_A cross-roads surrounded by pine woods. Moonlight_.
_The_ WITCH _stands waiting_.
OLD LADY. Well, at last, there you are.
WITCH. You have kept me waiting. Why have you called me?
OLD LADY. Help me!
WITCH. In what way?
OLD LADY. Against my enemies.
WITCH. There is only one thing that helps against your enemies: be good
to them.
OLD LADY. Well, I declare! I think the whole world has turned
topsyturvy.
WITCH. Yes, so it may seem.
OLD LADY. Even the Other One--you know who I mean--has become
converted.
WITCH. Then it ought to be time for you, too.
OLD LADY. Time for me? You mean that my years are burdening me? But it
is less than three weeks since I danced at a wedding.
WITCH. And you call that bliss! Well, if that be all, you shall have
your fill of it. For there is to be a ball here to-night, although I
myself cannot attend it.
OLD LADY. Here?
WITCH. Just here. It will begin whenever I give the word----
OLD LADY. It's too bad I haven't got on my low-necked dress.
WITCH. You can borrow one from me--and a pair of dancing shoes with red
heels.
OLD LADY. Perhaps I might also have a pair of gloves and a fan?
WITCH. Everything! And, in particular, any number of young cavaliers
who will proclaim you the queen of the ball.
OLD LADY. Now you are joking.
WITCH. No, I am not joking. And I know that they have the good taste at
these balls to choose the right one for queen--and in speaking of the
right one, I have in mind the most worthy----
OLD LADY. The most beautiful, you mean?
WITCH. No, I don't--I mean the worthiest. If you wish, I'll start the
ball at once.
OLD LADY. I have no objection.
WITCH. If you step aside a little, you'll find your maid--while the
hall is being put in order.
OLD LADY. [_Going out to the right_] Think of it--I am going to have a
maid, too! You know, madam, that was the dream of my youth--which never
came true.
WITCH. There you see: "What youth desires, age acquires." [_She blows a
whistle_]
_Without curtain-fall, the stage changes to represent the
bottom of a rocky, kettle-shaped chasm. It is closed in on
three sides by steep walls of black rock, wholly stripped of
vegetation. At the left, in the foreground, stands a throne. At
the right is a platform for the musicians_.
_A bust of Pan on a square base stands in the middle of the
stage, surrounded by a strange selection of potted plants:
henbane, burdock, thistle, onion, etc._
_The musicians enter. Their clothing is grey; their faces are
chalk-white and sad; their gestures tired. They appear to be
tuning their instruments, but not a sound is heard_.
_Then comes the_ LEADER OF THE ORCHESTRA.
_After him, the guests of the ball: cripples, beggars, tramps.
All are pulling on black gloves as they come in. Their
movements are dragging; their expressions funereal_.
_Next: The_ MASTER OF CEREMONIES, _who is really_ THE OTHER
ONE_--a septuagenarian dandy wearing a black wig which is too
small for him, so that tufts of grey hair appear underneath.
His mustaches are waxed and pointed. He wears a monocle and has
on an outgrown evening dress and top-boots. He looks melancholy
and seems to be suffering because of the part he has to play._
_The_ SEVEN DEADLY SINS _enter and group themselves around the
throne as follows_:
PRIDE COVETOUSNESS
LUST ANGER
GLUTTONY ENVY
SLOTH
_Finally the_ PRINCE _enters. He is hunchbacked and wears a
soiled velvet coat with gold buttons, ruffles, sword, and high
boots with spurs_.
_The ensuing scene must be played with deadly seriousness,
without a trace of irony, satire, or humour. There is a
suggestion of a death-mask in the face of every figure. They
move noiselessly and make simple, awkward gestures that convey
the impression of a drill_.
PRINCE. [_To the_ MASTER OF CEREMONIES] Why do you disturb my peace at
this midnight hour?
MASTER OF CEREMONIES. Always, brother, you are asking why. Have you not
seen the light yet?
PRINCE. Only in part. I can perceive a connection between my suffering
and my guilt, but I cannot see why I should have to suffer eternally,
when He has suffered in my place.
MASTER OF CEREMONIES. Eternally? You died only yesterday. But then time
ceased to exist to you, and so a few hours appear like an eternity.
PRINCE. Yesterday?
MASTER OF CEREMONIES. Yes.--But because you were proud and wanted no
assistance, you have now to bear your own sufferings.
PRINCE. What have I done, then?
MASTER OF CEREMONIES. What a sublime question!
PRINCE. But why don't you tell?
