LITTLE MARTHA: Muzzer and I picked it--for “oo.” Here ’tis. (_Puts
her finger in her mouth, and gives it shyly_).
RACHEL: Well, I’m going to pay you with three big kisses. One! Two!
Three!
LITTLE MARTHA: I can count, One! Two! Free! Tan’t I? I am going to
school soon; and I wants to put the flower in your hair.
RACHEL (_Kneels_): All right, baby. (_Little Martha fumbles and
Rachel helps her_).
LITTLE MARTHA (_Dreamily_): Miss Rachel, the ’ittle flower loves
you. It told me so. It said it wanted to lie in your hair. It is
going to tell you a pitty ’ittle secret. You listen awful hard--and
you’ll hear. I wish I were a fairy and had a little wand, I’d turn
everything into flowers. Wouldn’t that be nice, Miss Rachel?
RACHEL: Lovely, honey!
LITTLE JENNY (_Snuffling loudly_): If I were a fairy and had a wand,
I’d turn you, Miss Rachel, into a queen--and then I’d always be
near you and see that you were happy.
RACHEL: Honey, how beautiful!
LITTLE LOUISE: I’d make my mother happy--if I were a fairy. She cries
all the time. My father can’t get anything to do.
LITTLE NANCY: If I were a fairy, I’d turn a boy in my school into a
spider. I hate him.
RACHEL: Honey, why?
LITTLE NANCY: I’ll tell you sometime--I hate him.
LITTLE EDITH: Where’s Jimmy, Miss Rachel?
RACHEL: He went long ago; and chickies, you’ll have to clear out,
all of you, now, or you’ll be late. Shoo! Shoo! (_She drives them
out prettily before her. They laugh merrily. They all go into the
vestibule_).
TOM (_Slowly_): Does it ever strike you--how pathetic and tragic a
thing--a little colored child is?
STRONG: Yes.
TOM: Today, we colored men and women, everywhere--are up against
it. Every year, we are having a harder time of it. In the South,
they make it as impossible as they can for us to get an education.
We’re hemmed in on all sides. Our one safeguard--the ballot--in
most states, is taken away already, or is being taken away.
Economically, in a few lines, we have a slight show--but at what
a cost! In the North, they make a pretence of liberality: they
give us the ballot and a good education, and then--snuff us out.
Each year, the problem just to live, gets more difficult to solve.
How about these children--if we’re fools enough to have any?
(RACHEL _reenters. Her face is drawn and pale. She returns to the
kitchenette._)
STRONG (_Slowly, with emphasis_): That part--is damnable! (_A
silence._)
TOM (_Suddenly looking at the clock_): It’s later than I thought.
I’ll have to be pulling out of here now, if you don’t mind.
(_Raising his voice_) Rachel! (_Rachel still drawn and pale,
appears in the doorway of the kitchenette. She is without her
apron_). I’ve got to go now, Sis. I leave John in your hands.
STRONG: I’ve got to go, myself, in a few minutes.
TOM: Nonsense, man! Sit still. I’ll begin to think, in a minute,
you’re afraid of the ladies.
STRONG: I am.
TOM: What! And not ashamed to acknowledge it?
STRONG: No.
TOM: You’re lots wiser than I dreamed. So long! (_Gets hat out in the
entry-way and returns; smiles wryly._) “Morituri Salutamus”. (_They
nod at him--Rachel wistfully. He goes out. There is the sound of an
opening and closing door. Rachel sits down. A rather uncomfortable
silence, on the part of Rachel, ensues. Strong is imperturbable._)
RACHEL (_Nervously_): John!
STRONG: Well?
RACHEL: I--I listened.
STRONG: Listened! To what?
RACHEL: To you and Tom.
STRONG: Well,--what of it?
RACHEL: I didn’t think it was quite fair not to tell you. It--it
seemed, well, like eavesdropping.
STRONG: Don’t worry about it. Nonsense!
RACHEL: I’m glad--I want to thank you for what you did for Tom. He
needs you, and will need you. You’ll help him?
STRONG: (_Thoughtfully_): Rachel, each one--has his own little
battles. I’ll do what I can. After all, an outsider doesn’t help
much.
RACHEL: But friendship--just friendship--helps.
STRONG: Yes. (_A silence_). Rachel, do you hear anything encouraging
from the schools? Any hope for you yet?
RACHEL: No, nor ever will be. I know that now. There’s no more chance
for me than there is for Tom,--or than there was for you--or for
any of us with dark skins. It’s lucky for me that I love to keep
house, and cook, and sew. I’ll never get anything else. Ma dear’s
sewing, the little work Tom has been able to get, and the little
sewing I sometimes get to do--keep us from the poorhouse. We live.
According to your philosophy, I suppose, make the best of it--it
might be worse.
STRONG (_Quietly_): You don’t want to get morbid over these things,
you know.
RACHEL (_Scornfully_): That’s it. If you see things as they are,
you’re either pessimistic or morbid.
STRONG: In the long run, do you believe, that attitude of mind--will
be--beneficial to you? I’m ten years older than you. I tried your
way. I know. Mine is the only sane one. (_Goes over to her slowly;
deliberately puts his hands on her hair, and tips her head back. He
looks down into her face quietly without saying anything_).
RACHEL (_Nervous and startled_): Why, John, don’t! (_He pays no
attention, but continue to look down into her face_).
STRONG (_Half to himself_): Perhaps--if you had--a little more fun in
your life, your point of view would be--more normal. I’ll arrange
it so I can take you to some theatre, one night, this week.
RACHEL (_Irritably_): You talk as though I were a--a jellyfish.
You’ll take me, how do you know _I’ll_ go?
STRONG: You will.
RACHEL (_Sarcastically_): Indeed! (STRONG _makes no reply_). I wonder
if you know how--how--maddening you are. Why, you talk as though my
will counts for nothing. It’s as if you’re trying to master me. I
think a domineering man is detestable.
STRONG (_Softly_): If he’s, perhaps, _the_ man?
RACHEL (_Hurriedly, as though she had not heard_): Besides, some of
these theatres put you off by yourself as though you had leprosy.
I’m not going.
STRONG (_Smiling at her_): You know I wouldn’t ask you to go, under
those circumstances. (_A silence_). Well, I must be going now.
(_He takes her hand, and looks at it reverently. Rachel, at first
resists; but he refuses to let go. When she finds it useless,
she ceases to resist. He turns his head and smiles down into her
face_). Rachel, I am coming back to see you, this evening.
RACHEL: I’m sure _we’ll_ all be very glad to see you.
STRONG (_Looking at her calmly_): I said--_you_. (_Very deliberately,
he turns her hand palm upwards, leans over and kisses it; then
he puts it back into her lap. He touches her cheek lightly_).
Good-bye--little Rachel. (_Turns in the vestibule door and looks
back, smiling_). Until tonight. (_He goes out. Rachel sits for
some time without moving. She is lost in a beautiful day-dream.
Presently she sighs happily, and after looking furtively around the
room, lifts the palm John has kissed to her lips. She laughs shyly
and jumping up, begins to hum. She opens the window at the rear of
the room and then commences to thread the sewing-machine. She hums
happily the whole time. A light rapping is heard at the outer door.
Rachel listens. It stops, and begins again. There is something
insistent, and yet hopeless in the sound. Rachel looking puzzled,
goes out into the vestibule.... The door closes. Rachel, a black
woman, poorly dressed, and a little ugly, black child come in.
There is the stoniness of despair in the woman’s face. The child is
thin, nervous, suspicious, frightened_).
MRS. LANE (_In a sharp, but toneless voice_): May I sit down? I’m
tired.
RACHEL (_Puzzled, but gracious; draws up a chair for her_): Why,
certainly.
MRS. LANE: No, you don’t know me--never even heard of me--nor I
of you. I was looking at the vacant flat on this floor--and saw
your name--on your door,--“Loving!” It’s a strange name to come
across--in this world.--I thought, perhaps, you might give me some
information. (_The child hides behind her mother and looks around
at Rachel in a frightened way_).
RACHEL (_Smiling at the woman and child in a kindly manner_): I’ll be
glad to tell you anything, I am able Mrs.--
MRS. LANE: Lane. What I want to know is, how do they treat the
colored children in the school I noticed around the corner? (_The
child clutches at her mother’s dress_).
RACHEL (_Perplexed_): Very well--I’m sure.
MRS. LANE (_Bluntly_): What reason have you for being sure?
RACHEL: Why, the little boy I’ve adopted goes there; and he’s very
happy. All the children in this apartment-house go there too; and I
know they’re happy.
MRS. LANE: Do you know how many colored children there are in the
school?
RACHEL: Why, I should guess around thirty.
MRS. LANE: I see. (_Pauses_). What color is this little adopted boy
of yours?
RACHEL (_Gently_): Why--he’s brown.
MRS. LANE: Any black children there?
RACHEL (_Nervously_): Why--yes.
MRS. LANE: Do you mind if I send Ethel over by the piano to sit?
RACHEL: N--no, certainly not. (_Places a chair by the piano and goes
to the little girl holding out her hand. She smiles beautifully.
The child gets farther behind her mother_).
MRS. LANE: She won’t go to you--she’s afraid of everybody now but her
father and me. Come Ethel. (_Mrs. Lane takes the little girl by the
hand and leads her to the chair. In a gentler voice_) Sit down,
Ethel. (_Ethel obeys. When her mother starts back again toward
Rachel, she holds out her hands pitifully. She makes no sound_).
