diff options
Diffstat (limited to 'old/1328.txt')
| -rw-r--r-- | old/1328.txt | 1631 |
1 files changed, 1631 insertions, 0 deletions
diff --git a/old/1328.txt b/old/1328.txt new file mode 100644 index 0000000..19580c9 --- /dev/null +++ b/old/1328.txt @@ -0,0 +1,1631 @@ +Project Gutenberg' Etext of The Tinker's Wedding by J. M. Synge +#4 in our series by J. M. Synge + + +Copyright laws are changing all over the world, be sure to check +the copyright laws for your country before posting these files!! + +Please take a look at the important information in this header. +We encourage you to keep this file on your own disk, keeping an +electronic path open for the next readers. Do not remove this. + + +**Welcome To The World of Free Plain Vanilla Electronic Texts** + +**Etexts Readable By Both Humans and By Computers, Since 1971** + +*These Etexts Prepared By Hundreds of Volunteers and Donations* + +Information on contacting Project Gutenberg to get Etexts, and +further information is included below. We need your donations. + + +The Tinker's Wedding + +by J. M. Synge + +May, 1998 [Etext #1328] + + +Project Gutenberg' Etext of The Tinker's Wedding by J. M. Synge +******This file should be named 1328.txt or 1328.zip****** + + +This etext was prepared by Judy Boss, Omaha, NE + +Project Gutenberg Etexts are usually created from multiple editions, +all of which are in the Public Domain in the United States, unless a +copyright notice is included. Therefore, we do NOT keep these books +in compliance with any particular paper edition, usually otherwise. + + +We are now trying to release all our books one month in advance +of the official release dates, for time for better editing. + +Please note: neither this list nor its contents are final till +midnight of the last day of the month of any such announcement. +The official release date of all Project Gutenberg Etexts is at +Midnight, Central Time, of the last day of the stated month. A +preliminary version may often be posted for suggestion, comment +and editing by those who wish to do so. To be sure you have an +up to date first edition [xxxxx10x.xxx] please check file sizes +in the first week of the next month. Since our ftp program has +a bug in it that scrambles the date [tried to fix and failed] a +look at the file size will have to do, but we will try to see a +new copy has at least one byte more or less. + + +Information about Project Gutenberg (one page) + +We produce about two million dollars for each hour we work. The +fifty hours is one conservative estimate for how long it we take +to get any etext selected, entered, proofread, edited, copyright +searched and analyzed, the copyright letters written, etc. This +projected audience is one hundred million readers. If our value +per text is nominally estimated at one dollar then we produce $2 +million dollars per hour this year as we release thirty-two text +files per month, or 384 more Etexts in 1998 for a total of 1500+ +If these reach just 10% of the computerized population, then the +total should reach over 150 billion Etexts given away. + +The Goal of Project Gutenberg is to Give Away One Trillion Etext +Files by the December 31, 2001. [10,000 x 100,000,000=Trillion] +This is ten thousand titles each to one hundred million readers, +which is only 10% of the present number of computer users. 2001 +should have at least twice as many computer users as that, so it +will require us reaching less than 5% of the users in 2001. + + +We need your donations more than ever! + + +All donations should be made to "Project Gutenberg/CMU": and are +tax deductible to the extent allowable by law. (CMU = Carnegie- +Mellon University). + +For these and other matters, please mail to: + +Project Gutenberg +P. O. Box 2782 +Champaign, IL 61825 + +When all other email fails try our Executive Director: +Michael S. Hart <hart@pobox.com> + +We would prefer to send you this information by email +(Internet, Bitnet, Compuserve, ATTMAIL or MCImail). + +****** +If you have an FTP program (or emulator), please +FTP directly to the Project Gutenberg archives: +[Mac users, do NOT point and click. . .type] + +ftp uiarchive.cso.uiuc.edu +login: anonymous +password: your@login +cd etext/etext90 through /etext96 +or cd etext/articles [get suggest gut for more information] +dir [to see files] +get or mget [to get files. . .set bin for zip files] +GET INDEX?00.GUT +for a list of books +and +GET NEW GUT for general information +and +MGET GUT* for newsletters. + +**Information prepared by the Project Gutenberg legal advisor** +(Three Pages) + + +***START**THE SMALL PRINT!**FOR PUBLIC DOMAIN ETEXTS**START*** +Why is this "Small Print!" statement here? You know: lawyers. +They tell us you might sue us if there is something wrong with +your copy of this etext, even if you got it for free from +someone other than us, and even if what's wrong is not our +fault. So, among other things, this "Small Print!" statement +disclaims most of our liability to you. It also tells you how +you can distribute copies of this etext if you want to. + +*BEFORE!* YOU USE OR READ THIS ETEXT +By using or reading any part of this PROJECT GUTENBERG-tm +etext, you indicate that you understand, agree to and accept +this "Small Print!" statement. If you do not, you can receive +a refund of the money (if any) you paid for this etext by +sending a request within 30 days of receiving it to the person +you got it from. If you received this etext on a physical +medium (such as a disk), you must return it with your request. + +ABOUT PROJECT GUTENBERG-TM ETEXTS +This PROJECT GUTENBERG-tm etext, like most PROJECT GUTENBERG- +tm etexts, is a "public domain" work distributed by Professor +Michael S. Hart through the Project Gutenberg Association at +Carnegie-Mellon University (the "Project"). Among other +things, this means that no one owns a United States copyright +on or for this work, so the Project (and you!) can copy and +distribute it in the United States without permission and +without paying copyright royalties. Special rules, set forth +below, apply if you wish to copy and distribute this etext +under the Project's "PROJECT GUTENBERG" trademark. + +To create these etexts, the Project expends considerable +efforts to identify, transcribe and proofread public domain +works. Despite these efforts, the Project's etexts and any +medium they may be on may contain "Defects". Among other +things, Defects may take the form of incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other +intellectual property infringement, a defective or damaged +disk or other etext medium, a computer virus, or computer +codes that damage or cannot be read by your equipment. + +LIMITED WARRANTY; DISCLAIMER OF DAMAGES +But for the "Right of Replacement or Refund" described below, +[1] the Project (and any other party you may receive this +etext from as a PROJECT GUTENBERG-tm etext) disclaims all +liability to you for damages, costs and expenses, including +legal fees, and [2] YOU HAVE NO REMEDIES FOR NEGLIGENCE OR +UNDER STRICT LIABILITY, OR FOR BREACH OF WARRANTY OR CONTRACT, +INCLUDING BUT NOT LIMITED TO INDIRECT, CONSEQUENTIAL, PUNITIVE +OR INCIDENTAL DAMAGES, EVEN IF YOU GIVE NOTICE OF THE +POSSIBILITY OF SUCH DAMAGES. + +If you discover a Defect in this etext within 90 days of +receiving it, you can receive a refund of the money (if any) +you paid for it by sending an explanatory note within that +time to the person you received it from. If you received it +on a physical medium, you