MASTER OF CEREMONIES. As our task is to torture each other by
truth-telling--were we not called "heroes of truth" in our lifetime?--I
shall tell you a part of your own secret. You were, and you are still,
a hunchback----
PRINCE. What is that?
MASTER OF CEREMONIES. There you see! You don't know what is known to
everybody else. But all those others pitied you, and so you never heard
the word that names your own deformity.
PRINCE. What deformity is that? Perhaps you mean that I have a weak
chest? But that is no deformity.
MASTER OF CEREMONIES. A "weak chest"--yes, that is your own name for
the matter. However, people kept the disfigurement of your body hidden
from you, and they tried to assuage your misfortune by showing you
sympathy and kindness. But you accepted their generosity as an earned
tribute, their encouraging words as expressions of admiration due to
your superior physique. And at last you went so far in conceit that
you regarded yourself as a type of masculine beauty. And when, to cap
it all, woman granted you her favours out of pity, then you believed
yourself an irresistible conqueror.
PRINCE. What right have you to say such rude things to me?
MASTER OF CEREMONIES. Right? I am filling the saddening duty which
forces one sinner to punish another. And soon you will have to fulfil
the same cruel duty toward a woman who is vain to the verge of
madness--a woman resembling you as closely as she possibly could.
PRINCE. I don't want to do it.
MASTER OF CEREMONIES. Try to do anything but what you must, and you'll
experience an inner discord that you cannot explain.
PRINCE. What does it mean?
MASTER OF CEREMONIES. It means that you cannot all of a sudden cease to
be what you are: and you are what you have wanted to become. [_He claps
his hands_.
_The_ OLD LADY _enters, her figure looking as aged and clumsy
as ever; but she has painted her face and her head is covered
by a powdered wig; she wears a very low-necked, rose-coloured
dress, red shoes, and a fan made out of peacock feathers_.
OLD LADY. [_A little uncertain_] Where am I? Is this the right place?
MASTER OF CEREMONIES. Quite right, for you are in the place we call
the "waiting-room." It is so called [_he sighs],_ because here we have
to spend our time waiting--waiting for something that will come some
time----
OLD LADY. Well, it isn't bad at all--and there is the music--and there
is a bust--of whom?
MASTER OF CEREMONIES. It's a pagan idol called Pan, because to the
ancients he was all they had. And as we, in this place, are of the old
order, more or less antiquated, he has been put here for us to look at.
OLD LADY. Why, we are not old----
MASTER OF CEREMONIES. Yes, my Queen. When the new era opened [_he
sighs_], we couldn't keep up with it, and so we were left behind----
OLD LADY. The new era? What kind of talk is that? When did it begin?
MASTER OF CEREMONIES. It is easy to figure out when the year one
began--It was night, for that matter; the stars were shining brightly,
and the weather must have been mild, as the shepherds remained in the
open----
OLD LADY. Oh, yes, yes--Are we not going to dance here to-night?
MASTER OF CEREMONIES. Of course, we are. The Prince is waiting for a
chance to ask you----
OLD LADY. [_To the_ MASTER OF CEREMONIES] Is he a real Prince?
MASTER OF CEREMONIES. A real one, my Queen. That is to say, he has full
reality in a certain fashion----
OLD LADY. [_To the_ PRINCE, _who is asking her to dance_] You don't
look happy, my Prince?
PRINCE. I am not happy.
OLD LADY. Well, I can't say that I find it very hilarious--and the
place smells of putty, as if the glazier had just been at work here.
What is that strange smell, as of linseed-oil?
PRINCE. [_With an expression of horror_] What are you saying? Do you
mean that charnel-house smell?
OLD LADY. I fear I must have said something impolite--but then, it
isn't for the ladies to offer pleasantries--that's what the cavalier
should do----
PRINCE. What can I tell you that you don't know before?
OLD LADY. That I don't know before? Let me see--No, then I had better
tell you that you are very handsome, my Prince.
PRINCE. Now you exaggerate, my Queen. I am not exactly handsome, but I
have always been held what they call "good-looking."
OLD LADY. Just like me--I never was a beauty--that is, I _am_ not,
considering my years--Oh, I am so stupid!--What was it I wanted to say?
MASTER OF CEREMONIES. Let the music begin!
_The musicians appear to be playing, but not a sound is heard_.
MASTER OF CEREMONIES. Well? Are you not going to dance?
PRINCE. [_Sadly_] No, I don't care to dance.
MASTER OF CEREMONIES. But you must: you are the only presentable
gentleman.
PRINCE. That's true, I suppose--[_pensively_] but is that a fit
occupation for me?
MASTER OF CEREMONIES. How do you mean?