I’m not going to leave you, Ethel. I’ll be right over here. You
can see me. (_The look of agony on the child’s face, as her mother
leaves her, makes Rachel shudder_). Do you mind if we sit over here
by the sewing-machine? Thank you. (_They move their chairs_).
RACHEL (_Looking at the little, pitiful figure watching its mother
almost unblinkingly_): Does Ethel like apples, Mrs. Lane?
MRS. LANE: Yes.
RACHEL: Do you mind if I give her one?
MRS. LANE: No. Thank you, very much.
RACHEL (_Goes into the kitchenette and returns with a fringed napkin,
a plate, and a big, red apple, cut into quarters. She goes to the
little girl, who cowers away from her; very gently_). Here, dear,
little girl, is a beautiful apple for you. (_The gentle tones have
no appeal for the trembling child before her_).
MRS. LANE (_Coming forward_): I’m sorry, but I’m afraid she won’t
take it from you. Ethel, the kind lady has given you an apple.
Thank her nicely. Here! I’ll spread the napkin for you, and put the
plate in your lap. Thank the lady like a good little girl.
ETHEL (_Very low_): Thank you. (_They return to their seats. Ethel
with difficulty holds the plate in her lap. During the rest of the
interview between Rachel and her mother, she divides her attention
between the apple on the plate and her mother’s face. She makes
no attempt to eat the apple, but holds the plate in her lap with
a care that is painful to watch. Often, too, she looks over her
shoulder fearfully. The conversation between Rachel and her mother
is carried on in low tones_).
MRS. LANE: I’ve got to move--it’s _Ethel_.
RACHEL: What is the matter with that child? It’s--it’s heartbreaking
to see her.
MRS. LANE: I understand how you feel,--I don’t feel anything, myself,
any more. (_A pause_). My husband and I are poor, and we’re ugly
and we’re black. Ethel looks like her father more than she does
like me. We live in 55th Street--near the railroad. It’s a poor
neighborhood, but the rent’s cheap. My husband is a porter in a
store; and, to help out, I’m a caretaker. (_Pauses_). I don’t know
why I’m telling you all this. We had a nice little home--and the
three of us were happy. Now we’ve got to move.
RACHEL: Move! Why?
MRS. LANE: It’s Ethel. I put her in school this September. She stayed
two weeks. (_Pointing to Ethel_) That’s the result.
RACHEL (_In horror_): You mean--that just two weeks--in school--did
that?
MRS. LANE: Yes. Ethel never had a sick day in her life--before. (_A
brief pause_). I took her to the doctor at the end of the two
weeks. He says she’s a nervous wreck.
RACHEL: But what could they have done to her?
MRS. LANE (_Laughs grimly and mirthlessly_): I’ll tell you what they
did the first day. Ethel is naturally sensitive and backward.
She’s not assertive. The teacher saw that, and, after I had left,
told her to sit in a seat in the rear of the class. She was alone
there--in a corner. The children, immediately feeling there was
something wrong with Ethel because of the teacher’s attitude,
turned and stared at her. When the teacher’s back was turned they
whispered about her, pointed their fingers at her and tittered. The
teacher divided the class into two parts, divisions, I believe,
they are called. She forgot all about Ethel, of course, until the
last minute, and then, looking back, said sharply: “That little
girl there may join this division,” meaning the group of pupils
standing around her. Ethel naturally moved slowly. The teacher
called her sulky and told her to lose a part of her recess. When
Ethel came up--the children drew away from her in every direction.
She was left standing alone. The teacher then proceeded to give a
lesson about kindness to animals. Funny, isn’t it, _kindness_ to
_animals_? The children forgot Ethel in the excitement of talking
about their pets. Presently, the teacher turned to Ethel and said
disagreeably: “Have you a pet?” Ethel said, “Yes,” very low. “Come,
speak up, you sulky child, what is it?” Ethel said: “A blind
puppy.” They all laughed, the teacher and all. Strange, isn’t it,
but Ethel loves that puppy. She spoke up: “It’s mean to laugh at a
little blind puppy. I’m glad he’s blind.” This remark brought forth
more laughter. “Why are you glad,” the teacher asked curiously.
Ethel refused to say. (_Pauses_). When I asked her why, do you know
what she told me? “If he saw me, he might not love me any more.”
(_A pause_). Did I tell you that Ethel is only seven years old?
RACHEL (_Drawing her breath sharply_): Oh! I didn’t believe any one
could be as cruel as that--to a little child.
MRS. LANE: It isn’t very pleasant, is it? When the teacher found out
that Ethel wouldn’t answer, she said severely: “Take your seat!” At
recess, all the children went out. Ethel could hear them playing
and laughing and shrieking. Even the teacher went too. She was
made to sit there all alone--in that big room--because God made
her ugly--and black. (_Pauses_). When the recess was half over the
teacher came back. “You may go now,” she said coldly. Ethel didn’t
stir. “Did you hear me?” “Yes’m.” “Why don’t you obey?” “I don’t
want to go out, please.” “You don’t, don’t you, you stubborn child!
Go immediately!” Ethel went. She stood by the school steps. No one
spoke to her. The children near her moved away in every direction.
They stopped playing, many of them, and watched her. They stared as
only children can stare. Some began whispering about her. Presently
one child came up and ran her hand roughly over Ethel’s face. She
looked at her hand and Ethel’s face and ran screaming back to the
others, “It won’t come off! See!” Other children followed the
first child’s example. Then one boy spoke up loudly: “I know what
she is, she’s a nigger!” Many took up the cry. God or the devil
interfered--the bell rang. The children filed in. One boy boldly
called her “Nigger!” before the teacher. She said, “That isn’t
nice,”--but she smiled at the boy. Things went on about the same
for the rest of the day. At the end of school, Ethel put on her hat
and coat--the teacher made her hang them at a distance from the
other pupils’ wraps; and started for home. Quite a crowd escorted
her. They called her “Nigger!” all the way. I _made_ Ethel go the
next day. I complained to the authorities. They treated me lightly.
I was determined not to let them force my child out of school. At
the end of two weeks--I had to take her out.
RACHEL (_Brokenly_): Why,--I never--in all my life--heard
anything--so--pitiful.
MRS. LANE: Did you ever go to school here?
RACHEL: Yes. I was made to feel my color--but I never had an
experience like that.
MRS. LANE: How many years ago were you in the graded schools?
RACHEL: Oh!--around ten.
MRS. LANE (_Laughs grimly_): Ten years! Every year things are getting
worse. Last year wasn’t as bad as this. (_Pauses._) So they treat
the children all right in this school?
RACHEL: Yes! Yes! I know that.
MRS. LANE: I can’t afford to take this flat here, but I’ll take it.
I’m going to have Ethel educated. Although, when you think of
it,--it’s all rather useless--this education! What are our children
going to do with it, when they get it? We strive and save and
sacrifice to educate them--and the whole time--down underneath, we
know--they’ll have no chance.
RACHEL (_Sadly_): Yes, that’s true, all right.--God seems to have
forgotten us.
MRS. LANE: God! It’s all a lie about God. I know.--This fall I
sent Ethel to a white Sunday-school near us. She received the
same treatment there she did in the day school. Her being there,
nearly broke up the school. At the end, the superintendent called
her to him and asked her if she didn’t know of some nice colored
Sunday-school. He told her she must feel out of place, and
uncomfortable there. That’s your Church of God!
RACHEL: Oh! how unspeakably brutal. (_Controls herself with an
effort; after a pause_) Have you any other children?
MRS. LANE (_Dryly_): Hardly! If I had another--I’d kill it. It’s
kinder. (_Rising presently_) Well, I must go, now. Thank you,
for your information--and for listening. (_Suddenly_) You aren’t
married, are you?
RACHEL: No.
MRS. LANE: Don’t marry--that’s my advice. Come, Ethel. (_Ethel gets
up and puts down the things in her lap, carefully upon her chair.
She goes in a hurried, timid way to her mother and clutches her
hand_). Say good-bye to the lady.
ETHEL (_Faintly_): Good-bye.
RACHEL _(Kneeling by the little girl--a beautiful smile on her
face_) Dear little girl, won’t you let me kiss you good-bye? I
love little girls. (_The child hides behind her mother; continuing
brokenly_) Oh!--no child--ever did--that to me--before!
MRS. LANE (_In a gentler voice_): Perhaps, when we move in here,
the first of the month, things may be better. Thank you, again.
Good-morning! You don’t belie your name. (_All three go into the
vestibule. The outside door opens and closes. Rachel as though
dazed and stricken returns. She sits in a chair, leans forward, and
clasping her hands loosely between her knees, stares at the chair
with the apple on it where Ethel Lane has sat. She does not move
for some time. Then she gets up and goes to the window in the rear
center and sits there. She breathes in the air deeply and then goes
to the sewing-machine and begins to sew on something she is making.
Presently her feet slow down on the pedals; she stops; and begins
brooding again. After a short pause, she gets up and begins to pace
up and down slowly, mechanically, her head bent forward. The sharp
ringing of the electric bell breaks in upon this. Rachel starts and
goes slowly into the vestibule. She is heard speaking dully through
the tube_).