must return it with your note, and +such person may choose to alternatively give you a replacement +copy. If you received it electronically, such person may +choose to alternatively give you a second opportunity to +receive it electronically. + +THIS ETEXT IS OTHERWISE PROVIDED TO YOU "AS-IS". NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, ARE MADE TO YOU AS +TO THE ETEXT OR ANY MEDIUM IT MAY BE ON, INCLUDING BUT NOT +LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A +PARTICULAR PURPOSE. + +Some states do not allow disclaimers of implied warranties or +the exclusion or limitation of consequential damages, so the +above disclaimers and exclusions may not apply to you, and you +may have other legal rights. + +INDEMNITY +You will indemnify and hold the Project, its directors, +officers, members and agents harmless from all liability, cost +and expense, including legal fees, that arise directly or +indirectly from any of the following that you do or cause: +[1] distribution of this etext, [2] alteration, modification, +or addition to the etext, or [3] any Defect. + +DISTRIBUTION UNDER "PROJECT GUTENBERG-tm" +You may distribute copies of this etext electronically, or by +disk, book or any other medium if you either delete this +"Small Print!" and all other references to Project Gutenberg, +or: + +[1] Only give exact copies of it. Among other things, this + requires that you do not remove, alter or modify the + etext or this "small print!" statement. You may however, + if you wish, distribute this etext in machine readable + binary, compressed, mark-up, or proprietary form, + including any form resulting from conversion by word pro- + cessing or hypertext software, but only so long as + *EITHER*: + + [*] The etext, when displayed, is clearly readable, and + does *not* contain characters other than those + intended by the author of the work, although tilde + (~), asterisk (*) and underline (_) characters may + be used to convey punctuation intended by the + author, and additional characters may be used to + indicate hypertext links; OR + + [*] The etext may be readily converted by the reader at + no expense into plain ASCII, EBCDIC or equivalent + form by the program that displays the etext (as is + the case, for instance, with most word processors); + OR + + [*] You provide, or agree to also provide on request at + no additional cost, fee or expense, a copy of the + etext in its original plain ASCII form (or in EBCDIC + or other equivalent proprietary form). + +[2] Honor the etext refund and replacement provisions of this + "Small Print!" statement. + +[3] Pay a trademark license fee to the Project of 20% of the + net profits you derive calculated using the method you + already use to calculate your applicable taxes. If you + don't derive profits, no royalty is due. Royalties are + payable to "Project Gutenberg Association/Carnegie-Mellon + University" within the 60 days following each + date you prepare (or were legally required to prepare) + your annual (or equivalent periodic) tax return. + +WHAT IF YOU *WANT* TO SEND MONEY EVEN IF YOU DON'T HAVE TO? +The Project gratefully accepts contributions in money, time, +scanning machines, OCR software, public domain etexts, royalty +free copyright licenses, and every other sort of contribution +you can think of. Money should be paid to "Project Gutenberg +Association / Carnegie-Mellon University". + +*END*THE SMALL PRINT! FOR PUBLIC DOMAIN ETEXTS*Ver.04.29.93*END* + + + + +Note: I have omitted the running heads, and I have marked with * possible typos. + +<b>THE TINKER'S WEDDING</b> + +A COMEDY IN TWO ACTS + +BY J. M. SYNGE + + +JOHN W. LUCE AND COMPANY +BOSTON : : : : : : : : : 1911 + + + + + +Copyright 1904 +By J. M. Synge + + + + + +PREFACE. + +THE drama is made serious -- in the French +sense of the word -- not by the degree in +which it is taken up with problems that are +serious in themselves, but by the degree in +which it gives the nourishment, not very easy +to define, on which our imaginations live. We +should not go to the theatre as we go to a +chemist's, or a dram-shop, but as we go to +a dinner, where the food we need is taken +with pleasure and excitement. This was +nearly always so in Spain and England and +France when the drama was at its richest -- +the infancy and decay of the drama tend to +be didactic -- but in these days the playhouse +is too often stocked with the drugs of many + + +VI + +seedy problems, or with the absinthe or ver- +mouth of the last musical comedy. + The drama, like the symphony, does not +teach or prove anything. Analysts with their +problems, and teachers with their systems, are +soon as old-fashioned as the pharmacopœia of +Galen, -- look at Ibsen and the Germans -- but +the best plays of Ben Jonson and Molière can +no more go out of fashion than the black- +berries on the hedges. + Of the things which nourish the imagination +humour is one of the most needful, and it is +dangerous to limit or destroy it. Baudelaire +calls laughter the greatest sign of the Satanic +element in man; and where a country loses +its humor, as some towns in Ireland are doing, +there will be morbidity of mind, as Baude- +laire's mind was morbid. + In the greater part of Ireland, however, +the whole people, from the tinkers to the +clergy, have still a life, and view of life, that + + +VII + +are rich and genial and humorous. I do not +think that these country people, who have so +much humor themselves, will mind being +laughed at without malice, as the people in +every country have been laughed at in their +own comedies. + + J. M. S. + + <i>December 2nd</i>, 1907 + + +[page intentionally blank] + + +PERSONS + +MICHAEL BYRNE, a tinker. +MARY BYRNE, an old woman, his mother. +SARAH CASEY, a young tinker woman. +A PRIEST. + + +[page intentionally blank] + + +<b>THE TINKER'S WEDDING</b> + ----------- + +ACT I. + + SCENE: <i>A Village roadside after nightfall. +A fire of sticks is burning near the ditch a +little to the right. Michael is working beside +it. In the background, on the left, a sort of +tent and ragged clothes drying on the hedge. +On the right a chapel-gate.</i> + + SARAH CASEY -- <i>coming in on right, +eagerly.</i> -- We'll see his reverence this place, +Michael Byrne, and he passing backward to +his house to-night. + MICHAEL -- <i>grimly.</i> -- That'll be a sacred +and a sainted joy! + SARAH -- <i>sharply.</i> -- It'll be small joy for +yourself if you aren't ready with my wedding +ring. <i>(She goes over to him.)</i> Is it near +done this time, or what way is it at all? + MICHAEL. A poor way only, Sarah +Casey, for it's the divil's job making a ring, +and you'll be having my hands destroyed in +a short while the way I'll not be able to make +a tin can at all maybe at the dawn of day. + SARAH -- <i>sitting down beside him and +throwing sticks on the fire.</i> -- If it's the divil's + + +14 + +job, let you mind it, and leave your speeches +that would choke a fool. + MICHAEL -- <i>slowly and glumly.</i> -- And +it's you'll go talking of fools, Sarah Casey, +when no man did ever hear a lying story even +of your like unto this mortal day. You to +be going beside me a great while, and rearing +a lot of them, and then to be setting off with +your talk of getting married, and your driv- +ing me to it, and I not asking it at all. + [<i>Sarah turns her back to him and ar- + ranges something in the ditch.</i> + MICHAEL -- <i>angrily.</i> -- Can't you speak +a word when I'm asking what is it ails you +since the moon did change? + SARAH -- <i>musingly.