_Interior of Murtagh Cosgar's. It is towards sunset. Murtagh
Cosgar is standing before the door looking out. Martin Douras is
sitting at the fire in an armchair._
MARTIN DOURAS
It's getting late, Murtagh Cosgar.
MURTAGH COSGAR
Ay, it's getting late.
MARTIN DOURAS
It's time for me to be going home. I should be seeing
Ellen. _(He rises)_
MURTAGH COSGAR
Stay where you are. _(Turning round)_ We're two old
men, as you say. We should keep each other's company for a bit.
MARTIN DOURAS
I should be going home to see Ellen.
MURTAGH COSGAR
If she's going, you can't stay her. Let you keep here.
MARTIN DOURAS
She'll be wondering what happened to me.
MURTAGH COSGAR
Divil a bit it will trouble her. You're going to the
fair anyway?
MARTIN DOURAS
I have no heart to be going into a fair.
MURTAGH COSGAR
It's myself used to have the great heart. Driving in
on my own side-car, and looking down on the crowd of them. It's
twenty years since I took a sup of drink. Oh, we'll have drinking
to-morrow that will soften the oul' skin of you. You'll be singing
songs about the Trojans to charm every baste in the fair.
MARTIN DOURAS
We're both old men, Murtagh Cosgar.
MURTAGH COSGAR
And is there any reason in your scholarship why oul'
men should be dry men? Answer me that!
MARTIN DOURAS
I won't answer you at all, Murtagh Cosgar. There's no
use in talking to you.
MURTAGH COSGAR
Put it down on a piece of paper that oul' men should
have light hearts when their care is gone from them. They should be
like--
MARTIN DOURAS
There's nothing in the world like men with their
rearing gone from them, and they old.
_Sally comes to the door. She enters stealthily._
MURTAGH COSGAR
Ha, here's one of the clutch home. Well, did you see
that brother of yours?
SALLY
I did. He'll be home soon, father.
MURTAGH COSGAR
What's that you say? Were you talking to him? Did he
say he'd be home?
SALLY
I heard him say it, father.
MARTIN DOURAS
God bless you for the news, Sally.
MURTAGH COSGAR
How could he go and he the last of them? Sure it
would be against nature. Where did you see him, Sally?
SALLY
At Martin Douras's, father.
MURTAGH COSGAR
It's that Ellen Douras that's putting him up to all
this. Don't you be said by her, Sally.
SALLY
No, father.
MURTAGH COSGAR
You're a good girl, and if you haven't wit, you have
sense. He'll be home soon, did you say?
SALLY
He was coming home. He went round the long way, I'm thinking.
Ellen Douras was vexed with him, father. She isn't going either,
Matt says, but I'm thinking that you might as well try to keep a
corncrake in the meadow for a whole winter, as to try to keep Ellen
Douras in Aughnalee.
MURTAGH COSGAR
Make the place tidy for him to come into. He'll have
no harsh words from me. _(He goes up to the room)_
SALLY
Father's surely getting ould.
MARTIN DOURAS
_(sitting down)_ He's gone up to rest himself, God
help him. Sally, _a stor_, I'm that fluttered, I dread going into my
own house.
SALLY
I'll get ready now, and let you have a good supper before you
go to the fair.
MARTIN DOURAS
Sit down near me, and let me hear everything, Sally.
Was it Matt that told you, or were you talking to Ellen herself?
SALLY
O, indeed, I had a talk with Ellen, but she won't give much of
her mind away. It was Matt that was telling me. "Indeed she's not
going," said he, "and a smart young fellow like myself thinking of
her. Ellen is too full of notions." Here's Matt himself. Father
won't have a word to say to him. He's getting mild as he's getting
ould, and maybe it's a fortune he'll be leaving to myself.
_Matt comes to the door. He enters_.
MATT
Where is he? He's not gone to the fair so early?
SALLY
He's in the room.
MATT
Were you talking to him at all? Were you telling him you saw
myself?
SALLY
I was telling him that you were coming back.
MATT
How did he take it?
SALLY
Very quiet. God help us all; I think father's losing his spirit.
MATT
_(going to Martin)_ Well, you see I've come back, Martin.
MARTIN DOURAS
Ay, you're a good lad. I always said you were a good
lad.
MATT
How did father take it, Martin?
MARTIN DOURAS
Quietly, quietly. You saw Ellen?
MATT
Ay, I saw Ellen _(gloomily)_. She shouldn't talk the way she
talks, Martin. What she said keeps coming into my mind, and I'm
troubled. God knows I've trouble enough on my head.
MARTIN DOURAS
_(eagerly)_ What did she say, Matt Cosgar?
MATT
It wasn't what she said. She has that school in her mind, I know.
MARTIN DOURAS
And is there anything to keep her here, Matt Cosgar?
MATT
I don't know that she thinks much of me now. We had a few words,
but there's nothing in the world I put above Ellen Douras.
MARTIN DOURAS
I should be going to her.
MATT
Wait a bit, and I'll be going with you. Wait a bit. Let us talk
it over. She wouldn't go from you, and you old.
MARTIN DOURAS
God forgive my age, if it would keep her here. Would I
have my Ellen drawing turf, or minding a cow, or feeding pigs?
MATT
I'm fond of her, Martin. She couldn't go, and I so fond of her.
What am I doing here? I should be making it up with her. What good
will anything be if Ellen Douras goes? _(He turns to the door, then
stops)_ I came to settle with him. I mustn't be running about like a
frightened child.
_The room door opens, and Murtagh Cosgar is seen. Sally has hung a
pot over the fire, and is cleaning the dishes at the dresser_.
MURTAGH COSGAR
_(at the room door)_ Sally, it's time to be putting
on the meal. If you have any cabbage left, put it through the meal.
_(To Matt)_ You put the thong in the harness?
MATT
I did _(pause)_ Well, I've come back to you.
MURTGAH COSGAR
You're welcome. We were making ready for the fair.
MATT
I'll be going out again before nightfall.
MURTAGH COSGAR
I'll not be wanting you here, or at the fair.
MATT
_(sullenly)_ There's no good talking to me like that.
MURTAGH COSGAR
You said, "I've come back," and I said, "you're
welcome." You said, "I'm going out again," and I said, "I'll not be
wanting you."
MATT
Father, have you no feeling for me at all?
MURTAGH COSGAR
Sure the wild raven on the tree has thought for her
young.
MATT
Ay, but do you feel for me, and I standing here, trying to talk
to you?
MURTAGH COSGAR
You're my son, and so I feel sorry for you; and you
beginning to know your own foolishness. _(He turns to Sally)_ I'm
not taking the pigs. Put a fresh bedding under them to-night.
SALLY
I will, father.
MURTAGH COSGAR
Be up early, and let the cows along the road, or
they'll be breaking into the young meadow.
SALLY
I'll do that, too.
MURTAGH COSGAR
Be sure to keep enough fresh milk for the young calf.
SALLY
I'll be sure to do it, father.
_She goes out. Martin takes out his paper, and begins to read it
again_.
MATT
_(turning on Murtag)_ Before I go out again there's something I
want settled.
MURTAGH COSGAR
What is it you want?
MATT
Would you have me go, or would you have me stay?
MURTAGH COSGAR
Don't be talking of going or staying, and you the last
of them.
MATT
But I will be talking of it. You must treat me differently if
you want me to stay. You must treat me differently to the way you
treat Sally.
MURTAGH COSGAR
You were always treated differently, Matt. In no
house that ever I remember was there a boy treated as well as you
are treated here.
MATT
The houses that you remember are different from the houses that
are now. Will you have me go, or will you have me stay?
MURTAGH COSGAR
You're very threatening. I'd have you stay. For the
sake of the name, I'd have you stay.
MATT
Let us take hands on it, then.
MURTAGH COSGAR
Wait, we'll see what you want first.
MATT
You have no feeling. I'd go out of this house, only I want to
give you a chance.
MURTAGH COSGAR
Stop. We can have kindness in this. We needn't be
beating each other down, like men at a fair.
MATT
We're not men at a fair. May God keep the kindness in our hearts.
_Martin rises_.
MURTAGH COSGAR
Don't be going, Martin Douras.
MATT
Don't be going yet. I'll be with you, when you're going.
_Martin sits down_.
MURTAGH COSGAR
_(to Matt)_ You'll be getting married, I suppose, if
you stay?
MATT
Maybe I will.
MURTAGH COSGAR
_(bitterly)_ In the houses that are now, the young
marry where they have a mind to. It's their own business, they say.
MATT
Maybe it is their own business. I'm going to marry Ellen Douras,
if she'll have me.
MURTAGH COSGAR
Ellen is a good girl, and clever, I'm told. But I
would not have you deal before you go into the fair.
MATT
I'm going to marry Ellen Douras.
MURTAGH COSGAR
Her father is here, and we can settle it now. What
fortune will you be giving Ellen, Martin? That 100 pounds that was
saved while you were in Maryborough gaol?
_Martin shakes his head_.
MATT
_(stubbornly)_ I'm going to marry Ellen Douras, with or without
a fortune.
MURTAGH COSGAR
_(passionately)_ Boy, your father built this house.
He got these lands together. He has a right to see that you and your
generations are in the way of keeping them together.
MATT
I'll marry Ellen Douras, with or without a fortune.
MURTAGH COSGAR
Marry her, then. Marry Ellen Douras.
MATT
Now, Martin, we mustn't let an hour pass without going to her.
_(He takes Martin's arm, and they go to the door)_
MURTAGH COSGAR
Marry Ellen Douras, I bid you. Break what I have built,
scatter what I have put together. That is what all the young will be
doing,
_Ellen Douras comes to the door as Matt and Martin reach it_.
MATT
Ellen!
_She shrinks back_.
ELLEN
It's my father I came to speak to.
MURTAGH COSGAR
_(going to the door, and drawing the bolt from the half-door)_
When you come to my house, Ellen Douras, you are welcome within.
_Ellen comes in_,
ELLEN
It's right that I should speak to you all. Matt Cosgar, I am
going from here.
MATT
Ellen, Ellen, don't be saying that. Don't be thinking of the
few words between us. It's all over now. Father agrees to us marrying.
Speak, father, and let her hear yourself say it.
ELLEN
I can't go into a farmer's house.
MATT
You said that out of passion. Don't keep your mind on it any
longer.
ELLEN
It's true, it's true. I can't go into a farmer's house. This
place is strange to me.
MATT
How can you talk like that? I'm always thinking of you.
ELLEN
I've stayed here long enough. I want my own way; I want to
know the world.
MATT
If you go, how will I be living, day after day? The heart will
be gone out of me.
MURTAGH COSGAR
You'll be owning the land, Matt Cosgar.
MATT
_(passionately)_ I've worked on the land all my days. Don't
talk to me about it now.
_Ellen goes to Martin. Murtagh goes up to the door, and then turns
and speaks_.
MURTAGH COSGAR
Listen to me, Matt Cosgar; and you listen too, Ellen
Douras. It's a new house you want maybe. This house was built for me
and my generations; but I'll build a new house for you both. It's
hard for a man to part with his land before the hour of his death;
and it's hard for a man to break his lands; but I'll break them, and
give a share of land to you.
ELLEN
You were never friendly to me; but you have the high spirit,
and you deserve a better daughter than I would make. The land and
house you offer would be a drag on me. _(She goes to the door)_
MATT
Ellen, what he offers is nothing, after all; but I care for you.
Sure you won't go from me like that?
ELLEN
Oh, can't you let me go?
I care for you as much as I care for any one. But it's my freedom I
want.
MATT
Then you're going surely?
ELLEN
I am. Good-bye.
_She goes out, Martin follows her. Matt stands dazed. Murtagh
closes the door, then goes and takes Matt's arm, and brings him down_.
MURTAGH COSGAR
Be a man. We offered her everything, and she went.
There's no knowing what the like of her wants. The men will be in
soon, and we'll drink to the new ownership.
MATT
Oh, what's the good in talking about that now? If Ellen was here,
we might be talking about it.
MURTAGH COSGAR
To-morrow you and me might go together. Ay, the bog
behind the meadow is well drained by this, and we might put the
plough over it. There will be a fine, deep soil in it, I'm thinking.
Don't look that way, Matt, my son.
MATT
When I meet Ellen Douras again, it's not a farmer's house I'll
be offering her, nor life in a country place.
MURTAGH COSGAR
No one could care for you as I care for you. I know
the blood between us, and I know the thoughts I had as I saw each of
you grow up.
_Matt moves to the door_.
MURTAGH COSGAR
Where are you going?
MATT
To see the boys that are going away.