RACHEL: Yes!--All right! Bring it up! (_Presently she returns with
a long flower box. She opens it listlessly at the table. Within
are six, beautiful crimson rosebuds with long stems. Rachel looks
at the name on the card. She sinks down slowly on her knee and
leans her head against the table. She sighs wearily_) Oh! John!
John!--What are we to do?--I’m--I’m--afraid! Everywhere--it is
the same thing. My mother! My little brother! Little, black,
crushed Ethel! (_In a whisper_) Oh! God! You who I have been
taught to believe are so good, so beautiful how could--You
permit--these--things? (_Pauses, raises her head and sees the
rosebuds. Her face softens and grows beautiful, very sweetly_).
Dear little rosebuds--you--make me think--of sleeping, curled
up, happy babies. Dear beautiful, little rosebuds! (_Pauses;
goes on thoughtfully to the rosebuds_) When--I look--at you--I
believe--God is beautiful. He who can make a little exquisite thing
like this, and this can’t be cruel. Oh! He can’t mean me--to give
up--love--and the hope of little children. (_There is the sound of
a small hand knocking at the outer door. Rachel smiles_). My Jimmy!
It must be twelve o’clock. (_Rises_). I didn’t dream it was so
late. (_Starts for the vestibule_). Oh! the world can’t be so bad.
I don’t believe it. I won’t. I _must_ forget that little girl. My
little Jimmy is happy--and today John--sent me beautiful rosebuds.
Oh, there are lovely things, yet. (_Goes into the vestibule. A
child’s eager cry is heard; and Rachel carrying Jimmy in her arms
comes in. He has both arms about her neck and is hugging her. With
him in her arms, she sits down in the armchair at the right front_).
RACHEL: Well, honey, how was school today?
JIMMY (_Sobering a trifle_): All right, Ma Rachel. (_Suddenly sees
the roses_) Oh! look at the pretty flowers. Why, Ma Rachel, you
forgot to put them in water. They’ll die.
RACHEL: Well, so they will. Hop down this minute, and I’ll put them
in right away. (_Gathers up box and flowers and goes into the
kitchenette. Jimmy climbs back into the chair. He looks thoughtful
and serious. Rachel comes back with the buds in a tall, glass vase.
She puts the fern on top of the piano, and places the vase in the
centre of the table_). There, honey, that’s better, isn’t it?
Aren’t they lovely?
JIMMY: Yes, that’s lots better. Now they won’t die, will they?
Rosebuds are just like little “chilyun,” aren’t they, Ma Rachel?
If you are good to them, they’ll grow up into lovely roses, won’t
they? And if you hurt them, they’ll die. Ma Rachel do you think
all peoples are kind to little rosebuds?
RACHEL (_Watching Jimmy shortly_): Why, of course. Who could hurt
little children? Who would have the heart to do such a thing?
JIMMY: If you hurt them, it would be lots kinder, wouldn’t it, to
kill them all at once, and not a little bit and a little bit?
RACHEL (_Sharply_): Why, honey boy, why are you talking like this?
JIMMY: Ma Rachel, what is a “Nigger”?
(_Rachel recoils as though she had been struck_).
RACHEL: Honey boy, why--why do you ask that?
JIMMY: Some big boys called me that when I came out of school just
now. They said: “Look at the little nigger!” And they laughed. One
of them runned, no ranned, after me and threw stones; and they all
kept calling “Nigger! Nigger! Nigger!” One stone struck me hard in
the back, and it hurt awful bad; but I didn’t cry, Ma Rachel. I
wouldn’t let them make me cry. The stone hurts me there, Ma Rachel;
but what they called me hurts and hurts here. What is a “Nigger,”
Ma Rachel?
RACHEL (_Controlling herself with a tremendous effort. At last she
sweeps down upon him and hugs and kisses him_): Why, honey boy,
those boys didn’t mean anything. Silly, little, honey boy! They’re
rough, that’s all. How _could_ they mean anything?
JIMMY: You’re only saying that, Ma Rachel, so I won’t be hurt. I
know. It wouldn’t ache here like it does--if they didn’t mean
something.
RACHEL (_Abruptly_): Where’s Mary, honey?
JIMMY: She’s in her flat. She came in just after I did.
RACHEL: Well, honey, I’m going to give you two big cookies and two to
take to Mary; and you may stay in there and play with her, till I
get your lunch ready. Won’t that be jolly?
JIMMY (_Brightening a little_): Why, you never give me but one at a
time. You’ll give me two?--One? Two? (_Rachel gets the cookies and
brings them to him. Jimmy climbs down from the chair_). Shoo! now,
little honey boy. See how many laughs you can make for me, before I
come after you. Hear? Have a good time, now. (_Jimmy starts for the
door quickly; but he begins to slow down. His face gets long and
serious again. Rachel watches him_).
RACHEL (_Jumping at him_): Shoo! Shoo! Get out of here quickly,
little chicken. (_She follows him out. The outer door opens and
shuts. Presently she returns. She looks old and worn and grey;
calmly. Pauses_). First, it’s little, black Ethel--and then’s
it’s Jimmy. Tomorrow, it will be some other little child. The
blight--sooner or later--strikes all. My little Jimmy, only
seven years old poisoned! (_Through the open window comes the
laughter of little children at play. Rachel, shuddering, covers
her ears_). And once I said, centuries ago, it must have been:
“How can life be so terrible, when there are little children in
the world?” Terrible! Terrible! (_In a whisper, slowly_) That’s
the reason it is so terrible. (_The laughter reaches her again;
this time she listens_). And, suddenly, some day, from out of the
black, the blight shall descend, and shall still forever--the
laughter on those little lips, and in those little hearts. (_Pauses
thoughtfully_). And the loveliest thing--almost, that ever happened
to me, that beautiful voice, in my dream, those beautiful words:
“Rachel, you are to be the mother to little children.” (_Pauses,
then slowly and with dawning surprise_). Why, God, you were making
a mock of me; you were laughing at me. I didn’t believe God could
laugh at our sufferings, but He can. We are accursed, accursed!
We have nothing, absolutely nothing. (_Strong’s rosebuds attract
her attention. She goes over to them, puts her hand out as if to
touch them, and then shakes her head, very sweetly_) No, little
rosebuds, I may not touch you. Dear, little, baby rosebuds,--I
am accursed. (_Gradually her whole form stiffens, she breathes
deeply; at last slowly_). You God!--You terrible, laughing God!
Listen! I swear--and may my soul be damned to all eternity,
if I do break this oath--I swear--that no child of mine shall
ever lie upon my breast, for I will not have it rise up, in the
terrible days that are to be--and call me cursed. (_A pause, very
wistfully; questioningly_). Never to know the loveliest thing in
all the world--the feel of a little head, the touch of little
hands, the beautiful utter dependence--of a little child? (_With
sudden frenzy_) You can laugh, Oh God! Well, so can I. (_Bursts
into terrible, racking laughter_) But I can be kinder than You.
(_Fiercely she snatches the rosebuds from the vase, grasps them
roughly, tears each head from the stem, and grinds it under her
feet. The vase goes over with a crash; the water drips unheeded
over the table-cloth and floor_). If I kill, You Mighty God, I kill
at once--I do not torture. (_Falls face downward on the floor. The
laughter of the children shrills loudly through the window_).
ACT III
ACT III.
TIME: _Seven o’clock in the evening, one week later_.
PLACE: _The same room. There is a coal fire in the grate. The
curtains are drawn. A lighted oil lamp with a dark green
porcelain shade is in the center of the table. Mrs. Loving and
Tom are sitting by the table, Mrs. Loving sewing, Tom reading.
There is the sound of much laughter and the shrill screaming of
a child from the bedrooms. Presently Jimmy clad in a flannelet
sleeping suit, covering all of him but his head and hands, chases
a pillow, which has come flying through the doorway at the rear.
He struggles with it, finally gets it in his arms, and rushes as
fast as he can through the doorway again. Rachel jumps at him
with a cry. He drops the pillow and shrieks. There is a tussle
for possession of it, and they disappear. The noise grows louder
and merrier. Tom puts down his paper and grins. He looks at his
mother._
TOM: Well, who’s the giddy one in this family now?
MRS. LOVING (_Shaking her head in a troubled manner_): I don’t like
it. It worries me. Rachel--(_Breaks off_).
TOM: Have you found out, yet--
MRS. LOVING (_Turning and looking toward the rear doorway, quickly
interrupting him_): Sh! (_Rachel, laughing, her hair tumbling over
her shoulders, comes rushing into the room. Jimmy is in close
pursuit. He tries to catch her, but she dodges him. They are both
breathless_).
MRS. LOVING (_Deprecatingly_): Really, Rachel, Jimmy will be so
excited he won’t be able to sleep. It’s after his bedtime, now.
Don’t you think you had better stop?
RACHEL: All right, Ma dear. Come on, Jimmy; let’s play “Old Folks”
and sit by the fire. (_She begins to push the big armchair over to
the fire. Tom jumps up, moves her aside, and pushes it himself.
Jimmy renders assistance._)
TOM: Thanks, Big Fellow, you are “sure some” strong. I’ll remember
you when these people around here come for me to move pianos and
such things around. Shake! (_They shake hands_).
JIMMY (_Proudly_): I am awful strong, am I not?
TOM: You “sure” are a Hercules. (_Hurriedly, as Jimmy’s mouth and
eyes open wide_). And see here! don’t ask me tonight who that was.
I’ll tell you the first thing tomorrow morning. Hear? (_Returns to
his chair and paper_).