</i> -- I'm thinking there +isn't anything ails me, Michael Byrne; but +the spring-time is a queer time, and its* queer +thoughts maybe I do think at whiles. + MICHAEL. It's hard set you'd be to think +queerer than welcome, Sarah Casey; but what +will you gain dragging me to the priest this +night, I'm saying, when it's new thoughts +you'll be thinking at the dawn of day? + SARAH -- <i>teasingly.</i> -- It's at the dawn of +day I do be thinking I'd have a right to be +going off to the rich tinker's do be travelling +from Tibradden to the Tara Hill; for it'd be +a fine life to be driving with young Jaunting + + +15 + +Jim, where there wouldn't be any big hills +to break the back of you, with walking up and +walking down. + MICHAEL -- <i>with dismay.</i> -- It's the like +of that you do be thinking! + SARAH. The like of that, Michael Byrne, +when there is a bit of sun in it, and a kind +air, and a great smell coming from the thorn +trees is above your head. + MICHAEL -- <i>looks at her for a moment +with horror, and then hands her the ring.</i> -- +Will that fit you now? + SARAH -- <i>trying it on.</i> -- It's making it +tight you are, and the edges sharp on the tin. + MICHAEL -- <i>looking at it carefully.</i> -- +It's the fat of your own finger, Sarah Casey; +and isn't it a mad thing I'm saying again +that you'd be asking marriage of me, or mak- +ing a talk of going away from me, and you +thriving and getting your good health by the +grace of the Almighty God? + SARAH -- <i>giving it back to him.</i> -- Fix it +now, and it'll do, if you're wary you don't +squeeze it again. + MICHAEL -- <i>moodily, working again.</i> -- +It's easy saying be wary; there's many things +easy said, Sarah Casey, you'd wonder a fool +even would be saying at all. <i>(He starts vio-</i> + + +16 + +<i>lently.)</i> The divil mend you, I'm scalded +again! + SARAH -- <i>scornfully.</i> -- If you are, it's a +clumsy man you are this night, Michael Byrne +<i>(raising her voice)</i>; and let you make haste +now, or herself will be coming with the porter. + MICHAEL -- <i>defiantly, raising his voice.</i>* +Let me make haste? I'll be making haste +maybe to hit you a great clout; for I'm think- +ing on the day I got you above at Rathvanna, +and the way you began crying out and say- +ing, "I'll go back to my ma," and I'm thinking +on the way I came behind you that time, and +hit you a great clout in the lug, and how quiet +and easy it was you came along with me from +that hour to this present day. + SARAH -- <i>standing up and throwing all +her sticks into the fire.</i> -- And a big fool I was +too, maybe; but we'll be seeing Jaunting Jim +to-morrow in Ballinaclash, and he after get- +ting a great price for his white foal in the +horse-fair of Wicklow, the way it'll be a great +sight to see him squandering his share of gold, +and he with a grand eye for a fine horse, and +a grand eye for a woman. + MICHAEL -- <i>working again with impa-</i> + + +17 + +<i>tience.</i> -- The divil do him good with the two +of them. + SARAH -- <i>kicking up the ashes with her +foot.</i> -- Ah, he's a great lad, I'm telling you, +and it's proud and happy I'll be to see him, +and he the first one called me the Beauty of +Ballinacree, a fine name for a woman. + MICHAEL -- <i>with contempt.</i> -- It's the +like of that name they do be putting on the +horses they have below racing in Arklow. It's +easy pleased you are, Sarah Casey, easy +pleased with a big word, or the liar speaks it. + SARAH. Liar! + MICHAEL. Liar, surely. + SARAH -- <i>indignantly.</i> -- Liar, is it? +Didn't you ever hear tell of the peelers fol- +lowed me ten miles along the Glen Malure, +and they talking love to me in the dark night, +or of the children you'll meet coming from +school and they saying one to the other, "It's +this day we seen Sarah Casey, the Beauty of +Ballinacree, a great sight surely." + MICHAEL. God help the lot of them! + SARAH. It's yourself you'll be calling +God to help, in two weeks or three, when +you'll be waking up in the dark night and +thinking you see me coming with the sun on +me, and I driving a high cart with Jaunting + + +18 + +Jim going behind. It's lonesome and cold +you'll be feeling the ditch where you'll be +lying down that night, I'm telling you, and +you hearing the old woman making a great +noise in her sleep, and the bats squeaking in +the trees. + MICHAEL. Whist. I hear some one +coming the road. + SARAH -- <i>looking out right.</i> -- It's some +one coming forward from the doctor's door. + MICHAEL. It's often his reverence does +be in there playing cards, or drinking a sup, or +singing songs, until the dawn of day. + SARAH. It's a big boast of a man with a +long step on him and a trumpeting voice. +It's his reverence surely; and if you have the +ring done, it's a great bargain we'll make now +and he after drinking his glass. + MICHAEL -- <i>going to her and giving her +the ring.</i> -- There's your ring, Sarah Casey; +but I'm thinking he'll walk by and not stop to +speak with the like of us at all. + SARAH -- <i>tidying herself, in great excite- +ment.</i> -- Let you be sitting here and keeping +a great blaze, the way he can look on my face; +and let you seem to be working, for it's great +love the like of him have to talk of work. + MICHAEL -- <i>moodily, sitting down and</i> + + +19 + +<i>beginning to work at a tin can.</i> -- Great love +surely. + SARAH -- <i>eagerly.</i> -- Make a great blaze +now, Michael Byrne. + [<i>The priest comes in on right; she comes + forward in front of him.</i> + SARAH -- <i>in a very plausible voice.</i> -- +Good evening, your reverence. It's a grand +fine night, by the grace of God. + PRIEST. The Lord have mercy on us! +What kind of a living woman is it that you +are at all? + SARAH. It's Sarah Casey I am, your +reverence, the Beauty of Ballinacree, and it's +Michael Byrne is below in the ditch. + PRIEST. A holy pair, surely! Let you +get out of my way. [<i>He tries to pass by.</i> + SARAH -- <i>keeping in front of him.</i> -- We +are wanting a little word with your reverence. + PRIEST. I haven't a halfpenny at all. +Leave the road I'm saying. + SARAH. It isn't a halfpenny we're ask- +ing, holy father; but we were thinking maybe +we'd have a right to be getting married; and +we were thinking it's yourself would marry +us for not a halfpenny at all; for you're a +kind man, your reverence, a kind man with +the poor. + + +20 + + PRIEST -- <i>with astonishment.</i> -- Is it mar- +ry you for nothing at all? + SARAH. It is, your reverence; and we +were thinking maybe you'd give us a little +small bit of silver to pay for the ring. + PRIEST -- <i>loudly.</i> -- Let you hold your +tongue; let you be quiet, Sarah Casey. I've +no silver at all for the like of you; and if you +want to be married, let you pay your pound. +I'd do it for a pound only, and that's making +it a sight cheaper than I'd make it for one +of my own pairs is living here in the place. + SARAH. Where would the like of us get +a pound, your reverence? + PRIEST. Wouldn't you easy get it with +your selling asses, and making cans, and your +stealing east and west in Wicklow and Wex- +ford and the county Meath? <i>(He tries to +pass her.)</i> Let you leave the road, and not +be plaguing me more. + SARAH -- <i>pleadingly, taking money from +her pocket.</i> -- Wouldn't you have a little mercy +on us, your reverence? <i>(Holding out money.)