PRINCE. At times it seems as if I had something else to think of, but
then--then I forget it.
MASTER OF CEREMONIES. Don't brood--enjoy yourself while youth is with
you and the roses of life still bloom on your cheeks. Now! Up with the
head, and step lively----
_The_ PRINCE _grins broadly; then he offers his hand to the_
OLD LADY, _and together they perform a few steps of a minuet_.
OLD LADY. [_Interrupting the dance_] Ugh! Your hands are cold as ice!
_goes to the throne_] Why are those seven ladies not dancing?
MASTER OF CEREMONIES. How do you like the music, Queen?
OLD LADY. It's splendid, but they might play a little more _forte_----
MASTER OF CEREMONIES. They are soloists, all of them, and formerly each
one of them wanted to make himself heard above the rest, and so they
have to use moderation now.
OLD LADY. But I asked why the seven sisters over there are not dancing.
Couldn't you, as master of ceremonies, make them do so?
MASTER OF CEREMONIES. I don't think it would be of any use trying, for
they are obstinate as sin--But please assume your throne, my Queen. We
are going to perform a little play in honour of the occasion----
OLD LADY. Oh, what fun! But I want the prince to ... escort me----
PRINCE. [_To the_ MASTER OF CEREMONIES] Have I got to do it?
OLD LADY. You ought to be ashamed of yourself--you with your hunch!
PRINCE. [_Spits in her face_] Hold your tongue, you cursed old hag!
OLD LADY. [_Cuffs him on the ear_] That'll teach you!
PRINCE. [_Jumps at her and knocks her down_] And that's, for you!
_All the rest cover their faces with their hands_.
PRINCE. [_Tears off the_ OLD LADY'S _wig so that her head appears
totally bald_] There's the false scalp! Now we'll pull out the teeth!
MASTER OF CEREMONIES. Enough! Enough!
_He helps the_ OLD LADY _to rise, and gives her a kerchief to
cover her head_.
OLD LADY. [_Crying_] Goodness gracious, that I could let myself be
fooled like that! But I haven't deserved any better, I admit.
PRINCE. No, you have deserved a great deal worse. You should leave my
hunch alone, for otherwise hell breaks loose--It's a miserable thing to
see an old woman like you so foolish and so degraded. But, then, you
are to be pitied--as all of us are to be pitied.
ALL. We are all to be pitied!
PRINCE. [_With a sneer_] The queen!
OLD LADY. [_In the same tone_] The prince!--But haven't we met before?
PRINCE. Perhaps--in our youth--for I am old, too. You had too much
frippery on before--but now, when the disguise has been taken away--I
begin to distinguish certain features----
OLD LADY. Don't say anything more--don't say anything more--Oh, what
have I come to--what is happening to me?
PRINCE. Now I know: you are my sister!
OLD LADY. But--my brother is dead! Have I been deceived? Or are the
dead coming back?
PRINCE. Everything comes back.
OLD LADY. Am I dead or am I living?
PRINCE. You may well ask that question, for I don't know the
difference. But you are exactly the same as when I parted from you
once: just as vain and just as thievish.
OLD LADY. Do you think you are any better?
PRINCE. Perhaps! I am guilty of all the seven deadly sins, but you have
invented the eighth one--that of robbing the dead.
OLD LADY. What are you thinking of now?
PRINCE. Twelve years in succession I sent you money to buy a wreath for
mother's grave, and instead of buying it you kept the money.
OLD LADY. How do you know?
PRINCE. How I came to know of it is the only thing that interests you
about that crime of yours.
OLD LADY. Prove it!
PRINCE. [_Taking a number of bills from his pocket_] Here is the money!
_The_ OLD LADY _sinks to the ground. A church bell begins to
ring. All bend their heads, but nobody kneels_.
LADY IN WHITE. [_Enters, goes up to the_ OLD LADY, _and assists her in
rising_] Do you know me?
OLD LADY. No.
LADY IN WHITE. I am Amelia's mother. You have taken the memory of me
away from her. You have erased me from her life. But now you are to be
wiped out, and I shall recover my child's love and the prayers my soul
needs.
OLD LADY. Oh, somebody has been telling tales to that hussy--then I'll
set her to herd the swine----
_The_ PRINCE _strikes her on the mouth_.
LADY IN WHITE. Don't strike her!
OLD LADY. Are you interceding for me?
LADY IN WHITE. It is what I have been taught to do.
OLD LADY. You hypocrite! If you only dared, you would wish me buried as
deep as there are miles from here to the sun!
MASTER OF CEREMONIES. Down with you--monster!