RACHEL (_Sitting down_): Come on, honey boy, and sit in my lap.
JIMMY (_Doubtfully_): I thought we were going to play “Old Folks.”
RACHEL: We are.
JIMMY: Do old folks sit in each other’s laps?
RACHEL: Old folks do anything. Come on.
JIMMY (_Hesitatingly climbs into her lap, but presently snuggles
down and sighs audibly from sheer content; Rachel starts to bind
up her hair_): Ma Rachel, don’t please! I like your hair like
that. You’re--you’re pretty. I like to feel of it; and it smells
like--like--oh!--like a barn.
RACHEL: My! how complimentary! I like that. Like a barn, indeed!
JIMMY: What’s “complimentry”?
RACHEL: Oh! saying nice things about me. (_Pinching his cheek and
laughing_) That my hair is like a barn, for instance.
JIMMY (_Stoutly_): Well, that is “complimentary.” It smells like
hay--like the hay in the barn you took me to, one day, last summer.
’Member?
RACHEL: Yes honey.
JIMMY (_After a brief pause_): Ma Rachel!
RACHEL: Well?
JIMMY: Tell me a story, please. It’s “story-time,” now, isn’t it?
RACHEL: Well, let’s see. (_They both look into the fire for a space;
beginning softly_) Once upon a time, there were two, dear, little
boys, and they were all alone in the world. They lived with a
cruel, old man and woman, who made them work hard, very hard--all
day, and beat them when they did not move fast enough, and always,
every night, before they went to bed. They slept in an attic on
a rickety, narrow bed, that went screech! screech! whenever they
moved. And, in summer, they nearly died with the heat up there,
and in winter, with the cold. One wintry night, when they were
both weeping very bitterly after a particularly hard beating, they
suddenly heard a pleasant voice saying: “Why are you crying, little
boys?” They looked up, and there, in the moonlight, by their bed,
was the dearest, little old lady. She was dressed all in gray,
from the peak of her little pointed hat to her little, buckled
shoes. She held a black cane much taller than her little self.
Her hair fell about her ears in tiny, grey corkscrew curls, and
they bobbed about as she moved. Her eyes were black and bright--as
bright as--well, as that lovely, white light there. No, there! And
her cheeks were as red as the apple I gave you yesterday. Do you
remember?
JIMMY (_Dreamily_): Yes.
RACHEL: “Why are you crying, little boys?” she asked again, in a
lovely, low, little voice. “Because we are tired and sore and
hungry and cold; and we are all alone in the world; and we don’t
know how to laugh any more. We should so like to laugh again.”
“Why, that’s easy,” she said, “it’s just like this.” And she
laughed a little, joyous, musical laugh. “Try!” she commanded.
They tried, but their laughing boxes were very rusty, and they
made horrid sounds. “Well,” she said, “I advise you to pack up,
and go away, as soon as you can, to the Land of Laughter. You’ll
soon learn there, I can tell you.” “Is there such a land?” they
asked doubtfully. “To be sure there is,” she answered the least bit
sharply. “We never heard of it,” they said. “Well, I’m sure there
must be plenty of things you never heard about,” she said just
the “leastest” bit more sharply. “In a moment you’ll be telling
me flowers don’t talk together, and the birds.” “We never heard
of such a thing,” they said in surprise, their eyes like saucers.
“There!” she said, bobbing her little curls. “What did I tell you?
You have much to learn.” “How do you get to the Land of Laughter?”
they asked. “You go out of the eastern gate of the town, just as
the sun is rising; and you take the highway there, and follow it;
and if you go with it long enough, it will bring you to the very
gates of the Land of Laughter. It’s a long, long way from here;
and it will take you many days.” The words had scarcely left her
mouth, when, lo! the little lady disappeared, and where she had
stood was the white square of moonlight--nothing else. And without
more ado these two little boys put their arms around each other
and fell fast asleep. And in the grey, just before daybreak, they
awoke and dressed; and, putting on their ragged caps and mittens,
for it was a wintry day, they stole out of the house and made for
the eastern gate. And just as they reached it, and passed through,
the whole east leapt into fire. All day they walked, and many
days thereafter, and kindly people, by the way, took them in and
gave them food and drink and sometimes a bed at night. Often they
slept by the roadside, but they didn’t mind that for the climate
was delightful--not too hot, and not too cold. They soon threw away
their ragged little mittens. They walked for many days, and there
was no Land of Laughter. Once they met an old man, richly dressed,
with shining jewels on his fingers, and he stopped them and asked:
“Where are you going so fast, little boys?” “We are going to the
Land of Laughter,” they said together gravely. “That,” said the
old man, “is a very foolish thing to do. Come with me, and I will
take you to the Land of Riches. I will cover you with garments of
beauty, and give you jewels and a castle to live in and servants
and horses and many things besides.” And they said to him: “No,
we wish to learn how to laugh again; we have forgotten how, and
we are going to the Land of Laughter.” “You will regret not going
with me. See, if you don’t,” he said; and he left them in quite
a huff. And they walked again, many days, and again they met an
old man. He was tall and imposing-looking and very dignified.
And he said: “Where are you going so fast, little boys?” “We are
going to the Land of Laughter,” they said together very seriously.
“What!” he said, “that is an extremely foolish thing to do. Come
with me, and I will give you power. I will make you great men:
generals, kings, emperors, Whatever you desire to accomplish will
be permitted you.” And they smiled politely: “Thank you very much,
but we have forgotten how to laugh, and we are going there to
learn how.” He looked upon them haughtily, without speaking, and
disappeared. And they walked and walked more days; and they met
another old man. And he was clad in rags, and his face was thin,
and his eyes were unhappy. And he whispered to them: “Where are
you going so fast, little boys?” “We are going to the Land of
Laughter,” they answered, without a smile. “Laughter! Laughter!
that is useless. Come with me and I will show you the beauty of
life through sacrifice, suffering for others. That is the only
life. I come from the Land of Sacrifice.” And they thanked him
kindly, but said: “We have suffered long enough. We have forgotten
how to laugh. We would learn again.” And they went on; and he
looked after them very wistfully. They walked more days, and at
last they came to the Land of Laughter. And how do you suppose they
knew this? Because they could hear, over the wall, the sound of
joyous laughter,--the laughter of men, women, and children. And one
sat guarding the gate, and they went to her. “We have come a long,
long distance; and we would enter the Land of Laughter.” “Let me
see you smile, first,” she said gently. “I sit at the gate; and no
one who does not know how to smile may enter the Land of Laughter.”
And they tried to smile, but could not. “Go away and practice,”
she said kindly, “and come back tomorrow.” And they went away, and
practiced all night how to smile; and in the morning they returned,
and the gentle lady at the gate said: “Dear little boys, have you
learned how to smile?” And they said: “We have tried. How is this?”
“Better,” she said, “much better. Practice some more, and come
back tomorrow.” And they went away obediently and practiced, And
they came the third day. And she said: “Now try again.” And tears
of delight came into her lovely eyes. “Those were very beautiful
smiles,” she said. “Now, you may enter.” And she unlocked the gate,
and kissed them both, and they entered the Land--the beautiful Land
of Laughter. Never had they seen such blue skies, such green trees
and grass; never had they heard such birds songs. And people, men,
women and children, laughing softly, came to meet them, and took
them in, and made them as home; and soon, very soon, they learned
to sleep. And they grew up here, and married, and had laughing,
happy children. And sometimes they thought of the Land of Riches,
and said: “Ah! well!” and sometimes of the Land of Power, and
sighed a little; and sometimes of the Land of Sacrifice--and their
eyes were wistful. But they soon forgot, and laughed again. And
they grew old, laughing. And then when they died--a laugh was on
their lips. Thus are things in the beautiful Land of Laughter.
(_There is a long pause_).
JIMMY: I like that story, Ma Rachel. It’s nice to laugh, isn’t is? Is
there such a land?
RACHEL (_Softly_): What do you think, honey?
JIMMY: I thinks it would be awful nice if there was. Don’t you?
RACHEL (_Wistfully_): If there only were! If there only were!
JIMMY: Ma Rachel.
RACHEL: Well?
JIMMY: It makes you think--kind of--doesn’t it--of sunshine medicine?
RACHEL: Yes, honey,--but it isn’t medicine there. It’s always
there--just like--well--like our air here. It’s _always_ sunshine
there.
JIMMY: Always sunshine? Never any dark?
RACHEL: No, honey.
JIMMY: You’d--never--be--afraid there, then, would you? Never afraid
of nothing?
RACHEL: No, honey.
JIMMY (_With a big sigh_): Oh!--Oh! I _wisht_ it was here--not there.
(_Puts his hand up to Rachel’s face; suddenly sits up and looks at
her_). Why, Ma Rachel dear, you’re crying. Your face is all wet.
Why! Don’t cry! Don’t cry!
RACHEL (_Gently_): Do you remember that I told you the lady at the
gate had tears of joy in her eyes, when the two, dear, little boys
smiled that beautiful smile?
JIMMY: Yes.
RACHEL: Well, these are tears of joy, honey, that’s all--tears of joy.
JIMMY: It must be awful queer to have tears of joy, ’cause you’re
happy. I never did. (_With a sigh_). But, if you say they are, dear
Ma Rachel, they must be. You knows everything, don’t you?
RACHEL (_Sadly_): Some things, honey, some things. (_A silence_).
