most to
him.

ACTE

Legions of captives in the empire wait for you to set them free. Shall
you yourself be captive?

PROCULA

He was betrayed.

ACTE

[_To SIMON._] Look to it that you are not yourself betrayed by him.

PROCULA

Herod mocked him.

ACTE

[_To SIMON._] If you are now led astray you mock our Africa and the new
world we plan there.

SIMON

Plan no more worlds if this man is destroyed. But he shall conquer Pilate.

PROCULA

Save him. Waken the mob. Breed riot. Take him from the soldiers.

    [_She suddenly looks upward off left back and gives a cry._]

Pilate ascends to the outer judgment seat.

    [_She rushes to SIMON._]

Burn the city if he is condemned.

    [_SIMON stands brooding motionless. PROCULA runs toward her
    doorway._]

I’ll send to Pilate even on the judgment seat.

    [_She rushes into her house. SIMON moves after her as though he
    would follow._]

ACTE

[_Recalling him by a touch so that he turns._] The time is not yet ripe.
A new sedition now suddenly bursting would dash down all our dreams.

SIMON

Pilate at last will listen. With such a pleader the Sufferer is safe.

ACTE

You are taken in this soothsayer’s mesh.

SIMON

He has not spoken to me.

ACTE

Has he not led you?

SIMON

He leads me most who suffers most injustice.

ACTE

    And on that night when you were first led captive
    The lonely lions and the Libyan moon
    Watched over Africa, faithful to her,
    When you grew faithless.

SIMON

Africa shall triumph. This man, not I, not Battus, shall restore her.

ACTE

If Pilate pleases.

SIMON

He shall conquer Pilate.

ACTE

Shall he indeed?

SIMON

What’s there?

    [_A loud murmur of many voices has been heard at intervals in
    the Praetorium at left back during the past scene. This murmur
    has now increased into a roar out of which the cry “Crucify
    him! Crucify him!” rises. The cries and the roar suddenly
    become triumphant as SIMON listens. Then from the entrance at
    right there appears a fantastic impish figure bearing a great
    scourge. He is followed by another bearing a gorgeous scarlet
    robe and by a third bearing upon a cushion a crown of thorns._]

SIMON

What are these?

THE MOCKER WITH THE SCOURGE

A scourge for a prophet.

THE MOCKER WITH THE CROWN OF THORNS

A crown of thorns for a king.

THE MOCKER WITH THE SCARLET ROBE

A scarlet robe for a saviour.

    [_The mockers cross the garden and disappear at left back.
    SIMON watches them motionless and transfixed by their sinister
    meaning as it begins to dawn upon him. PILATE appears in the
    upper portico at back left. He enters walking slowly backward
    and looking off left with evident horror. A wailing is heard
    off left, it grows and PROCULA enters from her doorway._]

PROCULA

Woe, woe, the air is bleeding, the doom has fallen.

O Pilate, you have judged a world and doomed it.

Your hands are bloody; wash them again, wash them.

    [_PILATE glances at her and then motions, looking off to the
    left. A slave appears with him on the portico bearing a basin
    of water. PILATE washes his hands and then goes off left._]

PROCULA

[_Going to SIMON who stands motionless._] What will you do now, now that
he is condemned?

    [_A man enters slowly from the right. He halts just within the
    garden seeing SIMON. The newcomer is gaunt and haggard._]

SIMON

[_Suddenly seeing him._] Barabbas! [_Running to ACTE._] Look to the lad,
lead him to safety. We’ll fire the city. Hide with him till I join you.
The temple shall be in flames before they lead the Nazarene past it.
[_ACTE leading BATTUS and her people hurries out left. SIMON rushes to
BARABBAS, speaking swiftly._] Go where the arms are stored. Give the
slaves weapons and torches. Rouse all, arm all, stand by me to free the
Nazarene. I’ll lead his friends. Bring the slaves quickly. Strike, give
all the signal. [_BARABBAS stands motionless._] Go.

BARABBAS

    [_In a dull monotonous voice._]
    All’s done, all’s one, whether men live or die.
    Who can withstand Rome? They tortured me.
    My spirit is broken. I have been all night
    Watching this one that would have saved the world
    Scourged with me in the prison.
    He is a god but men have conquered him.
    They freed me in his place, the dead for the living.
    There are no more gods left now in the sky
    And on the earth nothing but dead men crawling.

SIMON

You stay? You hang back?

BARABBAS

My spirit is poisoned. I die soon.

SIMON

Then die for the living.

BARABBAS

There are none left alive.