MURTAGH COSGAR
Wait till the fall and I'll give you money to go and
come back. Farrell Kavanagh often goes to America. You could go with
him.
MATT
I'll go by myself, unless Ellen Douras comes now. The creamery
owes me money for the carting, and I'll get it.
MURTAGH COSGAR
Then go. Good-bye to you, Matt Cosgar.
MATT
Good-bye to you.
_He goes out. Murtagh stands, then moves about vaguely_
MURTAGH COSGAR
The floor swept, the hearth tidied. It's a queer end
to it all. Twenty years I bid them offer. Twenty years, twenty years!
_Martin comes back_.
MURTAGH COSGAR
The men will be coming back.
MARTIN DOURAS
I suppose they will.
MURTAGH COSGAR
You're a queer fellow, Martin Douras. You went to
gaol for some meeting.
MARTIN DOURAS
Ay.
MURTAGH COSGAR
Them was the stirring times. I can't help but think
of you in gaol, and by yourself. What brings you back now?
MARTIN DOURAS
Ellen told me to go back. I should say something to
Matt, I think.
MURTAGH COSGAR
He went out as you came in.
MARTIN DOURAS
I'll go in when the house is quiet. I'll have a few
prayers to be saying this night.
MURTAGH COSGAR
I'm going to the fair.
MARTIN DOURAS
I won't be going to the fair.
MURTAGH COSGAR
Why won't you be going to the fair? Didn't you ask me
for a lift? You'll be going with me.
MARTIN DOURAS
I won't be going, and don't be overbearing me now,
Murtagh Cosgar.
MURTAGH COSGAR
You will be going to the fair, if it was only to be
showing that, seemly face of yours. _(Going to the door, he calls)_
"Sally!" _(He turns to Martin Douras)_ I've a daughter still, Martin
Douras.
MARTIN DOURAS
You have, and I have a son.
MURTAGH COSGAR
What would you say to a match between them, Martin
Douras?
MARTIN DOURAS
I have nothing to say again it.
MURTAGH COSGAR
Then a match it will be.
_Sally comes in from yard_.
SALLY
If you fed that baste on honey, she'd turn on you. Cabbage I
gave her and got into trouble for it, and now she's gone and
trampled the bad potatoes till they're hardly worth the boiling.
I'll put the bush in the gap when I'm going out again, father.
MURTAGH COSGAR
Ay. Is that Cornelius Douras that's coming up the path?
SALLY
O faith it is. I'll get him to give me a hand with the trough.
_Cornelius comes in_.
CORNELIUS
Well, Murtagh Cosgar, a great and memorial day is ended.
May you live long to enjoy the fruits of it. Twenty years on the
first term, and the land is ours and our children's. I met the men.
MURTAGH COSGAR
Ours and our children's, ay. We've been making a
match between yourself and Sally.
CORNELIUS
Between me and Sally?
SALLY
Between Cornelius and myself?
MURTAGH COSGAR
Ay, shake hands on it now.
CORNELIUS
And tell me one thing, Murtagh Cosgar. Is it true that
Matt's going to America, and that Ellen will wait for him for a year
at the school? I met them together, and they told me that.
MURTAGH COSGAR
What they say is true, I'm sure. The land is yours
and your children's.
SALLY
_(wiping her hands in her apron)_ O Cornelius.
CORNELIUS
Aren't they foolish to be going away like that, father,
and we at the mouth of the good times? The men will be coming in soon,
and you might say a few words. _(Martin shakes his head)_ Indeed you
might, father; they'll expect it of you. _(Martin shakes his head.
Murtagh and Sally try to restrain him)_ "Men of Ballykillduff," you
might say, "stay on the land, and you'll be saved body and soul;
you'll be saved in the man and in the nation. The nation, men of
Ballykillduff, do you ever think of it at all? Do you ever think of
the Irish nation that is waiting all this time to be born?"
_He becomes more excited; he is seen to be struggling with words_.
END OF PLAY
THE LAND was first produced at the Abbey Theater, Dublin, in June,
1905, by The Irish National Theater Society, under the direction of
W.G. Fay, with the following cast:--
MURTAGH COSGAR W. G. Fay
MATT Proinsias MacSiubhlaigh
SALLY Sara Allgood
MARTIN DOURAS F.J. Fay
CORNELIUS Arthur Sinclair
ELLEN Maire Ni Gharbhaigh.
_THOMAS MUSKERRY_
CHARACTERS
THOMAS MUSKERRY The Master of Garrisowen Workhouse
MRS. CRILLY His Daughter
CROFTON CRILLY His Son-in-law
ALBERT CRILLY His Grandson
ANNA CRILLY His Granddaughter
JAMES SCOLLARD Thomas Muskerry's Successor
FELIX TOURNOUR The Porter at Workhouse Lodge
MYLES GORMAN A Blind Piper
CHRISTY CLARKE A Boy reared in the Workhouse
SHANLEY |
MICKIE CRIPES | Paupers in Workhouse
AN OLD MAN |
SCENE: _Garrisowen, a town in the Irish Midlands_.
ACT FIRST
_The Master's office in Garrisowen Workhouse. It is partly an
office, partly a living room. To the right is a door opening on
corridor, and in the back, left, a door leading to the Master's
apartments. There is an iron stove down from back and towards right,
and a big grandfather's clock back towards door of apartments. A
basket arm chair down from stove, and a wooden chair beside it.
There is a desk against wall, left, and an office stool before it.
Down from this desk a table on which is a closed desk. On table are
books, papers, and files. On a wooden chair beside the arm chair is
a heap of newspapers and periodicals. There is a rack beside
corridor door, and on rack a shawl, an old coat, a hat, and a bunch
of big keys. In the corner, right, is a little cabinet, and on it a
small mirror. Above door of apartments a picture of Daniel O'Connell.
The grandfather's clock is ticking audibly. It is 8.45 p.m. The gas
over desk is lighted_.
_Christy Clarke, a youth of about seventeen, is seated in the
armchair reading a periodical. His clothes are threadbare, but
brushed and clean. He looks studious, and has intellectual
possibilities. The clock ticks on, the boy reads, but with little
attention. At the corridor door there is a knocking. Christy Clarke
turns slightly. The door opens, and a tall man in the ugly dress of
a pauper is seen. The man is Felix Tournour. He carries in a bucket
of coal. He performs this action like one who has acquired the habit
of work under an overseer. He is an ugly figure in his pauper dress.
His scanty beard is coal black. He has a wide mouth and discoloured
teeth. His forehead is narrow and bony. He is about forty-five._
TOURNOUR
_(in a harsh voice, after looking around)_ Is he not back
yet?
CHRISTY
_(without stirring)_ Is who not back yet?
TOURNOUR
The master I'm talking about. I don't know where he does be
going those evenings.
_He shovels coal into the stove_.
CHRISTY
And what is it to you where he does be going?
TOURNOUR
Don't talk to me like that, young fellow. You're poorhouse
rearing, even though you are a pet. Will he be sitting up here
to-night, do you know?
CHRISTY
What's that to you whether he will or not?
TOURNOUR
If he's sitting up late he'll want more coal to his fire.
CHRISTY
Well, the abstracts will have to be finished to-night.
TOURNOUR
Then he will be staying up. He goes out for a walk in the
evenings now, and I don't know where he does be going.
CHRISTY
He goes out for a walk in the country. _(Tournour makes a
leer of contempt)_ Do you never go for a walk in the country, Felix
Tournour?
TOURNOUR
They used to take me out for walks when I was a little
fellow, but they never got me out into the country since.
CHRISTY
I suppose, now that you're in the porter's lodge, you watch
every one that goes up and down the road?
TOURNOUR
It gratifies me to do so--would you believe that now?
CHRISTY
You know a lot, Felix Tournour.
TOURNOUR
We're told to advance in knowledge, young fellow. How long
is Tom Muskerry the Master of Garrisowen Workhouse?
CHRISTY
Thirty years this spring.
TOURNOUR
Twenty-nine years.
CHRISTY
He's here thirty years according to the books.
TOURNOUR
Twenty-nine years.
CHRISTY
Thirty years.
TOURNOUR
Twenty-nine years. I was born in the workhouse, and I mind
when the Master came in to it. Whist now, here he is, and time for
him.
_He falls into an officious manner. He closes up the stove and puts
bucket away. Then he goes over to desk, and, with his foot on the
rung of the office stool, he turns the gas on full. Christy Clarke
gets out of armchair, and begins to arrange the periodicals that are
on wooden chair. The corridor door opens. The man who appears is not
the Master, however. He is the blind piper, Myles Gorman, who is
dressed in the pauper garb. Myles Gorman is a Gael of the West of
Ireland, with a face full of intellectual vigour. He is about sixty,
and carries himself with energy. His face is pale and he has a
fringe of a white beard. The eye-balls in his head are contracted,
but it is evident he has some vestiges of sight. Before the others
are aware who he is, he has advanced into the room. He stands there
now turning the attentive face of the blind_.
GORMAN
Mister Muskerry! Are you there, Mister Muskerry?
TOURNOUR
What do you want, my oul' fellow?
GORMAN
_(with a puzzled look)_ Well, now, I've a favour to ask of
your honour.
TOURNOUR
Be off out of this to your ward.
GORMAN
Is that Mister Muskerry?
CHRISTY
Mister Muskerry isn't here.
GORMAN
And who am I talking to?
CHRISTY
You are talking to Felix Tournour.
GORMAN
Felix Tournour! Ay, ay. Good night, Felix Tournour. When will
the Master be back?
TOURNOUR
_(coming to him)_ Not till you're out of this, and back in
your ward.
GORMAN
Wasn't there a boy speaking to me?
CHRISTY
Yes _(speaking as if to a deaf man)_ The Master will be
going the rounds in a while, and you can speak to him in the ward.
GORMAN I've a favour to ask the Master, and I don't want to ask it
before the others. _(To Christy)_ Will the Master be here soon, a
vick vig? [6]
TOURNOUR
_(taking him by the shoulders)_ Here, now, come on, this is
your way out.
_He turns Gorman to the door. As he is putting him out Thomas
Muskerry enters_
TOURNOUR
This oul' fellow came into the office, and I was leading
him back into his ward.
MUSKERRY
Leave the man alone.
_Tournour retreats to the stove and takes up the bucket; after a
look behind he goes out and closes the corridor door. Christy Clarke
takes the periodicals over to table and sits down. Myles Gorman has
been eager and attentive. Thomas Muskerry stands with his back to the
stove. He is over sixty. He is a large man, fleshy in face and figure,
sanguine and benevolent in disposition. He has the looks and
movements of one in authority. His hair is white and long; his
silver beard is trimmed. His clothes are loosely fitting. He wears
no overcoat, but has a white knitted muffler round his neck. He has
on a black, broad-brimmed hat, and carries a walking-stick._
[Footnote 6: _A mhic bhig,_ my little son.]
MUSKERRY
Well, my good man?
GORMAN
I'm here to ask a favour from you, Master.
MUSKERRY
You should proffer your request when I'm in the ward.
However, I'm ready to give you my attention.
GORMAN
I'm a blinded man, Master, and when you're in the ward I
can't get you by yourself conveniently. I can't come up to you like
the other oul' men and speak to you private like.
MUSKERRY
Well, now, what can I do for you?
GORMAN
_(eagerly)_ They tell me that to-morrow's the market-day, and
I thought that you might give me a pass, and let me go out about the
town.
MUSKERRY
We'll consider it, Gorman.
GORMAN
Master, let me out in the town on the market-day.
MUSKERRY
We couldn't let you out to play your pipes through the town.
GORMAN
I'm not thinking of the music at all, Master, but to be out
in the day and to feel the throng moving about, and to be talking to
the men that do be on the roads.
MUSKERRY
We'll consider it, Gorman. _(He takes off muffler, and puts
it on back of armchair)_
GORMAN
Well, I'm very much obliged to your honour. Good night to you,
Master. _(He passes Muskerry and goes towards the door. Muskerry has
been regarding him)_
MUSKERRY
Tell me this, Gorman, were you always on the roads?
GORMAN
I was driving cattle, and I was dealing in horses. Then I
took up with an oul' man, and he taught me the pipes. I'm playing
the pipes ever since, and that's thirty years ago. Well, the eyes
began to wither up on me, and now I've only a stim of sight. I'm a
blinded man from this out, Master.
MUSKERRY
And what will you do?
GORMAN
Oh, sure the roads of Ireland are before me when I leave this;
I'll be playing my bit of music. _(He moves to the door)_
MUSKERRY
Tell me; have you any family yourself?