JIMMY (_Sighing happily_): This is the beautiful-est night I ever
knew. If you would do just one more thing, it would be lots more
beautiful. Will you, Ma Rachel?
RACHEL: Well, what, honey?
JIMMY: Will you sing--at the piano, I mean, it’s lots prettier that
way--the little song you used to rock me to sleep by? You know, the
one about the “Slumber Boat”?
RACHEL: Oh! honey, not tonight. You’re too tired. It’s bedtime now.
JIMMY (_Patting her face with his little hand; wheedlingly_): Please!
Ma Rachel, please! pretty please!
RACHEL: Well, honey boy, this once, then. Tonight, you shall have the
little song--I used to sing you to sleep by (_half to herself_)
perhaps, for the last time.
JIMMY: Why, Ma Rachel, why the last time?
RACHEL (_Shaking her head sadly, goes to the piano; in a whisper_):
The last time. (_She twists up her hair into a knot at the back
of her head and looks at the keys for a few moments; then she
plays the accompaniment of the “Slumber Boat” through softly,
and, after a moment, sings. Her voice is full of pent-up longing,
and heartbreak, and hopelessness. She ends in a little sob, but
attempts to cover it by singing, lightly and daintily, the chorus
of “The Owl and the Moon.” ... Then softly and with infinite
tenderness, almost against her will, she plays and sings again the
refrain of the “Slumber Boat”_):
“Sail, baby, sail
Out from that sea,
Only don’t forget to sail
Back again to me.”
(_Presently she rises and goes to Jimmy, who is lolling back
happily in the big chair. During the singing, Tom and Mrs. Loving
apparently do not listen; when she sobs, however, Tom’s hand on
his paper tightens; Mrs. Loving’s needle poises for a moment in
mid-air. Neither looks at Rachel. Jimmy evidently has not noticed
the sob_).
RACHEL (_Kneeling by Jimmy_): Well, honey, how did you like it?
JIMMY (_Proceeding to pull down her hair from the twist_): It was
lovely, Ma Rachel. (_Yawns audibly_). Now, Ma Rachel, I’m just
beautifully sleepy. (_Dreamily_) I think that p’r’aps I’ll go to
the Land of Laughter tonight in my dreams. I’ll go in the “Slumber
Boat” and come back in the morning and tell you all about it. Shall
I?
RACHEL: Yes, honey. (_Whispers_)
“Only don’t forget to sail
Back again to me.”
TOM (_Suddenly_): Rachel! (_Rachel starts slightly_). I nearly
forgot. John is coming here tonight to see how you are. He told me
to tell you so.
RACHEL (_Stiffens perceptibly, then in different tones_): Very
well. Thank you. (_Suddenly with a little cry she puts her arms
around Jimmy_) Jimmy! honey! don’t go tonight. Don’t go without Ma
Rachel. Wait for me, honey. I do so wish to go, too, to the Land of
Laughter. Think of it, Jimmy; nothing but birds always singing, and
flowers always blooming, and skies always blue--and people, all of
them, always laughing, laughing. You’ll wait for Ma Rachel, won’t
you, honey?
JIMMY: Is there really and truly, Ma Rachel, a Land of Laughter?
RACHEL: Oh! Jimmy, let’s hope so; let’s pray so.
JIMMY (_Frowns_): I’ve been thinking--(_Pauses_). You have to smile
at the gate, don’t you, to get in?
RACHEL: Yes, honey.
JIMMY: Well, I guess I couldn’t smile if my Ma Rachel wasn’t
somewhere close to me. So I couldn’t get in after all, could I?
Tonight, I’ll go somewhere else, and tell you all about it. And
then, some day, we’ll go together, won’t we?
RACHEL (_Sadly_): Yes, honey, some day--some day. (_A short
silence_). Well, this isn’t going to “sleepy-sleep,” is it? Go,
now, and say good-night to Ma Loving and Uncle Tom.
JIMMY (_Gets down obediently, and goes first to Ma Loving. She leans
over, and he puts his little arms around her neck. They kiss; very
sweetly_): Sweet dreams! God keep you all the night!
MRS. LOVING: The sweetest of sweet dreams to you, dear little boy!
Good-night! (_Rachel watches, unwatched, the scene. Her eyes are
full of yearning_).
JIMMY (_Going to Tom, who makes believe he does not see him_): Uncle
Tom!
TOM _(Jumps as though tremendously startled; Jimmy laughs_): My! how
you frightened me. You’ll put my gizzard out of commission, if you
do that often. Well, sir, what can I do for you?
JIMMY: I came to say good-night.
TOM (_Gathering Jimmy up in his arms and kissing him; gently and with
emotion_) Good-night, dear little Big Fellow! Good-night!
JIMMY: Sweet dreams! God keep you all the night! (_Goes sedately to
Rachel, and holds out his little hand_). I’m ready, Ma Rachel.
(_Yawns_) I’m so nice and sleepy.
RACHEL (_With Jimmy’s hand in hers, she hesitates a moment, and then
approaches Tom slowly. For a short time she stands looking down at
him; suddenly leaning over him_): Why, Tom, what a pretty tie! Is
it new?
TOM: Well, no, not exactly. I’ve had it about a month. It is rather a
beauty, isn’t it?
RACHEL: Why, I never remember seeing it.
TOM (_Laughing_): I guess not. I saw to that.
RACHEL: Stingy!
TOM: Well, I am--where my ties are concerned. I’ve had experience.
RACHEL (_Tentatively_): Tom!
TOM: Well?
RACHEL (_Nervously and wistfully_): Are you--will you--I mean, won’t
you be home this evening?
TOM: You’ve got a long memory, Sis. I’ve that engagement, you know.
Why?
RACHEL (_Slowly_): I forgot; so you have.
TOM: Why?
RACHEL (_Hastily_): Oh! nothing--nothing. Come on, Jimmy boy, you can
hardly keep those little peepers open, can you? Come on, honey.
(_Rachel and Jimmy go out the rear doorway. There is a silence_).
MRS. LOVING (_Slowly, as though thinking aloud_): I try to make out
what could have happened; but it’s no use--I can’t. Those four
days, she lay in bed hardly moving, scarcely speaking. Only her
eyes seemed alive. I never saw such a wide, tragic look in my life.
It was as though her soul had been mortally wounded. But how? how?
What could have happened?
TOM (_Quietly_): I don’t know. She generally tells me everything; but
she avoids me now. If we are alone in a room--she gets out. I don’t
know what it means.
MRS. LOVING: She will hardly let Jimmy out of her sight. While he’s
at school, she’s nervous and excited. She seems always to be
listening, but for what? When he returns, she nearly devours him.
And she always asks him in a frightened sort of way, her face as
pale and tense as can be: “Well, honey boy, how was school today?”
And he always answers, “Fine, Ma Rachel, fine! I learned--”; and
then he goes on to tell her everything that has happened. And when
he has finished, she says in an uneasy sort of way: “Is--is that
all?” And when he says “Yes,” she relaxes and becomes limp. After a
little while she becomes feverishly happy. She plays with Jimmy and
the children more than ever she did--and she played a good deal,
as you know. They’re here, or she’s with them. Yesterday, I said
in remonstrance, when she came in, her face pale and haggard and
black hollows under her eyes: “Rachel, remember you’re just out of
a sick-bed. You’re not well enough to go on like this.” “I know,”
was all she would say, “but I’ve got to. I can’t help myself.
This part of their little lives must be happy--it just must be.”
(_Pauses_). The last couple of nights, Jimmy has awakened and cried
most pitifully. She wouldn’t let me go to him; said I had enough
trouble, and she could quiet him. She never will let me know why
he cries; but she stays with him, and soothes him until, at last,
he falls asleep again. Every time she has come out like a rag; and
her face is like a dead woman’s. Strange isn’t it, this is the
first time we have ever been able to talk it over? Tom, what could
have happened?
TOM: I don’t know, Ma, but I feel, as you do; something terrible
and sudden has hurt her soul; and, poor little thing, she’s
trying bravely to readjust herself to life again. (_Pauses, looks
at his watch and then rises, and goes to her. He pats her back
awkwardly_). Well, Ma, I’m going now. Don’t worry too much. Youth,
you know, gets over things finally. It takes them hard, that’s
all--. At least, that’s what the older heads tell us. (_Gets his
hat and stands in the vestibule doorway_). Ma, you know, I begin
with John tomorrow. (_With emotion_) I don’t believe we’ll ever
forget John. Good-night! (_Exit. Mrs. Loving continues to sew.
Rachel, her hair arranged, reenters through the rear doorway. She
is humming_).
RACHEL: He’s sleeping like a top. Aren’t little children, Ma dear,
the sweetest things, when they’re all helpless and asleep? One
little hand is under his cheek; and he’s smiling. (_Stops suddenly,
biting her lips. A pause_) Where’s Tom?
MRS. LOVING: He went out a few minutes ago.
RACHEL (_Sitting in Tom’s chair and picking up his paper. She is
exceedingly nervous. She looks the paper over rapidly; presently
trying to make her tone casual_): Ma,--you--you--aren’t going
anywhere tonight, are you?
MRS. LOVING: I’ve got to go out for a short time about half-past
eight. Mrs. Jordan, you know. I’ll not be gone very long, though.
Why?
RACHEL: Oh! nothing particular. I just thought it would be cosy if we
could sit here together the rest of the evening. Can’t you--can’t
you go tomorrow?