</i> +Wouldn't you marry us for a half a sovereign, +and it a nice shiny one with a view on it of +the living king's mamma? + PRIEST. If it's ten shillings you have, +let you get ten more the same way, and I'll +marry you then. + + +21 + + SARAH -- <i>whining.</i> -- It's two years we +are getting that bit, your reverence, with our +pence and our halfpence and an odd three- +penny bit; and if you don't marry us now, +himself and the old woman, who has a great +drouth, will be drinking it to-morrow in the +fair <i>(she puts her apron to her eyes, half sob- +bing)</i>, and then I won't be married any time, +and I'll be saying till I'm an old woman: +"It's a cruel and a wicked thing to be bred +poor." + PRIEST -- <i>turning up towards the fire.</i> -- +Let you not be crying, Sarah Casey. It's a +queer woman you are to be crying at the like +of that, and you your whole life walking the +roads. + SARAH -- <i>sobbing.</i> -- It's two years we +are getting the gold, your reverence, and now +you won't marry us for that bit, and we +hard-working poor people do be making cans +in the dark night, and blinding our eyes with +the black smoke from the bits of twigs we +do be burning. + [<i>An old woman is heard singing tipsily + on the left.</i> + PRIEST -- <i>looking at the can Michael is +making.</i> -- When will you have that can done, +Michael Byrne? + MICHAEL. In a short space only, your + + +22 + +reverence, for I'm putting the last dab of +solder on the rim. + PRIEST. Let you get a crown along with +the ten shillings and the gallon can, Sarah +Casey, and I will wed you so. + MARY -- <i>suddenly shouting behind, tip- +sily.</i> -- Larry was a fine lad, I'm saying; Larry +was a fine lad, Sarah Casey -- + MICHAEL. Whist, now, the two of you. +There's my mother coming, and she'd have us +destroyed if she heard the like of that talk +the time she's been drinking her fill. + MARY -- <i>comes in singing*</i> -- + And when we asked him what way he'd die, + And he hanging unrepented, + "Begob," says Larry, "that's all in my eye, + By the clergy first invented." + SARAH. Give me the jug now, or you'll +have it spilt in the ditch. + MARY -- <i>holding the jug with both her +hands, in a stilted voice.</i> -- Let you leave me +easy, Sarah Casey. I won't spill it, I'm saying. +God help you; are you thinking it's frothing +full to the brim it is at this hour of the night, +and I after carrying it in my two hands a long +step from Jemmy Neill's? + MICHAEL -- <i>anxiously.</i> -- Is there a sup +left at all? + + +23 + + SARAH -- <i>looking into the jug.</i> -- A little +small sup only I'm thinking. + MARY -- <i>sees the priest, and holds out jug +towards him.</i> -- God save your reverence. I'm +after bringing down a smart drop; and let +you drink it up now, for it's a middling +drouthy man you are at all times, God forgive +you, and this night is cruel dry. + [<i>She tries to go towards him. Sarah + holds her back.</i> + PRIEST -- <i>waving her away.</i> -- Let you +not be falling to the flames. Keep off, I'm +saying. + MARY -- <i>persuasively.</i> -- Let you not be +shy of us, your reverence. Aren't we all +sinners, God help us! Drink a sup now, I'm +telling you; and we won't let on a word about +it till the Judgment Day. + [<i>She takes up a tin mug, pours some + porter into it, and gives it to him.</i> + MARY -- <i>singing, and holding the jug in +her hand*</i> -- + A lonesome ditch in Ballygan + The day you're beating a tenpenny can; + A lonesome bank in Ballyduff + The time . . . [<i>She breaks off.</i> +It's a bad, wicked song, Sarah Casey; and +let you put me down now in the ditch, and I +won't sing it till himself will be gone; for + + +24 + +it's bad enough he is, I'm thinking, without +ourselves making him worse. + SARAH -- <i>putting her down, to the priest, +half laughing.</i> -- Don't mind her at all, your +reverence. She's no shame the time she's a +drop taken; and if it was the Holy Father +from Rome was in it, she'd give him a little +sup out of her mug, and say the same as she'd +say to yourself. + MARY -- <i>to the priest.</i> -- Let you drink it +up, holy father. Let you drink it up, I'm say- +ing, and not be letting on you wouldn't do +the like of it, and you with a stack of pint +bottles above, reaching the sky. + PRIEST -- <i>with resignation.</i> -- Well, here's +to your good health, and God forgive us all. + [<i>He drinks.</i> + MARY. That's right now, your reverence, +and the blessing of God be on you. Isn't it +a grand thing to see you sitting down, with +no pride in you, and drinking a sup with the +like of us, and we the poorest, wretched, +starving creatures you'd see any place on the +earth? + PRIEST. If it's starving you are itself, +I'm thinking it's well for the like of you that +do be drinking when there's drouth on you, +and lying down to sleep when your legs are +stiff. <i>(He sighs gloomily.)</i> What would + + +25 + +you do if it was the like of myself you were, +saying Mass with your mouth dry, and run- +ning east and west for a sick call maybe, and +hearing the rural people again and they saying +their sins? + MARY -- <i>with compassion.</i> -- It's destroy- +ed you must be hearing the sins of the rural +people on a fine spring. + PRIEST -- <i>with despondency.</i> -- It's a hard +life, I'm telling you, a hard life, Mary Byrne; +and there's the bishop coming in the morning, +and he an old man, would have you destroyed +if he seen a thing at all. + MARY -- <i>with great sympathy.</i> -- It'd +break my heart to hear you talking and sigh- +ing the like of that, your reverence. <i>(She +pats him on the knee.)</i> Let you rouse up, +now, if it's a poor, single man you are itself, +and I'll be singing you songs unto the dawn +of day. + PRIEST -- <i>interrupting her.</i> -- What is it +I want with your songs when it'd be better +for the like of you, that'll soon die, to be down +on your two knees saying prayers to the +Almighty God? + MARY. If it's prayers I want, you'd have +a right to say one yourself, holy father; for +we don't have them at all, and I've heard tell +a power of times it's that you're for. Say + + +26 + +one now, your reverence, for I've heard a +power of queer things and I walking the +world, but there's one thing I never heard any +time, and that's a real priest saying a prayer. + PRIEST. The Lord protect us! + MARY. It's no lie, holy father. I often +heard the rural people making a queer noise +and they going to rest; but who'd mind the +like of them? And I'm thinking it should be +great game to hear a scholar, the like of you, +speaking Latin to the saints above. + PRIEST -- <i>scandalized.</i> -- Stop your talk- +ing, Mary Byrne; you're an old flagrant +heathen, and I'll stay no more with the lot of + you. [<i>He rises.</i> + MARY -- <i>catching hold of him.</i> -- Stop till +you say a prayer, your reverence; stop till you +say a little prayer, I'm telling you, and I'll +give you my blessing and the last sup from the +jug. + PRIEST -- <i>breaking away.</i> -- Leave me go, +Mary Byrne; for I have never met your like +for hard abominations the score and two years +I'm living in the place. + MARY -- <i>innocently.</i> -- Is that the truth? + PRIEST. --* It is, then, and God have mercy +on your soul. + [<i>The priest goes towards the left, and + Sarah follows him.</i> + + +27 + + SARAH -- <i>in a low voice.</i> -- And what +time will you do the thing I'm asking, holy +father? for I'm thinking you'll do it surely, +and not have me growing into an old wicked +heathen like herself. + MARY -- <i>calling out shrilly.