GORMAN
Ne'er a chick nor child belonging to me. Ne'er a woman lay by
me. I went the road by myself. Will you think of what I asked you,
Master?
MUSKERRY
I'll consider it.
GORMAN
Good night to your honour. Remember my name, Master--Gorman,
Myles Gorman.
_Muskerry stands looking after Gorman_.
MUSKERRY
Now, Christy Clarke, I consider that the man gone out is a
very exceptional man.
CHRISTY
Is it Myles Gorman?
MUSKERRY
Yes. I'd even say that, considering his station in life,
Myles Gorman is a very superior man.
CHRISTY
They say he's not a good musician.
MUSKERRY
And maybe he's not. I consider, however, that there's great
intelligence in his face. He stands before you, and you feel that he
has the life of a young colt, and then you're bound to think that,
in spite of the fact that he's blind and a wanderer, the man has not
wasted his life. _(Muskerry settles himself in the armchair)_
CHRISTY
Will you give leave for to-morrow?
MUSKERRY
No, Christy, I will not.
CHRISTY
Why not, Mister Muskerry?
MUSKERRY
That man would break bounds and stay away.
CHRISTY
Do you think he would?
MUSKERRY
He'd fly off, like the woodquest flying away from the tame
pigeons.
CHRISTY
He and his brother had a farm between them. His brother was
married, and one day the brother told Myles to go to Dublin to see a
comrade of his who was sick. Myles was home in a week, and when he
came back he found that his brother had sold the place and was gone
out of the country.
MUSKERRY
His brother did wrong, but he didn't do so much wrong to
Myles Gorman.
CHRISTY
How is that, Mister Muskerry?
MUSKERRY
He sent Myles Gorman to his own life. He's a man who went
his own way always; a man who never had any family nor any affairs;
a man far different from me, Christy Clarke. I was always in the
middle of affairs. Then, too, I busied myself about other people. It
was for the best, I think; but that's finished. On the desk under
your hand is a letter, and I want you to bring it to me.
CHRISTY
_(going through papers idly)_ "I am much obliged for your
favour--"
MUSKERRY
That's not it.
CHRISTY
_(reading another letter)_ "I am about to add to the
obligations under which I stand to you, by recommending to your
notice my grandson, Albert Crilly--"
MUSKERRY
That's the letter. It's the last of its kind. Bring it to me.
_(Christy Clarke brings over the letter)_ There comes a turn in the
blood and a turn in the mind, Christy. This while back I've been
going out to the country instead of into the town, and coming back
here in the evenings I've seen the workhouse with the big wall
around it, and the big gate going into it, and I've said to myself
that Thomas Muskerry ought to be as secure and contented here as if
he was in his own castle.
CHRISTY
And so you ought, Mister Muskerry.
MUSKERRY
Look round at the office, Christy. I've made it as fit for
me as the nest for the wren. I'll spend a few more years here, and
then I'll go out on pension. I won't live in the town, I've seen a
place in the country I'd like, and the people will be leaving it in
a year or two.
CHRISTY
Where is it, Mister Muskerry?
MUSKERRY
I'll say no more about it now, but it's not far from this,
and its near the place, where I was reared.
CHRISTY
And so you'll go back to your own place?
MUSKERRY
As Oliver Goldsmith my fellow county man, and I might
almost say, my fellow parishioner, says--What's this the lines are
about the hare, Christy?
CHRISTY
"And like the Hare whom Hounds and Horns pursue Pants to the
place from whence at first he flew."
MUSKERRY
Aye. "And like the Hare whom Hounds and Horns pursue"--
_(The clock strikes nine)_
CHRISTY
You weren't on the rounds yet?
MUSKERRY
_(startled)_ Would you believe it, now, it was nearly
passing my mind to go on the rounds? _(He rises, putting the letter
in his pocket)_ Where's that fellow, Albert Crilly? He was to have
been in here to give me a hand with the abstracts. Christy Clarke,
go down to Miss Coghlan's and get me two novelettes. Bring me up two
nice love stories, and be here when I come back.
_Christy Clarke takes his cap off rack and goes out. Thomas
Muskerry puts on his scarf, goes to the rack and takes down the
bunch of keys. As he is going out Felix Tournour enters with a
bucket of coal. He carries it over to the stove_.
MUSKERRY
Now, Tournour, sweep up this place.
_Thomas Muskerry goes out by corridor door. Felix Tournour takes
brush from under desk, left, and begins to sweep in the direction of
corridor door_.
TOURNOUR
Sweeping, sweeping! I'll run out of the house some day on
account of the work I've to do for Master Thomas Muskerry. _(He
leans on his brush in front of stove)_ I know why you're going for
walks in the country, my oul' cod. There's them in town that you've
got enough of. You don't want to go bail for Madam Daughter, nor for
Count Crofton Crilly, your son-in-law, nor for the Masters and
Mistresses; all right, my oul' cod-fish. That I may see them laying
you out on the flags of Hell. _(He puts the brush standing upright,
and speaks to it)_:
"The Devil went out for a ramble at night,
Through Garrisowen Union to see every sight.
The ould men were dreaming of meat to come near them,
And the Devil cocked ears at the words for to hear them.
'Twice a year we get meat,' said the toothless oul' men,
'Oh, Lord send the meat won't be too tough again.'
To clear away dishes Mick Fogarty goes,
May the Devil burn the nails off his toes.
Deep dreaming that night of fast days before,
Sagging the walls with the pull of his snore,
In his chamber above Thomas Muskerry lay snug,
When the Devil this summons roared in his lug--"
_The door of the Master's apartments is opened and Albert Crilly
enters. Albert Crilly is a young man, who might be a bank clerk or a
medical student. He is something of a dude, but has a certain
insight and wit_.
ALBERT
_(lighting a cigarette)_ Is the grandparent here, Tournour?
TOURNOUR
He's gone on the rounds, Mister Albert.
ALBERT
What time was he up this morning?
TOURNOUR
He was late enough. He wasn't up in time to come to Mass
with us.
ALBERT
The old man will get into trouble.
TOURNOUR
If the nuns hear about it.
ALBERT
He'll have to give the whole thing up soon.
TOURNOUR
He's well off that can get somebody else to do the work for
him. _(He continues to sweep towards corridor)_
ALBERT
Tournour, you're a damned clever fellow. I heard a piece of
yours yesterday that I thought was damned good.
TOURNOUR
Was it a rhyme?
ALBERT
It was something called "The Devil's Rambles."
TOURNOUR
_(taking a step towards him)_ Don't let the boss hear, and
I'll tell it to you, Mr. Albert. _(He holds the brush in his hands
and is about to begin the recitation when Crofton Crilly enters from
the Master's apartments. Crofton Crilly has a presentable appearance.
He is big and well made, has a fair beard and blue eyes. A pipe is
always in his mouth. He is a loiterer, a talker, a listener)_
CRILLY
Are you going to finish the abstracts to-night, Albert?
ALBERT
I believe I am. Go on with "The Devil's Rambles," Tournour.
CRILLY
I heard it in Keegan's. It's damn good.
TOURNOUR
I don't like saying it before Mister Crilly.
CRILLY
_(with easy contempt)_ Go on with it, man; I'll leave a pint
in Keegan's for you.
TOURNOUR
Well, you mightn't like it.
CRILLY
Have done talking and go on with it.
TOURNOUR
_(reciting)_--
"In his chamber above--a--a _person_ lay snug,
When the Devil this summons roared in his lug--
'Get up,' said the Devil, 'and swear you'll be true,
And the oath of allegiance I'll tender anew.
You'll have pork, veal, and lamb, mutton-chops, fowl and fish,
Cabbage and carrots and leeks as you wish.
No fast days to you will make visitation,
For your sake the town will have dispensation.
Long days you will have, without envy or strife,
And when you depart you'll find the same life,
And in the next world you'll have your will and your sway,
With a Poorhouse to govern all your own way,
And I'll promise you this; to keep up your state,
You'll have Felix Tournour to watch at the gate.'"
CRILLY
That's damn good. I must get a copy of the whole of it to
show at Keegan's.
_Tournour has swept as far as the corridor door. He opens it and
sweeps down the passage. He goes out and closes door_.
CRILLY
That's a damn clever fellow. _(He becomes anxious, as with a
troubled recollection. He goes to the little cabinet, opens it, and
takes out a bottle of whisky and a glass. He pours some whisky into
the glass, and remains looking at himself in the mirror. He smooths
his beard. He goes to the arm chair with the glass of whisky, the
anxious expression still on his face)_ This is a cursed town.
_(He drinks)_
ALBERT
Every town in Ireland is a cursed town.
CRILLY
But this is an extraordinarily cursed town. Everybody's in
debt to everybody else. I don't know what's to be done. Now, imagine
that fellow, James Covey, failing in business and getting clear out
of the town.
ALBERT
Covey seems to have done it well.
CRILLY
God knows how many he has stuck.
ALBERT
Well, he didn't stick the Crillys for anything.
CRILLY
Albert, you don't know how these financial things work out.
Do you think would his brother settle?
ALBERT
Settle with whom?
CRILLY
Well ... with any of the ... any of the people that have ...
I don't know. It's a cursed town. If I had joined the police at your
age, I'd have a pension by this, and I mightn't care for any of them.
ALBERT
I wish I had a job and I'd wait on the pension.
CRILLY
Oh, you'll be all right. The grandfather is seeing about your
job.
ALBERT
If the grandparent gets me that job I'll want two new suits
at least.
CRILLY
'Pon my soul, Albert, I don't know what's to be done. (
_His mind wanders off)_ I suppose the abstracts have to go out in
the morning.
ALBERT
They have. And damn all the old man has done to them.
CRILLY
The Guardians hear that he's late in the mornings, Albert,
and some of them are beginning to question his fitness to check the
stores.
ALBERT
The old man ought to resign.
CRILLY
I suppose he ought. I'm not wishing for his resignation myself,
Albert. You know your mother regards it as a settled thing that he
should come and live with us.
ALBERT
The mother and Anna are preparing for the event.
CRILLY
How's that, Albert?
ALBERT
Mother has James Scollard in her eye for the new Master.
CRILLY
Right enough! Scollard would get it, too, and then he would
marry Anna.
ALBERT
That's the arrangement, I expect.
CRILLY
It mightn't be bad. Scollard mightn't want Nancy's money
under that arrangement. Still I don't like the idea of the old man
living in the house.
ALBERT
The mother would never think of letting him take himself and
his pension anywhere else.
CRILLY
I don't think she would.
ALBERT
I wouldn't be surprised if he did go somewhere else. I hear
he often goes up to that cottage in Stradrina.
CRILLY
What cottage, Albert?
ALBERT
Briar Cottage. I hear he sits down there, and talks of coming
to live in the place.
CRILLY
_(warningly)_ Albert, don't clap hands behind the bird. Take
my word, and say nothing about it.
ALBERT
All right.
CRILLY
We'd have no comfort in the house if your mother's mind was
distracted.
_Mrs. Crilly enters from corridor. She is a woman of forty, dressed
in a tailor-made costume. She has searching eyes. There is something
of hysteria about her mouth. She has been good-looking._
CRILLY
Good night, Marianne.
MRS. CRILLY Are you finishing the abstracts, Albert?
ALBERT
I'm working at them. It's a good job we didn't leave the old
man much latitude for making mistakes.
MRS. CRILLY
_(closing door)_ He'll have to resign.
CRILLY
Good God, Marianne. _(He rises)_
MRS. CRILLY
Well. Let him be sent away without a pension. Of course,
he can live with us the rest of his life and give us nothing for
keeping him.
CRILLY
I don't know what's in your mind at all, Marianne. _(He
crosses over to the cabinet, opens it, and fills out another glass
of whisky)_
ALBERT
Let the old man do what suits himself.
CRILLY
_(coming back to stove)_ Do, Marianne. Let him do what
suits himself. For the present.
MRS. CRILLY
For pity's sake put down that glass and listen to what I
have to say.
CRILLY
What's the matter, Marianne?
MRS. CRILLY
James Scollard came to me to-day, and he told me about
the things that are noticed.... The nuns notice them, the Guardians
notice them. He misses Mass. He is late on his rounds. He can't
check the stores that are coming into the house. He may get himself
into such trouble that he'll be dismissed with only an apology for a
pension, or with no pension at all.
CRILLY
I don't know what's to be done.
MRS. CRILLY
If he could be got to resign now James Scollard would
have a good chance of becoming Workhouse Master. He would marry Anna,
and we would still have some hand in the affairs of the House.
CRILLY
Yes, yes. I think that Scollard could make a place for himself.