MRS. LOVING: Why, I don’t see how I can. I’ve made the engagement.
It’s about a new reception gown; and she’s exceedingly exacting, as
you know. I can’t afford to lose her.
RACHEL: No, I suppose not. All right, Ma dear. (_Presently, paper in
hand, she laughs, but not quite naturally_). Look! Ma dear! How is
that for fashion, anyway? Isn’t it the “limit”? (_Rises and shows
her mother a picture in the paper. As she is in the act, the bell
rings. With a startled cry_). Oh! (_Drops the paper, and grips her
mother’s hand_).
MRS. LOVING (_Anxiously_): Rachel, your nerves are right on edge; and
your hand feels like fire. I’ll have to see a doctor about you; and
that’s all there is to it.
RACHEL (_Laughing nervously, and moving toward the vestibule_).
Nonsense, Ma dear! Just because I let out a whoop now and then,
and have nice warm hands? (_Goes out, is heard talking through the
tube_) Yes! (_Her voice emitting tremendous relief_). Oh! bring
it right up! (_Appearing in the doorway_) Ma dear, did you buy
anything at Goddard’s today?
MRS. LOVING: Yes; and I’ve been wondering why they were so late in
delivering it. I bought it early this morning. (_Rachel goes out
again. A door opens and shuts. She reappears with a bundle_).
MRS. LOVING: Put it on my bed, Rachel, please. (_Exit Rachel rear
doorway; presently returns empty-handed; sits down again at the
table with the paper between herself and mother; sinks in a deep
revery. Suddenly there is the sound of many loud knocks made by
numerous small fists. Rachel drops the paper, and comes to a
sitting posture, tense again. Her mother looks at her, but says
nothing. Almost immediately Rachel relaxes_).
RACHEL: My kiddies! They’re late, this evening. (_Goes out into the
vestibule. A door opens and shuts. There is the shrill, excited
sound of childish voices. Rachel comes in surrounded by the
children, all trying to say something to her at once. Rachel puts
her finger on her lip and points toward the doorway in the rear.
They all quiet down. She sits on the floor in the front of the
stage, and the children all cluster around her. Their conversation
takes place in a half-whisper. As they enter they nod brightly at
Mrs. Loving, who smiles in return_). Why so late, kiddies? It’s
long past “sleepy-time.”
LITTLE NANCY: We’ve been playing “Hide and Seek,” and having the
mostest fun. We promised, all of us, that if we could play until
half-past seven tonight we wouldn’t make any fuss about going to
bed at seven o’clock the rest of the week. It’s awful hard to go. I
_hate_ to go to bed!
LITTLE MARY, LOUISE and EDITH: So do I! So do I! So do I!
LITTLE MARTHA: I don’t. I love bed. My bed, after my muzzer tucks me
all in, is like a nice warm bag. I just stick my nose out. When I
lifts my head up I can see the light from the dining-room come in
the door. I can hear my muzzer and fazzer talking nice and low; and
then, before I know it, I’m fast asleep, and I dream pretty things,
and in about a minute it’s morning again. I love my little bed, and
I love to dream.
LITTLE MARY (_Aggressively_): Well, I guess I love to dream too. I
wish I could dream, though, without going to bed.
LITTLE NANCY: When I grow up, I’m never going to bed at night!
(_Darkly_) You see.
LITTLE LOUISE: “Grown-ups” just love to poke their heads out of
windows and cry, “Child’run, it’s time for bed now; and you’d
better hurry, too, I can tell you.” They “sure” are queer, for
sometimes when I wake up, it must be about twelve o’clock, I can
hear my big sister giggling and talking to some silly man. If it’s
good for me to go to bed early--I should think--
RACHEL (_Interrupting suddenly_): Why, where is my little Jenny?
Excuse me, Louise dear.
LITTLE MARTHA: Her cold is awful bad. She coughs like this (_giving a
distressing imitation_) and snuffles all the time. She can’t talk
out loud, and she can’t go to sleep. Muzzer says she’s fev’rish--I
thinks that’s what she says. Jenny says she knows she could go to
sleep, if you would come and sit with her a little while.
RACHEL: I certainly will. I’ll go when you do, honey.
LITTLE MARTHA (_Softly stroking Rachel’s arm_): You’re the very
nicest “grown-up”, (_loyally_) except my muzzer, of course, I ever
knew. You knows all about little chil’run and you can be one,
although you’re all grown up. I think you would make a lovely
muzzer. (_To the rest of the children_) Don’t you?
ALL (_In excited whispers_): Yes, I do.
RACHEL (_Winces, then says gently_): Come, kiddies, you must go now,
or your mothers will blame me for keeping you. (_Rises, as do the
rest. Little Martha puts her hand into Rachel’s_). Ma dear, I’m
going down to sit a little while with Jenny. I’ll be back before
you go, though. Come, kiddies, say good-night to my mother.
ALL (_Gravely_): Good-night! Sweet dreams! God keep you all the night.
MRS. LOVING: Good-night dears! Sweet dreams, all!
(_Exeunt Rachel and the children._
_Mrs. Loving continues to sew. The bell presently rings three
distinct times. In a few moments, Mrs. Loving gets up and goes out
into the vestibule. A door opens and closes. Mrs. Loving and John
Strong come in. He is a trifle pale but his imperturbable self.
Mrs. Loving, somewhat nervous, takes her seat and resumes her
sewing. She motions Strong to a chair. He returns to the vestibule,
leaves his hat, returns, and sits down_).
STRONG: Well, how is everything?
MRS. LOVING: Oh! about the same, I guess. Tom’s out. John, we’ll
never forget you--and your kindness.
STRONG: That was nothing. And Rachel?
MRS. LOVING: She’ll be back presently. She went to sit with a sick
child for a little while.
STRONG: And how is she?
MRS. LOVING: She’s not herself yet, but I think she is better.
STRONG (_After a short pause_): Well, what _did_ happen--exactly?
MRS. LOVING: That’s just what I don’t know.
STRONG: When you came home--you couldn’t get in--was that it?
MRS. LOVING: Yes. (_Pauses_). It was just a week ago today. I was
down town all the morning. It was about one o’clock when I got
back. I had forgotten my key. I rapped on the door and then called.
There was no answer. A window was open, and I could feel the air
under the door, and I could hear it as the draught sucked it
through. There was no other sound. Presently I made such a noise
the people began to come out into the hall. Jimmy was in one of the
flats playing with a little girl named Mary. He told me he had left
Rachel here a short time before. She had given him four cookies,
two for him and two for Mary, and had told him he could play with
her until she came to tell him his lunch was ready. I saw he was
getting frightened, so I got the little girl and her mother to keep
him in their flat. Then, as no man was at home, I sent out for
help. Three men broke the door down. (_Pauses_). We found Rachel
unconscious, lying on her face. For a few minutes I thought she
was dead. (_Pauses_). A vase had fallen over on the table and the
water had dripped through the cloth and onto the floor. There had
been flowers in it. When I left, there were no flowers here. What
she could have done to them, I can’t say. The long stems were lying
everywhere, and the flowers had been ground into the floor. I could
tell that they must have been roses from the stems. After we had
put her to bed and called the doctor, and she had finally regained
consciousness, I very naturally asked her what had happened. All
she would say was, “Ma dear, I’m too--tired--please.” For four days
she lay in bed scarcely moving, speaking only when spoken to. That
first day, when Jimmy came in to see her, she shrank away from him.
We had to take him out, and comfort him as best we could. We kept
him away, almost by force, until she got up. And, then, she was
utterly miserable when he was out of her sight. What happened, I
don’t know. She avoids Tom, and she won’t tell me. (_Pauses_). Tom
and I both believe her soul has been hurt. The trouble isn’t with
her body. You’ll find her highly nervous. Sometimes she is very
much depressed; again she is feverishly gay--almost reckless. What
do you think about it, John?
STRONG (_Who has listened quietly_): Had anybody been here, do you
know?
MRS. LOVING: No, I don’t. I don’t like to ask Rachel; and I can’t ask
the neighbors.
STRONG: No, of course not. (_Pauses_). You say there were some
flowers?
MRS. LOVING: Yes.
STRONG: And the flowers were ground into the carpet?
MRS. LOVING: Yes.
STRONG: Did you happen to notice the box? They must have come in a
box, don’t you think?
MRS. LOVING: Yes, there was a box in the kitchenette. It was from
“Marcy’s.” I saw no card.
STRONG (_Slowly_): It is rather strange. (_A long silence, during
which the outer door opens and shuts. Rachel is heard singing. She
stops abruptly. In a second or two she appears in the door. There
is an air of suppressed excitement about her_).
RACHEL: Hello! John. (_Strong rises, nods at her, and brings forward
for her the big arm-chair near the fire_). I thought that was your
hat in the hall. It’s brand new, I know--but it looks--“Johnlike.”
How are you? Ma! Jenny went to sleep like a little lamb. I don’t
like her breathing, though. (_Looks from one to the other;
flippantly_) Who’s dead? (_Nods her thanks to Strong for the chair
and sits down_).
MRS. LOVING: Dead, Rachel?
RACHEL: Yes. The atmosphere here is so funereal,--it’s positively
“crapey.”
STRONG: I don’t know why it should be--I was just asking how you are.