</i> -- Let you be +walking back here, Sarah Casey, and not be +talking whisper-talk with the like of him in the +face of the Almighty God. + SARAH -- <i>to the priest.</i> -- Do you hear her +now, your reverence? Isn't it true, surely, +she's an old, flagrant heathen, would destroy +the world? + PRIEST -- <i>to Sarah, moving off.</i> -- Well, +I'll be coming down early to the chapel, and let +you come to me a while after you see me pas- +sing, and bring the bit of gold along with you, +and the tin can. I'll marry you for them two, +though it's a pitiful small sum; for I wouldn't +be easy in my soul if I left you growing into +an old, wicked heathen the like of her. + SARAH -- <i>following him out.</i> -- The bles- +sing of the Almighty God be on you, holy +father, and that He may reward and watch +you from this present day. + MARY -- <i>nudging Michael.</i> -- Did you see +that, Michael Byrne? Didn't you hear me +telling you she's flighty a while back since the +change of the moon? With her fussing for + + +28 + +marriage, and she making whisper-talk with +one man or another man along by the road. + MICHAEL. --* Whist now, or she'll knock +the head of you the time she comes back. + MARY. --* Ah, it's a bad, wicked way the +world is this night, if there's a fine air in it +itself. You'd never have seen me, and I a +young woman, making whisper-talk with the +like of him, and he the fearfullest old fellow +you'd see any place walking the world. + [<i>Sarah comes back quickly.</i> + MARY -- <i>calling out to her.</i> -- What is it +you're after whispering above with himself? + SARAH -- <i>exultingly.</i> -- Lie down, and +leave us in peace. <i>She whispers with Michael.</i> + MARY -- <i>poking out her pipe with a straw, +sings</i> -- + She'd whisper with one, and she'd whisper + with two -- +<i>She breaks off coughing.</i> -- My singing voice +is gone for this night, Sarah Casey. <i>(She +lights her pipe.)</i> But if it's flighty you are +itself, you're a grand handsome woman, the +glory of tinkers, the pride of Wicklow, the +Beauty of Ballinacree. I wouldn't have you +lying down and you lonesome to sleep this +night in a dark ditch when the spring is coming +in the trees; so let you sit down there by the +big bough, and I'll be telling you the finest + + +29 + +story you'd hear any place from Dundalk to +Ballinacree, with great queens in it, making +themselves matches from the start to the end, +and they with shiny silks on them the length +of the day, and white shifts for the night. + MICHAEL -- <i>standing up with the tin can +in his hand.</i> -- Let you go asleep, and not have +us destroyed. + MARY -- <i>lying back sleepily.</i> -- Don't mind +him, Sarah Casey. Sit down now, and I'll be +telling you a story would be fit to tell a woman +the like of you in the springtime of the year. + SARAH -- <i>taking the can from Michael, +and tying it up in a piece of sacking.</i> -- That'll +not be rusting now in the dews of night. I'll +put it up in the ditch the way it will be handy +in the morning; and now we've that done, +Michael Byrne, I'll go along with you and +welcome for Tim Flaherty's hens. + [<i>She puts the can in the ditch.</i> + MARY -- <i>sleepily.</i> -- I've a grand story of +the great queens of Ireland with white necks +on them the like of Sarah Casey, and fine +arms would hit you a slap the way Sarah +Casey would hit you. + SARAH -- <i>beckoning on the left.</i> -- Come +along now, Michael, while she's falling asleep. + + +30 + + [<i>He goes towards left. Mary sees that + they are going, starts up suddenly, and + turns over on her hands and knees.</i> + MARY -- <i>piteously.</i> -- Where is it you're +going? Let you walk back here, and not be +leaving me lonesome when the night is fine. + SARAH. Don't be waking the world with +your talk when we're going up through the +back wood to get two of Tim Flaherty's hens +are roosting in the ash-tree above at the well. + MARY. And it's leaving me lone you are? +Come back here, Sarah Casey. Come back +here, I'm saying; or if it's off you must go, +leave me the two little coppers you have, the +way I can walk up in a short while, and get +another pint for my sleep. + SARAH. It's too much you have taken. +Let you stretch yourself out and take a long +sleep; for isn't that the best thing any woman +can do, and she an old drinking heathen like +yourself. + [<i>She and Michael go out left.</i> + MARY -- <i>standing up slowly.</i> -- It's gone +they are, and I with my feet that weak under +me you'd knock me down with a rush, and +my head with a noise in it the like of what + + +31 + +you'd hear in a stream and it running between +two rocks and rain falling. <i>(She goes over to +the ditch where the can is tied in sacking, and +takes it down.)</i> What good am I this night, +God help me? What good are the grand +stories I have when it's few would listen to +an old woman, few but a girl maybe would +be in great fear the time her hour was come, +or a little child wouldn't be sleeping with the +hunger on a cold night? <i>(She takes the can +from the sacking and fits in three empty bottles +and straw in its place, and ties them up.)</i> +Maybe the two of them have a good right to +be walking out the little short while they'd be +young; but if they have itself, they'll not +keep Mary Byrne from her full pint when +the night's fine, and there's a dry moon in the +sky. <i>(She takes up the can, and puts the +package back in the ditch.)</i> Jemmy Neill's a +decent lad; and he'll give me a good drop for +the can; and maybe if I keep near the peelers +to-morrow for the first bit of the fair, herself +won't strike me at all; and if she does itself, +what's a little stroke on your head beside +sitting lonesome on a fine night, hearing the + + +32 + +dogs barking, and the bats squeaking, and you +saying over, it's a short while only till you die. + [<i>She goes out singing "The night before + Larry was stretched."</i> + +CURTAIN + + +33 + +ACT II. + + SCENE: <i>The same. Early morning. Sarah +is washing her face in an old bucket; then +plaits her hair. Michael is tidying himself +also. Mary Byrne is asleep against the ditch.</i> + + SARAH -- <i>to Michael, with pleased excite- +ment.</i> -- Go over, now, to the bundle beyond, +and you'll find a kind of a red handkerchief +to put upon your neck, and a green one for +myself. + MICHAEL -- <i>getting them.</i> -- You're after +spending more money on the like of them. +Well, it's a power we're losing this time, and +we not gaining a thing at all. <i>(With the +handkerchief.)</i> Is it them two? + SARAH. It is, Michael. <i>(She takes one +of them.)</i> Let you tackle that one round under +your chin; and let you not forget to take your +hat from your head when we go up into the +church. I asked Biddy Flynn below, that's +after marrying her second man, and she told +me it's the like of that they do. + [<i>Mary yawns, and turns over in her + sleep.</i> + SARAH -- <i>with anxiety.</i> -- There she is +waking up on us, and I thinking we'd have the +job done before she'd know of it at all. + + +34 + + MICHAEL. She'll be crying out now, and +making game of us, and saying it's fools we +are surely. + SARAH. I'll send her to sleep again, or +get her out of it one way or another; for it'd +be a bad case to have a divil's scholar the like +of her turning the priest against us maybe +with her godless talk. + MARY -- <i>waking up, and looking at them +with curiosity, blandly.