ALBERT
The old man won't be anxious to retire.
MRS. CRILLY
Why shouldn't he retire when his time is up?
ALBERT
Well, here he is what's called a potentate. He won't care to
come down and live over Crilly's shop.
MRS. CRILLY
And where else would he live in the name of God?
ALBERT
He won't want to live with our crowd.
MRS. CRILLY
What crowd? The boys can be sent to school, you'll be on
your situation, and Anna will be away. _(She seats herself in the
armchair)_ I don't know what Albert means when he says that the
Master would not be content to live with us. It was always settled
that he would come to us when his service was over.
_Albert, who has been going over the books, has met something that
surprises him. He draws Crilly to the desk. The two go over the
papers, puzzled and excited. Anna Crilly enters from corridor. She
is a handsome girl of about nineteen or twenty, with a rich
complexion dark hair and eyes. She is well dressed, and wears a cap
of dark fur. She stands at the stove, behind her mother, holding her
hands over the stove. Mrs. Crilly watches the pair at the desk_.
MRS. CRILLY
We can't think of allowing a pension of fifty pounds a
year to go out of our house. Where will we get money to send the
boys to school?
ANNA
Mother. Grandfather is going to live away from us.
MRS. CRILLY
Why do you repeat what Albert says?
ANNA
I didn't hear Albert say anything.
MRS. CRILLY
Then, what are you talking about?
ANNA
Grandfather goes to Martin's cottage nearly every evening, and
stays there for hours. They'll be leaving the place in a year or two,
and Grandfather was saying that he would take the cottage when he
retired from the Workhouse.
MRS. CRILLY
When did you hear this?
ANNA
This evening. Delia Martin told me.
MRS. CRILLY
And that's the reason why he has kept away from us. He
goes to strangers, and leaves us in black ignorance of his thought.
_Crilly and Albert are busy at desk_.
CRILLY
Well, damn it all--
ALBERT
Here's the voucher.
CRILLY
God! I don't know what's to be done.
ALBERT
It's a matter of fifty tons.
_Albert turns round deliberately, leaving his father going through
the papers in desperate eagerness. Albert takes a cigarette from
behind his ear, takes a match-box from his waistcoat pocket, and
strikes a light. He goes towards door of apartments. Mrs. Crilly
rises_.
ALBERT
_(his hand on the handle of door)_ Well so-long.
MRS. CRILLY
Where are you going?
ALBERT
I'm leaving you to talk it over with the old man.
_Mrs. Crilly looks from Albert to Crilly_.
CRILLY
The Master has let himself in for something serious, Marianne.
ALBERT
It's a matter of fifty pounds. The old man has let the
Guardians pay for a hundred tons of coal when only fifty were
delivered.
MRS. CRILLY
Is that so, Crofton?
CRILLY
It looks like it, Marianne.
ALBERT
There were fifty tons of coal already in stores, but the
Governor didn't take them into account. That cute boy, James Covey,
delivered fifty tons and charged for the hundred. The old man passed
on the certificate, and the Guardians paid Covey. They helped him to
his passage to America. _(He opens door and goes through)_
MRS. CRILLY
They will dismiss him--dismiss him without a pension.
ANNA
Mother. If he gets the pension first, could they take it back
from him?
CRILLY
No. But they could make him pay back the fifty pounds in
instalments.
MRS. CRILLY
Fifty pounds! We can't afford to lose fifty pounds.
ANNA
Who would find out about the coal, father?
CRILLY
The Guardians who take stock.
ANNA
And how would they know at this time whether there was a
hundred or a hundred and fifty tons there at first?
CRILLY
The business men amongst them would know. However, there
won't be an inspection for some time.
ANNA
Suppose grandfather had got his pension and had left the
Workhouse, who would know about the coal?
CRILLY
The new Workhouse Master.
MRS. CRILLY
The new Workhouse Master--
CRILLY
Marianne--
MRS. CRILLY
Well?
CRILLY
I think I'll stay here and advise the old man.
MRS. CRILLY
No. Go away.
CRILLY
_(at door of apartments)_ After all, I'm one of the Guardians,
and something might be done.
MRS. CRILLY
You can do nothing. We can do nothing for him. Let him
go to the strangers.
_Crilly goes out_.
MRS. CRILLY
Anna!
ANNA
Yes, mother.
MRS. CRILLY
The Martins are not giving up their house for a year or two?
ANNA
No, mother.
MRS. CRILLY
If he resigns now his pension will be safe. There is
nothing else against him.
ANNA
But some one will find out the difference in the coal.
MRS. CRILLY
It's the new Workhouse Master who will know that.
ANNA
_(hardening)_ But _he_ could not pass such a thing, mother.
MRS. CRILLY
_(abandoning a position)_ Well, after your grandfather
gets his pension we could make some arrangement with the Guardians.
ANNA
Yes, mother. Hasn't grandfather a hundred pounds invested in
the shop?
MRS. CRILLY
It's not a hundred pounds. Besides, it's not an
investment.
ANNA
_(with a certain resolution in her rich voice)_ Mother. Is my
money safe?
MRS. CRILLY
We could give you the eighty pounds, Anna, but after
that we would need all the help we could get from you.
ANNA
Yes, mother.
MRS. CRILLY
_(again taking up a position)_ But if we help James
Scollard to the place.
ANNA
_(with determination)_ Whether Mr. Scollard gets the place or
does not get the place, I'll want my fortune, mother.
MRS. CRILLY
Very well, Anna. If we could get him to come over. ... _(She sits
in arm chair)_ There's a lamb in Ginnell's field; you might call
in to-morrow and ask them to prepare it for us.
ANNA
Then grandfather is coming to dinner on Sunday?
MRS. CRILLY
We must get him to come.
_Some one is coming up the passage. Anna's hand is on handle of door.
She holds it open. Thomas Muskerry stands there_.
MUSKERRY
_(pleased to see her)_ Well, Nancy!
ANNA
Good night, grandpapa. _(He regards her with fondness)_
MRS. CRILLY
Good night, father.
MUSKERRY
This Nancy girl is looking remarkably well. _(He turns to
Mrs. Crilly)_ Well, ma'am, and how are you? I've written that letter
for that rascally Albert.
_He leaves his stick on table and goes to desk. Mrs. Crilly watches
him. Anna comes to her. Muskerry addresses an envelope with some
labour. Mrs. Crilly notices a tress of Anna's hair falling down. Anna
kneels down beside her. She takes off Anna's cap, settles up the hair,
and puts the cap on again. Having addressed the envelope, Muskerry
holds up a piece of wax to the gas. He seals the letter then holds
it out_.
MUSKERRY
Here's the letter now, and maybe it's the last thing I can
do for any of ye.
MRS. CRILLY
You are very good.
_Muskerry goes to them_.
MUSKERRY
In season and out of season I've put myself at your service.
I can do no more for ye.
_She takes the letter from him. His resentment is breaking down. He
sits on chair beside armchair. He speaks in a reconciling tone_.
MUSKERRY
You're looking well, Marianne,
MRS. CRILLY
I'm beginning to be well again.
MUSKERRY
And the infant? What age is he now?
MRS. CRILLY
Little Joseph is ten months old.
MUSKERRY
I dreamt of him last night. I thought Joseph became a bishop.
He ought to be reared for the Church, Marianne. Well, well, I've
nothing more to do with that. _(He settles himself in the armchair)_
Did Christy Clarke bring in the papers?
ANNA
Christy Clarke hasn't been here at all, grandpapa.
MUSKERRY
Stand here till I look at you Nancy. _(Anna comes left of
stove)_ I wouldn't be surprised if you were the best-looking girl in
the town, Nancy.
ANNA
_(without any coquettishness)_ Anna Crilly is riot going into
competition with the others. _(She wraps the muffler round him, then
kisses him)_ Good night, grandpapa. _(She goes out by corridor door)_
MRS. CRILLY
Thank you for the letter for Albert.
MUSKERRY
I think, Marianne, it's the last thing I can do for you or
yours.
MRS. CRILLY
Well, we can't tell a bad story of you, and things are
well with us.
MUSKERRY
I'm glad to hear that. I was thinking of going to see you
next week.
MRS. CRILLY
Come to dinner on Sunday. We are having a lamb.
MUSKERRY
What sort is the lamb?
MRS. CRILLY
Oh, a very young lamb. Anna will make the dressing for
you.
MUSKERRY
I'll send round a bottle of wine. Perhaps we'll be in the
way of celebrating something for Albert.
MRS. CRILLY
Nancy was saying that you might like to stay a few days
with us.
MUSKERRY
Stay a few days! How could I do that, ma'am?
MRS. CRILLY
You could get somebody to look after the House. James
Scollard would do it, and you could stay out for a few days.
MUSKERRY
Well, indeed, I'll do no such thing. What put it into your
head to ask me this?
MRS. CRILLY
Nancy said--
MUSKERRY
Let the girl speak for herself. What's in your mind, woman?
MRS. CRILLY
Well, you're not looking well.
MUSKERRY
I'm as well as ever I was.
MRS. CRILLY
Others do not think so.
MUSKERRY
I suppose you heard I was late a few mornings. No matter
for that. I'm as well as ever I was. No more talk about it; I'm
going on with the work. _(He rises and goes over to desk)_
MRS. CRILLY
I'm sorry to say that no one else thinks as well of you
as you do yourself.
MUSKERRY
Well, I'll hear no more about it, and that's enough about it.
Why isn't Albert Crilly here?
MRS. CRILLY
Well, he was here, and he is coming back.
MUSKERRY
I'll want him. _(He takes up a card left on the desk. He
turns round and reads)_--"You have let the Guardians pay for a
hundred tons. James Covey delivered only fifty tons of coal." Who
left this here?
MRS. CRILLY
I suppose Albert left it for you.
MUSKERRY The impudent rascal. How dare he address himself like that
to me? _(He throws card on table)_
MRS. CRILLY
Perhaps he found something out in the books.
MUSKERRY
No matter whether he did or not, he'll have to have respect
when he addresses me. Anyway it's a lie--a damn infernal lie. I was
in the stores the other day, and there was eighty tons of coal still
there. Certainly twenty tons had been taken out of it. The Provision
Check Account will show. _(He takes up a book and turns round. He
goes back some pages. He lets the book fall. He stands there helpless)_
I suppose you all are right in your judgment of me. I'm at my
failing time. I'll have to leave this without pension or prospect.
They'll send me away.
MRS. CRILLY
They had nothing against you before this.
MUSKERRY
I was spoken of as the pattern for the officials of Ireland.
MRS. CRILLY
If you resigned now--
MUSKERRY
Before this comes out. _(He looks for help)_ Marianne, it
would be like the blow to the struck ox if I lost my pension.
MRS. CRILLY
If you managed to get the pension you could pay the
Guardians back in a lump sum.
MUSKERRY
If I resigned now, where would I go to?
MRS. CRILLY
It was always understood that you would stay with us.
MUSKERRY
No, Marianne.
MRS. CRILLY
You'll have the place to yourself. The boys will be
going to school, and Albert will be away, too. Anna and myself will
look after you.
MUSKERRY
I could stay for a while.
MRS. CRILLY
Oh, well, if you have a better place to go--
MUSKERRY
Remember what I said, Marianne. I've worked for you and
yours, in season and out of season. There should be no more claims
on me.
MRS. CRILLY
There are no more claims on you.
MUSKERRY
I'm willing to leave in the shop what I put into the shop.
Let Anna know that it will come to her from me. I'll write to the
Guardians to-night and I'll send in my resignation. I venture to
think that they'll know their loss.
_Mrs. Crilly goes out quietly by corridor door_.
MUSKERRY
_(by himself)_ And I had made this place as fit for me as
the nest for the wren. Wasn't he glad to write that card, the
impudent rascal, with his tongue in his cheek? I'll consider it again.
I won't leave this place till it fits myself to leave it.
_Christy Clarice enters by corridor door with papers_.
MUSKERRY
They want me to resign from this place, Christy.
CHRISTY
You're thirty years here! Aren't you, Mister Muskerry?
MUSKERRY
Thirty years, thirty years. Ay, Christy, thirty years; it's
a long time. And I'm at my failing time. Perhaps I'm not able to do
any more. Day after day there would be troubles here, and I wouldn't
be able to face them. And in the end I might lose my position. I'm
going to write out my resignation. _(He goes to the desk and writes.
Christy is at table. Muskerry turns round after writing)_
MUSKERRY
No one that comes here can have the same heart for the poor
that I had. I was earning in the year of the famine. I saw able men
struggling to get the work that would bring them a handful of Indian
meal. And I saw the little children waiting on the roads for relief.