RACHEL: Heavens! Does the mere inquiry into my health precipitate
such an atmosphere? Your two faces were as long, as long--(_Breaks
off_). Kind sir, let me assure you, I am in the very best of
health. And how are you, John?
STRONG: Oh! I’m always well. (_Sits down_).
MRS. LOVING: Rachel, I’ll have to get ready to go now. John, don’t
hurry. I’ll be back shortly, probably in three-quarters of an
hour--maybe less.
RACHEL: And maybe more, if I remember Mrs. Jordan. However, Ma
dear, I’ll do the best I can--while you are away. I’ll try to be
a credit to your training. (_Mrs. Loving smiles and goes out
the rear doorway_). Now, let’s see--in the books of etiquette, I
believe, the properly reared young lady, always asks the young
gentleman caller--you’re young enough, aren’t you, to be classed
still as a “young gentleman caller?” (_No answer_). Well, anyway,
she always asks the young gentleman caller sweetly something about
the weather. (_Primly_) This has been an exceedingly beautiful day,
hasn’t it, Mr. Strong? (_No answer from Strong, who, with his head
resting against the back of the chair, and his knees crossed is
watching her in an amused, quizzical manner_). Well, really, every
properly brought up young gentleman, I’m sure, ought to know, that
it’s exceedingly rude not to answer a civil question.
STRONG (_Lazily_): Tell me what to answer, Rachel.
RACHEL: Say, “Yes, Very”; and look interested and pleased when you
say it.
STRONG (_With a half-smile_): Yes, very.
RACHEL: Well, I certainly wouldn’t characterize that as a
particularly animated remark. Besides, when you look at me through
half-closed lids like that--and kind of smile--what are you
thinking? (_No answer_) John Strong, are you deaf or--just plain
stupid?
STRONG: Plain stupid, I guess.
RACHEL (_In wheedling tones_): What were you thinking, John?
STRONG (_Slowly_): I was thinking--(_Breaks off_).
RACHEL (_Irritably_): Well?
STRONG: I’ve changed my mind.
RACHEL: You’re not going to tell me?
STRONG: No.
(_Mrs. Loving dressed for the street comes in_).
MRS. LOVING: Goodbye, children. Rachel, don’t quarrel so much with
John. Let me see--if I have my key. (_Feels in her bag_) Yes, I
have it. I’ll be back shortly. Good-bye. (_Strong and Rachel rise.
He bows_).
RACHEL: Good-bye, Ma dear. Hurry back as soon as you can, won’t you?
(_Exit Mrs. Loving through the vestibule. Strong leans back again
in his chair, and watches Rachel through half-closed eyes. Rachel
sits in her chair nervously_).
STRONG: Do you mind, if I smoke?
RACHEL: You know I don’t.
STRONG: I am trying to behave like--Reginald--“the properly reared
young gentleman caller.” (_Lights a cigar; goes over to the fire,
and throws his match away. Rachel goes into the kitchenette, and
brings him a saucer for his ashes. She places it on the table near
him_). Thank you. (_They both sit again, Strong very evidently
enjoying his cigar and Rachel_). Now this is what I call cosy.
RACHEL: Cosy! Why?
STRONG: A nice warm room--shut in--curtains drawn--a cheerful fire
crackling at my back--a lamp, not an electric or gas one, but one
of your plain, old-fashioned kerosene ones--.
RACHEL (_Interrupting_): Ma dear would like to catch you, I am sure,
talking about _her_ lamp like that. “Old-fashioned! plain!”--You
have nerve.
STRONG (_Continuing as though he had not been interrupted_): A
comfortable chair--a good cigar--and not very far away, a little
lady, who is looking charming, so near, that if I reached over, I
could touch her. You there--and I here.--It’s living.
RACHEL: Well! of all things! A compliment--and from _you_! How did it
slip out, pray? (_No answer_). I suppose that you realize that a
conversation between two persons is absolutely impossible, if one
has to do her share all alone. Soon my ingenuity for introducing
interesting subjects will be exhausted; and then will follow what,
I believe, the story books call, “an uncomfortable silence.”
STRONG (_Slowly_): Silence--between friends--isn’t such a bad thing.
RACHEL: Thanks awfully. (_Leans back; cups her cheek in her hand,
and makes no pretense at further conversation. The old look of
introspection returns to her eyes. She does not move_).
STRONG (_Quietly_): Rachel! (_Rachel starts perceptibly_) You must
remember I’m here. I don’t like looking into your soul--when you
forget you’re not alone.
RACHEL: I hadn’t forgotten.
STRONG: Wouldn’t it be easier for you, little girl, if you could
tell--some one?
RACHEL: No. (_A silence_).
STRONG: Rachel,--you’re fond of flowers,--aren’t you?
RACHEL: Yes.
STRONG: Rosebuds--red rosebuds--particularly?
RACHEL (_Nervously_): Yes.
STRONG: Did you--dislike--the giver?
RACHEL (_More nervously; bracing herself_): No, of course not.
STRONG: Rachel,--why--why--did you--kill the roses--then?
RACHEL (_Twisting her hands_): Oh, John! I’m so sorry, Ma dear told
you that. She didn’t know, you sent them.
STRONG: So I gathered. (_Pauses and then leans forward; quietly_).
Rachel, little girl, why--did you kill them?
RACHEL (_Breathing quickly_): Don’t you
believe--it--a--a--kindness--sometimes--to kill?
STRONG (_After a pause_): You--considered--it--a--kindness--to kill
them?
RACHEL: Yes. (_Another pause_).
STRONG: Do you mean--just--the roses?
RACHEL (_Breathing more quickly_): John!--Oh! must I say?
STRONG: Yes, little Rachel.
RACHEL (_In a whisper_): No. (_There is a long pause. Rachel leans
back limply, and closes her eyes. Presently Strong rises, and moves
his chair very close to hers. She does not stir. He puts his cigar
on the saucer_).
STRONG (_Leaning forward; very gently_): Little girl, little girl,
can’t you tell me why?
RACHEL (_Wearily_): I can’t.--It hurts--too much--to talk about it
yet,--please.
STRONG (_Takes her hand; looks at it a few minutes and then at her
quietly_). You--don’t--care, then? (_She winces_) Rachel!--Look at
me, little girl! (_As if against her will, she looks at him. Her
eyes are fearful, hunted. She tries to look away, to draw away her
hand; but he holds her gaze and her hand steadily_). Do you?
RACHEL (_Almost sobbing_): John! John! don’t ask me. You are
drawing my very soul out of my body with your eyes. You must not
talk this way. You mustn’t look--John, don’t! (_Tries to shield her
eyes_).
STRONG (_Quietly takes both of her hands, and kisses the backs
and the palms slowly. A look of horror creeps into her face. He
deliberately raises his eyes and looks at her mouth. She recoils
as though she expected him to strike her. He resumes slowly_)
If--you--do--care, and I know now--that you do--nothing else,
_nothing_ should count.
RACHEL (_Wrenching herself from his grasp and rising. She covers
her ears; she breathes rapidly_): No! No! No!--You _must_ stop.
(_Laughs nervously; continues feverishly_) I’m not behaving very
well as a hostess, am I? Let’s see. What shall I do? I’ll play
you something, John. How will that do? Or I’ll sing to you. You
used to like to hear me sing; you said my voice, I remember, was
sympathetic, didn’t you? (_Moves quickly to the piano_). I’ll sing
you a pretty little song. I think it’s beautiful. You’ve never
heard it, I know. I’ve never sung it to you before. It’s Nevin’s
“At Twilight.” (_Pauses, looks down, before she begins, then turns
toward him and says quietly and sweetly_) Sometimes--in the coming
years--I want--you to remember--I sang you this little song.--Will
you?--I think it will make it easier for me--when I--when
I--(_Breaks off and begins the first chords. Strong goes slowly to
the piano. He leans there watching intently. Rachel sings_):
“The roses of yester-year
Were all of the white and red;
It fills my heart with silent fear
To find all their beauty fled.
The roses of white are sere,
All faded the roses red,
And one who loves me is not here
And one that I love is dead.”
(_A long pause. Then Strong goes to her and lifts her from the
piano-stool. He puts one arm around her very tenderly and pushes
her head back so he can look into her eyes. She shuts them, but is
passive_).
STRONG (_Gently_): Little girl, little girl, don’t you know that
suggestions--suggestions--like those you are sending yourself
constantly--are wicked things? You, who are so gentle, so loving,
so warm--(_Breaks off and crushes her to him. He kisses her many
times. She does not resist, but in the midst of his caresses she
breaks suddenly into convulsive laughter. He tries to hush the
terrible sound with his mouth; then brokenly_) Little girl--don’t
laugh--like that.
RACHEL (_Interrupted throughout by her laughter_): I have to.--God
is laughing.--We’re his puppets.--He pulls the wires,--and we’re
so funny to Him.--I’m laughing too--because I can hear--my little
children--weeping. They come to me generally while I’m asleep,--but
I can hear them now.--They’ve begged me--do you understand?--begged
me--not to bring them here;--and I’ve promised them--not to.--I’ve
promised. I can’t stand the sound of their crying.--I have to
laugh--Oh! John! laugh!--laugh too!--I can’t drown their weeping.
(_Strong picks her up bodily and carries her to the armchair_).
STRONG (_Harshly_): Now, stop that!
RACHEL (_In sheer surprise_): W-h-a-t?
STRONG (_Still harshly_): Stop that!--You’ve lost your
self-control.--find yourself again!