</i> -- That's fine things +you have on you, Sarah Casey; and it's a great +stir you're making this day, washing your +face. I'm that used to the hammer, I wouldn't +hear it at all, but washing is a rare thing, and +you're after waking me up, and I having a +great sleep in the sun. + [<i>She looks around cautiously at the + bundle in which she has hidden the + bottles.</i> + SARAH -- <i>coaxingly.</i> -- Let you stretch +out again for a sleep, Mary Byrne, for it'll +be a middling time yet before we go to the +fair. + MARY -- <i>with suspicion.</i> -- That's a sweet +tongue you have, Sarah Casey; but if sleep's +a grand thing, it's a grand thing to be waking +up a day the like of this, when there's a warm +sun in it, and a kind air, and you'll hear the + + +35 + +cuckoos singing and crying out on the top of +the hills. + SARAH. If it's that gay you are, you'd +have a right to walk down and see would you +get a few halfpence from the rich men do be +driving early to the fair. + MARY. When rich men do be driving +early, it's queer tempers they have, the Lord +forgive them; the way it's little but bad words +and swearing out you'd get from them all. + SARAH -- <i>losing her temper and breaking +out fiercely.</i> -- Then if you'll neither beg nor +sleep, let you walk off from this place where +you're not wanted, and not have us waiting +for you maybe at the turn of day. + MARY -- <i>rather uneasy, turning to Mi- +chael.</i> -- God help our spirits, Michael; there +she is again rousing cranky from the break +of dawn. Oh! isn't she a terror since the +moon did change <i>(she gets up slowly)</i>? And +I'd best be going forward to sell the gallon +can. + [<i>She goes over and takes up the bundle.</i> + SARAH -- <i>crying out angrily.</i> -- Leave +that down, Mary Byrne. Oh! aren't you the +scorn of women to think that you'd have that +drouth and roguery on you that you'd go +drinking the can and the dew not dried from +the grass? + + +36 + + MARY -- <i>in a feigned tone of pacification, +with the bundle still in her hand.</i> -- It's not a +drouth but a heartburn I have this day, Sarah +Casey, so I'm going down to cool my gullet +at the blessed well; and I'll sell the can to the +parson's daughter below, a harmless poor +creature would fill your hand with shillings +for a brace of lies. + SARAH. Leave down the tin can, Mary +Byrne, for I hear the drouth upon your tongue +to-day. + MARY. There's not a drink-house from +this place to the fair, Sarah Casey; the way +you'll find me below with the full price, and +not a farthing gone. + [<i>She turns to go off left.</i> + SARAH -- <i>jumping up, and picking up the +hammer threateningly.</i> -- Put down that can, +I'm saying. + MARY -- <i>looking at her for a moment in +terror, and putting down the bundle in the +ditch.</i> -- Is it raving mad you're going, Sarah +Casey, and you the pride of women to destroy +the world? + SARAH -- <i>going up to her, and giving her +a push off left.</i> -- I'll show you if it's raving +mad I am. Go on from this place, I'm saying, +and be wary now. + MARY -- <i>turning back after her.</i> -- If I + + +37 + +go, I'll be telling old and young you're a +weathered heathen savage, Sarah Casey, the +one did put down a head of the parson's cab- +bage to boil in the pot with your clothes <i>(the +priest comes in behind her, on the left, and +listens)</i>, and quenched the flaming candles on +the throne of God the time your shadow fell +within the pillars of the chapel door. + [<i>Sarah turns on her, and she springs + round nearly into the Priest's arms. + When she sees him, she claps her shawl + over her mouth, and goes up towards + the ditch, laughing to herself.</i> + PRIEST -- <i>going to Sarah, half terrified +at the language that he has heard.</i> -- Well, +aren't you a fearful lot? I'm thinking it's only +humbug you were making at the fall of night, +and you won't need me at all. + SARAH -- <i>with anger still in her voice.</i> -- +Humbug is it! would you be turning back upon +your spoken promise in the face of God? + PRIEST -- <i>dubiously.</i> -- I'm thinking you +were never christened, Sarah Casey; and it +would be a queer job to go dealing Christian +sacraments unto the like of you. <i>(Persuasive- +ly feeling in his pocket.)</i> So it would be best, +maybe, I'd give you a shilling for to drink +my health, and let you walk on, and not +trouble me at all. + + +38 + + SARAH. That's your talking, is it? If +you don't stand to your spoken word, holy +father, I'll make my own complaint to the +mitred bishop in the face of all. + PRIEST. You'd do that! + SARAH. I would surely, holy father, if +I walked to the city of Dublin with blood and +blisters on my naked feet. + PRIEST -- <i>uneasily scratching his ear.</i> -- +I wish this day was done, Sarah Casey; for +I'm thinking it's a risky thing getting mixed +up in any matters with the like of you. + SARAH. Be hasty then, and you'll have +us done with before you'd think at all. + PRIEST -- <i>giving in.</i> -- Well, maybe it's +right you are, and let you come up to the chapel +when you see me looking from the door. + [<i>He goes up into the chapel.</i> + SARAH -- <i>calling after him.</i> -- We will, +and God preserve you, holy father. + MARY -- <i>coming down to them, speaking +with amazement and consternation, but with- +out anger.</i> -- Going to the chapel! It's at mar- +riage you're fooling again, maybe? <i>(Sarah +turns her back on her.)</i> It was for that you +were washing your face, and you after sending +me for porter at the fall of night the way I'd +drink a good half from the jug? <i>(Going</i> + + +39 + +<i>round in front of Sarah.)</i> Is it at marriage +you're fooling again? + SARAH -- <i>triumphantly.</i> -- It is, Mary +Byrne. I'll be married now in a short while; +and from this day there will no one have a +right to call me a dirty name and I selling cans +in Wicklow or Wexford or the city of Dublin +itself. + MARY -- <i>turning to Michael.</i> -- And it's +yourself is wedding her, Michael Byrne? + MICHAEL -- <i>gloomily.</i> -- It is, God spare +us. + MARY -- <i>looks at Sarah for a moment, +and then bursts out into a laugh of derision.</i> -- +Well, she's a tight, hardy girl, and it's no lie; +but I never knew till this day it was a black +born fool I had for a son. You'll breed asses, +I've heard them say, and poaching dogs, and +horses'd go licking the wind, but it's a hard +thing, God help me, to breed sense in a son. + MICHAEL -- <i>gloomily.</i> -- If I didn't mar- +ry her, she'd be walking off to Jaunting Jim +maybe at the fall of night; and it's well your- +self knows there isn't the like of her for getting +money and selling songs to the men. + MARY. And you're thinking it's paying +gold to his reverence would make a woman +stop when she's a mind to go? + SARAH -- <i>angrily.</i> -- Let you not be de- + + +40 + +stroying us with your talk when I've as good +a right to a decent marriage as any speckled +female does be sleeping in the black hovels +above, would choke a mule. + MARY -- <i>soothingly.</i> -- It's as good a right +you have surely, Sarah Casey, but what good +will it do? Is it putting that ring on your +finger will keep you from getting an aged +woman and losing the fine face you have, or +be easing your pains, when it's the grand ladies +do be married in silk dresses, with rings of +gold, that do pass any woman with their share +of torment in the hour of birth, and do be +paying the doctors in the city of Dublin a great +price at that time, the like of what you'd pay +for a good ass and a cart? + [<i>She sits down.