[As _he touches her with his staff she falls to the ground_
_Again the scene is changed while the curtain remains up. The
bust of Pan sinks into the earth. The musicians and the throne
with its attendant sins disappear behind pieces of; scenery
that are lowered from above. At last the cross-roads with the
surrounding pine woods appear again, and the_ OLD LADY _is
discovered lying at the foot of a sign-post_.
WITCH. Get up!
OLD LADY. I cannot--I am frozen stiff----
WITCH. The sun will rise in a moment. The cock has crowed. The matin
bells are ringing.
OLD LADY. I don't care for the sun.
WITCH. Then you'll have to walk in darkness.
OLD LADY. Oh, my eyes! What have you done to me?
WITCH. I have only turned out the light because it troubled you. Now,
up and away with you--through cold and darkness--until you drop!
OLD LADY. Where is my husband?--Amelia! Eric and Thyra! My children!
WITCH. Yes, where are they? But wherever they may be, you shall not see
them until your pilgrimage is ended. Now, up and away! Or I will loose
my dogs!
_The_ OLD LADY _gropes her way out_.
_The court-room. In the background is the desk of the presiding judge,
decorated in white and gold with the emblems of justice. In front of
the desk, covering the centre of the floor, stands a big table, and on
it are placed writing-materials, inkstand, Bible, bell, and gavel_.
_The axe of the executioner hangs on the rear wall, with a pair of
handcuffs below it and a big black crucifix above_.
_The_ JUDGE _enters and makes his way into the room on tiptoe.
The bell rings. The gavel raps once on the table. All the
chairs are pulled up to the table at once. The Bible is opened.
The candles on the table become lighted_.
_For a moment the_ JUDGE _stands still, stricken with horror.
Then he resumes his advance toward a huge cabinet. Suddenly the
doors of this fly open. A number of documents are thrown out,
and the_ JUDGE _picks them up_.
JUDGE. [_Reassured_] This time I am in luck! Here are the accounts
of my guardianship; here is the contract for the lease--my report as
executor--all of it! [_The handcuffs on the wall begin to clank_] Make
all the noise you please! As long as the axe stays still, I won't be
scared. [_He puts the documents on the table and goes back to close
the door of the cabinet, but this flies open again as soon as he shuts
it_] Everything has a cause: _ratio sufficiens_. This door must have
a spring with which I am not familiar. It surprises me that I don't
know it, but it cannot scare me. [_The axe moves on the wall_] The axe
moved--as a rule, that foretells an execution, but to-day it means only
that its equilibrium has become disturbed in some way. Oh, no, nothing
will give me pause but seeing my own ghost--for that would be beyond
the tricks of any charlatan.
_The_ GHOST _enters from behind the cabinet; the figure
resembles in every way the_ JUDGE, _but where the eyes should
be appear two white surfaces, as on a plaster bust_.
JUDGE. [_Frightened_] Who are you?
GHOST. I am not--I have been. I have been that unrighteous judge who is
now come here to receive his sentence.
JUDGE. What have you done then, poor man?
GHOST. Everything wrong that an unrighteous judge might do. Pray for
me, you whose conscience is clear----
JUDGE. Am I--to pray for you?
GHOST. Yes, you who have caused no innocent blood to be shed----
JUDGE. That's true; that's something I haven't done. And besides, as
I have always obeyed the letter of the law, I have good reason to let
myself be called a righteous judge--yes, without irony!
GHOST. It would, indeed, be a bad moment for joking, as the Invisible
Ones are sitting in judgment----
JUDGE. What do you mean? Who are sitting in judgment?
GHOST. [_Pointing to the table_] You don't see them, but I do. [_The
bell rings; a chair is pushed back from the table_] Pray for me!
JUDGE. No, I won't. Justice must take its course. You must have been a
great offender to reach consciousness of your guilt so late.
GHOST. You are as stern as a good conscience.
JUDGE. That's just the word for it. Stern, but just!
GHOST. No pity, then?
JUDGE. None whatever.
GHOST. No mercy?
JUDGE. No mercy!
_The gavel raps on the table; the chairs are pushed away_.
GHOST. Now the verdict is being delivered. Can't you hear?
JUDGE. I hear nothing.
GHOST. [_Pointing to the table_] And you see nothing? Don't you see the
beheaded sailor, the surveyor, the chimney-sweep, the lady in white,
the tenant----
JUDGE. I see absolutely nothing.
GHOST. Woe unto you, then, when your eyes become opened as mine have
been. Now the verdict has been given: guilty!
JUDGE. Guilty!
GHOST. You have said it--yourself! And you have already been sentenced.
All that remains now is the big auction.
_Curtain._