(_He leaves her and goes over to the fireplace, and stands looking
down into it for some little time. Rachel, little by little,
becomes calmer. Strong returns and sits beside her again. She
doesn’t move. He smoothes her hair back gently, and kisses her
forehead--and then, slowly, her mouth, she does not resist; simply
sits there, with shut eyes, inert, limp_).
STRONG: Rachel!--(_Pauses_). There is a little flat on 43rd Street.
It faces south and overlooks a little park. Do you remember
it?--it’s on the top floor?--Once I remember your saying--you
liked it. That was over a year ago. That same day--I rented
it. I’ve never lived there. No one knows about it--not even my
mother. It’s completely furnished now--and waiting--do you know
for whom? Every single thing in it, I’ve bought myself--even to
the pins on the little bird’s-eye maple dresser. It has been the
happiest year I have ever known. I furnished it--one room at a
time. It’s the prettiest, the most homelike little flat I’ve ever
seen. (_Very low_) Everything there--breathes love. Do you know
for whom it is waiting? On the sitting-room floor is a beautiful,
Turkish rug--red, and blue and gold. It’s soft--and rich--and do
you know for whose little feet it is waiting? There are delicate
curtains at the windows and a bookcase full of friendly, eager,
little books.--Do you know for whom they are waiting? There are
comfortable leather chairs, just the right size, and a beautiful
piano--that I leave open--sometimes, and lovely pictures of
Madonnas. Do you know for whom they are waiting? There is an open
fireplace with logs of wood, all carefully piled on gleaming
andirons--and waiting. There is a bellows and a pair of shining
tongs--waiting. And in the kitchenette painted blue and white, and
smelling sweet with paint is everything: bright pots and pans and
kettles, and blue and white enamel-ware, and all kinds of knives
and forks and spoons--and on the door--a roller-towel. Little girl,
do you know for whom they are all waiting? And somewhere--there’s a
big, strong man--with broad shoulders. And he’s willing and anxious
to do anything--everything, and he’s waiting very patiently. Little
girl, is it to be--yes or no?
RACHEL (_During Strong’s speech life has come flooding back to
her. Her eyes are shining; her face, eager. For a moment she is
beautifully happy_). Oh! you’re too good to me and mine, John.
I--didn’t dream any one--could be--so good. (_Leans forward and
puts his big hand against her cheek and kisses it shyly_).
Strong (_Quietly_): Is it--yes--or no, little girl?
RACHEL (_Feverishly, gripping his hands_): Oh, yes! yes! yes! and
take me quickly, John. Take me before I can think any more. You
mustn’t let me think, John. And you’ll be good to me, won’t you?
Every second of every minute, of every hour, of every day, you’ll
have me in your thoughts, won’t you? And you’ll be with me every
minute that you can? And, John, John!--you’ll keep away the weeping
of my little children. You won’t let me hear it, will you? You’ll
make me forget everything--everything--won’t you?--Life is so short,
John. (_Shivers and then fearfully and slowly_) And eternity
so--long. (_Feverishly again_) And, John, after I am dead--promise
me, promise me you’ll love me more. (_Shivers again_). I’ll need
love then. Oh! I’ll need it. (_Suddenly there comes to their
ears the sound of a child’s weeping. It is monotonous, hopeless,
terribly afraid. Rachel recoils_). Oh! John!--Listen!--It’s my
boy, again.--I--John--I’ll be back in a little while. (_Goes
swiftly to the door in the rear, pauses and looks back. The weeping
continues. Her eyes are tragic. Slowly she kisses her hand to him
and disappears. John stands where she has left him looking down.
The weeping stops. Presently Rachel appears in the doorway. She is
haggard, and grey. She does not enter the room. She speaks as one
dead might speak--tonelessly, slowly_).
RACHEL: Do you wish to know why Jimmy is crying?
STRONG: Yes.
RACHEL: I am twenty-two--and I’m old; you’re thirty-two--and you’re
old; Tom’s twenty-three--and he is old. Ma dear’s sixty--and
she said once she is much older than that. She is. We are all
blighted; we are all accursed--all of us--, everywhere, we whose
skins are dark--our lives blasted by the white man’s prejudice.
(_Pauses_) And my little Jimmy--seven years old, that’s all--is
blighted too. In a year or two, at best, he will be made old by
suffering. (_Pauses_): One week ago, today, some white boys,
older and larger than my little Jimmy, as he was leaving the
school--called him “Nigger”! They chased him through the streets
calling him, “Nigger! Nigger! Nigger!” One boy threw stones at
him. There is still a bruise on his little back where one struck
him. That will get well; but they bruised his soul--and that--will
never--get well. He asked me what “Nigger” meant. I made light of
the whole thing, laughed it off. He went to his little playmates,
and very naturally asked them. The oldest of them is nine!--and
they knew, poor little things--and they told him. (_Pauses_).
For the last couple of nights he has been dreaming--about these
boys. And he always awakes--in the dark--afraid--afraid--of the
now--and the future--I have seen that look of deadly fear--in the
eyes--of other little children. I know what it is myself.--I was
twelve--when some big boys chased me and called me names.--I never
left the house afterwards--without being afraid. I was afraid, in
the streets--in the school--in the church, everywhere, always,
afraid of being hurt. And I--was not--afraid in vain. (_The weeping
begins again_). He’s only a baby--and he’s blighted. (_To Jimmy_)
Honey, I’m right here. I’m coming in just a minute. Don’t cry.
(_To Strong_) If it nearly kills me to hear my Jimmy’s crying, do
you think I could stand it, when my own child, flesh of my flesh,
blood of my blood--learned the same reason for weeping? Do you?
(_Pauses_). Ever since I fell here--a week ago--I am afraid--to
go--to sleep, for every time I do--my children come--and beg
me--weeping--not to--bring them here--to suffer. Tonight, they
came--when I was awake. (_Pauses_). I have promised them again,
now--by Jimmy’s bed. (_In a whisper_) I have damned--my soul to
all eternity--if I do. (_To Jimmy_) Honey, don’t! I’m coming. (_To
Strong_) And John,--dear John--you see--it can never be--all the
beautiful, beautiful things--you have--told me about. (_Wistfully_)
No--they--can never be--now. (_Strong comes toward her_) No,--John
dear,--you--must not--touch me--any more. (_Pauses_). Dear,
this--is--“Good-bye.”
STRONG (_Quietly_): It’s not fair--to you, Rachel, to take you--at
your word--tonight. You’re sick; you’ve brooded so long, so
continuously,--you’ve lost--your perspective. Don’t answer, yet.
Think it over for another week and I’ll come back.
RACHEL (_Wearily_): No,--I can’t think--any more.
STRONG: You realize--fully--you’re sending me--for always?
RACHEL: Yes.
STRONG: And you care?
RACHEL: Yes.
STRONG: It’s settled, then for all time--“Good-bye!”
RACHEL (_After a pause_): Yes.
STRONG (_Stands looking at her steadily a long time, and then moves
to the door and turns, facing her; with infinite tenderness_):
Good-bye, dear, little Rachel--God bless you.
RACHEL: Good-bye, John! (_Strong goes out. A door opens and
shuts. There is finality in the sound. The weeping continues.
Suddenly; with a great cry_) John! John! (_Runs out into the
vestibule. She presently returns. She is calm again. Slowly_)
No! No! John. Not for us. (_A pause; with infinite yearning_)
Oh! John,--if it only--if it only--(_Breaks off, controls
herself. Slowly again; thoughtfully_) No--No sunshine--no
laughter--always, always--darkness. That is it. Even our little
flat--(_In a whisper_) John’s and mine--the little flat--that
calls, calls us--through darkness. It shall wait--and wait--in
vain--in darkness. Oh, John! (_Pauses_). And my little children!
my little children! (_The weeping ceases; pauses_). I shall
never--see--you--now. Your little, brown, beautiful bodies--I
shall never see.--Your dimples--everywhere--your laughter--your
tears--the beautiful, lovely feel of you here. (_Puts her hands
against her heart_). Never--never--to be. (_A pause, fiercely_)
But you are somewhere--and wherever you are you are mine! You
are mine! All of you! Every bit of you! Even God can’t take you
away. (_A pause; very sweetly; pathetically_) Little children!--My
little children!--No more need you come to me--weeping--weeping.
You may be happy now--you are safe. Little weeping, voices, hush!
hush! (_The weeping begins again. To Jimmy, her whole soul in her
voice_) Jimmy! My little Jimmy! Honey! I’m coming.--Ma Rachel loves
you so. (_Sobs and goes blindly, unsteadily to the rear doorway;
she leans her head there one second against the door; and then
stumbles through and disappears. The light in the lamp flickers
and goes out.... It is black. The terrible, heart-breaking weeping
continues_).
THE END
Transcriber’s Notes
Inconsistencies in hyphenation such as
“heart-breaking”/“heartbreaking” have been maintained.
Minor punctuation and spelling errors have been silently corrected
and, except for those changes noted below, all misspellings in the
text, especially in dialogue, and inconsistent or archaic usage,
have been retained.
Page 47: “There is a brief silence interruped” changed to “There is
a brief silence interrupted”.
Page 62: “I didn’t belive” changed to “I didn’t believe”.
Page 78: “Jimmy has awakened and cried most pitfully” changed to
“Jimmy has awakened and cried most pitifully”.