_(He turns back and goes on with letter. Suddenly a bell in the
House begins to toll)_ What's that for, Christy?
CHRISTY
Malachi O'Rourk, the Prince, as they called him, is dead.
MUSKERRY
Aye, I gave orders to toll him when he died. He was an
estated gentleman, and songs were made about his family. People used
to annoy him, but he's gone from them now. Bring me a little whisky,
Christy.
_Christy goes to Cabinet. Muskerry follows him_.
CHRISTY
There's none in the bottle, Mister Muskerry.
MUSKERRY
_(bitterly)_ No, I suppose not. And is that rascal, Albert
Crilly, coming back?
CHRISTY
He's coming, Mister Muskerry. I left the novelette on the
table. Miss Coghlan says it's a nice love story. "The Heart of
Angelina," it is called.
MUSKERRY
I haven't the heart to read.
_The bell continues to toll. Christy goes to door_.
CHRISTY
Good night, Mister Muskerry.
MUSKERRY
Good night, Christy.
_Christy Clarke goes out through apartments. Thomas Muskerry is
standing with hand on arm chair. The bell tolls_.
CURTAIN
ACT SECOND
_In Crilly's, a month later. The room is the parlour off the shop.
A glass door, right, leads into the shop, and the fireplace is above
this door. In the back, right, is a cupboard door. Back is a window
looking on the street. A door, left, leads to other rooms. There is
a table near shop door and a horse-hair sofa back, an armchair at
fire, and two leather-covered chairs about. Conventional pictures on
walls, and two certificates framed, showing that some one in the
house has passed some Intermediate examinations._
_It is the forenoon of an April day. Mrs. Crilly is seated on sofa,
going through a heap of account books. Anna Crilly is at window.
Crofton Crilly enters from the shop._
CRILLY
It's all right, Marianne.
MRS. CRILLY
Well?
CRILLY
The Guardians insisted on appointing an outside person to
take stock of the workhouse stores. It's the new regulation, you know.
Well, the job lay between young Dobbs and Albert, and Albert has got
it. I don't say but it was a near thing.
MRS. CRILLY
I hope Albert will know what to do.
CRILLY
He'll want to watch the points. Where's the Master?
MRS. CRILLY
He's in his room upstairs.
CRILLY
Was he not out this morning?
MRS. CRILLY
He's not dressed yet.
CRILLY
He was more particular when he was in the workhouse.
ANNA
I know who those two children are now. They are the new
gas-manager's children.
CRILLY
He's a Scotchman.
ANNA
And married for the second time. Mother, Mrs. Dunne is going to
the races. Such a sketch of a hat.
MRS. CRILLY
It would be better for her if she stayed at home and
looked after her business.
ANNA
She won't have much business to look after soon. That's the
third time her husband has come out of Farrell's public-house.
CRILLY
He's drinking with the Dispensary Doctor. Companions! They're
the curse of this town, Marianne. _(He sits down)_
ANNA
She's walked into a blind man, hat and all. He's from the Workhouse.
CRILLY
He's the blind piper out of the workhouse, Myles Gorman.
MRS. CRILLY
There's no one within. You should go into the shop, Anna.
ANNA
Yes, mother. _(She crosses)_ James Scollard is coming in, mother.
MRS. CRILLY
Very well, Anna. Stay in the shop until Mary comes.
_Anna goes into the shop. Crilly moves about_.
MRS. CRILLY
You're very uneasy.
CRILLY
Yes, I am uneasy, Marianne. There's some presentment on me.
Fifty pounds a year is a good pension for the old man. He's a month
out now. He ought to be getting an instalment.
_Anna comes in from shop_.
ANNA
Mother, the doctor's daughter is in the shop.
MRS. CRILLY
What does she want?
ANNA
_(imitating an accent)_ Send up a pound of butter, two pounds
of sugar, and a pound of tea.
MRS. CRILLY
These people are paying nobody. But we can't refuse her.
I suppose we'll have to send them up. Be very distant with her, Anna.
ANNA
I've kept her waiting. Here's a letter, mother.
MRS. CRILLY
_(taking letter)_ When did it come, Anna?
ANNA
It's just handed in.
_Anna goes out. Mrs. Crilly opens letter_.
MRS. CRILLY
It's from the bank. They want me to call. What does the
bank manager want with me, I wonder?
CRILLY
I have something to tell you, Marianne. I'll tell you in a
while. _(He takes a turn up and down)_
MRS. CRILLY
What do you want to tell me?
CRILLY
Prepare your mind, Marianne.
MRS. CRILLY
What is it?
CRILLY
I owe you money, Marianne.
MRS. CRILLY
Money! How do you owe me money?
CRILLY
That cute boy, James Covey, who took in all the town--
MRS. CRILLY
_(rising)_ Covey! My God! You backed a bill for him?
CRILLY
I'll make a clean breast of it. I did.
MRS. CRILLY
_(with fear in her eyes)_ How much is it?
CRILLY
_(walking away to window)_ I'll come to that, Marianne.
MRS. CRILLY
Did any one back the bill with you?
CRILLY
I obliged the fellow. No one backed the bill with me.
MRS. CRILLY
Does any one know of it?
CRILLY
No, Marianne.
MRS. CRILLY
The bank.... Tell me what happened.
CRILLY
The bank manager sent for me when he came to the town after
Covey cleared.
MRS. CRILLY
We had four hundred pounds in the bank.
CRILLY
We had, Marianne.
MRS. CRILLY
Tell me how much was the bill.
CRILLY
There's no use in beating about the bush. The bill was for
three hundred pounds.
MRS. CRILLY
And what has the bank done?
CRILLY
I'm sorry to say, Marianne, the bank has taken the money over
from our account.
MRS. CRILLY
You've ruined us at last, Crofton Crilly.
CRILLY
You should never forgive me, Marianne. I'll go to America and
begin life again. _(He turns to go out by shop)_
MRS. CRILLY
We have no money left.
CRILLY
A hundred pounds, Marianne.
MRS. CRILLY
That's Anna's money.
CRILLY
Scollard should be satisfied.
MRS. CRILLY
Anna insists on getting her money.
CRILLY
Very well, Marianne. I'll leave it all to yourself.
_James Scollard comes in. Anna is behind him. Scollard has an
account book in his hand_.
SCOLLARD
Good morning, Mrs. Crilly. Good morning, Mr. Crilly.
MRS. CRILLY
Good morning, Mr. Scollard.
_Crofton Crilly turns to go_.
ANNA
Don't go, father.
SCOLLARD
Don't go, Mr. Crilly. I have something particular to say to
yourself and Mrs. Crilly.
MRS. CRILLY
Sit down, Mr. Scollard.
_Anna brings chair, and Scollard sits center. Anna stands behind him.
Mrs. Crilly sits left of him_.
SCOLLARD
I am here to propose for the hand of your daughter, Miss
Anna Crilly.
MRS. CRILLY
We have nothing to say against your proposal, Mr. Scollard.
CRILLY
Won't you take something, James?
SCOLLARD
No, thanks, Mr. Crilly. I never touch intoxicants.
_Crofton Crilly goes into shop_.
MRS. CRILLY
We couldn't wish for a better match for Anna. But I feel
bound to tell you, Mr. Scollard, that we have had a very severe loss
in our business.
ANNA
What is it, mother?
MRS. CRILLY
I don't mind telling you. Mr. Crilly has made himself
responsible for a bill on the bank.
SCOLLARD
In whose interest, Mrs. Crilly?
MRS. CRILLY
He backed a bill for James Covey. A bill for three
hundred pounds.
ANNA
Oh, mother!
MRS. CRILLY
It's a dead sure loss. I don't know what we are to do,
Anna.
SCOLLARD
This is very bad, Mrs. Crilly.
_Crofton Crilly comes back from shop. He brings in a glass of whisky.
He puts whisky on chimney-piece._
MRS. CRILLY
The bank has taken over three hundred pounds from our
account.
CRILLY
Perhaps Scollard--
SCOLLARD
What were you saying, Mr. Crilly?
CRILLY
Oh, I was just thinking--about a bill you know--If some one
would go security for us at the bank--
ANNA
Father, what are you saying?
MRS. CRILLY
It's unnecessary to talk like that. In spite of your
foolishness, we still have a balance at the bank.
ANNA
My portion comes to me from my grandmother.
SCOLLARD
May I ask, Mrs. Crilly, is Miss Crilly's portion safe?
MRS. CRILLY
It is safe, Mr. Scollard.
SCOLLARD
I have been definitely appointed Master of the Union, and I
may say that Anna and myself are anxious to marry.
MRS. CRILLY
It needn't be soon, Mr. Scollard.
SCOLLARD
After Easter, Mrs. Crilly.
MRS. CRILLY
But that's very soon.
SCOLLARD
I am anxious to settle down, Mrs. Crilly. I'm on my way to
a meeting of the Board of Guardians, but before I go I'd like to
have some more information about your loss.
MRS. CRILLY
Anna's portion is not touched, but we could hardly
afford to let the money go from us now.
SCOLLARD
Is that so, Mrs. Crilly?
MRS. CRILLY
Three hundred pounds is a very severe loss.
SCOLLARD
Very severe, indeed. Still, you understand, Mrs. Crilly,
the difficulties of taking such a step as marriage without adequate
provision.
CRILLY
Damn it all, man, Marianne and myself married without
anything at all.
MRS. CRILLY
_(bitterly)_ Anna won't be such a fool as her mother.
CRILLY
Well, Scollard has his position, and we helped him to it.
SCOLLARD
I acknowledge that.
ANNA
Isn't my portion eighty pounds, mother?
MRS. CRILLY
Yes, Anna. But I'd like to tell Mr. Scollard that it
would come as a strain on us to let the money go at once.
SCOLLARD
I daresay, Mrs. Crilly.
ANNA
But, mother, wouldn't the money be safer with us?
MRS. CRILLY
Well, I leave the whole thing in the hands of Mr.
Scollard.
SCOLLARD
Anna and myself have been talking things over, Mrs. Crilly.
ANNA
And we don't want to begin life in a poor way.
SCOLLARD
We see the advantage of being always solvent, Mrs. Crilly.
ANNA
James has ambitions, and there's no reason why he shouldn't
venture for the post of Secretary of the County Council when old
Mr. Dobbs retires.
SCOLLARD
In a few years, Mrs. Crilly, when I had more official
experience and some reputation.
ANNA
Then he would have seven or eight hundred a year.
SCOLLARD
As I said, a man like myself would want to be in a
perfectly solvent position.
ANNA
Besides, James has no money of his own.
SCOLLARD
I never had the chance of putting money by--Family calls,
Mrs. Crilly.
ANNA
And we don't want to begin life in a poor way.
MRS. CRILLY
You won't want the whole of the money. I'll give you
forty pounds now.
CRILLY
And forty when the first child is born.
ANNA
Oh, father, how can you say such a thing?
SCOLLARD
I need only say this. Anna and myself were talking over
affairs, and we came to the conclusion it would be best not to start
with less than eighty pounds. _(He rises)_ I have to go down to the
Board Room now, for there is a meeting of the Guardians. _(He goes
towards door)_
CRILLY
Won't you take a glass?
SCOLLARD
No, thanks, Mr. Crilly. I never touch stimulants. Good day
to you all.
_He goes out. Crofton Crilly goes after him_.
MRS. CRILLY
Anna, you won't be deprived of your money.
ANNA
Then what's the difficulty, mother?
MRS. CRILLY
Let half of the money remain with us for a while.
ANNA
But, mother, if I don't get all my money, what security have I
that what's left will be good in six months or a year?
MRS. CRILLY
I'll watch the money for you, Anna.
ANNA
It's hard to keep a hold on money in a town where business is
going down.
MRS. CRILLY
Forty pounds will be given to you and forty pounds will
be kept safe for you.
ANNA
Forty pounds! There's not a small farmer comes into the shop
but his daughter has more of a dowry than forty pounds.
MRS. CRILLY
Think of all who marry without a dowry at all.
ANNA
You wouldn't have me go to James Scollard without a dowry?
MRS. CRILLY
Well, you know the way we're situated. If you insist on
getting eighty pounds we'll have to make an overdraft on the bank,
and, in the way business is, I don't know how we'll ever recover it.
ANNA
There won't be much left out of eighty pounds when we get what
suits us in furniture.
MRS. CRILLY
I could let you have some furniture.
ANNA
No, mother. We want to start in a way that is different from
this house.
MRS. CRILLY
You'll want all the money together?