    [_As he speaks the tops of three crosses and three Roman
    standards are seen against the sky at back, beyond the portico,
    as they are borne slowly in procession from left to right. As
    they pass, the wailing of women’s voices is heard interspersed
    with the angry murmur of a crowd and cries of “Crucify him!”_]

BARABBAS

    [_Pointing to the crosses._]
    There goes the cross now for the god to hang on,
    That’s the dead tree to bear the dead world’s fruit.

SIMON

    So we must stand alone. They yell for blood.
    Now they shall drown in a red sea of it.
    He shall pass over safely, walking on dead men.

    [_He draws his sword and rushes off right. BARABBAS stands
    unmoved. PROCULA runs to right entrance staring off after
    SIMON._]

PROCULA

    The gods fight with you now, invisible shapes
    Rush forward with you. See how cloud-like armies
    Redden the air. Lead them and seize him.

    [_There is a pause, then she retreats slowly from the entrance,
    and SIMON re-enters stepping slowly backward as though dazzled
    by a vision. As he reaches the middle of the garden a
    wonderful voice is heard proceeding from the direction in which
    he looks._]

THE VOICE

Put up the sword. For they that take the sword shall perish with the
sword. [_The sword falls from SIMON’S hand._]

THE VOICE

Do not resist evil.

    [_There is a moment’s pause and then a CENTURION enters from
    the right and goes menacingly up to SIMON._]

THE CENTURION

Who are you that you rush against legionaries? Have you an army that you
come against us? Are you a madman? Are you also one of his followers?

SIMON

[_Slowly._] I am his follower. [_PROCULA, wailing, rushes into her
house._]

THE CENTURION

[_Turning and calling to someone off right._] Ho, Longinus, come; here is
another. [_To SIMON._] What is your name and place?

SIMON

Simon, a man of Cyrene.

    [_LONGINUS enters from the right accompanied by several other
    legionaries._]

LONGINUS

[_To the CENTURION._] The Nazarene has fallen. The cross crushes him. He
can go no further.

THE CENTURION

Here’s one to bear it, bring it in the garden.

    [_LONGINUS goes out right. The CENTURION and legionaries
    surround SIMON and strip him of his outer garments. When they
    have done so the MOCKER WITH THE SCOURGE enters from the right
    waving the scourge threateningly, looking off as he enters. He
    turns and dances about SIMON._]

THE MOCKER WITH THE SCOURGE

Prophesy, prophesy. Who is it now that strikes you? Turn the other cheek.

    [_The mocker strikes SIMON. With a powerful movement SIMON
    seizes the mocker, hurls him to the ground and snatching his
    sword which the soldiers have placed upon a bench he clears a
    space about him and starts again toward the right entrance._]

THE VOICE

Overcome evil with good. Forgive your enemy.

    [_SIMON bows his head, then extends the hilt of his sword to
    a soldier who takes it and strikes him with the flat of the
    blade. SIMON submits, dumbly, with bowed head, to this and to
    the MOCKER WITH THE SCOURGE who rises painfully from the ground
    and again strikes him viciously._]

THE MOCKER WITH THE SCOURGE

Turn the other cheek.

    [_He takes a rope from his girdle and making a noose in it puts
    the noose over SIMON’S head and dances about him holding the
    rope’s end. THE MOCKER WITH THE ROBE enters from the right._]

THE MOCKER WITH THE ROBE

Here is the scarlet robe, it fell from the King’s shoulders, Jesus of
Nazareth, the King of the Jews. Of such are the Kingdom of Heaven. [_He
places the robe on SIMON._]

    Hail to the new king, Simon of Cyrene,
    King of the Africans, with his Master’s robe.

    [_The wailing of women outside has risen in a strain of wild
    and profound melancholy. It is broken by a woman’s scream._]

THE VOICE

Daughters of Jerusalem, weep not for me, but weep for yourselves and for
your children. For if they do these things in a green tree what shall be
done in the dry?

    [_THE MOCKER WITH THE CROWN OF THORNS enters from right._]

THE MOCKER WITH THE CROWN OF THORNS

Ho, another king, another saviour. Solomon in all his glory was not
arrayed like one of these. Let him be crowned. Blessed are the meek.

    [_He snatches off SIMON’S head-dress, throwing it on the
    ground. He pretends to place the thorn crown on SIMON’S head,
    and then throws it contemptuously at his feet. The legionaries
    enter with the cross._]

THE VOICE

If any man will come after me let him take up the cross and follow me.

    [_The legionaries place the cross upon SIMON. He bends beneath
    it and picking up the crown of thorns places it upon his head._]

SIMON

I will wear this, I will bear this till he comes into his own.


CURTAIN


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