</i> + SARAH -- <i>puzzled.</i> -- Is that the truth? + MARY -- <i>pleased with the point she has +made.</i> -- Wouldn't any know it's the truth? +Ah, it's a few short years you are yet in the +world, Sarah Casey, and it's little or nothing +at all maybe you know about it. + SARAH -- <i>vehement but uneasy.</i> -- What +is it yourself knows of the fine ladies when +they wouldn't let the like of you go near them +at all? + MARY. If you do be drinking a little sup +in one town and another town, it's soon you + + +41 + +get great knowledge and a great sight into +the world. You'll see men there, and women +there, sitting up on the ends of barrels in the +dark night, and they making great talk would +soon have the like of you, Sarah Casey, as +wise as a March hare. + MICHAEL -- <i>to Sarah.</i> -- That's the truth +she's saying, and maybe if you've sense in you +at all, you'd have a right still to leave your +fooling, and not be wasting our gold. + SARAH -- <i>decisively.</i> -- If it's wise or fool +I am, I've made a good bargain and I'll stand +to it now. + MARY. What is it he's making you give? + MICHAEL. The ten shillings in gold, and +the tin can is above tied in the sack. + MARY -- <i>looking at the bundle with sur- +prise and dread.</i> -- The bit of gold and the +tin can, is it? + MICHAEL. The half a sovereign, and the +gallon can. + MARY -- <i>scrambling to her feet quickly.</i> -- +Well, I think I'll be walking off the road to +the fair the way you won't be destroying me +going too fast on the hills. <i>(She goes a few +steps towards the left, then turns and speaks +to Sarah very persuasively.</i> -- Let you not take +the can from the sack, Sarah Casey; for the +people is coming above would be making game + + +42 + +of you, and pointing their fingers if they seen +you do the like of that. Let you leave it safe +in the bag, I'm saying, Sarah darling. It's +that way will be best. + [<i>She goes towards left, and pauses for a + moment, looking about her with em- + barrassment.</i> + MICHAEL -- <i>in a low voice.</i> -- What ails +her at all? + SARAH -- <i>anxiously.</i> -- It's real wicked +she does be when you hear her speaking as +easy as that. + MARY -- <i>to herself.</i> -- I'd be safer in the +chapel, I'm thinking; for if she caught me +after on the road, maybe she would kill me +then. + [<i>She comes hobbling back towards the + right.</i> + SARAH. Where is it you're going? It +isn't that way we'll be walking to the fair. + MARY. I'm going up into the chapel to +give you my blessing and hear the priest +saying his prayers. It's a lonesome road is +running below to Greenane, and a woman +would never know the things might happen +her and she walking single in a lonesome place. + [<i>As she reaches the chapel-gate, the + Priest comes to it in his surplice.</i> + PRIEST -- <i>crying out.</i> -- Come along now. + + +43 + +It is the whole day you'd keep me here saying +my prayers, and I getting my death with not +a bit in my stomach, and my breakfast in ruins, +and the Lord Bishop maybe driving on the +road to-day? + SARAH. We're coming now, holy father. + PRIEST. Give me the bit of gold into my +hand. + SARAH. It's here, holy father. + [<i>She gives it to him. Michael takes the + bundle from the ditch and brings it + over, standing a little behind Sarah. + He feels the bundle, and looks at Mary + with a meaning look.</i> + PRIEST -- <i>looking at the gold.</i> -- It's a +good one, I'm thinking, wherever you got it. +And where is the can? + SARAH -- <i>taking the bundle.</i> -- We have +it here in a bit of clean sack, your reverence. +We tied it up in the inside of that to keep it +from rusting in the dews of night, and let you +not open it now or you'll have the people +making game of us and telling the story on +us, east and west to the butt of the hills. + PRIEST -- <i>taking the bundle.</i> -- Give it +here into my hand, Sarah Casey. What is it +any person would think of a tinker making a + can. [<i>He begins opening the bundle.</i> + SARAH. It's a fine can, your reverence. + + +44 + +for if it's poor simple people we are, it's fine +cans we can make, and himself, God help him, +is a great man surely at the trade. + [<i>Priest opens the bundle; the three empty + bottles fall out.</i> + SARAH. Glory to the saints of joy! + PRIEST. Did ever any man see the like +of that? To think you'd be putting deceit +on me, and telling lies to me, and I going to +marry you for a little sum wouldn't marry a +child. + SARAH -- <i>crestfallen and astonished.</i> -- +It's the divil did it, your reverence, and I +wouldn't tell you a lie. <i>(Raising her hands.)</i> +May the Lord Almighty strike me dead if the +divil isn't after hooshing the tin can from the +bag. + PRIEST -- <i>vehemently.</i> -- Go along now, +and don't be swearing your lies. Go along +now, and let you not be thinking I'm big fool +enough to believe the like of that, when it's +after selling it you are or making a swap for +drink of it, maybe, in the darkness of the night. + MARY -- <i>in a peacemaking voice, putting +her hand on the Priest's left arm.</i> -- She +wouldn't do the like of that, your reverence, +when she hasn't a decent standing drouth on +her at all; and she's setting great store on her +marriage the way you'd have a right to be + + +45 + +taking her easy, and not minding the can. +What differ would an empty can make with +a fine, rich, hardy man the like of you? + SARAH -- <i>imploringly.</i> -- Marry us, your +reverence, for the ten shillings in gold, and +we'll make you a grand can in the evening -- +a can would be fit to carry water for the holy +man of God. Marry us now and I'll be saying +fine prayers for you, morning and night, if +it'd be raining itself, and it'd be in two black +pools I'd be setting my knees. + PRIEST -- <i>loudly.</i> -- It's a wicked, thiev- +ing, lying, scheming lot you are, the pack of +you. Let you walk off now and take every +stinking rag you have there from the ditch. + MARY -- <i>putting her shawl over her head.</i>* +Marry her, your reverence, for the love of +God, for there'll be queer doings below if you +send her off the like of that and she swearing +crazy on the road. + SARAH -- <i>angrily.</i> -- It's the truth she's +saying; for it's herself, I'm thinking, is after +swapping the tin can for a pint, the time she +was raging mad with the drouth, and our- +selves above walking the hill. + MARY -- <i>crying out with indignation.</i> -- +Have you no shame, Sarah Casey, to tell lies +unto a holy man? + SARAH -- <i>to Mary, working herself into</i> + + +46 + +<i>a rage.</i> -- It's making game of me you'd be, +and putting a fool's head on me in the face +of the world; but if you were thinking to be +mighty cute walking off, or going up to hide +in the church, I've got you this time, and +you'll not run from me now. + [<i>She seizes up one of the bottles.</i> + MARY -- <i>hiding behind the priest.</i> -- Keep +her off, your reverence, keep her off for the +love of the Almighty God. What at all would +the Lord Bishop say if he found me here +lying with my head broken across, or the two +of yous maybe digging a bloody grave for +me at the door of the church? + PRIEST -- <i>waving Sarah off.</i> -- Go along, +Sarah Casey. Would you be doing murder at +my feet? Go along from me now, and wasn't +I a big fool to have to do with you when it's +nothing but distraction and torment I get +from the kindness of my heart? + SARAH -- <i>shouting.