ANNA
All of it, mother.
MRS. CRILLY
You'll have to get it so. But you're very hard, Anna.
ANNA
This house would teach any one to look to themselves.
MRS. CRILLY
Come upstairs. _(Anna goes, left)_ Three hundred pounds
of a loss. Eighty pounds with that. I'm terrified when I think.
_(She goes after Anna)_
_Crofton Crilly comes in from shop. He takes glass of whisky from
table, and sits down in arm chair_.
CRILLY
I don't know what Marianne's to do at all. She has a shocking
lot to contend with. Can anything be got from the old man, I wonder?
_Albert Crilly comes in by door, left_.
ALBERT
Well, pa.
CRILLY
Well, Albert. What's the news in the town, Albert?
ALBERT
They say that you've backed a bill for Covey.
CRILLY
If your mother hears that kind of talk she'll be vexed, Albert.
ALBERT
But did you back the bill?
CRILLY
For Heaven's sake, let me alone, Albert. Yes, I backed the
bill.
ALBERT
How much?
CRILLY
You'll hear all about it from your mother.
ALBERT
They say the bill was for three hundred.
CRILLY
It was three or thereabouts.
ALBERT
'Pon my word, father, the mother will have to take out a
mandamus against you.
CRILLY
_(with parental dignity)_ Don't talk to me in that way, Sir.
ALBERT
It's scandalous, really. I expect you've ruined the business.
CRILLY
I hate the world and all its works and pomps.
ALBERT
I believe you've done for the business. I'm going away.
CRILLY
Then you've got the other appointment?
ALBERT
Temporary clerkship in the Land Department. I wonder would
the mother let me have the money for clothes?
CRILLY
_(desperately)_ Don't mention it at all to her.
ALBERT
I have a card from a Dublin tailor in my pocket. If I could
pay him for one suit, I could get another on tick.
CRILLY
I tell you not to talk to your mother about money. That fellow,
Scollard, has put her out.
ALBERT
How's that?
CRILLY
Money again. Wants the whole of Anna's portion down. And
Anna's backing him up, too. I don't know how your mother can stand it.
I don't like Scollard. Then you won't be staying on, Albert, to do
the stocktaking in the Workhouse?
ALBERT
No; they'll have to get some one else. I'm glad to be out of
that job.
CRILLY
I'm not sorry, Albert.
ALBERT
The mother would expect me to do something queer in my report.
CRILLY
Between you and me, Albert, women aren't acquainted with the
working of affairs, and they expect unusual things to happen. Who
will they make stocktaker, now?
ALBERT
Young Dobbs, likely. I suppose the whole business about the
coal will come out then?
CRILLY
I suppose it will; but say nothing about it now, Albert. Let
the hare sit.
ALBERT
What does the old man think about it now?
CRILLY
He's very close to himself. I think he has forgotten all
about it.
ALBERT
I wouldn't say so.
CRILLY
Who's that in the shop, Albert?
ALBERT
Felix Tournour.
CRILLY _(rising)_ I wonder what they think about Scollard in the
Poor-house. _(He and Albert go into the shop as Muskerry enters from
left)_
_Muskerry is untidily dressed. His boots are unlaced. He walks
across the room and speaks pettishly_.
MUSKERRY
They haven't brought my soup yet. They won't give much of
their time to me. I'm disappointed in Anna Crilly. Well, a certain
share in this shop was to have gone to Anna Crilly. I'll get that
share, and I'll hoard it up myself. I'll hoard it up. And the fifty
pounds of my pension, I'll hoard that up, too.
_Albert comes in from shop_.
MUSKERRY
That's a black fire that's in the grate. I don't like the
coal that comes into this place.
ALBERT
Coal, eh, grandpapa.
MUSKERRY
I said coal.
ALBERT
We haven't good stores here.
MUSKERRY
Confound you for your insolence.
ALBERT
Somebody you know is in the shop--Felix Tournour.
MUSKERRY
Bid Tournour come in to me.
ALBERT
_(talking into the shop)_ You're wanted here, Tournour. Come
in now or I'll entertain the boss with "The Devil's Rambles."
_(He turns to Muskerry)_ I was given the job of stocktaking.
MUSKERRY
That's a matter for yourself.
ALBERT
I don't think I'll take the job now.
MUSKERRY
Why won't you take it?
ALBERT
I don't know what to say about the fifty tons of coal.
MUSKERRY
I was too precipitate about the coal. But don't have me at
the loss of fifty pounds through any of your smartness.
ALBERT
All right, grandfather; I'll see you through.
MUSKERRY
Confound you for a puppy.
_Felix Tournour enters. He looks prosperous. He has on a loud check
suit. He wears a red tie and a peaked cap_.
ALBERT
The Master wants to speak to you, Tournour.
TOURNOUR
What Master.
ALBERT
The boss, Tournour, the boss.
MUSKERRY
I want you, and that's enough for you, Tournour.
ALBERT
I suppose you don't know, grandpapa, that Tournour has a
middling high position in the Poorhouse now.
MUSKERRY
What are you saying?
ALBERT
Tournour is Ward-master now.
MUSKERRY
I wasn't given any notice of that.
ALBERT
Eh, Tournour--
"The Devil went out for a ramble at night,
Through Garrisowen Union to see every sight.
He saw Felix Tournour--"
TOURNOUR
"He saw one in comfort, of that you'll be sure.
With his back to the fire stands Felix Tournour,"
_He puts his back to fire_.
ALBERT
Well, so-long, gents. _(He goes out by shop door)_
MUSKERRY
Let me see you, Tournour.
TOURNOUR
I'm plain to be seen.
MUSKERRY
Who recommended you for Ward-master?
TOURNOUR
Them that had the power.
MUSKERRY
I would not have done it, Tournour.
TOURNOUR
No. And still, d'ye see, I'm up and not down. Well, I'll be
going.
MUSKERRY
Come back here, Tournour. I made it a rule that no
Ward-master should let drink be brought in to the paupers.
TOURNOUR
It's a pity you're not Master still!
MUSKERRY
What are you saying?
TOURNOUR
It's a pity that you're not still the Master over us.
MUSKERRY
Tournour, you're forgetting yourself.
TOURNOUR
Well, maybe you are still the Master.
MUSKERRY
How dare you speak to me with such effrontery? How dare you?
TOURNOUR
I dunno. I'm going away now, if your _honour_ has nothing
more to say to me. _(He turns to go)_
MUSKERRY
You shall not. You shall not, I say.
TOURNOUR
What?
MUSKERRY
You shall not go away until you've apologised to me.
TOURNOUR
Don't be talking, Thomas Muskerry. You're not Master over me.
MUSKERRY
Not the Master over you?
TOURNOUR
No. There's an end to your sway, Mr. Muskerry.
MUSKERRY
Go out of the house. No, stay here. You think I'm out of
the Workhouse. No. That's not so. I've claims, great claims, on it
still. Not for nothing was I there for thirty years, the pattern for
the officials of Ireland.
TOURNOUR
Twenty-nine years, I'm telling you.
MUSKERRY
The Guardians will take account of me.
TOURNOUR
And maybe they would, too.
MUSKERRY
What's that you're saying?
TOURNOUR
The Guardians might take an account of Thomas Muskerry in a
way he mightn't like. _(He goes to door)_
MUSKERRY
Come back here, Felix Tournour.
TOURNOUR
I'm not your sub-servant.
MUSKERRY
Stand here before me.
TOURNOUR
You and your before me! Your back to heaven and your belly
to hell.
MUSKERRY
Go away. Go away out of this.
TOURNOUR
Don't try to down-face me. I know something about you.
MUSKERRY
About me!
TOURNOUR
Aye, you and your fifty tons of coal. _(Muskerry goes back
from him)_ Great claims on the Workhouse have you. The Guardians
will take account of you. Will they? Talk to them about the fifty
tons of coal. Go and do that, my pattern of the officials of Ireland!
_Tournour goes out by shop. Muskerry stands with his hands on the
arm chair_.
MUSKERRY
This minute I'll go down to the Guardians and make my
complaint. _(He notices his appearance)_ I'm going about all day
with my boots unlaced. I'm falling into bad ways, bad, slovenly ways.
And my coat needs brushing, too. _(He takes off his coat and goes to
window and brushes it)_ That's Myles Gorman going back to the
Workhouse. I couldn't walk with my head held as high as that. In
this house I am losing my uprightness. I'll do more than lace my
boots and brush my coat. I'll go down to the Guardians and I'll pay
them back their fifty pounds.
_Anna Crilly comes in from left with a bowl of soup_.
ANNA
Here's your soup, grandpapa.
MUSKERRY
I can't take it now, Anna. _(He puts on his coat)_
ANNA
Are you going out, grandpapa?
MUSKERRY
I'm going before the meeting of the Board of Guardians.
ANNA
Are you, grandpapa?
MUSKERRY
Yes, Anna, I am. I'm going to pay them back their fifty
pounds.
ANNA
And have you the fifty pounds?
MUSKERRY
Your mother has it for me.
ANNA
Sit down, grandpapa, and take your soup.
MUSKERRY
No, Anna, I won't take anything until my mind is at rest
about the coal. A certain person has spoken to me in a way I'll
never submit to be spoken to again.
_Mrs. Crilly comes in_.
MRS. CRILLY
What has happened to you?
MUSKERRY
Felix Tournour knows about the coal, Marianne. He can
disgrace me before the world.
ANNA
And grandpapa wants to go before the Guardians and pay them
back the fifty pounds.
MRS. CRILLY
Wait until we consult Mr. Scollard.
_Anna goes out_.
MUSKERRY
No, Marianne. I'm not going to be a party to this any longer.
I'm going before the Guardians, and I'll pay them back their fifty
pounds.
MRS. CRILLY
Fifty pounds. From what place is fifty pounds to come so
easily?
MUSKERRY
I'll ask you to give me the fifty pounds, Marianne.
MRS. CRILLY
I'll do no such thing. Anna is getting married, and she
claims her fortune.
MUSKERRY
Anna getting married. This was kept from me. And who is
Anna getting married to?
MRS. CRILLY
To James Scollard.
MUSKERRY
To James Scollard. And so Anna is getting married to my
successor, James Scollard. My successor. How well I knew there was
some such scheme behind shifting me out of the Workhouse. And Anna
Crilly was against me all the time. Well, well, well. I'll remember
this.
MRS. CRILLY
I'm at great losses since you came here.
MUSKERRY
I'm at greater losses, Marianne.
MRS. CRILLY
What losses are you at?
MUSKERRY
The loss of my trust, the loss of my dignity, my
self-respect, and--
MRS. CRILLY
I think we did all we could for you.
MUSKERRY
I'm going out now to pay back the Guardians the sum due to
them from me. I want fifty pounds from you. I claim it, and I have a
right to claim it.
MRS. CRILLY
We have no money at all. Listen. Crofton Crilly backed a
bill for James Covey, and three hundred pounds has been taken from
our account.
MUSKERRY
Three hundred pounds!
MRS. CRILLY
Yes. Three hundred pounds.
MUSKERRY
He backed a bill for three hundred pounds. And do you think,
Marianne Crilly, there can be any luck, in a house where such a
thing could happen? I tell you there is no luck nor grace in your
house. _(He puts on his hat and goes to cupboard to get his stick. He
opens the cupboard. He turns round)_
MUSKERRY
_(greatly moved)_ My God, my God. I'm made cry at the
things that happen in this house.
MRS. CRILLY
What is it?
MUSKERRY
The good meat I brought in. There it is on the floor and
the cat mangling it. I'll go out of this house, and I'll never put
foot into it again.
MRS. CRILLY
And where will you go?
MUSKERRY
I'll go before the Board of Guardians and I'll ask them to
provide for me.
MRS. CRILLY
What do you want me to do for you?
MUSKERRY
Give me fifty pounds, so that I can pay them off now.
MRS. CRILLY
Haven't I told you the way I'm straitened for money?
MUSKERRY
You have still in the bank what would save my name.
MRS. CRILLY
Don't be unreasonable. I have to provide for my children.
MUSKERRY
Your children. Yes, you have to provide for your children.
I provided for them long enough. And now you would take my place, my
honour, and my self-respect, and provide for them over again.
_(He goes out)_
MRS. CRILLY
I'll have to put up with this, too.
_Anna re-enters._
ANNA
Where has he gone, mother?
MRS. CRILLY
He has gone down to the Workhouse.
ANNA
What is he going to do, mother?
MRS. CRILLY
He says he will ask the Guardians to provide for him.
ANNA
It's not likely they'll do that for a man with a pension of
fifty pounds a year.