</i> -- I've bet a power of +strong lads east and west through the world, +and are you thinking I'd turn back from a +priest? Leave the road now, or maybe I +would strike yourself. + PRIEST. You would not, Sarah Casey. +I've no fear for the lot of you; but let you +walk off, I'm saying, and not be coming where + + +47 + +you've no business, and screeching tumult and +murder at the doorway of the church. + SARAH. I'll not go a step till I have her +head broke, or till I'm wed with himself. If +you want to get shut of us, let you marry us +now, for I'm thinking the ten shillings in gold +is a good price for the like of you, and you +near burst with the fat. + PRIEST. I wouldn't have you coming in +on me and soiling my church; for there's +nothing at all, I'm thinking, would keep the +like of you from hell. <i>(He throws down the +ten shillings on the ground.)</i> Gather up your +gold now, and begone from my sight, for if +ever I set an eye on you again you'll hear me +telling the peelers who it was stole the black +ass belonging to Philly O'Cullen, and whose +hay it is the grey ass does be eating. + SARAH. You'd do that? + PRIEST. I would, surely. + SARAH. If you do, you'll be getting all +the tinkers from Wicklow and Wexford, and +the County Meath, to put up block tin in the +place of glass to shield your windows where +you do be looking out and blinking at the girls. +It's hard set you'll be that time, I'm telling +you, to fill the depth of your belly the long +days of Lent; for we wouldn't leave a laying +pullet in your yard at all. + + +48 + + PRIEST -- <i>losing his temper finally.</i> -- Go +on, now, or I'll send the Lords of Justice a +dated story of your villainies -- burning, +stealing, robbing, raping to this mortal day. +Go on now, I'm saying, if you'd run from +Kilmainham or the rope itself. + MICHAEL -- <i>taking off his coat.</i> -- Is it +run from the like of you, holy father? Go up +to your own shanty, or I'll beat you with the +ass's reins till the world would hear you roar- +ing from this place to the coast of Clare. + PRIEST. Is it lift your hand upon myself +when the Lord would blight your members +if you'd touch me now? Go on from this. + [<i>He gives him a shove.</i> + MICHAEL. Blight me is it? Take it +then, your reverence, and God help you so. + [<i>He runs at him with the reins.</i> + PRIEST -- <i>runs up to ditch crying out.</i> -- +There are the peelers passing by the grace of +God -- hey, below! + MARY -- <i>clapping her hand over his +mouth.</i> -- Knock him down on the road; they +didn't hear him at all. + [<i>Michael pulls him down.</i> + SARAH. Gag his jaws. + MARY. Stuff the sacking in his teeth. + [<i>They gag him with the sack that had + the can in it.</i> + + +49 + + SARAH. Tie the bag around his head, +and if the peelers come, we'll put him head- +first in the boghole is beyond the ditch. + [<i>They tie him up in some sacking.</i> + MICHAEL -- <i>to Mary.</i> -- Keep him quiet, +and the rags tight on him for fear he'd +screech. <i>(He goes back to their camp.)</i> +Hurry with the things, Sarah Casey. The +peelers aren't coming this way, and maybe +we'll get off from them now. + [<i>They bundle the things together in + wild haste, the priest wriggling and + struggling about on the ground, with + old Mary trying to keep him quiet.</i> + MARY -- <i>patting his head.</i> -- Be quiet, +your reverence. What is it ails you, with +your wrigglings now? Is it choking maybe? +<i>(She puts her hand under the sack, and feels +his mouth, patting him on the back.)</i> It's +only letting on you are, holy father, for your +nose is blowing back and forward as easy as +an east wind on an April day. <i>(In a soothing +voice.)</i> There now, holy father, let you stay +easy, I'm telling you, and learn a little sense +and patience, the way you'll not be so airy +again going to rob poor sinners of their scraps +of gold. <i>(He gets quieter.)</i> That's a good +boy you are now, your reverence, and let you +not be uneasy, for we wouldn't hurt you at + + +50 + +all. It's sick and sorry we are to tease you; +but what did you want meddling with the +like of us, when it's a long time we are going +our own ways -- father and son, and his son +after him, or mother and daughter, and her +own daughter again -- and it's little need we +ever had of going up into a church and swear- +ing -- I'm told there's swearing with it -- a +word no man would believe, or with drawing +rings on our fingers, would be cutting our +skins maybe when we'd be taking the ass from +the shafts, and pulling the straps the time +they'd be slippy with going around beneath +the heavens in rains falling. + MICHAEL -- <i>who has finished bundling +up the things, comes over to Sarah.</i> -- We're +fixed now; and I have a mind to run him in +a boghole the way he'll not be tattling to the +peelers of our games to-day. + SARAH. You'd have a right too, I'm +thinking. + MARY -- <i>soothingly.</i> -- Let you not be +rough with him, Sarah Casey, and he after +drinking his sup of porter with us at the fall +of night. Maybe he'd swear a mighty oath +he wouldn't harm us, and then we'd safer +loose him; for if we went to drown him, +they'd maybe hang the batch of us, man and +child and woman, and the ass itself. + + +51 + + MICHAEL. What would he care for an +oath? + MARY. Don't you know his like do live +in terror of the wrath of God? <i>(Putting her +mouth to the Priest's ear in the sacking.)</i> +Would you swear an oath, holy father, to +leave us in our freedom, and not talk at all? +<i>(Priest nods in sacking.)</i> Didn't I tell you? +Look at the poor fellow nodding his head off +in the bias of the sacks. Strip them off from +him, and he'll be easy now. + MICHAEL -- <i>as if speaking to a horse.</i> -- +Hold up, holy father. + [<i>He pulls the sacking off, and shows the + priest with his hair on end. They free + his mouth.</i> + MARY. Hold him till he swears. + PRIEST -- <i>in a faint voice.</i> -- I swear +surely. If you let me go in peace, I'll not +inform against you or say a thing at all, and +may God forgive me for giving heed unto +your like to-day. + SARAH -- <i>puts the ring on his finger.</i> -- +There's the ring, holy father, to keep you +minding of your oath until the end of time; +for my heart's scalded with your fooling; and +it'll be a long day till I go making talk of +marriage or the like of that. + MARY -- <i>complacently, standing up slow-</i> + + +52 + +<i>ly.</i> -- She's vexed now, your reverence; and +let you not mind her at all, for she's right +surely, and it's little need we ever had of the +like of you to get us our bit to eat, and our +bit to drink, and our time of love when we +were young men and women, and were fine +to look at. + MICHAEL. Hurry on now. He's a great +man to have kept us from fooling our gold; +and we'll have a great time drinking that bit +with the trampers on the green of Clash. + [<i>They gather up their things. The priest + stands up.</i> + PRIEST -- <i>lifting up his hand.</i> -- I've +sworn not to call the hand of man upon your +crimes to-day; but I haven't sworn I wouldn't +call the fire of heaven from the hand of the +Almighty God. + [<i>He begins saying a Latin malediction in + a loud ecclesiastical voice.</i> + MARY. There's an old villain. + All -- <i>together.</i> -- Run, run. Run for +your lives. + [<i>They rush out, leaving the Priest master + of the situation.</i> + +CURTAIN + + + + + +End of Project Gutenberg' Etext of The Tinker's Wedding by J. M. Synge + |