MRS. CRILLY
I don't know what will happen to us.
ANNA
He'll come back, mother.
MRS. CRILLY
He will. But everything will have been made public, and
the money will have to be paid.
ANNA
_(at the window)_ There he is going down the street, mother.
MRS. CRILLY
Which way?
ANNA
Towards the Workhouse. And here's the doctor's daughter coming
into the shop again, mother.
MRS. CRILLY
I'll go out and see her myself. _(As she goes out she
hands Anna a cheque)_ That's the last cheque I'll be able to make out.
There's your eighty pounds, Anna. _(She goes into the shop)_
ANNA
We can begin to get the furniture now.
_She sits down at the table and makes some calculation with a pencil_.
CURTAIN
ACT THIRD
_The infirm ward in the Workhouse. Entrance from corridor, right.
Forward, left, are three beds with bedding folded upon them. Back,
left, is a door leading into Select Ward. This door is closed, and a
large key is in lock. Fireplace with a grating around it, left. Back,
right, is a window with little leaded panes_.
_It is noon on a May day, but the light inside the ward is feeble._
_Two paupers are seated at fire. One of them, Mickie Cripes, is a
man of fifty, stooped and hollow-chested, but with quick blue eyes.
The other man, Tom Shanley, is not old, but he looks broken and
listless. Myles Gorman, still in pauper dress, is standing before
window, an expectant look on his face_.
_Thomas Muskerry enters from corridor. He wears his own clothes,
but he has let them get into disorder. His hair and beard are
disordered, and he seems very much broken down. Nevertheless, he
looks as if his mind were composed_.
MUSKERRY
It's dark in here, Michael.
GRIPES
It is, sir.
MUSKERRY
I find it very spiritless after coming up from the chapel.
Don't pass your whole day here. Go down into the yard. _(He stands
before the window)_ This is the first fine day, and you ought to go
out along the country road. Ask the Master for leave. It's the month
of May, and you'll be glad of the sight of the grass and the smell
of the bushes. Now here's a remarkable thing. I venture to think
that the like of this has never happened before. Here are the bees
swarming at the window pane.
GORMAN
You'll hear my pipes on the road to-day. That's as sure as
the right hand is on my body. _(He goes out by corridor door)_
CRIPES
Myles Gorman must have been glad to hear that buzzing.
MUSKERRY
Why was Myles glad to hear it?
SHANLEY
He was leaving on the first fine day.
CRIPES
The buzzing at the pane would let any one know that the air
is nice for a journey.
MUSKERRY
I am leaving to-day, myself.
CRIPES
And where are you going, Mr. Muskerry?
MUSKERRY
I'm going to a place of my own.
_Muskerry goes into the Select Ward_.
CRIPES
I'll tell you what brought Thomas Muskerry back to the
workhouse to be an inmate in it. Living in a bad house. Living with
his own. That's what brought him back. And that's what left me here,
too.
SHANLEY
_(listlessly)_ The others have the flour, and we may hawk
the bran.
_An old pauper comes into the ward. His face looks bleached. He has
the handle of a sweeping-brush for a staff. He moves about the ward,
muttering to himself. He seats himself on chair, right_.
THE OLD MAN
_(speaking as if thinking aloud)_ I was at twelve
o'clock Mass. Now one o'clock would be a late Mass. I was at Mass at
one o'clock. Wouldn't that be a long time to keep a priest, and he
fasting the whole time?
CRIPES
I'll tell you what Thomas Muskerry did when he left the bad
house he was in. _(He puts coal on the fire)_
THE OLD MAN
I was at one o'clock Mass in Skibbereen. I know where
Skibbereen is well. In the County Cork. Cork is a big county. As big
as Dublin and Wicklow. That's where the people died when there was
the hunger.
CRIPES
He came before the meeting of the Guardians, and he told them
he owed them the whole of his year's pension. Then he got some sort
of a stroke, and he broke down. And the Guardians gave him the Select
Ward there for himself.
SHANLEY
They did well for him.
CRIPES
Why wouldn't they give him the Select Ward? It's right that
he'd get the little room, and not have to make down the pauper's bed
with the rest of us.
SHANLEY
He was at the altar to-day, and he stayed in the chapel
after Mass.
CRIPES
He'll be here shortly.
THE OLD MAN
Skibbereen! That's where the people died when there was
the hunger. Men and women without coffins, or even their clothes off.
Just buried. Skibbereen I remember well, for I was a whole man then.
And the village. For there are people living in it yet. They didn't
all die.
SHANLEY
We'll have somebody else in the Select Ward this evening.
CRIPES
That's what they were talking about. The nuns are sending a
patient up here.
SHANLEY
I suppose the Ward-master will be in here to regulate the
room. _(He rises)_
CRIPES
Aye, the Ward-master. Felix Tournour, the Ward-master. You've
come to your own place at last, Felix Tournour.
SHANLEY
Felix Tournour will be coming the master over me if he finds
me here. _(Shanley goes out)_
CRIPES
Felix Tournour! That's the lad that will be coming in with
his head up like the gander that's after beating down a child.
_Christy Clarice enters. He carries a little portmanteau_.
CHRISTY
Is Mr. Muskerry here?
CRIPES
He's in the room. _(A sound of water splashing and the
movements of a heavy person are heard)_ Will you be speaking with him,
young fellow?
CHRISTY
I will.
CRIPES
Tell him, like a good little boy, that the oul' men would be
under a favour to him if he left a bit of tobacco. You won't forget
that?
CHRISTY
I won't forget it.
CRIPES
I don't want to be in the way of Felix Tournour. We're going
down to the yard, but we'll see Mr. Muskerry when he's going away.
_Cripes goes out_.
MUSKERRY
_(within)_ Is that you, Christy Clarke?
CHRISTY
It is, Mr. Muskerry.
MUSKERRY
Have you any news, Christy?
CHRISTY
No news, except that my mother is in the cottage, and is
expecting you to-day.
MUSKERRY
I'll be in the cottage to-day, Christy. I'm cleaning myself.
_(A sound of splashing and moving about)_ The Guardians were good to
get the little house for me. I'd as lieve be there as in a mansion.
There's about half an acre of land to the place, and I'll do work on
the ground from time to time, for it's a good thing for a man to get
the smell of the clay.
CHRISTY
And how are you in health, Mr. Muskerry?
MUSKERRY
I'm very well in health. I was anointed, you know, and
after that I mended miraculously.
CHRISTY
And what about the pension?
MUSKERRY
I'm getting three hundred pounds. They asked me to realize
the pension. I hope I have life enough before me. _(He comes out. He
has on trousers, coat, and starched shirt. The shirt is soiled and
crushed)_
MUSKERRY
On Saturdays I'll do my marketing. I'll come into the town,
and I'll buy the bit of meat for my dinner on Sunday. But what are
you doing with this portmanteau, Christy?
CHRISTY
I'm going away myself.
MUSKERRY
To a situation, is it?
CHRISTY
To a situation in Dublin.
MUSKERRY
I wish you luck, Christy. _(He shakes hands with the boy,
and sits down on a chair)_ I was dreaming on new things all last
night. New shirts, new sheets, everything new.
CHRISTY
I want to be something.
MUSKERRY
What do you want to be?
CHRISTY
A writer.
MUSKERRY
A writer of books, is it?
CHRISTY
Yes, a writer of books.
MUSKERRY
Listen, now, and tell me do you hear anything. That's the
sound of bees swarming at the window. That's a good augury for you,
Christy.
CHRISTY
All life's before me.
MUSKERRY
Will you give heed to what I tell you?
CHRISTY
I'll give heed to it, Mr. Muskerry.
MUSKERRY
Live a good life.
CHRISTY
I give heed to you.
MUSKERRY
Your mother had great hardship in rearing you.
CHRISTY
I know that, Mr. Muskerry, but now I'm able for the world.
MUSKERRY
I wish success to all your efforts. Be very careful of your
personal appearance.
CHRISTY
I will, Mr. Muskerry.
MUSKERRY
Get yourself a new cravat before you leave the town.
CHRISTY
I'll get it.
MUSKERRY
I think I'd look better myself if I had a fresher shirt.
CHRISTY
I saw clean shirts of yours before the fire last night in my
mother's house.
MUSKERRY
I wish I could get one before I leave this place.
CHRISTY
Will I run off and get one for you?
MUSKERRY
Would you, Christy? Would it be too much trouble?
_Muskerry rises_.
CHRISTY
I'll go now.
MUSKERRY
You're a very willing boy, Christy, and you're sure to get
on. _(He goes to a little broken mirror on the wall)_ I am white and
loose of flesh, and that's not a good sign with me, Christy. I'll
tell you something. If I were staying here to-night, it's the
pauper's bed I'd have to sleep on.
_Mrs. Crilly comes to the door_.
MRS. CRILLY
Well, I see you're making ready for your departure.
MUSKERRY
_(who has become uneasy)_ I am ready for my departure.
MRS. CRILLY
And this young man has come for you, I suppose?
MUSKERRY
This young man is minding his own business.
CHRISTY
I'm going out now to get a shirt for the Master.
MRS. CRILLY
A starched shirt, I suppose, Christy. Go down to our
house, and tell Mary to give you one of the shirts that are folded up.
MUSKERRY
The boy will go where he was bid go.
MRS. CRILLY
Oh, very well. Run, Christy, and do the message for the
Master.
_Christy Clarke goes out_.
MUSKERRY
I don't know what brought you here to-day.
MRS. CRILLY
Well, I wanted to see you.
MUSKERRY
You could come to see me when I was settled down.
MRS.
CRILLY Settled in the cottage the Guardians have given you?
MUSKERRY
Yes, ma'am.
MRS. CRILLY
_(with nervous excitement, restrained)_ No one of us
will ever go near the place.
MUSKERRY
Well, you'll please yourself.
MRS. CRILLY
You put a slight on us all when you go there to live.
MUSKERRY
Well, I've lived with you to my own loss.
MRS. CRILLY
Our house is the best house in the town, and I'm the
nearest person to you.
MUSKERRY
Say nothing more about that.
MRS. CRILLY
Well, maybe you do right not to live with us, but you
ought not to forsake us altogether.
MUSKERRY
And what do you mean by forsaking you altogether?
MRS. CRILLY
When you leave the place and do not even turn your step
in our direction it's a sign to all who want to know that you
forsake us altogether.
MUSKERRY
What do you want me to do?
MRS. CRILLY
Come up to Cross Street with me, have dinner and spend
the night with us. People would have less to talk about if you did
that.
MUSKERRY
You always have a scheme.
MRS. CRILLY
Come to us for this evening itself.
MUSKERRY
I wish you wouldn't trouble me, woman. Can't you see that
when I go out of this I want to go to my own place?
MRS. CRILLY
You can go there to-morrow.
MUSKERRY
Preparations are made for me.
MRS. CRILLY
You don't know what preparations.
MUSKERRY
Two pounds of the best beef-steak were ordered to be sent
up to-day.
MRS. CRILLY
I wouldn't trust that woman, Mrs. Clarke, to cook
potatoes.
MUSKERRY
Well, I'll trust her, ma'am.
MRS. CRILLY
_(taking Muskerry's sleeve)_ Don't go to-day, anyway.
MUSKERRY
You're very anxious to get me to come with you. What do you
want from me?
MRS. CRILLY
We want nothing from you. You know how insecure our
business is. When it's known in the town that you forsake us,
everybody will close in on us.
MUSKERRY
God knows I did everything that a man could do for you and
yours. I won't forget you. I haven't much life left to me, and I
want to live to myself.
MRS. CRILLY
I know. Sure I lie awake at night, too tired to sleep,
and long to get away from the things that are pressing in on me. I
know that people are glad of their own way, and glad to live in the
way that they like. When I heard the birds stirring I cried to be
away in some place where I won't hear the thing that's always
knocking at my head. The business has to be minded, and it's
slipping away from us like water. And listen, if my confinement
comes on me and I worried as I was last year, nothing can save me.
I'll die, surely.
MUSKERRY
_(moved)_ What more do you want me to do?
MRS. CRILLY
Stay with us for a while, so that we'll have the name of
your support.
MUSKERRY
I'll come back to you in a week.
MRS. CRILLY
That wouldn't do at all. There's a reason for what I ask.
The town must know that you are with us from the time you leave this.
MUSKERRY
_(with emotion)_ God help me with you all, and God direct
me what to do.
MRS. CRILLY
It's not in you to let us down.
_Muskerry turns away. His head is bent. Mrs. Crilly goes to him_.
MUSKERRY
Will you never be done taking from me? I want to leave this
and go to a place of my own.
_Muskerry puts his hand to his eyes. When he lowers his hand again
Mrs. Crilly lays hers in it. Christy Clarke comes in. Muskerry turns
to him. Muskerry has been crying_.
MUSKERRY
Well, Christy, I'll be sending you back on another message.
_Mrs. Crilly makes a sign to Christy not to speak_.
MUSKERRY
Go to your mother and tell her---
CHRISTY
I met my mother outside.
MUSKERRY
Did she get the things that were sent to her?
CHRISTY
My mother was sent away from the cottage.
MUSKERRY
Who sent your mother away from the cottage?
CHRISTY
Mrs. Crilly sent her away.
MUSKERRY
And why did you do that, ma'am?
MRS. CRILLY
I sent Mary to help to prepare the place for you, and
the woman was impertinent to Mary--
MUSKERRY
Well, ma'am?
MRS. CRILLY
I sent the woman away.
MUSKERRY
And so you take it on yourself to dispose of the servants
in my house?
MRS. CRILLY
I daresay you'll take the woman's part against my
daughter.
MUSKERRY
No, ma'am, I'll take no one's side, but I'll tell you this.
I want my own life, and I won't be interfered with.
MRS. CRILLY
I'm sorry for what occurred, and I'll apologise to the
boy's mother if you like.
MUSKERRY
I won't be interfered with, I tell you. From this day out
I'm free of my own life. And now, Christy Clarke, go down stairs and
tell the Master, Mr. Scollard, that I want to see him.
_Christy Clarice goes out_.
MRS. CRILLY
I may as well tell you something else. None of the
things you ordered were sent up to the cottage.
MUSKERRY
Do you tell me that?
MRS. CRILLY
I went round to the shop, and everything you ordered was
sent to us.
MUSKERRY
And what is the meaning of that, ma'am?
MRS. CRILLY
If the town knew you were going from us, in a week we
would have to put up the shutters.
MUSKERRY
Well, I'll walk out of this, and when I come to the road
I'll go my own way.
MRS. CRILLY
We can't prevent you.
MUSKERRY
No, ma'am, you can't prevent me.
MRS. CRILLY
You've got your discharge, I suppose?
MUSKERRY
I've given three hours' notice, and I'll get my discharge
now.
MRS. CRILLY
_(at corridor door)_ We can't prevent you going if you
have the doctor's discharge.
MUSKERRY
The doctor's discharge! He would have given it to me--
MRS. CRILLY
You can't leave without the doctor's sanction.
MUSKERRY
Out of this house I will go to-day.
_James Scollard enters_.
SCOLLARD
I believe you want to see me, Mr. Muskerry.
MUSKERRY
I do, Mr. Scollard. I am leaving the house.
SCOLLARD
I will be glad to take up the necessary formalities for you,
Mr. Muskerry.
MRS. CRILLY
First of all, has the doctor marked my father off the
infirmary list?
SCOLLARD
No, Mrs. Crilly. Now that I recall the list, he has not.
MUSKERRY
I waited after Mass to-day, and I missed seeing him.
MRS. CRILLY
My father was seriously ill only a short time ago, and I
do not believe he is in a fit state to leave the infirmary.
SCOLLARD
That certainly has to be considered. Without the doctor
explicitly sending you down to the body of the house you are hardly
under my jurisdiction, Mr. Muskerry.
MUSKERRY
Mr. Scollard, I ask you to give me leave to go out of the
Workhouse for a day. You can do this on your own responsibility.
MRS. CRILLY
In the present state of his mind it's not likely he
would return to-night. Then if anything happened him your situation
is at stake.
MUSKERRY
I'm not a pauper. I'll go out of this to-day without leave
or license from any of you.
SCOLLARD
As you know yourself, Mr. Muskerry, it would be as much as
my situation is worth to let you depart in that way.
MUSKERRY
Well, go I will.
SCOLLARD
I cannot permit it, Mr. Muskerry. I say it with the
greatest respect.
MUSKERRY
How long will you keep me here?
SCOLLARD
Until the doctor visits the house.
MUSKERRY
That will be on Monday morning.
SCOLLARD
And this is Saturday, Mr. Muskerry.
MUSKERRY
And where will you put me until Monday?
SCOLLARD
Other arrangements will be made for you.
MUSKERRY
It's the pauper's bed you would give me!
SCOLLARD
The old arrangements will continue. Can I do anything
further for you, Mr. Muskerry?
MUSKERRY
No, you can do nothing further for me. It's a great deal
you have done for me! It's the pauper's bed you have given me!
_(He goes into the Select Ward)_
MRS. CRILLY
Sit down, Mr. Scollard. I want to speak to you.
_Mrs. Crilly seats herself at the table. Scollard sits down also._
MRS. CRILLY
The bank manager is in the town to-day, and there are
people waiting to tell him whether my father goes to our house or
goes away from us.
SCOLLARD No doubt there are, Mrs. Crilly.
MRS. CRILLY
But you have nothing to do with that, Mr. Scollard.
SCOLLARD
No, Mrs. Crilly.
MRS. CRILLY
I have my own battle to fight, and a hard battle it is.
I have to make bits of myself to mind everything and be prepared for
everything.
SCOLLARD
No doubt, Mrs. Crilly.
MRS. CRILLY
There are people who will blame me, but they cannot see
into my mind.
SCOLLARD
Will you come down to the parlour, Mrs. Crilly?
MRS. CRILLY
Yes, I'll go down.
_She remains seated, looking out steadily before her. Myles Gorman
comes in. He is dressed in his own clothes_.
SCOLLARD
Well, Gorman, what brings you back to the ward?
GORMAN
I just want to do something to my pipes, Master.
SCOLLARD
Very well, Gorman. You have your discharge, and you are
free to leave.
GORMAN
Oh, in a while I'll be taking the road.
_He seats himself at the fire and begins to fix the bag of his pipes_.
SCOLLARD
Now, Mrs. Crilly, come down to the parlour.
MRS. CRILLY
Yes.
SCOLLARD
Anna is waiting to see you.
MRS. CRILLY
_(rising)_ He will be well cared for here.
SCOLLARD
He will, Mrs. Crilly. I will give him all attention.
MRS. CRILLY
He expected to be in a different place to-day, but delay
does little harm.
SCOLLARD
Come down to the parlour, Mrs. Crilly, and drink a glass of
wine with us.
_They go out. The door of the Select Ward opens, and Thomas
Muskerry appears. He has got a stroke. His breathing makes a noise
in his mouth. As he moves he lags somewhat at the right knee. He
carries his right hand at his breast. He moves slowly across ward.
Felix Tournour enters, carrying a bunch of keys_.
TOURNOUR
And where are you going?
MUSKERRY
_(in a thickened voice)_ Ow--out. _(Motioning with left hand.
He moves across ward, and goes out on door of corridor)_
TOURNOUR
Well, you're not getting back to your snuggery, my oul' cod.
_(He goes into the Select Ward and begins to pitch Muskerry's
belongings into the outer ward. First of all come the pillows and
clothes off the bed)_ And there's your holy picture, and there's
your holy book. _(He comes out holding another book in official
binding. He opens it and reads)_ "Marianne, born May the 20th, 1870."
_(He turns back some pages and reads)_ Thomas Muskerry wrote this,
1850--
"In the pleasant month of May,
When the lambkins sport and play,
As I roved out for recreation,
I spied a comely maid,
Sequestered in the shade,
And on her beauty I gazed in admiration."
"I said I greatly fear
That Mercury will draw near,
As once he appeared unto Venus,
Or as it might have been
To the Carthaginian Queen,
Or the Grecian Wight called Polyphemus."
_Muskerry comes back to the ward. He stands looking stupidly at the
heap Tournour has thrown out. Tournour throws down the book.
Muskerry goes towards the open door of the ward. Felix Tournour
closes the door deliberately turns the key and holds the key in his
hand_.
TOURNOUR
You have no more to do with your snug little ward, Mr.
Muskerry. _(He puts the key on his bunch and goes out)_
MUSKERRY
_(muttering with slack lips and cheeks)_ It's--it's--the
pau--pauper's bed they've given me.
GORMAN
_(turning round his face)_ Who's there?
MUSKERRY
It's--it's--Thomas Muskerry.
GORMAN
Is that the Master?
MUSKERRY
It's--it's the pauper's bed they've given me.
GORMAN
Can I give you any hand, Master?
MUSKERRY
I'll want to make--the bed. Give me a hand to make the bed.
_(Gorman comes over to him)_ My own sheet and blanket is here. I
needn't lie on a pauper's sheet. Whose bed is this?
GORMAN
It's the middle bed, Master. It's my own bed.
MUSKERRY
_(helplessly)_ What bed will I take, then?
GORMAN
My bed. I won't be here.
MUSKERRY
And where are you going?
GORMAN
I'm leaving the house this day. I'll be going on the roads.
MUSKERRY
Myles--Myles Gorman. The man that was without family or
friends. Myles Gorman. Help me to lay down the mattress. Where will
you sleep to-night, Myles Gorman?
GORMAN
At Mrs. Muirnan's, a house between this and the town of
Ballinagh. I haven't the money to pay, but she'll give me the place
for to-night. Now, Master, I'll spread the sheet for you. _(They
spread the sheet on the bed_.)
MUSKERRY
Can you go down the stairs, Myles Gorman? I tried to get
down the stairs and my legs failed me.
GORMAN
One of the men will lead me down.
MUSKERRY
_(resting his hand on the bed and standing up)_ Sure one of
the men will lead me down the stairs, too.
_Myles Gorman spreads blanket on bed. He stands up, takes pipes,
and is ready to go out. Muskerry becomes more feeble. He puts
himself on the bed_.
MUSKERRY
Myles--Myles Gorman--come back.
GORMAN
What will I do for you, Master?
MUSKERRY
Say a prayer for me.
GORMAN
What prayer will I say, Master?
MUSKERRY
Say "God be good to Thomas Muskerry."
GORMAN
_(taking off his hat)_ "God be good to Thomas Muskerry, the
man who was good to the poor." Is that all, Master?
MUSKERRY
That's--that's all.
_Gorman goes to the door_.
GORMAN
In a little while you'll hear my pipes on the road.
_He goes out. There is the sound of heavy breathing from the bed.
Then silence. The old pauper with the staff enters. He is crossing
the ward when his attention is taken by the humming of the bees at
the window pane. He listens for a moment_.
THE OLD PAUPER
A bright day, and the clay on their faces. That's
what I saw. And we used to be coming from Mass and going to the
coursing match. The hare flying and the dogs stretching after her up
the hill. Fine dogs and fine men. I saw them all.
_Christy Clarke comes in. He goes to table for his bag. He sees the
figure on the bed, and goes over_.
CHRISTY
I'm going now, Mister Muskerry. Mister Muskerry!
Mister Muskerry! Oh! the Master is dead. _(He runs back to the door)_
Mrs. Crilly. Mrs. Crilly. _(He goes back to the bed, and throws
himself on his knees)_ Oh! I'm sorry you're gone, Thomas Muskerry.
THE OLD PAUPER
And is he gone home, too! And the bees humming and all!
He was the best of them. Each of his brothers could lift up their
plough and carry it to the other side of the field. Four of them
could clear a fair. But their fields were small and poor, and so they
scattered.
_Mrs. Crilly comes in_.
MRS. CRILLY
Christy Clarke, what is it?
CHRISTY
The Master is dead.
MRS. CRILLY
My God, my God!
CHRISTY
Will I go and tell them below?
MRS. CRILLY
No. Bring no one here yet. We killed him. When
everything is known that will be known.
CHRISTY
I'll never forget him, I think.
MRS. CRILLY
What humming is that?
CHRISTY
The bees at the window pane. And there's Myles Gorman's
pipes on the road.
_The drear call of the pipes is heard_.
END OF PLAY
"Thomas Muskerry" was first produced on May 5th, 1910, by the Abbey
Theater Company, at the Abbey Theater, Dublin, with the following
cast:--
THOMAS MUSKERRY Arthur Sinclair
MRS. CRILLY Cara Allgood
CROFTON CRILLY J.M. Kerrigan
ALBERT CRILLY Eric Gorman
ANNA CRILLY Maire O'Neill
MYLES GORMAN Fred O'Donovan
FELIX TOURNOUR Sydney Morgan
JAMES SCOLLARD J.A. O'Rourke
CHRISTY CLARKE U. Wright
MICKIE GRIPES Fred Rowland
TOM SHANLEY Ambrose Power
AN OLD PAUPER J.M. Kerrigan.